Interdisciplinary Studies on Ancient Stone ASMOSIA X Proceedings of the Tenth International Conference of ASMOSIA Association for the Study of Marble & Other Stones in Antiquity Rome, 21-26 May 2012 P. PENSABENE, E. GASPARINI (eds.) «L’ERMA» di BRETSCHNEIDER INDEX Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XI I VOLUME 1. APPLICATION TO SPECIFIC ARCHAEOLOGICAL QUESTIONS - USE OF MARBLE Architecture with concave and convex rhythms and its decoration in Hadrian age: the Maritime Theatre and the Southern pavilion of Piazza d’Oro in Hadrian’s Villa, B. Adembri, S. Di Tondo, F. Fantini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Imported marbles found in three Roman cities of the territory of “Cinco Villas” (Zaragoza), north of Hispania Citerior, J. Andreu Pintado, H. Royo Plumed, P. Lapuente, M. Brilli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Pentelic marble in the Severan Complex in Leptis Magna (Tripolitania, Libya), F. Bianchi, M. Bruno, S. Pike . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 The limestone quarries of Wadi Gadatza in the territory of Leptis Magna, M. Bruno, F. Bianchi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Provenance and distribution of white marbles in the arches of Titus and Septimius Severus in Rome, M. Bruno, C. Gorgoni, P. Pallante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 The imitation of coloured marbles in a first style wall painting from the Etruscan-Roman town of Populonia (LI – Italy), F. Cavari, F. Droghini, M. Giamello, C. Mascione, A. Scala . 55 Small Euboean quarries. The local community markets, M. Chidiroglou . . . . . . . . . . . . . . . 63 Lumachella at Cosa: late Republican?, J. Collins-Clinton . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Ancientmarbles.org: an open community for sharing knowledge about ancient marble from different approaches, S. Costa, F. Marri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 The use of marble in Lusitania between Rome and Islam, M. Cruz Villalón . . . . . . . . . . . . . 85 “Marmora Ostiensa”. New results from the Ostia Marina Project, M. David, S. Succi, M. Turci . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 A column shaft in ‘verde rana ondato’ from the archaeological excavations in Palazzo Altemps, M. De Angelis d’Ossat, S. Violante, M. Gomez Serito . . . . . . . . . . . . . . . . . . . . . . . . . 103 The exploitation of coralline breccia of the Gargano in the Roman and late antique periods, A. De Stefano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Ships lapidariae and the wreck, with marmor numidicum, discovered in Camarina: hypothesis of route, G. Di Stefano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 V INDEX VI The use of marble in the roman architecture of Lugdunum (Lyon, France), D. Fellague, H. Savay-Guerraz, F. Masino, G. Sobrà . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Marmora and other stones in the architectural decoration of early imperial Barcino (Barcelona, Spain), A. Garrido, A. Àlvarez, A. Doménech, A. Gutiérrez Garcia-M., I. Rodà, H. Royo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Provenance of the Roman marble sarcophagi of the San Pietro in Bevagna Wreck, M. T. Giannotta, G. Quarta, A. Alessio, A. Pennetta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Thasian Exports Of Prefabricated Statuettes, J. J. Herrmann, Jr., D. Attanasio, A. van den Hoek . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Multimethod marble identification for figural sculpture in Hippo Regius (Annaba, Algeria), J. J. Herrmann, Jr., R. H. Tykot, A. van den Hoek, P. Blanc . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Awaiting identity: Copenhagen’s “diskophoros” and its auxiliary support, M. B. Hollinshead 171 Provenance, distribution and trade of the local building materials in the Sarno river plain (Campania) from the 6th century BC to AD 79, P. Kastenmeier, G. Balassone, M. Boni, G. di Maio, M. Joachimski . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 White and coloured marble on Pantelleria, T. Lappi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Local stones and marbles found in the territory of “Alto Aragon” (Hispania), in Roman times, P. Lapuente, H. Royo, J.A. Cuchi, J. Justes, M. Preite-Martinez . . . . . . . . . . . . . . . . . . 191 The Marmor Lesbium reconsidered and other stones of Lesbos, E. Leka, G. Zachos . . . . . 201 The marbles from the Villa of Trajan at Arcinazzo Romano (Roma), Z. Mari . . . . . . . . . . . . 213 The introduction of marble in the cavea of the Theatre of Hierapolis: building process and patronage, F. Masino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Shipwrecks with sarcophagi in the Eastern Adriatic, I. Mihajlović, I. Miholjek . . . . . . . . . . 233 The marble decoration of the peristyle building in the SW quarter of Palmyra (Pal.M.A.I.S. Mission), S. Nava . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Stone materials in Lusitania reflecting the process of romanization, T. Nogales-Basarrate, P. Lapuente, H. Royo, M. Preite-Martinez . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 A uotorum nuncupatio from Colonia Augusta Firma. An analytical approach, S. Ordóñez, R. Taylor, O. Rodríguez, E. Ontiveros, S. García-Dils, J. Beltrán, J. C. Saquete . . . . . . . . . . . 263 The Muses in the Prado Museum and the pentelic marble of the Odeon in Hadrian’s villa: workshops and statuary programmes. Preliminary report, A. Ottati . . . . . . . . . . . . . . . . . . 