Thesis, Nijmegen. / Bibliography: p. 236-245.

The post-Homeric literary sources of the Greek period mention Aioiorec. inhabitants of a distant land, whose physical appearance differs from the Mediterranean somatic norm, but approximates that of peoples referred to in modem times as Black Africans. In the Roman era Aethiopes appear in the literary sources, perceived not only as distant strangers but also as persons familiar to the Roman experience. The sources also mention other peoples: Mauri, Libyes, and Indi, who are distinguished from Aethiopes, but are perceived as having some of the physical characteristics of Aethiopes. An evaluation of the archaeological evidence reveals the methods by which Roman artists conveyed difference from their somatic norm, and the problems they faced in their attempt to portray difference. An INTRODUCTION explains the aims of the thesis and reviews the modem literature. CHAPTER 1 sets out the methodological approach and summarizes ancient literary testimony concerning Greek and Roman perceptions of Blacks. CHAPTER 2 provides an overview of relevant archaeological material of the Greek, Hellenistic, and Roman periods not included in the catalog. CHAPTERS 3, 4, 5, and 6 deal with the iconography of the Black in the Roman period focussing on their appearance in thematic contexts (baths, spectacle, domestic service, and mythology). Following theCONCLUSION, a CATALOGUE lists and describes 56 objects with museum, inventory number, provenience and bibliography. The selected representations date from the Late Hellenistic to the sixth century A.C. They appear in mosaics, sarcophagi, in sculpture, and in paintings from the Mediterranean, Egypt, North Africa, and continental Europe. / Thesis / Doctor of Philosophy (PhD)

The Greenwood Cemetery established in the 1880's, and is one of the largest cemeteries both owned and operated by the City of Orlando. Occupying approximately eighty acres of land and holding 80,000 known interment record cards, it is the oldest cemetery still in use for the City of Orlando. Research on the Greenwood Cemetery's headstone iconography is important because this type of information has not been previously documented or studied. A few studies have been conducted by the Genealogy Society to document ancestry, as well as documenting the history of prominent people buried within the cemetery; however, very little mention is given to the iconography. Although some headstones are illegible due to a number of factors such as erosion, natural disasters and vandalism, the Greenwood Cemetery is ideal for research because most of the headstones are inscribed with a written record, often giving names and dates. The purpose of this study is to (1) document the fraternal organization symbols that are found on the Greenwood Cemetery's headstones; and (2) interpret the cultural meanings of each fraternal symbol. The focus of this study is limited to fraternal organization iconography; however, there are various other symbols (religious, occupation, etc) found throughout the Greenwood Cemetery. The data collected from the headstones have revealed the following fraternal iconography: Academic Fraternal Groups (AFG), American Legion (AL), Ancient Arabic Order of Nobles of the Mystic Shrine (AAONMS), Benevolent and Protective Order of Elks (BPOE). Benevolent and Patriotic Order of DOES (BPOD), Boy Scouts of America (BSA), Brotherhood of Locomotive Engineers (BLE), Daughters of lsabella (DOI), Daughters of Rebekahs (DOR), Daughters of the American Revolution (DAR), Daughters of the Nile (DON), Free and Accepted Masons (F&AM), Independent Order of Odd Fellows (IOOF), International Alliance of Theatrical State Employees (IATSE), International Brotherhood of Electrical Workers (BEW), Kiwanis International (Kl), Knights of Columbus (KC), Knights of Pythias (KOP), Ladies Auxiliary of Veterans of Foreign Wars (LAVFW), LIONS International (LI}, Loyal Order of the Moose (LOOM), Mosaic Templars of America (MTA), National Rifle Association (NRA), Order of the Easter Star (OES), Rainbow Girls (RG), Rotary International (RI), Sisters of Pythias (SOP), Strates Memorial Club (SMC), United Daughters of the Confederacy (UDC) and the Woodmen of the World (WOW). This thesis will cover each of the fraternal organization's symbols, provide a historical background on what each symbol represents within the organization, and explain why the fraternal organization headstone iconography in Greenwood Cemetery is important to the heritage of the City of Orlando.

