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Introduction
INTRODUCTION Background The present study concerns materials used for Pompeian wall paintings.1 In focus are plasters of the early period, related to the Samnite period and the so called First style. My earlier experiences the field of ancient materials were studies of Roman plasters at the Villa of Livia at Prima Porta and fragments of wall decorations from the demolished buildings underneath the church San Lorenzo in Lucina in Rome. These studies led to the hypothesis that technology reflects not only the natural (geographical) resources available but also the ambitions within a society, a moment in time, and the economic potential of the commissioner.2 Later, during two years within the Swedish archaeological project at Pompeii, it was my task to study the plasters used in one of the houses of insula V 1, an experience that led to the perception that specific characteristics are linked to plasters used over time. In the period 2003-2005, funding by the Swedish Research Council made possible to test the hypotheses. The present method was developed at insula I 9 and the Forum of Pompeii with the approval of the Soprintendenza archeological di Pompei and in collaboration with the directors of two international archaeological teams.3 It became evident that plaster’s composition changes over time, and eight groups of chronologically pertinent plasters were identified and defined A-H. Based on these results, I assume there is a connection between the typology and the relative chronology in which the plasters appear on the walls. I also believe these factors are related not only in single buildings or quarters but over the site and that, hypothetically, the variations observed are related to technology, craftsmanship and fashion. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
Sightseeing Kampanien: Stadtführungen & Tickets
Sightseeing Volterra: Stadtführungen & Tickets Sightseeing Kampanien: Stadtführungen & Tickets www.viva-italia.it Privat-Transfer zwischen Flughafen Neapel und Hotels Genießen Sie einen entspannten Transfer zwischen dem Flughafen Neapel und Ihrem Hotel im Stadtzentrum. Entspannen Sie in der bequemen Mercedes-Luxuslimousine oder im Minibus und genießen Sie einen praktischen Service von Tür zu Tür. ab 35,- Euro pro Gruppe https://www.viva-italia.it/stadtfuehrung/index.php?region=Kampanien&category=152&Produkt=31437 Pompeji: Eintrittskarte Besuchen Sie die UNESCO-Welterbestätte von Pompeji mit einer reservierten Eintrittskarte. Erhalten Sie einen umfassenden Einblick in das Leben einer antiken römischen Stadt und erkunden Sie die archäologische Stätte in Ihrem eigenen Tempo. ab 22,- Euro pro Person https://www.viva-italia.it/stadtfuehrung/index.php?region=Kampanien&category=28&Produkt=69330 Herculaneum: Ticket mit bevorzugtem Einlass Überspringen Sie die Warteschlangen an der archäologischen Stätte Herculaneum, eine UNESCO-Welterbestätte und eine der weltweit am besten erhaltenen antiken Städte. ab 18,- Euro pro Person https://www.viva-italia.it/stadtfuehrung/index.php?region=Kampanien&category=27&Produkt=87431 Seite 1/126 milano24ore - 20065 Inzago (MI) - Via Collodi, 7a www.viva-italia.it [email protected] Sightseeing Volterra: Stadtführungen & Tickets Neapel: Eintritt in Bourbonen-Tunnel Genießen Sie eine Führung im Bourbonen-Tunnel, gebaut im Jahr 1853 von Ferdinand II. Erleben Sie eine bewegende Reise durch die Geschichte des unterirdischen Neapels. ab 10,- Euro pro Person https://www.viva-italia.it/stadtfuehrung/index.php?region=Kampanien&category=1&Produkt=165701 Ab Neapel: Tagestour durch Sorrent, Positano und Amalfi Erleben Sie die Schönheit der Amalfiküste auf einer Tagestour durch Sorrento, Positano und Amalfi. -
