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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd century AD: Apse mosaic found in Sousse: decoration of \"jonché\" and xenia surrounding a crown surmounted by four stems of millet, constituting the emblem of one of the organizing associations of amphitheatre performances. 3rd century AD (Museum of Sousse) the various motifs are isolated with different orientations, inside compartments of various forms, forming part of of a geometric or vegetal frame, which gives the pavement the appearance of a carpet. Sometimes even, as in the semicircular mosaic of Sousse, which we have evoked, the xenia are freely distributed on the ground, mixed, in a picturesque disorder, with branches and flowers cut. Several significances have been attributed to the theme of the xenia to explain its exceptional vogue and These meanings have probably varied with time and depending on the destination of the rooms to be decorated. The first, which we have already implicitly suggested, is that of the evocation, on the floors of the dining rooms, of the components of the meals which the householder is supposed to be able to offer to his guests, as proof of his wealth and generosity. Some victuals, such as flamingos, peacocks or pheasants, are even, according to Suetone (Caligula 22, 1, 7), gastronomic refinements worthy of an emperor and aim to enhance, indirectly, the social prestige of those whose table they potentially garnish. Moreover, some mosaics have kept us the image of these lavish banquets that some members of the the African artistocracy organized in their homes, for the benefit of their guests. A nearby interpretation derives from the text already quoted from Vitruvius, telling the Greek custom of hospitality gifts. In this text, the xenia are defined as the representation of \"poules, eggs, fruits and other agrest things\", provided by the housemaster to his hosts to whom, for the He gave them the freedom to prepare them according to their convenience. However, as attested to in He s, the African Apulee, (Metamorphoses 2,11), this practice of gifts to the guest seems to have persisted in the Roman era. Also, the decoration of certain rooms of the house - those without doubt to which the guests had access - by the image of abundant victuals can she It would be considered as an allusion both to the welcome of the hosts by the owner and to the opulence of his home. This would be metaphorically proclaimed \"rich and generous in his wealth since it spreads it in hospitality presents\". Philostrate's text suggests another \"reading\" of the reason of the xenia: the latter would evoke performances in kind, paid \"to the The old Hellenistic theme of gifts to the guest would thus be enriched by a new meaning, appropriate to the context of the time, which allows him, as well as the representations of hunting scenes and great domains, to illustrate the opulence of African land arsitocracy and to flatter his taste for ostentation. xenia have also been interpreted in a religious sense, in relation to the mythological Dionysiac. Indeed, the motif is often associated with animals of amphitheatre, whose ties with Dionysos are known, to masks and even, as in the Cecus of the \"house of the Dionysiac procession\" of El Jem, to characters who are usually part of the procession of the god and the Seasons of which he The accumulation of all these motifs and their association with xenia are, perhaps, aimed at emphasizing the cosmic character of Dionysos' power and its regenerative and fruitful role.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "End of the 3rd century AD: Fragment of an irregular pavement. It depicts a decoration of \"Jonchée\" whose main characteristic is to be eminently flexible and extensible. End of the 3rd century AD. House \"de la aviière\" in Carthage. (Museum of the Bardo) The best known copy of the series is provided by a mosaic of Carthage which, although containing not only a crowd of birds, but also many small quadrupeds, was identified with a \"fly\" and given its name to the lavish villa whose peristyle it adorned. It experienced a long period of occupation-at least from the He to the IVth century - during which its decoration underwent many modifications, which led to various proposals of dating for the pavements that come from it. Thus, our \"fly\", which was traditionally attributed to the end of the He s or to the beginning of the Ille, is now brought back to the end of the Ille or even to the beginning of the IVth century. It should be noted, in passing, that this impreciseness in dating, which results from the differences in appreciation of the authors, constitutes a major problem faced by the art historian in his attempt to establish a classification The work, which occupies us, has its field covered with plants among which various birds, especially peacocks, and other small animals, including a gazelle, a kid, a hare, a hedgehog and a lizard. There is even a monkey (Fig. 46). All this fauna is treated with a great concern for the health of the animals. precision, which reveals in the Mosaïst an acute sense of observation and a taste for unusual and picturesque detail. Volatiles, in particular, are rendered with \"a natural full of brio, at rest, in full flight, posing on twigs or animating their paths and comings the static immobility of plants, on which a locust sits or glides a snail\".", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "IIIè. s. ap. J-C.: Venus chastising a Love in the middle of a \"jonché\". IIIè. s. ap. J-C., Thina. (Archaeological Museum of Sfax) . At Thina, the decoration of \"jonché\", embellished by garlands and baskets filled with flowers, surrounds the image of Venus, figurated by a well-known Greek poncif, supported by a column, punishing a Love that is mastered by two of its congeners (Fig. 47). In the rest of the field, other small winged geniuses are found hunting birds, picking flowers or even playing a comedy scene, the face hidden by a mask. One of them is occupied with piercing, using a spear, a chameleon, symbol of bad eye.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "IIè s. ap. J-C: Bust of the Four seizures recognizable to the vegetal attributes of which they are mune 2nd half of the IIè s. ap. J-C.Acholla (museum of the bardo) Exceptionally, as in a rather mutilated mosaic of El Jem, dated from the first half of the Ille s, to the types of traditional representation of the Seasons, the Mosaïste substituted, for the sake of innovation, original scenes, to the Several characters, male and female, appearing a seasonal fact or a mythological episode. Thus, the Autumn is illustrated by the dance of a Satyre and a Bacchante, the Winter by an elderly woman holding in her arms a small winged genius symbolizing the fertility of the nature that she will numb. Spring is completely destroyed, but from Summer, we still distinguish the remains of two characters and a basket full of ears.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "2nd century AD: Genius of the Year (or Saturn) and busts of the Four Seasons. Middle of the 11th century AD 1.-C. House of \"the Dionysiac procession\" in El Jem. (Museum of El Jem) . However, despite the extreme frequency with which the Seasons appear in mosaics, it is rare that they are treated for themselves and, most often, they surround a central motif, appearing in a divinity In general, the identification of the allegorical figures of the Seasons is not a problem. In addition to these figures, they are often associated with Dionysos. In general, the identification of the allegorical figures of the Seasons is not a problem. In addition, they can be associated with Neptune, Apollo, Venus, Diane, perhaps Saturn, the Genius of the Year or the Zodiac (Figs. 50 a-b and 51). Their number four and their usual location in the corners of the pavements, they are always equipped with plant attributes that allow to recognize them: rose stem for Spring, ears of wheat for Summer, bunch of bachic grapes for Autumn, and finally, olive branch for Winter.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd century AD: Genius of the year surrounded by Sol-Apollon, Luna-Artemis and the four seasons. Second half of the 111th century AD 1.-C. El Jem (El Jem Museum)", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "End of the 4th or beginning of the Vè s. ap: Two female figures on foot who have been part of a group of four. They represent the Four Seasons or Nymphs. End of the 4th or beginning of the Vè s. ap. Sidi Ghrib. (Deposit of the Museum of Carthage) Two of these graceful young women present themselves face-to-face, walking a quick step, in front of a palsage closing a garden planted with roses. Their The two other figures, one of which is unfortunately mutilated, appear in a landscape identical to the previous one, but seen from the back. From the right hand, they empty the contents of an amphora in a basin held by the body, sensual, barely covered by a veil enlivened by the wind. Although the Seasons may normally be associated with Venus, goddess of fertility, and Neptune, god not only of the sea but also of fresh and fertilizing waters, there is nothing to recognize with certainty an allegorical evocation of the four divisions of the year, in these figures of young women. Moreover, these do not have the usual attributes of the Seasons and their number four may have been imposed by symmetry reasons, because of their location at the corners of the large table of the room--for cold baths of the thermal baths.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "1st half of the 3rd century AD: The work, dated from the reign of Severus Alexander (222- 238 AD), originates from El Jem, an ancient city that has been particularly generous in quality mosaics. It depicts the Seasons, but these are accompanied - which is exceptional - by the Months that make up each of them. Only a fragmentary mosaic of Carthage, of a more recent date, Today at the Bristish Museum in London, can be compared to that of El Jem. In this one, the Seasons and Months are illustrated by characteristic scenes, placed in small square paintings (pseudo-emlemata) inserted on several parallel rows in a rather dense geometric frame (Fig. 53 a à d). The interpretation of some scenes has given rise to various hypotheses; For, the Mosaïst, limited by the dimensions of the frames where he locked them, was often led to lighten the models they reproduced. So, their reading became ill-confirmed. The Seasons are symbolized by male characters on foot occupying the left row. At the top, the Spring is a young man in green tunic, the head crowned with flowers, who wears a The summer appears as a teenager, dressed in a short yellow \"blouse\", tight at the waist by a belt, waving a sickle and bearing a germ of ears on his shoulder. A Satyre in red tunic, equipped with a rython and a pedum (pastoral pole with curved tip), the head surrounded by vine leaves, personifies the Autumn. Winter is a mature man. It has a dark tunic and a hood. With one hand, it holds a hare and, on the other hand, a long millet stem to which are attached two wild ducks, symbolizing the winter hunts. To the right of the Seasons, are the Months. Spring group March, April and May. The first, by which the Romans started the year, is symbolized by three men holding a skin of The scene represents, perhaps, the military oath on the remains of a pig, on March 19 of each year, at the time when the Salians (college of priests dedicated to the cult of Mars) opened the cycle of war. Salian priests. In this scene we also saw an evocation of the feast that was celebrated on March 15 in honor of Mamurius, to whom the legend attributes the making of the shields of the Salians. April shows, in the foreground, two men carrying out a dance step by brandishing candles lit and waving rattlesnakes. In the background, a pediment edicle houses a statue The scene probably evokes the celebrated feast on April 1 in honor of this goddess. The month of May is dedicated to Mercury whose statue is erected, to the right of the frame, on a quadrangular base. The god, completely naked, holds, as usual, a purse and a caducée. At his feet is laid a shell of turtle, which recalls the one with which he had To the left of the statue a priest dressed in a long white tunic and equipped with a tablet of incense is about to sacrifice a kid on an altar. In the second row, Summer is accompanied by the months of June, July and August. June revives a seasonal fact: two men installed in a shop on the ceiling from which are suspended jugs serve for July shows a young man running with his hand forward, his back laden with a net ensnaring the sheaves. The scene perhaps symbolizes a rustic party. The month of August is evoked by a statue of Artemis - Diane, erected on a quadrangular base that is flanked by a dog and a deer. The third row consists of the three months of autumn. September is represented by a rather familiar scene featuring two half-naked men, who are occupied by the two men of the same age. In order to maintain their balance, the manoeuvres hold, each, the two ends of a rope that passes around a bar fixed above their head. The must flows in a large cauldron, through a gully arranged in the wall of the tank. Two men, having the appearance of eastern astrologers, occupy the picture dedicated to the evocation of the wine, the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the wine of the October. They are turned one towards the other and both raise their right hand for. show a star. Their costume consists of a long white tunic, which covers a yellow coat, for one, green, for the other. As the appearance of a star always announces an important political event, such as the birth or accession to the throne of a prince, the image could relate to the birthday of Emperor Alexander Severus, born on October 1st of the year 208. November celebrates the feast of Isis. The scene that symboli includes three characters. The first, on the left, has the visag covered with a mask of Anubis with head of jackal. His companions carry on the head the feathered cap of the priests of Isis. The months of Winter occupy the last row. December mon a scene that relates to the festival of Saturnales (a festival in the Honne of Saturn which takes place on the 17th of the month). There are three slaves, a simple pagne, who rhythmize a step of dance by brandishing a torch and slamming hands, to express their joy of being treated, on the occasion of this feast, on an equal footing by their masters. The month of January is devoted to the cult of the Penatas. Two characters, warmly dressed in a dark coat and a scarf, are exchanging wishes. To their left, stands a small statuette with which are deposited characteristic offerings: galette, doll and wool pelotte. The month of