Architectural Decoration-Bauornamentik

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.

Özet: Lyrbe/Seleukeia Agorası'nın Batı Stoa bölümüne ait olduğu bilinen ve araştırmanın konusunu oluşturan bu başlıklar hem form hem de yan bölümlerinde yer alan bereket boynuzlarının varlığı ile alışılmışın dışında bir görüntüye sahiptirler. Antikçağda yan yüzleri çeşitli figürler ile bezenmiş çok farklı tipte ve sayıda başlık örneği bulunsa da tipolojik bir benzeri bulunmayan Lyrbe/Seleukeia başlıklarının büyük boyutları, az sayıda sütun ile geniş alanların kapatılması için uygun görünmektedir. Yan yüzlerde kullanılan ve antikçağda bereket ve zenginliğin açık bir simgesi olarak kullanılmış olan bereket boynuzlarının benzer bir ifade ile bu başlıklarda da kullanılmış olması mümkündür. Bu çalışmada söz konusu başlıklar ayrıntılı bir şekilde tanıtılmış; stil kritiğin yanı sıra agora'nın mimarisi de göz önünde bulundurularak bir tarihlendirme önerisinde bulunulmuştur.

This paper deals with the House of Leukaktios, which has been discovered during Polish excavations at Ptolemais, Libya, in 2001– 2007. The house has almost completely preserved mosaic pavements and the plan of Graeco-Roman type with an open central court (atrium), acting as the focal point around which the rooms were arranged. The name of one of the last owners, Leukaktios, is written twice on the mosaics in the atrium and in the triclinium. The author proposes the identification of several rooms. Room 1, a triclinium, has a mosaic with the characteristic U-shaped geometric frame around a central figural panel that depicts a personification of Victory or Nike. Room 14 is identified as an andron/triclinium with a similar U-shaped version lay out of the mosaic pavement. Room 9, which is situated in front of the andron/triclinium, could be interpreted as a gyneceum. The central panel which represents Dionysos and sleeping Ariadna has a parallel from the House of Dionysos in Cyrene, where the mosaic bears a rare Greek inscription dedicated to a woman.
Room 4 is identified as a reception hall. The mosaics are homogeneous in style and belong to the last phase of the building between AD 215 and 225.

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The Temple of Artemis – a masterpiece of the famous Hellenistic architect Hermogenes – is considered one of the most important structures of Magnesia on the Meander and of the architectural history of Anatolia. There have been many studies on the temple and Hermogenes, and again many were produced on the date of the temple, its architecture and the active years of its architect. Along with the Temple of Artemis, many structures of Magnesia were associated with Hermogenes and dated to the late 3rd century and 2nd century BC. Among them is the Propylon situated on the Eastern Stoa of Agora, between Artemision of Magnesia and the Agora. As a consequence of its attribution to Hermogenes it is dated to the 2nd century BC by scholars.
Following excavations from 1993 until 2004, the architecture of the Propylon, its technical features and its craftsmanship were re-examined. The new findings differ considerably from the results published by Carl Humann in 1890–1893 and revealed unknown or wrong features of the structure. The paper will also discuss the question whether the building was constructed in 2nd century BC under the influence of Hermogenes or in the Augustan period under the influence of another famous architect of the time, Vitruvius.

in Res Literaria République des Savoirs (Usr 3608 du CNRS - Collége de France, Ens de la rue d'Ulm), Centre Jean Péepin (Umr 8230 du CNRS - Ens de la rue d'Ulm),  Les Cahiers de l'Ornement, 1, a cura di P. Caye e F. Solinas, Roma, De Luca editore 2016, ISBN 978-88-6557-272-6, pp. 175-196.

Whether on clothing, furnishings, buildings, or even culinary dishes, ornament has often marked membership in particular grades and segments of society. It has distinguished sacred from profane, aristocrat from commoner, male from female, tribesman from stranger, high caste from low. Ornament is a relational device that differentiates and associates things and people, frequently marking social status by signaling affiliations and distinctions. Ornament orders.

