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Hughes , 4. A marble capital decorated with a central trophy of barbarian arms, flanked by two half-clad, lamenting barbarian women. From Portus, Torlonia collection. Photo: ICCD. In Lugdunum, a relief base represented the 60 Gallic nations on an altar dedicated to Augustus and Roma, and in Pozzuoli a relief base depicted the personifications of the eastern cities that Antoninus Pius had helped after an earthquake. Only one gallery of personifications seems to have been present, in a mosaic floor partly unearthed below Via dei Vigili and belonging to the Claudian bath complex underneath the later Terme di Nettuno see above pp.

Sicily is not shown as a female personification, but as a triskele. Relief fragment with a naked barbarian man tied to a Figure 3. Relief fragment showing fercula possibly displaying trophy. Ostia Antiquarium, inv. Photo: Parco Archeologico tied prisoners carried in a triumphal procession. Below, spolia di Ostia Antica, Archivio Fotografico.

Thus, in this public context, built at the same time as the first important construction works on the Claudian harbour, the theme of provinces as peaceful partners in sea-trade was underlined, though the military undertones were a constant reminder of the martial foundations of Imperial trading power. Interestingly, these seem to be the only instances of a gallery of province personifications in Ostia.

As a place where the presence of such personifications might have been expected, the Piazzale delle Corpora- zioni needs further consideration here. Associations of navicularii from Africa, Gaul, and Sardinia presided over these rooms, interpreted as a sort of commercial stalls in the porticoes surrounding the central garden and temple. The symbols are chosen among their typical products oil amphorae, grain, elephants , geographical features the Nile delta or botanical peculiarities palm trees , in preference to personifications of provinces.

For the question of the symbolism of province personifications, see Toynbee , 2; Liverani , ; Hughes , 5 and passim. However, a comparison with the aforementioned empire-wide monuments featur- ing galleries of ethnic personifications gives rise to the following observations. Firstly, the province galleries are mostly placed in porticoes surrounding a temple, exactly as in the Ostian monument. Notably, in the case of the porticus of Pompey, they were set in a porticus post scaenam. Secondly, in most cases the personification galleries are monuments dedicated to or connected with the Imperial cult the Forum of Augustus, the Sebasteion in Aphrodisias, the Hadrianeum, the Parthian monument in Ephesus, the altar of Augustus at Lugdunum.

Inversely, interpreting the central temple of Piazzale delle Corporazioni as dedicated to the Imperial cult, as proposed by Patrizio Pensabene and Bouke van der Meer for a series of other reasons, is reinforced by this comparison. Interestingly, in this case too the theme of victory seems to have been interpreted in a commercial vein: the quadriga of elephants on its top referred to the mythological victories of the god Dionysus in India, a connection strengthened by its vicinity to the temple of Bacchus and the forum vinarium.

The presence of another monument with triumphal imagery in Portus, probably from the Severan era, is revealed by the discovery of a relief decorated capital represent- ing, on both sides, trophies and pairs of male and female barbarian prisoners Fig. They have been found in a taberna along the Decuma- nus, opposite the theatre and probably belonged to the roof decorations of a public building in the area.

Settore C. Terrakotten, Tav. Fragments of Campana plaques, captive barbarians stand on either side of a victory trophy. Photo: Arja Karivieri. The fragments belong to two figural types. The first shows a central victory trophy, with two cap- tive barbarians of the generic northern type Fig.

The central trophy is a tree trunk on which the weapons of the defeated are suspended: hexagonal and oval shields, a dragon-headed carnyx horn, and a fringed mantle. The facial expressions of the barbarians are pained, though they are shown in a calm and resigned pose, conveying silent pathos.

The second pictorial type displays two barbarian captives being carried in a triumph, continuing the moral lecture on the harsh fate of defeated enemies Figs. Two male barbarians are bound by a chain around their necks and legs, seated in a heavy chariot, a carpentum, drawn by two mules, presumably in a triumphal procession; each captive is held by a Roman guard. A further Roman figure leads the mules by the reins in front. The captives wear their national costume, a mantle over their nude upper body and trousers; their hair is long and unkempt.