February ends the year. The scene which evokes it alludes to the most important phase of the year. Feast of the Lupercales (fest in honor of Lupercus, old Latin divinity of fertility). A young Roman knight, naked torso, strikes with a thong of goat's skin the belly of a young woman to make it fruitful. This one, whose dress is raised, is carried by two aids. All these paintings are accompanied by legends allowing to recognize the months they symbolize. June, July, September, November, December, January and February were normally designated by their names. On the other hand, the other five months are curiously indicated by the female plural accuser of the adjectives extracted from their names. These adjective forms may refer to the dates of the holidays celebrated, which coincide with the kalendes, the idids or the nuns. The mosaic of El Jem is therefore It belongs to a series of representations of Roman calendars, the most famous of which date back to the 4th century AD. All derive from models of Hellenistic origin, suggesting the cycle of the months by Greek religious festivals, but to which the Romans had gradually substituted their own feasts and feasts. In the calendars of the Roman era, in fact, it is mainly agricultural scenes that are used to evoke the months. However, in the ferial of El Jem, only three months (June, July and September) are illustrated by seasonal facts. All the others are symbolized by religious feasts belonging, for the most part, to a distant past. and which must have lost all their meaning in the third century. Therefore, it must be thought that our calendar does not aim to inform about cyclical ceremonies, which were actually celebrated in El Jem at the beginning of the third century. Its author has obviously drawn inspiration from a model of a very ancient calendar, probably conceived in Rome itself and where were evoked old religious feasts, Some of them may have never been organized anywhere else but in this city. By doing so, the purpose he pursued was above all symbolic: it consisted of bringing together various scenes glorifying gods and illustrating agrarian rites, with a view to suggesting ideas of", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Beginning of 3rd century AD: To the Months and Seasons, the divinities of the Seven Days of the Week, which the Musaïsts have rarely represented. As long as we know, in the museums of Tunisia, only a pavement of acus of cosmological character, found in Bir- Chana, in the Zaghouan region, is consecrated to them. The work is dated from the beginning of the 3rd century. It shows a A large hexagon with a very complicated geometric fabric, which probably reflects the structure of a ceiling with caissons. The seven divinities are represented in busts, inside hexagonal medallions placed in the center of the composition. In the middle, Saturn, who presides on Saturday, presents himself as an old bearded man, equipped with a sickle and clothed in a coat In addition to an El Jem pavement, which is associated with the Seasons, the bust of a bearded character, with a crown of foliage and which has been proposed to be identified with Saturn, without any of its usual attributes (Fig. 51), is there, at our own level, a section of which is brought back to his head as a veil. knowledge, the only mosaic representation of this god, yet so venerated in Africa to judge from the considerable amount of sculpted monuments dedicated to him. The reason is certainly that, unlike sculpture, which has retained \"an original indigenous flavor\", the mythological subjects, which are part of the repertoire of the mosaic, rise, in almost their In this case Saturn is almost absent from the Hellenistic-Italian tradition. Thus, the latter owes the privileged place which he occupies in our pavement, without any doubt, to the express will of the Musaist or his client to express to him, in accordance with local religious practices, a particular devotion and to clearly mark his preeminence on the other divinities. These were represented in fans all around Saturn. We distinguish the Sun and the Moon, Mars, Mercury, Jupiter and Venus, to which were dedicated respectively Sunday, Monday, Tuesday, Wednesday, Thursday and Friday (1). With the exception of Saturn, all these gods are accompanied, a symbolic animal, placed in a small rectangle. Thus, the Sun is flanked by a horse at gallop, the Moon of a leaping bull, Mars of the wolf, Mercury of a goat, Jupiter of the eagle, and Venus of a dove.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "End of the 3rd century AD: Apollo the head nestled and a Muse (Calliope or Erato?) occupy the center of this mosaic of Sousse with a very complicated geometric decor. Around, the busts of the other eight Muses and at angles the plants of the four seasons. End of the 3rd century AD (Musée de Sousse).", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "IIIè s. ap. J-C: Bustes des Neufs Muses . El Jem (Musee Bardo) . The nine Muses are the goddesses of the arts and sciences in Greek mythology. Each inspires and protects a particular field of artistic or intellectual creation. Here are their names and associated domains: Calliope : Muse of epic poetry and eloquence. Clio : Muse of history. Erato : Muse of poetry Euterpe: Muse of music and lyrical poetry. Melpomène: Muse of tragedy. Polymnie: Muse of rhetoric and sacred hymns. Thalie: Muse of comedy and pastoral poetry. Terpsichore: Muse of dance and choral singing. Uranie: Muse of astronomy and exact sciences. The Muses were considered as sources of inspiration for the artists and scholars of ancient Greece.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "The nine Muses are the goddesses of the arts and sciences in Greek mythology. Each inspires and protects a particular field of artistic or intellectual creation. Here are their names and associated domains: Calliope: Muse of epic poetry and eloquence. Clio: Muse of history. Erato: Muse of lyric poetry and love. Euterpe: Muse of music and lyrical poetry. Melpomène: Muse of tragedy. Polymnie: Muse of rhetoric and sacred hymns. Thalie: Muse of comedy and pastoral poetry. Terpsichore: Muse of dance and choral singing. Uranie: Muse of astronomy and exact sciences. Muses were considered as sources of inspiration for artists and scholars. from ancient Greece.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "1st half of the 3rd century AD: Various medallions or figuerent Arion , Orphee and motifs of type Xenia surrounding a central painting with a fishing scene in 1st half of the 3rd century AD ,La Chebba (bardo museum) Arion is both a poet and a lyricine. The most beautiful representation, which has come to us, is that shown by a very fragmentary marine mosaic of the end of the 3rd century. The musician, whose attitude and accoutrement - phrygian hat and richly decorated tunic are almost identical to those of Orpheus, appears there, according to his legend, playing the lyre, sitting on the back of a dolphin whom his music had seduced. The expression of his face seems to indicate the enchantment that the suaves give him. In contrast to Arion, who has been poorly represented, Orpheus charms animals is one of the most popular mythological themes of the Mosaïsts. It is found notably in pavements of El Jem, Sfax and Oudna. This popularity is probably explained, not only by the concern of some owners to show their interest in culture and their interest in culture. Orpheus usually appears on a rock, at the foot of a tree, surrounded by various animals superimposed in rows, but also by the symbolic meaning which probably attached itself to the image of the divine singer. The latter, whose music paralyzed the fawns, had to possess a magic power, capable of bending the powers of evil that could assail the dwellings. Orpheus usually appears sitting on a rock, at the foot of a tree, surrounded by various animals superimposed in rows of which the attitude gathered indicates that they are under the charm of his", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "end of the 3rd century AD: Central motif of a large rotunda pavement in Thina dated from the end of the 3rd century AD. It illustrates the legend of Arion received by a dolphin. (Areological Museum of Sfax)", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd century AD: Orpheus charms animals. The head of the god was deliberately mutilated, it seems, then restored with uniformly white tesseres, no doubt in the Christian era. This mosaic of the Bardo Museum comes from the baths \"known as the Labirii\" in Oudna and dates, in its first state, from the 3rd century AD.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Beginning of the lllè s. ap. J-C.: Mosaic of El Jem with compartmentalized decoration. In the middle, Orpheus in bust and, all around, animals that his music had seduced. Beginning of the lile s. ap. J-C. (Musée d'El Jem). Music. Sometimes he occupies a medallion placed in the center of the pavement and the animals surrounding him are artificially isolated by vegetal garlands, inside compartments of shapes This iconographic formula lent to Orpheus, which consists of associating various animals, is probably at the origin of the favor which his myth continued to enjoy at the beginning of the Christian era. Indeed, this divine character, whose type is similar to that of the Good Shepherd and who could soothe wild instincts by the softness of his songs, was considered, by Some followers of the Church, as a symbol of Christ attracting the souls of the faithful through the purity of his morals.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "End of the 2nd century AD: Overview and detail of a mosaic offering a vegetated frame decoration surrounding, in the center, a square painting with a Greek playwright, perhaps Menandre. End of the 2nd century AD, Thuburbo Majus. (Museum of the Bardo) . The oldest representation of poet found in Tunisia is provided to us by a mosaic of Thuburbo Majus, datable of the time of Marc Aurèle (161 180 A.D.). The character she shows occupies a small square painting, placed in the center of a vegetal decoration of \"flowering style\". He presents himself as an imberbish man, sitting on a simple tree trunk and dressed in a large drapery that covers only partially the bust (Fig. 64). His head is girded with a crown of foliage. He brings his right hand under his chin and, In front of him stands a rustic altar on which are laid two masks of comedy. This poet is difficult to identify. The pose lent to him, clearly influenced by the Hellenistic sculptural type of the seated poet, invites, however, to see there a Greek playwright, perhaps Menandre.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Beginning of the 3rd century AD: Famous painting of Sousse, today one of the centerpieces of the Bardo Museum. Virgil listening to two Muses dictate his songs to him. This is probably the most faithful portrait of the author of the Enéide. Beginning of the 3rd century AD . But, the most remarkable and undoubtedly the most faithful portrait of a poet, which we have found so far, is unquestionably the most remarkable and the most faithful portrait of a poet, which we have found so far, The very controversial date of this famous work varied from the 1st to the 4th century AD. But, it seems reasonable to attribute it, thanks to clothing details (1), at the beginning of the 3rd century. The house, in which it was found, seems to have been disused towards the end of the 3rd century, when it was found. The whole area where it was located was destroyed by an undetermined catastrophe and converted into a necropolis. Virgile appeared to listen to two Muses dictating his songs to him (Fig. 65). He was depicted dressed in a white toge, soberly decorated with embroidery, truncated in majesty on a high-back armchair. His face, with severe expression, has highly individualized features. With his left hand, he Open on his knees, he holds a scroll of parchment on which is written, in cursive letters, verse 8 and the beginning of verse 9 of the Eneid: Musa mihi causas memora, quo numine laeso, Quidve... (Muse, remind me of the causes, tell me for what violation of his sacred rights, for what...). The same process was used in a mosaic of Autun, dated the 2nd century AD, where the Greek poet Anacreon, whose type is quite similar to that of Virgile, appears. But the choice of these two verses, in all the works of the most illustrious of the Roman poets, is probably not the act of chance: he aims no doubt to emphasize the divine character of his songs, which are On the left, we probably recognize Clio, the Muse of History (1). The young woman wears a long tunic of green silk, partially covered by a yellow scarf. As an attribute, she holds a manuscript with both hands in part. On the right, is the Muse of Tragedy, Melpomène, a musée of the Tragedy. His costume consists of a green silk scarf and a long red dress, enhanced with embroidery. The movement of his head, leaning to the left, the gesture of his right hand, placed under the cheek, and the position of his crossed feet give to his attitude an artificial aspect, almost theatrical. The whole picture, moreover, is imprinted with a solemn and hieratic majesty, which It makes it different from the representations of poets created in Hellenistic times and to which the mosaic of Thuburbo Majus is still similar.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "2nd half of the Ille s. ap. J.-C.: A sitting poet (perhaps Ennius) surrounded by the Nine Muses on foot and by the busts of the Four Seasons. The mosaic, native to the Sfax region and today at the museum of this city, was dated the 2nd half of the Ille s. ap. J.-C. The central medallion surrounds the portrait of the poet, figuratively seated, as Virgil, on a seat with a high back. Behind him, This poet, in which Ennius was wanted to be recognized for no valid reason, cannot be identified with certainty. Perhaps we must see there a local poet, whose history has not kept us the name or even the portrait of the owner of the house, who had to flatter himself to tease the Muses.