- Professeur d'archéologie des provinces romaines, Recherches dans le domaine de la peinture murale romaine, de la mosaïque, de l'architecture et de l'urbanisme antiqueedit
An exhibition on Gallo-Roman graffiti was mounted at the Musée romain de Lausanne-Vidy to mark the creation of the International Association for the Study of Minor Inscriptions, Ductus, which held its first symposium in Lausanne in 2008.... more
An exhibition on Gallo-Roman graffiti was mounted at the Musée romain de Lausanne-Vidy to mark the creation of the International Association for the Study of Minor Inscriptions, Ductus, which held its first symposium in Lausanne in 2008. For the first time, everyday objects engraved on ancient walls in France and Switzerland have been presented and catalogued, with commentaries by Alix Barbet and Michel E. Fuchs, with the collaboration of Laurent Flutsch and Lorraine Roduit, and contributions by Jean-Pierre Bost, Georges Fabre and Pierre-Yves Lambert. Latin and Greek drawings and writings recount the daily life of the Roman quidam: accounts, purchases, weights and dates, stylus exercises, reflections of games in the arena, evocations of hunting and nature, boats and fish, love, gods and offerings, words, everyday language and names engraved to leave a trace.
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The great buildings of the games - theatres, amphitheatres and circuses - are among the most familiar monuments in the archaeological landscape. Despite their clearly recognisable silhouette and purpose, they never cease to give rise to... more
The great buildings of the games - theatres, amphitheatres and circuses - are among the most familiar monuments in the archaeological landscape. Despite their clearly recognisable silhouette and purpose, they never cease to give rise to questions and debate. This is borne out by the work carried out by Swiss researchers on the theatres and amphitheatres of Avenches, Augst, Lausanne and Alesia. The comparison of this research with that carried out in France, Luxembourg, Greece and Libya provided the opportunity for a round-table discussion held at the University of Lausanne on 22 and 23 May 2008. The origins and significance of these buildings, their history and architectural development, the different types of use they were put to, and the political and social role they played, are some of the issues addressed by the fifteen contributions in this volume.
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Guide published on the occasion of the opening of the Roman Museum of Vallon, translated from french. The evolution of the building is outlined from its installation in the Julio-Claudian period to its disappearance in the Middle Ages.... more
Guide published on the occasion of the opening of the Roman Museum of Vallon, translated from french. The evolution of the building is outlined from its installation in the Julio-Claudian period to its disappearance in the Middle Ages. The two mosaics at the origin of its valorization are described next to the wall paintings, the domestic lararium, a material and vestiges illustrating each period revealed by the excavation since 1981.
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State of knowledge on Roman mural painting in the canton of Fribourg, from the oldest discoveries listed in 1778 at Cheyres to the recent ones at the villa of Vallon. The painted remains of the villas of Châtillon, Chiètres, Galmiz,... more
State of knowledge on Roman mural painting in the canton of Fribourg, from the oldest discoveries listed in 1778 at Cheyres to the recent ones at the villa of Vallon. The painted remains of the villas of Châtillon, Chiètres, Galmiz, Marly, Morat-Combette, Pont-la-Ville, Riaz-L'Etrey, Sorens and Vuadens are discussed. In addition, there are fragments of the red and black panel decoration of the ambulatory of the sanctuary of Riaz.
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To underline its thirty years of existence, in 2009 the French association for ancient wall paintings (AFPMA) brought together archaeologists and restorers (both experts and non-specialists) who have had to deal with fragmentary Roman... more
To underline its thirty years of existence, in 2009 the French association for ancient wall paintings (AFPMA) brought together archaeologists and restorers (both experts and non-specialists) who have had to deal with fragmentary Roman wall paintings discovered in France and Switzerland. The proceedings of the symposium held at the École Normale Supérieure in Paris are now available and document studies undertaken at Arnouville-lès-Gonesse, Augst, Avenches, Bayeux, Bordeaux, Cahors, Chartres, Chassenon, Damblain, Embourie, the Canton of Fribourg, Glelainville, Marseille, Martizay, Nîmes, Oberbuchsiten, Oberweningen, Périgueux, Le Quiou, Reims, Ribemont-sur-Ancre, Saint-Pierre-de-Nazac, Saint-Romain-en-Gal, Sanxay, Schleinikon and Vieil-Évreux. Whether found recently or in the past, the discoveries have been analyzed, studied and restored and added to databases currently being established, providing a vast collection of data that is indispensable to the archaeological and historical study of a site.
