Space, Imagination and Vitruvius in Archaeological [Re]Construction; Reconsidering a Modus Operandi

Total Page:16

File Type:pdf, Size:1020Kb

Space, Imagination and Vitruvius in Archaeological [Re]Construction; Reconsidering a Modus Operandi Space, Imagination and Vitruvius in Archaeological [Re]construction; Reconsidering a Modus Operandi Daniel M. Millette B.A. (Hons), The University of Ottawa, 1993 M.A. (Geog), The University of British Columbia, 1995 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ADVANCED STUDIES IN ARCHITECTURE in THE FACULTY OF GRADUATE STUDIES (School of Architecture) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1997 ® 1997, by Daniel M. Millette In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes" may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of 5t^oau -ft.-fw The University of British Columbia Vancouver, Canada Date DE-6 (2788) Abstract This thesis challenges the way hypothetical Vitruvius-based classical theatre [reconstructions are readily undertaken and accepted in conventional architectural and archaeological research. The cultural matrix born out of the settling of the Roman provinces—in this case, Gaul—was one which evolved out of the adaptation and adoption of mores, crafts, techniques and meanings of meeting cultures; cultural and geographical context were inextricably linked to a region-specific architecture. In Gaul, there remain enough examples to state that the theatre probably deviated substantially from the design tenets elucidated by Vitruvius. Analysis of a hypothetical architecturally [reconstructed theatre—that of Saint-Bertrand-de-Comminges—reveals that the [reconstruction is based on sparse archaeological evidence and, for the most part, is grounded within an imaginative interpretation of Vitruvius' broad Roman theatre design tenets. The [reconstruction recalls Vitruvius' Book V section on theatres but neglects archaeologically revealed architectonic details that highlight the monument as one which deviates from Vitruvius' Roman model. Thus, from the historical and cultural evidence, including an overview of Gaul's extant theatre remains, and from an analysis of one such [reconstruction, it is unlikely that Vitruvius can be relied upon with any certainty to [reconstruct Gaul's theatres. The epistemology of the interpretation of the De architectura libri decern suggests that the tradition of [reconstructing monuments—in this case, theatres—is mired within a set of "tendencies" that exist within the architectural and archaeological professions: The tendency to borrow Vitruvius as a means to render authority to one's work, the tendency to use the treatise within a didactic framework, the tendency to position the text vis-a-vis the study of classical monuments and vice versa, and the tendency to use "imagined" illustrations within translations of Vitruvius' work and similar treatises, have all been part of a process through which a canonization of Vitruvius' writings has taken place. It is through this process that [reconstruction by means of the text has become accepted and condoned within the architectural and archaeological professions. ii Contents Abstract ii List of Figures iv Acknowledgements vi Chapter 1 - Beginnings 1 1.1 Introduction 1 1.2 Argument 3 1.3 Context 3 1.4 The Classical Theatre 10 1.4.1 The Vitruvius Theatre Design Tenets 13 1.4.1a The Roman Design 14 1.4.1b The Greek Design 17 1.5 Conclusion 18 Chapter 2 - Society and Culture in Constructing Gaul's Theatre 20 2.1 Introduction 20 2.2 Historical Background 20 2.3 Gallo-Roman Society and Building 22 2.3.1 On the Use of Wood 24 2.3.2 On the Use of Earth 26 2.3.3 On the Use of Stone 27 2.3.4 On the Use of Quarries and Marble 29 2.4 Theatre Design in Gaul 31 2.5 Conclusion 39 Chapter 3 - {Reconstructing the Theatre 42 3.1 Introduction 42 3.2 The 1920's Explorations 44 3.3 The 1990's Excavations 53 3.4 The [Reconstruction 62 3.5 [De]constructing the [Reconstruction 66 3.6 Conclusion 75 Chapter 4 - Tradition, Imagination and Theatre Constructions 79 4.1 Introduction 79 4.2 Authority and Authentication 80 4.3 Didactics 83 4.4 Interpretations and Imaginations 86 4.5 Conclusion; Filling in the Gaps 108 Chapter 5 - Conclusions 114 Bibliography 119 iii List of Figures Figure 1.1 - The Theatre of Marcellus 13 Figure 1.2 - The Roman Theatre According to Vitruvius 15 Figure 1.3 - The Greek Theatre According to