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Papers by Agneta Freccero

Anatolia antiqua, Nov 30, 2021

The study presented in this database concerns plasters used for wall decorations in Pompeii. Earl... more The study presented in this database concerns plasters used for wall decorations in Pompeii. Earlier experiences in the field showed that plasters compositions change over time. The hypothesis for the study was that there is a connection between the typology and the relative chronology in which the plasters appear on the walls, and that these factors are related not only in single houses or quarters but over the site. The variations were assumed to be related to technology, craftsmanship and fashion. Focus has been set on materials and styles. The database has three sections: Houses, Samples and Types. The types are sorted according to the system of types which is 0 (Zero), which contains the earliest plasters identified, the chronologically namned A-H and the additional X, a group that contains other kinds of materials, such as cocciopesto, modern restoration materials, or waterproof plaster, just to mention some.

Changing Ideals in Conservation, 2008

Ancient artist's materials in general and beeswax in particular are at focus in the present c... more Ancient artist's materials in general and beeswax in particular are at focus in the present cases study. The encaustic painting techniques used for some Fayum portraits, painted by artists during the Roman imperial period in Egypt and now in the Nationalmuseum in Stockholm, have been investigated. Observations of all the portraits in the collection have been made, with the main objectives to define their state of preservation, observed as the material stability of the paintings, to make a definition of material used, further to make an attempt at defining the provenenca of the paintings, and to suggest a new dating but also to describes the cultural contezt in which these portraits were produced. The initial investigation and the stylictic analyses include 27 objects, i.e. the total number of objects of this kind in the museum. Eight of the pictures have been studied and analysed in depth.

Anatolia Antiqua, 2014

La mission Labraunda 2013 s’est deroulee du 05 aout au 27 septembre 2013. La date de debut, initi... more La mission Labraunda 2013 s’est deroulee du 05 aout au 27 septembre 2013. La date de debut, initialement prevue le 22 juillet, a du etre reportee a deux reprises suite a des difficultes administratives. Les operations 2013 se sont deroulees sous l’egide du Musee archeologique de Milas, en cette periode de transition de la direction du site, et nous sommes particulierement redevable a Mr Ali Sinan Ozbey, directeur du Musee, et a son representant Suleyman Ozgen pour l’aide et le soutien qu’ils ...

Four statues, three togati and one palliata placed on the ground at regular intervals along the w... more Four statues, three togati and one palliata placed on the ground at regular intervals along the west wall in the courtyard, are the focus of this study. 1 The statures are 17 th century creations in white marble that include at least one large fragment of a Roman original with later additions. Modern inscriptions associate the togati with famous Roman citizens while the inscription on the base of the palliata may be antique. These works of art were not part of the original 17 th century setting in the palace. Incorporated in the Lancellotti collection at the beginning of the 19 th century, they were kept in storage until around 1970 when they were finally exhibited along the west wall of the courtyard. The original function of this kind of Roman portrait and its role in 17 th century settings and the present display are discussed.

Anatolia Antiqua, 2018

Un thymiaterion din necropola de la Labraunda. Relaţia dintre obiectul ceramic şi monumentul fune... more Un thymiaterion din necropola de la Labraunda. Relaţia dintre obiectul ceramic şi monumentul funerar: fantezie sau reflex al istoriei locale? (Un thymiaterion de la nécropole de Labraunda. Relation entre l'objet céramique et le monument funéraire : fantaisie ou reflet de l'histoire locale)", Institut d'Archéologie "Vasile Pârvan", Bucarest. 03/2017 : Olivier Henry, "Sanctuaire et pouvoir. Nouvelles pistes de réflexion à partir des recherches archéologiques récentes sur le site de Labraunda en Carie", Académie des Inscriptions et Belles Lettres, Paris. 03/2017 : Olivier Henry, "Un personnage fragmenté. La figure d'Hekatomnos, satrape de l'Empire perse et dynaste carien", ENS, Paris.

Opuscula. Annual of the Swedish Institutes at Athens and Rome, 2014

This article is divided into two parts. In the first part, preliminary reports on the archaeologi... more This article is divided into two parts. In the first part, preliminary reports on the archaeological work conducted at the sanctuary during the years 2012 and 2013 is presented, and in the second part, two conservation projects are discussed. The first part includes a description of the excavations at the Split Rock by Lars Karlsson, an account of the excavations on the slope of the Monumental Tomb, a description of the work at the Akropolis Fortress gate by Baptiste Vergnaud, and a synopsis of the work at the M-Building. The second part starts with a report on the preparations for the stabilization of Andron A and continues with an account of the last two years of marble conservation by Agneta Freccero. The final report on the Exedra of Demetrios on the Temple Terrace will be presented separately in the Appendix by Fredrik Tobin. A new drawing by Jesper Blid Kullberg, presenting a restored view of the sanctuary at the beginning of the 4th century AD, is also published here.

