Reuse of Ancient Sculptures Research Papers (original) (raw)

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  • Romanesque Art, Medieval Art, Medieval Art History, Romanesque Sculpture
• • by Luigi Sperti
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  • History of Venice, Reuse of Ancient Sculptures
• • by Ludovico Rebaudo
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  • Roman Sculpture, Adaptive reuse, Interior Architecture, Sustainability, Reuse of Ancient Sculptures, Reuse of Ancient Material
• • by Ludovico Rebaudo
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  • Tetrarchy, Late Roman Sculpture, Reuse of Ancient Sculptures, Treasure of San Marco - Venice
• • by Clario Di Fabio
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  • Medieval Art, Medieval Mediterranean Art and Architecture, Archeologia medievale, History of Genoa
• • by Fabrizio Federici
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  • Rome, City of, History of Sculpture, Sculpture, Restoration
• • by Luigi Sperti
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  • History of the Mediterranean, History of Venice, Reuse of Ancient Sculptures

Note de septembre 2016 : Il y a au moins une erreur. Le bas-relief pour lequel je propose une identification à Antonia Minor (cela ne reste qu'une hypothèse bien évidemment) apparaît bien dans le Nesp sur Lyon, sans photo ni description :... more

• • by Djamila Fellague
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  • Roman Gaul, Roman Sculpture, Vienna, Lyon

In the warehouses of the Regional Archaeological Museum "Paolo Orsi" Syracuse is preserved a male head, very fragmentary, of white marble probably Pentelic, showing clear signs of rework. In the primary stage the head belonged to a... more

In the warehouses of the Regional Archaeological Museum "Paolo Orsi" Syracuse is preserved a male head, very fragmentary, of white marble probably Pentelic, showing clear signs of rework. In the primary stage the head belonged to a gravestone of attic type in pseudo-architectural structure, datable to the middle decades of the fourth century B.C. The transformation from a funerary relief to a portrait-head occurred reworking parts and adding specific attributes (royal insignia): two small bull horns, the mitra on his forehead and a radiate diadem. The accumulation of the three attributes refers to the iconographic context of the Ptolemaic dynasty, in particular recalls the portraits of Ptolemy III Euergetes, suggesting a chronology of reuse at maximum intensity of relations between Syracuse and Egypt: in the middle decades of the reign of Hiero II.

• • by Annarena Ambrogi
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  • Classical Attic Funerary Reliefs, Reuse of Ancient Sculptures, Ptolemaic Portraiture

Portraits of a group of thirty kosmētai, public philosophy teachers in Athens, were found among the fill in the Valerian Wall by the Roman Agora in Athens in 1861. From the Hellenistic period onwards, the kosmētai had taught the... more

Portraits of a group of thirty kosmētai, public philosophy teachers in Athens, were found among the fill in the Valerian Wall by the Roman Agora in Athens in 1861. From the Hellenistic period onwards, the kosmētai had taught the philosophy of Aristotle, though with time, the teaching became more varied. In the first century AD the number of students had a peak of three hundred a year. In the third century, when the portraits were buried in the Valerian Wall, the number of students had decreased, much as it had in other pedagogic institutions. The activity of the kosmētai ended about AD 280, when the Valerian Wall was built. The dating of the Valerian Wall is based on coins with the portrait of emperor Probus (AD 276-282), which have been found among the building debris. What we know about the kosmētai from the written sources leads to several questions, such as why the kosmētai portraits were used as building material at a time when the identity of the sitters could still be remembered. Why were some of the portraits recut into those of other individuals shortly before they were put into the wall? Some of the kosmētai portraits were produced, recut and discarded during the span of a few decades. This paper discusses the portraits of the kosmētai and their significance in Roman Athens, and explores questions related to the disposal of them, as well as to context, style, workshop and patronage.

• • by Marina Prusac-Lindhagen
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  • Ancient Greek and Roman Art, Greek and Roman Portraiture, Late Roman Athens, Reuse of Ancient Sculptures
• • by Luigi Sperti
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  • Roman Architecture, Reuse of Ancient Sculptures, San Marco Venice