Their expressions are particularly lively and vexed, mouths open in lament. One gestures visibly, stretching out his right arm, perhaps in supplication; the other holds a hand against his face, in a gesture of mourning or weeping. In this case, too, an atmosphere of tragic pathos is effectively created. The power relations in the image are also unmistakable.

In this, they are similar in spirit to the most thoroughly analysed of all Ro- man representations of barbarians, the putative Gaulish trophy of Caesar, and in particular the Dying Gaul. The latter piece has been published by Tortorella , 68, fig.

For the type and its parallels, see Von Rohden , , and pl. LXXV, 2. Tortorella gives a further example of the same subject on a plate by a third producer, Octavius CIL XV , fig. D For the type and parallels, see von Rohden , , fig. A variant with a plaque carried in front of the captives, in Moscow, in the Pushkin Museum of Fine Arts, inv.

Gabelmann , , , figs. For triumphal images on Campana plaques, see Tortorella Three unconnected fragments of a Campana plaque, two captives in a chariot in a triumphal procession. Photo: Ria Berg. Figure 6. A fully preserved terracotta plaque with two barbarians in a carriage. British Museum, inv. As for the topographical placement of such images, they occur above all in the loci of political power. In Ostia, the Forum and the area around the theatre and the Piazzale delle Corporazioni seem to have been central for such imagery.

Triumphal arches, as such, are dynamic monuments that evoke firstly the passage of the military procession, and secondly normal city traffic. In Rome, there is a strong topographical connection between the pompa triumphalis and theatres. The Ostian Campana plaques also suggest movement as they originally formed a long continuous frieze along a rooftop; near their findspot, in front of the theater, a triumphal arch was erected in the Severan period.

The theatrical connection also associates barbarian prisoners to the characters of tragedy. Caricatural foreigners in the minor arts Besides captive enemies and divine personifications, a third type of images of foreigners, often in a servile role, are those of the minor arts such as lychnophoroi, moulded handles, vessels and lamps, mostly visible only in the private sphere.

The figure does not, however, wear the typical pointed hat. The image, though some- what caricatural, does not seem intended to induce scorn or laughter at the expense of the defeated. The figurine was found in a side room on the eastern side of the macellum. A private and portable trophy? By contrast, Africans or Ethiopians rarely appeared as defeated enemies on public tro- phies for obvious geo-political reasons , but were chosen more often as subjects in the minor arts.

It was Figure 7. Statuette of a bearded Figure 8. Bronze applique in the form of an found in a hoard of bronze ob- barbarian, probably a Dacian cap- African boy. NSc , , fig. The figure is dressed in a small hooded cloak and is drawing the hood down with his fingers. Such short, hooded mantles, the paenula or cucullus, generally had servile connota- tions, often closely linked to a genre of statuettes depicting child slaves working as lantern bearers.

Their ethnic origin is not always underlined, but quite often such slaves seem to have been Africans. A good parallel for our figure is a bronze statuette in the Louvre, a small African boy with a hooded paenula, in a crouching position, blowing with swollen cheeks. The child is very likely a lanternarius, shown while blowing out his light. The sar- torial details of the heavy cloak, seemingly embroidered at the seams, and the thin tunic below also confer a certain touch of luxury on the image.

Obviously, this attitude, through the aesthetic appreciation for a different appearance, became an instrument of objectification, conflating human beings with material exotic luxury imports. The form and function of our applique reflects this luxury connotation. It was most probably made as a tondo medallion to decorate a fulcrum, the bronze headrest of a dining couch, reserved for elite use during formal dinners.

The fulcrum normally presents an animal head above, usually the Dionysian mule, and be- low, a bust of a mythological figure like a Cupid, Dionysus, satyr or maenad, all members of the Dionysian thiasus. Some parallels can also be seen in the rare fulcrum tondo with a personification bust of the province of Africa bearing a dish of fruit. Boldrighini , , fig.

Bastien , ; Boldrighini , , fig. This piece is also a furniture attachment. Pirzio Biroli Stefanelli , , fig. Giacobello , See also Schneider , for eastern youths as trapezoforoi, for example Taf. Seen in this company, our bronze figure takes on the role of an expensive, exotic and ideally beautiful banquet servant, inte- grated into the Roman system of slavery and thus depicted primarily for his servile status, elevated to a semi-divine sphere by his beauty.