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After a brief history of mural painting research in Avenches and a presentation of the laboratory's work, eight sets are presented according to the conservation-restoration problems encountered in situ or in the workshop, with a view to... more
After a brief history of mural painting research in Avenches and a presentation of the laboratory's work, eight sets are presented according to the conservation-restoration problems encountered in situ or in the workshop, with a view to study or exhibition in a museum, in front of fragments, plaques or old restorations. The paintings in insula 3 (chalice crater and tufts of foliage on a pink background), insula 12 (decoration with plinth pilasters), insula 12 East House (yellow band with black fillets on a white background) and insula 10 East (white room with Eros and Psyche, Seasons, Still Life and Garlands) are discussed, insula 19 (barrier, vault and marine decoration), insula 7 (spindle ceiling decoration), insula 1 (candelabra and satyr on a yellow background) and insula 18 (“Red Room”).
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In these proceedings of the third international symposium organized by Ductus, the International Association for the Study of Minor Inscriptions, in Paris in 2015, twenty-three contributions are brought together around paleographic models... more
In these proceedings of the third international symposium organized by Ductus, the International Association for the Study of Minor Inscriptions, in Paris in 2015, twenty-three contributions are brought together around paleographic models and the various modalities which condition the appearance of ancient graffiti. Specialists in everyday writing have looked at the choice of medium and instrument, the context of graffiti in public or domestic space, the motivations of the writer, the different uses of writing often utilitarian. Many graffiti presented are unpublished, discovered during archaeological excavations in Italy (Ostia, Stabiae, Parma, Sirmione, Verona ...) and in Gaul (Clermont-Ferrand, Compertrix, Rennes ...). Statistical and methodological studies complete the approach, prompting us to reflect on the place of writing in Roman civilization.
Keywords: ancient inscriptions - graffiti - cursive writing - everyday language - military graffiti - literacy - mural painting - inscriptions and drawings on stone - lead - ceramic - brick
Keywords: ancient inscriptions - graffiti - cursive writing - everyday language - military graffiti - literacy - mural painting - inscriptions and drawings on stone - lead - ceramic - brick
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Excavated since 1904, a Roman villa located near the ancient Noviodunum, Colonia Julia Equestris, has yielded six groups of mural paintings. Five of them are attributable to the years 35-50 AD. One group with a white background with a red... more
Excavated since 1904, a Roman villa located near the ancient Noviodunum, Colonia Julia Equestris, has yielded six groups of mural paintings. Five of them are attributable to the years 35-50 AD. One group with a white background with a red base, inter-panel uprights and garlands in the upper area is attributable to the second half of the 2nd century AD. One of the major decorations of the first period, a miniature cantharus from which a column of leaves, roses and fruit emerges, was long presented as a life-size restitution to the Swiss National Museum in Zürich, and has been incorporated in a new restitution more in keeping with known patterns. A brief description of the archaeological context and an account of physico-chemical analyses complete the information, along with the attestation of the use of the gold leaf.
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The excavations of a Roman villa at the origin of the church and of the village of Meikirch in the canton of Berne have revealed the remains of a cryptoportico, a central hall, rooms and small side buildings. Excavations and discovered... more
The excavations of a Roman villa at the origin of the church and of the village of Meikirch in the canton of Berne have revealed the remains of a cryptoportico, a central hall, rooms and small side buildings. Excavations and discovered material, including the tiles stamped with an L.C. PRISC, are published up to the tombs of the High Middle Ages and the construction and decoration phases of the current church. The description and interpretation of the eighteen panels restored from the paintings taken from the cryptoportico of the villa are widely discussed. The figured scenes were surmounted by Celt-Latin painted inscriptions and refer either to one or more local religious festivals or to word games put in pictures. Fragments have allowed the reconstruction of windows with edges painted with plant motifs. The whole is dated to the end of the 2nd century AD.
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Reassembling the fragmentary: Swiss proposals A history of the conservation-restoration of Roman wall paintings in Switzerland shows the attention given to fragmentary material from the end of the 18th century. Various major proposals are... more
Reassembling the fragmentary: Swiss proposals
A history of the conservation-restoration of Roman wall paintings in Switzerland shows the attention given to fragmentary material from the end of the 18th century. Various major proposals are presented, from the paintings of the Commugny villa to those of the Vallon settlement, from the Avenches ensembles to those of Augst. Various restoration techniques are involved as well as several conservation choices in relation to workshops with evolving practices from the 1900s to 2015.
