Giacobbe Giusti, Archaeological excavation of ancient Aquinum

 

Giacobbe Giusti, Archaeological excavation of ancient Aquinum

La testa di Ercole? (repubblica.it)

Giacobbe Giusti, Archaeological excavation of ancient Aquinum

La testa di Giulio Cesare? (repubblica.it)

 

Giacobbe Giusti, Archaeological excavation of ancient Aquinum

Giacobbe Giusti, Archaeological excavation of ancient Aquinum

 

https://archaeologynewsnetwork.blogspot.com/2016/10/monumental-inscription-and-rare-mosaic.html#BimBbihXTBKuz6lG.97

Scoperta una testa di Giulio Cesare?

http://www.giacobbegiusti.com

 

 

Giacobbe Giusti, Triumph of Poseidon and Amphitrite showing the couple in procession, detail of a vast mosaic from Cirta, Roman Africa, now at the Louvre)

Giacobbe Giusti, Triumph of Poseidon and Amphitrite showing the couple in procession, detail of a vast mosaic from Cirta, Roman Africa, now at the Louvre

« Triumph of Neptune and Amphitrite« , a Roman mosaic from Cirta, now in the Louvre (ca. 315-325 AD)

Provincia Africa Proconsularis
Province of the Roman Empire
←  146 BC–5th century  →
The province of Africa within the Roman Empire
Capital		Zama Regia, then Carthago
Historical era		Antiquity
•	Established after the Third Punic War	146 BC
•	Invasion of the Vandals	5th century
Today part of		Tunisia  Libya  Algeria

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Africa Proconsularis was a Roman province on the northwest African coast that was established in 146 BC following the defeat of Carthage in the Third Punic War. It roughly comprised the territory of present-day Tunisia, the northeast of Algeria, and the coast of western Libyaalong the Gulf of Sirte. The territory was originally inhabited by Berber people, known in Latin as Mauri(English: Moor; Spanish: Moro) indigenous to all of North Africa west of Egypt; in the 9th century BC, Phoenicians built settlements along the Mediterranean Sea to facilitate shipping, of which Carthage rose to dominance in the 8th century until its conquest by the Roman Republic.

It was one of the wealthiest provinces in the western part of the Roman empire, second only to Italia. Apart from the city of Carthage, other large settlements in the province were Hadrumetum (modern Sousse, Tunisia), capital of Byzacena, and Hippo Regius (modern Annaba, Algeria). Besides Latin, the official language, Punic and Berber languages were commonly spoken.

References

• Lennox Manton, Roman North Africa, 1988.
• Susan Raven. Rome in Africa. 3rd ed. (London, 1993).
• Monique Seefried Brouillet, From Hannibal to Saint Augustine: Ancient Art of North Africa from the Musee du Louvre, 1994.
• A. I. Wilson, Urban Production in the Roman World: The View from North Africa, 2002.
• Duane R. Roller, The World of Juba II and Kleopatra Selene: Royal Scholarship on Rome’s African Frontier (New York and London, Routledge, 2003).
• Elizabeth Fentress, « Romanizing the Berbers, » Past & Present, 190,1 (2006), 3-33.
• Michael Mackensen and Gerwulf Schneider. Production centres of African Red Slip Ware (2nd-3rd c.) in northern and central Tunisia: Archaeological provenance and reference groups based on chemical analysis, 2006.
• Cordovana, Orietta Dora, Segni e immagini del potere tra antico e tardoantico: I Severi e la provincia Africa proconsularis. Seconda edizione rivista ed aggiornata (Catania: Prisma, 2007) (Testi e studi di storia antica)
• Dick Whittaker, « Ethnic discourses on the frontiers of Roman Africa », in Ton Derks, Nico Roymans (ed.), Ethnic Constructs in Antiquity: The Role of Power and Tradition (Amsterdam, Amsterdam University Press, 2009) (Amsterdam Archaeological Studies, 13), 189-206.
• Erich S. Gruen, Rethinking the Other in Antiquity (Princeton, PUP, 2010), 197-222.
• Mennen, Inge, Power and Status in the Roman Empire, AD 193-284 (2011)
• Stewart, John, African states and rulers (2006)

https://en.wikipedia.org/wiki/Africa_(Roman_province)

http://www.giacobbegiusti.com

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

 

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

 

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

 

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

Giacobbe Giusti, Roman mosaic

 

Giacobbe Giusti, Roman mosaic

A Roman mosaic on a wall in the House of Neptune and Amphitrite, Herculaneum, Italy, 1st century AD

A Roman mosaic is a mosaic made during the Roman period, throughout the Roman Republicand later Empire. Mosaics were used in a variety of private and public buildings.^[1] They were highly influenced by earlier and contemporary HellenisticGreek mosaics, and often included famous figures from history and mythology, such as Alexander the Great in the Alexander Mosaic. A large proportion of surviving examples come from Italian sites such as Pompeii and Herculaneum, as well as other areas of the Roman Empire.

