- Angers, France
- Université catholique de l'Ouest, Angers, Faculté des Humanités, Faculty Memberadd
- Roman Archaeology, Archéologie, Funerary Archaeology, Cuma, Roman Religion, Roman History, and 17 moreRoman Art, Archeologie, Histoire de l'art et archéologie de l'Antiquité grecque et romaine, Archéologie Romaine, Pompeii (Archaeology), Pompéi, Cumae, Letti In Osso, Letti in Avorio, Reperti Archeologici Avorio, Ivoire, Ivory Carving, Bones Ivory Artefacts, Antler, bone, horn & ivory artefacts, avorio, Manufatti in osso, and Ivory and bone technologyedit
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Research Interests: Ivoire and bone carving
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POMPÉI PORTA NOCERA – Campagne 2019. Rapport final d'opération d'archéologie programmée. NAISSANCE ET DÉVELOPPEMENT D’UN PAYSAGE FUNÉRAIRE ROMAIN (Ier siècle av. – Ier siècle apr. J.-C.). Aux portes de la ville et le long de la route de Nocera Pompéi - Fouille de la nécropole romaine de Porta Noc...more
Research Interests: Humanities and Art
POMPÉI PORTA NOCERA – Campagne 2018. Rapport final d'opération d'archéologie programmée. NAISSANCE ET DÉVELOPPEMENT D’UN PAYSAGE FUNÉRAIRE ROMAIN (Ier siècle av . – Ier siècle apr. J.-C.). Aux portes de la ville et le long de la route de Nocera Pompéi - Fouille de la nécropole romaine de Porta No...more
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POMPÉI PORTA NOCERA-Campagne 2020. Rapport final d'opération d'archéologie programmée. Pompéi - Fouille de la nécropole romaine de Porta Nocera. Programme de recherche de l'École française de Rome en collaboration avec l'École Pratique des Hautes Études (UMR 8546 CNRS ENS-Paris AOrOc, Université ...more
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POMPÉI PORTA NOCERA – Campagne 2021. Rapport final d'opération programmée. PompéiFouille de la nécropole romaine de Porta Nocera. Programme de recherche de l’École française de Rome en collaboration avec l’École Pratique des Hautes Études (UMR 8546 CNRS ENS-Paris AOrOc, Université PSL), l’UMR 519...more
Research Interests: Humanities and Art
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I letti funerari di epoca romana derivano da una tradizione antica, le cui origini risalgono a un periodo storico più remoto dell’antica Grecia, ossia all’Egitto e al Medio Oriente. A partire dal XIX secolo, gli scavi hanno restituito... more
I letti funerari di epoca romana derivano da una tradizione antica, le cui origini risalgono a un periodo storico più remoto dell’antica Grecia, ossia all’Egitto e al Medio Oriente. A partire dal XIX secolo, gli scavi hanno restituito numerosi esemplari che sono, in gran parte, situati cronologicamente tra il II secolo a.C e il II secolo d.C., e che rinviano ai ritrovamenti scoperti in contesti domestici, certamente meno numerosi, ma il cui studio permette dei confronti fruttuosi. Un esame approfondito della loro evoluzione, prima nel mondo romano, poi in un insieme storico e cronologico più vasto, ha messo in luce un numero rilevante di forme, le cui decorazioni sono principalmente in legno, bronzo, osso scolpito o avorio. Questa grande varietà di modelli ritrovati ha condotto all’elaborazione di una nuova tipologia dettagliata, che include le forme più antiche fino a quelle del periodo romano.
