Mosaic Restoration and Conservation

De Vita, A., Simeti, S. & Volta, S. (2013) The conservation of the Neptune and Amphitrite wall mosaic at Herculaneum: an interdisciplinary partnership. In G. Biscontin & G. Driussi (eds) Conservazione e valorizzazione dei siti archeologici: approcci scientifici e problemi di metodo. Atti del Convegno di Studi Bressanone 9-12 luglio 2013. Scienza e Beni Culturali 29: 935-941.

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by H. Vincent.
The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context (see Olszewski M.T. «Orphée endeuillé de la mosaïque funéraire de Jérusalem», in Rey Mimoso-Ruiz, B. ed., Actes du colloque «Orphée entre Soleil et ombre», à l’Institut Catholique de Toulouse du 16 au 17 novembre 2007, Inter Lignes, numéros spécial – mars 2008, pp. 205-214, 226). He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in the Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos and Chiron (Chi-Rho) and Pan [Παν(τοκράτωρ)].The frequently used Christian funerary formula of resting in peace, Christ or the Lord corresponds
perfectly with the mood created around the mythical bard.
Orpheus’ universal role as singer and musician moving even the most stony of hearts, extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect it does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem.

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

En este artículo se presentan los resultados obtenidos en la intervención arqueológica realizada en la villa romana "El Arca" (Castro del Río, Córdoba), realizando un primer acercamiento al estudio de las estructuras y materiales de tan importante yacimiento, entre los que destaca su valioso repertorio musivo.
Abstract: This article presents the results of the archaeological excavations conducted in the Roman villa "El Arca" (Castro del Río, Córdoba), making an initial approach to the study of structures and materials so important archaeological site, among them his valuable repertoire musivo.

a pubblicazione di questo fascicolo trae spunto dall’intervento di conservazione in corso sul mosaico della Trasfigurazione, situato nell’abside della basilica del Monastero di Santa Caterina nel Sinai. Il mosaico, così come le opere d’arte in generale, non godono per loro natura di vita eterna; al contrario sono fragili e richiedono cure e attenzioni. Allarmata da evidenti segni di degrado presenti sul mosaico, la comunità monastica di Santa Caterina ha dato inizio ad un programma di conservazione e ne ha affidato la realizzazione al CCA, Centro di Conservazione Archeologica di Roma. Il lungo e delicato intervento é iniziato nel Novembre 2005 ed é tuttora in corso. La pubblicazione è stata realizzata in arabo, francese, greco, inglese, italiano, russo, spagnolo e tedesco. Racconta la storia del mosaico e dell’intervento di conservazione, permette attraverso nuove immagini di apprezzare la magnificenza del mosaico, perché i visitatori possano portare con sé una memoria della loro visita e di quanto i monaci fanno ogni giorno per la protezione dell’immenso patrimonio da essi custodito.
Il testo è pubblicato in italiano, inglese, tedesco, francese e spagnolo.

Questo lavoro descrive la ricerca e l’intervento di restauro effettuati su un brano musivo in opus sectile a motivo geometrico proveniente dal Cairo e datato al XV secolo, attualmente custodito presso la Galleria Regionale di Palazzo Abatellis di Palermo. Le vicende storiche che hanno interessato il frammento hanno portato alla perdita delle tracce relative alla sua provenienza, facendone “dimenticare” il valore artistico e determinandone un quasi abbandono. L’intervento di restauro ha costituito un vero e proprio momento di conoscenza dell’opera e, dunque, un’occasione per approfondirne gli studi sulla provenienza e per ricostruirne le vicende conservative ed il contesto storico-culturale, permettendo di valorizzare e restituire al pubblico un manufatto che fino ad oggi non ha potuto godere della adeguata fortuna critica. Il percorso di ricerca storica ha consentito di inquadrare il manufatto all’interno del cosiddetto “Dono Iacovelli”, di cui fanno parte altri pannelli pavimentali in opus sectile oggi conservati presso quella che era la Sala Araba del Museo Nazionale di Palermo (oggi Museo Archeologico Regionale A. Salinas), specchio di un’identità squisitamente nazionale durante il contesto culturale di fine Ottocento.