Heshbon (Modern Hesbdn) Is Located in Transj Ordan
THE HISTORY OF HESHBON FROM LITERARY SOURCES * WERNER VYHMEISTER River Plate College, Puiggari, Entre Rios, Argentina Heshbon (modern Hesbdn) is located in Transjordan, about 20 miles east of the Jordan where it enters the Dead Sea. The remains of the old city are covered now by two hills, 2,930 and 2,954 feet above sea level respectively. According to the latest available statistics (from 1961), the village of Hesbdn has 718 inhabitants. Heshbon in OT Times Heshbon appears for the first time in the Biblical record as the capital city of Sihon, the Amorite king defeated by Moses. However, the region in which Heshbon was located is mentioned much earlier in the Bible. In Gn 14:5, Chedor- laomer and his confederates appear as smiting successively the Rephaim in Ashteroth-karnaim, the Zuzim in Ham, and the Emim in Shaveh Kiriathaim (i.e., the plain of Kiria- thaim). Kiriathaim has been identified with el-Qerei ydt, about five miles northwest of Dhz'bdn. It appears together with Heshbon in Num 32:37 among the cities rebuilt by the This article is a condensation of a B.D. thesis covering the same subject, deposited in the James White Library of Andrews University. * "Heshbon," Encyclopaedia Biblica, eds. T. K. Cheyne and J. S. Black, I1 (London, I~OI),col. 2044. "mi Dajani, director of the Department of Antiquities of the Hashemite Kingdom of Jordan. Letter to the author, December 12, 1966. 8 Num 21 :21 ff. 4 Siegfried H. Horn et al., Seventh-day Adventist Bible Dictionary (Washington, D. C., 1960)~p. -
Discussion and Conclusions
Discussion and Conclusions It is clear that the plasters investigated fall into very distinct groups. The vast majority of samples are clearly distinctive, and there is generally no problem in placing them into specific groups, determined by macroscopical observations. These groups of plasters are always found in the same sequence, wherever a sequence of plasters is visible. Eight different groups of plasters have been identified and are listed in chronological order from A to H. The earliest plaster type is not necessarily the same in all buildings, though this was sometimes the case. Not all phases are represented in every house, probably because the owner did not need or have any wish to redecorate. Plasters in group C, for example, were used for 2nd style decorations in three houses in insula I 9. At the Forum, such a plaster was found only in the cella of the Temple of Jupiter. On the other hand, plasters in group E, connected with the 3rd style, were found in all houses in the insula and was common also at the Forum, used in all buildings except for the Basilica, where only earlier plasters were found, and the Macellum, which had only later decorations. The chronological order of groups and phases is clear, but what do we know about the correlation between plasters and styles? This is more problematic, not least of all since there is no unconditional agreement on their dating. When discussing with myself, I think of plasters in terms of “1st style”, “2nd” and so on, since the typologies are clear and I know this kind of definition is not explicit. -
Pea 1772–1830. Napoli: Edizioni Scientifiche