269 Local workshops of the Roman imperial age. A contribution to the study of the production of Campanian Sarcophagi, A. Palmentieri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Ceraunia and lapis obsianus in Pliny, L. Pedroni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Marbles from the Domus of ‘Bestie ferite’ and from the Domus of ‘Tito Macro’ in Aquileia (UD), Italy, C. Previato, N. Mareso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Production and distribution of Troad granite, both public and private, P. Pensabene, I. Rodà, J. Domingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 The use of Almadén de la Plata marble in the public programs of Colonia Augusta Firma – Astigi (Écija, Seville, Spain), O. Rodríguez, R. Taylor, J. Beltrán, S. García-Dils, E. Ontiveros, S. Ordóñez . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 INDEX Architectural elements of the Peristyle Building of the SW quarter of Palmyra (PAL.M.A.I.S. (PAL.M.A.I.S. Mission), G. Rossi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Casa del Rilievo di Telefo and opus sectile at Herculaneum, A. Savalli, P. Pesaresi, L. Lazzarini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 The use of marble in Roman Pula, A. Starac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Architectural decoration of the episcopal church of Rhodiapolis in Lycia, A. Tiryaki . . . . . 377 Byzantine carved marble slabs from Çanakkale Archaeology Museum, A. Turker . . . . . . . . 385 First preliminary results on the marmora of the late roman villa of Noheda (Cuenca, Spain), M. A. Valero Tévar, A. Gutiérrez García-M., I. Rodà de Llanza . . . . . . . . . . . . . . . . . 393 Parian lychnites and the Badminton Sarcophagus in New York, F. Van Keuren, J. E. Cox, D. Attanasio, W. Prochaska, J. J. Herrmann, Jr., D. H. Abramitis . . . . . . . . . . . . . . . . . . . . . . 403 The use of Estremoz marble in Late Antique Sculpture of Hispania: new data from the petrographic and cathodoluminescence analyses, S. Vidal, V. Garcia-Entero . . . . . . . . . . . . . . 413 Montegrotto Terme (Padova) – Marble and other stone used in architectonic decoration of the Roman villa, P. Zanovello, C. Destro, M. Bressan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421 2. PROVENANCE IDENTIFICATION I: MARBLE The monument landscape and associated geology at the sanctuary of Zeus on mt. Lykaion, I. Bald Romano, G. H. Davis, D. G. Romano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429 Marbles of the Aracena Massif (Ossa-Morena zone, Spain): aspects of their exploitation and use in roman times, J. Beltrán Fortes, M. L. Loza Azuaga, E. Ontiveros Ortega, J. A. Pérez Macías, O. Rodríguez Gutiérrez, R. Taylor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437 Isotopic analysis of marble from the Stoa of Attalos in the Athenian Agora and the Hellenistic quarries of Mount Pentelikon, S. Bernard, S. Pike . . . . . . . . . . . . . . . . . . . . . . . . . . . 451 An update on the use and distribution of white and black Göktepe marbles from the first century AD to Late Antiquity, M. Bruno, D. Attanasio, W. Prochaska, A.B. Yavuz . . . . . . . . 461 The use of coloured marbles in the neapolitan Baroque: the work of Cosimo Fanzago (1591-1678), R. Bugini, L. Cinquegrana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 The imitation of coloured marbles in the Venetian Renaissance painting, R. Bugini, L. Folli 475 Stones and ancient marbles of the ‘Francesco Belli’ Collection: archaeological, art-historical, antiquarian, geological - technical and petrographical aspects, R. Conte, A. D’Elia, E. Delluniversità, G. Fioretti, E. Florio, M. C. Navarra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485 Provenance investigation of a marble sculptures from Lyon Museum, M.P. Darblade-Audoin, D. Tambakopoulos, Y. Maniatis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503 The limestone quarries of the Karaburum peninsula (southern Albania), A. De Stefano . . . 513 The main quarries of the central part of Dardania (present Kosova) during the Roman period: their usage in funerary and cult monuments, E. Dobruna-Salihu . . . . . . . . . . . . . . . . . 519 The use of marble in Hispanic Visigothic architectural decoration, J.A. Domingo Magaña . 527 Preliminary study of Los Bermejales, a new roman quarry discovered in the province of Cádiz, Southwestern Spain, S. Domínguez-Bella, M. Montañés, A. Ocaña, J. M. Carrascal, J. Martínez, A. Durante, J. Rendón Aragón, J. Rios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537 VII INDEX Marble pavements from the house of Jason Magnus in Cyrene, E. Gasparini, E. Gallocchio 545 The Portoro of Portovenere: notes about a limestone, S. Gazzoli, G. Tedeschi Grisanti . . . . 555 Saw cuts on marble sarcophagi: New York and Ostia, J. J. Herrmann, Jr., M. Bruno, A. van den Hoek . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559 The basalt of the sacred caves at Ajanta (India): characterization and conservation, F. Mariottini, M. Mariottini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565 Marble and stones used in the central eastern Alpine area and in the northern area of Benacus: topographical reconstruction of trade routes and aspects of use in the Roman Era, A. Mosca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 Life of Nora (Province of Cagliari - South Sardinia). Roman quarries and their organization in the rural landscape, C. Nervi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585 Naxian or parian? Preliminary examination of the Sounion and Dipylon kouroi marble, O. Palagia, Y. Maniatis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593 Analysis of the stony materials in the Arucci city, E. Pascual, J. Bermejo, J. M. Campos . . . . 601 Blocks and quarry marks in the Museum of Aquileia, P. Pensabene . . . . . . . . . . . . . . . . . . . 