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "middle of the 3rd century AD: Tragic poet and comic actor, middle of the 3rd century AD, Sousse. (Musée de Sousse) with singularly personalized features. Eyes with fixed eyes and frowned eyebrows give him a tense, almost painful expression. At his feet, a cylindrical box with scrolls of parchment is depicted. Beyond this box, stands stand standing in the attitude of an actor, a second character draped with a red garment. He leans on a column and raises a comedy mask from his left hand. His face, imberbic, has clearly characterized features. The painting differs quite significantly from the series of works to which he belongs. The poet represented is not accompanied, as usual, by a Muse, but by an actor. He does not sit on a tree trunk, like Menandre, or on an armchair, like Virgile, but probably on a staircase that his drapery masks entirely. The two characters do not present, on the other hand, despite the remarkable talent of portraitist of the author of the pavement, any resemblance to the portraits of poets and famous actors", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "From the beginning of the third century AD: The subject of this mosaic of Sousse, which dates from the beginning of the third century AD, may suggest a comedy of Plaute. (Musée de Sousse) . In the painting of Sousse, which is about contemporary to the two authors mentioned above, one sees a slave who has just been punished, rubbing with the left hand the place where he received the blow and, the body bent as a sign of In the left part of the painting, a third character, the face hidden by the red mask of the messengers, seeks to appease the anger of the master, rising in a gesture of supplication, the right hand towards his young master.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "End of the 4th century AD: Detail of a painting by Sbeitla, dating from the end of the 4th century AD. It may represent the famous Greek author xenophon. (Museum of the Bardo) The character, whose identification was controversial, is nevertheless accompanied by the inscription, Autor Xenophont (a), who makes known the name of it. We saw there the portrait of the Musaist, who executed the pavement, or that of the But, it seems preferable to recognize there the famous Greek author Xenophon, who had acquired a great reputation as a philosopher and historian and whose work had continued to be read until the end of antiquity, according to the numerous quotations which various authors borrowed from him. The value of his writings, in terms of hunting and horse riding in the village, was well known. This was not to be missed by the African aristocracy, which was very much focused on this kind of distractions.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "170- 180 A.D.: Triumph of Neptune. This painting was the central motif of a large marine-themed pavement of Acholla, around 170-180 A.D. (American Military Cemetery at Amilcar). At Acholla, Neptune occupies a square painting, of great finesse, placed in the center of the composition (Fig. 71). It stands face-to-face, as in the pavement of the Chebba, but its chariot does not comprise all around him, the rest of the field was compartmented by a braid in circular medallions where are enclosed small winged geniuses riding dolphins, Nereids, Tritons and many other creatures that are usually part of his procession. The same structure is found in the mosaic of Sousse, where thick bay garlands divide all the surface in a large number of circular and hexagonal medallions, which surround the sirens and all a multitude of voluptuously spread Nereids on the back of marine monsters. Neptune itself is placed in a hexagonal compartment, wider than the others because of the removal of the laurel crown on its edge, but which does not entirely occupy the center of the composition . Unlike the device of the front tank and almost at rest, adopted in the two pavements of the Chebba and Acholla, the divine crew is here pictured obliquely crossing the field, at high speed. Moreover, Neptune presents itself in an attitude full of fervour and vivacity, the body bent forward and the left arm elongated, as to activate its coupling. His face, With uncultivated beard and frowned eyebrows, reflects a great anger.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Ile s. ap. J.-C: Overview and details of a pavement of the end of the Ile s. ap. J.-C. native of Sousse. Various medallions containing, that of the center, a triumph of Neptune, and those of the circumference, of the Nereids mounted on marine monsters and of the Sirens represented as women- birds. The participation of mosaicists of various talents in the realization of this work, one of the most extensive of the Museum of Bardo, explains the uneven quality of its execution according to the medallions.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "the end of the Ile s. ap. J.-C.: Overview and details of a pavement of the end of the Ile s. ap. J.-C. native of Sousse. Various medallions containing, that of the center, a triumph of Neptune, and those of the circumference, of the Nereids mounted on marine monsters and Sirens represented as women-birds. The participation of mosaicists of various talents in the realization of this work, one of the most extensive of the Museum of Bardo, explains the uneven quality of its execution according to the medallions.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "end of the Ile s. ap. J.-C.: Overview and details of a pavement of the end of the Ile s. ap. J.-C. native of Sousse. Various medallions containing, that of the center, a triumph of Neptune, and those of the circumference, of the Nereids mounted on marine monsters and of the Sirens represented as women- birds. The participation of mosaicists of various talents in the realization of this work, one of the most extensive of the Museum of Bardo, explains the uneven quality of its execution following the medallions.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "IIè s. ap. J-C: Pavement of a single holding of two pieces coming from the baths of the house \"called Caton\" in Utique. At the top head of Ocean. Below triumph of Neptune and Amphitrite. Below various marine motifs including three boats mounted by divine characters. End of the Island or beginning of the 3rd century AD (Museum of the Bardo). The triumph of Neptune is still represented in a great pavement of the end of the 2nd century or the beginning of the 3rd, coming from the baths of the so-called \"house of Caton\", in Utique where he carpeted, with one tenant, two pieces arranged in T. Here, however, the theme was enriched by the association to the god, not only of Nereids mounted on marine monsters, but of a whole procession of deities having a relation to the sea and of various scenes, to the In addition, the various elements of the composition are not inscribed within a rigid geometric frame, but distributed on the surface of the pavement, by an intermediate process between the system of free juxtaposition of the motifs and that of the superimposed registers, but without separation (Fig. 73). Occupying one of the registers, Neptune triumphant The divine couple presents themselves from the face, the body almost completely naked, standing in a chariot drawn by four hippocampes, figurated the body of three-quarters and the head of profile. At the same time as this wedding pump, the pavement has, at the top, an apse. The latter, whose head seems to be crowned with vine leaves, has often been associated with a marine procession. This is the case, in particular, in the pavement of the \"trajan thermal baths\" in Acholla. At several sites in Byzacene, we even have a semicircular mask of the ocean, another marine divinity, which was often represented by African Mosaïsts. found that \"the celebration of Dionysos and that of Neptune are intimately linked\".", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Middle of the Illes. ap. J.-C.: Triomphe of Neptune figurated standing on a tank of profile. Middle of the Illes. ap. J.-C., Sousse (Musée de Sousse) . As evidenced, in particular, two mosaics, found, one, at Maxula-Radès, the other, again at Hadrumète, the theme of the triumph of Neptune will remain in favor until the middle of the Third Supp. J.-C. But, in these two works, the composition has undergone Some modifications. For if the god is always represented in a frontal position, his crew, on the other hand, is no longer figurated face or three quarters but of profile. This device is undoubtedly in accordance with the tastes of time since it finds itself, with minimal divergences, in contemporary Dionysiac tanks.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "late 2nd century AD: Mosaic of Oudna today at the Museum of Bardo. It depicts Neptune sitting on the back of a sea horse. This image is perhaps the resurgence, in Roman times, of a divine iconographic type dating back to Carthaginian times. IIIrd century AD. There exists, however, a pavement showing a Neptune god, whose type totally differs from that we have The work comes from Oudna and dates from the end of the 2nd century AD or, at the latest, from the beginning of the 3rd century. The lord of the waters is represented there, not standing on a quadrige or a bige, as is always the case, but sitting on the tail rings of a marine horse", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "end of the 4th century AD: However, unlike the previous works which, whatever the origin of their source of inspiration, all depict the triumph of Neptune, it is the episode of his \"noces\" with Amphitrite that illustrates a great pavement of frigidarium of private baths, built with an unusual fascist, towards the end of the 4th century AD or at the beginning of the 5th century, in the locality of Sidi Ghrib, not far from Borj El Amri (Fig. 76 a à c). The pavement, which flanks on one of its small sides a semi-circular apse, has several gaps, which do not prevent however to appreciate the sumptuousness of its decor. The center of the composition shows the loving abduction of Amphitrite by Neptune. \"Nude and bearded, from the face, the god with a severe face clings, plays against cheek, the Naked goddess herself too\". Above this scene, robs a Love with a basket filled with rose petals that he throws to the divine couple, in a gesture that gives all its meaning to the current action. In the rest of the pavement were figurative, arranged in the form of superimposed registers but without separation, various other scenes, forming part of the marine procession celebrating the wedding In the middle of the apse that crowns the whole decor, Venus to his toilet is softly seated on the back of a marine lion. The various elements that enter into this vast composition belong, each individually, to the traditional, Greek or Hellenistic repertoire. But, as in the The mosaic of the triumph of Neptune and Amphitrite of Utique, their order on superimposed registers while preserving the structure of a free juxtaposition of motifs, is a process that was used especially in Africa. It was intended to suggest the movement of the marine procession. Sidi Ghrib's mosaïst, who is undoubtedly a great artist, gives us an application of it. Masterful.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "IIè s. ap. J-C: Thus, in a mosaic of bottom of basin, attributed to the middle of the Ile s., also of Sousse, Ocean appears under the appearance of a head of enormous dimensions, surrounded by a long and uncultivated beard and a hair in brushwood from which emerges long legs of lobster. Its mouth, entangled, lets sink nets of water that slide on either side of the chin and fall on the surface of the sea by forming bubbles. An absent look, directed towards the distance, gives his face a sad and tormented expression. Around this head, evolve various fishes and molluscs drawn with great precision. Due to the narrowness of the frame, however, the artist could not appear neither boats nor fishing scenes.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd century AD: Unlike Neptune and Ocean, the vogue of these allegorical figures has remained, however, rather limited. The iconographic type that is usually lent to them imitates a model created by the Alexandrian artists to represent the god Nile. Thus, a mosaic of the 3rd century, found in the Hammamet region, shows a figurative river god, in accordance with this tradition, under the features of a bearded character, of a wall-aged age, half-sleeved on a cloth that envelops him the bottom of the body. He is equipped with a rudder and a horn of abundance (destroyed). From his hair, long and uncultivated, emerges two bull horns and lobster pliers. Around him, are represented a dragon the erect body and Tritons armed with a club (Fig. 79).", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd century AD: Find in Sousse , This same image of the god River was sometimes lent to Ocean, as on a mosaic of the middle of the 3rd century AD, coming from a Roman hypogee of Hadrumet. The god, who seems drunk, is depicted in it half-extended on a rock emerging from a sea where fish and a sea urchin swim. He is equipped with a conch and raises his right hand towards the sky. His head, a thick hair and beard, intertwined with seaweeds, is surmounted by two lobster legs. Around it, in the corners of the pavement, are represented the heads of the Four Winds, whose breath is marked by lines arranged in fan (Fig. 80).", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Iles. ap. J.-C.: Painting of the middle of the Iles. ap. J.-C. from Acholla. Marine cortege of a Nereid carried away by marine monsters. (Bardo Museum) . The same pattern was reproduced in a mosaic from a thermal establishment built in Acholla, probably under the reign of Antonin the Pious. There, however, the marine procession, consists of only one Nereid, figurated sitting in amazone on the back of a marine monster. His body, seen three quarters, is covered with a drapery that leaves completely naked all the bust whose tubular shape contrasts with the plane look of the hips and the pelvis. On his head is laid a plant crown", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "End of the Ile or beginning of the 3rd century AD: Pictural-style mosaic from Dougga. Inside a border strip consisting of various volatiles, Nereids mounted on marine monsters surround in the center a medallion where Léandre figure. At the angles of the picture, the heads of the four winds. End of the Ile or beginning of the 3rd century AD (Museum of the Bardo) of the Nereids riding on the Marine monsters also appear in a Dougga pavement, which must go back to the end of the 2nd century AD or at the beginning of the 3rd century. There, they surround a central medallion occupied by a swimmer in which one has probably recognized Léandre. At the beginning of the Ive s still, a large pavement of Carthage appears, in the foreground of a series of constructions, a sea populated by Loves, dolphins and Marine monsters, in the middle of which roam graceful Nereids. These are depicted naked, according to a model that appears in the 1st century BC.