Classical Archaeology

In this paper, an attempt was made to define the approach for introduction of digital granulometric analyze of the crushed material by applying photogrammetric methods and using software for recognition and analysis of pieces. For the needs of the work, geometric analyzes of the crushed material in laboratory conditions were made from a jaw crusher. Based on the obtained results and application of software solutions, granulation assessment was made. The modeled granulation gave the ability to perform certain conclusions and suggestions for further use of these methods for determining the granulometric analize not only in laboratory conditions but also in situ, of crushed material after blasting, loading, transport, unloading etc

Considerations about size and scale have always played a central role within Greek and Roman visual culture, deeply affecting sculptural production. Both Greeks and Romans, in particular, had a clear notion of “colossality” and were able to fully exploit its implications with sculpture in many different areas of social, cultural and religious life. Instead, despite their ubiquitous presence, an equal and contrary categorization for small size statues does not seem to have existed in Greek and Roman culture, leading one to wonder what were the ancient ways of conceptualizing sculptural representations in a format markedly smaller than “life-size.” Even in the context of modern scholarship on Classical Art, few notions appear to be as elusive as that of “small sculpture”, often treated with a certain degree of diffidence well summarized in the formula Klein, aber Kunst? In fact, a large and heterogeneous variety of objects corresponds to this definition: all kinds of small sculpture, from statuettes to miniatures, in a variety of materials including stone, bronze, and terracotta, associated with a great array of functions and contexts, and with extremely different levels of manufacture and patronage. It would be a major misunderstanding to think of these small sculptures in general as nothing more than a cheap and simplified alternative to larger scale statues. Compared with those, their peculiar format allowed for a wider range of choices, in terms, for example, of use of either cheap or extremely valuable materials (not only marble and bronze, but also gold and silver, ivory, hard stones, among others), methods of production (combining seriality and variation), modes of fruition (such as involving a degree of intimacy with the beholder, rather than staging an illusion of “presence”). Furthermore, their pervasive presence in both private and public spaces at many levels of Greek and Roman society presents us with a privileged point of view on the visual literacy of a large and varied public. Although very different in many respects, small-sized sculptures entertained often a rather ambivalent relationship with their larger counterparts, drawing from them at the same time schemes, forms and iconographies. By offering a fresh, new analysis of archaeological evidence and literary sources, through a variety of disciplinary approaches, this volume helps to illuminate this rather complex dynamic and aims to contribute to a better understanding of the status of Greek and Roman small size sculpture within the general development of ancient art.

Con ocasion del sexto centenario del nacimiento de Leon Battista Alberti, hemos pretendido realizar una semblanza del mismo, cualificando su aportacion teorica y proyectual en relacion con los mas destacados centros artisticos quattrocentistas, con particular hincapie en la capilla Rucellai y su comitente. A partir de esta, y como hipotesis de trabajo, planteamos una suerte de genealogia arquitectonica que, pasando por el proyecto miguelangelesco de 1505 para el sepulcro de Julio II, llega a la capilla Junteron de la catedral de Murcia que, a su vez, debio formar parte del corpus vandelviriano de trazas de cortes de canteria y, como boveda de... (Ver mas) Murcia, recogida en los manuscritos de Felipe Lazaro de Goiti y Bartolome Zumbigo y Salcedo, en pleno seiscientos espanol.

We are being witnesses that the XXI century is characterized by the rise and rapid advancement of public diplomacy, particularly in small countries that are under development, or countries that do not have classical influence through diplomacy and military influence, therefore into the category of states in which the development of public diplomacy is needed, we have included the Republic of Kosovo.The Republic of Kosovo as a new state, with without diplomatic experience and that has started from scratch, should necessarily develop the public diplomacy, because it is listed in the category of countries that we have specified above.But how should the Republic of Kosovo develop a public diplomacy?For building the basement of public diplomacy, the main tool that Kosovo should develop is communicationThrough the communication are held discussions, negotiations, becomes the announcement about the steps of development of the state, becomes lobbying, rises the positive image, and all these...

This paper focuses on researches already undertaken and presented in this conference: starting from the work previously carried out for the setting up, at the urban scale, of a consistent database for the fortified walls of the city of Turin � which updates reading diagrams, maps, archival documents �, it intends to make thematic analysis aimed on the one hand to survey the �existing� and to critically read historical layers, on the other hand to digital reconstructions. In this regard, city gates constitute a homogeneous architectural 'category' that follow the complex transformation � by enlargements, overlays, reconnections � of the walls layout. On the gates, we are organizing a collection of digital representations, uniformly designed and organized to test study approaches, operating methods, purposes and modes of the graphic communication: starting from the analysis and instrumental survey of the only well-preserved gate (Porta Palatina, I century AD) for the represent...