206 Book Reviews / Oriens 41 (2013) 185–212 Giovanni Bonacina, Eretici e riformatori d’Arabia. I wahhâbiti in prospettiva euro- pea 1772–1830. Napoli: Edizioni Scientifiche Italiane, 2011. xxv + 245 pp. ISBN 978 88 495 2171 9 Te habit of equating Christian ‘heretics’ with Muslims and Islam with Christian ‘heresies’ has a long history in the West. Te denial of the divinity of Christ led to the association of Muslims with Arians, and the implicit rejection of the Trin- ity incurred the identification of anti-Trinitarians and Socinians with Muslims. Afer the appearance in 1543 of Teodor Bibliander’s edition of the Qurʾan in Robert of Ketton’s Latin translation, the Catholic Church accused the Protes- tants of sympathies for Islam while the Protestants found numerous points of community between Islam and the Church of Rome. Tat a similar fate should have been reserved for the Wahhabis was perhaps inevitable, even if times had changed and religious dissent had lost its more negative shades. European reac- tions to the discovery of the new movement are an enthralling chapter in the his- tory of ideas. Tey have been charted comprehensively, with precision and intel- ligence, by Giovanni Bonacina in his Eretici e riformatori d’Arabia. Bonacina’s account of shifing European attitudes to the Wahhabis starts with the publi- cation of Carsten Niebuhr’s Beschreibung von Arabien in 1772, the first occasion on which the movement was described in a European text. It ends with Johann Ludwig Burckhardt’s Notes on the Bedouins and Wahábys issued posthumously in 1830, the first truly objective account of the Wahhabis by a man who had actually met them. -
371 (Taf. CXXVIII–CXXX, Abb. 1–10) Abstract I Palazzi Di Erode Nella
S ILVIA ROZENBERG FIGURATIVE PAINTINGS IN HERODIUM: NEW DISCOVERIES (Taf. CXXVIII–CXXX, Abb. 1–10) Abstract I Palazzi di ErodeR|R= |#}R R[ da Roma#~[ - OP #[%- # }R# [R- } [|% |R=|- R [}R RR R[&pictores imaginari/- [- % a Herodium R# >>;} were embellished with frescoes, >?#=\>1, Herodium2, Masada3 and Jericho4 yielded both fresco fragments and decorated walls in situ#||> >'?# =;M?>=|>M >5. =>?[?6 allow us ???'? ?OP#- >[! 1 Netzer – Laureys-Chachy 2004, 233–280; Rozenberg 2008, 337–343. 2 Corbo 1989; Rozenberg 2008, 355–364. 3 Foerster 1995; Rozenberg 2008, 343–355. 4 Rozenberg 2008. 5 Rozenberg 2007, 193–201; Rozenberg 2008, 462–464. 6 >>?? '# 371 Silvia ROZENBERG >7. Adherence to the Western ?>? >#??} and local ??>;- >'?>'#= foreign workers is also evident in the opus reticulatum>- dens8. ??R'?9, it seems logical ? ? ????[ ?#> ???[> ?#?>> ?>&tectori/?? ?#>?- [{&pictor imaginarius/- cialized artist (pictor parietarius) who was in charge of the surrounding decoration10. [?>??#= [??>?&pictori parietari), ? > ??#=?>? [??# ='# ;??|>=|>?>> [ ?#= [ (pictores imaginari/ by A. BARBET?~11#- R>?$#12, if Herod ??? > # = [??{ [13, and not the result of the absence of a pictor imaginarius at the time. With- [;?[ claim, but lately the existence of a pictor imaginarius[ ?>?;. In 2006–2007 E. NETZER and his team ? ;R R ; ?>>&#*/14. The original tomb was built in the ;$'>?<915. In 2008 the remains of a small, royal theatre were found to the west of the mausoleum and the monumental 7 Rozenberg 1997a, 63–74; Porat – Ilani 1998; Rozenberg 2008, 273 f. 425–464; Edwards et al. 1999. 8 <^^*<^^j<9j#ª+j# 9 Allison 1989; Allison 1991; Andersen 1985. 10 Pliny, NH XXXV, 7.19. 11 Barbet 1974, 60 f. 12 Rozenberg 1997b, 283–285. -
Hues of Art: Pigment Analysis of Unprovenanced Wall Painting Fragment from Pompeii
Hues of Art Hues of Art: Pigment Analysis of Unprovenanced Wall Painting Fragment from Pompeii Tuuli Kasso 7KLV VWXG\ XVHV D QRQGHVWUXFWLYH DSSURDFK RQ IUHVFR IUDJPHQWV IURP 3RPSHLLIRFXVLQJRQWKHDUWLVW¶VSLJPHQWSDOHWWHXVHGLQWKHVWFHQWXU\ $' LQ 5RPDQ ZDOO SDLQWLQJV 7KH 7XNNLOD IUDJPHQWV ZHUH EURXJKW WR)LQODQGIURP3RPSHLLLQLQWKHDIWHUPDWKRI:RUOG:DU,,DQG WKH SUHFLVH SURYHQDQFH KRXVH LQVXOD LV QRW NQRZQ +RZHYHU REMHFWV µWKLQJV¶ DQG HYHQ IUDJPHQWV SURYLGH XV ZLWK NQRZOHGJH WKURXJKWKH PDWHULDOVWKH\ZHUHPDGHIURPOLQNLQJWRWKHFKRLFHDQGLQWHQWLRQ E\ WKHPDNHU3LJPHQWVFDQEHLGHQWL¿HGE\WKHLUFKHPLFDOFRPSRVLWLRQ LQ DGGLWLRQ WR ZDOO SDLQWLQJ WHFKQLTXHV 7KH LGHQWL¿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nstitute for European and Mediterranean Archaeology 33 Tuuli Kasso Introduction WKH ZDU HQGHG 3RPSHLL ZDV LQ D FKDRWLF VWDWH3KRWRJUDSKVVKRZWKHFUXPEOLQJ 7KHLPSDFWRIWKHGHYDVWDWLRQFDXVHGE\WKH YLOODH, and the surrounding mayhem. FDWDVWURSKLFHUXSWLRQRI9HVXYLXVLQ$' 6WUHHWV ZHUH VFDWWHUHG ZLWK SLHFHV RI ZDOO is most evident throughout the settlements paintings.5)LQQLVKDUFKLWHFW,LUR7XNNLOD -