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Beginning of the 4th A.D.: Detail of a large mosaic native to Carthage which is at the Museum of Bardo Nereide rises on a dolphin, holds with her two hands a sort of red garlands, neck, arms and feet, she wears rich jewels", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "260 A.D.: One of the themes borrowed from the fable - that of the episode of Ulysses passing in front of the rock of the Sirens that we have just met in the mosaic of Thina, seems to have experienced a greater vogue than most of the other marine motifs, perhaps because of the more clearly perceptible symbolic value that it has been charged with. Indeed, this same subject is found, on three In this work, the hero of Greek antiquity appears, as described in the book, as well as other pavements, including that of Haidra, attributed to the IVth century AD, and another of Utique which dates from the middle of the third century, found in a very fragmentary state, But, the most interesting of these pavements is that which comes from the peristyle of a house built in Dougga at the time of Gallien (260 to 268 AD). Poet of the Odyssey (XII, 160200), standing on the deck of his boat, his hands turned behind his back and attached to the great mast. He is clothed with a tunic ungrafted on the right shoulder and partially dissipating a bust with pink flesh, which does not evoke the physical strength and endurance of the great adventurer. Around Ulysses, sit four of his armed companions, each of them, with a shield of The ship, where the five men are tight, is a mixed ship, equipped with two sails and a row of trains intended for difficult manoeuvres. It is decorated with a multicolored rectangle which frame a human bust and a palm. The stern has a forked metal end, curving in the shape of a swan collar. At the back of the boat, appears the cabin with a gridded and vaulted roof In arc. The large mast carries a vergue to which are attached two white sails, swollen by a wind that blows first. The secondary mast, inclined forward, also carries two sails, which obey the impulse of a wind blowing also first. At its top, floats a small banner that indicates the direction of the wind. Behind the boat, at the foot of a rocky escarpment, is hold three sirens figurated with a bust of woman, to which attach two long wings and gallinaceae legs. One of them holds with both hands a double flute and watch the boat of Ulysses move away, the apparently sad and disappointed air. The second one sits, the body wrapped in a green coat. It is equipped with no musical instrument and must be considered The last siren, also seated, holds a lyre with his right hand and, having stopped playing, sadly continues with the eyes of the five men who once again took off. In front of Ulysses' boat, floats a small boat on board which a fisherman, dressed in a short tunic that seems leather, holds from The right hand is a huge lobster.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "260 ap J.-C: Find in Dogga , The same peristyle of the villa of Dougga also comes from a painting whose subject, although borrowed from the Dionysian mythology, presents close relations with the marine themes. There is a scene inspired by the VII Homeric hymn, appearing Dionysos standing on a boat, punishing the pirates of the Tyrrhenian Sea. The god wears a color tunic blue, embroidered with gold and tightened to the waist by a belt. His arms with a slightly soft musculature and his imberbic face are those of a teenager (Fig. 86). On the right, a Satyre-mentor, the naked body and the legs apart, passed his arm behind the size of Dionysos to help him maintain his balance. Slightly in the background, a Bacchante, the head crowned with vine leaves, seems to seek to appease the anger of the young god by tenderly caressing his head. At the back of the boat, near the cabin, sits an old Silene, ventripotent and fat, who has for every garment a drapery folded on the left arm. His head, bearded and bald, is crowned with foliage and his forehead girded with a green bandeau. As a good protector, he elongates the right arm in order to avoid Dionysos to be driven by his own movement. With his left hand, he maneuvers the rudder row. In front of the god, a panther jumped out of the boat to catch one of the pirates. The latter, who believed to attack a mere mortal, recognize Dionysos and, scared, throw themselves into the water where they are transformed into dolphins. One of the assailants, whose legs are still those of a Two of his campanons have retained their human bust, but the lower part of their body, which is seen through the transparency of the water, has taken the form of a fish tail. Further, swimming other dolphins that are probably other pirates already fully metamorphosed.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "2nd half of the Ilee s.ap.J.-C: Fishermen hauling a large net. Despite the undeniable artistic qualities of the work, one will note the lack of proportions between the various motifs, second half of Ile s.ap.J.-C. (Conserved on site in the \"House of Cascade\" in Utique). These are, in fact, extremely frequent in the art of African mosaic, since already the 2nd century AD. Sometimes, as in previous pavements, they accompany mythological subjects. But, more often, they are represented for themselves and show, in artificial landscapes, popularized by Hellenistic artists, naked or summarily dressed characters, who fish, mounted on light boats or sitting on rocky cliffs. Four ways to fish: net, line, sparrow and bass. Often, by the need of fantasy entirely in accordance with the Alexandrian taste, we had fun replacing fishermen with winged little geniuses, similar to Loves:", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd s. ap. J-C: Decor of a pond fodn , fantasy scene featuring a fishing Love climbs on a boat , in place in the House of the cascade a Utique", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "120-130 ap J.-C: Bust of Jupiter , unique representation so far of this god in the African mosaic , Acholla (bardo museum) . The three prestigious divinities are represented in bust , detaching themselves on a rich garland of laurel , which one sees used there for the first time , with, no doubt, all its victorious imperial significance which it will lose , later , by force (Fig 89) The cup of his beard and the features of his face are borrowed, it seems, from Emperor Hadrian, under whose reign the thermal building from which the pavement originates. The king of the gods is flanked, on the left, by the bust of Minerva, inscribed in a circle that door. Anguiped giant and, to the right, probably that of Junon, today destroyed.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "middle of the 3rd century BC: Among these images, several are illustrations of the episode of the abduction of Ganymede. This subject, which Virgile evokes (Enéide, V, c. 252 - 257), was already treated, probably in the middle of the 3rd century BC, in a mosaic native to the Greek city of Morgantina, Sicily. In Tunisia, it appears first in a pavement of the district of Ganymede. the Oued Blibène, in Hadrumète, attributed in the middle of the 2nd century AD, which derives from a prototype of painting quite close to the one from which the Sicilian document came. The young shepherd is figurated there, a knee laid on the ground, seeking to avoid the embrace of the eagle under whose appearance Jupiter had changed to delight him. The bird, whose wings are still spread, has just landed behind it. Ganymede and is about to remove it, in a movement that has something implacable and fateful. The group, very expressive as a whole, retains above all by its dramatic and violent character (Fig. 90).", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "beginning of the 3rd century AD: On a dominant white background, various furnished medallions, that of the middle by a \"rapture\" of Ganymede, the others, by animals of amphitheater, beginning of the 3rd century AD, Sousse. (Musée de Sousse). in the mosaic of the Arsenal district, which belongs to the same series as that of the Oued Blibène, the divine bird, whose wing is strongly attached ungracious to his body, is figurated with a small size, clearly disproposed with that of Ganymede, which he nevertheless seeks to remove in his greenhouses. This discordance is even more flagrant in the pavement of Thysdrus, where the group, coming from a model different from that of the two hadrumetins, is already depicted in the air, with the legs of Ganymede hanging in the void.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "End of the 3rd century AD: Mosaic of Thuburbo Majus illustrating the legend of Theseus killing the Minotaur. The presence of human debris jingling the ground makes it possible to attach the representation to the pompian iconographic tradition. End of the 3rd century AD (Museum of Bardo) .In the center of the mosaic, a small picture represents the scale where Thesée is killing the Minotaur. The hero, whose With his left hand, he grabbed one of the horns of his opponent and, from the right hand armed with a stick, he was about to beat him with the fatal blow. A few human debris, scattered on the ground, alluded to the teenagers whom the Athenians offered as an annual tribute to the Minotaur. Their presence makes it possible to link the representation to the Pompean tradition. The symbolic meaning of this scene seems clear: the image of the defeated monster, despite its banality, was undoubtedly supposed to discourage the forces of destruction and prevent them from accomplishing their disastrous purposes.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "IIè s. ap. J-C: The Medusa's head in this mosaic of the Museum of Sousse reproduces a pattern that probably dates back to the time of Phidias. It occupies the center of a composition with decoration of rams of radiant scales. Last quarter of the 2nd century AD, Dar Zméla, in the vicinity of Sousse. The head of the monster appears surrounded by eight snakes, arranged so as to give the impression Two tails of snakes are tied in butterflies below her chin. A blonde hair, with a messy wicks, accentuates the hideous appearance of her dreadful face. The latter is invaded by immensely large eyes whose fascinating look passed to have the magical property of petrifying anyone who stared at them and, first of all, the eyes of the eye, the eyes of the eye, the eyes of the eye, the eyes of the eye, the eyes of the eye, the eyes of the eye, the eyes of the eye, the eyes of the eye, the eyes of the eye, the eyes of the eye, the eyes of the eye, the eyes of the eye, the eyes of the eye, the eyes of the eye. The symbolic value of the representation also stems, perhaps, from the fact that the image of the monster, destroyed and put out of state of harm, could only be interpreted by the people of the time as an allusion to the failure of the pernicious intrigues of the envious.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "IIè s. ap. J-C: Tableau d'Utique is reserved for the museum of Bardo .The first of these themes decorates several pavements found in Tunisia, of which one will remember a very beautiful painting of Utique, which probably dates back to the end of the Island or to the beginning of the third century AD. Diane is depicted there short clothed, bandaging an arc to remove an arrow against a deer. Her young face, with fine features, (Fig. 96) At the centre of the composition stands a tree whose branches, wide apart, spread over almost the whole surface of the mosaic. Its pointed, narrow and elongated leaves are those of an olive tree. To the right of the tree, the graceful figure of the deer, well encamped on its small legs, is drawn up. The beast turns its head and lengthens its neck. The composition, which leaves the white background widely visible, holds above all by its balance, in order to brush the young shoots of a branch. Its dress, with yellowish and glossy coat, is bathed in light spots surrounded by shaded areas. Under the legs of the bee and behind the goddess, stone blocks symbolically place the wild landscape in which the scene unfolds. The landscape, in particular, is limited to a few essential features, according to a convention spread by the Alexandrine painters, authors no doubt of the prototype which served as a model for the Mosaïst. The conventional aspect of the scene, where the decorative concern outweighs the search for naturalism, is further accentuated by the place occupied by the two actors one in relation to the other. the other: it is in fact unlikely that an animal as fierce as a deer would have been approached in this way.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Early 3rd century AD: Various medallions containing Diane hunts the nestled head, hunting scenes and seasonal-characteristic plants (Bardo Museum).A Thysdrus, Diane, who flanks a leaping deer, is placed between two trees, inside a curved square frame that occupies the centre of the pavement. Her head is nestled and her attitude similar to that she adopts in the painting of Oudna. Around it, garlands of laurel green and faded determine, by interspersing, medallions occupied by the plants of the Seasons, birds and hunting scenes depicted by dogs who pursue a hare, gazelle, fox or jackal. The nimbe and the Seasons obviously emphasize its character as cosmic divinity, to be able to regenerate and fertilizing", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "end of the 3rd century AD: In the center of Venus marine to his toilet, served by two Loves and, at the angles, busts of the Four Seasons whose clearly characterized features will be noticed. The rather heavy forms of the goddess invite to attribute this mosaic at the end of the 3rd century AD, El Jem. (Musée de Sousse) knows, in fact, that on the occasion of her marriage, the future bride is brought in great In any case, it is under the auspices of the most beautiful goddesses that the whole wedding ceremony is placed. Moreover, as Ovid writes, it is not \"from her (Venus) that the ornament and the care of oneself have come\".", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd century AD: Tableau de Thuburbo Majus , au musee de bardo ,nomme , The toilet of Venus Venus to his toilet was depicted in a whole series of paintings, in general of small dimensions, staggered from the end of the Island to the 3rd century AD, in accordance with carved and painted prototypes, dating back to the Hellenistic period. The most frequent image, of which reproductions were found, with variations of details, in Oudna, El Jem, Thuburbo Majus, Lemta and Nebeur, is the one where the goddess, naked or barely dressed in a veil that covers only part of her body, appears out of the bath, twisting her hair", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd century AD: It is assisted in general by Loves who bring to it accessories of toilet, such as mirror or box in which it is invited to choose jewels. In Oudna, in one of the two mosaics dedicated to the toilet of Venus - that where the name Industri is read (1) - the goddess, figurated in the midst of the waves that recall her marine origin, is exceptionally accompanied by two Nymphs, who present to her basins filled with water and doubtless with perfume", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": ". End of the 2nd century AD: Beautiful mosaic recently discovered in Lemta and whose decoration is divided on four variously oriented paintings. Venus to his toilet, of the Amours fishermen and a porch suggesting the installations of a port towards which two boats are headed. End of the 2nd century AD (Musée de Lemta) . The still unpublished painting of Lemta (the ancient Lepti Minus), attributed at the end of the Island. or at the beginning of the 3rd century AD, is even more interesting. There is a sea setting where four scenes are distributed along the four sides. The main scene shows Venus naked, standing on an island, the body gracefully moved to the right, twisting with both hands the long wavy strands of his hair. Two small winged geniuses present him, the first, a mirror, the second, The other three scenes of appearance, both fantastic and realistic, appear in the pure tradition of Hellenistic-Pompeian painting, of Loves who engage in various scenes of fishing. We will remember in particular the one that is opposed to the painting of Venus and where we see these small winged geniuses manoeuvring two boats that enter a port suggested by a porch Venus was also represented, although less frequently, preparing to go to the bath, following a sculptural model of which", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd Supp. J-C: In the center of the composition, Venus supported by a column and detaching his sandal. All around, various motifs inspired by the games of the amphitheatre. End of the 2nd beginning of the 3rd Supp. J.