Journal of Mosaic Research

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Bases de Données et représentation spatiale des mosaïques romaines du Maroc
(Bursa Uludağ Üniversitesi, 2019-08-16) Bouzoubaa, Nissma; Dekayir, Abdelilah
Morocco boasts a rich and extensive heritage of Roman mosaics. Each of these mosaics is assigned a very detailed record documenting their discovery, dimensions, state of conservation, and so on. A good number of the mosaics have been removed from their original site and are currently in storerooms awaiting restoration. The objective of this project is to create a GIS database that will collate all the records for each of these mosaics. Geo-referencing software (ArcGIS) can be used to view the mosaics in situ. The creation of such a database will make it easier to access information about each mosaic and to facilitate management and decision making.
De la nécessité d’identifier précisément le décor géométrique d’une mosaïque. Une étude de cas
(Uludağ Üniversitesi, 2016) Parzysz, Bernard
In published articles, the description of geometric mosaics is generally confined to the Décor’s typology, which is of course indispensable but not always precise enough to identify their geometric properties accurately. However these properties allow an access to the craftsmen’s knowledge in that domain, and beyond that to their professional gestures. Undertaking a sharp geometric study is the only way to reach this goal, but it requires the knowledge of an extensive catalogue of theoretical models including, together with the ‘regular’ types, approximate versions whose implementation was frequently more economical (regarding involved knowledge, time and finally cost). For the chosen example (a mosaic from the Roman villa of Milreu (Portugal), of which only a few fragments remain), the regular geometrical model is confronted with an alternative model already itemized. Then some easily achieved observations about angles and alignments make it possible to decide between the two models, with the possibility of restoring the setting as a consequence.
Des expressions et des sentiments sur des pavements dionysiaques de l’Algérie romaine
(Bursa Uludağ Üniversitesi, 2021-08-25) Serradj-Remili, Nedjma
The figurative ancient mosaics often represent “living” paintings which depict mythological, historical or real personages who manage to express various feelings thanks to the ingenuity of the mosaic craftsmen. Indeed, the art of ancient mosaic has not ceased to evolve since the Hellenistic period in the direction of the translation of the emotions and feelings that give life to the myths and legends represented. The mosaics which decorated the ceremonial and reception rooms in luxurious domus did not only play an ornamental role, they entertained the guests, stimulated all their senses and provoked the exchange of conversations around the table. The Dionysian mosaics were particularly intended for this function because Dionysus is the god of the banquet! By admiring some of the many pavements of the Dionysian legend of Roman Algeria, one can detect the rendering of emotions and soak up an unreal and almost real atmosphere at the same time! ... This article is an invitation to discover a whole range of sometimes contradictory feelings that appear on mosaics; we will thus be able to see how the African mosaicists from the end of the 2nd to the 5th century A.D. used various methods to make their personages more expressive and alive.
Du concept de Praeparatio Euangelica à la christianisation de l’art, notamment dans le choix des sujets iconographiques de la mosaïque romaine
(Uludağ Üniversitesi, 2017) Maciel, M. Justino Pinheiro
As the Latin phrase in the above title says, the passage from paganism to Christianity does not arise ex machina, but it is also prepared through the continuous experience of religiosity in pagan contexts. There is a preparation that is said to be evangelical, because little by little and in many ways, the Christian Good News reaches the whole Roman Empire. This is visible in the evolution of classical art, especially in the mosaic, with the best examples, among other significant myths, of Orpheus’s story. Hence the importance of new approaches to classical myths, namely in their representation in opus musivum.
Et dionysos sortit des flots… Dionysos et la mer sur les mosaïques des salles de réception
(Bursa Uludağ Üniversitesi, 2020-08-08) Guimier Sorbets, Anne Marie
Dionysos had to jump into the sea in order to escape from Lycurgos; in another episode, the god was attacked by Tyrrhenian pirates who were transformed into dolphins. These two little known episodes of the myth of the god are depicted, directly or indirectly, on the pavements of reception halls. We will first study this iconography on the mosaics of the Hellenistic period, and then on those of the Imperial period, and pay particular attention to the scenes of the marine triumph of Dionysos (Dion, Corinth) and on the depiction of black swimmers (Pompeii, North Italy, the Narbonnaise). In line with the works of Jean-Pierre Darmon, we will inquire into the transmission of iconographic schemes through the ages, first in the Greek koine and then in the Roman Empire; and, finally, into their meaning according to architectural contexts in which they are found.