611 Archaeology and archaeometry of the marble sculptures found in the “Villa di Poppea” at Oplontis (Torre Annunziata, Naples), P. Pensabene, F. Antonelli, S. Cancelliere, L. Lazzarini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615 “Marmo di Cottanello” (Sabina, Italy): quarry survey and data on its distribution, P. Pensabene, E. Gasparini, E. Gallocchio, M. Brilli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629 A quantitative and qualitative study on marble revetments of service area in the Villa del Casale at Piazza Armerina, P. Pensabene, L. Gonzalez De Andrés, J. Atienza Fuente . . . . . . 641 Quarry-marks or masonry-marks at Palmyra: some comparisons with the Phoenician-Punic documentation, D. Piacentini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651 Fine-grained dolomitic marble of high sculptural quality used in antiquity, W. Prochaska . . 661 Discriminating criteria of Pyrenean Arties marble (Aran Valley, Catalonia) from Saint-Béat marbles: evidence of Roman use, H. Royo, P. Lapuente, E. Ros, M. Preite-Martinez, J. A. Cuchí . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671 II VOLUME 3. PROVENANCE IDENTIFICATION II: OTHER STONES The stone architecture of Palmyra (Syria): from the quarry to the building, R. Bugini, L. Folli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683 Quarries in rural landscapes of North Africa, M. De Vos Raaijmakers, R. Attoui . . . . . . . . . 689 Local and imported lithotypes in Roman times in the Southern part of the X Regio Augustea Venetia et Histria, L. Lazzarini, M. Van Molle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699 Preliminary study of the stone tesserae of Albanian mosaics. Materials identification, E. Omari . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713 4. ADVANCES IN PROVENANCE TECHNIQUES METHODOLOGIES AND DATABASES Provenance investigation of some funeral marble sculptures from ancient Vienna (France), V. Gaggadis-Robin, J.-L. Prisset, D. Tambakopoulos, Y. Maniatis . . . . . . . . . . . . . . . . . . . . . . VIII 725 INDEX Isotopic testing of marble for figural sculpture at Guelma, Algeria, J. J. Herrmann, Jr., R. H. Tykot, D. Attanasio, P. Blanc, A. van den Hoek . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739 5. QUARRIES AND GEOLOGY Analysis and discrimination of Phrygian and other Pavonazzetto-like marbles, D. Attanasio, M. Bruno, W. Prochaska, A. B. Yavuz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753 Roman stone-carvers and re-carving: ingenuity in recycling, S. J. Barker, C. A. Ward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765 Can a fire broaden our understanding of a Roman quarry? The case of el Mèdol (Tarragona, Spain), A. Gutiérrez Garcia-M., S. Huelin, J. López Vilar, I. Rodà De Llanza . . . . . . . . . . . . . 779 The Roman marble quarries of Aliko Bay and of the islets of Rinia and Koulouri (Skyros, Greece), M. Karambinis, Lorenzo Lazzarini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791 The splendor of Andesite. quarrying and constructing in Larisa (Buruncuk) Aeolis, T. Saner, U. Almaç . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805 Carving a corinthian capital. New technical aspects regarding the carving process, N. Toma . 811 New evidence on ancient quarrying activity at the Mani Peninsula, M.P. Tsouli . . . . . . . . . . 823 Ancient lithic naval cargos around Sicily, S. Tusa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831 An unusual Roman stone cinerary urn from London, D.F. Williams, R. Hobbs . . . . . . . . . . 843 Presenting and interpreting the processes of stone carving: The Art Of Making In Antiquity Project, W. Wooton, B. Russell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 851 The Roman Mio-Pliocene underground quarries at Ksour Essaf (Tunisia), A. Younès, M. Gaied, W. Gallala . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 861 6. STONES PROPERTIES, WEATHERING EFFECTS AND RESTORATION A strigilated sarcophagus in providence: ancient, modern or both?, G. E. Borromeo, M. B. Hollinshead, S.Pike . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 871 Art historical and scientific perspectives on the nature of the orange-red patina of the Parthenon, O. Palagia, S. Pike . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881 7. PIGMENTS AND PAINTINGS ON MARBLE The polychromy of Roman polished marble portraits, A. Skovmøller, R. H. Therkildsen . . 891 Some observations on the use of color on ancient sculpture, contemporary scientific exploration, and exhibition displays, J. Pollini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 901 The Ulpia Domnina’s sarcophagus: preliminary report about the use of digital 3d model for the study and reconstruction of the polychromy, E.Siotto, M. Callieri, M. Dellepiane, R. Scopigno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911 8. SPECIAL THEME SESSION: ORDERS, REPERTOIRES AND MEANING OF MARBLE WITHIN THE PUBLIC AND THE DOMESTIC CIRCLE FROM ANTIQUITY TILL POST-ANTIQUE TIME Marbles from the theatre of Colonia Caesar Augusta (provincia Hispania Citerior), M. Beltrán, M. Cisneros, J. Á. Paz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 923 IX INDEX Calculating the cost of columns: the case of the Temple of Apollo at Didyma, P. Barresi . . . 933 The decorative stoneworks in the east and center of Roman Gaul: recent data of the archaeological operations, V. Brunet-Gaston . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 941 Colored columns and cult of the emperors in Rome, B. Burrell . . . . . . . . . . . . . . . . . . . . . . . 947 Roman sculpture in Pannonia between imports and local production, M. Buzov . . . . . . . . . 