Development

Further information: Hellenistic art § Paintings and mosaics, Ancient Greek art § Mosaics, and Mosaics of Delos

A Roman mosaic inscribed with the Latin phrase cave canem (« beware of the dog« ), from the House of the Tragic Poet in Pompeii, Italy, 2nd century BC

Mosaic with Xenia, 4th century AD, Pius Clementine museum, Vatican Museums

The earliest examples of Roman mosaicflooring date to the late Republican period (2nd century BC) and are housed in Delos, Greece. Witts claims that tessellated pavements, using tesserae, were used in Europe from the late fifth to early fourth centuries BC.^[2] This is contradicted by Ruth Westgate, who contends that the earliest tessellated mosaics of the Hellenistic period date to the 3rd century BC, with the 2nd to early 1st-century BC mosaics of Delos constituting roughly half of the known examples.^[3] Hetty Joyce and Katherine M. D. Dunbabin concur with this assessment, asserting that the transition from pebble mosaics to more complex tessellated mosaics originated in Hellenistic-Greek Sicilyduring the 3rd century BC, developed at sites such as Morgantina and Syracuse.^[4][5] The earliest known pebble mosaics and use of chip pavement are found at Olynthus in Greece’s Chalcidice, dated to the 5th to 4th centuries BC, while other examples can be found at Pella, capital of Macedon, dated to the 4th century BC.^[6][5]

The earliest mosaics of Roman Pompeii, dated to the Pompeian First Style of wall painting in the late 2nd and early 1st centuries BC, were clearly derived from the Hellenistic Greek model.^[7]However, the contained far more figured scenes on average, less abstract design, the absence of lead strips, as well as an almost complete lack of complex, three-dimensional scenes utilizing polychromy until the Pompeian Second Style of wall painting (80-20 BC).^[8][7] The mosaics in the Villa Romana del Casale (c. 300 AD) from Roman Sicily perhaps represent the hallmark of mosaic art in the Late Imperial period. The mosaic decoration of the local palace complex culminates in the gallery, which contains a scene of animal hunting and fighting covering an area of 3,200 square feet (300 m²).^[9]

The Alexander Mosaic from Pompeii, ca. 100 BC

Roman mosaics are constructed from geometrical blocks called tesserae,^[10] placed together to create the shapes of figures, motifs and patterns.^[2] Materials for tesserae were obtained from local sources of natural stone, with the additions of cut brick, tile and pottery creating coloured shades of, predominantly, blue, black, red, white and yellow.^[2] Polychrome patterns were most common, but monochrome examples are known.^[11] Marble and glass were occasionally used as tesserae,^[12] as were small pebbles,^[13]and precious metals like gold.^[14] Mosaic decoration was not just confined to floors but featured on walls and vaults as well. Traces of guidelines have been found beneath some mosaics, either scored into or painted onto the mortar bedding. The design might also be pegged out in string,^[2] or mounted in a wooden frame.^[15]

The collapse of buildings in antiquity can, paradoxically, both irrevocably destroy mosaics or protect and preserve them.^[2]

Imagery

 

Achilles being adored by princesses of Skyros, a scene from the Iliad where Odysseus (Ulysses) discovers him dressed as a woman and hiding among the princesses at the royal court of Skyros. A late Roman mosaic from La Olmeda, Spain, 4th-5th centuries AD

As well as geometric patterns and designs, Roman mosaics frequently depicted divine characters or mythological scenes.^[16][17]

Portraits

Imagery of famous individuals or entertaining scenes are common on Roman mosaics. The Alexander Mosaic from the House of the Faun, Pompeii depicts the Battle of Issus between Alexander the Great and Darius III.^[18] In addition to famous people from antiquity, mosaics can depict aspects of daily life. The Gladiator Mosaicfrom Rome depicts a fighting scene, naming each gladiator involved. A gladiatorial scene is also known from Leptis Magna.^[19]

Religion[edit]

One of the earliest depictions of Roman Christianity is a mosaic from Hinton St Mary (in Dorset, England) which shows Christ with a Chi-Rho behind his head. The mosaic is now in the British Museum.^[9] Orpheus mosaics, which often include many animals drawn by the god’s playing, are very common; he was also used in Early Christian art as a symbol for Christ. Scenes of Dionysus are another common subject.