Falerio Picenus (now Piane di Falerone) was a rather important town in Antiquity, as we can presume
from the ancient sources, from the communication routes that crossed it, and from the remains of the
ancient monuments still preserved. A theatre, an amphitheatre, monumental cisterns and tombs were
discovered, but all of them were stripped of their decorations during Late Antiquity and Middle Ages.
This paper presents a three-dimensional reconstruction of the city’s theatre, based on a new survey of
the structures using a long-range 3D laser scanner, combined and integrated with photogrammetry and
direct survey. The model is supposed to serve not only as a show case of the original shape of the public
building, but also as a real research tool.

This study presents an assemblage of complete and fragmented clay-made boat models uncovered during controlled archaeological excavations from Yavneh-Yam, which is located on the southern coastal plain of Israel.
First, the relevant contexts from the Persian and early Hellenistic periods at the site that yielded these models are contextualized within the framework of contemporary geopolitical dynamics. Th is is in order to clarify the
geopolitical status of Yavneh-Yam during these periods and the crucial role of the Phoenician agency. A detailed presentation of the boat models follows, including their typology, petrography (thin-section), and technological examination. Finally, we discuss a possible function and use of this group of votive objects, with far-reaching implications for deciphering the possible Phoenician ritual practices related to Phoenician seafaring activity in the Mediterranean.

Este texto trata de incorporar la tierra de Corduba al discurso territorial sobre las “regiones” de Tarteso, sus límites y conexiones tal y como ha sido el motivo del Congreso Tarteso. Nuevas Fronteras. La posterior configuración romana de estas tierras llamadas Beturia de los Túrdulos es fundamental para comprender su articulación en época tartésica, ya que sus esquemas parten de la Protohistoria. Esa reconstrucción del territorio se ha hecho conjugando datos de viejas prospecciones con datos de
nuevas prospecciones y excavaciones arqueológicas desarrolladas por distintos proyectos de la universidad de Córdoba en este sector norte de la actual provincia cordobesa.

https://yalebooks.yale.edu/book/9780300269369/grief-made-marble/

In this lyrically written and beautifully illustrated study, Seth Estrin probes the emotional effects of one of the largest and most important categories of Greek sculpture: the funerary monuments of Classical Athens. Instead of simply documenting experiences of bereavement, he demonstrates that funerary monuments played a vital role in giving grief visual and material presence, employing the subtle effects of relief sculpture to make private experiences of loss socially meaningful to others. By identifying the deaths they marked as worthy of grief, funerary monuments mobilized fundamental questions about sculptural form and pictorial recognition to political ends, instrumentalizing the emotional dimensions of sculpture as a means to construct and uphold social hierarchies. Grounded in careful study of numerous monuments, new readings of their accompanying epigrams and ancient literary sources, and close consideration of both ancient and modern theories of emotion, Grief Made Marble makes a landmark contribution not only to the study of Greek sculpture, but to our broader understanding of the relationship between art and emotion in antiquity.

The paleobiological analysis of six units located in La Linterna dock (port of Portus, Italy) has allowed to know the evolution of the malacological associations that lived in their surroundings from the period
previous to its construction (3rd century CE) until its time of abandonment (after the 5th century CE). In the stage prior to its construction, this sector was located in a mesolitoral area, inhabited by cockles and abundant gastropods (Setia sp., Myosotella myosotis, Peringia ulvae). In a first phase of development (first half of the fourth century CE), there is a notable decrease in the malacological record, with the almost total disappearance of bivalves and a notable decrease in the number of gastropods. In the
next 100 years, there is a relative recovery of the malacofauna, which even exceeds the pre-Linterna stage in abundance during the phase of abandonment of the dock. In this last stage, the cockles also colonize
the external dock of the Linterna. This final stage would be similar to the aggravation and aging of a Mediterranean coastal lagoon.