A history of the conservation-restoration of Roman wall paintings in Switzerland shows the attention given to fragmentary material from the end of the 18th century. Various major proposals are presented, from the paintings of the Commugny villa to those of the Vallon settlement, from the Avenches ensembles to those of Augst. Various restoration techniques are involved as well as several conservation choices in relation to workshops with evolving practices from the 1900s to 2015.
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Consultation of the painted material collected in 1900 and 1968 from the Roman villa at Contigny-Champ d'Asile helps to clarify the context of the palindrome graffito in Greek letters from Lausanne. It was incised on a white-background... more
Consultation of the painted material collected in 1900 and 1968 from the Roman villa at Contigny-Champ d'Asile helps to clarify the context of the palindrome graffito in Greek letters from Lausanne. It was incised on a white-background panel framed by openwork borders dating from 60-80/90 AD. The painting covered a room in the center of the villa's pars urbana. The corridor in the villa's eastern wing contained numerous fragments of partly burnt paintings. Six sets were identified, reflecting the villa's decoration between 60 and 115 AD: green monochrome panels with black and blue frames, alternating black and red panels, yellow panels, black panels with blue frames follow one another, enhanced by openwork borders, plant motifs or figured friezes. The graffito is the mark of a student learning Greek as in Pompeii, the only other place where the palindrome is attested. It is a sign of the culture of the villa's owner, a Quintinius, whose name has survived in the toponym Contigny.
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The study of some epigraphic and figurative graffiti from sanctuaries or in connection with a domestic cult north of the Alps raises the question of whether the mark of a particular devotion emerges, whether formulas emerge. The inclusion... more
The study of some epigraphic and figurative graffiti from sanctuaries or in connection with a domestic cult north of the Alps raises the question of whether the mark of a particular devotion emerges, whether formulas emerge. The inclusion of documents from Allonnes, Augst, Avenches, Châteauneuf and Nyon shows just how crucial the context in which they were found is to their interpretation.
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A new study of paintings discovered in the nineteenth century on the site of Colombier in the canton of Neuchâtel in Switzerland led to recognize at least three large sets of fragments and no less than thirty-eight decorative groups. The... more
A new study of paintings discovered in the nineteenth century on the site of Colombier in the canton of Neuchâtel in Switzerland led to recognize at least three large sets of fragments and no less than thirty-eight decorative groups. The fragments of four walls are now presented on panels in the Laténium Museum in Hauterive (Neuchâtel): A first decoration with a yellow background is distinguished by its winged feminine figure, its fine architectures and imitations of marble; a second decoration adopts red panels and black inter-panels decorated with umbels or crossed stems. A third setting offers a variation of the system while the fourth is a white background, red stripes and plant-like stems typical of the third century AD. Walls with red and black backgrounds, ceilings, the painting of a pillar and life-size figures still give the high tone of an imposing villa.
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The Pro Aventico Association was founded in 1885, marking the beginning of careful conservation of the heritage of ancient Avenches/Aventicum. A set of statutes in line with the preoccupations of the time established the points that were... more
The Pro Aventico Association was founded in 1885, marking the beginning of careful conservation of the heritage of ancient Avenches/Aventicum. A set of statutes in line with the preoccupations of the time established the points that were to be followed and promulgated over more than a century by the association: arousing public interest, safeguarding the remains, publishing them and making them known, carrying out excavations, on the initiative and with the support of a committee and an assembly of members to which people from all over Switzerland and personalities such as General Guisan or Marguerite Yourcenar would belong. The various presidents who have succeeded one another at the head of the association reflect the concerns of their times, as do the directors of the Avenches Roman site and museum, right through to the publications of the Bulletins Pro Aventico.
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The project to study the fragments of painted plaster in Pompeii's House of the Painters at Work, led by a team from the University of Lausanne's Institute of Archaeology and Ancient Sciences, is continuing thanks to an agreement with the... more
The project to study the fragments of painted plaster in Pompeii's House of the Painters at Work, led by a team from the University of Lausanne's Institute of Archaeology and Ancient Sciences, is continuing thanks to an agreement with the Pompeii Archaeological Park. In November 2023, the ceiling decoration of a large room was partially understood, and collaboration with the European RePAIR project consolidated.