Vitruvius 18 Figure 2.1 - Quarry Surface at Saint-Beat 30 Figure 2.2 - Theatrical Mask - Eglise Saint-Just 33 Figure 2.3 - Theatre Typologies - Comparative Schematics 38 Figure 3.1 - Roman Town Plan; Saint-Bertrand-de-Comminges 43 Figure 3.2 - Upper Cavea Excavations; 1929-30 45 Figure 3.3 - Theatre Excavations; 1920's 46 Figure 3.4 - Theatre Exploration areas; 1920's 47 Figure 3.5 - Post-Hole Detail; Upper Cavea Trench 50 Figure 3.6 - The "Grande Arche" 51 Figure 3.7 - Sapene's Theatre and Porticus Postscaenam Siting Plan 53 Figure 3.8 - Theatre Excavation Areas; 1990's 54 Figure 3.9 - Possible Construction Phases of the "Grande Arche" 56 Figure 3.10 - Hill profile Through the Cavea 58 Figure 3.11 - Drain Detail; Porticus Postscaenam 60 Figure 3.12 - Detail Plan of the Theatre's Eastern Extremity 61 Figure 3.13 - [Reconstructed Theatre; Plan 63 Figure 3.14 - [Reconstructed Theatre; Axonometric 63 Figure 3.15 - [Reconstructed Theatre; Plan Study 65 Figure 3.16 - [Reconstructed Theatre; Sectional Study 65 Figure 3.17 - [Reconstructed Theatre; Preliminary [Reconstruction Plan 68 Figure 3.18 - [Reconstructed Theatre; Section 72 Figure 3.19 - The "Grande Arche"; Part Elevation 74 Figure 3.20 - Preliminary and [Reconstruction Plans; Superimposed 77 Figure 4.1 - Alberti's Version of the Vitruvius Theatre 90 Figure 4.2 - Filarete's Schematic Version of the Theatre 93 Figure 4.3 - Cesariano's Version of the Vitruvius Theatre 96 Figure 4.4 - Fra Giocondo's Version of the Vitruvius Theatre 97 Figure 4.5 - Serlio's Version of the Vitruvius Theatre 99 Figure 4.6 - Perrault's Version of the Vitruvius Theatre 104 Figure 4.7 - Palladio's Version of the Vitruvius Theatre 105 Figure 4.8 - Palladio's Drawing of the Theatre at Berga 106 Figure 4.9 - Palladio's Teatro Olimpico 108 Figure 4.10 - Choisy's Version of the Vitruvius Cavea 110 Figure 4.11 - Morgan's Version of the Vitruvius Theatre 111 Figure 4.12 - The Theatre at Aspendus as Used by Morgan 111 Acknowledgements This thesis was written in relatively short time: nine months. Its themes, however, developed over a much longer period: nine years. It was through undergraduate studies in Classics and numerous seasons of archaeological investigations at Saint-Bertrand-de- Comminges in southern France that I began thinking about Vitruvius' writings and the role of imagination in architecture and archaeology. There are many people who have helped me along the way. At the University of Ottawa, Professor Michel Janon's willingness to accept me as a member of his archaeological research team was instrumental in sparking my interest in classical architecture. Even now, from his office at the Institut de Recherche sur l'Architecture Antique in Aix, he continues to be an inspiration for my academic undertakings and theoretical meanderings. Professor Barry Bell at Carleton University's School of Architecture has provided me with intellectual support throughout my graduate studies in architecture; my critique of his theatre [reconstruction is in the spirit of academic debate and in no way deflects my respect and admiration for his work. Professor Anthony Barrett, Head of the Classics Department at the University of British Columbia gave me sound advice with the final draft; his comments have greatly enabled the final outcome. Here at the School of Architecture, I am indebted to Professor Deborah Weiner, Chair of the MASA program, who has allowed me to think freely and pursue my own ideas. I remain especially thankful to Professor Sherry McKay who read, discussed, re-read, listened, and most of all, motivated. Finally, there are two people without whose moral support I could not have successfully undertaken this study: Mai, who was there in the beginning. And Joanne, who was, is, and will be. vi Space, Imagination and Vitruvius in Archaeological [Reconstruction; Reconsidering a Modus Operandi "Le philologue cherchera d'abord a reconstruire la realite, le monde, a partir du texte, en retrouvant I'intention de I'auteur et en iinterpretant en fonction des modes de penser du lecteur contemporain. Cependant, le mot «reconstruire» presuppose deja une relation souple, voire une certaine mouvance interpretative." Georg Germann, 1991, 4. "...I'etude des ruines de theatres romains n'en constitue pas moins une tache indispensable, qui incombe precisement a I 'histoire de I'architecture..." Edmond Frezouls, 1982, 348. Chapter 1 - Beginnings 1.1 Introduction In the late 1920's, the local schoolmaster of the French town of Saint-Bertrand-de- Comminges was busily undertaking archaeological excavations throughout the local terrain. The name of the original settlement is not clear, although scholars have come to refer to it as Lugdunum Convenae. Certainly, the fact that the area was rich in Roman vestiges was not a new discovery; as early as 1555, Jan Gardet and Dominique Bertin had included it in their regional architectural and archaeological studies (Graillot, 1919, 294). And by 1913, Raymond Lizop, among others, had undertaken brief archaeological explorations throughout the area (Lizop, 1931; 1935, 123). Situated in a somewhat remote region of the French Pyrenees, the schoolteacher aimed to highlight the importance of the town and its origins; his goal was to confirm that the settlement had been a key regional centre established by Pompey on his return from Spain in 72 BC (Sapene, 1954).
Recommended publications
  • Acoustic Design of Ancient Buildings: the Odea of Pompeii and Posillipo
    buildings Article Acoustic Design of Ancient Buildings: The Odea of Pompeii and Posillipo Giuseppe Ciaburro *, Gino Iannace , Ilaria Lombardi and Amelia Trematerra Department of Architecture and Industrial Design, Università degli Studi della Campania Luigi Vanvitelli, Borgo San Lorenzo, 81031 Aversa (Ce), Italy; [email protected] (G.I.); [email protected] (I.L.); [email protected] (A.T.) * Correspondence: [email protected]; Tel.: +39-0818122530 Received: 10 October 2020; Accepted: 25 November 2020; Published: 2 December 2020 Abstract: In this paper, a typology of a building erected in Ancient Greece and Ancient Rome is described: the Odeon. The Odeon is a covered building, but more modest in size than traditional open-air theatres without roofs. The Odeon could hold a few hundred spectators and therefore a smaller audience. The roof covering allowed the possibility of meetings even in adverse weather conditions. The etymology of the word of the Odeon (covered theatre) means the place of the ode, or of the songs. In this paper are discussed the architectonic and acoustic characteristics of the Odea of Pompeii and Posillipo. With commercial software (Odeon, Room Acoustics Software, Lyngby Denmark) we assess the acoustic characteristics of the Odea of Pompeii and Posillipo in the presence of an original roofing system and show that these buildings were well suited for music, songs and speech. Keywords: ancient theatres; Odeon; cavea; orchestra; reverberation time; audience 1. Introduction The ancients had no scientific knowledge of the physics of sound; they relied on the observation and interpretation of natural phenomena in a mythological key and through oracles.
    [Show full text]
  • About Fanjeaux, France Perched on the Crest of a Hill in Southwestern
    About Fanjeaux, France Perched on the crest of a hill in Southwestern France, Fanjeaux is a peaceful agricultural community that traces its origins back to the Romans. According to local legend, a Roman temple to Jupiter was located where the parish church now stands. Thus the name of the town proudly reflects its Roman heritage– Fanum (temple) Jovis (Jupiter). It is hard to imagine that this sleepy little town with only 900 inhabitants was a busy commercial and social center of 3,000 people during the time of Saint Dominic. When he arrived on foot with the Bishop of Osma in 1206, Fanjeaux’s narrow streets must have been filled with peddlers, pilgrims, farmers and even soldiers. The women would gather to wash their clothes on the stones at the edge of a spring where a washing place still stands today. The church we see today had not yet been built. According to the inscription on a stone on the south facing outer wall, the church was constructed between 1278 and 1281, after Saint Dominic’s death. You should take a walk to see the church after dark when its octagonal bell tower and stone spire, crowned with an orb, are illuminated by warm orange lights. This thick-walled, rectangular stone church is an example of the local Romanesque style and has an early Gothic front portal or door (the rounded Romanesque arch is slightly pointed at the top). The interior of the church was modernized in the 18th century and is Baroque in style, but the church still houses unusual reliquaries and statues from the 13th through 16th centuries.