APT Bulletin, 2003

Det här verket har digitaliserats vid Göteborgs universitetsbibliotek och är fritt att använda. A... more Det här verket har digitaliserats vid Göteborgs universitetsbibliotek och är fritt att använda. Alla tryckta texter är OCR-tolkade till maskinläsbar text. Det betyder att du kan söka och kopiera texten från dokumentet. Vissa äldre dokument med dåligt tryck kan vara svåra att OCR-tolka korrekt vilket medför att den OCR-tolkade texten kan innehålla fel och därför bör man visuellt jämföra med verkets bilder för att avgöra vad som är riktigt. This work has been digitized at Gothenburg University Library and is free to use. All printed texts have been OCR-processed and converted to machine readable text. This means that you can search and copy text from the document. Some early printed books are hard to OCR-process correctly and the text may contain errors, so one should always visually compare it with the images to determine what is correct.

Four statues, three togati and one palliata placed on the ground at regular intervals along the w... more Four statues, three togati and one palliata placed on the ground at regular intervals along the west wall in the courtyard, are the focus of this study.1 The statures are 17th century creations in white marble that include at least one large fragment of a Roman original with later additions. Modern inscriptions associate the togati with famous Roman citizens while the inscription on the base of the palliata may be antique. These works of art were not part of the original 17th century setting in the palace. Incorporated in the Lancellotti collection at the beginning of the 19th century, they were kept in storage until around 1970 when they were finally exhibited along the west wall of the courtyard. The original function of this kind of Roman portrait and its role in 17th century settings and the present display are discussed.

Introduction What is the provenance of the marble used at Labraunda? According to tradition, marb... more Introduction What is the provenance of the marble used at Labraunda? According to tradition, marble was supplied by quarries at Sodradag at the feet of which Mylasa, the ancient capital of Karia, was laid out. Strabo reports that Mylasa was known for its many buildings of white marble, and he suggests that such marble might have been used at Labraunda too. Antique quarries identified at the southern slopes of Mount Sodra contribute to the proposition that Sodra provided marble for Labraunda. ...

CLARA

Reconstructions of ancient polychromy on statuary are often the result of meticulous scientific r... more Reconstructions of ancient polychromy on statuary are often the result of meticulous scientific research: pigments and barely visible remnants of decoration are identified. A pigment, however, does not provide evidence of the character of the paint layer, i.e. whether it was opaque or translucent, matte or glossy. As no intact, original paint layers remain, there are many uncertainties regarding paints and painting techniques. What can be seen on marble are faint traces of paint. In the present paper I will draw on my study of the so-called Harpy monument: the questions posed, the methods applied, the series of tests that were conducted and my suggestion of a possible polychromy. My starting point was the idea that monuments send messages to the viewer: the size of the object and the materials with which it was made indicate the commissioner’s social and economic status. Figures and myths illustrate the cultural context, and they reflect values cherished by the commissioner. Colours...

Opuscula Annual of the Swedish Institutes at Athens and Rome, 2014

by Olivier Henry, Jesper Blid, Christophe Bost, Naomi Carless Unwin, Görkem Çimen, Ayse Eyigor, Agneta Freccero, Axel Frejman, Elisabeth Goussard, Nicolas Lamare, Frédérique Marchand-Beaulieu, Anna M Sitz, Ivana (Stojanović) Dimitrijević, and Baptiste Vergnaud

Anatolia Antiqua, 2018

in Anatolia Antiqua XXVI, 2018, 209-320.

Anatolia antiqua, Nov 30, 2021

Changing Ideals in Conservation, 2008

Anatolia Antiqua, 2014

Anatolia Antiqua, 2018

Opuscula. Annual of the Swedish Institutes at Athens and Rome, 2014

APT Bulletin, 2003

Four statues, three togati and one palliata placed on the ground at regular intervals along the w... more Four statues, three togati and one palliata placed on the ground at regular intervals along the west wall in the courtyard, are the focus of this study.1 The statures are 17th century creations in white marble that include at least one large fragment of a Roman original with later additions. Modern inscriptions associate the togati with famous Roman citizens while the inscription on the base of the palliata may be antique. These works of art were not part of the original 17th century setting in the palace. Incorporated in the Lancellotti collection at the beginning of the 19th century, they were kept in storage until around 1970 when they were finally exhibited along the west wall of the courtyard. The original function of this kind of Roman portrait and its role in 17th century settings and the present display are discussed.

CLARA

Opuscula Annual of the Swedish Institutes at Athens and Rome, 2014

Anatolia Antiqua, 2018

in Anatolia Antiqua XXVI, 2018, 209-320.