The paper is a quick overview of the revival of Mosaic art in Palestine through the people who participated and give their assistance along the years. It is for me an opportunity to reflect on the results obtained in more than 16 years of training, about successes and failures, and a way to remember the contribution of friends who have left us in the meanwhile, prof. Michele Piccirillo, mosaicist Rasmi Al Shaer and prof. Pietro Kaswalder, leaving a vivid memory and push to continue our efforts

In questo articolo è presentato il metodo usato per il trattamento delle lacune nel mosaico della Trasfigurazione nel monastero di Santa Caterina in Sinai, conservato dal CCA negli anni 2005-2010. Sebbene sia riconosciuto che questa questione rivesta un ruolo minore nella gerarchia degli aspetti che compongono un programma complesso come quello eseguito a Santa Caterina, il dibattito che ha preceduto la decisione e l'importanza del monumento costituiscono un caso che potrebbe avere un valore esemplare (positivo o negativo) nell'ambito della dialettica metodologica che ha generato montagne di parole su quest'argomento.

This paper is translated into English, see: M.T. Olszewski, The Immortality of the Human Soul and the Dionysiac Mysteries in the 4th Century Allegory (In Connection with the Interpretation of the Mosaic from “House of Aion” at Paphos in Cyprus), on http://www.academia.edu/3256675
The author proposes a new interpretation of the iconographical and iconological programme of five panels mosaic from the House of Aion at Nea Pahos in Cyprus. He proposes reading the five mythological panels (1. Leda and Zeus; 2. Dionysus on Mount Nysa; 3. The Dionysian thiasos; 4. Apollo and Marsyas; 5. The Apotheosis of Cassiopeia) as an allegory of the destiny of the human soul and body, starting with conception (Leda and a Swan)  and ending with the liberation of the soul and its apotheosis (the apotheosis of Cassiopeia).
The author rejects the interpretation of W.A. Daszewski, (Dionysos der Erlöser, Mainz am Rheim 1985) proposed in 1985 and his order of interpetation the five mythological pictures (1. Dionysus on Mount Nysa; 2. Leda and Zeus; 3. The Apotheosis of Cassiopeia; 4. Apollo and Marsyas 5. The Dionysian thiasos). Daszewski would like to see in Dionysos - a newly born supreme god, the universal savior.
See too a more elaboret and completed version of the first paper published in Polish on academia.edu : M.T. Olszewski, L'allégorie, les mystères dionysiaques et la mosaïque de la Maison d'Aiôn de Néa Paphos (Chypre), BullAIEMA 13, 1990-1991, p. 444-463.

Sundials in Roman and Byzantine Mosaics (1st – 9th Century AD). A scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together  in this  publication  the sundials  already known (Torre Anunzaiata, Sarsina, Trier, Saint-Romain-en-Gal, Antioch and Brading; Figs. 1, 2, 4, 5, 7, 9) and those which have  not  previously  been  identified.  Thanks  to  the author’s  new  identifcations,  the  catalogue  has  been enlarged  by  six  new  sundials (Grand,Tarsus, Antiochia – interpreted by H. Pamir; Figs.  3, 6,  8, and 10. Tayibat al-Imam, Jerusalem and Umm al-Rasas (Sebastis); Figs. 10, 11, 12) and three monumental gnomes-columns with multiple functions that were used as monumental sundials [Madaba (Jerusalem), Umm al-Rasas (Kastron Mefaa) and Rome (Jerusalem); Figs. 13–15]. In addition, recognizing fully John H. Humphrey’s  interpretations,  the  author  enriches  the catalogue  by  eight  ancient  mosaic  representations  of obelisks in  circuses (Lyon, Barcelona, Volubilis, Piazza Armerina - two mosaics, Girona, Carthage and Gafsa; Figs.  16–23).  They  performed the roles of monumental sundials. In this way, the catalogue includes  twenty-three  mosaics with  the representations of sundials. They come from the Western and Eastern Provinces of the Roman Empire. The first mosaic is dated to the beginning of the 1st century AD and the last dates to the 9th century AD. The author, after  a  short  description  of each monument,  summarizes the issue discussing the role of sundials in Roman and Byzantine society, their complex signifcance and symbolic dificult linked with the progress of time on which nature and human life are dependent. See Pdf : https://www.academia.edu/22653583/