Etude de la dégradation des mosaïques romaines de volubilis (Maroc)
(Uludağ Üniversitesi, 2008) Dekayir, Abdelilah
Roman mosaics in Volubilis are opus tessellatum type. They show different deterioration features represented by the lacunae formation (lack of tesserae) and break down of mosaic pavements by fracturing. The deterioration of the tessellatum and the formation of cracks are related to the swelling of soil supporting these mosaics. Furthermore, the tessellatum is also damaged by chemical dissolution of the fine grained-mortar between (lime and quartz fine grain) and under tesserae, giving an important porosity and making the tessellatum very easy to collapse. A part from limestone tesserae, which show formation of vesicles by chemical dissolution, other ones such as marble and glass tesserae appear to be resistant to the weathering action.
Exemples du decor vegetal en quelques mosaiques romaines: Du Portugal a L’autre extreme de la mediterranee
(Uludağ Üniversitesi, 2012) Wrench, Licínia Nunes Correia
We will present some examples of vegetal decoration (acanthus leaves; hederae leaves, rosettes…) represented in some of the Roman Portuguese mosaics. The aim is to analyze this decoration comparing the representations in the Portuguese mosaics with the mosaics from some of the disseminating centers of North-Africa and the Middle-East. For this analysis it is important to consider the paths these ornaments took reaching the southwest of Hispania through different ways of contacts: the Continental, the Atlantic and the Mediterranean.
La fleur de lotus ou Nelumbo nucifera dans les mosaïques gréco- romaines
(Bursa Uludağ Üniversitesi, 2021-09-07) Vassal, Véronique
Numerous mosaics from the Hellenistic and imperial periods with Nilotic decoration have been recorded, both in the West and in the East. Almost all of them have a vegetal decoration illustrating the flora of the Nile. Among this lush vegetation, the lotus is reproduced in various forms and it is worth studying some of these representations in detail. Some examples seem to be part of an Alexandrian tradition, but particularities may evoke the world of Pharaonic Egypt. We have endeavoured to highlight how the expression of these traditions in iconography has manifested itself as well as in the treatment of the decoration. In the first instance, we thought it would be useful to go back over a few notions of botany and the characteristics of water lilies in Egypt. Different species are very similar, which leads to multiple risks of misunderstanding when using iconographic or literary sources. In the second instance, we have tried to show how Greco-Roman mosaic artists rendered the different stages of the growth of these flowers through their art. The naturalistic aspect, very present in Hellenistic mosaics, seems to have changed during the imperial period. Does the lotus retain something of the earlier floral vision, when it adorned the pavements of the Roman provinces? In the House of the Fauna in Pompeii, the mosaic of the Battle of Alexander and Darius decorated an exedra. The threshold, delimited by two Corinthian columns, was decorated with a mosaic consisting of several panels depicting scenes of life on the Nile, dating from the end of the 2nd century BC. These have been widely described and we have only focused here on the representation of lotus flowers. The illustration seems to visually describe the different stages of the flower’s life cycle. This is, in particular, the case as regards the Barberini mosaic in Préneste. The lotus sometimes appears from the front with its petals outspread. The nelumbo then consists of several corollae, the petals of which display shades of colour ranging from dark pink to light pink. This treatment is reminiscent of the fragment from the mosaic of the Canope baths, where a large nelumbo with two corollae unfolds in a circular composition.
Iconographie et relecture d’une mosaïque gallo-romaine à décor multiple de Vienne (Narbonnaise)
(Bursa Uludağ Üniversitesi, 2018-07-13) Vassal, Véronique
A large number of isolated panels of mosaics, discovered during the nineteenth century, have been preserved, sometimes forgotten in private collections and have not been studied. In many cases, we do not know their exact provenance. In the present article, we propose to study a panel of mosaic representing a deer, whose provenance is probably Vienne (Gallia Narbonensis) and is now kept in a private collection. This panel, according to comparisons with the other mosaics found at Vienne and in the two suburbs of SainteColombe and Saint-Romain-en-Gal, seems to belong to a multiple decor pavement mentioned by Adrien Blanchet in the Inventaire des mosaïques de la Gaule in 1909. The mosaic of the deer is certainly a panel disappeared after its discovery in 1867. We propose a new interpretation of the decor placing our panel with those from the same pavement still preserved in the archaeological museum, (church Saint-Pierre de Vienne): The four seasons, a lion, a dog, Theseus abandoning Ariadne and Ariadne asleep.
Le projet de Corpus des mosaiques d’Albanie
(Uludağ Üniversitesi, 2015) Raynaud, Marie-Patricia; Islami, Agron
After the issue of the first two volumes of the Corpus of the mosaics of Turkey, an Albanian Corpus was initiated in 2013, based on similar norms. Six to eight volumes should be necessary to publish the whole pavements of the country. The relatively limited surface of the area already allows considerations about local or itinerants workshops, about sponsors and economics assets, circulation of repertory and technical habits. A team is been trained to perform study, layout and restoration altogether on the field.