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The study of Roman wall paintings in Switzerland has enjoyed an undeniable boom since the 1990s. What was all too often just a mention, rarely a closer observation, has in many cases become the fruit of in-depth research. More than just... more
The study of Roman wall paintings in Switzerland has enjoyed an undeniable boom since the 1990s. What was all too often just a mention, rarely a closer observation, has in many cases become the fruit of in-depth research. More than just the impetus of one or two people, it is now the result of teamwork. Although painting fragments are now more scrupulously collected and cited in an archaeological note, the promulgation of a more in-depth study still too often leaves much to be desired, for lack of means and will. However, the new collection shows just how rich the pictorial field is in terms of both image and chronology.
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A quoi jouaient les petits Grecs et Romains? En quoi la culture ludique de l'Antiquité est-elle révélatrice des pratiques sociales et religieuses? Une relecture attentive des auteurs anciens, les découvertes récentes – dont les jeux... more
A quoi jouaient les petits Grecs et Romains? En quoi la culture ludique de l'Antiquité est-elle révélatrice des pratiques sociales et religieuses? Une relecture attentive des auteurs anciens, les découvertes récentes – dont les jeux de plateaux retrouvés gravés sur différents sites –, les scènes livrées par les céramiques peintes off rent aujourd'hui un panorama vivant et complexe du monde du jeu, de la petite enfance à l'âge adulte. Ce dossier présente quelques-uns des documents grecs et romains méconnus ou inédits, mis en lumière par les recherches. menées dans le cadre de l'ERC Locus Ludi. The cultural fabric of play and games in classical Antiquity. https://locusludi.ch
Research Interests: Art and Archeologia
En este estudio se analizan cuatro conjuntos pictóricos hallados en la excavación urbana realizada en la calle Dormer nº 8-10. El primero presenta zócalo con imitaciones marmóreas y zona media en la que alternan paneles anchos y... more
En este estudio se analizan cuatro conjuntos pictóricos hallados en la excavación urbana realizada en la calle Dormer nº 8-10. El primero presenta zócalo con imitaciones marmóreas y zona media en la que alternan paneles anchos y estrechos; un friso decorado con flores de loto estilizadas debía corresponder al remate superior de la pared. El segundo conjunto es el que ofrece un mayor interés; el zócalo presenta una serie de placas que imitan mármoles de distintas variedades y en la zona media se desarrolla un sistema de relación continua sobre fondo negro. Del tercero únicamente se conserva un zócalo moteado y, finalmente, el último conjunto muestra un fondo blanco decorado con filetes rojos que articulaban una serie de paneles; el interés radica en la presencia de un graffito con una serie de numerales. La cronología de las pinturas, a tenor de los datos arqueológicos y los derivados del estudio estilístico, puede establecerse en la segunda mitad del s. I d.C.
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The study of the cadastre and the roads of the Bevaix plateau invites questions about the name of the village and its status in Roman times, as a probable crossroads vicus under the name *Biviascum.
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Between a vision of pregnancy and birth, an anthropomorphic vase discovered on the Roman site of Tarnaiae, Massongex (Valais, Switzerland), is perplexing. It completes a brief series of vases with monkey heads.
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A few mosaic elements have been discovered to date in the territory of Aliağa. These are either chance finds or discoveries that are of interest for the motifs they reveal as well as for the context to which they are most likely to be... more
A few mosaic elements have been discovered to date in the territory of Aliağa. These are either chance finds or discoveries that are of interest for the motifs they reveal as well as for the context to which they are most likely to be attached. The first pavement on this regional list was discovered in Kyme in 1979 by Ekrem Akurgal, near the city wall on the eastern edge of the southern hill, dated to the end of the 3rd or the beginning of the 2nd century BC. In addition, there is a fragment found in Myrina and a drawing published in 1959 and three other fragments from Gryneion, dated to the end of the 4th and beginning of the 5th century AD.
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The excavation of the îlot Sainte-Chrétienne carried out in Metz by Inrap, in 2009, has uncovered several fragments of a figurative scene datable from the end of the 2nd to the beginning of the 3rd century BC. The preserved part of this... more
The excavation of the îlot Sainte-Chrétienne carried out in Metz by Inrap, in 2009, has uncovered several fragments of a figurative scene datable from the end of the 2nd to the beginning of the 3rd century BC. The preserved part of this representation consists of a raised arm, holding a dish filled with a white-yellow mass, on a blue background and near which dark leaves evoke a rural setting. Both the gesture and the container and its contents are carefully examined here; the aim is to propose plausible contexts for these elements. The perspective of these with an isolated fragment, but from the same set and representing a female foot, as well as a pattern of possible cymbals that may have adorned the same room, points to the marriage of Dionysus and Ariadne.