متن حاضر شرح بخشی از فعالیت کارگاه مرمت محراب مسجد جامع میبد است و به کتیبه کاشی معرق محراب با تاریخ 867 هجری میپردازد. به دلیل اهمیت تاریخی کتیبه و رویکرد به اصالت در کل مرمتهای مسجد، سعی بر حفظ کلیه قطعات کاشی و پرهیز از بازسازی بوده است. مراحل مرمت کتیبه رفع الحاقات و مستندنگاری، پاکسازی لبهها، برداشت کتیبه از بدنه، پاکسازی گچ پشت کاشیها، تثبیت، چیدن دوباره و گچریزی مجدد و سپس نصب مجدد کتیبه بوده است. پس از مرمت همچنین نتایجی در مورد شکل متفاوت محراب و احتمال جابجایی کتیبه و تعمیر پیشین آن به‌دست آمده است. 
واژگان کلیدی: معرق کاشی، مسجد جامع میبد، دوره تیموری، محراب

More than 20 years after presenting his first interpretation of the mosaic from the House of Aion in a paper entitled “Uwagi na temat mozaiki z Domu Aiona w Nea Paphos (Cypr)” (Meander 9/10, 1987, p. 421-438, in Polish, and translated to English: « The Immortality of the Human Soul and the Dionysiac Mysteries in the 4th Century Allegory [in Connection with the Interpretation of the Mosaic from the “House of Aion” at Paphos in Cyprus]»), where he proposed reading the five mythological panels (1. Leda and Zeus; 2. Dionysus on Mount Nysa; 3. The Dionysian thiasos; 4. Apollo and Marsyas; 5. The Apotheosis of Cassiopeia) as an allegory of the destiny of the human soul and body, starting with conception and ending with the liberation of the soul and its apotheosis, the author now enhances his initial interpretation with numerous reflections concerning the historical context of this work of art, created in the years 320-360.
If, according to the author, the mosaic is a “Hymn” in honour of the pagan gods, Man (his soul) and his place in the (pagan) universe, then at the same time it polemicises with the Christian faith and its God, Jesus Christ.
The author puts forward numerous new solutions relating to the mosaic’s iconography and iconology. Analysis of the mosaic also leads him to propose a solution to the as-yet unanswered question regarding the absence of images of the crucified Christ in Christian art of the 3rd and 4th centuries, up until 420/430, when the first images of Christ on the cross appear.
CONTENTS:
Introduction
1. Research to-date (recap)
2. Description of mosaic (recap)
2.1. Composition of five mythological scenes
2.2. Brief iconographic description of mythological panels
2.3. Outline of individual iconographic elements and their respective roles
2.4. The pagan gods’ air of majesty and dignity as an expression of piety
3. A few words about the pagan reaction
4. An apology of pious human life according to pagan principles and a polemic on the Christian model of Man and his theological idol, Jesus Christ
4.1. Divine intervention in the act of human conception (allusion to/polemic on the Annunciation to the Virgin Mary)
4.2. The Epiphany of Dionysus (an allusion to the Epiphany of Christ – Theou Pais)
4.3. The procession and dissemination of Dionysian order (allusion to/polemic on Christ’s entry into Jerusalem)
4.4. The error of Marsyas (polemic on/allusion to the error of Jesus the Messiah): arrest, sentencing for arrogance and lack of piety (asebeia) and condemnation to a martyr’s death
4.5. The anabasis (or anagoge psyches) of a ‘beautiful soul’ (allusion to/polemic on the Ascension of Christ)
5. A few words on the mosaic programme prior to final conclusions
Final conclusions
Key words: mythological mosaic, House of Aion, Nea Paphos, Late Antiquity, Roman art, allegorical narrative, allusive language of mythological pictures, wordplay (Marsyas-Messias), Jesus Christ, anti-Christian polemic, Dionysos, Cassiopeia, Apollon, Nereides, Abstract Personifications, Greek Mythology, ΚΥΠΡΟΣ