Emblems

Progression within the mosaic technique developed the emblem, the « heart » of all mosaics. The word emblem is used to describe a small mosaic featuring a little genre scene or still life, characterised by particularly thin tesserae made separately and mounted in a central or important position in the main panel.

Notable examples

• The Alexander Mosaic from the House of the Faun, Pompeii.
• The Tomb of the Julii in the Vatican Necropolis, beneath St. Peter’s Basilica, Rome.
• The Gladiator Mosaic from the Via Casilinaoutside Rome.
• The Zliten Mosaic from Zliten in Libya.

Gallery

• 

  Detail of Alexander Mosaic, depicting Alexander the Great, c. 100 BC, Pompeii

• 

  Neptune driving his chariot

• 

  Ulysses during his journey

• 

  Love scene, 1st century

• 

  Comedy Mask

• 

  Antioch Mosaic

• 

  Epiphany of Dionysus mosaic, from the Villa of Dionysus (2nd century AD) in Dion, Greece. Now in the Archeological Museum of Dion.

• 

  Judgment of Paris, marble, limestone and glass tesserae, 115–150 AD; from the Atrium House triclinium in Antioch-on-the-Orontes

• 

  The Zliten mosaic showing gladiators, 2nd century AD

• 

  A Roman mosaic depicting the wedding of Dionysos and Ariadne, with Silenus and a satyr, 2nd century AD, Tunis, Tunisia

• 

  A mosaic showing Medusa and representational figures of the four seasons, from Palencia, Spain, made between 167 and 200 AD

• 

  A Roman mosaic from Piraeusdepicting Medusa, using opus tessellatum, 2nd century AD, National Archaeological Museum of Athens

• 

  Mosaic of female athletes playing ball at the Villa Romana del Casale of Piazza Armerina, 4th century AD

• 

  Late Roman mosaics at Villa Romana La Olmeda, Spain, 4th-5th centuries AD

• 

  Triumph of Poseidon and Amphitriteshowing the couple in procession, detail of a mosaic from Cirta, Roman Africa, 315–325 AD, Louvre

• 

  Paleochristian mosaic from Santa Pudenziana in Rome, c. 410 AD

• 

  Mosaic of Orpheus from Caralis, modern Cagliari (Italy), now in Archeological Museum of Turin

• 

  Mosaic of Diana bathing. As-Suwayda, Syria

• Late Antique and medieval mosaics in Italy
• Lod Mosaic Archaeological Center
• Mosaics of Delos
• Roman architecture
• Roman art

References

1. Jump up^ Bertoldi 2011.
2. ^ Jump up to:^{a b c d e} Witts 2005.
3. Jump up^ Westgate (2000), pp. 255-256.
4. Jump up^ Joyce (1979), p. 260.
5. ^ Jump up to:^a b Dunbabin (1979), p. 265.
6. Jump up^ Joyce (1979), pp. 259-260.
7. ^ Jump up to:^a b Westgate (2000), pp. 255-275.
8. Jump up^ Joyce (1979), pp. 253-254, 257-258.
9. ^ Jump up to:^a b « The Hinton St Mary Mosaic ». British Museum. 2015. Retrieved 19 February 2015.
10. Jump up^ Dunbabin 2006, p. 280.
11. Jump up^ Packard 1980.
12. Jump up^ Ricciardi et al.
13. Jump up^ Donaldson 1965.
14. Jump up^ Neri & Verità 2013.
15. Jump up^ Oliver 2001.
16. Jump up^ « Physical Aspects of the Polytheistic Roman Style ». Tufts University. 2005. Retrieved 13 March 2015.
17. Jump up^ C., Rawan (11 March 2015). « Roman Mosaic Discoveries Made Through Time ». Mozaico. Retrieved 13 March 2015.
18. Jump up^ Knox, E.L. Skip. « Alexander the Great – The Battle of Issus (334) ». History of Western Civilization, Boise State University. Archived from the original on 25 March 2015. Retrieved 13 March 2015.
19. Jump up^ « Roman mosaic found in Libya ». News24. 14 June 2005. Retrieved 21 February 2015.