955 A New Julio-Claudian Statuary cycle from Copia Thurii. Brief remarks on quality and methods of extraction and processing of marble used for the sculptures, A. D’Alessio . . . . 969 Stone in the decorative programs of Villa A (So-Called Villa Of Poppaea) at Oplontis, J. C. Fant, S. J. Barker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 977 Stable isotope analysis of Torano valley, Carrara, marble used in 18th-century french sculpture, K. Holbrow, C. Hayward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 987 Cassiodorus on marble, Y.A. Marano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 997 Colored marbles of Diocletian’s Palace in Split, K. Marasović, D. Matetić Poljak, Ð. Gobić Bravar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1003 Fabri Luxuriae. Production and consumption of coloured stone vases in the Roman Period, S. Perna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1021 Porphyry bathtubs in the sacred space, O. Senior-Niv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1031 Mythological sculptures in late antique domus and villas: some examples from Italy, C. Sfameni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1039 Architectural language and diffusion of decorative models: a group of unpublished figured capitals from Hierapolis in Phrygia, G. Sobrà . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1049 X THE POLYCHROMY OF ROMAN POLISHED MARBLE PORTRAITS A. Skovmøller*, R. H. Therkildsen** Abstract The high-gloss polish on Roman marble portraits has long been known as an extravagant stylistic feature dating from at least the 2nd century to approximately the 5th century CE. The high-gloss polish accentuates the natural aesthetic properties of the various marbles, that is, the natural luminosity of all white marble types. In the examination of the sculptures for traces of original polychromy, the visual appeal of a white, shiny marble surface has led most scholars to expect the high gloss polish to have been spared the application of any additional paint. The results were therefore surprising, when the Tracking Colour team in the summer of 2011 had seven Roman portraits with high-gloss surfaces dating from the 3rd century CE examined, revealing a fully-painted polychromy on all portraits. This paper presents the results and a new perspective on the role of white marble as a base for painted polychromy on three-dimensional Roman portraits. Keywords High-gloss polished marble, portraits, polychromy The nature of a polished marble surface A high-gloss polish should not be confused with a politur. A politur is an applied coating consisting of, for example, a wax- and/or oil-based mixture, which gives the surface a shiny texture. A polish on the other hand is a mechanical rubbing down of the stone through various stages, the final being a high-gloss. We know what tools were used for carving marble sculptures during the Roman Empire from literary and archaeological sources. The archaeological material includes depictions of tools and, in a few cases, the recovery of tools used in sculptural workshops. But for most parts it consists of “reading” marble sculptures in terms of the marks of chisels, files, rasps and abrasives (ROCKWELL 2004, 36-91; ROCKWELL 1993, 31-88). Based on such sources it can be concluded, that the Roman crafts- * Ny Carlsberg Glyptotek, Copenhagen, amsk@glyptoteket.dk. ** Ny Carlsberg Glyptotek, Copenhagen, rht@glyptoteket.dk. men used the same basic tools as were used by modern craftsmen until electric tools were introduced in the 20th century. Hammers and mallets were used as percussive tools for the different chisels. For the rough and also finer carving, point chisels were used in varying sizes, which could remove chunks of marble and accentuate delicate detailing. The tooth and flat chisels were used for evening the surface and giving shape to the sculpture. In some cases, the flat chisel was also used for finer shaping as can be seen on the hair of several Roman portraits. For the deep cutting and plastic rendering, the rounded chisels were used, which can be seen on elaborate, curly haircuts, beards and certain garments. In some cases such tool traces are caused by what is popularly referred to by archaeological scholars as “the running drill”, which basically consisted of a rapidly-rotated rounded chisel. Files and rasps were used for types of surface-finishing, ranging from rough textures to superficial, smooth patterns sometimes with the final touch of an abrasive. The abrasives varied according to the degree of smoothness (ROCKWELL 1993, 48-49). Mostly the whetstone would be applied, but for the very fine polished surface textures other abrasives were needed, about the nature of which we can, unfortunately, say very little. The high-gloss polish, with which this paper is concerned, is obtained by several stages of time-consuming rubbing of the marble surface gradually removing all tool traces visible to the naked eye. Peter Rockwell (ROCKWELL 2004, 31) and Michael Pfanner (PFANNER 1989, 228) have both suggested that the Roman craftsmen could have used lead wrapped within a piece of cloth. Whatever tools the Roman craftsmen used, the visual effect of the high-gloss polish is luminous, and combined with the time-consuming nature of its application, archaeologists and art historians have interpreted it as a high point of marble aesthetics and as a mark of excellent quality and craftsmanship, ruling out any fullypainted polychromy (POULSEN 1921, 89; Reuterswärd 1960, 220-223). THE POLYCHROMY OF ROMAN POLISHED MARBLE PORTRAITS Fig. 1. Young Roman, Ny Carlsberg Glyptotek IN 821, 1st half of 3rd century CE. H. 26,0 cm. Tungsten light photography. (Photo: R. Therkildsen). Fig. 2. Young Roman, Ny Carlsberg Glyptotek IN 822, 1st half of 3rd century CE. H. 24,0 cm. Tungsten light photography. (Photo: R. Therkildsen). The high-gloss polish on four Roman portraits in the NCG The portraits: Identification and description Fig. 3. Maximus, Ny Carlsberg Glyptotek IN 826, 235-238 CE. H. 23,0 cm. Tungsten light photography. (Photo: R. Therkildsen). 