Although the sacrificial tables standing in the courtyards of the Great Altar at Pergamon and Artemis Altars at Ephesos and Magnesia are dated to the Hellenistic period, some features observed in the anthemion decorations of these tables indicate that these tables might belong to the Augustan period. This paper examines the stylistic features of the anthemion decorations with other comparable materials dated to the Augustan period from other cities.

In this contribution we propose a historical, archaeological and architectural review of the Basilica of San Salvatore in Spleto. It is based on the study of the topographical context and the icnography of the basilica, on the stratigraphic relationship of its structures and of the walls of the same or diferent construction technique. It is also based on the analysis of the architectural spoils and ex novo carved elements, on the recognition of the mineralogical and petrographic characteristics of the stone materials and on the modalities of their use. This rereading - unlike most of the past historiography - has allowed us to recognize in the building at least two main construction phases: the first is attributable to the fifth century, the second to the beginnings of the Lombard period. They are followed by many restoration interventions over the centuries.

Systematic excavations at Laodikeia by the Lykos initiated in 2002 have
brought to daylight monumental structures with rich façade decoration from the Roman Imperial and Late Antiquity period. The concerned structures are public and religious structures located in the city center and reflect the Empire’s and Laodikeia’s religious, political, cultural structure and political propagandas, revealing the economic power. The scope of our study covers the architectural blocks decorated with various motifs such as plants, animals and objects attested
on the façade decoration of the concerned structures. The concerned motifs are found on various architectural elements such as columns, consoles, geison with console, ceiling coffers, and arch voussoirs. The motifs explored within the frame of our study include vegetal motifs like pine, oak, fig, pomegranate, apple, grape, ivy, sarsaparilla, acanthus, artichoke, opium, wheat ear, reed, eggplant/ zucchini/
squash; animal figures such as elephant, cattle, goat, pig, wolf, dog, eagle, crane, rooster, seahorse, dolphin, Mediterranean seal, fish, tortoise and serpent; and various objects such as cornucopia, thunderbolt, kerykeion, club, wreath, shield, sword and vase. Such décor attested on the architectural blocks of some structures dated to the Roman Imperial period has not been scrutinized iconographically in the studies on architectural decoration to date. The present study determines for
what purposes the concerned motifs were used during Antiquity and proposes various opinions regarding in what context they were incorporated into the structural program and decoration with what thoughts in mind. Our study is built on the geographic, religious, political, economic and cultural processes of Laodikeia and Lykos Valley and evaluation of the material covers comparisons with contemporaneous cities and structures of the Roma Imperial period in Anatolia; thus, it was endeavored to identify the motifs used in decoration peculiar to the region and period, to cast light onto the queries regarding e.g. the connection between the structure and the motifs, iconographic meaning of the motif. In this context, it was possible to make proposals on the stylistic interactions among Laodikeia and various cities/regions and workshops.

L'articolo presenta alcune osservazioni preliminari sui frammenti marmorei dal Tempio di Venere Genitrice nel Foro di Cesare a Roma, conservati nei depositi del Museo dei Fori Imperiali. Anthemia di disegno differente presenti come modanatura inferiore nei ben noti rilievi con Eroti permettono di riesaminare le ipotesi riguardo alla loro collocazione. Un gruppo di frammenti in marmo proconnesio, con una ricca e complessa decorazione (lesene con girali d'acanto e rilievi con tralci di vite) possono aver fatto parte del rivestimento di un arco che possiamo ricostruire dai frammenti di un archivolto.

The article presents some preliminary notes about some marble fragments from the Venus Genitrix temple (Cesar’s Forum), in Rome, stored in the Imperial Forum Museum repositories. Different anthemia used as inferior moulding in the well known reliefs with Erotes, allow to examine again suppositions about their location. A group of fragments in proconnesian marble, with a rich and complex decoration (acanthus pilaster and grapevines reliefs) may have been part of the facing of an arch, we can reconstruct by a fragment of an arch-framing.""

The aim is to study ancient fountains in their architectural context, in the belief that the context will reveal their function in the dwelling.  This article first analyzes the fountain structures and examines the relationship between each structure and the architecture. Through this approach, it is possible to reach some conclusions of more general value, concerning the function of central parts of Roman houses.