    [Show full text]
  • The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions
    Center for Basque Studies Basque Classics Series, No. 6 The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions by Philippe Veyrin Translated by Andrew Brown Center for Basque Studies University of Nevada, Reno Reno, Nevada This book was published with generous financial support obtained by the Association of Friends of the Center for Basque Studies from the Provincial Government of Bizkaia. Basque Classics Series, No. 6 Series Editors: William A. Douglass, Gregorio Monreal, and Pello Salaburu Center for Basque Studies University of Nevada, Reno Reno, Nevada 89557 http://basque.unr.edu Copyright © 2011 by the Center for Basque Studies All rights reserved. Printed in the United States of America Cover and series design © 2011 by Jose Luis Agote Cover illustration: Xiberoko maskaradak (Maskaradak of Zuberoa), drawing by Paul-Adolph Kaufman, 1906 Library of Congress Cataloging-in-Publication Data Veyrin, Philippe, 1900-1962. [Basques de Labourd, de Soule et de Basse Navarre. English] The Basques of Lapurdi, Zuberoa, and Lower Navarre : their history and their traditions / by Philippe Veyrin ; with an introduction by Sandra Ott ; translated by Andrew Brown. p. cm. Translation of: Les Basques, de Labourd, de Soule et de Basse Navarre Includes bibliographical references and index. Summary: “Classic book on the Basques of Iparralde (French Basque Country) originally published in 1942, treating Basque history and culture in the region”--Provided by publisher. ISBN 978-1-877802-99-7 (hardcover) 1. Pays Basque (France)--Description and travel. 2. Pays Basque (France)-- History. I. Title. DC611.B313V513 2011 944’.716--dc22 2011001810 Contents List of Illustrations..................................................... vii Note on Basque Orthography.........................................
    [Show full text]
  • Roman Entertainment
    Roman Entertainment The Emergence of Permanent Entertainment Buildings and its use as Propaganda David van Alten (3374912) [email protected] Bachelor thesis (Research seminar III ‘Urbs Roma’) 13-04-2012 Supervisor: Dr. S.L.M. Stevens Contents Introduction ................................................................................................................................ 3 1: The development of permanent entertainment buildings in Rome ...................................... 9 1.1 Ludi circenses and the circus ............................................................................................ 9 1.2 Ludi scaenici and the theatre ......................................................................................... 11 1.3 Munus gladiatorum and the amphitheatre ................................................................... 16 1.4 Conclusion ...................................................................................................................... 19 2: The uncompleted permanent theatres in Rome during the second century BC ................. 22 2.0 Context ........................................................................................................................... 22 2.1 First attempts in the second century BC ........................................................................ 22 2.2 Resistance to permanent theatres ................................................................................ 24 2.3 Conclusion .....................................................................................................................
