DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18096#0368
294
Roman Africa
the Septum Venationis, as it is written, and, consequently, two
hounds are represented giving chase to three gazelles. In the
angles are circular basins in which are fish and aquatic plants,
and in a corner appears the word Pecuarilocus, showing that
Pompeianus, much as he loved horses and hunting, had tastes
also for cattle and the products of the soil. The mosaic on the
floor of the atrium is divided into three compartments by a rich
framework of flowers, the central one giving a view of the house,
having several stories and numerous windows. Attached to
the house is a tower surmounted by a balcony or awning,
designated in the mosaic as Saltuarii Janus. The roofs of
the buildings are covered with square red tiles in patterns, and
chimneys or pipes appear above the ridge There are indi-
cations also of chimneys above the parapet of the principal
pavilion. In the lower divisions Pompeianus himself is de-
picted as directing a stag-hunt, and the huntsmen, Cresconius,
Argentium, Cessonius, and Neambas—the first mounted on the
horse Vernacel—with lances in hand, are in full pursuit, preceded
by the dogs Fidelis and Castus. In attendance are Liber and
Diaz, the latter from Iberia, but both having their mantles
thrown back, Spanish fashion, over the left shoulder. The two
end compartments of the design seem to indicate a representa-
tion of the close of the day's sport. The chase is over, and
the huntsmen are invited to repose, conjuring up visions of
attendant houris clothed in gorgeous raiment. Such might
have been the intention of the artist in delineating the forms
and features of six Asiatic ladies with bejewelled arms and
necks, quaintly attired, and with an extravagance of head-dress
that would puzzle a coiffeur of our own times. According to
M. Tissot, these indescribable females may have been pictorial
representations of Numidian female divinities. This remarkable
series of mosaics gives some insight into Roman life and
customs in North Africa at the close of the fourth century,
and bears striking testimony to the peaceful condition of the
country in the declining years of the Empire. Sixteen centuries
have passed since Pompeianus presided over this lordly retreat,
as a patron of the turf and a lover of sport in all its aspects.
A few years after his decease the disturbing influence of the
invading Vandals must have rendered the maintenance of such
an establishment an absolute impossibility, and one can picture
Roman Africa
the Septum Venationis, as it is written, and, consequently, two
hounds are represented giving chase to three gazelles. In the
angles are circular basins in which are fish and aquatic plants,
and in a corner appears the word Pecuarilocus, showing that
Pompeianus, much as he loved horses and hunting, had tastes
also for cattle and the products of the soil. The mosaic on the
floor of the atrium is divided into three compartments by a rich
framework of flowers, the central one giving a view of the house,
having several stories and numerous windows. Attached to
the house is a tower surmounted by a balcony or awning,
designated in the mosaic as Saltuarii Janus. The roofs of
the buildings are covered with square red tiles in patterns, and
chimneys or pipes appear above the ridge There are indi-
cations also of chimneys above the parapet of the principal
pavilion. In the lower divisions Pompeianus himself is de-
picted as directing a stag-hunt, and the huntsmen, Cresconius,
Argentium, Cessonius, and Neambas—the first mounted on the
horse Vernacel—with lances in hand, are in full pursuit, preceded
by the dogs Fidelis and Castus. In attendance are Liber and
Diaz, the latter from Iberia, but both having their mantles
thrown back, Spanish fashion, over the left shoulder. The two
end compartments of the design seem to indicate a representa-
tion of the close of the day's sport. The chase is over, and
the huntsmen are invited to repose, conjuring up visions of
attendant houris clothed in gorgeous raiment. Such might
have been the intention of the artist in delineating the forms
and features of six Asiatic ladies with bejewelled arms and
necks, quaintly attired, and with an extravagance of head-dress
that would puzzle a coiffeur of our own times. According to
M. Tissot, these indescribable females may have been pictorial
representations of Numidian female divinities. This remarkable
series of mosaics gives some insight into Roman life and
customs in North Africa at the close of the fourth century,
and bears striking testimony to the peaceful condition of the
country in the declining years of the Empire. Sixteen centuries
have passed since Pompeianus presided over this lordly retreat,
as a patron of the turf and a lover of sport in all its aspects.
A few years after his decease the disturbing influence of the
invading Vandals must have rendered the maintenance of such
an establishment an absolute impossibility, and one can picture