Mosaique de Dionysos découverte à Hiérapolis (Manbij) en Syrie du nord
(Bursa Uludağ Üniversitesi, 2023-06-28) Abdallah , Komait; al-Kaied , Mouhamad
In 2017, the remains of the two mosaics were accidentally found in the city of Manbij, 60 km northeast of Aleppo in northern Syria. These mosaics seem to be part of the same architectural context that has completely disappeared. The best preserved mosaic has a very interesting theme. It is the Dionysus scene with his thiasos including Satyr and Bacchant and leopard. There is also an other scene of landscape with river god and animals. The last one, so damaged, conserve just a mask and the rest of two personages and an amphora, beside it, there is an inscription mentioning Eros. The scene of Dionysus evokes the well-known figures in Zeugma and Antioch, Turkey, dated to the end of the 2nd century AD and the beginning of 3nd centuries. Perhaps, it represents the epiphany of the god. The others scenes are probably linked with Dionysus iconography. The mosaic could be dated, according to the stylistic criteria, to the end of 2nd century AD and the beginning of 3nd century AD. It attests the diffusion of the Dionysus cult in the city of Manbij (Hierapolis) in the roman period.
Une mosaïque de galets romaine à Erétrie (Grèce, Eubée)
(Uludağ Üniversitesi, 2011) Dubosson, Benoît
Since 2009 the Swiss School of Archaeology in Greece has started a new campaign of excavations in the centre of the Roman city of Eretria, on the west coast of Euboea (Greece). A monumental public building dated from the 2nd century AD, probably Roman baths, was discovered there in 2010. One of its rooms was decorated with a well-preserved mosaic, made of black and white pebbles set in simple geometric patterns. This pavement is technically close to the other mosaics found in Eretria and lies clearly within the framework of the tradition of the Hellenistic mosaics. It attests the persistence of the pebbles’ art during the Roman period.
Opus Signinum, Terrazzo, mortier et béton de sol: Un etat de la question
(Uludağ Üniversitesi, 2016) Vassal, Véronique
After a brief presentation of the various materials used in these pavements and the description of their decorative repertoires, we discuss the question of vocabulary. Indeed, for several years, many problems of terminology divide the scientific community. The study of ancient texts and the different interpretations of the De Architectura of Vitruvius, rather than clarifying the study of this type of pavement lead to make it more confusing. A detailed commentary of the new terminology defined by Italian researchers, shows that it is not easy to standardize the descriptions. Further difficulties arise when it comes to translate a word in another language, as interpretation often generates new ambiguities. I consider mortar pavements as the most suitable general term for this pavement type, because mortar is the basic component and at the same time the most neutral term. Finally, it seems appropriate to revisit the term of terrazzo-signinum used widely, (perhaps wrongly) in the French archaeological literature.
Le patrimoine mosaïstique en Tunisie: Un etat de lieu
(Bursa Uludağ Üniversitesi, 2019-10-09) Hajji, Jamel
This research aims to draw a diagnosis, as exhaustive as possible, of the Tunisian mosaic heritage. Through multiple investigations of sites -some of which are inscribed on the World Heritage List- reserves and museums, (ffty-three different locations) we try to reveal some hidden aspects of an often-unknown iceberg. Similarly, we examine the impact of the conservative/preservative programs and strategies, as well as the methods and practices followed, undertaken from the beginning of the second half of the last century until today, so far to ensure, the longevity, preservation and safeguarding of such a cultural heritage. What exactly are we preserving? A witness of history, a scientifc document or simply an element of cultural show? Can we really talk about the existence of a national strategy to preserve such civilizational earnings? The practices of decision-makers, are they really respecting the universal standards and requirements? Moreover, we question the reliability and effciency of the methods and practices that still organize the inventories, archives, presentation and exposure. Would the norms and the fundamental principles, fxed by universal texts, be unknown! What is the mosaic/document considered as? A beautiful object to see, a fashy presented to the general public! Or an archaeological testimony with signifcant, historical, artistic, technical and scientifc values!
Piazza Armerina. Les soi-disant personnifications de Mauretania et India aux extrémités du portique de la grande chasse
(Bursa Uludağ Üniversitesi, 2022-09-22) Steger, Brigitte
Que signifient les décors des absides du portique de la Grande Chasse ? Les personnifications au centre des deux mosaïques font-elles allusion à des entités géographiques comme cela a été proposé jusqu’à présent ? Et, dans ce cas, lesquelles ? L’analyse iconographique de chaque pavement est suivie d’un bref récapitulatif et d’une discussion des hypothèses proposées à ce jour. En nous appuyant sur un ensemble de parallèles iconographiques et textuels, nous nous efforçons de mieux cerner la signification de ces images. Nous proposons quelques pistes sur la façon dont ces mosaïques s’insèrent dans le programme décoratif du portique de la Grande Chasse auquel elles appartiennent.