-C. Thuburbo Majus. (Museum of the Bardo) .In the painting of Thuburbo Majus, the goddess, naked, is placed in the center of the composition, inside a small medallion surrounded by others She leans on a column around which a dolphin wraps up and spreads her hand towards her feet raised, to detach her sandal. \"His head is probably turned towards some intruder, which occurred unexpectedly\" (", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "200 A.D.: In this apse-shaped mosaic of Mactar, Venus appears preparing for the bath aided by two loves. The work is treated in a \"tachist\" style based on the games of shadow and light. Around 200 A.D. (Museum of Mactar) . More interesting, both by its dimensions and by its artistic qualities, is the representation of Mactar, in which the artist has In the \"tachist\" way, which plays contrasts between the areas of shadow and light, Venus, who ends up undressing, to go to the bath, is represented in an attitude almost identical to that which she adopts in the previous work, but supported by a tree. Her body, with slender proportions and discreet sensuality, is animated by an unstable movement and graceful. The torso inclined forward and the head turned, she prepares, with her right hand lowered, to remove her sandal. On both sides of the goddess, two Loves bring her roses.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd Supp. J-C: Venus making resemblances to Loves who play with his veil . A scene quite close to the previous one appears on a threshold mosaic originating from Utique, attributable to the end of the Island or the beginning of the 3rd sec. There, Venus, the body also half naked, is represented sitting on a rock, the right hand raised in a gesture of resemblance to three Loves, who play with In the right part of the picture, there is a column around which a tree without leaves is wrapped, evoking an idealized landscape of the Alexandrian type.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "At the beginning of the Fourth: There exists a female divinity whose type is quite similar to that of Venus and which has also been represented, though rarely, by the African Mosaïsts: it is Tellus. Of this goddess, who symbolizes the Mother Earth and shares with Venus the principle of fertility, two paintings originating from Carthage have reached us, of which only one, today at the museum of this The work, which its stylistic characteristics make it possible to attribute probably to the end of the 3rd century AD or at the beginning of the 4th century, has never been the subject of a complete study. Tellus is depicted, inside a circular medallion made up of a laurel crown, under the appearance of a young woman with a bare torso, softly spread on a bank from which flows from With one hand, it leans on a basket of flowers and, on the other, raises a huge lobster. Its head is enhanced by a plant crown. At the angles of the picture, are placed four heads of Ocean whose repetition evokes the geographical Ocean which, in the eyes of the ancients, is a river god whose fertilizing waters surround the earth with a continuous current, infiltrate in it and re-emergence in the form of sources.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "150 -170 ap J.-C. : Mosaic recently discovered in El Jem . At the center personification of Africa and with the busty feminine angles of the Seasons figurated in the center of the decor, in bust of woman seen from the front but the gaze turned very decidedly to the left. The square frame in which it fits is lined internally by an octagon whose angles are extended by leaves of acanthe and of The goddess is easily recognized by the elephant's body, which she wears as a hairstyle, the trunk above the head. Her face at the full oval is of regular beauty.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "early 3rd century AD: An overview of a large rural exploitation featuring various scenes of daily life, beginning of the 3rd century AD Villa \"the Laberii\" in Oudna. (Bardo Museum . One of the oldest representations of African rural exploitation is undoubtedly the one provided by a mosaic found in a lavish villa in Oudna, which belonged to the end of the 19th century. The third century AD to the family of the Laberii, but the date of construction probably dates back to the middle of the second century. During its long period of existence - perhaps until the beginning of the fourth century - the house experienced several repairs which made it difficult to situate the multiple pavements that came from them in time (pl. 2). This is the case, in particular, of the mosaic of the Laberii family. The first Severes, at the beginning of the 3rd century. Various scenes borrowed from daily life appear there. Their representation follows a conventional perspective, which is still hesitant between the two sides of the spectrum, which we have seen, and whose dating varied, according to the researchers, in a range of about fifty years, from the reign of Marc Aurèle (160-180) to that - which seems more probable to us - from the first Severes, at the beginning of the 3rd century. the classical mode of an illusionistic rendering of space and the system of registers or that of the free juxtaposition of the motifs, which will become more and more imposed from the third century AD. They are in fact placed, each, on a separate strip of earth and these bands align parallel to the frame or overlap within the field. The mosaic of Oudna constitutes, by this type of composition, a step between works of Hellenistic pictorial tradition and the freer works, characterized by an unrationalistic treatment of the notion of spatial depth, which will multiply later. Among the scenes that it shows, we distinguish a sheepfold, towards which is directed a flock of sheep and goats returning from the pasture. This building, which is the only building erected on the estate, suggests that the owners do not live on their land, but the neighbouring city. A shallow well, in which a peasant draws with a balance, feeds the farm with drinking water. The surplus of production is transported to the city, no doubt daily, on the back of a donkey which is seen, heavily loaded, moving forward Many workers are needed for the life of this vast farm. One of them appears to be busy milking a goat, another - it is perhaps a nigger to hunt birds with glues, a third, hidden under a goat's skin, to cast down", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "End of the Ile or beginning of the 3rd century: Fragment of a pavement (partly destroyed) coming from the residence of a rich breeder of racing horses. End of the Ile or beginning of the 3rd century Sousse. (Sousse Museum) The pavement, which was almost intact at the time of its discovery, was seriously damaged during the bombings of the city of Sousse, the heiress of Sousse. The ancient Hadrumète, during the Second World War. There is a landscape in which stands, in the center, a bare mountain site, deeply stained by erosion. At the foot of the rocks, flows a spring where a cow and a goat come to drink, which is kept by a shepherd playing the syrinx. Further, a cow grazes quietly and a goat stands on his hind legs for graze the clumps of grass, which grow on the cliff. Towards the horizon, there are some old trees with noose trunk and rare leaves.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "In the middle of 2nd century AD: In contrast to the two previous pavements, where the mode of composition remains, all in all, still close to the classical tradition, a mosaic of the middle of the 3rd century, originating from Cincari (Hr Toungar), in the lower Mejerda valley, provides a different type of structure, which consisted of ordering on three clearly defined registers, the image of a domain and In the upper register, in the middle of a garden planted with trees, there is a semi-circular construction, composed of several pavilions connected by a gallery. It has already been used in a series of Italian works reproducing country villas. In the courtyard of the building, two hunters are about to leave. On the left, the master gives instructions to a valet who completes the equipment. Between the two characters, stands an altar where a fire of sacrifice burns to the gods. For, as Arrien recommends, hunters had to worship them before leaving. Further on, a dog smacks the ground, ready to go after the game. The other two registers show hunting scenes. In a rocky landscape, inspired by Hellenistic, we first see two dogs, excited by a valet, who attack a boar with wood, Then a very cruel scene, appearing a lion assailing two horses. It is possible that one could easily meet lions, in the middle of the 3rd century AD, in the campaign of Cincari. However, the artist did not draw on reality to represent the damage that these wild beasts, still at that time, could cause to the farms; for the scene which he depicted reproduced, almost almost In Thysdrus, in one of the small paintings of the \"house of the Dionysiac procession\" . Even the wild boar hunt of the median register, which is probably alluding to the owner's favorite distraction and by which the Mosaïst therefore intended to represent a live scene, resembles very closely the one represented by a mosaic Hilotic Hadrumet, of which we have already spoken, and derive accordingly, from a known model.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Late 3rd century AD: Find in Utique and place today at the muse of bardo, View of a large domain devoted to the arboriculture.A mosaic of Utique, which probably dates back to the end of the 3rd century AD, makes us know another great African domain that its owner, no doubt due to sufficient rainfall, has dedicated exclusively to the arboriculture. The landscape represented shows various motifs arranged according to a tiered perspective, intermediate between the system of registers and that of the free juxtaposition of the motifs. It closely resembles the immediate surroundings of the city of Utique and it cannot be doubted that the artist has noticed by nature the tight situation of the plains and the sheeping of the hills, on the side of which various trees grow, In the left part of the pavement, there is, in the foreground, a farm built in thick blockade, pierced by a large rectangular entrance whose door is kept open. This building is flanked, on one side, by a vaulted construction, lower, for indefinite use (Fig. 110). At the bottom of the estate, stands, between two mounds, a tower Square, built of cut stones, in front of which flows a stream that passes under a bridge, before going to get lost in the plain. Many peasants live in this area. Some excite dogs launched in search of a game, others collect olives or hunt birds with glut.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "At the end of the 4th century AD: Mosaic, which was used for a trifolium at Tabarka, it represents the various buildings that were usually built on a large rural farm. This one represents the master's house. End of the 4th century AD (Museum of the Bardo). The second table shows elongated buildings that also offer, on the facade, two high square towers, but enclosing a portal with arcades adorned with black and white harps. In the background, stands a pavilion, quite high, to which seems to lead a staircase placed to the right of the building. To a door is attached a gray horse. In the foreground, a woman, sitting in the shade of a cypress, leaves her quaking while keeping a herd of sheep that grazes quietly. This image full of grace and truth has undoubtedly been without doubt Noted after nature. Around the buildings, lies a garden planted with olive trees and vines mounted on hoops, which limits, at the bottom, a mountainous landscape, deeply cut by the rivers and populated by various birds.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd century AD: Find in Tabarka , The last picture shows a vineyard where various buildings are built. In the center, one distinguishes a farm with cellars and barns and, in the foreground, two pavilions perhaps serving as offices and shops. This is, of course, the representation of the three essential components of the construction that one used to erect in a large area. It is recognized, in fact, in the various buildings that the Mosaïst has figurated with great detail, the dwelling of the master or urban villa, the farmhouse or villa rustica, finally, the communes or villa fructuaria.The probable situation of this large property in the mountainous and heavily watered area of Tabarka explains without doubt the orientation given to its economy, founded However, the interest of the work lies mainly in the importance given to the house and to the various buildings which make up it. This particular feature is probably due to the fact that, unlike the Laberii of Oudna and probably also to Sorothus of Hadrumète a century earlier, its owner no longer lives in the city, but rather in the town of Sorothus of Hadrumète. After the fourth century, as a result of the extension of the great estate, the country house is the principal residence of the Lord. The latter now has only one foot on the ground, which he was to occupy only occasionally. Despite the frequent recourse of their authors to reasons for borrowing, all of them had to live on the land. These mosaics thus evoke, with great fidelity, the life of great African domains. Admittedly, this opinion was recently challenged by some authors who argued that these representations are dependent on models coming from elsewhere, to which the local Mosaïsts had simply added some characteristic details, with a view to adapting them to the African reality. a very usual process of Roman artists, who do not hesitate to mix in a single picture, however wanting to represent a specific circumstance, elements drawn from \"model boxes\" to others provided by the observation of reality.