This thesis discusses depictions of stories from Homer's Odyssey to ancient art. The thesis is divided into ten chapters. The first chapter is devoted to Homer and the Odyssey, where closely acquainted with Homer's perception of the person and his iconography, as well as a focus on the importance and value of his literary work. In the second chapter I try bringing different perspectives of researchers on locations of Odysseus's journey, which also briefly introduces Odysseu's stops in connection with the story. The following chapters focus on individual stories and becoming familiar with their iconography in connection with the literary pattern. I realize the extent to which individual scenes were shown from the perspective of chronological and geographical, eventually on what types of artistic monuments (vase painting, reliefs and sculpture, murals, mosaics, etc.). Together I am trying to explain the reasons for eventual higher frequency of certain themes. Keywords Homer, Odysseus, iconography, Greek Art, Etruscan Art, Roman Art

The thesis is focused on the imperial propaganda in sculpture, gems and coins. It focuses primarily on the importance of the female element of propaganda, therefore describes how the goddesses are compared to empresses and how it happens. It also deals with portraits of emperors, who use display of female goddesses and personifications or other female elements in their portraits. The thesis rates the frequency of female subjects in different periods and their changes, separates the general set of themes of propaganda used by each emperor and female elements specific to a particular ruler. It follows the gradual portrait emancipation among women close to the emperor. Social changes and their reflection in political propaganda are also seen. Time period begins with the reign of Augustus, continues with Julio-Claudian dynasty, the year of four emperors, Flavian dynasty, Adoptive emperors and Severan dynasty.

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This thesis discusses the appropriation of antique art in Italy during the fourteenth century. In order to do that, it considers the surviving antiquities in late medieval Italian cities and examines their reception and perception by contemporary authors and artists. Following the introductory chapter, which sets out the aims of the thesis and provides a brief historical background of the period, this study is divided in two parts. Part I examines the awareness of ancient art in the Trecento by looking at late-medieval Italian texts. After an introduction of the relevant texts and a presentation of the biographical background of their authors, the chapters explore the reliability of the writers, their references to antique art and their particular interests towards antique art. They also examine the textual evidence on attitudes towards antiquity, contrasting the different approaches of intellectual and popular audiences, and discuss a number of surviving antique works that were placed in public places and were charged with ideological intent, meaning and power. Part II approaches the subject of the appropriation of antique art in the Trecento from a different angle and deals with the reaction of artists toward ancient art. It discusses the emergence of a new iconography that reflects themes arising from encounters with classical literary texts, explores instances of antique sculpture portrayed in fourteenth-century paintings, and examines the antique sources of various Trecento motifs and compositions. The Appendix is a detailed list of antique works of art that were visible in Trecento Italy, along with a discussion of their history and the relevant primary and secondary bibliography.

Ce projet de recherche porte sur l’étude du décor des villas impériales dans le suburbium de Rome, avec le but de comprendre, à l’aide des sources littéraires, archéologiques et épigraphiques, comment se caractérisaient ces villas tant du point de vue de leur conception architecturale que de leur décoration. Chaque villa a fait l’objet d’un dossier dans lequel tous les éléments du décor ont été organisés, classifiés et interprétés. Par la suite, on a procédé à une comparaison entre les éléments décoratifs caractérisant les villas du suburbium et ceux des autres grandes résidences impériales connues dans la région du Latium. On a pu analyser l’évolution du rapport entre architecture et décor dans les différents espaces de la villa impériale (pièces de représentation, thermes, jardins, édifices de spectacle,…), ainsi que le programme décoratif sculpté, qui nous renseigne sur le travail des ateliers et sur les choix de thématiques spécifiques de la part des empereurs, comme celle du mythe des Niobides ou des épisodes de l’Odyssée. De surcroît, l’analyse topographique et chronologique des contextes a permis, d’un côté, de comprendre les dynamiques de l’occupation du territoire de la part du pouvoir impérial et de l’autre, d’analyser le processus de formation, évolution et transformation de ces résidences. À travers l’étude des complexes résidentiels suburbains, on explore les possibilités d’approche à l’intérieur du plus ample questionnement sur l’identification d’une villa impériale, une problématique qui n’a jamais été abordée de façon complète et systématique. / The research project, presented in this manuscript, illustrates the decoration of imperial villas in the Roman suburbium. Thanks to literary, archaeological and epigraphic sources, its purpose is to understand how these villas were characterised both from the point of view of their architecture as of their decoration. Indeed, each villa has been subject of accurate investigations, in which all elements were parsed, classified and interpreted. Subsequently, the attention is focused on the comparison between the decorative features of the suburbium’s villas and those of the other imperial residences scattered in Latium region. This allowed to analyse in details the evolution of the correlation between architecture and decor in the different areas of the imperial villa (representative rooms, thermal baths, gardens, entertainment buildings,…). In addition, it helped understanding the choice of sculptural subjects made by the emperors, such as the group of Niobids or Odyssey episodes. Moreover, topographic and chronological studies of these contexts gave the opportunity to understand the occupation dynamics of the territory on the part of the imperial power, but also to analyse the formation, evolution and transformation processes of these residences. Finally, through the study of suburban residential complexes, it is possible to face the wider questioning on the identification of an imperial villa, an issue that has never been approached in an exhaustive and systematic way.