La psyché aux ailes d’ange d’une mosaïque d’Antioche
(Bursa Uludağ Üniversitesi, 2020-08-17) Lauritzen, Delphine
The aim of this article is to propose a new interpretation of a fragmentary mosaic pavement from Antioch depicting Psyche (Antakya, Mus. Hatay 892). Using the “Tale of Cupid and Psyche” in Apuleius’ Metamorphoses (IV, 28-VI, 24), we argue that Psyche is represented at the key moment of the story. For the light of the lamp she is holding has just revealed to her the identity of her mysterious husband as being Cupid himself. Two main iconographical features differentiate this mosaic from other, standard representations of Psyche: she is neither naked nor wrapped in loose veils, but she appears entirely covered in light colour clothing, and she does not bear butterfly-wings but ones made of feathers. The mosaic has been dated of Trajan’s reign on the base of archaeological evidence. If this date is correct, then it cannot relate to Apuleius himself, as his novel was written in AD 160s. The mosaic would therefore be an early example of the iconographical fortune of the original tale, known in the Greek of Aristides of Miletus or in a Latin translation. One can otherwise hypothesize a later date for the mosaic, which would then make Apuleius stand as a possible terminus post quem.
Quelques remarques à propos de l’étude des sols in situ
(Uludağ Üniversitesi, 2008) Raynaud, Marie-Patricia
This paper proposes a review of the various contributions of an « in situ analysis » upon the study of mosaics and architecture. They are helpfull to understand the story of the building and to distinguish workshops of mosaicists. They result from the association between mosaic specialists, archaeologists and restorers.
La représentation d’ulysse et de polyphème dans la mosaïque romaine. analyses et comparaisons
(Bursa Uludağ Üniversitesi, 2020-08-08) Vassal, Veronique
In Homer’s Odyssey, whilst Ulysses is staying at the court of the Pheacians, he narrates his past adventures, in particular his encounter with the Cyclops, Polyphemus. The obvious physical imbalance between the two protagonists provides moral justification for recourse to guile, to metis, rather than engaging in a regular combat. In this paper, we have chosen to further exploit mosaics representing Ulysses inebriating Polyphemus for the sole purpose of revisiting the documentation by focusing on comparable works - sculptures, paintings and minor arts - in order to put forward a few hypotheses. We will take a look in turn at the role played by the sculptures of the Hellenistic period, the influence of Aristotle’s unity of action and unity of time, ending with the different depictions of Polyphemus’ organs of sight – at times « monocular » or « triocular » – in attempt to elicit their iconographical meaning.
Le talent discret des mosaïstes antiques. Une étude de cas relative aux méandres de svastikas
(Bursa Uludağ Üniversitesi, 2020-08-05) Parzysz, Bernard
The talent of the ancient mosaicists who carried out pavements with geometrical patterns is often unsung, and to some extent underestimated, with regard to the skills of those who created scenes with figures, or even vegetal décors. The issue of this article, based on the example of a pavement with a relatively commonplace and widespread pattern (swastika-meander), is to make explicit how some of the pictores challenged themselves (here, by carrying out swastika-meanders on a grid of bands with swastikas at the crossings) and be able to succeed (here, imagining a repetitive modular pattern to be replicated throughout the pavement). This was indeed a kind of gratuitous tour de force which, although remaining unseen for centuries, shows that such mosaicists also deserve our esteem, provided that their work is given enough attention.
Villa Gallo Romaine de Séviac - France Approches innovatives visant à la valorisation, à la conservation et à la restauration de pavements de mosaïque antiques exposés en plein air
(Bursa Uludağ Üniversitesi, 2023-08-10) Perpignani, Paola; Racagni, Paola
The Gallo-roman villa of Séviac, located in the Municipality of Montréal du Gers in France, was accidentally discovered at the end of the 19th century. The archaeological investigations identified the end of the 4th and the beginning of the 5th century as the period of its greatest splendour. It was a large rural residence that certainly belonged to a high-ranking aristocrat, covering a total area of about 25,000 sqm. In ancient times, it is believed to have mosaic floors with a total area of approximately 1,500 sqm. Currently, the site boasts about 400 sqm of beautiful polychrome mosaics of undoubted technical and stylistic quality. Recently, thanks to the interest of the local authorities, it was decided to invest in the territory through a series of programs aimed at protecting and enhancing the historical, artistic and archaeological heritage of the territory. Through a public competition, a team headed by the Portuguese architect João Luís Carrilho da Graça was selected, as it possessed the specific skills in the required fields. A new fully functional and innovative system of coverage of the entire site was designed and built. After a very complex preliminary diagnostic work, the team, in cooperation with the restoration laboratory of RavennAntica Foundation, designed and then directed the restoration of the entirety of the mosaic floors

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