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "beginning Ve s. ap. J.-C: Celebrity mosaic appearing in the domain of the Lord Julius. It constitutes the most complete document on the economic and social situation of Africa under the Lower Roman Empire. Beginning of the Ve s. a.p. J.-C., Carthage. (Museum of the Bardo) This appears, in any case, predominant in a famous pavement of the end of the Ive s. or the beginning of the Ves. a.p. J.-C., found in Carthage and In the centre of this exceptional work, the decoration of which is divided over three superimposed registers, stands a large house of dwelling which has the whole appearance of a fortified castle. Built in thick blockade, it consists of a body of two-storey houses. At the corners, two square towers are joined. Its facade, on the massive and blind ground floor, is pierced, in the middle, by a single curved opening that closes a solid door cochère of bronze, with two shutters. The two corner towers, slightly advanced in relation to the body of houses, have, at the bottom, a small rectangular door and, at the top, a long and narrow window, Their presence accentuates the austere and rigid appearance of the building. They have a roof of heavily overflowing tiles and are connected by a gallery placed on the first floor. This gallery, whose arcades and columns are made of white marble, should not be regarded as a mere ornament in an area where the heats of the summer are It is often excessive and has a highly functional role, inasmuch as it provides the inhabitants with an invigorating freshness.Behind the body of the house, four round towers are seen, to the right, topped by a dome, which probably represent thermal baths.Three of them are, in fact, surmounted by a small chimney from which smoke rises. To the left, next to a palm tree of which one can see only the top, stands a quadrangular building, built in large apparatus and covered with a roof of tiles with double inclination. It is pierced by a wide vaulted bay surrounded by a frame of white marble and must constitute one of the pavilions of the house body.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "end of the fourth or early fifth century AD: Description of Julius Mosaic Julius mosaic is a rich and detailed document that provides us with an overview of daily life in Africa in the fourth and early fifth century AD. Although it remains silent about the religion of the main characters, this mosaic is the most complete testimony of this time. It represents a luxurious scene of the life of a lord and his wife, highlighting the leisures and pleasures they shared, similar to those of the Chatelan of the time. The elements of this mosaic bear witness to a refined setting and the artistic influence of a talented Mosaïst. Unlike other mosaics, it is more detailed and finely executed, illustrating the refinement that The mosaic shows a scene where the chestnut, after the bath, is absorbed in an elegant and meticulous toiletry routine. Sitting on a seat with a high back, it is represented in the process of adorning itself. The mosaic shows a scene where the chestnut, after the bath, is absorbed in an elegant and meticulous toiletry routine. In front of a mirror held by a handmaid, she wears a luxurious silk dress and sophisticated jewellery: bracelets, a three-row necklace, a headband adorning her forehead, and earrings that she adjusts. Another handmaid brings her a jewelry box, reinforcing the impression of a sumptuous and intimate life scene. Bath accessories, such as a ribbed vase, a basket with a handbag, and a handbag. linen, sandals, a seal, a broc and a perfume case, are scattered on both sides of the picture, highlighting the ritual character of the toilet. This personal preparation scene is an integral part of the ritual of bathing in African high society, often associated with important events, such as marriage.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "End of the 4th or beginning of the 5th century AD: Description of the Mosaic of the Cortege of a Young Master This mosaic, coming from the thermal baths of Sidi Ghrib, represents a unique painting dedicated to a noble owner, whose identity remains unknown. After the construction of the thermal baths, the owner had a sentence inscribed on a counterstep of the frigidarium as testimony of his devotion and of his The painting, dating from the end of the fourth century to the beginning of the fifth century AD, is currently preserved at the Museum of Carthage, and is also reproduced in the Presidential Palace of Carthage. Subject of Mosaic The scene depicts the young man. Master in the center, dressed in a long tunic and a large coat, not practical for hunting, but emphasizing his social status. He moves a quick step to the right, preceded by a companion dressed in a similar way, who raises his right hand to indicate the way. This dress choice, which is not suitable for hunting, highlights a symbolic contradiction between the A hunting valet dressed in a short tunic and high gaiters follows them, wearing hunting accessories, including a beam of reeds and a round box. These objects are used for hunting birds with glut, an activity typically reserved for servants and practiced in the past. November, represented here as a symbol of this month. This painting could symbolize the procession of a lord, mixing elements and figures from different social classes, the result of an artistic practice consisting of combining various themes in the same composition.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Early 4th century AD: Description of the Mosaic of the Exhedron of Carthage This monumental mosaic of the early 4th century AD, discovered at Carthage, was used to pave a polygonal exhedron. It represents a vast coastal estate, probably a luxurious recreational home. The detailed plan of the buildings is complex and offers a rich architectural view, although it is not a simple one. There is a majestic entrance in the form of a triumphal arch adorned with statues and framed by double-slope or dome roof constructions. On each side of the entrance, rectangular pavilions, well lit by large windows glazed and gridded, are arranged. You can also see buildings raised to the walls. blind, which could represent thermal baths, as well as turrets and pillared portals. All these buildings follow the line of the shore, reinforcing the impression of a domain organized harmoniously with the sea in the background. Subject of Mosaic In the background of this coastal scene extends a vast countryside dotted with some trees. A sinuous path crosses this countryside, bordered by small quadrangular kiosks that probably symbolize rustic chapels. In the foreground, the sea is lively and full of life, populated by fish, marine monsters and dolphins. In the middle of this marine scene, the Nereids, depicted naked, glide gracefully on the surface of the water, adding a mythological touch to the mosaic. Date and Place of Conservation This mosaic, dated from the beginning of the fourth century AD, is preserved at the Bardo Museum, where it offers a precious window on the richness and art of living in the Roman pleasure estates of the coast of Carthage.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "At the beginning of the fifth century AD: This mosaic, dated from the beginning of the fifth century AD, represents a vast lake where several lively and living scenes take place, both humorous and realistic. On this lake, a boat occupied by four bare fishermen is in action: they draw from the water a large net loaded with fish. To the left of this main scene, a fisherman is represented on a He wears a basket and uses a trident to pierce a large octopus. Nearby, a swimmer plunges into the water, seized at the moment when he begins to surface. Further, a second swimmer tries to return to the shore; his head emerges from the water, facing the rock, as if to measure the remaining distance. His face expresses terror at the sight of a man. A sea monster swallowing an imprudent swimmer – whose only legs that struggle remain visible. Behind this dramatic scene are two islets, surrounded by stakes and wicker claw. On one of the islets, a naked figure, potentially a woman, seems to hold her clothes in her arms. On the edge of the lake, the landscape extends with an rugged land where three are erected. The owner, Sidonius, is mentioned in acrostische. The composition of the building is very schematic, probably the usual buildings of a large rural estate, reminiscent of those of Tabarka. An inscription in six hexametres, placed on the threshold, reveals the name of the estate, Fundus Bassianus, nicknamed Baiae (Les Bains) because of its beautiful position on the edge of the water. The owner, Sidonius, is mentioned in acrostische. This mosaic is clearly inspired by the nilotic landscapes, with fidelity to the Alexandrian style. The characters are represented with trapus and deformed bodies, reminiscent of the pygmies of the Nile. However, the Mosaïst adapted the work to contemporary tastes by excluding specifically Egyptian elements of aquatic fauna and flora, and by reproducing the coast of Lake Bizerte This adaptation, incorporating truthful elements into the traditional model, demonstrates the capacity of African inspiration to renew and reinterpret classical iconography.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "half of the 3rd century AD: This mosaic, dated from the first half of the 3rd century AD, was found in Sousse and is preserved at the Museum of Bardo. It represents a scene of ship unloading, illustrating the port activities of Roman Africa, especially in the large ports. It is a mosaic of threshold that was located at the entrance of a hypogee, and it is a mosaic of threshold that was at the entrance of a hypogee. The vessel's hull, long and decorated with colourful geometric motifs, has a bow in the shape of a bird's head, embellished with a human eye for its protective virtues. The vessel's hull, long and decorated with colourful geometric motifs, has a bow in the shape of a bird's head, decorated with a human eye for its protective virtues. On this side, two short tunic controllers, embellished with ornaments of colour that suggest a higher social status, weigh the goods on a large scale. While one of the tank tops is completely naked and the others wear a pagne, The controllers have round faces, little detailed, highlighting a certain simplicity in human representation.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Early 3rd century AD: This mosaic, dating from the beginning of the 3rd century AD and coming from the thermal baths of Themetra, illustrates the intense harbour activity of Roman Africa, particularly marked under the dynasty of the Severes. Conserved at the Museum of Sousse, this work takes over the composition of the nilotic landscapes by representing, in the center of a wide marine expanse, an imposing The mosaic also provides a valuable documentary testimony through the representation of large commercial vessels and port facilities. Among these structures, one of the main features of the project is the presence of a large number of fish and boats with fishermen. A quadrangular building stands out, as well as a three-storey pavilion decorated with columns on the ground floor and balconies on the floor. A tower, crowned with merlons, could represent either a military work or a semaphore, thus adding to the documentary and aesthetic richness of this mosaic.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd Century A.D.: This mosaic, commonly reproduced in the 3rd century A.D., particularly in Hadrumète and its surroundings, presents a basket of sparry overflowing with fish that seem to flow freely on the ground. The tile of the latter is sometimes marked, giving an effect of depth and natural dispersion of the fish. This pattern is similar to the ancient xenia, This scene could evoke a miraculous fishing and symbolize generous abundance. The visual style, where fish are scattered around the basket, perhaps illustrates a celebration of the region's marine prosperity, while maintaining a spiritual or symbolic dimension rooted in traditions. ancient art.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "End of the 3rd century AD: This mosaic, dated from the end of the 3rd century AD and discovered in Althiburos, has a rich and varied marine composition, comprising twenty-five ships represented in movement. Unlike the similar mosaics of Themetra, it does not contain any harbour building, but offers an impressive variety of types of ships, of which twenty-two are A special mention is made of the hippeggio (or hippago), which has been identified by names written in Greek or Latin characters. This detail reflects the export activity of African racing horses raised in studs such as those of Sorothus, which excelled in the races in Rome. Explanatory legends, often drawn from former Latin poets such as Plaute, Lucilius, Ennius and Cicero, The paving also includes figures of marine divinities: at one end, a classical ocean head and, at the other, a river god partially elongated in the middle of aquatic plants. The types of boats represented, inspired by ancient models, are interpreted by the This remarkable work shows interest in the literary and naval traditions of the time, while paying tribute to the maritime realities of everyday life.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd and 4th centuries AD: This mosaic, typical of the African pavements of the 3rd and 4th centuries AD, illustrates the theme of fishing, a popular subject in art since the Hellenistic period. This theme is revisited here, mixing elements of the daily reality of the time with ancient motifs. The scene represents a lone fisherman, sitting on a rock near the shore, This pattern of the angler, observed in the earlier mosaics, is part of a composition in which aquatic fauna is rendered with increased realism, perhaps to reflect the abundance of local resources and practices of fishing. This type of mosaic does not simply repeat classical forms, but incorporates elements specific to Roman Africa, showing an artistic adaptation of ancient models to local practices and landscapes.