We approach the study of the high architectural decorative arch of Augustus at Susa as a contribution to the knowledge of the process of Romanization of the Alpine provinces in the Augustan age, because the choice is not only monumental but also the type of its decoration expressed through the resumption of urban models the adhesion of local elites to Roman rule.

The Tel Arza burial cave, also known as the “Two-Story Tomb,” is one of the most elaborately decorated burial caves in the Second Temple period necropolis of Jerusalem (see Wiegmann and Baruch, this volume). Its facade, carved in bedrock, resembles that of a two-story edifice (Fig. 1): the lower story is designed as a distylos in antis facade, comprising two pseudo-Doric columns between two antae that are crowned by a Doric entablature, of which only the architrave and frieze have survived; the upper, partly-preserved story, bears the remains of two flat pilasters set atop molded bases. This paper presents an analysis of the architectural components of the decorated facade followed by a general discussion and comparative study of the composition of the entire facade as a means for providing a relative dating for the burial cave (for a detailed description of the facade and the exact measurements of its components, see Wiegmann and Baruch, this volume).

Published in: J. Lipps - D. Maschek, eds., Antike Bauornamentik. Grenzen und Möglichkeiten ihrer Erforschung, Kolloquium 2011 in München, Studien zur antiken Stadt 12 (Reichert Verlag: Wiesbaden 2014) 181-202.

Traditionally, scientific interest in architectural decoration has been focused on questions of chronology and typology. The
focus was primarily directed towards certain type fossils for dating purposes. This way of research proved to be highly
prolific in its own regard. However, central questions concerning the cultural aspects of Late Republican Roman and Italic architectural design have not yet been approached convincingly. For that reason, the main intention of the present paper is to show some aspects of the diachronic evolution of temple design and decoration in central Italy and its dependence on superimposed cultural-historical and socio-economic processes. In archaeological scholarship a paradigm of ‘Hellenisation’ has been established to explain cultural merging processes in the regions of central Italy from about 200 BC to the early Imperial period. In this model, the diffusion of various forms and styles of decoration was often ascribed to the activity of mobile Greek workshops or the aesthetic preferences of certain social classes. However, typological analysis and diachronic mapping of monuments leads to a thoroughly different picture: first, the application and use of certain motifs need to be distinguished in terms of both chronological and spatial parameters. Second, particular decorative patterns and styles obviously were related to the function of the respective monuments whose material qualities and long-time visibility should always be taken into account. Third, motivic dependencies and specific features of regional production must be isolated and examined with special regard to their historical reciprocity.

The following paper provides an overview of the history and current state of research on Roman architecture in the
north-western provinces. This clearly demonstrates that, in recent years, these monuments have been seen in a very
different and new light. From the 19th century onwards, Roman architecture in the north-western provinces was generally
seen as the result of, often unsuccessful, wave-like attempts at introducing or copying new concepts from the city of
Rome itself. The interpretation that many of the divergences from Mediterranean architecture may have been intentional
is a relatively recent phenomenon.
In view of this approach, these proceedings aim not only to present the results of current research projects, but also
to discuss the complex and evolving processes of transfer of architectural concepts into and within the north-western
provinces. In this, the volume at hand highlights the diverse nature of buildings and structures closely linked to the
Mediterranean sphere. This diversity is seen as the product of an intended transformation based on local capabilities as
well as requirements.

Despite Josephus’ detailed description of Herod’s palace built on the Southwestern Hill of Jerusalem in Bellum Judaicum, book 5, only scant archaeological remains from its substructure were revealed so far, and only few scholars have attempted reconstructing its plan and decoration. A group of monumental Ionic columns, alongside a sculpted head of a lion, found in the Southwestern Hill in the vicinity of the supposed location of the palace, seems to have originated from the palace complex, attesting to its grandeur and unique character. Combining this evidence with Josephus’ description and our vast knowledge of Herod’s palatial architecture, based on excavated palace remains in other sites, such as Jericho, Herodium, Masada, Caesarea Maritima and Machaerus, allows us to present a clearer picture of the main palace of this great builder.