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Driven by a common passion for Antiquity, two illustrious characters met in Avenches at the end of the 18th century: one, an English nobleman who had settled in the ancient Roman city with his family, the other, a renowned architect, sent... more
Driven by a common passion for Antiquity, two illustrious characters met in Avenches at the end of the 18th century: one, an English nobleman who had settled in the ancient Roman city with his family, the other, a renowned architect, sent to the site by Their Excellencies in Bern. Their meeting led to a friendship that led them to carry out the first archaeological excavations of the site.
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A bronze figurine in the Musée cantonal d'archéologie et d'histoire de Lausanne is recorded in 1825 as belonging to the collection of Dr Louis Levade, the author of the Dictionnaire géographique, statistique et historique du canton de... more
A bronze figurine in the Musée cantonal d'archéologie et
d'histoire de Lausanne is recorded in 1825 as belonging to the collection of Dr Louis Levade, the author of the Dictionnaire géographique, statistique et historique du canton de Vaud (Lausanne 1824). It is said to be an Apollo holding a lyre from Avenches. In 1976, the authenticity of the statuette was questioned. In 1993, a new interpretation made it an ancient object. X-rays revealed a screw thread that was anything but antique.
d'histoire de Lausanne is recorded in 1825 as belonging to the collection of Dr Louis Levade, the author of the Dictionnaire géographique, statistique et historique du canton de Vaud (Lausanne 1824). It is said to be an Apollo holding a lyre from Avenches. In 1976, the authenticity of the statuette was questioned. In 1993, a new interpretation made it an ancient object. X-rays revealed a screw thread that was anything but antique.
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Synthesis on the different phases of a study of fragmentary Roman wall paintings
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The Roman villa of Baugy-sur-Clarens in the municipality of Montreux VD has been known for a long time. Excavations carried out in 1987 and 1990. Their revealed a terraced with outbuildings in the north, a main building in the centrum and... more
The Roman villa of Baugy-sur-Clarens in the municipality of Montreux VD has been known for a long time. Excavations carried out in 1987 and 1990. Their revealed a terraced with outbuildings in the north, a main building in the centrum and an inner courtyard, which was by a bathing building to the west. Already in 1906 fragments of wall paintings were recovered. Their treatment suggests the following reconstruction: a wall of red fields, framed by an openwork band, and black inter-fields with foliage tendrils on the sides and a vine tendril in the centrum. The arm of a Roman resting bed left traces of wear and tear on the wall of a room from the 2nd century AD.
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The restoration of the mosaic known as Marcunus of Avenches, discovered in 1906, at the place known as "En Perruet", led to the rereading of the dedication by a M. Flavius Marcianus. He had the central square (media[ma aream]) and the... more
The restoration of the mosaic known as Marcunus of Avenches, discovered in 1906, at the place known as "En Perruet", led to the rereading of the dedication by a M. Flavius Marcianus. He had the central square (media[ma aream]) and the exedra (exedr[am]) of a space located west of the so-called Flavian baths of the insula 29 of the ancient city, on the edge of the forum, paved with mosaics. The resumption of the ancient documentation makes it possible to highlight two pavements with quatrefoil decoration and squares on the point that must have adorned the two spaces mentioned by the inscription and to propose a rereading of the context in which they are inserted.
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In July 1989 and 1998, survey flights over the plain above the Sarine and the Glâne permit to observe three Roman villas (villae rusticae): in Barberêche/Fin du Chêne, a porticoed villa, with an adjacent little building, which can be... more
In July 1989 and 1998, survey flights over the plain above the Sarine and the Glâne permit to observe three Roman villas (villae rusticae): in Barberêche/Fin du Chêne, a porticoed villa, with an adjacent little building, which can be interpreted as a bathing complex; in Kleinbösingen/Zendholzacker, a small building with a row of rooms and a portico. Due to its small size, it can be interpreted as a farm rather than a villa. In Corminboeuf/Nonan there is also a building with several rooms; its façade with portico and its dimensions suggest that it was a larger estate. Here too a building standing apart is interpreted as a bath complex. All three villas have ground plans similar to those known in Gaul and Germania, and illustrate the diversity of the agricultural holdings in the hinterland of Aventicum.
