This thesis examines a Roman marble pinax in the collection of the Blanton Museum of Art (accession number 1981.96). Much of the most recent scholarship on pinakes has utilized a catalogue approach, wherein only the most essential information on a vast number of objects is given, followed by a cursory interpretation. While this method is useful for its recording and comparative advantages, the in-depth examination of a single pinax I utilize allows me to determine instead the role and function of a pinax within a Roman household. Following a formal and iconographical analysis, I suggest a possible reconstruction of the pinax’s missing half, with a maenad on one side and the chariot of Achilles on the other, which provides a fuller picture of this particular pinax. An examination of Roman sculptural traditions and workshops as well as the tool marks and stylistic properties evident in the pinax indicate a creation date in the second half of the first century A.D. and a potential provenance at Pompeii. I indicate that pinakes were part of a cohesive visual program of sculptural works in the peristyle garden through an examination of the material evidence of oscilla, herms, and masks with which pinakes were found and the wall paintings in which they all coexist. My final section deals with the ultimate function of this visual program: to express the high social standing of the house owner by communicating his likeness to a god. This phenomenon utilizes the visual language of the emperor under the changing social structure of the Empire, setting up the owner of the home as both emperor and deity in his own home. / text

This thesis examines a Roman marble pinax in the collection of the Blanton Museum of Art (accession number 1981.96). Much of the most recent scholarship on pinakes has utilized a catalogue approach, wherein only the most essential information on a vast number of objects is given, followed by a cursory interpretation. While this method is useful for its recording and comparative advantages, the in-depth examination of a single pinax I utilize allows me to determine instead the role and function of a pinax within a Roman household. Following a formal and iconographical analysis, I suggest a possible reconstruction of the pinax’s missing half, with a maenad on one side and the chariot of Achilles on the other, which provides a fuller picture of this particular pinax. An examination of Roman sculptural traditions and workshops as well as the tool marks and stylistic properties evident in the pinax indicate a creation date in the second half of the first century A.D. and a potential provenance at Pompeii. I indicate that pinakes were part of a cohesive visual program of sculptural works in the peristyle garden through an examination of the material evidence of oscilla, herms, and masks with which pinakes were found and the wall paintings in which they all coexist. My final section deals with the ultimate function of this visual program: to express the high social standing of the house owner by communicating his likeness to a god. This phenomenon utilizes the visual language of the emperor under the changing social structure of the Empire, setting up the owner of the home as both emperor and deity in his own home. / text

Inaug.-Diss.--Berlin. / Vita. Bibliography: p. 3-4.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 408-438). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 172-191). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 172-191). Also available on the Internet.

L'objectiu d'aquesta tesi és l'estudi de tot un seguit d'escultures votives trobades dins el santuari de Cibele de Ostia, descobert a finals del segle passat i excavat amb extensió just abans de la Segona Guerra Mundial. Tanmateix, el nostre objectiu no era el de presentar, únicament, un catàleg de l'estatuària sinó, especialment, la seva funció i relació dins el santuari com un element a considerar per a l'estudi del culte a Cibele i més concretament a Atis. / The aim of this thesis is the study of a series of votive sculptures found in the Cybele sanctuary, in Ostia, discovered in the late nineteenth centuy and extensively excavated just before World War Two. Nevertheless, our aim was not just merely presenting a catalogue of the sculptures, but, primarily, stablishing their function and relation within the sanctuary, as an element to take into account for the study of the worship of Cybele and, specifically, of Attys.

Tesis doct.--Hist. del arte--Barcelona--Universitat autónoma, 1993. / Résumé en anglais à la fin de l'ouvrage. Bibliogr. p. 213-230.

This thesis deals with portraiture of roman emperors on their statues and coins during the 3rd and 4th century. It begins with accession of military emperors and ends by Constantinian dynasty. The thesis tries to describe the changes in roman imperial portrait and determine its clearer roadmap. Main influences for roman imperial portraits are found together with milestones within the roadmap. It primarily focuses on individual attributes in the portrait and attempts to define ability to identify emperors themselves. Also, it tries to describe the extent to which these attributes influence the ability to identify the emperor on the statue or on the coin. Moreover, the thesis aims to connect imperial propaganda and portrait of the emperor. Finally, the thesis contains brief historical overview of this era. KEYWORDS: Roman Empire, Roman coins, Roman sculpture, portrait, the Military Emperors, crisis, Gallic Roman Empire, principate, dominate, tetrarchy, Gallienus, Aurelianus, Probus, Diocletianus, Constantinus, Julianus Apostata