Este trabalho investiga os afrescos da cidade de Pompeia, especificamente aqueles que representam a leitura e/ou a escrita e corpos leitores e/ou escritores. Foi realizado um estudo sobre a escrita e a leitura no mundo antigo, especialmente na Grécia e em Roma, e então a análise de dezoito afrescos com imagens relacionadas às atividades de escrita e leitura, objetivando o alargamento das discussões concernentes à história da escrita e da leitura no mundo antigo, bem como a um uso qualitativo das imagens como fontes históricas. À luz de teorias da história e da história da arte, constatou-se que, além de uma utilização puramente funcional, a escrita e a leitura exerceram sobre os pompeianos um poder de enobrecimento de suas figuras, além de possibilitarem o atingimento do sublime, através da literatura, e do sagrado, através dos textos e oráculos divinos. / This research investigates the frescoes in the city of Pompeii, specifically those portraying reading and/or writing and reading and/or writing bodies. A study was done on the reading and writing in the ancient world, especially in Greece and Rome, and then an analysis was done on eighteen frescoes portraying images related to the activities of reading and writing, aiming to heighten discussions concerning the history of reading and writing in the ancient world, as well as qualitative use of images as historical sources. Under historical and art history theories, we have observed that, beyond a purely functional use, writing and reading brought upon the people of Pompeii an ennoblement of their figures, and enabled them to achieve sublimity, through literature, and sacredness, through divine texts and oracles.

Este trabalho investiga os afrescos da cidade de Pompeia, especificamente aqueles que representam a leitura e/ou a escrita e corpos leitores e/ou escritores. Foi realizado um estudo sobre a escrita e a leitura no mundo antigo, especialmente na Grécia e em Roma, e então a análise de dezoito afrescos com imagens relacionadas às atividades de escrita e leitura, objetivando o alargamento das discussões concernentes à história da escrita e da leitura no mundo antigo, bem como a um uso qualitativo das imagens como fontes históricas. À luz de teorias da história e da história da arte, constatou-se que, além de uma utilização puramente funcional, a escrita e a leitura exerceram sobre os pompeianos um poder de enobrecimento de suas figuras, além de possibilitarem o atingimento do sublime, através da literatura, e do sagrado, através dos textos e oráculos divinos. / This research investigates the frescoes in the city of Pompeii, specifically those portraying reading and/or writing and reading and/or writing bodies. A study was done on the reading and writing in the ancient world, especially in Greece and Rome, and then an analysis was done on eighteen frescoes portraying images related to the activities of reading and writing, aiming to heighten discussions concerning the history of reading and writing in the ancient world, as well as qualitative use of images as historical sources. Under historical and art history theories, we have observed that, beyond a purely functional use, writing and reading brought upon the people of Pompeii an ennoblement of their figures, and enabled them to achieve sublimity, through literature, and sacredness, through divine texts and oracles.

Este trabalho investiga os afrescos da cidade de Pompeia, especificamente aqueles que representam a leitura e/ou a escrita e corpos leitores e/ou escritores. Foi realizado um estudo sobre a escrita e a leitura no mundo antigo, especialmente na Grécia e em Roma, e então a análise de dezoito afrescos com imagens relacionadas às atividades de escrita e leitura, objetivando o alargamento das discussões concernentes à história da escrita e da leitura no mundo antigo, bem como a um uso qualitativo das imagens como fontes históricas. À luz de teorias da história e da história da arte, constatou-se que, além de uma utilização puramente funcional, a escrita e a leitura exerceram sobre os pompeianos um poder de enobrecimento de suas figuras, além de possibilitarem o atingimento do sublime, através da literatura, e do sagrado, através dos textos e oráculos divinos. / This research investigates the frescoes in the city of Pompeii, specifically those portraying reading and/or writing and reading and/or writing bodies. A study was done on the reading and writing in the ancient world, especially in Greece and Rome, and then an analysis was done on eighteen frescoes portraying images related to the activities of reading and writing, aiming to heighten discussions concerning the history of reading and writing in the ancient world, as well as qualitative use of images as historical sources. Under historical and art history theories, we have observed that, beyond a purely functional use, writing and reading brought upon the people of Pompeii an ennoblement of their figures, and enabled them to achieve sublimity, through literature, and sacredness, through divine texts and oracles.

This thesis examines figural representations of foreign peoples and places on Roman coinage. An accompanying appendix thoroughly catalogues this imagery between its earliest extant appearance in approximately 138 B.C. and the death of Domitian in 96 A.D. A systematic survey makes it possible to nuance existing narratives of the development of this imagery that privileged the late first and early second centuries A.D. as the key moments of change by revealing considerable diversity and innovation in the earlier period. A second contribution is methodological, highlighting the need for contextual analysis of individual issues to supplement the typological approach that has dominated earlier scholarship. Chapter One focuses on image types produced between 138-31 B.C. This was a particularly vibrant period for the production of these images and the chapter reveals a diverse spectrum of imagery. This contrasts sharply with previous assessments that characterised the period as dominated by images of submission. Chapter Two concentrates on Augustan imperial coinage (31 B.C.-14 A.D.) and identifies a shift towards more consistent usage of submissive imagery. Chapter Three highlights a significant decline in the use of images of foreign peoples and places on imperial coinage minted by the Julio-Claudian successors (14-68 A.D.). Chapter Four identifies a dramatic, albeit inconsistent, resurgence in the use of personifications of foreign peoples and places on coinage minted by competing imperial claimants during the civil wars of 68-69 A.D. Chapter Five focuses on Flavian imperial coinage (69-96 A.D.) and uncovers a significant resurgence in captive imagery. It identifies a new blurring of the lines between the iconographic traditions of captives and personifications of peoples and places. This blending of the two traditions lays important foundations for subsequent imagery on Trajanic imperial coinage.