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The inventory of the mosaics of Roman Switzerland shows that there are several isolated tesserae, mainly made out of glass and a few shells that clearly belong to parietal decorations. The study of their distribution between towns and... more
The inventory of the mosaics of Roman Switzerland shows that there are several isolated tesserae, mainly made out of glass and a few shells that clearly belong to parietal decorations. The study of their distribution between towns and countryside and inside the buildings leads to specify their frequency, the room type they relate to and their date. With a clearer interpretation of pool benches, the understanding of motifs selected according to the chosen architectural layouts is enriched. Finally, a review of old documentation enables a new interpretation of functional and figurative data.
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Around places evoking wheat in French-speaking Switzerland
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Reflections on archaeology and its teaching in French-speaking Switzerland and in Lausanne in particular.
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The discovery of two lead plates bearing the same motif of Diana the Huntress in two villae in the canton of Fribourg, undoubtedly in connection with Aventicum, the capital of the Helvetii, prompts reflection on their function and the... more
The discovery of two lead plates bearing the same motif of Diana the Huntress in two villae in the canton of Fribourg, undoubtedly in connection with Aventicum, the capital of the Helvetii, prompts reflection on their function and the context in which they are inserted. It is proposed that they be interpreted as sodality tesserae, allowing the recognition of membership of a single college under the patronage of Diana. The hypothesis put forward here to interpret the strange motif represented in the centre of the venatio mosaic in the Great Hall of Vallon as a box for collecting the tesserae has since been abandoned; it is the representation of a block with a ring for attaching animals to the centre of an arena that should be retained. Although the final statement is nuanced, the interpretation of the plates remains acceptable.
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The discovery in 2001 of a church and its pavement at the Derecik site near the town of Büyükorhan in Turkey led to the first excavations by archaeologists from the Archaeological Museum of Bursa, the provincial capital, the same year.... more
The discovery in 2001 of a church and its pavement at the Derecik site near the town of Büyükorhan in Turkey led to the first excavations by archaeologists from the Archaeological Museum of Bursa, the provincial capital, the same year. The presentation of the mosaics in 2006 to the participants of a symposium organised by the Uludag University of Bursa led to the intervention of a Swiss team on the site in 2007. Two years of excavation and observations led to the distinction between several construction phases of the church itself and the site on which it is located. A lightly built temple preceded it, probably dedicated to Zeus, and at least three construction phases characterise it, supplemented by later developments. Occupation of the site is attested from the 2nd century AD, if not earlier, until the Arab invasions of the 8th century AD.
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Remains of colours and ceramics containing pigments testify to the activity of fresco painters who used usual or more specific containers at different stages of the work. The examination of vessels discovered on Swiss soil provides... more
Remains of colours and ceramics containing pigments testify to the activity of fresco painters who used usual or more specific containers at different stages of the work. The examination of vessels discovered on Swiss soil provides evidence of this.
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The third campaign of the Derecik Project took place from 27 July to 28 August 2009, bringing together fifteen people including students from the universities of Lausanne of Neuchâtel and Bursa. In addition to the excavation, work was... more
The third campaign of the Derecik Project took place from 27 July to 28 August 2009, bringing together fifteen people including students from the universities of Lausanne of Neuchâtel and Bursa. In addition to the excavation, work was carried out on documentation, in particular by means of laser scanning, conservation-restoration, inventory of archaeological material and data processing. A pre-survey was carried out within a 5 km radius of the site of the proto-Byzantine church.
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From the collections of Theodor Mommsen to specialized studies studies of 21st century researchers, scientific progress in the field of epigraphy are considerable, both in terms of the number of documents from the simple cross to the most... more
From the collections of Theodor Mommsen to specialized studies studies of 21st century researchers, scientific progress in the field of epigraphy are considerable, both in terms of the number of documents from the simple cross to the most elaborate quotations and in the variety of themes addressed. The minor inscriptions from Avenches (VD), Martigny (VS), Nyon (VD), Eschenz (TG) and Vindonissa (AG) constitute a valuable addition to the inscriptions and are almost the only epigraphic evidence directly transmitted to us by the ancient population. It was thus possible to know the predominance of Latin nicknames, the use of codified abbreviations for the measurement of contents, specific uses by ancient coopers of one to three names, the use of wax tablets as bills of exchange as well as different writing practices on ceramics, wall painting or wooden objects.