892 In Room 16, in the Glyptotek’s Roman portrait collection is a group of seven heads. With one exception they all represent young, clean-shaven men. Due to the discoveries in the summer of 2011 of traces of carnation colour on some of the portraits, it was decided to look deeper into the relationship between the highly-polished marble surface treatment and paint layers. This paper will focus on the results provided by three of these portraits: IN 821, IN 822 and IN 826 (Fig. 1, 2, 3) (JOHANSEN 1995, cat. no. 16, 17, 42). IN 826 represents the young Maximus, who was the son and heir of the Emperor Maximinus Thrax. He was proclaimed Caesar in 235, but then killed in 238, which places the date of the portrait somewhere in that period of time. IN 821 and IN 822 are identical and represent an unidentified youth. The stylistic rendering of the hair, along with the drilled pupils and chiselled eyebrows resemble those aspects of IN 826 and therefore date the portraits to the first half of the 3rd century AD. As is often the case with antique marbles in old collections we have no information as to the provenance of the portraits. Nor do we have any knowledge regarding restoration and conservation treatment before 1954. What we do know is that the portraits IN 821 and IN 822 were acquired in 1888 from the Roman art-dealer Fran- A. SKOVMØLLER, R. H. THERKILDSEN cesco Martinetti. The third portrait, IN 826, was acquired in 1890 from another art dealer, Alberici, also based in Rome. The portraits therefore most likely originate from Rome. And since IN 821 and IN 822 were acquired together and appear to be identically executed, one could assume that they originally also belonged together as they are displayed in the museum collection today. The portraits are executed in the same manner. They have short haircuts and clean-shaven faces. The hair strands are represented with a flat chisel, creating a hatched, punctuated surface texture. The chisel is also used to accentuate the delicate eyebrows, while the pupils are drilled. The skin surfaces of the portraits are polished to a high gloss resembling porcelain, which stands sharp textural contrast to the chiselled hair. IN 826 is shaped for insertion into a statue, herm or a bust. The neckline has been rounded and shaped by using a flat chisel on the back. IN 821 and IN 822 have both been cut off beneath the chin, and it is therefore impossible to say whether they were originally inserted into a sculpture as IN 826 or carved from one piece. Preservation Although the portraits are executed in the same manner, they differ in their state of preservation. IN 826 is missing its nose, chin and parts of both ears, but is, in other respects, in a relatively good state of preservation. The same can be said of IN 821, which is lacking its nose and small parts of both ears, while its “twin”, IN 822, is in a worse condition. Besides missing its nose, mouth and parts of both ears the portrait has scratches and cavities all over the surface in varying degrees, causing the left eye to be almost entirely missing. On all three portraits the marble surfaces are partly covered in a secondary calcareous layer, but skin areas such as the forehead and cheeks reveal the characteristic luminescent, glass-like appearance of a polished, fine-grained, white marble. However, on a microscopic level it becomes clear that the polished surface on the portraits is partly disturbed by modern intervention. A network of fine lines from abrasion is observed on polished parts as well as on parts covered with incrustation. At some point between excavation and acquisition the portraits have been deeply cleaned to the detriment of the original surface. Conservation reports and photographs from the museum archives reveal that all three portraits had their missing parts reconstructed in plaster up until the later half of the 1950s (Fig. 5-7). Between 1955 and 1958 all reconstructions were removed and the portraits were given new plinths and subjected to a standard cleaning process, which at that time consisted of water and rubbing with a hard brush. Such a treatment could explain some of the fine lines seen on the polished surfaces through the microscope. Some of the larger lines were most likely caused by an abrasive, perhaps used earlier in order to remove Fig. 4. Museum photograph of IN 821 from 1907. (Photo: V. Poulsen). Fig. 5. Museum photograph of IN 822 from 1907. (Photo: V. Poulsen). 