Educación y Psicología

In this poster presentation is presented a descriptive and iconography reading of the mosaics that decorated the pavement of the triclinium of the “House of the Triumph of the Marine Venus” in Bulla Regia (Tunisia). This work aims at clarifying the problems regarding the identification of the two female figures. In doing so, we will carry out a meaningful work of searching for a great number of parallel models of the Roman mosaics to approach to the identity of the figure of Venus and the mysterious female bust. In addition, we will mention the presence of an original iconographic theme known as “The coronation of Venus” in the North African context.

The present chapter focuses on the iconographic study of the five-pointed crown, an original figurative motif that is observed exclusively in the mosaics preserved in North Africa. This element comes to identify as emblem of the ‘Pentasi’, a sodalitas or group in charge of organizing diverse playful and economic activities.

The main contribution of this work is the exposition, after a careful compilation, of the different types of five-point crown registered in Roman mosaic floors, as well as its iconographic and symbolic meaning. Finally, some reflections are exposed, being the mosaic a valuable documentary source that comes to contribute knowledge about the owners of the domus and the North African Roman society.

KEY WORDS: Five-points crown, emblem, Pentasi, typologie, iconographic meaning

This paper presents an iconographic analysis of the mosaic of Bonifatius, located in the eastern area of the peristyle of Villa del Casale in Piazza Armerina. Unlike the other extraordinary mosaic pavements
preserved in situ, this presents a very enigmatic iconographic interpretation and has not yet received all the attention it deserves. All the elements in the mosaic will be analyzed: millet, kantharos, inscription
and figures II, III and IIII. All these elements allow us to reflect on the possible presence of sodalitates and artisans coming from Northern Africa and later settled in Sicily. In addition, some new considerations can be made regarding the inscription of Bonifatius and the hypothetical patron who commissioned the mosaic pavement.

Keywords: Piazza Armerina, polychrome figurative mosaics, sodalitates, Bonifatius

Raquel RUBIO GONZÁLEZ Universidad Complutense de Madrid RESUMEN A extramuros de la antigua ciudad romana de Pompeya se encuentra la Villa delle colonne a mosaico. Toma su nombre en referencia a las magníficas columnas cubiertas de delicados mosaicos que fueron halladas en el jardín principal de la villa durante los primeros trabajos de excavación (1827-1838) y hoy se exponen en el Museo Arqueológico Nacional de Nápoles.

In the current chapter we present a descriptive study and an iconographic reading of two magnificent reliefs of Victories and the fragment of a third one that are exhibited in the National Museum of Carthage, on the Byrsa hill, in Tunisia. This work has as its main objective to clarify the problems regarding the identification of the reliefs. This question arose from the information in the boards of the museum, where the female figures are erroneously identified as Minerva and Abundance, respectively.

Until the present day, no expert has confirmed this observation and the figures have always been interpreted as Victories since the late 19th century. However, such interpretations lacked an exhaustive study.

Therefore, I will carry out a study of each of the attributes that the figures carry in every relief and I will analyze in detail a great number of parallel models in many artistic manifestations such as sculpture, painting, numismatics, glyptic and, especially, the Roman relief. For the first time, these models will be brought forward to support or strengthen some of the hypotheses presented by the end of the 20th century.

In addition, regarding the chronology of the reliefs, the starting point proposed by different researchers will be taken.

From that, the issue will be carefully examined, mainly following stylistic criteria and confronting it all again with different examples of both Greek and Roman art. In this section, numismatics and Antonine portraiture are analyzed and the figures of the emperors Marcus Aurelius and Lucius Verus will become of a great importance as they allow us to extract relevant information on this chronological question.

In the same way, the presence of an interesting female head found in the northeastern corner of the Byrsa hill will be evidenced.

Despite being mutilated, the disposition of the head and part of the arm of the original figure are indicative enough to have led the literature to propose this female sculpture fragment as a possible fourth relief of Victoria.

Finally, some reflections and conclusions that contribute to a final synthesis will be exposed, for they could help to expand our
knowledge about the reliefs of Victories of Carthage and on the cultural processes which define the image of North Africa in Antiquity in a more general sense.

Keywords: Victories, Minerva, Abundance, Fortuna, Marcus Aurelius

n the present chapter is presented a descriptive and stylistic study of an anthropoid sarcophagus of a male figure, identified
as a priest. It is preserved in the National Museum of Carthage with another sarcophagus which presents a female figure on its
cover. Both were found in the necropolis of Rabs o Borj-Djedid, near the hill of Sainte-Monique.

First, this work presents a cautious and reasonable bibliographic revision of the sarcophagus. It starts with a lecture about its discovery and speaks of the valiant documental sources, which are mainly concentrated in the early XXth century. We have observed the need for an updated and deepening review of this piece. Besides, the discovery of the sarcophagus and its
archaeological context is exposed.
Secondly, we reflect on the possible identification of the male figure. Therefore, we will carry out a work of research of a
significant number of parallel models in other anthropoid sarcophaguses which were found in the Mediterranean area:
Egyptians, Phoenicians, Greeks and Etruscans. The last ones will be subject to a special interest, but we will reflect on the
presence of a possible Etruscan colony in Carthage at the end of IVth century BC.

Thirdly, regarding to the chronology of the sarcophagus, it is possible to think of a production of late IVth century BC after confronting with different models of the Phoenician, Greek and Etruscan plastic, of the same chronology. In addition, from the stylistic point of view, differs from those exemplars of anthropoid sarcophaguses that are dated in the Vth century BC such as the examples of Cadiz and Palermo.

