Roman Sculpture Research Papers - Academia.edu (original) (raw)

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- Roman Pottery, Roman Epigraphy, Roman Empire, Roman Sculpture
- by Giuseppina Legrottaglie
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- Iconography, Roman Sculpture
- by Gabriel de Bruyn
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- Roman North Africa (Archaeology), Roman Sculpture, Roman Emperors
- by Jutta Zerres
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- Archaeology, Bone and Antler, Roman Sculpture, Roman Small Finds

A unique group of sculpture from Early Christian Cyprus comes from the so-called Villa of Theseus, at Nea Paphos. The group comprises (at least) twenty sculptures of divinities and mythological figures, which range in date from the Hellenistic to the Late Roman periods. Their discovery with connection to late antique layers demonstrates the long-lasting importance of sculpture to the villa culture and confirms the empire-wide appreciation of local elites to the medium in late antique times. In this paper, the decoration of the Villa of Theseus will be re-assessed in order to efficiently envisage its sculptural environment, between the late fourth and late sixth centuries. Possibilities for the display and usage of the sculptures within the villa will be offered, while possible reasons for the selection of particular iconographical types will also be suggested, within the broader context of Nea Paphos.

- by Panayiotis Panayides
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- Architecture, Cyprus Studies, Late Antique Archaeology, Early Christianity
- by Michael Turner FSA FLS
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- History, Ancient History, Cultural History, Classical Archaeology
- by Panayiotis Panayides
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- Iconography, Cyprus Studies, Late Antique Archaeology, Early Christianity
- by laure Chevalier
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- Archaeology, Classical Archaeology, Roman Sculpture
- by Volker Michael Strocka
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- Roman Sculpture, Roman Archaeology

Imaging technologies are transforming the study and presentation of artefacts. The contributors to this volume are at the vanguard of applying developing technologies to cultural heritage, and their chapters discuss ways in which various techniques are being used for research, digital cataloguing, and public engagement. Eight chapters highlight diverse methods in imaging and presentation (e.g. photogrammetry, multispectral and hyperspectral imaging, structure-from-light, digital microscopy, 3D printing, and virtual and augmented reality) applied to objects of differing forms, size, media and cultural origin, including standing stones in pre-Columbian Nicaragua, Egyptian and Roman sculpture, Mesopotamian cylinder seals, and rock crystal vessels made in the early medieval Islamic world. Aimed at contributing to knowledge-transfer between sciences, humanities, and cultural heritage professionals, this volume offers updated, accessible accounts of digital imaging of objects for general and specialist audiences.

- by Rachel Wood
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- Archaeology, Art History, Photogrammetry, Fluorescence Spectroscopy

Nottingham Castle Museum & Galleries is home to a significant collection of sculptures, votive terracottas, and small finds from the Sanctuary of Diana Nemorensis at Lake Nemi in the Alban Hills.
In the Autumn Semester 2016/17 the Forschungsarchiv für antike Plastik (Research Archive of Ancient Sculpture) of the Department of Classical Archaeology at Cologne University (Dietrich Boschung, Caterina Parigi, Philipp Groß) conducted in collaboration with the Department of Classics at the University of Nottingham (Katharina Lorenz) and Nottingham Castle Museum & Galleries (Ann Inscker) a photo campaign to document all marble sculpture and architectural decorations in the Nottingham collection.
This project forms an important part of the current international efforts towards a comprehensive documentation, analysis, and interpretation of the finds from the Sanctuary, which are dispersed across museums in Italy, Britain, Denmark, and the USA. This paper provides a summary of the history of the Nottingham-Nemi collection, details the photographic work undertaken at Nemi, and outlines future research to be facilitated by these newly acquired photographs.

- by Caterina Parigi and +1
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- Classical Archaeology, Roman Sculpture, Lake Nemi, Sanctuaries in Ancient Rome and Italy

This volume is intended as a Gedenkschrift to celebrate the work and legacy of Dr Brian Dobson. The papers are provided by members of the Hadrianic Society, which Brian was instrumental in setting up over 40 years ago, and represent a range of Roman scholarship by current and former university professors, museum and post-excavation professionals, field archaeologists and non-professionals. The range of papers is indicative of the range of interests held within the Hadrianic Society and those of Brian himself, but focus on the Roman army and Roman frontiers, particularly Hadrian’s Wall.

