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                  <text>domestic and public sacred spaces and piety of traditional Roman religion, Christians, and Jews</text>
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                <text> Oleg Grabar, Early Islamic Art, 650-1100</text>
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                <text>Aerial Reconstruction of Ss. Giovanni e Paolo, With Positioning of Staircase Visible</text>
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                <text>This is the floor plan of Ss. Giovanni e Paolo, showing the improvised nature of the staircase landing and its overall positioning within the domus.</text>
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                <text>Ana Munk</text>
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                <text>Ana Munk. "Domestic Piety in Fourth Century Rome: A Relic Shrine Beneath the Church of Ss. Giovanni e Paolo." &lt;em&gt;Hortus Artium Medievalium&lt;/em&gt; 15, no. 1. 2009.</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Reconstruction by Ana Munk; permission granted for non-commercial, educational purposes</text>
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                <text>al-Aqsa Mosque in Jerusalem</text>
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                <text>Andrew Shiva</text>
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                <text>14 November 2013</text>
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                <text>Creative Commons, with creator being attributed.</text>
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        <name>Islam</name>
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        <name>Temple Mount</name>
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              <name>Creator</name>
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                  <text>Joel G. Cerimele</text>
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                <text>Apis Bull Mosaic, Ss. Giovanni e Paolo, Caelian Hill, Rome</text>
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                <text>Like the Mosaic of the Four Seasons, this mosaic depicting most likely the popular cult of the Romanized Apis Bull was not whitewashed when Pammachius' family gained the household. Quite popular in the 4th century, and part of Rome's many acceptable cults, Munk plausibly suggests the senator left the image up as a concession to his pagan uncle Lampadius. As a venerable cult image, the Apis Bull underscores, more than the image of the Four Seasons even, the complexities of private devotion in late antique Rome. Apparently a devoutly Christian aristocratic couple felt comfortable with this concession in their own home.</text>
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                <text>Ana Munk</text>
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                <text>Ana Munk. "Domestic Piety in Fourth Century Rome: A Relic Shrine Beneath the Church of Ss. Giovanni e Paolo." &lt;em&gt;Hortus Artium Medievalium&lt;/em&gt; 15, no. 1. 2009.</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Photo taken by Ana Munk; permission granted for non-commercial, educative use</text>
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                  <text>Sacred</text>
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                  <text>Joel G. Cerimele</text>
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                <text>Apotropaic Amulet from Ostia, Second to Fourth Century</text>
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                <text>Doug Boin</text>
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                <text>Boin, Doug. &lt;em&gt;Ostia in Late Antiquity&lt;/em&gt;. New York: Cambridge University Press, 2016.</text>
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                <text>2016</text>
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                <text>Dated somewhere between the second and fourth centuries, this apotropaic amulet from Ostia exemplifies the eclectic, pragmatic, and individual nature of late antique devotion. The amulet would be worn either as a pendant or around the neck. The amulet was inscribed with an invocation of "Solomon," borrowed Jewish legend and having become known among most in the Mediterranean as a powerful magician. Solomon may or may not be represented in the figure, carrying a wand or staff, placed alongside a healing caduceus. However, the back clearly shows three priestesses of Hecate surrounded by stars. They are either positively associated with serpents as symbols of healing and fertility or apotropaically trampling them. On either side are stylized constellations. &lt;br /&gt;&lt;br /&gt;The wearer might not have been aware of all the cultural origins of the symbols, which had by this time entered a magical&amp;nbsp;&lt;em&gt;koine&lt;/em&gt;. "Solomon" might have been included merely for his magical associations and associations with foreignness par excellence. Mere invocation of an exotic Jewish feel possessed imaginative power. Hence these signs from different cultures could be recombined into a system of magical power. &lt;br /&gt;&lt;br /&gt;For the textual equivalent of such pragmatic eclecticism in late antiquity in spells and invocations, see the collection of so-called Papyri Graecae Magicae (PGM), or "Greek Magical Papyri," which date widely between the second century BCE and fifth century CE. These, like the Ostian amulet, include free associations of gods and concepts from many Mediterranean cultures, all in the Hellenistic milieu, including Mesopotamia, Palestine, Egypt, and Greece.&lt;br /&gt;&lt;br /&gt;For further secondary discussion and translation, given that textual sources are largely beyond the purview of this website, see&amp;nbsp;&lt;a href="https://books.google.com/books?id=K0hCj5u3HNQC&amp;amp;printsec=frontcover&amp;amp;dq=Greek+Magical+Papyri&amp;amp;hl=en&amp;amp;sa=X&amp;amp;ved=0ahUKEwjb3NrkrvTXAhVH7oMKHd4IC_QQ6wEIKTAA#v=onepage&amp;amp;q=Greek%20Magical%20Papyri&amp;amp;f=false" title="Greek Magical Papyri in Translation" target="_blank"&gt;&lt;em&gt;The Greek Magical Papyri in Translation, Including the Demotic Spells&lt;/em&gt;, edited by Hans Dieter Betz. Chicago: University of Chicago Press, 1986&lt;/a&gt;.</text>
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                <text>Ana Munk. "Domestic Piety in Fourth Century Rome: A Relic Shrine Beneath the Church of Ss. Giovanni e Paolo." &lt;em&gt;Hortus Artium Medievalium&lt;/em&gt; 15, no. 1. 2009.</text>
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                <text>Photo taken by Ana Munk; non-commercial use permission granted</text>
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                <text>This map shows all fifteen Mithraea, archaeologically attested thus far. Eight date to the third century, four early in that century and four late.  Devotion to Mithras coexisted among Ostians with the imperial cult and traditional Roman gods.</text>
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                <text>plotted by Doug Boin; based on map of Ostia from Archivio Disegni, Ostia Antica 11689</text>
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                <text>Commissioned in 360 by Constantine, the Hagia Eirene could be said to physically represent the Christian side of his policy of toleration alongside the traditionally Roman Capitolium.</text>
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