Academic literature on the topic 'Roman Mural painting and decoration'
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Journal articles on the topic "Roman Mural painting and decoration"
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Meijer, Bert W. "Lambert Sustris in Padua: fresco's en tekeningen." Oud Holland - Quarterly for Dutch Art History 107, no. 1 (1993): 3–16. http://dx.doi.org/10.1163/187501793x00072.
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AbstractThe Amsterdam painter Lambert Sustris stayed in Padua in the 1540s. During this period he worked, among other things, on a number of murals in palazzi and ville suburbane, and also in villas outside Padua and near Vicenza. Some of these murals still exist, others have vanished. A few drawings by Sustris associated with lost murals have however survived. In Padua, Sustris first worked in a subordinate position under Domenico Campagnola and Gualterio Padovano; later, having attained an independent status, he collaborated with the latter and with Andrea Schiavone, among others. Most of the buildings and mural decorations were designed to recreate and renew Classical Antiquity. Some were influenced by Raphael and the artistic climate in Rome and Mantua after 1530, in which followers such as Giulio Romano figured so prominently. Before going to Padua, Sustris had very likely been in Rome and perhaps in Mantua as well. His patrons in Padua, men like Alvise Cornaro and Marco Mantova Benavides, were members of the city's humanist circles, which were strongly orientated towards Rome and Classical Antiquity. The Amsterdam artist is largely responsible for the importance of the landscape in these paintings with their air of antiquity, paintings which in the case of the villas represent the earliest phase of villa decoration in the Veneto. Sustris' landscapes and figures alike clearly bear witness to a connection with Titian, whose paintings Sustris had probably furnished with landscapes earlier on. Further influences on Sustris' work during this period were primarily Raphael, Francesco Salviati and Parmigianino. Partly on the basis of the murals and drawings attributed here to Sustris, there are justifiable grounds for concluding that in recent decades the influence and position of Giuseppe Porta Salviati in Venice and Padua has been overestimated, to Sustris' disadvantage. Except for during his Padua period, the Amsterdam artist received few public commissions. He consequently sank into almost total oblivion fairly soon after his death. From as early on as the late sixteenth century some of his paintings, by virtue of their style and high quality, were taken for masterpieces by Titian.
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Calonge Miranda, Adrián. "Los procesos de monumentalización de los enclaves rurales romanos en el Ebro Medio. Estudio de casos entre los siglos III y VI." Antigüedad y Cristianismo, no. 39 (December 16, 2022): 83–106. http://dx.doi.org/10.6018/ayc.532721.
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The typological variety of Roman rural settlement is wide and heterogeneous. The best known unit is that of the villa type that united political, economic, social and, eventually, religious power around one owner. However, there were also vici, small villages, and other settlements. The low empire led to a complex transformation where the monumentalization of the living spaces where the decorative programs with mosaics or brightly colored mural paintings stood out. This phenomenon in the Ebro valley began during the last decades of the 3rd century, became more acute in the fourth and can be traced in some cases to the 6th century. In addition, it occurred in the villae but also in other enclaves. The objective is to be able to establish a state of the question about how these monumentalization programs were, what effects they produced and to see if the Roman rural settlement units persisted during the Visigothic period. La variedad tipológica del poblamiento rural romano es amplia y heterogénea. La unidad más conocida es la del tipo villa que unía en torno a un propietario un poder político, económico, social y, con el tiempo, religioso. Sin embargo, también había vici, pequeñas aldeas y otros asentamientos. El bajoimperio conllevó una transformación compleja donde la monumentalización de los espacios de habitación donde destacaban los programas decorativos con mosaicos o pinturas murales de vivos colores. Este fenómeno en el valle del Ebro comenzó durante los últimos decenios del siglo III, se agudizó en el cuarto y se puede rastrear en algunos casos hasta el VI. Además, se produjo en las villae pero también en otros enclaves. El objetivo es poder establecer un estado de la cuestión sobre cómo fueron estos programas de monumentalización, qué efectos produjeron y ver si las unidades de poblamiento rural romanos persistieron durante el dominio visigodo.
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Gil-Torrano, Andrea, Auxiliadora Gómez-Morón, José María Martín, Rocío Ortiz, Mª del Camino Fuertes Santos, and Pilar Ortiz. "Characterization of Roman and Arabic Mural Paintings of the Archaeological Site of Cercadilla (Cordoba, Spain)." Scanning 2019 (July 28, 2019): 1–14. http://dx.doi.org/10.1155/2019/3578083.