    [Show full text]
  • Girls, Girls, Girls the Prostitute in Roman New Comedy and the Pro
    Xavier University Exhibit Honors Bachelor of Arts Undergraduate 2016-4 Girls, Girls, Girls The rP ostitute in Roman New Comedy and the Pro Caelio Nicholas R. Jannazo Xavier University, Cincinnati, OH Follow this and additional works at: http://www.exhibit.xavier.edu/hab Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Ancient Philosophy Commons, Classical Archaeology and Art History Commons, Classical Literature and Philology Commons, and the Other Classics Commons Recommended Citation Jannazo, Nicholas R., "Girls, Girls, Girls The rP ostitute in Roman New Comedy and the Pro Caelio" (2016). Honors Bachelor of Arts. Paper 16. http://www.exhibit.xavier.edu/hab/16 This Capstone/Thesis is brought to you for free and open access by the Undergraduate at Exhibit. It has been accepted for inclusion in Honors Bachelor of Arts by an authorized administrator of Exhibit. For more information, please contact [email protected]. Xavier University Girls, Girls, Girls The Prostitute in Roman New Comedy and the Pro Caelio Nick Jannazo CLAS 399-01H Dr. Hogue Jannazo 0 Table of Contents Introduction ......................................................................................................................................2 Chapter 1: The meretrix in Plautus ..................................................................................................7 Chapter 2: The meretrix in Terence ...............................................................................................15 Chapter 3: Context of Pro Caelio
    [Show full text]
  • Toulouse-Lautrec and Anti-Semitism in Fin-De-Siècle Paris
    Toulouse-Lautrec and anti-Semitism in fin-de-siècle Paris Essay by Louis Dzialo In 1892, a salacious dime-novel hit the shelves in Paris. Victor Joze’s Reine de joie, moeurs du demi-monde (Queen of Joy, The World of Easy Virtue) tells the story of Alice Lamy, an enterprising Parisian courtesan, and her depraved relationship with a fictitious Jewish financier, Baron de Rozenfeld. Toulouse-Lautrec’s poster that advertised the novel depicts the novel’s moment of high-comedy. Prior to this scene, Baron de Rozenfeld has struck a deal to engage in an illicit relationship with Alice for a tremendous sum of money, plus a fully furnished townhouse in the fashionable Bois du Boulogne. Upon realizing what the Baron has offered her “[Alice] rises suddenly, embraces the Baron with her bare arms, and as her lips slide towards the old man’s mouth, she encounters an obstacle in the form of his large hooked Semitic nose and there she plants her kiss.”1 Though Toulouse-Lautrec’s poster advertising Reine de Joie (Figure 1) remains true to elements of this scene, it is not without the artist’s own creative embellishments. Joze describes Rozenfeld as “an aging Semitic type…an impassive figure of a man who knows his power.”2 Toulouse-Lautrec alters the Baron, depicting a “a short, overweight, sunken figure of a man who indulges in what money can buy and whose own passive body language does not suggest a consciousness of his own power.”3 His Baron is a grotesque blob of a man, his sordid character reiterated in Lautrec’s (ambiguous) suggestion that he gropes Alice’s breast with his right hand.
    [Show full text]
  • Maternite De La Clinique De L'union
    MATERNITE DE LA CLINIQUE DE L’UNION PRESENTATION Plus de 1000 accouchements ont lieu à la maternité de la clinique de l’Union chaque année. C’est une maternité de niveau 2A. L'équipe médicale est constituée de 6 obstétriciens, 4 pédiatres et 16 anesthésistes. Les médecins consultent sur place et organisent un service de garde 24h/24. Quotidiennement, 2 sages-femmes et 2 à 3 auxiliaires de puériculture sont présents auprès des patientes et de leurs bébés à l'accouchement et en suite de couches. L’espace naissance comporte : - deux salles de consultation - une salle de préparation à la naissance - deux salles de pré-travail - quatre salles de naissance - un bloc de césarienne - une salle réservée à la prise en charge des nouveau-nés La maternité dispose de 21 lits (dont 17 chambres individuelles). Une Unité de néonatologie comprenant six chambres ‘’parents-enfant’’ permet aux parents de rester auprès de leur nouveau-né 24h/24 durant toute l’hospitalisation. Une chambre dédiée à la prise en charge des grossesses multiples a également été créée dans cette unité. L’équipe de pédiatres et le service de néonatologie prennent en charge les prématurés à partir de 32 semaines d’aménorrhées. LES CONSULTATIONS • Gynécologie-Obstétrique : 05.61.37.87.40 LE STANDARD CLINIQUE : 05.61.37.81.81 • Echographies obstétricales : 05.61.37.87.40 • Sages-femmes : 05.61.37.87.82 LE BLOC OBSTETRICAL : 05.61.37.80.86 • Pédiatrie : 05.61.37.87.38 • Anesthésistes : 05.61.37.87.70 LA NEONATOLOGIE : 05.67.04.53.45 • Psychologues : 05.61.37.87.11 1/5 Présentation de la clinique de l’Union – Août 2017 ACCES En voiture, en transport en commun ou en taxi, la clinique de l'Union est facilement accessible grâce à sa situation géographique privilégiée dans l'agglomération toulousaine.