Following the publication of Trendall’s Phlyax Vases, the history of comedic theatre in Magna Graecia received a great amount of scholarly attention, culminating in such important works as Taplin’s Comic Angels, Green’s Theatre in Ancient Greek Society and most recently Bosher’s dissertation, Theater on the Periphery. This work is, in many ways, a supplement to their collective research, and assesses the literary and material evidence for the development of comedy in the Apulian city of Tarentum. The analysis of textual evidence will begin by investigating Tarentine interactions with Attic theatre in the beginning of the fourth century and leading to the influence of its comic tradition on the early stages of Republican Rome through the works of Rhinthon and Livius Andronicus. An assessment of the Roman historiographical treatment of Greek theatrical influence and the vibrant Bacchic cult practices observed in the festivals of Tarentum will round out discussion of literary and textual evidence A general overview of fourth century comedic iconography production will begin the section on material culture. In this context, some notable individual pieces adduced by Taplin and Green will be addressed before other iconographpic material from Tarentine coinage and other sources will be presented. The conclusion from this body of evidence affirms a vibrant and independent tradition of comedic theatre in Tarentum that was at once amalgamative through its interactions with the festivals of the Hellenistic period and conceptually autochthonic for the Tarentines themselves. / text

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This thesis studies the use and development of anthropomorphic iconography in Iron Age Gaul, up to the beginning of the Roman period. The principal focus is on freestanding human imagery. Art, and in particular religious art, is for many societies a critical feature in the definition of cultural identity. It is the contention of this study, therefore, that a better understanding of the changes in the iconography of this period will furnish us with a better comprehension of changes within Iron Age societies themselves. In particular, it is considered whether the anthropomorphic representation of gods is essentially a post-conquest phenomenon, or whether post-conquest religious art built upon earlier, Iron Age traditions. In order to assess these aspects three case study areas (Armorica, Central Gaul and South-West Gaul) were selected on the basis of concentrations of images in these areas. In each of these areas the depiction of anthropomorphic and associated imagery on other media, such as metalwork, is assessed in order to identify any regional trends. In addition free-standing human imagery of the same period from regions outside Gaul is considered in order to identify any wider trends. The free-standing human images of Gaul are then assessed in relation to each other and this data. As a result of this assessment two principal groups were identified. The first is an Early group, produced near the beginning of the period, quite naturalistic in appearance and frequently associated with burial sites. The second much larger Torso group, dates to the late Iron Age with the images depicting a simplified human form. Both groups are considered in relation to the social changes taking place at the time of their production and use.

Since the day of its discovery (1878) the Great Altar of Pergamon has been evaluated for its aesthetic and stylistic contribution to Greek art. The aim of this thesis is to study the monument not merely from an art-historical point of view but within its historical and cultural context. The intention is to view the Pergamene monument as a characteristic example of the Hellenistic age and in relation to the Attalids as Hellenistic rulers. It is divided into five chapters. The first deals with the monument itself and the various theories regarding the date of its inception, the number of sculptor/s employed and the theories of interpretation so far suggested. The second chapter examines certain aspects of Attalid policies such as: military history and foreign relations, coinage, cults and festivals, ruler-cult, art and building programme, and finally patronage of learning. The third and fourth chapters deal with the friezes of the monument - the Gigantomachy and Telephos frieze respectively. They examine the iconographic tradition of the myths depicted, the current literature on the style of the friezes, some difficulties with currently accepted theories are noted and new theories advanced. The fifth and final chapter is divided into two parts. The first part points out the elements of the artist's technique that make the monument a characteristic example of the Hellenistic Aesthetic. The second part examines how the imagery on the monument was manipulated by the Attalid kings in their search for self-definition. Their case is examined against the examples of 5th century BC Athens and 1st century BC Augustan Rome

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The majority of Gallo-Roman reliefs were published in the early 1900s, and since that time there has been no major study undertaken solely on a peculiarly abundant and striking part of the corpus, namely the scenes of vending depicted on funerary monuments. Scholars have tended to concentrate their efforts on scenes of work in general, both in Gaul and in Italy, where another important series of work scenes is found, including vending scenes. Therefore, this thesis focuses on 61 Gallo-Roman reliefs depicting the sale or display of merchandise such as clothing, food, wine and specialty products. These transactions often take place in small, shop-like settings, consisting of a counter, and sometimes shelves or display racks The analysis of the iconography of the vending scenes is of central importance to our understanding of the various occupational roles of the merchants, who range from small scale shop-keepers to commercial wholesalers of products. As many of the reliefs are in relatively poor condition, the comparanda from the Italian series of vending scenes, epigraphic parallels, archaeological finds and literary sources are essential in dealing with problems of interpretation. One problem to be resolved is how closely the Gallo-Roman vending scenes follow the Italian models. Another problem concerns the visual and verbal evidence for the legal and social status of Gallo-Roman vendors. Where did these vendors fit into Gallo-Roman society? Additionally, what do the products displayed in these reliefs reveal about the economy of Roman Gaul? It is the intent of this thesis to demonstrate that the vendors wished to present themselves on their tombs in ways to show that they achieved prosperity and a relatively comfortable status in life through their endeavours in commerce and trade. The best evidence for the actual success of these vendors is given by the large, costly tombs upon which some of the vending scenes are carved. / Thesis / Doctor of Philosophy (PhD)