A number of representative rooms decorated by mosaic floors from the period around the 4 th century were examined during the archaeological research of the villa with peristyle in the middle of the late antiquity settlement in Mediana near Naissus. In 1969, a part of the damaged mosaic floor with geometrical motifs and a central round emblem including a representation of Medusa-Gorgon with wings was discovered in the central room of the villa, that is, in a large triclinium-aula. Medusa is represented in the manner of late antiquity, as a woman with a pensive expression who has lost many of the attributes characteristic of such representations in Greek and Hellenistic art. The aim of this paper is to attempt a reconstruction of the mosaic carpet in the room on the basis of various site data, which are now available to researchers.

The return to Carini of the 'Galati' mosaic, found in 1883 in the contrada San Nicola, the site of numerous archaeological discoveries during the 19 th century, as reported by the local and of the time scholars, has contributed to the resumption of systematic archaeological investigations at the site, which can be identified with the statio of Hykkara, mentioned in the Itinerarium Antonini. A revision and re-reading of literary sources and historical cartography has provided food for thought and interpretation on the territorial layout of the late-antique and Byzantine settlement and on the evolution of settlement dynamics and the road network in the transition to the Islamic and Norman periods. The information on monumental findings and infrastructures, deduced from the learned tradition on the site, if adequately contextualised and verified through focused investigations, will increase current knowledge on the settlement of San Nicola, which, also due to its connection with the early Christian catacombs of Villagrazia di Carini, can be considered one of the most important archaeological sites in Sicily.

Il monastero di Santa Caterina del Sinai fu costruito per volere dell’imperatore Giustiniano nel VI secolo, sul sito venerato come il luogo dove Mosè parlò con Dio nel Roveto Ardente (Esodo 3, 1-10). II risultati del restauro del mosaico della Trasfigurazione nel monastero di Santa Caterina nel Sinai sono stati presentati da Roberto Nardi il 28 giugno 2007 a Roma alla Pontificia Accademia di Archeologia presso il Palazzo della Cancelleria. Il testo di questa conferenza è stato pubblicato dalla Tipografia Vaticana nel volume LXXXII 2009-2010 dei Rendiconti.

This is a more elaboret and developped version of the first paper published in Polish : M.T. Olszewski, Uwagi na temat mosaiki z Domu Aiona w Nea Paphos (Cypr), Menander XLII, 9-10, 1987, pp. 421-438 (translated to English : The Immortality of the Human Soul and the Dionysiac Mysteries in the 4th Century Allegory (In Connection with the Interpretation of the Mosaic from “House of Aion” at Paphos in Cyprus), see on academia.edu

The author proposes a new interpretation of the iconographical and iconological programme of five panels mosaic from the House of Aion at Nea Pahos in Cyprus. He proposes reading the five mythological panels (1. Leda and Zeus; 2. Dionysus on Mount Nysa; ; 3. Apollo and Marsyas; 4. The Dionysian thiasos; 5. The Apotheosis of Cassiopeia) as an allegory of the destiny of the human soul and body, starting with conception (Leda and a Swan)  and ending with the liberation of the soul and its apotheosis (the apotheosis of Cassiopeia).
The author rejects the interpretation of W.A. Daszewski, (Dionysos der Erlöser, Mainz am Rheim 1985) proposed in 1985 and his order of interpetation the five mythological pictures (1. Dionysus on Mount Nysa; 2. Leda and Zeus; 3. The Apotheosis of Cassiopeia; 4. Apollo and Marsyas 5. The Dionysian thiasos). Daszewski would like see in Dionysos - a newly born supreme god, the universal savior.
see also a new article: M.T.Olszewski, The iconographic programme of the Cyprus mosaic from the House of Aion reinterpreted as an anti-Christian polemic, in: Et in Arcadia Ego. Studia memoriae professoris Thomae Mikocki dicata, Institute of Archaeology, University of Warsaw, Warsaw 2013, pp. 207-239, Pls 74-86.