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "4th Century A.D.: This mosaic, dated from the 4th century A.D. and found in the pavement of a trifolium in Thuburbo Majus, presents a lively marine landscape where several boats sail on the water. Each boat is occupied by characters engaged in various types of fishing, thus illustrating the variety of techniques of the time. Preserved at the Bardo Museum, the work bears witness to a interest in the scenes of daily life and marine life, integrating realistic details specific to the African fishing activities of late antiquity.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd century AD: This mosaic of the 3rd century AD, from Sousse and preserved at the Museum of Sousse, illustrates a fishing scene in a sea rich in fish. The setting highlights a fishy sea, filled with various marine species, suggesting a natural abundance. Fishermen are represented, actively engaged in various fishing techniques, in the middle of a This type of scene, common in the African mosaics of the time, combines tradition and contemporary details, offering an overview of the daily life and marine resources of the region.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Early 3rd century AD: The mosaic of Oudna, dated from the beginning of the 3rd century AD, illustrates a drinking scene characteristic of the festivities involving the Romano-African aristocrats. It represents a certain Fructus, potentially the master of the place, dressed in a large tunic with long sleeves, tending an empty cup to a slave named Myro. Myro, wearing a Short tunic, is filling the cup of wine from a great amphora placed on his shoulder. Another slave, named Victor and dressed in a similar way, arrives with a jug, probably full of wine too, ready to serve his master. The scene evokes the opulence and dismeasurement of the banquets of the time, where the wine flowed abundantly, emphasizing the extravagant lifestyle of the then the nobility.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Middle of the 3rd century AD: Dougga's mosaic, dating from the middle of the 3rd century AD, depicts a fascinating drinking scene, with two muscular and imposing echansons, occupied to fill with wine the cups of two drinkers. The drinking characters are dressed in short tunics: one white and the other grey, adjusted and decorated with stripes, with a cap adorned with a red feather For the one on the left. The gigantic-sized echansons are dressed summarily: one wears a pagne and the other a piece of minimalist fabric. They both wear a cord with a heart-shaped pendant around the neck and hold huge amphoras on their shoulders. On the amphora of the right echanson, the Greek word \"PIE\" (Bois!) is inscribed, while on the one on the other hand, the Greek word \"PIE\" (Bois!) is inscribed. on the left, \"ZHCHC\" (You will live) appears in Greek letters, offering together a wish of good augurs: \"Woman and you will live.\" One of the echansons holds a twig of laurel, and the other places a little amphora against his thigh. At each end of the scene, two young teenagers with blond hair bring objects for the service: one a towel and one pitcher, the other a twig of laurel and a basket of roses, adding a touch of refinement to the stage.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "4th century AD: A Carthaginian mosaic of the 4th century AD presents a grandiose banquet scene where twenty-four guests are gathered for a feast. Contrary to the custom of lying down for dinner, these guests are seated on stools, dressed in sleeved tunics and coats, around small tables where servants travel to serve meals. One of them cuts meat from a cook, represented in a corner of the mosaic, surrounded by stoves and a pot on a fireplace. In front of each guest, cups and bottles of wine are regularly filled by a slave with a pitcher. The scene also includes dishes of bread and cake. entertainment: a juggler performs figures with a hoop in the centre of the room, and two dancers with castanets dance to the rhythm of a Pan flute, played by an old bald man. This mosaic reflects the fascists of Roman banquets and the desire to commemorate the generosity and lifestyle of the elite.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd - 4th century AD: The mosaic of El-Jem represents a dice game scene, very popular among the distractions of private banquets. In this animated scene, three characters, sitting on stools around a small table where dice marked with dots are laid, play with intense passion. One of the participants, surprised in cheating, is strongly rebuked by his Companions, illustrating the tensions and debates that this game aroused. These remonstrations can be related to the risks of illegal bets associated with the dice, which were prohibited by Roman law that did not recognize gambling debts. The table is represented here as a simple board placed on the players' knees, facilitating its concealment in the event of police control. mosaic, alongside representations of \"dead dentures\" of dishes, captures both the pleasure and the risks of the game in the lives of the aristocrats.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd - 4th century AD: A mosaic from the Laberii estate in Oudna presents a detailed bird hunting scene, illustrating techniques of capture used in ancient times. One of the hunters, hidden under a goat's skin and crawling on four legs, tries to cast down partridges in a nasse. In another corner of the mosaic, a peasant captures a perched bird. Using a glued stick, a method that allows you to stick the wings of the bird to the ground. This scene highlights hunting practices in ancient times, both for the living capture of birds intended for aviaries and for the leisure of domain owners.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "At the end of the third - beginning of the fourth century AD: the mosaic of Oudna's running hunt: On the threshold of the so-called Laberii villa in Oudna, a remarkable mosaic illustrates a hunt to run from the end of the third or beginning of the fourth century AD. Two horsemen, probably the owners of the house, dressed in trousers, short tunics, floating coats and leather gaiters, gallopent At the side of the horsemen, a hunting valet holds the leash of two sloughi dogs, named Ederatus and Mustela, who hunt their prey closely. In a dynamic pose, the animals seem to concentrate all their strength in an attempt to escape from their pursuers. This work is distinguished by the energy of movement and the vivacity of the animals. This style, realistic and narrative, aims to magnify the heroic values and social prestige of hunting, a sport particularly popular with late Roman aristocrats. The names of dogs add a personal touch, reinforcing the link between the cynegetic scenes and the exaltation of aristocratic qualities such as bravery and the expression of animals and characters. endurance.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Middle of the 3rd century AD: This mosaic, dated from the middle of the 3rd century AD, presents a scene of hunting hares in the form of a table divided into three superimposed registers, each illustrating a different phase of hunting. The landscape, dotted with some trees and shrubs, recalls the regions of the Tunisian Sahel. In the first register, the scene of the departure is illustrated: Two hunters mounted on horses slowly advance to the right, accompanied by a valet holding a long stick forked to beat the bushes. In the median register, four hounds, two of which are of the sloughi type which is difficult to retain a venator, search the ground to untrace the hare, naively figurated in a bush. Finally, the lower register depicts the final episode and the more thrilling: the hare is about to be caught by the two junipers, encouraged by the galloping riders", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Early 4th century AD: The mosaic of Thuburbo Majus, dating from the early 4th century AD, illustrates a hunting scene to run in two registers, although damaged by places. These two remaining registers show two young aristocrats in full pursuit of a horse hare through a vast campaign. The names inscribed above them, Narcissus and Pallas Junior, appear they are the proper names of the young men or of their horses. They are accompanied by widowers and a bitch named Sagitta, nicknamed pernicies leporum (\"fleau of the hares\").", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "the end of the fifth to the beginning of the sixth century AD: The mosaic represents a hunting scene to run, distinguishing itself by several unique elements. It illustrates a flat landscape adorned with parasol pines and stylized plants, where a galloping rider - unlike the typical mosaics, which show two - guides the pursuit of two dogs and, other peculiarity, of a falcon. The rapace, Having already immobilized its prey, he is about to seize it in his greenhouses, while the hares escape from a leap. A long net, hung between two trees and supported by pickets at regular intervals, is placed in the foreground to stop the elk of the hare at large.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "end of the 3rd century AD: The mosaic, native to the same building of the Asclepieia in Althiburos, presents a complex hunting scene, where the owner of the represented estate can indulge in various types of small game catches. This artistic masterpiece, although partially damaged, reveals a unique composition combining juxtaposed motifs and continuous narration on the The mosaic is divided into four horizontal registers, separated by strips of earth, where the successive episodes of a hunting party are represented. The scene begins in the upper register with the departure of the hunters, including a central character, probably the hunting master, who launches the departure of a gesture towards a group of riders, while a valet Then, in the right corner of the same register, two hunters dislodge a beast from a cave using a stick. The second register shows riders in action, encircling a hare hunted by dogs. One of the riders is overturned by a false maneuver, adding a realistic impression. In the right corner, a birder and a gallop rider, armed In the third register, on the left, two horsemen and a servant surround a bloody jackal, attacked by dogs. The right side presents a hare hunt similar to other mosaics, but innovative in the details, with a hare caught between two sloughis and a wounded valet assisted by another. In the lower register, on the other hand, two horsemen and a servant surround a bloody jackal, attacked by dogs. The right side presents a hare hunt similar to other mosaics, but innovative in the details, with a hare caught between two sloughis and a wounded valet assisted by another. captured hare is caught in the mouth of dogs, while hunters and servants try to rip it out. The scene of the return, occupying the majority of the lower register, brings together a group of hunters led by a master, recognizable by his richly decorated tunic. Two valets lead a mule and carry various equipment and game.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Early 4th century AD: The mosaic is preserved in Carthage, at the Bardo Museum. This mosaic illustrates the various peripets of a wild boar hunt, organized in several superimposed registers, following a narrative composition. The action begins in the lower register, in a wooded and rugged landscape, where three hunters face a boar that has springed out of the middle of the river. The first hunter, having already released his molossus, attacks the beast, supported by a second hunter armed with a spear, firmly encamped on the ground, which seems to encourage a third hunter to release his dog. Like the first, this dog is a combat animal whose abdomen is protected by a corselet against the risk of ventration. In the median register, the boar is observed, The beast in distress rushes to a semi-circle net where it will soon find itself trapped. Behind the trap, a hunter, armed with a bucket full of a liquid intended to blind the animal, prepares to facilitate his killing. However, this last scene, which is the last scene of the attack, has been able to escape temporarily from his assailants, fleeing under the chase of the two molosses encouraged by a widower. The upper register shows the boar slaughtered, carried on a stretcher by two hunters who bend under his weight by leaning on a stick. One of the dogs, the head raised towards the body, seems to be jappering with joy, while the other precedes the group, the nose on the ground, as if it followed the trace of a second prey. To emphasize the continuity of the action, the Mosaïst used an artifice: he drew one of the dogs stinging from the upper register towards the middle one, on a small strip of oblique earth.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "early years of the 4th century AD: This mosaic of Carthage, probably dating from the early years of the 4th century AD, illustrates the living capture of animals for the amphitheatre. The style adopted by the artist consists in superimposing a series of independent scenes, taking place in a mountainous landscape, with some trees and tufts of vegetation spaced. scene, located on the top left, a hunter, half kneeling, holds open the door of a large cage where a goat serves as bait, placed on a cart gently pulled by a second hunter, trying to attract a couple of fawns inside. Two other hunters, uninsured despite their round shields, fold the fawns towards the cage. The second episode shows a return of hunting: Two pickers carry on the shoulder a pole with the remains of a wild boar, accompanied by a hound and a combat dog. The hunters display a necklace beard, typical of the tetrarchic era (284-310 A.D.). In a next scene, a dramatic fight is illustrated between a python and an African elephant, bleeding abundantly while the snake wraps around its The expression of despair is rendered with great intensity, especially through the agitated trunk of the elephant. Further on, a runaway horse is chased by a dog, encouraged by a hunter on foot. Another scene shows the hunting of the onagres, a North African technique. One of the onagres is caught in a node flowing, violently turning the head, while the other managed to escape, manifesting the terror of escape.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Early 3rd century AD: This mosaic, discovered at El Jem and attributed at the beginning of the 3rd century AD, is one of the most original representations inspired by the games of the amphitheatre in Africa. The scene reconstructs the lively atmosphere preceding a fight in the amphitheatre, featuring five bestiarys sitting behind an arched table, reminiscent of one side of the arena. character, in a natural and gesticulating posture, has a distinctive attribute: an ivy leaf, a golden crown adorned with three dots, another crown surmounted by a fish, a millet stem, and a stem with a crescent. At their side, two servants activate, one filling the glasses, the other recommending silence with the sentence: Silentium sleeping tauri (\" Silence, let the bulls sleep!