In the same way, we defended the hypothesis that the artificer of the Carthaginian sarcophagus, as well as the other of anthropoid type or with form of Greek temple found in the same necropolis, are the work of a Greek artist established in Carthage. Furthermore, it is considered more feasible that the sarcophagus of the Museum of Tarquinia was produced in
Carthage by a Greek workshop for an Etruscan, who later was able to transfer it to Tarquinia, city of origin of the deceased and where it is exposed at the moment. The sources give evidence of the presence of Etruscans installed in the Punic capital in the late IVth century BC.

Finally, conclusions that contribute as a final synthesis of all exposed, and in this way, we could provide to expand knowledge
of the anthropoid sarcophagus of Cartage.

Keywords: anthropoid sarcophagus, Carthage, Phoenicians, Punic, Hellenistic archaeology, Etruscan culture

Contratada pre-doctoral de personal investigador en formación Universidad Complutense de Madrid RESUMEN El presente capítulo se centra en el estudio iconográfico de un interesante mosaico hallado en el sitio arqueológico de Bulla Regia, y más concretamente en la denominada "Casa nº10". En el pavimento se representa el jardín del Edén junto con una inscripción musiva que recoge la célebre cita del Génesis 28, 17, alterando su orden originario: h[a]ec [est] porta caeli et h[a]ec [est] Domvs Dei. Asimismo, en el mosaico se incluyen las inscripciones de los ríos del Paraíso. Por una parte, se expone un estudio descriptivo y una interpretación iconográfica de este pavimento: en primer lugar, se analiza la inscripción inferior, con la inclusión de un enigmático cuarto río de nombre "Aron"; en segundo lugar, el Paraíso y finalmente la inscripción superior. Para ello, se presentan las variaciones e innovaciones que distinguen el mosaico de Bulla Regia de otros ejemplares hallados principalmente en el

En la zona norte de la antigua ciudad romana de Bulla Regia y, más concretamente, en el ángulo entre las dos calles que delimitan un conjunto de casas, se localiza la "Casa de la Pesca". Ésta toma su nombre del mosaico con erotes pescadores que decora el ambiente absidial con stibadium situado en el piso subterráneo 2 , el cual se presenta como uno de los más originales de toda la ciudad. Esta domus fue descubierta por el capitán Nicolas en 1910 3 , mientras que entre 1957 y 1962, M. Boulouednine 4 efectuó algunos trabajos arqueológicos en el piso superior de la casa.

Recibido el 9 de septiembre de 2018 Aceptado el 24 de febrero de 2019 RESUMEN: El presente artículo tiene como objetivo el estudio monográfico de un ambiente absidial con función de stibadium situado en el piso subterráneo de una de las domus más lujosas del yacimiento de Bulla Regia: la denominada "Casa de la Pesca". Por una parte, se expone la problemática referente a cuestiones de tipo terminológico y cronológico sobre el estudio de los stibadia documentados en el Imperio y, en particular, de aquellos registrados en las villas y domus del norte de África. Por otra parte, se manifiestan diversos aspectos relativos a la decoración musiva, así como a la relevante función que tuvo el agua en estas salas de convivia. Finalmente, se presentan nuevas consideraciones sobre la singularidad del caso registrado en Bulla Regia, un insólito ambiente subterráneo de autorrepresentación requerido por el dominus. ABSTRACT: This article aims at the monographic study of one of the main apsidal room with stibadium function located in the underground floor of one of the most luxurious domus of the archaeological site of Bulla Regia: the so-called "House of Fishing". On the one hand, it will be exposed the problems concerning the terminological and chronological matter of the stibadia documented in the Roman Empire, specifically, in those present in the villas and domus placed in North Africa. On the other hand, it reveals aspects related to the mosaic floors, as well as the relevant role played by the water in these convivia rooms. Finally, it will be disclosed new considerations about the singularity of the case registered in Bulla Regia, an unusual underground space of self-representation required by the dominus.

The next chapter presents a descriptive and iconographical reading of the figurative mosaics that decorated the pavement of the triclinium
of the “House of the Triumph of the Marine Venus” in Bulla Regia (Tunisia). This work aims at clarifying the problems regarding the identification
of the two female figures. In doing so, we will carry out a meaningful work of searching for a great number of parallel models
of the Roman mosaics to approach to the identity of the figure of Venus and the mysterious female bust. In addition, we will mention the
presence of an original iconographic theme known as “The coronation of Venus” in the North African context.

This article aims at the typological study of the domestic spaces that have an
underground floor documented in the archaeological site of Bulla Regia. On the one hand,
some considerations are presented in terms of terminology, about the concept of the
“underground”. On the other hand, the domestic structures and pavements of some of the
most important houses of this ancient Roman interior city are examined, such as the
"House of the Hunt", the "House of the Triumph of Venus Marina" and the "House of the
Peacock”. Each one of them presents a series of constructive particularities and, in most
cases, an excellent state of preservation of the covering systems and mosaic floors, which
makes the private spaces of Bulla Regia into extraordinary domestic spaces in the Roman
Empire.

Fig. 3. Mosaico con una sucesión de volúmenes prismáticos perforados (arriba) y sucesión de volúmenes prismáticos sobre fondo negro (abajo). Procedente de Acholla. Museo del Bardo, Túnez (Foto R. Rubio). La función de la óptica fisiológica en la percepción de los mosaicos con diseños geométricos en el norte de África: una aproximación

Petracos también pretende ser una herramienta para favorecer la transparencia y eficacia de la investigación arqueológica desarrollada, transfiriendo a la sociedad el conocimiento generado con la mayor rigurosidad posible. Esta serie asegura la calidad de los estudios publicados mediante un riguroso proceso de revisión de los manuscritos remitidos y el aval de informes externos de especialistas relacionados con la materia, aunque no se identifica necesariamente con el contenido de los trabajos publicados.