Sources

• Bertoldi, Susanna (2011). The Vatican Museums: discover the history, the works of art, the collections[I Musei Vaticani: conoscere la storia, le opere, le collezioni]. Sillabe. ISBN 978-8882712105.
• Donaldson, M. Katherine (1965). « A Pebble Mosaic in Peiraeus » (PDF). Hesperia: The Journal of the American School of Classical Studies at Athens. 34(2): 77–88. JSTOR 147018.
• Dunbabin, Katherine, M. D. (1979), « Technique and Materials of Hellenistic Mosaics », American Journal of Archaeology, Archaeological Institute of America, 83 (3): 265–277, doi:10.2307/505057, JSTOR 507451.
• Dunbabin, Katherine M. D. (1999). Mosaics of the Greek and Roman world. Cambridge University Press. ISBN 978-0521461436.
• Joyce, Hetty (1979), « Form, Function and Technique in the Pavements of Delos and Pompeii », American Journal of Archaeology, Archaeological Institute of America, 83 (3): 253–263, doi:10.2307/505056, JSTOR 505056.
• Neri, Elisabetta; Verità, Marco (2013). « Glass and metal analyses of gold leaf tesserae from 1st to 9th century mosaics. A contribution to technological and chronological knowledge ». Journal of Archaeological Science. 40 (12): 4596–4606. doi:10.1016/j.jas.2013.07.017.
• Oliver, Andrew (2001). « A Glass Opus Sectile Panel from Corinth » (PDF). Hesperia: The Journal of the American School of Classical Studies at Athens. 70(3): 349–363. JSTOR 3182066.
• Packard, Pamela M. (1980). « A Monochrome Mosaic at Isthmia » (PDF). Hesperia: The Journal of the American School of Classical Studies at Athens. 49 (4): 326–346. JSTOR 147913.
• Ricciardi, Paola; Colomban, Philippe; Tournié, Aurélie; Macchiarola, Michele; Ayed, Naceur (2009). « A non-invasive study of Roman Age mosaic glass tesserae by means of Raman spectroscopy ». Journal of Archaeological Science. 36 (11): 2551–2559. doi:10.1016/j.jas.2009.07.008.
• Westgate, Ruth (2000), « Pavimenta atque emblemata vermiculata: Regional Styles in Hellenistic Mosaic and the First Mosaics at Pompeii », American Journal of Archaeology, Archaeological Institute of America, 104 (2): 255–275, doi:10.2307/507451, JSTOR 507451.
• Witts, Patricia (2005). Mosaics in Roman Britain: Stories in Stone. Stroud: History Press. ISBN 978-0752434216.

https://en.wikipedia.org/wiki/Roman_mosaic

http://www.giacobbegiusti.com

 

 

Giacobbe Giusti, Villa Romana del Tellaro, Sicily

Giacobbe Giusti, Villa Romana del Tellaro, Sicily

 

Giacobbe Giusti, Villa Romana del Tellaro, Sicily

Giacobbe Giusti, Villa Romana del Tellaro, Sicily

Entrance of the site
Shown within Italy
Location	Noto, Province of Syracuse, Sicily, Italy
Type	Dwelling
History
Periods	Roman Imperial
Cultures	Roman
Site notes
Condition	Restored
Ownership	Public
Management	Soprintendenza BB.CC.AA. di Siracusa
Public access	Yes
Website	www.villaromanadeltellaro.com

The Villa Romana del Tellaro is a Roman villadating from the late Roman Empire on Sicilyin southern Italy.^[1] It is located south of Noto in the province of Syracuse.

History and description

The remains of the villa were found in 1971 in a fertile agricultural area, on a low elevation near the Tellaro river. The site was located on a farm dating from the 17th to the 19th century.

The central building was constructed around a large peristyle. The section of the porch on the north side had a floor which was decorated with mosaics. They show laurel wreathesforming circles and octagons with geometric and floral motifs. They border two other rooms that retain figurative mosaics.

In the first of these rooms a very damaged mosaic contains a panel with scenes of the ransom of the body of Hector. In this scene Odysseus, Achilles and Diomedes, identified by inscriptions in Ancient Greek, are weighing the body of the hero. The figure of Priam is lost, but the legs of Hector’s body can be seen partially on the right side of the scales. The gold of the ransom is visible on the left side. This event was not mentioned in the Iliad by Homer and is probably derived from a tragedy of Aeschylus. The mosaic floor in the second room shows a hunting scene with a banquet in the open air among the trees. The female figure in the scene is the personification of Africa.

The scenes on the mosaic found in the second room are reminiscent of the mosaics in the Villa Romana del Casale near Piazza Armerina. However, this mosaic has more stylized figures and two-dimensional, uncertain proportions, making the effect very different. The mosaics were probably the work of craftsmen from North Africa. Based on numismatic evidence, they were made in the second half of the fourth century CE.

The villa today

The villa has seen renewed interest in recent years, mainly due to a series of reconstruction projects and redevelopment of the site. On 15 March 15, 2008, over thirty years after the excavations, it was finally inaugurated and made accessible to the public.

Behind the villa lie vineyards, where the traditional grapes of the region are still grown. These include Nero d’Avola, Muscat and Albanello Bianco which are increasingly difficult to find today.

