’Inscriptions and graffiti in San Lorenzo in Lucina’

Arctos, 2022

Collectanea Philologica (25): Romanorum hiberumque conexioper saecula firmissima, 2022

In this article we analyze the two-sided stelae of Lucus Augusti and its hinterland, unique pieces throughout the Roman Empire, with the aim of compiling the information we have about them and analyzing them from the perspective of postcolonial romanization theories. To this end, Bourdieuʼs theory of habitus is fundamentally used, understanding habitus as a generator of principles of social behavior. The use of the toga in the representations of these stelae and their link with Roman citizenship are key to understanding who commissioned these funerary monuments, as well as the correct interpretation of the themes on the reverse provide us with new data. The analysis of the granite blocks allows us to know that they were not large stelae or with an epigraphic text that is now lost, but that it was a conscious choice which they did not have text rather images on both sides. The two-sided stelae are the reflection of a local custom, that is, part of a new hybrid culture: the provincial Galician-Roman culture.

is paper discusses 55 glass fragments from the excavations beneath San Lorenzo in Lucina in 1985 and 1993-1998. e fragments span the period from the rst to the mid-fourth century AD. 30 fragments of glass vessels from the 1985 excavations beneath San Lorenzo in Lucina were kept, which are estimated to represent some 30% of the original assemblage. In addition to these nds, the later excavations in 1993, 1995 and 1998 yielded some 25 sherds, all of which were preserved. us 25 fragments form the basis for this discussion. e assemblage, which consists of both cast and blown vessels, a cast object and cast and blown window-glass, spans the early/mid-rst century to the mid-fourth century AD.

Journal of the Warburg and Courtauld Institutes, 2024

By presenting new elements discovered during on-site research and comparing them to previous findings, this Note supports the view that the graffiti made by lansquenets in the Stanze of the Vatican Palace and in the Villa Farnesina in 1527 and 1528 during the sack of Rome should be seen in the context of an iconographic interaction with, rather than mere destruction of, the original artworks.

Papers of the British School at Rome, 2007