The scenes tell the story of the founding of Pella/Apamea and further development of this city on the Orontes river. Three main groups of scenes can be distinguished: (1) the foundation of Pella-on-the-Orontes by the legendary Archippos, (2) the (re)foundation of the city as Apamea-on-the-Orontes (earlier Pella-on-the-Orontes) by Seleucus I Nikator and the simultaneous financial generosity of his wife, Apama, for the development of the new Seleucid colony in 300 BC, and (3) the raising of the town fortifications around monumental public buildings and an illustration of the daily life of a joyous people living in the rich Apamean agglomeration and hinterland. Features of style date the panels to the 4th century AD.

The mosaic from Sheikh Zuweid on the western coast of North Sinai, discovered in 1913, as well as the mosaic brought to light in 1919 at Vinon near Aix-en-Provence in southern France had to wait until the end of the 20th century for scholarly studies to focus again on their iconography, but also their iconological program. It is the reading of this program that one can truly call sensational. The mosaic from Sinai consists of three panels: Hippolytus and Phaedra, a Dionysian cortege and an inscription surrounded with motifs referring to the fauna and flora of a Nilotic landscape as well as to iconography of the seasons of Spring and Fall. The mosaic from Vinon also consists of three pictures: Dionysus offering Ikarios the grapevine, the Three Graces and a panel depicting a voracious goat defiling the gift of Dionysus. Inscriptions accompany both the mosaics, in Latin at Sheikh Zued and in Greek at Vinon.
Numerous apotropaic symbols and inscriptions are known, but never before has a mythological picture been interpreted as apotropaic. The latest research has shown that the owners of the respective estates had chosen mythological themes in order to protect them and their property from the Evil Eye and Hatred. Dionysian motifs are associated with the putative function of the rooms, where banquets with music and dancing must have been held, and wine must have flowed in abundance. The allusion to the abundance of the Nile was meant to ensure the prosperity and wealth of the house, in similarity to the Dionysian motifs as a matter of fact. Dionysus, Heracles and Venus were patrons of the houses. The interpretation of the two mosaics takes advantage of studies in the field of the history of mentality of the communities standing on the threshold of post-classical times. At the same time, it constitutes a huge step forward in the understanding of this category of finds. The two mosaics confirm what Artemidoros of Daldis (2nd century AD) had to say about the status of pictures: that they could be synonymous in meaning (see: M.T. Olszewski, Le statut de l'image selon Artémidore et l'art romain, in: Morlier, H. ed., IXe Colloque international pour l'étude de la mosaïque antique et médiévale, Roma 5.11.2001-10.11.2001, Collection de l'Ecole Française de Rome 352/2, Rome 2005, pp. 859-880).
See also: M.T. Olszewski, La mosaïque de style naïf de Cheikh Zouède au Sinaï, Archeologia (Warsaw) 53, 2002, pp. 45–61, pls III+VI; M.T. Olszewski, Mauvais œil et protection contre l'envie dans la mosaïque de Cheikh Zouède au Sinaï (IV-Ve siècle), in: Paunier, D., Schmidt, Ch (ed. by), la Mosaïque gréco-romaine VIII. Actes du  VIIIe Colloque international de la mosaïque antique et médiévale, Lausanne 1997 (2001), pp. 276-301.