The end of Domitian’s reign was characterized by murders, by the putting away of high-ranking persons, and by an atmosphere of suspicion which was to make Domitian, after Nero, the next emperor of Christian martyrs. Close study of the... more
The end of Domitian’s reign was characterized by murders, by the putting away of high-ranking persons, and by an atmosphere of suspicion which was to make Domitian, after Nero, the next emperor of Christian martyrs. Close study of the texts, and of the context in which his damnatio memoriae was established, and comparisons with the architectural, figurative and ornamental material of this period, contribute to a more nuanced perception of this emperor, who has been called a tragic tyrant. Are the paranoid tendencies, even paranoia, attributed to Domitian, really the source of his ultimate decisions, or should we see here the consequences of authoritarian power and of struggles within the imperial court? The case of Domitian is the one that best allows us to understand the political and psychological consequences of “deified” rule.
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The sculptural head from the 3rd century BC from Msecke Zehrovice near Prague has recently been interpreted as a representation of a shaven head behind a roll of hair on the forehead. This would be evidence of a Druidic type of tonsure,... more
The sculptural head from the 3rd century BC from Msecke Zehrovice near Prague has recently been interpreted as a representation of a shaven head behind a roll of hair on the forehead. This would be evidence of a Druidic type of tonsure, handed down from the oldest Irish ecclesiastical codes. This approach does not take into account an aspect known from findings in the south of France: the sculptures of the second Iron Age were painted. It is therefore not a tonsure but a type of hairstyle characteristic of Celtic aristocratic representation, chosen in particular for heroic and ancestor worship. This costume continued until the golden bust of Marcus Aurelius of Avenches.
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The pavement decorates a ceremonial room with an apse, stibadium, cupboards and shelves, a domestic larary, built in the third quarter of the 2nd century AD. The central medallion shows the unveiling of Ariadne by a satyr; the masks of... more
The pavement decorates a ceremonial room with an apse, stibadium, cupboards and shelves, a domestic larary, built in the third quarter of the 2nd century AD. The central medallion shows the unveiling of Ariadne by a satyr; the masks of the tragedy maiden, Silenus and Pan underline the Dionysian context of the scene. Two Lovers place it in the context of a wedding and three female portraits refer to the ages of life. A second carpet in front of the apse features two felines on either side of a crater, a further indication of Bacchus' presence.
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A survey of domestic shrines in Switzerland in the Roman period reveals ritual practices conducted for deities and ancestors honored in the family circle. In a town or in a vicus, lararia in a known context appear near the entrance of the... more
A survey of domestic shrines in Switzerland in the Roman period reveals ritual practices conducted for deities and ancestors honored in the family circle. In a town or in a vicus, lararia in a known context appear near the entrance of the house, located either by the remains of a cabinet or a wooden container, or found dispersed in a shop or specific room behind the shop or an entrance hallway. The bronze statuettes are part of shrines and are often accompanied by other objects in connection with the cult. The choice of the deities suggests that the officiant is either Gallic, Helvetian or Roman and that the worship of the gods is in the Gallic and Roman versions. Celtic tradition of domestic worship is attested and also the persistence of Gallic and Roman ancestor worship.
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Roman sculptures, mosaics and paintings present portraits of elderly women in different situations. In the theatre, the old woman is traditionally surly, talkative or a witch. In an everyday context, she may be portrayed in a similar... more
Roman sculptures, mosaics and paintings present portraits of elderly women in different situations. In the theatre, the old woman is traditionally surly, talkative or a witch. In an everyday context, she may be portrayed in a similar attitude, but she is also and perhaps above all the mother of a lineage, the woman of experience, especially in funerary art. In the first half of the 2nd century AD, a phenomenon started at the imperial court in Rome and developed in the provinces: portraits of elderly women came into being under the influence of court ladies of certain longevity, such as Domitia, Domitian's wife and murderer, who survived him for almost fifty years. This is an opportunity to question the status of the elderly woman in Roman society and her transcription on public and private monuments.
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After more than four years of archaeometric research on Roman wall painting in Switzerland, four sites are here presented, the archaeological problematic being: pigment identification, technical application and origins. The colours used... more
After more than four years of archaeometric research on Roman wall painting in Switzerland, four sites are here presented, the archaeological problematic being: pigment identification, technical application and origins. The colours used became better known with time, and they provide some indication about the workshop. Knowing of the technical application is very important to distinguish the painter and the epoch. For some pigment, like green for example, an answer concerning the origin is found. But the question about the means of commercial exchange and pigment application is still open. Also the exact period of certain pigments cannot yet be determined. The choice of the colours on the palette may only be better understood by means of further analysis on a larger number of samples.