Nonostante le pubblicazioni esistenti abbiano fatto evolvere in modo significativo la nostra conoscenza di letti ornati di bronzo e quelli in osso scolpito, le prove della presenza di letti in avorio sono estremamente rare, in Italia o nel complesso del mondo romano. Di conseguenza, la scoperta a Cuma dei resti di tre esemplari scolpiti in questo materiale prezioso, costituisce una testimonianza essenziale e di primo ordine. I frammenti erano mischiati alle ossa dei defunti contenuti nelle urne che venivano poste all’interno di importanti mausolei. La notevole qualità della fattura e la grande accuratezza di esecuzione, visibile su alcuni pezzi che si sono conservati malgrado il danneggiamento subìto dalla cremazione, e i temi iconografici rappresentati, testimoniano le intenzioni dei proprietari di ostentare il loro status sociale, la ricchezza e le virtù.
Lo studio approfondito e la contestualizzazione di questi tre letti, messi a confronto con gli esemplari noti, hanno permesso, attraverso una catalogazione esaustiva, di elaborare per ognuno di essi una proposta di restituzione grafica, preambolo indispensabile a un’analisi iconografica e iconologica. I risultati ottenuti, messi in relazione con i mausolei nei quali furono scoperti, hanno portato a una comprensione più precisa del posto preponderante che questi letti detenevano nel cerimoniale funebre: realizzati a questo scopo, non si collocano come semplice materiale che accompagna il defunto, ma come monumento, di cui sono l’estensione. La simbologia iconografica dei motivi decorativi, ma anche il materiale dell’avorio stesso, specchio del lusso aristocratico associato al divino, conferiscono a questi letti funebri da cerimonia una dimensione sociologica e politica, segni ostentatori di ricchezza, di prestigio e di virtù, ma anche di dominazione e di potere.
(Traduction de Claudia Pinna, que je remercie)
Nonostante le pubblicazioni esistenti abbiano fatto evolvere in modo significativo la nostra conoscenza di letti ornati di bronzo e quelli in osso scolpito, le prove della presenza di letti in avorio sono estremamente rare, in Italia o nel complesso del mondo romano. Di conseguenza, la scoperta a Cuma dei resti di tre esemplari scolpiti in questo materiale prezioso, costituisce una testimonianza essenziale e di primo ordine. I frammenti erano mischiati alle ossa dei defunti contenuti nelle urne che venivano poste all’interno di importanti mausolei. La notevole qualità della fattura e la grande accuratezza di esecuzione, visibile su alcuni pezzi che si sono conservati malgrado il danneggiamento subìto dalla cremazione, e i temi iconografici rappresentati, testimoniano le intenzioni dei proprietari di ostentare il loro status sociale, la ricchezza e le virtù.
Lo studio approfondito e la contestualizzazione di questi tre letti, messi a confronto con gli esemplari noti, hanno permesso, attraverso una catalogazione esaustiva, di elaborare per ognuno di essi una proposta di restituzione grafica, preambolo indispensabile a un’analisi iconografica e iconologica. I risultati ottenuti, messi in relazione con i mausolei nei quali furono scoperti, hanno portato a una comprensione più precisa del posto preponderante che questi letti detenevano nel cerimoniale funebre: realizzati a questo scopo, non si collocano come semplice materiale che accompagna il defunto, ma come monumento, di cui sono l’estensione. La simbologia iconografica dei motivi decorativi, ma anche il materiale dell’avorio stesso, specchio del lusso aristocratico associato al divino, conferiscono a questi letti funebri da cerimonia una dimensione sociologica e politica, segni ostentatori di ricchezza, di prestigio e di virtù, ma anche di dominazione e di potere.