893 THE POLYCHROMY OF ROMAN POLISHED MARBLE PORTRAITS Fig. 6. Museum photograph of IN 826 from 1907. (Photo: V. Poulsen). Fig. 7. VIL image of IN 826 shows the distribution of Egyptian blue as shining white particles. The main part of the particles is restricted to right side of the face covered by incrustations. (Photo: R. Therkildsen). some of the resistant incrustations or perhaps root marks, as can be seen on IN 821 on the earliest museum photographs (Fig. 4). treatment of the marble, a preliminary but essential step was to describe and classify the marbles by means of petrographic microscopy of thin-sections. For determination of the marble provenance, electromagnetic resonance spectroscopy (EPR) and stable isotope analysis were used (ATTANASIO 2003, 11-80; ATTANASIO et al. 2006, 17-60). Methodology The sequence of documentation and identification of traces of colour on the three portraits were based on a non-invasive approach and divided into two main steps: visual examination followed by technical imaging including microscopy, ultraviolet fluorescence imaging (UV-FL) and visible-induced luminescence (VIL). VIL-imaging is based on a significant property of Egyptian blue. When the synthetic pigment is excited with visible light, it emits infrared radiation that glows white in a VIL image (VERRI 2009, 1011-1021). Microscopy was accompanied by x-ray fluorescence spectrometry (XRF). Furthermore, a qualitative identification of the marble was considered important and sampling for isotopic analysis and thin-section microscopy was carried out. Samples were taken (≤0.5cm) from the broken part of the neck on all three portraits. Due to the characteristic 894 Results from the scientific examinations Documentation and identification of original paint layers At first glance the polished skin parts appeared to be unpainted but microscopy and photo-analytical examination of the portraits provided us with new and very interesting information on the colour palette and painting techniques. VIL imaging of IN 826 revealed a great number of small particles shining bright white (Fig. 7). The particles were, in the main, restricted to parts of the face that were covered by incrustations. However, the strong luminescence of Egyptian blue in combination with the transparent properties of the calcareous incrus- A. SKOVMØLLER, R. H. THERKILDSEN tation layer made it possible to identify the well-protected pigment grains beneath it. Furthermore, microscopy revealed traces of red and yellow ochre. On the remaining two portraits, IN 821 and IN 822, similar findings were observed; scattered particles of Egyptian blue in combination with red and yellow grains. In all cases the amount of preserved paint was very small and distinct paint layers rarely occurred. Furthermore, traces of original paint were usually preserved beneath, or integrated in the secondary crusting. Small traces of paint observed on polished areas were applied directly onto the marble ground. In terms of painting techniques, the eyes of the portraits were given special attention. IN 822 exhibited extensive traces of original colour, especially in the left eye. The rim of the eye was outlined in carbon black with small amounts of red ochre, and delicate brushstrokes for the black eyelashes were still visible (Fig. 8). The eyelashes were painted on a well-preserved white ground and XRF-analysis of the white ground revealed a lead content (Pb. 16 ppm). The relatively small quantities of lead could be due to contamination and it is plausible that the white layer was based on calcium carbonate. The drilled pupil and the iris were surrounded by a black line combined with grains of iron red and in the corners of the eyes and on the upper eye lid traces of madder lake were recognized by means of ultraviolet radiation (Fig. 9). Microscopy of the area immediately beneath the left eye of IN 822 revealed a compact white layer in combination with relatively large grains of red ochre (Fig. 10). The characteristic compactness and opacity of the white layer were not observed elsewhere on the skin parts and XRF-analysis revealed an ochre content (Fe, 390 ppm) together with small quantities of lead (Pb. 27 ppm). Again it remains a possibility that the opaque white layer was based on calcium-carbonate. The chromatic scheme observed on IN 826 differed slightly from the identical portraits IN 821 and IN 822. Instead of using an organic lake, a mixture of red ochre (Fe. 502 ppm), cinnabar (Hg. 17 ppm) and lead (Pb. 21 ppm) accentuated the rim of the eyes of IN 826. At first glance all three portraits presented a fairly conventional colour scheme for the hair. Iron red was found together with scattered particles of carbon black, yellow and a few grains of Egyptian blue. However, in the hair of IN 826 red colour dominated whereas IN 821 and IN 822 exhibited a preponderance of yellow colours preserved. It came as a great surprise when microscopic examination of IN 821 revealed gilding on top of an orange layer in the hair (Fig. 11). XRF-analysis of the orange bolus identified a mixture of four different pigments where yellow ochre (Fe. 1858 ppm) formed the basis together with smaller quantities of Egyptian blue (Cu. 37 ppm), cinnabar (Hg. 13 ppm) and lead (Pb. 75 ppm). Fig. 8. Micrograph of black painted eyelashes on a white ground on the left eye lid of IN 822. (Photo: R. Therkildsen). Fig. 9. UV-FL image of the eyes of IN 822 revealing an organic lake in the inner corners of the eyes and on the upper eye lid. (Photo: R. Therkildsen). Fig. 10. Micrograph of an opaque white layer mixed with red grains beneath the left eye of IN 822. (Photo: R. Therkildsen). 