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Workers eating their packed lunch - Alger, 2022

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A woman stands in the doorway near a wall with hand-painted art. Hand painting, “vernacular art and architecture in West Africa” is extremely popular, especially in Ghana, Nigeria, Burkina Faso and Mauritania, 1987-88 © Margaret Courtney-Clarke

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Marrakech, photo by Leila Alaoui

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Hallo! (à Ghardaïa) https://www.instagram.com/p/CSlVQg_tCR5/?utm_medium=tumblr

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1949/1951 - Young woman from Zigey, Tchad.

Gérard Becquet

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Seen in Nouakchott, Mauritania by Diane Audrey Ngako

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Algeria. Amazigh kabyle woman decorating her freshly made earthenware vase, Ouadhias, Tizi Ouzou, 1935/1937.

Thérèse Rivière.

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Algeria

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Types Algériens, Femme Mauresque d'Oran

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Algeria. Targui women from Tamanrasset, South Algeria, 1933.

Jean Lebaudy. 

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Mausoleum A

Ghirza, Libya

4th century CE

This monument, which may also be called the tomb of Marchius Nasif and Marchia Mathlich, faces east, to the rising sun and more or less to the town itself. Like the other mausoleums, it is built on a high platform and surrounded by columns that are obviously inspired by classical styles (Ionian columns, in this case, combined with a Doric architrave).

 Mausoleum A is unique because it has two funeral rooms. On stylistic grounds and the evidence of ceramics, it can be dated to the early fourth century.

Above the door, which one can still reach by the stairs to the right, was a simple frieze, in which a Latin inscription was included. To the left and right of the inscription were depictions of two eagles carrying hares. They may represent the ascension to heaven of the soul. The inscription, now in the museum of Lepcis Magna, mentions the two deceased (Marchius Nasif and Marchia Mathlich), for whom their sons Marchius Nimira and Fydel have erected the monument.

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Ancient Roman gold, pearl, emerald, and sapphire bracelet, dating to the 3rd century CE. The bracelet was found in Tunis.

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Arch of Marcus Aurelius

Oea (Tripoli), Libya

165 CE

It is a quadrifrons trumphal arch.

The corners of the monument are directed to the four points of the compass, and the four façades are directed to the northwest, northeast, southeast. and southwest. The northwest face is the best preserved. You must imagine a gilded statue of the emperors in a chariot on top if it. All this is very common.

 The decoration itself, however, is not, because it contains mythological symbols, like these griffins (winged lions with the head of an eagle). You will not find them in the spandrels of the Arch of Titus, the Arch of Septimius Severus, or the Arch of Constantine in Rome. Here, the griffins are shown in front of Lucius Verus’ triumphal chariot.

Opposite the emperor, there are sphinxes, this time in front of the chariot of the goddess Roma, the personification of the eternal city. The inscription mentions that the monument was erected by a local magistrate (IIvir) named Gaius Calpurnius Celsus, dedicated to the emperors, and that the proconsul of Africa, Sergius Cornelius Scipio Salvidienus, and his legatus Vittedius Marcellus were also involved. 

The main arches were to the northeast and southwest. In the niches, statues must have stood; one of them was found and tentatively identified with Lucius Verus. This suggests that there must have been a statue of Marcus Aurelius as well; the other two cannot be identified. Above the four statues were four medallions, which probably represented the four seasons. On the arch’s southeast façade, prisoners of war were shown. 

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Amphitheatre of El Jem

El Jem (Thysdrus), Tunisia

238 CE

35,000 spectators

The amphitheatre is built of stone blocks, located on a flat ground, and is exceptionally well conserved. The amphitheatre of El Jem is the third amphitheatre built on the same place. The belief is that it was constructed by the local proconsul Gordian, who became the emperor as Gordian III.