(Traduction de Claudia Pinna, que je remercie)
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Les lits funéraires de l’époque romaine sont issus d’une tradition ancienne dont les origines, au-delà des Grecs, remontent aux périodes historiques les plus reculées, en Égypte et au Proche-Orient. Depuis le XIXe siècle, les fouilles ont... more
Les lits funéraires de l’époque romaine sont issus d’une tradition ancienne dont les origines, au-delà des Grecs, remontent aux périodes historiques les plus reculées, en Égypte et au Proche-Orient. Depuis le XIXe siècle, les fouilles ont livré de nombreux vestiges chronologiquement situés pour la plupart entre le IIe s. av. et le IIe s. ap. J.-C. ; ils font écho à ceux découverts en contextes domestiques, certes moins nombreux, mais dont l’étude autorise des comparaisons fructueuses. L’étude attentive de leur évolution, d’abord dans le monde romain, puis incluse dans un ensemble historique et chronologique beaucoup plus vaste, a mis en lumière un nombre important de formes dont les décorations sont pour l’essentiel faites de bois, de bronze, d’os sculpté ou d’ivoire. Cette grande variété des modèles répertoriés a conduit à l’élaboration d’une typologie détaillée nouvelle, incluant les formes les plus anciennes jusqu’à celles de la période romaine.
Si les publications existantes ont fait évoluer de manière significative notre connaissance des lits ornés de bronze et de ceux rehaussés de décorations en os sculpté, les attestations de lits en ivoire demeurent extrêmement rares, que ce soit en Italie ou dans l’ensemble du monde romain. La découverte à Cumes des restes de trois exemplaires, dont les décorations étaient sculptées en ce matériau précieux, constitue par conséquent un témoignage essentiel et de premier ordre. Les fragments étaient mélangés aux ossements des défunts et contenus dans des urnes, elles-mêmes déposées au sein d’importants mausolées. La remarquable qualité de facture et la grande finesse d’exécution, bien visibles sur certaines pièces conservées malgré la destruction engendrée par la crémation, ainsi que les thèmes iconographiques mis en scène, attestent des intentions ostentatoires des propriétaires, soucieux de montrer aux vivants leur statut social, leur richesse et leur vertu.
L’étude approfondie et la mise en contexte de ces trois lits, comparés aux occurrences connues, a permis par un catalogue exhaustif d’aboutir pour chacun d’entre eux à une proposition de restitution graphique, préambule indispensable à une analyse iconographique et iconologique. Les résultats obtenus, mis en regard des mausolées dans lesquels ils furent découverts, ont conduit à une compréhension plus précise de la place prépondérante qu’occupaient ces lits dans le cérémonial des funérailles : fabriqués à cette fin, ils se placent non plus du côté du simple matériel accompagnant le défunt, mais bien du côté du monument, dont ils constituent en quelque sorte le prolongement. La symbolique iconographique des motifs décoratifs, mais aussi le matériau ivoire lui-même, reflet du luxe aristocratique associé au divin, confèrent à ces lits funéraires d’apparat une dimension sociologique et politique, signes ostentatoires de richesse, de prestige et de vertu, mais aussi de domination et de pouvoir.
The funerary beds of the Roman period come from an ancient tradition, whose origins, beyond the Greeks, can be traced to the earliest historical periods, in Egypt and in the Near East. Since the 19th century, excavations have produced many vestiges, most of them dating back to between the 2nd C. BC up to the 2nd C. AD ; they echo pieces found in domestic contexts which, though less numerous, allow interesting comparisons and a better understanding of the topic. The large variety of the identified models led to develop a detailed typology of these forms, from the most ancient ones up to those of the Roman period. The consulted publications significantly changed our knowledge of the beds adorned with bronze as well as those adorned with bone carvings. By contrast, instances of ivory beds are extremely rare, whether it be in Italy or in the whole Roman world. Thus, the discovery at Cumae of the vestiges of three ivory beds, adorned with this precious material, serves as essential and unique testimony. The fragments were mixed with the bones of the deceased and placed in urns, themselves located in important mausoleums. Their remarkable quality and meticulous workmanship, clearly visible upon some pieces, which survived the destruction caused by the cremation, as well as the iconographic staged patterns, testify to the conspicuous intentions of their owners, anxious to show their social status, their wealth and their virtues to the living. The contextualization and close study of these three beds, along with a comparison with the known examples, led for each of them to an attempt at a graphic restoration, as a prerequisite for an iconographical and iconological analysis.
The achieved results, correlated with the mausoleums where they were found, led to a much more precise understanding of those beds and of the prominent position they enjoyed at the funeral ceremony.