- by Adam Parker and +4
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- Classical Archaeology, Roman Britain, Roman Army, Roman Epigraphy

The material evidence for the wax finish on ancient marble statues, known as ganosis, is scarce and controversial, although Greek and Latin sources describe the recipes and cultural value of this treatment. The surface treatment of a colossal Roman head from the Roman theatre of Dougga (Tunisia), dated to the end of the second century CE, is studied by a multi-analytical protocol (video-microscope, cross section, and time-of-flight secondary ion mass spectrometry of one sample). The results of this physico-chemical analysis and the comparison with ancient recipes, prove the use of ganosis on a Roman statue and explore, for the first time, the application of the recipes described in ancient sources. This result shows the potential of the Time-of-Flight Secondary Ion Mass Spectrometry analysis, detecting at the same time organic and inorganic materials and their stratigraphy, to study the ancient recipes.

- by Caroline Bouvier
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- Archaeology, Art, Cultural Heritage, Polychromy in Ancient Art
- by Antonio Peña
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- Roman Baetica, Roman Sculpture

Il libro studia l'edificio del culto imperiale recentemente individuato a Fano sulla base di vecchi scavi del 1899. Il monumento è costituito da una vasta sala con portico antistante, riccamente decorata di marmi policromi, con un ciclo statuario di cui si conservano le immagini dell'imperatore Claudio e del figlio Britannico. Lo studio è completato da una prima revisione dei monumenti del culto imperiale nel mondo romano da Augusto alla metà del I secolo d.C.

- by Sandro De Maria
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- Augusteum, Roman Sculpture, Roman Architecture, Scultura greca e romana

Ky botim, i shtypur në 2000 kopje, nuk është në shitje. Iu shpërndahet falas të gjithë të interesuarve që vizitojnë Muzeun Arkeologjik Apolloni deri në përfundim të rezervave. Fotografitë e publikuara në këtë botim janë origjinale dhe të... more

- by Renald Meta
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- Archaeology, Sculpture, Museology, Albania

Bei der erneuten Untersuchung der Marmorstatuen von Lucus Feroniae, die vor einigen Jahren begann, spielen die Kaiserporträts aus der prächtigen Villa der gens Volusia eine wichtige Rolle. Diese suburbane Familienvilla liegt ca. 20 km... more

Bei der erneuten Untersuchung der Marmorstatuen von Lucus Feroniae, die vor einigen
Jahren begann, spielen die Kaiserporträts aus der prächtigen Villa der gens Volusia
eine wichtige Rolle. Diese suburbane Familienvilla liegt ca. 20 km nördlich von Rom an
der antiken via Tiberina im Gebiet des heutigen Fiano Romano.

Dans un premier temps, je ne mettrai pas de pdf de l'article qui se rapporte aux découvertes de la nécropole fouillée près de la place E. Wernert (Lyon 5). Voici seulement en pièce jointe une photographie d'un sarcophage qui remploie une architrave-frise d'un mausolée et une liste de quelques mots-clefs : Lyon ; églises Saint-Just et Saint-Irénée ; paléochrétien ; remplois ; nécropole ; sarcophage ; mausolées antiques ; sanctuaire du culte impérial ; décor architectural ; sculpture ; griffons ; Méléagre ; stèle funéraire avec un portrait ; Eros sur un sarcophage.

- by Pilar León Alonso
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- Archaeology, Classical Archaeology, History of Sculpture, Classical Art

RESUMEN El artículo describe y realiza un primer estudio de las estructuras y los materiales de una villa romana recientemente excavada en Antequera. Entre ellos destacan el repertorio musivo y escultórico, de los que emerge la importancia del yacimiento.
SUMMARY The present article describes and attempts a first approach to the structures and materials from a recently discovered Roman Villa in Antequera. The Villa is particularly remarkable for its mosaics and sculptures, from which the importance of the site arises.