Gallery

• 

  The ransom of Hector‘s body

   

Giacobbe Giusti, Villa Romana del Tellaro, Sicily

• 

  Hunting scene

   

 

Giacobbe Giusti, Villa Romana del Tellaro, Sicily

• 

  Satyr

• Giacobbe Giusti, Villa Romana del Tellaro, Sicily

  

  Geometric motif

• 

  Tiger

Further reading

• Dunbabin, Katherine M. D. (2001). Mosaics of the Greek and Roman World. New York: Cambridge University Press. pp. 142–143. ISBN9780521002301.
• Sfameni, Carla (2004). « Residential Villas in Late Antique Italiy: Continuity and Change ». In Bowden, William; Lavan, Luke; Machado, Carlos. Recent Research on the Late Antique Countryside. Late Antique Archaeology. 2. Leiden: Brill. pp. 335–375. ISBN9789004136076.
• Voza, Giuseppe (1982). « Le ville romane del Tellaro e di Patti in Sicilia e il problema dei rapporti con l’Africa ». 150-Jahr-Feier Deutsches Archäologisches Institut Rom: Ansprachen und Vorträge, 4–7 Dezember 1979. Mitteilungen des Deutschen Archäologischen Instituts – Römische Abteilung (in Italian). 25. Mainz: Philipp von Zabern. pp. 202–209. ISBN3805305583.
• Voza, Giuseppe (2003). I mosaici del Tellaro, lusso e cultura nel sud est Sicilia (in Italian). Erre Produzioni. ISBN9788887909067.

Villa del Tellaro (Noto).

• Official website
• Description on the website of the Region of Sicily

hide v t e Archaeological sites in Sicily
Province of Agrigento	Heraclea Minoa Akragas Valle dei Templi –Temple of Concordia –Temple of Heracles –Temple of Juno –Temple of Olympian Zeus
Province of Caltanissetta	Gela Bosco Littorio Greek baths of Gela Gibil Gabib Monte Bubbonia Polizzello archaeological site Sabucina Vassallaggi
Province of Catania	Aetna (city) Katáne Palike Sant’Ippolito (Caltagirone)
Province of Enna	Centuripe Morgantina Villa Romana del Casale
Province of Messina	Abacaenum Halaesa Naxos Ancient theatre of Taormina Tindari Villa Romana di Patti
Province of Palermo	Entella Grotta dell’Addaura Hippana Ietas Himera Pirama Soluntum
Province of Ragusa	Akrillai Hybla Heraea Kamarina Kaukana
Province of Syracuse	Akrai Santoni Casmenae Cava del Rivettazzo Colonne di San Basilio Helorus Netum Megara Hyblaea Syrakousai Roman amphitheatre of Syracuse Altar of Hieron Ear of Dionysius Galermi Aqueduct Greek Theatre of Syracuse Grotta del Ninfeo Temple of Athena Temple of Apollo Necropolis of Cassibile Necropolis of Pantalica Thapsos Villa Romana del Tellaro
Province of Trapani	Eryx/Erice Drepanum Halyciae Grotta del Genovese Monte Polizzo Motya Segesta Selinunte Temple C Temple E Temple F Cave di Cusa Roman furnaces in Alcamo

https://en.wikipedia.org/wiki/Villa_Romana_del_Tellaro

http://www.giacobbegiusti.com

Giacobbe Giusti, Roman villa of Camino de Albalate

Giacobbe Giusti, Roman villa of Camino de Albalate

 

Giacobbe Giusti, Roman villa of Camino de Albalate

 

Giacobbe Giusti, Roman villa of Camino de Albalate

Giacobbe Giusti, Roman villa of Camino de Albalate

Giacobbe Giusti, Roman villa of Camino de Albalate

Camino de Albalate (Vasija de cerámica vidriada, con escamas de barbotina).

Giacobbe Giusti, Roman villa of Camino de Albalate

Roman mosaic.

Roman villa of Camino de Albalate is a Romansite near Calanda, Teruel, Aragon, Spain.

Bibliography

Giacobbe Giusti, Roman villa of Camino de Albalate

View of the villa.

