Middle-Upper Eocene successions were studied in the Fayum Depression in order to establish depositional and paleoenvironmental models that link the ichnological and sedimentologic data to relative sea-level changes in a sequence stratigraphic framework. Five facies associations (FA1- FA5) are identified. The facies depositional models show overall progradation from quiescent open-marine bay (FA1-2: Gehannam and Birket Qarun formations) to lagoon/distributary channel/estuary sedimentary environments (FA3-5: Qasr El-Sagha Formation). The facies successions and their stratigraphic evolution are controlled by a regional, second-order cycle associated with the northward regression of the Tethys, which is overprinted by subordinate third- and higher-order cycles. Whale-bearing FA1 and FA2 are subdivided into five sedimentary facies. Seventeen ichnospecies belonging to thirteen ichnogenera, as well as rhizoliths are observed within these facies. Facies Association 1 accumulated in a low-energy fullymarine bay, whereas FA 2 represents a bay margin / supratidal paleoenvironments. Clastic point-sources are dominantly hypopycnal although eolian sand may represent an important source locally. The quiescent marine bay is a typical environment and biome for the Eocene whales. Preservation of these fossil whales must occur in association with rapid sedimentation rates, but sufficiently that bioturbation eradicates the physical sedimentary structures. Unusual, large-sized sedimentary structures are examined along the parasequence-bounding surfaces of the Birket Qarun Sandstone. Ichnological data, petrography and stable-isotope analysis are integrated to propose a bio-sedimentologic/diagenetic model, interpreting the origin of these structures as concretion growths around ichnofossils. The marine pore-water carbon was influenced by organic carbon and mixing of meteoric groundwater under eodiagenetic conditions. These conditions led to the precipitation of pervasive authigenic calcite-dominated cement in and around the burrows. More than twenty-five Glossifungites Ichnofaciesdemarcated discontinuities are examined in the study area. These surfaces are grouped into those of autocyclic and those of allocyclic origin. Occurrences of the allocyclically significant Glossifungites Ichnofacies can be classified into sequence-bounding, systems tract-bounding and parasequence-bounding surfaces. Sequence-bounding Glossifungites Ichnofacies-demarcated surfaces divide the studied successions into four third-order sequences. Systems tract-bounding and parasequence-bounding Glossifungites Ichnofacies-demarcated surfaces display higher-order cycles, overprinting the third-order cycles.

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Ce projet vise à reconstruire le développement du portrait peint à Rome et l’utilisation de ce type de support figuré à Rome, à partir de la République jusqu’à la fin du IIIe siècle après J.C. Le portrait peint dans l’art romain suit les changements culturels et les limites de l’Empire, en se mêlant avec des traditions artistiques de différentes aires culturelles. L’étude de ce sujet, qui présente de profondes difficultés, est souvent considéré à tort comme un sous-argument de la thématique du portrait statuaire à Rome. Or le portrait peint mérite une étude comme sujet indépendant car, dans l’Antiquité, la peinture a été « l’arte guida ». La peinture ancienne est aujourd’hui peu connue car la plupart des œuvres ont été perdues, ce qui rend le portrait peint difficile à reconstruire. Le manque de sources archéologiques relatives à la genèse de cette forme d'art est comblé par certaines sources littéraires grecques et romaines. Pour la période impériale, les témoignages archéologiques sont plus abondants, comme dans le cas des portraits du Fayoum, qui, cependant, sont limités à la province de l'Egypte, ou des fresques trouvées dans un certain nombre de sites archéologiques importants en Méditerranée (les plus précieux ont été trouvés à Herculanum, Pompéi et Stabies, mais aussi en Syrie). / This project aims to reconstruct the development of painting portraits in Rome and the use of these types of image employed for Romans, from the Republic until the end of the third century AD. The portrait painted in Roman art follows the cultural changes and the limits of the Empire, mingling with artistic traditions from different cultural areas. The study of this subject, which presents profound difficulties, is often wrongly considered as a sub-argument of the theme of the statuary portrait in Rome. The painted portrait deserves a study as an independent subject because in Antiquity the painting was "l’arte guida". The old painting is now little known because most of the works have been lost and it makes the painted portrait difficult to reconstruct. The lack of archaeological sources relating to the genesis of this art form is filled by some Greek and Roman literary sources. For the imperial period archaeological evidence is more abundant, as in the case of Fayum portraits, which, however, are limited to the province of Egypt, or frescoes found in several important archaeological sites in the Mediterranean (the more valuable were found at Herculaneum, Pompeii and Stabies, but also in Syria).