La célèbre mosaïque de Cheikh Zouède, situé au nord-ouest du Sinaï, ainsi que celle de Vinon dans la Gaule Narbonaise ont été découvertes dans les années dix du XXe siècle. Depuis leurs mises à jour jusqu’à la fin du siècle dernier, elles devaient attendre deux réexamens scientifiques qui ont apportés une analyse iconographique plus complète ainsi que deux nouvelles lectures iconologiques que l’on peut sans doute considerer comme sensationelles !
La mosaïque de Cheikh Zouède est composée de trois tableaux superposés. Deux panneaux représentent des scenes mythologiques: procession dionysiaque et Hippolyte et Phèdre. La troisième image comporte une inscription de bienvenue bordée au-dessus et au-dessous d’animaux et de plantes; une allusion aux scènes nilotiques et à la symbolique printanière et automnale.
La mosaïque de Vinon est également composée de trois tableaux qui sont cependant juxtaposés. Ils représentent, au centre, les trois Grâces et deux scènes à caractère dionysiaques. Celle de gauche représente le don de la vigne (grappes de raisins) par Dionysos à Icarios et celle de droite, le sacrilège de la vigne par un bouc. Les deux mosaïques sont accompagnées par des inscriptions en grec et latin. Elles sont datées à la première moitié du Ve siècle.
On connais plusieurs inscriptions, images et symboles de caractère apothropaïque. C’est pourtant la première fois que des images mythologiques ont dévoilées aux chercheurs leurs sens prophylactique et apotropaïque. Les propriétaires de ces deux résidences ornées de belles mosaïques ont choisis ces thèmes mythologiques pour protéger et écarter le Mauvais Œil et l’Envie. Les sujets dionysiaques dans les salles à manger évoquent probablement des fêtes joyeuses arrosées de vin où la danse et la musique constituaient des éléments essentiels. Par contre, l’abondance nilotique évoquait sans doute le bonheur et l’opulence des dons de la Nature sur les tables de la maison; cette signification concernait certainement aussi les scènes dionysiaques. Les maisons ont été protégées par Dionysos, Héraclès et Vénus.
Pour interpréter ces deux œuvres, les auteurs ont utilisé des recherches sur “l’histoire de la mentalité” des sociétés administrées par les Romains. La lecture de ces deux mosaïques confirme ce que l’on vient de découvrir en étudiant le célèbre texte d’Artémidore de Daldis (IIe siècle) sur les images synonimiques (cf. M.T. Olszewski, Le statut de l'image selon Artémidore et l'art romain, in: Morlier, H. ed., IXe Colloque international pour l'étude de la mosaïque antique et médiévale, Roma 5.11.2001-10.11.2001, Collection de l'Ecole Française de Rome 352/2, Rome 2005, pp. 859-880).
Voir M.T. Olszewski, La mosaïque de style naïf de Cheikh Zouède au Sinaï, Archeologia (Warsaw) 53, 2002, pp. 45–61, pls III+VI; M.T. Olszewski, Mauvais œil et protection contre l'envie dans la mosaïque de Cheikh Zouède au Sinaï (IV-Ve siècle), in: Paunier, D., Schmidt, Ch (ed. by), la Mosaïque gréco-romaine VIII. Actes du  VIIIe Colloque international de la mosaïque antique et médiévale, Lausanne 1997 (2001), pp. 276-301.

Unique mosaic composition of the end of the third millenium BC from the "Royal Necropolis" of Gonur Depe is describing. Some walls of the underground "hypogea" and so-called "ostensories" as well small originally wooden boxes found in them were decorated by figurative mosaics. These mosaics combine two techniques-painting and inlays (tesserae), which were made from the specially prepared minerals. They also presented the earliest example of using the technique of cutting the edges of the tesserae. Analogies of the images between Gonur Depe and Mari palace in Syria are underlined. Öz Gonur Depe'deki "Kraliyet Nekropolisi"nde bulunan ve MÖ 3. binyıla tarihlenen özgün mozaikler tanıtılacaktır. Yer altındaki "hipoje" veya "ostensory" olarak adlandırılan mekânların bazı duvarları ve bunların içinde bulunan küçük ahşap kutular figüratif mozaiklerle süslenmişlerdir. Bu mozaiklerin yapımında boyama ve özel hazırlanmış minerallerden oluşan kakma (tessera) tekniği olmak üzere iki teknik kullanılmıştır. Aynı zamanda tesserae kenarlarının kesilmesi tekniğinin en erken örnekleri de bu mozaiklerde görülmektedir. Gonur Depe mozaikleri ile Suriye'deki Mari saray mozaikleri arasındaki figür benzerlikleri vurgulanacaktır. Anahtar Kelimeler: Figüratif mozaikler, mozaik teknolojisi, tesseranın kenarlarının kesilmesi, cenaze hakları, elit mezarları.