Roman Art: Pompeii and Herculaneum
Roman Art: Pompeii and Herculaneum August 24, 79 AD A Real City with Real People: The Everyday Roads & Stepping Stones Thermopolia …hot food stands Pistrina Pistrina = bakery Aerial view of the forum (looking northeast), Pompeii, Italy, second century BCE and later. (1) forum, (2) Temple of Jupiter (Capitolium), (3) basilica. The Forum Aerial view of the amphitheater, Pompeii, Italy, ca. 70 BCE. Brawl in the Pompeii amphitheater, wall painting from House I,3,23, Pompeii, Italy, ca. 60–79 CE. Fresco, 5’ 7” x 6’ 1”. Museo Archeologico Nazionale, Naples. Pompeii was surrounded by a wall about 2 miles long Outside the Wall • Pompeians buried their dead outside the city wall. Inside the Walls • Buildings are packed close together Houses Restored view and plan of a typical Roman house of the Late Republic and Early Empire (John Burge). (1) fauces, (2) atrium, (3) impluvium, (4) cubiculum, (5) ala, (6) tablinum, (7) triclinium, (8) peristyle. Floor Plan – Villa of the Mysteries • The main entrance often included mosaics “CAVE CANEM” House of the Tragic Poet Atrium An atrium had a compluvium and an impluvium What was the purpose of these features? Purposes: • Collect rain water • Allow light to come in Reconstruction of the atrium at the Villa of the Faun Peristyles (court yards) House of the Vettii Villa of the Mysteries Wall Paintings • Generally, elaborate paintings covered the walls of every room Studious Girl, Fresco from a Pompeii Home. Not a portrait of an individual. Its purpose is too show that the inhabitants of the house were literate and cultured people. The Four Pompeian Styles • Division = Based on differences in treatment of wall and painted space First Pompeian Style • began 2nd century BCE • Goal: imitate expensive marble House of Sallust Samnite House, Herculaneum Second Pompeian Style • Began early 1st century BCE • Goal: create a 3D world on a 2D surface Villa of the Mysteries (oecus – banquet hall) Dionysiac mystery frieze, Second Style wall paintings in Room 5 of the Villa of the Mysteries, Pompeii, Italy, ca. -
Villa Di Poppea - Oplontis
Villa di Poppea - Oplontis Il toponimo Oplontis ci è noto esclusivamente dalla Tavola Peutingeriana (mappa stradale risalente alla tarda età imperiale romana), collocato in un punto corrispondente all’odierna Torre Annunziata. Le testimonianze principali sono date da alcuni complessi residenziali: la cd. Villa di Poppea (villa A) ed il Complesso B. Il sito di Oplontis, insieme a Pompei ed Ercolano, è stato dichiarato dall’UNESCO Patrimonio dell’Umanità. La villa di Poppea venne intercettata già nel Settecento tramite un cunicolo scavato a fianco del canale Conte di Sarno, ma la vera esplorazione per pozzi e gallerie si ebbe nell’Ottocento. Gli scavi archeologici moderni, condotti dal 1964 al 1984, hanno portato alla luce gran parte dell’edificio. L’impianto della villa, che si sviluppa principalmente attorno a due settori, l’atrio ed il peristilio, appare articolato tra portici, terrazze, ambienti residenziali ed un notevole impianto termale. Villa di Poppea, veduta generale L’ingresso antico dell’edificio era a Sud, in