• Artigas Gracia, M. A.: « Más de un millón de piedrecitas que pisó un terrateniente romano de Calanda », en Diario de Teruel, nº 24360 (24 de septiembre de 2017), pp. 32-33.
• Atrián Jordán, P.: Carta arqueológica de España: Teruel, Instituto de Estudios Turolenses, 1980, pp. 137-138.
• Bielsa Arbiol, J. A.: « Camino de Albalate, 1964-1965. El bienio dorado de la arqueología calandina », en Kolenda, n.os. 99 y 101, Agosto 2011 y Febrero 2012, Calanda (Teruel), pp. 16, 17.
• Blázquez Martínez, J. M.: « Mosaicos con animales de Calanda (Teruel) », en Homenaje a Purificación Atrián, Instituto de Estudios Turolenses, Teruel, 1996.
• Escribano Paño, Mª. V. & Fatás Cabeza, G.: La Antigüedad Tardía en Aragón (287-714), Caja de Ahorros de la Inmaculada de Aragón, Zaragoza, 2001, pp. 24 y ss.
• Fernández Galiano, D.: Mosaicos romanos del convento cesaraugustano, Zaragoza, 1987, pp. 101-102.
• García Entero, V.: Los balnea de las villae hispanorromanas. Provincia Tarraconense, Madrid, 2001, p. 254.
• García Miralles, M.: Historia de Calanda, Tipografía Artística Puertes, Valencia, 1969, pp. 13-14.
• Gisbert Santonja, J. A.: « El alfar de L´Almadrava (Setla-Mirarosa-Miraflor)-Dianium-. Materiales de construcción cerámicos. Producción y aproximación a su funcionalidad en la arquitectura del complejo artesanal », El ladrillo y sus derivados en la época romana. Monografías de arquitectura romana 4, Casa de Velázquez y UAM, Madrid, 1999, p. 80.
• González López, M.: Vajillas de importación no africanas en el noreste peninsular (s. V-VII). Distribución y Tipocronología, Archivo Español de Arqueología, 2007, vol. 80, pp. 207-238.
• Gorges, J. G.: Les villas hispano-romaines. Inventaire et problématiques archéologiques, París, 1979, p. 420.
• Guardia Pons, M.: Los mosaicos de la Antigüedad Tardía en Hispania, PPU, Barcelona, 1992, pp. 376, 532-533.
• López Ferrer, M.: « Alfileres y agujas de hueso en época romana: avance preliminar », en Actas del XXII Congreso Nacional de Arqueología, 1993, pp. 411-417.
• Martín Rodrigo, J.: Informe de las excavaciones realizadas en el yacimiento romano Camino de la Vega de Albalate, Calanda (Teruel). Año 1985., Arqueología Aragonesa 1985, Zaragoza, 1987.
• Paracuellos Massaro, P. A.. Prospecciones arqueológicas en los términos de Calanda y Foz-Calanda. Arqueología Aragonesa 1991, Diputación General de Aragón, Zaragoza, 1991.
• Paz Peralta, J. A.: Cerámica de mesa romana de los siglos III al VI d. C. en la provincia de Zaragoza, IFC, Zaragoza, 1991, pp. 211-213.
• Portolés Mombiela, Miguel, Historia de una rama de la familia Portolés, Copistería Lorente, Zaragoza, 2003, pp. 262-263.
• Redacción de La Vanguardia Española, « Descubrimiento de un mosaico romano en Calanda », en La Vanguardia, 28 de febrero de 1964, p. 8.
• Roldán Hervás, J. M. (dir.), Diccionario Akal de la Antigüedad hispana, Akal, Madrid, 2006.
• Sanz Gamo, R.: « Algunos materiales romanos utilizados en la construcción de las concamerationes », en Oretum nº 3, 1987, pp. 225-236.
• Sanz Martínez, M.: Calanda. De la Edad de Piedra al siglo XX, Imprenta Artis-Graf, Reus, 1970, pp. 17-20.
• Severino, B.: « Una joya del subsuelo calandino », en La Comarca (Periódico independiente del Bajo Aragón Histórico), nº 2154 (6 de octubre de 2017), p. 10.
• VV.AA.: « Hallazgos de mosaicos romanos en Hispania », V Coloquio Internacional sobre Mosaicos Antiguos, Bath, 1987.
• VV.AA.: « Un abocador del segle V d. C. en el Fòrum Provincial de Tàrraco. Tarragona », Memòries d´excavació 2, Taller Escola D´Arqueologia, Ayuntamiento de Tarragona, 1989, pp. 386-389.

Giacobbe Giusti, Roman villa of Camino de Albalate

Landmark memorial.