- by Bente Kiilerich
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- Classical Archaeology, Art History, Reception Studies, Art Theory

La grande colonnade double qui a été fouillée et restaurée au Sud de Tyr par les équipes de Maurice Chéhab, entre 1946 et 1975, était considérée comme une rue à portiques. Les nouveaux travaux conduits depuis 2008 montrent qu'il s'agit d'une longue salle couverte à trois nefs qui appartient au vaste complexe des bains protobyzantins que l'on reconnaît maintenant dans cette partie de la ville. On peut la définir comme une basilique thermale. Elle desservait les palestres est et ouest et avait les fonctions d'un frigidarium et d'un centre de sociabilité. C'était aussi un hall de présentation des statues et inscriptions anciennes qui conservaient, dans une ville chrétienne, leur caractère d'oeuvres d'art et témoignaient du glorieux passé et de la vie civique de la cité.

- by Pilar León Alonso
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- Archaeology, Classical Archaeology, History of Sculpture, Classical Art

Art historians and archaeologists have long been publishing visual recreations of the context of Roman sculpture that in turn allow modern viewers to imagine the spaces in which these objects were displayed. A very brief summary illustrates this point and shows the turn to using digital tools to accomplish this goal. e importance of creating and reus-ing open licensed digital content is emphasized. Doing so will allow many voices and perspectives to be represented in virtual digital worlds. An example of such work is given in the form of a very preliminary interactive and multiplayer plan of the House of the Faun at Pompeii. is resource uses open-licensed content and also free software tools, suggesting that as more content becomes available, more scholars, as well as students and others, will be able to explore the diversity of settings and people that existed in the Roman world.

Clearly related in appearance and associated together ever since their discovery, the near-life size bronze statues of Apollo and Diana from Pompeii have long been understood as a pair. The opportunity to examine both figures in close and wide-ranging detail – from comparing measurements at numerous points on their faces, through endoscopy and X-radiography, to the analysis of their bronze alloys - reveals a number of features never noted before, such as the void in the Apollo’s back, or the unusual method of affixing the eyes of both figures. Substantiating the many similarities between these two figures, we have a rare chance to document workshop practice and conclude that the Apollo and Diana were composed of elements that were both created specifically for them and others that appear to have already been in stock. This semi-serialized process is presented in the context of Roman bronze production, and supports the dating of the two figures to the late first century B.C./early first century A.D.

- by Erik Risser and +1
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- Classical Archaeology, Pompeii (Archaeology), Ancient Greek and Roman Art, Greek Sculpture

Reviews:
Hermathena 191 (2011 [2014]) 130–33 [U. Roth]; European Review of History 21.1 (2014) 114–16 [T. Sandon]; Sehepunkte 14.2 (2014) [A. Lepke]; Greece & Rome 60.1 (2013) 175 [B. Levick]; Journal of Roman Archaeology 26 (2013) 662–72 [M. Laird]; Journal of Roman Studies 103 (2013) 287 [T. Urbainczyk]; Revista de história 168 (2013) 452–57 [F.D. Joly]; Bryn Mawr Classical Review 2012.10.43 [J.C. Dumont]; Classical Journal 108 (2012/13) 239–46 [E. Meyer]; The Historian 76.3 (2014) 621–22 [J. Carlsen].

- by Sinclair W Bell and +1
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- Classical Archaeology, Roman History, Material Culture Studies, Slavery
- by Isabel Rodà de Llanza and +2
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- Archaeometry, Roman Sculpture, Ancient Roman Marbles

A little-known series of three immense spalliere on the Abduction of Helen (Walters Art Museum) can now be identified as Venetian, ca. 1468 for the wedding of Caterina Corner with the King of Cyprus, by Dario di Giovanni (Vasari's Dario da Treviso), and the reflection of a performance of theatricals on the abduction of Helen that would have accompanied the wedding, possibly the earliest known representation from the history of Venetian theater. The paper addresses the environment in Padua in the 1440s, and the school of Squarcione, where Dario and Mantegna were said to be rivals, the adaptations of Roman sculpture to be seen there including the source for the earliest classical nude Venus in Venetian art, as well as the importance of the myth of Trojan ancestry for Venice and the significance of the marriage for the Corner and for Venice. Other essays in the volume reveal important factors of the series original appearance including the remarkable use here of Pressbrokat for a domestic commission.