Some unpublished documents, relating to the restorations carried out into the church of Santo Stefano at Due Carrare (Padua) during the last two decades of the 19th century, give the opportunity to resume the
study of the marble and mosaic pavements of the church and also shed light on the different and sometimes conflicting criteria and methods that in those years were adopted in the restoration of medieval monuments

The publication of this booklet was inspired by the conservation treatment for the mosaic of the Transfiguration, located in the apse of the basilica of the Monastery of St. Catherine's in the Sinai. As with all works of art, mosaics do not enjoy eternal life because of their very nature; to the contrary, they are fragile and need care and attention. Alarmed by clear signs of decay in the mosaic, the monastic community of St. Catherine's embarked on a conservation program and entrusted the work to the CCA, Centro di Conservazione Archeologica, Rome. The treatment, which began in November 2005 and is still ongoing, was long, delicate and complex. The booklet was produced in Arabic, English, French, German, Greek, Italian, Russian and Spanish. It explains the mosaic's history and the conservation treatment, and permits the reader to appreciate the mosaic's beauty through new images. In this way, visitors will take away a souvenir of their visit and an understanding of how much the monks do every day to protect the immense heritage in their care.
Available in English, Italian, French, German and Spanish.

Abstract: Le village de Shahba, devenu la colonie romaine de Philippopolis, est situé à quatre-vingt dix kilomètres au sud de Damas et à vingt kilomètres au nord de Suweida’ en Syrie du Sud. Sa notoriété et son développement sont dus à l’empereur Philippe l’Arabe qui a transformé la petite bourgade où sa famille s’était installée, en une petite, mais riche cité de 244 à 249 lors de son règne.
La mosaïque polychrome qu’on pourrait appeller mosaïque de la « Fête Nocturne Pannychis » - à cause de sa représentation personnifiée - a été quelque peu oubliée par la littérature scientifique. On trouve cependant quelques brèves descriptions dans les travaux de J. Balty, de J.-Ch. Balty, de H. Hatoum, de L. Abad Casal, de H. Sichterman et d’A. Kossatz-Deismann. À ma connaissance, elle n’a été publiée que par petits fragments. Seul J.-Ch. Balty, dans un article du LIMC consacré à la personnification abstraite d’Euphrasia, propose une rapide interprétation de la mosaïque en expliquant le sens des mots « pannychis » et « euphrasia ».
La mosaïque de Pannychis n’est plus malheureusement en place, on peut néanmoins supposer, vu le thème représenté, qu’elle devait probablement orner une salle à manger (triclinium ou œcus).
Cette mosaïque rectangulaire, abritée au musee de Shahba, est composée d’une large bordure géométrique, de six petits panneaux représentant des personnifications inscrites sur les cotés courts du tapis, et d’un grand tableau central avec une effigie des trois Grâces (Charites) mis en valeur dans une belle bordure géométrique de ruban torsadé. Les tableaux angulaires représentent les Quatre Saisons. En commençant par l’angle gauche dans la rangée inférieure et en suivant le mouvement contraire à celui des aiguilles d’une montre, les Saisons sont placées en ordre suivant : Theros (l’Été), Methoporon (l’Automne), Heimon[e] (l’Hiver) et Ear (le Printemps). Entre l’Été et l’Automne, l’artiste a placé le buste de la personnification féminine de Pannychis – de la Fête Nocturne. Entre les personnifications du Printemps et de l’Hiver, le portrait en trois quart de la personnification féminine d’Euphrasia – (la Gaîté, la Joie dans un festin, la Réjouissance) a été placée.