• Camino de Albalate GEA – Gran Enciclopedia Aragonesa(Spanish)
• Colección de piezas del Camino de la Vega de Albalate Ministerio de Cultura – Cer.es(Spanish)
• Página web del Museo de Teruel Museo Provincial de Teruel (Spanish)
• Villas romanas en Aragón Átlas de Historia de Aragón (Spanish)
• Teruel en la época romana terueltirwal.es(Spanish)

https://en.wikipedia.org/wiki/Roman_villa_of_Camino_de_Albalate

http://www.giacobbegiusti.com

Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

 

Giacobbe Giusti, Santa Pudenziana

Detail of the 5th-century AD Paleochristian mosaic in the Santa Pudenziana basilica

Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

 

 

Giacobbe Giusti, Santa Pudenziana

 

Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

basilica of Santa Pudenziana is a 4th-century church of Rome, dedicated to Saint Pudentiana, sister of Saint Praxedis and daughter of Saint Pudens. It is the national church for the Philippines.

Giacobbe Giusti, Santa Pudenziana

Apse mosaic (enhanced image), a Paleochristian mosaic, c. 420 AD.

The basilica of Santa Pudenziana is a 4th-century church of Rome, dedicated to Saint Pudentiana, sister of Saint Praxedis and daughter of Saint Pudens. It is the national church for the Philippines.

It has been suggested that there was no such person as Pudentiana, the name having originated as an adjective used to describe the house of Pudens, Domus Pudentiana. St. Paulrefers to Pudens (2 Timothy 4:21), however, so it appears that there was a real person with this name.

Giacobbe Giusti, Santa Pudenziana

Close-up of Saint Pudentiana in the mosaic of the apse

The church of Santa Pudenziana is recognized as the oldest place of Christian worship in Rome. It was built over a 2nd-century house, probably during the pontificate of Pius Iin 140–155 AD, and re-uses part of a bath facility still visible in the structure of the apse. This church was the residence of the Pope until, in 313, Emperor Constantine I offered the Lateran Palace in its stead. In the 4th century, during the pontificate of Pope Siricius, the building was transformed into a three-naved church. In the acts of the synod of 499, the church bears the titulus Pudentis, indicating that the administration of the sacraments was allowed.

Giacobbe Giusti, Santa Pudenziana

Main entrance of the church

The church is situated at a lower level. One enters through wrought iron gates. Steps (added in the 19th century) spring down to the square courtyard from both sides of the entrance. The architrave of the entrance hall of the faded façade (1870) contains a marble frieze that used to belong to a portal from the 11th century. It is a significant work of medieval sculpture in Rome. It shows (from left to right) Pastore (the first church owner), Pudenziana, Prassede and their father Pudens. The columns in the nave were part of the original basilica structure.

The Romanesque belltower was added in the early 13th century. Restorations of 1588 by Francesco da Volterra, on orders from cardinal Enrico Caetani, Camerlengo of the Holy Roman Church, transformed the three naves into one and a dome was added, also designed by Francesco da Volterra. The painting of Angels and Saints before the Saviour on the dome is a fresco by a painter Pomarancio. During these last restorations some fragments of a Laocoön group were found that were larger than those in the Vatican. As no one was willing to pay extra for this find, they filled up the hole in the ground. These fragments were never recovered. The façade was renewed in 1870 and frescoes were added by Pietro Gagliardi.

The right side of the present basilica was part of a Roman bath house dating from the reign of emperor Hadrian (117–138).

Inside

Roman mosaic

Giacobbe Giusti, Santa Pudenziana

Detail of the 5th-century AD Paleochristianmosaic in the Santa Pudenziana basilica

On the wall behind the high altar are three paintings made in 1803 by Bernardino Nocchirepresenting (from left to right): St. Timotheus, The Glory of St Pudentiana, and St Novatus.

The mosaics in the apse are late Roman art. They date from around the end of the 4th century; they are regarded by different groups of scholars as dating from either the reign of Pope Siricius (384–399) or the pontificate of Innocent I (401–417).^[1]They were heavily restored in the 16th century. They are among the oldest Christian mosaics in Rome and one of the most striking mosaics outside of Ravenna. They were deemed the most beautiful mosaics in Rome by the 19th-century historian Ferdinand Gregorovius.

This mosaic is remarkable for its iconography. Christ is represented as a human figure rather than as a symbol, such as lamb or the good shepherd, as he was in very early Christian images. The regal nature of this representation prefigures the majestic bearing of Christ as depicted in Byzantine mosaics. Christ sits on a jewel encrusted throne, wearing a golden togawith a purple trim (a sign of imperial authority and emphasizing the authority of Christ and his church). He poses as a classical Roman teacher with his right hand extended. Christ wears a haloand holds in his left hand the text: « Dominus conservator ecclesiae Pudentianae » (The Lord is the preserver of the church of Pudenziana). He sits among his apostles, two of which were removed during restoration. The apostles wear senatorial togas. They all have individual expressions and face the spectator. The lower part of the mosaic was removed during the restoration in the late 16th century. The mosaics of the apostles on the right side have been lost in the course of time and are replaced by new, but rather blank, mosaics. Two female figures (representing « Church » and « Synagogue ») hold a wreath above the head of St. Peter and Paul. Above them the roofs and domes of heavenly Jerusalem (or, in another interpretation, the churches built by the emperor Constantine in Jerusalem) are depicted. Above Christ stands a large jewel encrusted cross on a hill (Golgotha), as a sign of the triumph of Christ, amidst the Christian symbols of the Four Evangelists. These iconographic symbols (angel, lion, ox and eagle) are the oldest still existing representations of the Evangelists.^[2] The backdrop is a blue sky with an orange sunset.