1. Petrography by Ass. Prof. Jørn Bredal Jørgensen, The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation, Copenhagen. Analysis and EPR by Dr. Donato Attanasio, Istituto di Struttura della Materia del CNR, Sede di Montelibretti, ISM-CNR, P.O. Box 10, 00016 Monterotondo Staz., Rom. 895 THE POLYCHROMY OF ROMAN POLISHED MARBLE PORTRAITS Petrographic analysis and marble provenance1 Fig. 11. Micrograph of gilding on top of an orange layer in the hair of IN 821. (Photo: R. Therkildsen). Fig. 12. Detail of thin section of IN 822 showing the sample’s petrographic morphology and texture. Microscopy with parallel polarization filters, x 2,5. Frame: 2,6 x 3,5 mm. (Photo: Jørn Bredal-Jørgensen). The petrographic analysis of the thin-sections of IN 822 and IN 826 showed relatively homogeneous types of stone. In both cases an equidimensional mosaic of calcite grains with straight or gently curved boundaries was observed (Fig. 12, 13). The maximum grain size (MGS) was 0.65 mm for IN 822 and 0.50 mm for IN 826. Neither impurities nor accessory minerals were observed in the thin-sections. The mineralogical composition of IN 821 was the same but the morphology and structure partly different (Fig. 14). A part of the thinsection revealed elongated crystals without clearly defined boundaries that evidenced post-formation stress or deformation. Areas without deformation had a morphology and texture similar to IN 822 and IN 826 but MGS was relatively smaller measuring 0.40 mm. The petrographic analysis suggests that the various stones belong to the same source but it remains unclear at this stage if the deformation observed in IN 821 is a common feature. Results from the stable isotope analysis and EPR as well as MGS and colour value of IN 821, IN 822 and IN 826 were compared with seven marble groups considered as possible provenances (Fig. 15). As expected, the isotopic values for the three samples were not much different from the majority of the seven marble groups and the isotopes were not considered suitable by themselves to identify the provenance reliability. However, the extremely low EPR intensity of the Göktepe 3 was unparalleled by any other group and similar to IN 821, IN 822 and IN 826. A statistical graph using combinations of the experimental variables showed the maximum separation between the marble groups and the location of the three samples in relation to the marble groups was clarified (Fig. 16). The results strongly suggest that the three portraits were carved in marble from the ancient Göktepe quarries in Asia Minor. Why polish and paint? Concluding that the high-gloss polish of the examined portraits in the Ny Carlsberg Glyptotek was originally entirely painted leaves us with the question of the reason for polishing the marble surface in the first place. The material properties of white marble: Visual effect and optical illusion? Fig. 13. Detail of thin section of IN 826 shows the sample’s petrographic morphology and texture. Microscopy with parallel polarization filters, x 2,5. Frame: 2,6 x 3,5 mm. (Photo: Jørn Bredal-Jørgensen). 896 In order to look deeper into the role of the white marble as a base for fully-painted, three-dimensional portraits, we need to establish the material properties of white marbles. The carving qualities of white marbles are not uniform but are conditioned by the mineralogical and chemical composition and morphology. The marble of IN 821, IN 822 and IN 826 are fine-grained without any discolorations, which would have been an A. SKOVMØLLER, R. H. THERKILDSEN Fig. 14. Detail of thin section of IN 821 shows the sample’s petrographic morphology and texture. Microscopy with parallel polarization filters, x 2,5. Frame: 2,6 x 3,5 mm. (Photo: Jørn Bredal-Jørgensen). No Inv Description MGS mm δ18O ‰ δ13C ‰ EPR Intens % EPR linewidth % Color % 1 IN 821 Head of a youth, 235 AD 0.40 -2.43 2.66 3.4 55.5 85 2 IN 822 Head of a youth, 225 AD 0.65 -2.90 2.49 2.2 58.3 91 3 IN 826 Head of G.Maximus, 235-38 AD 0.50 -3.06 2.50 3.6 48.7 86 1 Carrara, 112 samples 0.80 -1.89 2.11 68.5 63.4 83 2 Pentelicon, 154 0.96 -7.00 2.63 226.3 58.2 90 3 Docimium Iscehisar, 65, samples 0.86 -4.32 1.80 242.5 53.9 76 4 Docimium Altinta , 48, samples 0.67 -5.38 2.27 1.58.3 57.7 75 5 Hymettos, 41 samples 0.69 -2.17 2.20 14.2 46.0 71 6 Göktepe 3, 45 samples 0.64 -3.40 1.80 3.9 55.1 87 7 Göktepe 4, 18 samples 0.68 -3.43 1.78 21.6 46.4 86 Fig. 15. Analytical data for the three heads and for the marble groups considered as possible provenances. The isotopic and EPR variables are given in ‰ or % with respect to specific standards (Pee Dee Belemnite for isotopes and Dolomite N368 BCS for EPR). The MGS values are expressed in mm. The colour value is given as % in an 8-bit scale where 0 represents black and 255 white. 897 THE POLYCHROMY OF ROMAN POLISHED MARBLE PORTRAITS Fig. 16. Statistical graph with the experimental variables showing the maximum separation between the marble groups and the three heads. essential criterion when planning to carve a high-gloss polished portrait, as the polish enhances the natural colours embedded in the stone. Unfortunately we know nothing of the original context of the portraits, but, as noted earlier, they were bought in Rome and might therefore also originate from Rome or Italy. This means that the Göktepe marble, which was quarried in modern-day Turkey, was present in Italy during the Roman Imperial Period. Either the marble was exported to the workshops in Rome for the carving of high- quality portraits then in demand, or the portraits were carved in the workshops of Asia Minor and then transported to the markets in Rome. Either way the choice of marble presupposed the level of artistic refinements of the portraits, which were in demand within the Roman Empire, giving rise to a systematic trade in white marble sculptures and marble blocks between the eastern and western parts of the Mediterranean. The surface texturing of the three portraits was therefore planned before the marble blocks were chosen: any planning for the additional, fully-covering polychromy would have taken these effects into consideration when mixing and applying the paint. Unfortunately we know very little of factors such as binders, paint layers and concentration of pigments, but if the various 898 surface textures were to have been included in the final appearance, they must have been accounted for in the painting