Quel sens se cache derrière toutes ces images et à quelle idée elles font allusions ? Si le tableau central est le plus grand, il n’est que complémentaire par rapport aux panneaux latéraux. La clé du programme de la mosaïque est la personnification de Pannychis – de la Fête Nocturne. La personnification de la Gaîté – Euphrasia fait son pendant.
Que sait-on de ces faites nocturnes que les citoyens romains hellénisés en Orient célébraient en se réunissant en grand nombre ? Une source inestimable dans la recherche sur l’histoire des mentalités grecques sous la domination romaine est l’auteur grec d’Éphèse connu sous le nom d’Artémidore de Daldis, spécialiste de l’oniromancie. Il est célèbre grâce à son manuel d’interprétation des rêves (Onirocriticon) rédigé probablement à Éphèse à la fin du IIe siècle. Artémidore parle des Fêtes nocturnes vues dans les rêves. La fête nocturne est célébrée très joyeusement par ses participants. C’est une fête bruyante avec danse et musique. C’est l’occasion pour tout le monde de se rassembler et de faire de nouvelles connaissances. De plus, cette fête permet aux jeunes de dépasser certaines interdictions et d’exprimer leurs sentiments. Les nouveaux couples formés durant cette fête nocturne peuvent confirmer leur engagement par un mariage. Artémidore effectue des rapprochement entre la Fête nocturne et la réunion de personnes, le mariage, la gaîté, la bonne humeur, l’abondance et l’acquisition des biens (pour les pauvres). Le Pannychis et l’Euphrasia sont présents ensemble dans le texte d’Artémidore comme sur la mosaïque de Philippopolis. Sa description met l’accent sur des éléments caractérisant la Fête Nocturne : la joie, la bonne humeur et l’abondance (de la table et des boissons) que les fêtes offrent aux participants. La signification des Charites est complémentaire de celle qui est évoquée par les personnifications de Pannychis et d’Euphrasia. Le tableau de la mosaïque de Philippopolis fait sans doute allusion aux fêtes nocturnes que le propriétaire envisageait d’organiser, et sans aucun doute organisait dans sa demeure.
La mosaïque de la Fête Nocturne de Philippopolis qui ornait probablement un triclinium rappelle ce qu’on rencontre dans d’autres salles à manger chez les riches propriétaires. La théorie du caractère allusif à la vie de l’aristocratie de l’époque romaine (et de ses nouveaux riches) dans la décoration interne des maisons et des villa a de plus en plus de partisans parmi les chercheurs. La mosaïque de Philippopolis ressemble à la décoration des salles à manger qui évoquent la fête, les festins, la boisson, la bonne nourriture, la musique et la danse, tout les ingrédients d’un banquet réussi.

"This paper proposes a new identification of a mosaic workshop of Late Antiquity in the Near East. Two mosaic pavements, that is, the mosaic of the Bath of Achilles discovered forty years ago in room 40 of the Villa of Theseus in Nea Paphos, Cyprus, and the renowned representation of the Life of Alexander from the
Villa of Patrikios in Baalbeck, published by M. Chéhab in 1958, display many similarities which leave no doubt that both of them were made by the same mosaic workshop. In the first half of the 5th century, like during the whole Roman period, Cypriot mosaics were closely linked with those of the Syro-Palestinian coastal area. The author suggests also a new date of execution of the mosaic from Baalbeck in the first half of the 5th century."

En este trabajo se pretende analizar el patrimonio en mosaico desde dos perspectivas: una general sobre la musivaria como género artístico en la que se analizan los elementos que lo integran, su elaboración, su extensa historia y algunas cuestiones para su correcta conservación y restauración; y una más concreta en la que se estudia de manera más pormenorizada la producción artística elaborada por el Padre Domingo Iturgáiz (O.P.) en este arte.