\") At the top of the mosaic, inscriptions tell of a noisy and lively conversation between the guests, where one proposes to undress, another retort that they are there to drink, and a third reminder that they only took three turns. At the bottom of the picture, five hump bulls, bearing distinct marks (Ivy leaf, fish, sitter, In Africa, these professional gladiator associations (Telegenii, Sinematii, Pentasii, etc.) played an important role, praised for the performances, and maintained a strong presence in the field of the music industry. The brotherhoods each had an emblem, a tutelary divinity and a distinctive figure, and some, such as the Leontii of Sullectum, engaged in lucrative activities such as the arming of ships.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Early 3rd Century AD: Mosaic with Salacta Thermals: Lion Gigantesque This mosaic of Salacta Thermals, dating from the beginning of the 3rd century AD, presents an imposing lion of African race, represented in profile and detaching on a plain white background. Of an exceptional size, twice as large as nature, the fawn has a powerful and collected body, conforming to the The mosaic attracts attention by the enormity of the lion's head, which is rendered with a striking and realistic expression of life, giving the work an effect of presence and vitality almost comparable to that of a living animal. This mosaic came from the thermal baths, a meeting place for the association of the Leontii.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "2nd quarter of the 3rd century AD: the Mosaic of the Amphitheatre of Smira: Combats of Athletes and Leopards This mosaic, dating from the 2nd quarter of the 3rd century AD and coming from the Amphitheatre of Smira (now preserved at the Museum of Sousse), represents a combat scene between four athletes and leopards, organized in an oval composition reminiscent of the shape of the arena. In this scene, the first athlete, named Spittara, climbed on stilts and pierced with his two hands a leopard named Victor with the help of an epieu. The second fighter, Bullarius, overthrew another leopard, Crispinus, and hit him vigorously. This leopard is also attacked by a third hunter, Hilarius, who came to help Bullarius after burying his initial opponent, Luxurius. The last athlete, Mamertinus, still faces a leopard named Romanus, who, standing on his hind legs, furiously bites the weapon that pierced him. Many injuries inflicted on the leopards let blood flow in abundance. The hunters, all dressed in a short long-sleeved tunic and a sticky underpants, except Spittara who wears a simple pagne and a brief The leopards are portrayed with a striking realism, especially Crispinus, which seems to be shared between pain and rage. Two deities, Diane-Némesis and Dionysos, frame the scene, each in the direction of a neck cord, display a wide variety of individual traits and expressions of tension and anxiety. Diane wears a short tunic and holds a long stem of millet, while Dionysos, almost naked, brandishes a hampe finished with a crescent, emblem of the Telegenii. Not far from Dionysos, a character named Magerius, dressed in a purple outfit and holding a long sceptre, is insistently represented, his name being written twice in In the middle of the stage, a young servant carries a large platter on which are placed four bags, each containing a thousand deniers. Dressed in a pleated and embroidered tunic, with a belt folded in giron, it seems intended to illustrate the reward of the troupe. Two long inscriptions surround the scene. The one on the left announces to the spectators that the show is coming to an end, the Inviting to pay the company of the Telegenii five hundred deniers by leopard. The one on the right reports the enthusiastic response of the crowd, acclaiming Magerius for his generosity and encouraging him to pay twice the initial sum, that is, four thousand deniers, symbolized by the bags on the plateau. This mosaic bears witness to a precise amphitheatre show, where sacred and secular mix, and serves to immortalize Magerius' generosity and his desire for public recognition.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd Century A.D.: The Mosaic of Amphitheatre of Theleptus: Duel between Gladiator and Lion This mosaic of the 3rd Century A.D., from Theleptus and now preserved at the Bardo Museum, illustrates an intense combat scene in an amphitheatre arena. having served as thresholds, represent many spectators tight against each other, silently observing a scene This apparent silence underscores the intensity of the fight taking place in front of them, where a gladiator, with tight muscles and athletic body, almost confronts the body with a gigantic lion. The lion, although wounded by the gladiator's spear, remains standing on his back legs, trying to reach his opponent's head with his bewildering mouth. The sharp claws of the fawn The gladiator's chest would have already been laced, if it was not protected by a thick red leather breastplate. A large wound of the lion let loose abundant drops of blood that form puddles on the ground of the arena. On the left of this confrontation, a second lion, also of imposing size, bursts, ready to attack. The arena is surrounded by a enclosure Covered with marble plates, delicately rendered in gradients from black to white. Open doors show other bells, waving dark fabrics to stimulate fawns, adding to the drama of the scene.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "The end of the 3rd century AD: the Mosaic of El Jem: Simulated Hunting Scenes This mosaic, dated from the end of the 3rd century AD and very mutilated, comes from El Jem. It depicts hunting scenes where the actions are shot so as to offer spectators various angles of view, recalling the multiple perspectives of an arena. The hunters, caught in disorderly movements and In an environment of intense animation and great violence, they are seen mastering a raging bull, taming a wild horse, or trying to capture a wild boar who, by fighting, overturns one of the hunters. A particularly bold scene puts forward a hunter without weapons, ready to face with bare hands a panther In contrast to the usual practices of the amphitheatre, these hunters do not have sharp weapons, but use only strings or lassos. The staging is not intended to kill the animals, but to simulate their capture to display them several times. As in Smirat, the scenes are placed under the protection of Diane Nemesis. The reference to Telegenii is symbolized by a cluster adorned with a crescent deposited on the ground, indicating their presence and involvement in these shows.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "3rd century AD: discovered in a dining room of a house of Sousse, represents a vibrant and lively hunting scene. There are antelopes, deer, wild horses, addaxes, and ostriches running in all directions after being wiped out, in order to attract the attention of the public and add suspense to the show. On the top of the mosaic, four hunters with distinct features stand up, ready to intervene. These bestiary, armed with various weapons and dressed in a unique manner, are surrounded on the ground by curved daggers, long knives and rectangular blade swords, weapons similar to those they hold on the ground. This mosaic covered an older work, dating back to the 2nd century AD, representing still lifes and Dionysiac motifs. This superimposition shows the renewal of the art of mosaic from the beginning of the 3rd century AD, which then begins to illustrate various aspects of daily life. It is now preserved at the Museum of Sousse.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Early 4th century AD: The mosaic of the Kef, dated from the beginning of the 4th century AD and preserved at the Bardo Museum, depicts a captivating hunting scene in an artificial park arranged for an amphitheatre. This work, almost complete despite some missing fragments, represents an enclosure bounded by a net supported by regularly arranged stakes. Inside, hordes The enclosure is designed to be visible from different angles, allowing spectators to have an overall view. It has three openings, each monitored by a duo of dogs in full excitement, which valets are struggling to find out what they are looking for. It has three openings, each monitored by a duo of dogs in full excitement. The scene captures the preparations for the hunting show, where hunters and dogs will soon begin a pursuit of the frightened animals, offering the spectators the illusion of a hunt in the middle of the game. The scene captures the preparations for the hunting show, where hunters and dogs will soon begin a pursuit of the frightened animals, giving the spectators the illusion of a hunt in the middle of the game. nature.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "the end of the third and fourth centuries AD: The dining room mosaic represents a \"catalogue\" of the animals exhibited, made between the end of the third and the fourth centuries AD. It commemorates an amphitheatre performance organized by the owner of a house in Radès. There are various animals, each identified by a name and marked with a number, which makes it a kind of register of the animals presented for the occasion. This work preserves representations of notable animals such as bears and panthers, set up for the games of the arena. The names of the animals, such as Crudelis, Omicida and Gloriosus, highlight their prowess or characteristics of combat. This mosaic is currently at the Museum of Bardo.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "4th Century A.D.: This commemorative mosaic, originally from Carthage and dating back to the 4th century A.D., constitutes a \"catalogue\" of the animals exhibited during a show offered by a rich citizen. It includes the names of the animals inscribed to symbolize the greatness of the event. The various creatures are represented in such a way as to show them alone or in interaction in the arena, capturing the spectacular aspect of these exhibitions. This mosaic is exhibited at the Bardo Museum.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "the end of the 3rd century AD: A mosaic of El Jem, dated from the end of the 3rd century AD, is adorned with a geometric decoration with medallions surrounding scenes of wild animals, which seem to be engaged in fighting. The style of this mosaic evokes the fascist of the late Roman Empire, presenting animals in a position of confrontation to mark the brutality of the games of amphitheater of the time. This work, with commemorative vocation, is also preserved at the Museum of El Jem.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "the second half of the 3rd century AD: Mosaic of Thuburbo Majus This mosaic, dated from the second half of the 3rd century AD and coming from Thuburbo Majus, consists of compartments containing various motifs related to the games of amphitheatre. It incorporates a later inserted painting representing Diane, goddess of hunting, riding a suede on gallop. This mosaic, currently at present, is a part of the second half of the 3rd century AD. at the Bardo Museum, illustrates the fusion between the natural world and mythological symbolism, while paying tribute to the activities related to the arenas.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "middle of the 4th century AD: Wild animal foretrains This pavement of Thuburbo Majus, probably in the middle of the 4th century AD, shows wild animal foretrains arranged in such a way as to give the impression that they are fighting or continuing. This mosaic, with a commemorative purpose, is a \"catalogue\" of the beasts used in the arena during a show financed by an influential citizen. It is exhibited at the Bardo Museum.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Early 4th century AD: Mosaic of the \"the aviary house\" in Carthage The mosaic, dated from the beginning of the 4th century AD and found in Carthage in the \"the aviary house\", is distinguished by a parodic style, where children play the role of fighters of the arena, opposed to animals often harmless and of modest size. Young boys are represented dressed in richly embroidered costumes, equipped with batons, whips, or spears, facing various animals, such as a cock, a wild cat, a gazelle, or a lionceau. This scene, very detailed and humorous, juxtaposes confrontations on a floor dotted with ears and garlands, highlighting the harmless and light character of these childish games.", "type": "text"}], "role": "assistant"}]
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[{"content": [{"index": null, "text": "Describe the mosaic \n", "type": "text"}, {"index": 0, "text": null, "type": "image"}], "role": "user"}, {"content": [{"index": null, "text": "Early 3rd century AD: This mosaic, discovered in El Jem and dated from the end of the 2nd or early 3rd century AD, captures the details of a scene of death sentence where prisoners are delivered to wild animals in the amphitheatre. The mosaic presents two successive scenes of this torture, called damnatio ad bestias, illustrating moments of maximum tension for the In the first scene, a man, dressed only in a short, fringed pagne, stands up, feet joined, perhaps attached. His raised hair, his mouth wide open and his hagard eyes bear witness to his fear. Two lanists (goldator coaches) accompany him: one of them still attaches to him the The next scene shows the panther hanging on the prisoner's chest and thighs, devouring his face. The prisoner is about to fall under the weight of the animal, and blood is abundantly flowing from his hands in the back while a huge and furious panther is already leaping towards him. One of the lanists, having failed to escape, tries to hide behind the condemned, holding him in order to avoid being faced with the panther. In the centre of the arena, surrounded by arrows and blood spots, a quadrangular structure, decorated with four trophies, seems to serve as a place of torture or exhibition of the captives before the beginning of the show. Around this stage, other wild animals - panthers, lions, tigers and bears - circulate, adding to the wildness of the scene. This mosaic, exposed to the El Jem Museum, has similarities with that of Zliten in Tripoli, dating from the Flavian era, and could depict a real event that took place in El Jem, a city with two amphitheaters, one of which is impressive in size.", "type": "text"}], "role": "assistant"}]
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