techniques. Through experimental tests performed at the Ny Carlsberg Glyptotek it became evident, that the choice of binders would most likely not have included egg yolk, which is in most reconstructive experiments the common choice as binder. But when tested on a high-gloss polished marble slab the egg yolk would not adhere as well to the surface as to a mattepolished surface, and was easily scraped off once dry. It therefore seems plausible that the choice of binder would have been something else or some kind of combination of two or more binders (egg yolk/ white, gums and animal glues). From examination of the results of the scientific investigations it seems as if the paint layers were delicately applied to the skin surface, with a concentration of pigments varying according to the area of the face. The distribution of pigment grains indicates that the paint layers were fairly translucent on areas such as foreheads, cheeks and chins and more compact around the eyes. Combined with the correct choice of binder and the natural luminosity of the polished marble, the applied translucent and opaque paint layers would have created the optical illusion of human skin. And if the painting A. SKOVMØLLER, R. H. THERKILDSEN Fig. 17. Nerva?, Ny Carlsberg Glyptotek IN 3282, 1st half of 2nd century CE. H. 33,0 cm. Tungsten light photography. (Photo: R. Therkildsen). Fig. 18. Roman woman, Ny Carlsberg Glyptotek IN 799, 2nd half of 2nd century CE. H. 37,0 cm. Tungsten light photography. (Photo: R. Therkildsen). techniques had also been selected with the textural differences between hair and skin in mind, then the rough flat-chiselling of the short hair cuts would have been enhanced by the additional paint resembling real human hair. In the case of IN 821 the thinly-applied gold leaf on top of the golden/brown painted strands of hair would have caught and reflected the light like the highlights of real well-groomed hair. The results of a recent examination of a male head from the Ny Carlsberg Glyptotek, IN 3282, did not show any signs of original paint on top of the high-gloss carnation surface (Fig. 17). The head bears traces of colour in the hair, but on the skin surface no indications of original colouring were found. The same was the case with a female head also in the Ny Carlsberg Glyptotek, IN 799 (Fig. 18). The head has very little original paint in the hair, and none on the skin surface. The small amount of pigments on both portraits could be due to extensive cleaning in modern times, so it is not easy to say whether the skin surfaces were originally painted or not. Further examinations of original paint on high-gloss surfaces could perhaps help to answer this question in the future. Were all polished portraits painted? The findings of original colour on skin areas of the examined portraits in the Ny Carlsberg Glyptotek are small and fragmented. The original paint is badly preserved on a glass-like surface like polished marble, and could easily have been removed during post-antique cleaning procedures. However, the fine distribution of Egyptian blue beneath secondary crusting on IN 826 evidences an intentional use of paint on the highly-polished skin parts. The amount and even distribution of the relatively uniform grains on the skin have undoubtedly been part of a mixture of various pigments aimed at obtaining a lifelike colour. But does that mean that all polished portraits were originally painted? Conclusions and further considerations There are still questions which need answering in the research into the original appearance of the painted Roman portraits (and full-figure sculptures for that matter). But as this paper has set forth, the connection between marble type and painting suggests a strong relationship between sculptor and painter. As the different material properties of the various types of white marble could re- 899 THE POLYCHROMY OF ROMAN POLISHED MARBLE PORTRAITS ceive different surface textures, which formed a decisive platform for any subsequent polychrome additions, the choice of marble cannot be considered as fortuitous. The emphasis on the surface manipulation testifies to a sculptural tradition where the final visual experience between portrait and viewer was essential to the overall artistic sequence of sculptural creation. And although we lack information on the painting techniques at this point due to the state of preservation of most Roman sculptures, the acknowledgement of the dominant role of the marble as base material might bring us a few steps closer to unravelling the original appearance of the Roman portraits. Acknowledgements The authors wish to thank: Prof. D. Attanasio,, Istituto di Struttura della Materia del CNR, Sede di Montelibretti and J. Bredal-Jørgensen, The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation, for undertaking elements of the scientific investigations in this project. Prof. Minik Rosing, Natural History Museum in Copenhagen for generously lending the handheld XRF and Peter Fink for assistance. And research curator Jan Stubbe Østergaard at the Ny Carlsberg Glyptotek for his guidance and support in the research into the high-gloss polished portraits. 900 Bibliography ATTANASIO D. 2003: Ancient white marbles: analysis and identification by paramagnetic resonance spectroscopy, L’Erma di Bretschneider, Rome, 2003. ATTANASIO D., BRILLI M., OGLE N. 2006: The Isotopic Signature of Classical Marbles, L’Erma di Bretschneider, Rome, 2006. JOHANSEN F. 1995: Catalogue. Roman Portraits III, Ny Carlsberg Glyptotek, Copenhagen, 1995. PFANNER M. 1989: “Über das Herstellen von Porträts. 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