Si les publications existantes ont fait évoluer de manière significative notre connaissance des lits ornés de bronze et de ceux rehaussés de décorations en os sculpté, les attestations de lits en ivoire demeurent extrêmement rares, que ce soit en Italie ou dans l’ensemble du monde romain. La découverte à Cumes des restes de trois exemplaires, dont les décorations étaient sculptées en ce matériau précieux, constitue par conséquent un témoignage essentiel et de premier ordre. Les fragments étaient mélangés aux ossements des défunts et contenus dans des urnes, elles-mêmes déposées au sein d’importants mausolées. La remarquable qualité de facture et la grande finesse d’exécution, bien visibles sur certaines pièces conservées malgré la destruction engendrée par la crémation, ainsi que les thèmes iconographiques mis en scène, attestent des intentions ostentatoires des propriétaires, soucieux de montrer aux vivants leur statut social, leur richesse et leur vertu.
L’étude approfondie et la mise en contexte de ces trois lits, comparés aux occurrences connues, a permis par un catalogue exhaustif d’aboutir pour chacun d’entre eux à une proposition de restitution graphique, préambule indispensable à une analyse iconographique et iconologique. Les résultats obtenus, mis en regard des mausolées dans lesquels ils furent découverts, ont conduit à une compréhension plus précise de la place prépondérante qu’occupaient ces lits dans le cérémonial des funérailles : fabriqués à cette fin, ils se placent non plus du côté du simple matériel accompagnant le défunt, mais bien du côté du monument, dont ils constituent en quelque sorte le prolongement. La symbolique iconographique des motifs décoratifs, mais aussi le matériau ivoire lui-même, reflet du luxe aristocratique associé au divin, confèrent à ces lits funéraires d’apparat une dimension sociologique et politique, signes ostentatoires de richesse, de prestige et de vertu, mais aussi de domination et de pouvoir.
The funerary beds of the Roman period come from an ancient tradition, whose origins, beyond the Greeks, can be traced to the earliest historical periods, in Egypt and in the Near East. Since the 19th century, excavations have produced many vestiges, most of them dating back to between the 2nd C. BC up to the 2nd C. AD ; they echo pieces found in domestic contexts which, though less numerous, allow interesting comparisons and a better understanding of the topic. The large variety of the identified models led to develop a detailed typology of these forms, from the most ancient ones up to those of the Roman period. The consulted publications significantly changed our knowledge of the beds adorned with bronze as well as those adorned with bone carvings. By contrast, instances of ivory beds are extremely rare, whether it be in Italy or in the whole Roman world. Thus, the discovery at Cumae of the vestiges of three ivory beds, adorned with this precious material, serves as essential and unique testimony. The fragments were mixed with the bones of the deceased and placed in urns, themselves located in important mausoleums. Their remarkable quality and meticulous workmanship, clearly visible upon some pieces, which survived the destruction caused by the cremation, as well as the iconographic staged patterns, testify to the conspicuous intentions of their owners, anxious to show their social status, their wealth and their virtues to the living. The contextualization and close study of these three beds, along with a comparison with the known examples, led for each of them to an attempt at a graphic restoration, as a prerequisite for an iconographical and iconological analysis.
The achieved results, correlated with the mausoleums where they were found, led to a much more precise understanding of those beds and of the prominent position they enjoyed at the funeral ceremony.
Research Interests:
The funerary beds of the Roman period come from an ancient tradition, whose origins, beyond the Greeks, can be traced to the earliest historical periods, in Egypt and in the Near East. Since the 19th century, excavations have produced... more
The funerary beds of the Roman period come from an ancient tradition, whose origins, beyond the Greeks, can be traced to the earliest historical periods, in Egypt and in the Near East. Since the 19th century, excavations have produced many vestiges, most of them dating back to between the 2nd C. BC up to the 2nd C. AD ; they echo pieces found in domestic contexts which, though less numerous, allow interesting comparisons and a better understanding of the topic. The large variety of the identified models led me to develop a detailed typology of these forms, from the most ancient ones up to those of the Roman period.