    [Show full text]
  • Pliny's "Vesuvius" Narratives (Epistles 6.16, 6.20)
    Edinburgh Research Explorer Letters from an advocate: Pliny's "Vesuvius" narratives (Epistles 6.16, 6.20) Citation for published version: Berry, D 2008, Letters from an advocate: Pliny's "Vesuvius" narratives (Epistles 6.16, 6.20). in F Cairns (ed.), Papers of the Langford Latin Seminar . vol. 13, Francis Cairns Publications Ltd, pp. 297-313. Link: Link to publication record in Edinburgh Research Explorer Document Version: Early version, also known as pre-print Published In: Papers of the Langford Latin Seminar Publisher Rights Statement: ©Berry, D. (2008). Letters from an advocate: Pliny's "Vesuvius" narratives (Epistles 6.16, 6.20). In F. Cairns (Ed.), Papers of the Langford Latin Seminar . (pp. 297-313). Francis Cairns Publications Ltd. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 LETTERS FROM AN ADVOCATE: Pliny’s ‘Vesuvius’ Narratives (Epp. 6.16, 6.20)* D.H. BERRY University of Edinburgh To us in the modern era, the most memorable letters of Pliny the Younger are Epp. 6.16 and 6.20, addressed to Cornelius Tacitus.
    [Show full text]
  • Theatricality of Naumachiae Bachelor’S Diploma Thesis
    Masaryk University Faculty of Arts Department of Theatre Studies Bachelor’s Diploma Thesis 2018 Lucia Steltenpohlová Masaryk University Faculty of Arts Department of Theatre Studies Theatre Theory and History Lucia Steltenpohlová Theatricality of Naumachiae Bachelor’s Diploma Thesis Supervisor: Mgr. Eliška Poláčková, Ph. D. 2018 Declaration Hereby I declare that this paper is my original authorial work, which I have worked out on my own. All sources, references, and literature used or excerpted during elaboration of this work are properly cited and listed in complete reference to the due source. Lucia Steltenpohlová i ii Acknowledgement I would like to thank my supervisor, Mgr. Eliška Poláčková Ph.D., for all her professional support and enthusiasm with which she guided me throughout the process of research as well as writing of this thesis, for all the corrections and comments, for her patience. To all the staff of the department of Theatre studies for constantly broadening my horizons. A big thank you to my friends, namely the wonderful future doctor Simona Halajová and German language mage Bc. Andrea Bukovská, who had to listened to my theatre talk and did not complain the least bit. To Bc. Viktor Solík, for using his remarkable informatics skills to help me in the process of putting the formalities of this thesis together (and for teaching me that there are far too many names for brackets). To Michal Solčiansky, for cooking for me when I needed it the most. Last but not least a huge thanks to my family, for all that you have done and still do for me.
    [Show full text]
  • Atlas of the Ornamental and Building Stones of Volubilis Ancient Site (Morocco) Final Report
    Atlas of the ornamental and building stones of Volubilis ancient site (Morocco) Final report BRGM/RP-55539-FR July, 2008 Atlas of the ornamental and building stones of Volubilis ancient site (Morocco) Final report BRGM/RP-55539-FR July, 2008 Study carried out in the framework of MEDISTONE project (European Commission supported research program FP6-2003- INCO-MPC-2 / Contract n°15245) D. Dessandier With the collaboration (in alphabetical order) of F. Antonelli, R. Bouzidi, M. El Rhoddani, S. Kamel, L. Lazzarini, L. Leroux and M. Varti-Matarangas Checked by: Approved by: Name: Jean FERAUD Name: Marc AUDIBERT Date: 03 September 2008 Date: 19 September 2008 If the present report has not been signed in its digital form, a signed original of this document will be available at the information and documentation Unit (STI). BRGM’s quality management system is certified ISO 9001:2000 by AFAQ. IM 003 ANG – April 05 Keywords: Morocco, Volubilis, ancient site, ornamental stones, building stones, identification, provenance, quarries. In bibliography, this report should be cited as follows: D. Dessandier with the collaboration (in alphabetical order) of F. Antonelli, R. Bouzidi, M. El Rhoddani, S. Kamel, L. Lazzarini, L. Leroux and M. Varti-Matarangas (2008) – Atlas of the ornamental and building stones of Volubilis ancient site (Morocco). BRGM/RP-55539-FR, 166 p., 135 fig., 28 tab., 3 app. © BRGM, 2008. No part of this document may be reproduced without the prior permission of BRGM. Atlas of the ornamental and building stones of Volubilis Synopsis The present study titled “Atlas of the ornamental and building stones of Volubilis” was performed in the framework of the project MEDISTONE (“Preservation of ancient MEDIterranean sites in terms of their ornamental and building STONE: from determining stone provenance to proposing conservation/restoration techniques”) supported by the European Commission (research program FP6-2003-INCO-MPC-2 / Contract n° 015245).