Ceramica etrusca argentata Per ceramica etrusca argentata (detta anche volsiniese) s'intende una classe di vasi prodotti in età ellenistica (fine IV-III secolo a.C.) decorati a rilievo e rivestiti da una pellicola/patina bianco grigiastra ad imitazione dell'argento. Si tratta di una produzione a basso costo di forme metalliche, un surrogato dei preziosi vasi metallici. Le analisi hanno evidenziato che sulla superficie dei vasi della specie veniva applicato lo stagno in lamine (foglie) mediante collanti o immergendo il reperto nello stagno fuso (stagnatura a caldo). Entrambe le soluzioni sono documentate. Peraltro secondo esperimenti condotti dal Departement of Classical Studies dell'Università di Lund l'effetto originario del procedimento della stagnatura a caldo doveva essere quello di ottenere una superficie color oro piuttosto che argento. Tale ceramica risulta essere stata prodotta principalmente nel volsiniese (Orvieto e Bolsena) ma anche nel falisco (Falerii, Corchiano, Vignanello) ed in misura minore a Volterra. Una certa presenza di ceramica argentata è stata registrata nel territorio tarquiniese. nell'agro vulcente ed in quello chiusino, probabilmente importata dai distretti falisco e volsiniese. La ceramica argentata consiste per lo più di forme vascolari, di grandi e piccole dimensioni, relative alla sfera del banchetto ed al consumo del vino (prevalentemente crateri, anfore, situle, oinochai, patere, colini, askoi) e di solito le decorazioni, che talvolta presentano applicazioni plastiche (il più ricco repertorio si ritrova nella produzione volsiniese), hanno ad oggetto scene e personaggi mitologici (amazzonomachie ed episodi legati ad Eracle, Teseo, Perseo, Achille). Nella grande maggioranza dei casi i reperti della specie-quasi tutti rinvenuti in contesti tombalirisultano privi di caratteristiche necessarie per l'utilizzo durante la vita reale (anfore senza fondo, colini con fori non passanti, situle prive di orifizio, fragilità dei vasi, etc ...); i manufatti quindi prevalentemente avrebbero avuto una funzione esclusivamente (simbolico) funeraria con riferimento ai banchetti nella vita ultraterrena. Alcuni esemplari, prima della loro destinazione funeraria, potrebbero anche essere stati usati come arredi di abitazioni, come sembrerebbe attestato da seppur rari rinvenimenti in contesti urbani (es. frammenti di ceramica argentata rinvenuti a Bolsena presso l'Anfiteatro e a Poggio Moscini). Anche l'utilizzo della ceramica in oggetto in contesti votivi risulta piuttosto raro (es. stipe votiva del Carraccio a Vulci). I corredi tombali che hanno restituito ceramica argentata sembrano connotare famiglie aristocratiche (in particolare nell'area volsiniese e nel volterrano) e gentes appartenenti al ceto medio e medio alto (prevalentemente nel territorio falisco). Per completezza si precisa che con la stessa tecnica sopra specificata venivano realizzate anche appliques decorative per mobili e cassoni lignei per inumati.

The Aristoteles Latinus project has a long history that goes back nearly a century. The project was founded in 1930 by the Union Académique Internationale (UAI), at a time when several scholars expressed their interest in and recognized the importance of the Latin translations of Aristotle in the Middle Ages. Soon, the founders realized that there was a lot of work ahead of them: first, all preserved manuscripts with Latin Aristotelian texts needed to be inventoried and described, and second, all translations needed to be critically edited. These Latin translations cover a period of roughly 800 years, starting with Boethius’ translations and ending with the so- called Translatio Durandi of the Oeconomica in 1295, but the majority of the translations are from the 12th and 13th century.
When Lorenzo Minio-Paluello left as director of Aristoteles Latinus in 1973, it was decided to move the seat of the project from Oxford to Leuven, where it has been ever since. Over the years, the project has been in the hands of several Leuven scholars, such as Gérard Verbeke, Fernand Bossier, Jozef Brams, Carlos Steel, Pieter De Leemans and Lisa Devriese. Although the project is housed in Leuven, more specifically at the De Wulf-Mansion Centre for Ancient, Medieval and Renaissance Philosophy (Institute of Philosophy, KU Leuven), the editions are prepared by an international team of researchers.
In 2023, it is exactly 50 years that the project will be in Leuven, a milestone that we cannot let go unnoticed. The Congress will celebrate this important occasion by bringing together current editors of Aristoteles Latinustexts, as well as researchers who are closely connected to the project.

Theodosian Harbour was one of the principal harbors of Byzantine Constantinople, actively serving trading ships from the 4th to the early 11th centuries AD at the Sea of Marmara shore of the imperial center. Almost ten years of rescue excavations by Istanbul Archaeology Museums in the silted harbor site revealed considerable archaeological evidence dating from the Ottoman and Byzantine periods to the Neolithic age. The artifacts uncovered within the Byzantine harbor context constitute the majority of archaeological finds yielding much information on the trading network of the imperial center. Upon the invitation of the Istanbul Archaeological Museums, Istanbul University undertook the removal, documentation, and construction technology studies of twenty-seven shipwrecks and the conservation work of 31 shipwrecks. For conserving the waterlogged timbers, mainly PEG (polyethylene glycol), preimpregnation+vacume freeze drying, or melamine-formaldehyde (Kauramin®) resin for the highly-de...