A fragmentary terracotta figurine shows an individual of African origin with a different intent Fig. A very similar bony chest can be ob- served on the figurine of a choking man, personifying envy, analysed by Alexandre Mitchell in a discussion of the functions of ancient pathological caricature figures. Statuette with a caricatural to avert the evil eye and envy from households.

A further Ostian example worth studying in this context is a ter- racotta lamp in the form of a caricatural head Fig. Thanks to the use of an unusual black-gloss coating, and the pro- nounced characterization of the nose, mouth and hair, it seems to depict a black African. Yet the identification is not — and is probably not meant to be — totally secure.

The lamp can be compared to more elaborate types of lamps in the form of the head of an African, in bronze, widespread throughout the Hellenistic world from the sec- ond century BCE, and continuing into the early Empire with little variation. The beak of the lamp, sometimes set into the mouth of the figure with the burning flame, seems grotesque: various schol- ars have given sexual interpretations to such scenes.

A terracotta lamp in the form of a caricatural head. Ostia case, fire-eaters — who provided entertainment during banquets. CA A similar choking figurine, bald, with huge ears, bones visible on the chest, was also found in Ostia, Antiquarium inv. It is perforated at the neck for suspension. A further key to interpretation is the wreath worn by some examples of head-lamps. These place the lamp in a pictorial context connected to the Dionysian and theatrical sphere: other head-lamps, representing Dionysus, Silens, Satyrs, and theatrical masks, the New Comedy figure of the comic, cunning slave, are all characterized by wreaths.

Here apotropaic powers are connected with humour, laughter and sexuality. Ethnicity is just one thread in this fabric. This necessarily leads us to the difficult and much debated question of whether such depictions should be read as racist, and whether this modern concept can in any way be applied to ancient Roman society. How would viewers from different ethnic groups have received them? Interestingly, similar images were used and manufactured in Hellenistic Greece, Delos, Roman Alexandria, Asia Minor and Carthage — revealing that the half-fictive image of the foreign-Other was, in a way, a mirage that could always be projected further away from the Self.

The idealized provinces were assimilated to gods, captive barbarians were likened to actors in a tragic play, the grotesque ethnic figurines in a comedy, and their masks, tragic or comical, could eventually also be removed and changed. Scornful laughter at the different, as grotesque, was effectively counterbalanced by multiple positive interpretations: the images also elicited empathy and compassion, and may have been seen as powerful and ideally beautiful, mythological and divine, exotic and luxurious, apotropaic and religious.

For the theatrical connection of caricatural figures, see also Mitchell ; Papadodima For discussion, see Fentress , ; Cohen , ; Gruen Museen zu Berlin. Blume — K. Lachmann — A. Rudorff eds. De Boccard, Welles and others Gallina Zevi — A. Claridge eds. Adler — M. Guerci eds. Arslan ed. Paroli, Scavi di Ostia: Vol. Albarella ed. Alexander, Corpus Vasorum Antiquorum. United States of America 9.

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Slavazzi eds. Cerrato, Hippolytus between East and West. Chaniotis ed. Cianfriglia — A. De Cristofaro — A. Il sepolcreto dei saccarii salarii? Chiriac — S. Cojocaru — A. Coscun — M. Dana eds. Paroli - P. Delogu eds. Cipollaro — G. Private residence turned gay hotel? Gazda ed. Steinby ed. Coarelli, Statio.

New York University, Coppola — G. Fausti — T. Corti — N. Giordani eds. Lenzi ed. Magnani eds. Corti — P. Pallante — R. Costanza, Giulio Polluce, Onomasticon: excerpta de ludis. Craig — M. Biazzo — T. Garnsey — C. Martinez-Labarga — R. Lelli — L. Salvadei — G. Tartaglia — A. Nava — L.

Fiammenghi — O. Rickards — L. Craig et al. Craig — L. Bondioli — L. Fattore — T. Higham — R. Crowe et al. Crowe — A. Sperduti — T. Craig — K. Kirsanow — P. Ger- moni — R. Macchiarelli — P. Garnsey — L. University of Sydney. Carannante — M. Guzzo — M. Ercolano, Oplontis, Milano: Electa, Kurapkat — P. Schneider — U. Wulf-Rheidt eds. Jahrhundert n. Boschung — M. Danner — C. Radtki eds. Ludwig Reichert Verlag, Dardenay et al. Dardenay — A.