The consulted publications significantly changed our knowledge of the beds adorned with bronze as well as those adorned with bone carvings. By contrast, instances of ivory beds are extremely rare, whether it be in Italy or in the whole Roman world. Thus, the discovery at Cumae of the vestiges of three ivory beds, adorned with this precious material, serves as essential and unique testimony. The fragments were mixed with the bones of the deceased and placed in urns, themselves located in important mausoleums. Their remarkable quality and meticulous workmanship, clearly visible upon some pieces, which survived the destruction caused by the cremation, as well as the iconographic staged patterns, testify to the conspicuous intentions of their owners, anxious to show their social status, their wealth and their virtues to the living.
The contextualization and close study of these three beds, along with a comparison with the known examples, led for each of them to an attempt at a graphic restoration, as a prerequisite for an iconographical and iconological analysis. The achieved results, correlated with the mausoleums where they were found, led to a much more precise understanding of those beds and of the prominent position they enjoyed at the funeral ceremony.
The consulted publications significantly changed our knowledge of the beds adorned with bronze as well as those adorned with bone carvings. By contrast, instances of ivory beds are extremely rare, whether it be in Italy or in the whole Roman world. Thus, the discovery at Cumae of the vestiges of three ivory beds, adorned with this precious material, serves as essential and unique testimony. The fragments were mixed with the bones of the deceased and placed in urns, themselves located in important mausoleums. Their remarkable quality and meticulous workmanship, clearly visible upon some pieces, which survived the destruction caused by the cremation, as well as the iconographic staged patterns, testify to the conspicuous intentions of their owners, anxious to show their social status, their wealth and their virtues to the living.
The contextualization and close study of these three beds, along with a comparison with the known examples, led for each of them to an attempt at a graphic restoration, as a prerequisite for an iconographical and iconological analysis. The achieved results, correlated with the mausoleums where they were found, led to a much more precise understanding of those beds and of the prominent position they enjoyed at the funeral ceremony.
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Conférence sur l'iconographie présente sur les ornementations en ivoire à l'époque romaine à partir des exemples de Pompéi et de Cumes.
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Abandonnées dès la fin de leur usage, piétinées, soumises aux intempéries, les aires de crémation ne sont que les vestiges de structures éphémères : les bûchers. Ainsi, les traces de ces œuvres disparues, érigées à même le sol et... more
Abandonnées dès la fin de leur usage, piétinées, soumises aux intempéries, les aires de crémation ne sont que les vestiges de structures éphémères : les bûchers. Ainsi, les traces de ces œuvres disparues, érigées à même le sol et détruites par les flammes, sont difficilement perceptibles aux yeux de l’archéologue dans les zones funéraires antiques. En 2021, une opération préventive aux portes de l’agglomération antique de Forum Iulii (Fréjus) a révélé, de part et d’autre de sa voie d’accès principale, des vestiges funéraires, dont des lambeaux d’aires de crémation. Ces épandages, peu étendus et lacunaires, ont fait l’objet d’une véritable enquête interdisciplinaire, destinée à étudier les pratiques funéraires locales des élites. Parmi les éléments de mobilier, outre la céramique et le verre, des fragments de lits décorés d’os ouvragé renseignent les superstructures du bûcher avant la mise à feu. À cela se combinent les études paléobotaniques (carpologie et anthracologie) complétant cette image perdue de l’acte crématoire, à travers la place du végétal, utilitaire (édification du bûcher, support, propriétés odorifères) et symbolique (dépôts), dans les rites de crémation. Le potentiel de ces différentes disciplines et les outils d’interprétation restituent toute la dimension ostentatoire de l’acte crématoire, nous permettant ainsi de percevoir ces bûchers à partir de leurs cendres.