Dans, sosyal ve dinsel temalar taşıyan, kutlama, eğlence ve dinsel törenlerin anlamını içeren kültürel anlayışın sembolüdür. Bu özellikleri bakımından geleneksel dans hoşça vakit geçirmek ve eğlence ürünü olmanın ötesinde geleneğin icrası yoluyla geçmiş ve şimdi ile aynı zamanda da gelecek ile aramızda önemli bir köprü oluşturmaktadır. Geçmişten günümüze sahne sanatları alanındaki gelişmeler ve değişen sanat anlayışı sonucu geleneksel dansların farklı kültürlerden izleyiciye sunumu konusunda halk oyunlarının sahnelenmesi hızlı bir değişim göstererek günümüz sahne sanatları içinde yerini almıştır. Değişim yalnızca geleneksel dansların sahnelenmesiyle sınırlı kalmamış müziklerini de ulusal kimliğin dışına çıkmadan uluslararası boyutta müzikal uygulamalar ve uyarlamalar yoluyla etkilemiştir. Oyunlardaki sahneleme zenginliği karşısında ses zenginliğinin de sağlanabilmesi amacıyla zaman içinde sazlar arası partisyon sistemine geçilmiştir. Özünde tek sesli bir icraya dayalı olan Türk halk müziğinin armonik açıdan kulağı doyurmadığı ve içindeki çok seslilik temellerinin varlığı düşüncesiyle ilerleyen süreçlerde toplu çalım, farklı enstrümanların bir araya getirilerek aynı ezginin çalınması ve söylenmesi, amatör ve profesyonel müzik grupları tarafından halk oyunlarının icrasına uygulanmaya başlamıştır. Halk oyunları ile ilgilenen eğitmen ve dansçılar arasında hayli beğeni kazanan ve “Homofoni” olarak adlandırılan bu yeni tarz müzik oldukça hızlı bir şekilde popüler hale gelmiştir. Türk halk oyunları alanında yapılan toplu derleme çalışmalarının geçmişi incelendiğinde, günümüze kadar geçen yaklaşık 55 yılık süre içerisinde halk oyunları ve müzikleri birçok dönemden geçmiş ve sahne sanatları bağlamında güncel kimliğini 2000’li yıllarda kazanmaya başlamıştır. Geride kalan yıllar boyunca geleneksel halk çalgıları ve geleneksel oyun düzeniyle icra edilmiş geleneksel danslar, sahne ile buluştuğu anda bir takım sanatsal müdahaleler ile sahne sanatı olarak biçim değiştirmiştir. Müzikal anlamda çok Sazlı döneme geçiş ve ardından müzikal düzenlemelerin belli bir partisyon disiplini içinde orkestra ile icrası sayesinde “halk oyunları orkestrası” şeklinde adlandırılabilecek yeni oluşumlar ve topluluklar ortaya çıkmıştır. Çalışmada, “İlk dönem, Geçiş dönemi ve Tematik dönem” olarak nitelendirilen bu dönemlerde geleneksel Türk halk oyunları müziklerini icra eden orkestraların sanatsal anlamda ne tür bir değişime uğradığı betimsel bir yolla açıklanmaya çalışılmıştır.

Se estudia un retrato romano, hoy expuesto en el Museo Arqueológico Municipal de Medina Sidonia (Cádiz). La escultura fue descubierta en la década de 1960, aunque en lugar y circunstancias desconocidas, por lo que no se puede asegurar su adscripción a la colonia Asido Caesarina, que se localiza en la actual Medina Sidonia (Cádiz). Esta circunstancia supone una merma de sus valores históricos y arqueológicos, pero su singularidad iconográfica justifica la consideración excepcional que debe darse a la pieza.Lo conservado corresponde a una cabeza masculina, un retrato por sus características fisiognómicas, de dimensiones algo mayores que el natural. Ciertos detalles apuntan a que era una imagen vestida, no desnuda, que pudo coronar una estatua completa o un busto. Está trabajada en mármol blanco y presenta graves pérdidas de la pieza original, algunas realizadas de manera intencionada en circunstancias y momento indeterminados, quizás con la intención de una reelaboración del retrato.E...