One scholar has suggested that the enthroned figure in the center of the apse mosaic normally regarded as Christ, in fact represents God the Father,^[3] which would be an extremely unusual depiction of God the Father in art at this date.

Chapels

Giacobbe Giusti, Santa Pudenziana

St Praxedes and Pudenziana collecting the Blood of the Martyrs by Giovanni Paolo Rossetti

• The Peter chapel, on the left side of the apse, contains a part of the table at which Saint Peter would have held the celebration of the Eucharist in the house of Saint Pudens. The rest of the table is embedded in the papal altar of St. John Lateran. The sculpture on the altar depicts Christ delivering the keys of Heaven to St. Peter (1594) by the architect and sculptor Giacomo della Porta. In the same chapel there are two bronze slabs in the wall, explaining that here St. Peter was given hospitality and that St. Peter offered for the first time in Rome bread and wine as a consecration of the Eucharist. The pavement is ancient. A door opens into a cortile with a small chapel that contains frescoes from the 11th century.
• Chapel of the Crucifix: contains a bronze crucifix by Achille Tamburini.
• Chapel of the Madonna of Mercy: contains the painting The Nativity of the Madonna by Lazarro Baldi
• Chapel of St. Bernard: contains a painting of St Benedict and St Catherine of Siena
• Caetani chapel: This chapel for Caetani family (family of pope Boniface VIII) was designed by Capriano da Volterra in 1588 and, after his death in 1601, completed by Carlo Maderno. The mosaics on the floor are notable. The columns of Lumachella marble. The relief (1599) above the altar is by Pier Paolo Olivieriand depicts Adoration of the Magi. Giovanni Paolo Rossetti painted St Praxedes and Pudenziana collecting the Blood of the Martyrsin 1621. He also painted the fresco of the Evangelist in the ceiling, to a design by Federico Zuccari.

The statue of St Pudenziana (c. 1650) in a niche is by Claude Adam. The sisters’ well stands just outside the Caetani chapel in the left aisle, which is said to contain the relics of 3,000 early martyrs, many of which were brought here and hidden by Saints Pudentiana and Praxedes. This is marked by a square porphyry slab in the floor.

Following the decline of popular piety ushered by the ecclesiastical reforms of the Second Vatican Council in 1969, the names of Pudentiana and her sister Praxedes were removed from the General Roman Calendar.

Titular church

The church’s cardinalate status is vacant with the 2017 death of Cardinal Joachim Meisner, thereby meaning that the Titulus S. Pudentianae is vacant until a new cardinal is appointed. One of the former Cardinal-Priests of this basilica was Cardinal Luciano Bonaparte, great-nephew of the emperor Napoleon I.

Notes

1. Jump up^ Kleinbauer, 940
2. Jump up^ Some Recent Finds at Alahan (Koja Kalessi), Michael Gough, Anatolian Studies, Vol. 5, (1955), 121.JSTOR
3. Jump up^ Suggestion by F.W. Sclatter, see Kleinbauer, 940

References

• « Santa Pudenziana », katolsk.no.
• Fredric W. Schlatter, The Text in the Mosaic of Santa Pudenziana, Vigiliae Christianae, Vol. 43, No. 2 (Jun., 1989), pp. 155–165
• Review by W. Eugene Kleinbauer of The Clash of Gods: A Reinterpretation of Early Christian Art, by Thomas F. Mathews, Speculum, Vol. 70, No. 4 (Oct., 1995), pp. 937–941, Medieval Academy of America, JSTOR
• (in Italian) Antonietta Cozzi Beccarini, « La cappella Caetani nella basilica di Santa Pudenziana in Roma », Quaderni dell’Istituto di Storia dell’Architettura, 22, 1975, pp. 143–158
• Matilda Webb, The churches and catacombs of early Christian Rome: a comprehensive guide, Sussex Academic Press (February 2002), ISBN1-902210-58-1

https://en.wikipedia.org/wiki/Santa_Pudenziana

http://www.giacobbegiusti.com