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Discovered in 1937, an altar is said to have been dedicated to a local deity in the sanctuary of Isis in the ancient city of Lausanne.
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The painting discovered in the camp of Echzell on the German limes is now exhibited in the museum of Saalburg near Frankfurt, thanks to Mathilde Schleiermacher who studied, restored and published the painting. The attention given to the... more
The painting discovered in the camp of Echzell on the German limes is now exhibited in the museum of Saalburg near Frankfurt, thanks to Mathilde Schleiermacher who studied, restored and published the painting. The attention given to the iconographic program that she reveals raises questions about the choice of some pictures, especially those that are grouped on one of the narrow walls of the room. The analysis of each of the pictures, Theseus and the Minotaur, Hercules and Fortune, Daedalus and Icarus, invites us to reconsider the date proposed for the pictures, especially when considering the image of Hercules on the central picture. The image of Daedalus and the iconographic schemes chosen for each scene provide clues about the workshop and the event at the origin of the painting, not forgetting the military context of which such a program is part.
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Reflections on the white pigment in ancient Roman painting, from the definition of white to its physico-chemical analysis, its use in mural painting and in context, not forgetting the literary allusions made to it.
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From the second to the fourth century AD, about fifteen pavements reporting the scyrian version of the enrolment of Achilles meet in all the parts of the Empire, from Syria (Zeugma) to Hispania (Pedrosa), passing by Africa (El Jem),... more
From the second to the fourth century AD, about fifteen pavements reporting the scyrian version of the enrolment of Achilles meet in all the parts of the Empire, from Syria (Zeugma) to Hispania (Pedrosa), passing by Africa (El Jem), Mauritania (Cherchel, Tipasa), Gallia (Saint-Romain-en-Gal) or Germania (Orbe). First, these pavements are integrated in the architectural context of the houses. Then, we search to understand why and how this myth was obviously anchored deeply in the collective memory of the Roman elites to give rise to such joint compositions everywhere in the Empire. But we also see how a so rigid canvas could even so incorporate local influences. Finally, we explore the pictorial context surrounding the pavements.
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The room said « of the Ramp » on the Palatine is surmounted by a vault punctuated by thunderbolts above a circulation area which must have, initially, connected the House of Augustus with the Temple of Apollo. On the middle zone of the... more
The room said « of the Ramp » on the Palatine is surmounted by a vault punctuated by thunderbolts above a circulation area which must have, initially, connected the House of Augustus with the Temple of Apollo. On the middle zone of the south wall of the room, two large geometric designs have been engraved, one composed of a triangle drawn inside a circle, the other of a complex system of circles and lines drawn with the help of a compass and a ruler, creating a rosette. Both drawings are not only simple exercises like those one can see in Pompeii, Ostia or in Narbonne. The place where they were incised, the proportions and precision they present encourage us to see them as a geometric drawing in space recalling the principles set out in the De architectura of Vitruvius in the 30’s BCE.
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The workshop focuses on the relational dynamic between “masters” and “natives”, reconsidering the role of subaltern actors – guides, interprets, diggers, etc. – whom recent postcolonial studies tended to ignore.
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From 20 to 21 April 2018, the colloquium «Roman curtain walls in their urbanistic context» took place in Avenches (Switzerland). Around 30 international specialists discussed the current excavation and evaluation results. The twelve... more
From 20 to 21 April 2018, the colloquium «Roman curtain walls in their urbanistic context» took place in Avenches (Switzerland). Around 30 international specialists discussed the current excavation and evaluation results. The twelve essays presented in the recently published proceedings reflect the city walls presented and discussed. The present collection of essays is based on the epigraphic starting point and the discussion of the Late Latène precursors in Gaul lay the foundation for this collection. For the monuments of the 1st to the late 2nd century AD, thanks to the inclusion of current excavation and evaluation results and all available sources, it is possible to make far-reaching statements on the urban integration of the fortifications. The examination of the architecture of the gates, towers or the wall itself shows, with a view to the military installations of the same period, that civilian or military fortifications always are always to be seen in interaction with each other. The seemingly immense effort required to build a curtain wall seems small against the background of its proven efficiency and comparatively inexpensive construction. If one takes into account the great social and political benefits that such a wall could have, it does not seem out of place to speak - as in the synthesis - of «ideal buildings».