Resumé of dissertation: Repertory of Christian-antique sarcophagi vol. 4: Iberian Peninsula and Marocco
The paper is in the process of doctoral examination procedure and is an addition to the series of the volumes of repertory. It is concerned with the geographical area of Hispania in Late Antiquity as well as the Mauretania Tingitana as connected unities of culture. The research project which was sponsored by the DFG was carried out between 01/2013 and 01/2015 in Madrid (Deutsches Archäologisches Institut).
The submitted doctoral thesis includes an extensive catalogue section as in volumes 1 to 3. It provides information about dimensions, material, provenance, a short bibliography, an iconographic and stylistic description and information about the date and provenience of each object. On different expeditions through the geographical area, 153 sarcophagi and fragments relevant to the repertory were sighted and documented. Not only pieces with an obvious Christian iconography were considered but also those objects that were produced in a phase of transition between pagan and Christian sarcophagi sculpture. These were listed in a separate chapter covering a ?neutral? iconography where their interpretation is not clear within the Christian context. At the end of the project a compilation was provided which includes a catalogue of all sculptures of the Christian sarcophagi in Hispania in Late Antiquity and follows the conception of the repertory. It adds all changes and improvements since the last publications of 1954 and 1975: information about dimensions, materials and positions are up-to-date and new discoveries could be added to the known inventory. In the course of the official journeys, a comprehensive data bank with graphical material has been developed, enabling future users to study all the details.
The collection of materials is supplemented with a commentary fitting for a PhD thesis. This part goes into detail on the question of the provenience of the objects. In order to do this, the objects which are sorted according to their depository in the catalogue, are re-grouped here according to their (workshop-)groups and discussed in depth. Especially the cultural contacts between Hispania in Late Antiquity and the neighboring provinces are considered here. The target was to develop a model which shows the aspect of mobility from imagery on the one hand and material and qualified employees on the other. It questions the primacy of imports from the roman city and the dichotomy of those pieces and local work which, until now, has always been presumed. This provides the basis for a discussion of the provenience using an appropriate methodology.
Girona S. Feliu
Villanova de Lourenzá