The Fayúm Province of Egypt covers an almost continuous time span from the middle Eocene through the early Oligocene and has produced a number of vertebrate fossils important to evolutionary history. This area includes early crocodylids inaccurately assigned to crown-group Crocodylus, which has been shown through molecular and morphological phylogenetic analyses to have diverged during the Miocene. We reviewed two taxa from the early Oligocene Gebel Qatrani Formation, Crocodylus megarhinus Andrews 1905 and Crocodylus articeps Andrews 1905, which had previously been synonymized, with C. articeps thought to be based on a juvenile specimen of C. megarhinus. Crocodylus megarhinus outwardly resembles most living species of Crocodylus, however it is a basal crocodylid lacking diagnostic features for the crown genus. The holotype of C. articeps is now lost, but based on a cast and published images of the original material, it was a slender-snouted form that can be distinguished from smaller specimens of C. megarhinus. Although not synonymous with C. megarhinus, C. articeps cannot be diagnosed or scored for existing character matrices sufficiently to allow precise phylogenetic placement. Previous analyses of C. megarhinus included information from C. articeps; recoding C. megarhinus based only on material referable to that species does not change its phylogenetic position, but it forces a reconsideration of the polarity of character states in clades leading to the origin of crown-genus Crocodylus which, in turn, may inform efforts to resolve the relationships among living crocodylid lineages. Based on its confirmed phylogenetic position as a basal crocodylid, C. megarhinus provides insight into the ancestral conditions of all crocodylids and supports an African origin for Crocodylidae.

Dans le cadre de ce doctorat sur la représentation des bijoux féminins dans les portraits de l’Égypte romaine, les recherches se concentraient sur les « portraits du Fayoum » et masques funéraires des trois premiers siècles après J.-C.Bien que les masques funéraires et les portraits du Fayoum aient été le sujet de plusieurs publications pendant ces dernières années, il nous manquait encore une étude détaillée sur les bijoux féminins qui s’inspiraient presque exclusivement de la mode romaine. Une classification chronologique de ces portraits, mais aussi des masques funéraires, pouvait être obtenue par les coiffures féminines. Par conséquence, la distinction des portraits par époque nous permettait d’identifier les changements dans la mode des bijoux pendant les trois premiers siècles après J.-C., en donnant aux archéologues la possibilité de classifier encore mieux certains types de bijoux qui sont découverts pendant des fouilles ou sur le marché de l’art. Dans le cadre ce cette étude, les diverses représentations de bijoux, en provenance d’autres provinces romaines mais aussi des originaux, appartenant à des trésors et à des tombes datés étaient également consultés. L’application de nos résultats à d’autres contextes géographiques est toujours légitime, car les mêmes principaux types de bijoux étaient utilisés dans tout l’empire romain.Grâce à toutes ces données, il était possible de reconstruire les différents aspects de la mode des bijoux pour les différentes dynasties impériales pendant les trois premiers siècles après J.-C. / This particular PhD research project focuses on the representation of jewellery on “Fayum portraits” and mummy masks from Roman Egypt. Even though Roman mummy masks and the so called “Fayum portraits” have been the subject of numerous research in recent years, a detailed study on the individuals’ jewellery is still missing up to this date. This is particularly regrettable because females on these portraits are almost exclusively wearing Roman-type jewellery. A chronological order that includes a precise dating must be obtained by the female hairstyles that have been influenced by Roman fashion dispersed in the Roman Empire through representations in form of busts, coins and paintings of the Empresses and members of the imperial families. Consequently, this chronological order allows us to identify the various changes in the jewellery fashion throughout the imperial dynasties of the first three centuries A.D. A goal of the chronological classification of jewellery in the art of Roman Egypt is to help future researchers to date jewellery more precisely, in particular – which is quite common for jewellery - when their provenance is unknown or imprecise. The results will be complemented by representations of jewellery in art from other regions of the Empire but also by actual dated finds. Finally, all these factors will help to obtain a better understanding of Roman jewellery fashion, its distribution and even more which types were “à la mode” at what particular time.

Abstract This study concerns the Swedish artist Roj Friberg (1934–2016). The essay is based on a study of technique and materiality used by Friberg. He is quite marginalized and slightly forgotten in the Swedish art history and when mentioned merely described as a painter from the 1960´s who used graphite mixed with French turpentine, in order to work on the surface with an eraser attached to an electric drill. However, Friberg used other different and more complex painting techniques in his work, something this essay will notice and highlight. The used method is a biographical, dealing with the references to Friberg. To explain why he was considered an “outsider” in Swedish art, the theory of social capital by Pierre Bourdieu is applied. Also, Wolfgang Kemps concept of reception history, which focus on the arts beholder, rather than the artists itself. From the middle of 1970 Friberg also used an ancient painting technique called encaustic, heated beeswax mixed with pigment. Paintings which have received very little attention; therefore, the focus is on his use of encaustic in combination with his other techniques, such as melted graphite, melted wax crayons or drawn with wax crayons and graphite. The work with lasered layers and the typical method of working from darkness to light in Friberg´s pictures shows resemblance with the ancient encaustic portraits from Fayum, in the 50 AD.