    [Show full text]
  • Urban Fabric: the Built Environment
    CHAPTER 3. URBAN FABRIC: THE BUILT ENVIRONMENT On Christmas Eve a young man with long hair and luxurious clothes inlaid with jewels kneels in prayer on a deep red stone disk laid in the floor of Saint Peter’s Basilica. The Pope lifts a golden crown from the altar and places it on the man’s bowed head and the throng of spectators shouts, “To Charles the August, crowned by God, great and pacific emperor, long life and victory!” URBAN FABRIC: THE BUILT ENVIRONMENT 55 With this coronation in the year 800 the Holy Roman Empire was born, and, although the young French king did not use the title, Charlemagne is considered its first Emperor. His coro- nation brought some political stability to Europe and some of the first significant artistic activity in Rome since its fall. In fact, some historians, such as Kenneth Clark and Richard Krautheimer, invoking the Latin name for Charles, Carolus, have termed the period that follows the “Carolingian Renais- sance.” If you left St. Peter’s Basilica after the coronation, say to walk to your home on the Esquiline, you would have seen a city sur- prisingly similar to that of the height of the empire. Of course, the city had been devastated by numerous invasions which had stripped buildings of their valuable artworks and often left them roofless, open to the elements. Nevertheless, the basic building shapes were recognizable. Leaving St. Peter’s in the direction of the Colosseum you would pass the Circus Flaminius, the Pan- theon, the Theatre of Pompey and then the Baths of Agrippa.
    [Show full text]
  • Characterization of Concrete from Roman Buildings for Public Spectacles in Emerita Augusta (Mérida, Spain)
    Characterization of concrete from Roman buildings for public spectacles in Emerita Augusta (Mérida, Spain) María Isabel Mota-Lópeza, Rafael Fortb, Mónica Álvarez de Buergob, Antonio Pizzoc, Rubén Maderuelo-Sanza, Juan Miguel Meneses-Rodrígueza, Duygu Ergençb (a) Instituto Tecnológico de Rocas Ornamentales y Materiales de Construcción, INTROMAC, Campus Universidad de Extremadura, 10071, Cáceres, Spain. (b) Instituto de Geociencias (CSIC, UCM), José Antonio Nováis 12, 28040, Madrid, Spain. (c) Instituto de Arqueología de Mérida (IAM-CSIC). Plaza de España 15, 06800, Mérida, Spain. Abstract The present study focuses on the compositional characterization of Roman concrete from Roman buildings for public spectacles, theatre and amphitheatre, from Emerita Augusta, Mérida, Spain. An advanced knowledge of the Roman concrete composition is required to get a reliable restoration and preservation of these ancient monuments. The concrete was studied through mineralogical (petrographic microscope and X ray diffraction) and petrophysical (bulk and real density, open porosity, mercury intrusion porosimetry, compressive strength and ultrasonic pulse velocity) analyses. With this work, it is possible to fill the gap which exists in this field, the characterization of the materials used in the Roman concrete from these two buildings, never previously studied, despite the significance of this archaeological ensemble, declared a World Heritage Site by UNESCO in 1993. The obtained results of the studied samples, allowed us to determine the composition of the concrete and to infer the provenance of the aggregates used in it. Keywords: Roman concrete; Heritage; Mineralogical analysis; Petrophysical analysis; Provenance. 1 1. Introduction The restoration of historical buildings is very important for the history and culture of the cities and their population.
    [Show full text]