Allroggen-Bedel — H. Eristov — A. Ma- raval — C. Marotta — N. Monteix — E. Rawson ed. Dasen — P. Gaillard-Seux ed. Dasen — N. Dasen — M. Vespa eds. David et al. David — A. Pellegrino — S. De Togni — M. Cleland — M. Llewellyn-Jones eds. De Angelis et al. Accepted in Archaeological and Anthropological Sciences. De Angelis — F. De Carolis, Il mobile a Pompei ed Ercolano. Letti, tavoli, sedie e armadi.

Varone ed. Decrouez — K. Ramseyer — J. Tecchiati — B. Sala eds. Bruun — A. Gal- lina Zevi eds. Mac Mahon — J. Price eds. Marcus — J. Sabloff eds. Balch — A. Weissenrieder eds. Cooley ed. Delgado — M. Vaz Almeida — S. Della Corte — P. Liverpool's Trent Alexander-Arnold is still bald in the game, but in fact he has a thick head of hair. Please correc. Thank you so much There will be an update?

Hello smoke team i know this is not the right post but im having some issue with sider every time i try to install no regens mode its like i didnt install it but i done everything right and still after season i get regens can anyone help and yes i have copy game i was using sider 7.

Hello, i want to ask, what do you mean "based on database version SP Thank you SP! But there are faces that are not good for example Hakim or Davies and others, Neymar no longer has tattoos it's weird, I can't find the manipulation to solve the problem.

One question. I have the faces folder with downloaden faces from other sites. Will this faces be deleted? Or will they stay? Hello, after add this faces PES doesnt open anymore, only blackscreen. Part 4 to 6 seems to be error, when i was tried to extract it shows pop-up that says "data error 'cyclic reduncy check'. Mendy and some other players are still missing their face, can i use the old facepack instead?

Mendy etc has a face. Hi, I can't download it i'm stuck at loading Linkvertise. Can you help me pls. Hi, For me, too many faces became the default after installation PES I have an Odegaard face cpk but when I generate it I lose the new How can I make the file compatible with Hello and 2 questions: -Does Karim Adeyemi has his own face? Lazio Roma. There's no update in stats for young players like; Giovanni Reyna, K.

Adeyemi, Jacob Ramsey etc. And there's no ID for Sekou Koita I've searched through the player database still can't find his it and even his image. Hi Smoke team I wanted to install the addons but since it's a copy of the game Pes 21 it's not working Please how do I go about it. Trent Alexander-Arnold still does not have his face and hairstyle corrected.

There is a chance to improve? Update 1 is available. Release Notes:. ABE - T. OWEN - A. COLE - R. STAM - F. COCU - C. DAEI - S. ETO'O - J. ARCE - R. WEAH - M. RUSH - P. LUX - E. BEST - G. LAHM - A. HLEB - P. OTA - S. ENDO - S. AOKI - H. MUTO - G. DOI - Y. NARA - R. KIDA - K. POPP - H. MITA - S. VOGT - D. BELL - A. HACK - D. BAKU - F. HOFF - A. BONG - I. JARA - D. DIOP - B. WASS - D. CODA - M. ANDO - K. ROUX - M. BONY - V.

WARD - V. ROJO - R. LEMA - J. RUDD - K. BOLY - V. FAJR - B. PLEA - G. WARD - K. CANO - R. REUS - M. ODOI - N. LAM - K. UTH - M. WATT - R. SHAW - S. ROEF - B. JEAN - R. KLOS - S. OTTO - A. BAHA - M. TODD - H. WOLF - P. DAKA - A. KAYE - L. KANN - M.

YUDO - P. HORN - N. TOLO - J. HAAK - A. KEHR - K. MORA - C. KOHR - N. LOMB - Z. SARR - L. RUIZ - J. LONG - D. PAZ - J. BURN - H. REED - L. HITZ - A. HAHN - E. DURM - K. SAND - J. POLI - R. LONG - K. IZZO - F. BAIN - F. TAIT - D. BELA - L. HOGG - A. LEES - A. COOK - J.

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