- by Joaneath A Spicer
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- Renaissance Studies, Renaissance Humanism, Italian Literature, Venetian History

For the travellers of the Grand Tour Turin is usually only a stop on the way to Rome. But the Journals of the few who decided to stay longer in the city, such as Edward Gibbon, Luigi Lanzi, Aubin-Louis Millin and the sculptor Antonio Canova, represent a major source of information on collections of objets d’arts including archaeological finds. This allows us to trace many objects so far considered missing or whose memory had been lost.

- by Anna Maria Riccomini
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- History of Collecting, Roman Sculpture, Grand Tour, Antonio Canova
- by Miloje Vasić and +1
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- Roman Religion, Late Antiquity, Roman Sculpture, Roman Art
- by Havva İşkan and +1
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- Archaeology, Classical Archaeology, Roman History, Anatolian Studies

What is the relationship between art history and its objects? Responding to Jaś Elsner’s claim that art-historical writing is inevitably ekphrastic, this essay revisits a site of intense disciplinary anxiety—Johann Joachim Winckelmann’s 1759 description of the Belvedere Torso and its revised version in his 1764 History of Ancient Art. Description has been cast as the “scapegoat” (or pharmakos) of Winckelmann’s art history—that which must be excised yet is fundamental to the operations of the whole. But although it often serves as a site of perceived excess and sublimation in his work, the ekphrastic elements of Winckelmann’s prose are nevertheless some of the most historicist aspects of his scholarship, shaped by a deep engagement with Greco-Roman ekphrastic literature. Description, in this sense, serves as a Platonic pharmakon—both affliction and cure for classical art history’s medial and ontological separation from its ruined and fragmented objects. In Winckelmann’s description of the torso, ekphrasis holds out the potential for the statue’s “completion” (Ergänzung). But understood according to eighteenth-century practices of visual restoration, this raises the question of whether such “whole-making” should be understood as proper or supplemental to the original image. What does it mean to “re-member” the Belvedere Torso through ekphrastic strategies drawn from antiquity itself? And what does this imply for our own textual (and pharmacological) mediations of the visual?

- by Verity Platt
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- Jacques Derrida, The Classical Tradition, Classical Art, Sculpture
- by Claudia Sarge and +1
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- Late Antique Archaeology, Roman Religion, Metallurgy, Roman Army
- by Sperindei Simona
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- History of Sculpture, Sculpture, XVII century, Roman Sculpture
- by Bente Kiilerich
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- Art History, Late Antique Archaeology, Byzantine Studies, Late Antiquity

Of the many interpretive puzzles presented by the so-called Anaglypha Traiani, a pair of Roman imperial reliefs today located in the Curia Julia, one special curiosity is their depiction of a tree, commonly identified as the Ficus Ruminalis, otherwise rendered naturalistically but shown as if growing directly out of a stone base or pedestal. Close interrogation of this feature yields two important avenues of investigation. The first is a matter of historical realism, concerning how living trees were incorporated into the Forum Romanum in real life and thus how we should conceive of the Ficus Ruminalis itself. The second pertains to the use of the base as a formal device, one which activates—in concert with multiple architectonic platforms across the two panels—a sophisticated interplay between the “living” and the “monumental.” This approach reveals a careful design in which the monuments in the reliefs’ foregrounds were selected on both symbolic and historical grounds. Ultimately, this analysis paves the way for a new reading of the two panels as a pair of distinct ideological visions, united within an overarching temporal framework that emphasizes continuity among Rome’s origins (the Ficus Ruminalis) and republican institutions (the Marsyas statue) and its imperial present, as well as between one emperor and the next.

- by Nicole G Brown
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- Classical Archaeology, Classics, Imperial Rome, Roman Sculpture