un’area già sconvolta nel Cinquecento dalla costruzione del Canale Conte di Sarno, che taglia in senso Est /Ovest tutta la parte meridionale della villa, in seguito ulteriormente danneggiata dalla costruzione di un pastificio. Il giardino era organizzato in un vialetto centrale ed altri laterali obliqui. Gli studi paleobotanici hanno permesso di riproporre la sistemazione originaria dello spazio verde, che ospitava nel suo tratto Est platani di cui si conservano i calchi. Di notevole rilevanza sono gli ambienti di riposo ubicati nel settore Sud-Ovest dell’atrio, per la ricchezza della loro decorazione parietale, con affreschi in II stile raffiguranti vedute prospettiche, ed altre stanze residenziali prospicienti il peristilio, anch’esse decorate con raffinati affreschi. -
Marble, Memory, and Meaning in the Four Pompeian Styles of Wall Painting
MARBLE, MEMORY, AND MEANING IN THE FOUR POMPEIAN STYLES OF WALL PAINTING by Lynley J. McAlpine A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Art and Archaeology) in the University of Michigan 2014 Doctoral Committee: Professor Elaine K. Gazda, Chair Professor Lisa Nevett Professor David Potter Professor Nicola Terrenato Emeritus Professor Norman Yoffee The difference between false memories and true ones is the same as for jewels: it is always the false ones that look the most real, the most brilliant. Salvador Dalí, The Secret Life of Salvador Dalí © Lynley McAlpine All Rights Reserved 2013 Acknowledgements This project would have been impossible without the guidance of my advisor and dissertation chair, Elaine Gazda, who has provided unflagging support for all aspects of my work. I am grateful to have been able to work under the supervision of someone who I consider a model for the kind of scholar I hope to become: one who has a keen critical eye and who values collaboration and innovation. I have also benefited greatly from the sensible advice of Lisa Nevett, who has always helped me to recognize the possibilities and limitations of my approaches and evidence. David Potter’s perspective has been indispensable in determining how literary and historical sources could be employed responsibly in a study that focuses mainly on material culture. Nicola Terrenato has encouraged me to develop a critical and rigorous approach, and his scholarship has been an important model for my own. Finally, Norman Yoffee has been a continual source of advice and guidance, while opening my eyes to the ways my research can reach across disciplinary boundaries. -
Explicitation Strategy in the Translation of 'Rihlah Ibn Battutah'
International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 10, 2020, E-ISSN: 2222-6990 © 2020 HRMARS Explicitation Strategy in the Translation of ‘Rihlah Ibn Battutah’ into English Nor Azuwan Yaakob, Syed Nurulakla Syed Abdullah, Kasyfullah Abd Kadir, Audrey Geraldine Boudville, Badrul Hisyam Mohd Yasin To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v10-i10/7781 DOI:10.6007/IJARBSS/v10-i10/7781 Received: 29 August 2020, Revised: 25 September 2020, Accepted: 10 October 2020 Published Online: 30 October 2020 In-Text Citation: (Yaakob, et al., 2020) To Cite this Article: Yaakob, N. A., Abdullah, S. N. S., Abd Kadir, K., Boudville, A. G., & Yasin, B. H. M. (2020). Explicitation Strategy in the Translation of ‘Rihlah Ibn Battutah’ into English. International Journal of Academic Research in Business and Social Sciences. 10(10), 981-997. Copyright: © 2020 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 10, No. 10, 2020, Pg. 981 - 997 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 981 International Journal of Academic Research in Business and Social Sciences Vol.