By Miguel John Versluys

This archaeological examine investigates the that means of the Egyptian and egyptianising artefacts which were preserved from the Roman global in several ways.
Its aspect of departure is a close research at the so-called Nilotic scenes or Nilotic landscapes. The publication provides a entire and illustrated catalogue of the style that used to be well known all over the Mediterranean from the Hellenistic interval to the Christian period in addition to a contextualisation and interpretation.
Drawing at the conclusions therefore reached the total crew of Aegyptiaca Romana is as a result studied. in response to a normal evaluate of this fabric within the Roman international and, in addition, a case-study of the Aegyptiaca from the town of Rome the several meanings of this cultural phenomenon are mapped. including different Egyptian deities well known within the Roman global, the goddess Isis performs an immense function during this discussion.
Aegyptiaca Romana, between them the Nilotic scenes, are a part of the mirrored image of the Roman perspective in the direction of and concepts on Egypt, Egyptian tradition and the East. The concluding a part of the booklet illustrates and attempts to give an explanation for this Roman discourse on Egypt.

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Additional info for Aegyptiaca Romana: Nilotic Scenes and the Roman View of Egypt

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In general, I have endeavoured to mention the first (excavation) publication and subsequently only those publications which actually have something relevant to say about the Nilotic scene or by which the picture is known, and to the more synthesising articles mentioned in the status quaestionis. If a recent publication is available with a good bibliography on the Nilotic scene, this will be referred to with the indication 'with further previous literature'. Sometimes a context has preserved more than one Nilotic scene.

Alf6ldi, Die alexandrinischen Gatter und die Vota Publica, JAC 8-9 (19651966) 53-87, 62. 84 Non vidi. P. , 19731 74). Only Tammisto 1997 uses this work. 30 PART I: INTRODUCTION ter 85 • Other Nilotic landscapes are advanced as parallels but unfortunately the author does not express an opinion on the meaning of the genre on the basis of the overview. In the concluding interpretation, the Kenchreai panels are linked with the Isis cult. Many comments on Pompeian Nilotic scenes can be found in an article by Whitehouse, in which the painted Nilotic landscape on the walls of the triclinium in the so-called praedia of Julia Felix in Pompeii is reconstructed and discussed B6 • Whitehouse observes that this wallfilling representation is an exception, as a rule Nilotic scenes occur in a more subordinate role as small panels on walls.

The life-giving flood of the Nile which provided Egypt's fertility, caused amazement throughout Antiquity. The Nile flood was a unique and much discussed phenomenon in the ancient Mediterranean world: while everywhere the land was dry and infertile and all rivers had reached their lowest level, the Nile flooded, thereby providing a period offestivity and abundance 104. We are therefore not dealing with images of Egypt primarily testifying to a cultural or scientific interest. A comparison with the depiction of the country of the Nile at the beginning of the 19th century may perhaps clarify this distinction.

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