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The archaeological site of Cercadilla (Cordoba, Spain) includes a complete chronological sequence from the 3rd to 12th centuries. The most relevant monument is a Roman palace dated between the end of the 3rd century and the beginning of the 4th century AD. It is believed that it was the headquarters of the Emperor Maximiano Herculeo. A bathtub with mural paintings has been found in the thermal zone of the palace. Regarding the occupation of the archaeological site in the medieval period, it should be pointed out that two houses with mural paintings were found; these belong to the Caliphal era (10th-11th centuries). During the Caliphal era, the archaeological site was mostly occupied by one of the large suburbs surrounding the walled city. Cercadilla was gradually abandoned; this process starts at the beginning of the 11th century. This study is focused on the analysis of pigments and preparatory layers of red and white mural paintings of the Roman period in the bath zone and on the analysis of pigments in mural paintings in two houses of the Caliphal era. In the thermal zone, the walls have a white mural painting with vertical and horizontal red bands, while the walls in the two Caliphal houses present the red mural painting decorated with white stripes. Techniques such as Optical Microscopy (OM), Scanning Electron Microscopy in combination with Energy Dispersive X-ray Microanalysis (SEM-EDX), X-ray Diffraction (XRD), micro X-ray Diffraction (μ-XRD), Wavelength Dispersive X-ray Fluorescence (WD-XRF), and Fourier Transform-Infrared Spectroscopy (FT-IR) have been used to study the mural paintings of this archaeological site. The results allowed to determine the composition of the materials used and to understand the differences between the technologies employed in Roman and Caliphal remains studied.
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Santiago Godos, Victoria. "La recuperación y restauración de la pintura mural romana en el sureste español." Virtual Archaeology Review 4, no. 9 (November 5, 2013): 135. http://dx.doi.org/10.4995/var.2013.4264.
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<p>Recovery of the Roman wall painting in the southeast Spanish is done, by a party's own excavations in the archaeological site, where you can find this mural in two ways, still located in the walls of Roman villas or at the foot of these walls collapsed, fragmented and even buried, making it necessary cooperation in the recovery work of the archaeologist and restorer. You can also recall Roman wall paintings in the collections of archaeological museums, as many boxes remain innumerable multitude of fragments of mural pieces found in excavations and record stored there pending further study, grading and restoration. Examples of the above are discussed.</p>
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Kudinova, Maria. "“Persian” and “Roman” Dogs in Medieval China." Stratum plus. Archaeology and Cultural Anthropology, no. 5 (October 29, 2021): 187–94. http://dx.doi.org/10.55086/sp215187194.
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Historical and literary works and archaeological materials (such as pottery figurines, tomb murals and reliefs, paintings etc.) recorded the spread of foreign dog breeds in the territory of China since the period of the Northern dynasties and their highest popularity among Chinese upper class during Tang epoch. At the present time there is information about two breeds — “Persian” dogs and “Roman” dogs. “Persian” dogs (Bosi gou, Bosi quan) were the hunting dogs with a thin elongated body, long legs, short-haired, probably, related to Saluki. “Roman” dogs (Fulin gou, Fulin quan) were miniature dogs with short body and legs, long-haired, black and white spotted, probably, originated from Maltese dogs. They performed a decorative function and served as companions of women and children. Apparently, originally both “Persian” and “Roman” dogs were imported into China along the Silk Road via Sogdian city-states of Central Asia and the states of Western Regions (Xiyu). Later, the breeding of these dogs started in China in order to meet the demand for the prestigious home pets among the Chinese elite.
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Dietrich, Nikolaus. "Spatial Dimensions in Roman Wall Painting and the Interplay of Enclosing and Enclosed Space: A New Perspective on Second Style." Arts 8, no. 2 (May 30, 2019): 68. http://dx.doi.org/10.3390/arts8020068.
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This article engages with the interplay of two-dimensional and three-dimensional wall decoration in Roman wall decoration of the so-called four Pompeian styles. Instead of describing the rapid changes in the use (or non-use) of techniques for creating perspectival depth in August Mau’s four styles within an autonomous development of decorative principles, either favoring surface over depth, or vice versa, this article will discuss the imaginary space/surface on the walls in relation to the ‘real’ space enclosed by the decorated walls and—foremost—their inhabitants as the actual referent of the decoration. The discussion will focus on second-style wall decoration, with glimpses on the earlier first and later third and fourth styles in a final section.
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Gheorghiță, Romeo. "Câteva aspecte privind tehnica de realizare şi starea de conservare a picturilor murale ale mormântului hipogeu roman „cu banchet" din Tomis - Constanţa." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 1 (2010): 75–86. http://dx.doi.org/10.47950/caieteara.2010.1.10.
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One of the cases in which the application of the basic principles of in situ conservation and restoration was tried is the hypogeum-tomb with mural painting in Tomis - Constanţa. It was discovered in 1988 in the north-western area of the ancient city of Tomis. Th e archaeologists set its construction and usage between the Roman and Byzantine period, starting with the 4th century. The hypogeum in Constanţa preserves its original mural painting almost entirely. It has a coherent iconographic program, with significant stylistic marks, which demonstrates its origin as a Roman paleochristian tomb. Th e iconography is spectacular due to the scene on the western wall, opposite the entrance, which illustrates a ritual feast. Th e paintings of Roman hypogea built between the 3th-6th centuries and found in Dobrogea at Ostrov, Silistra and Mangalia, along with the three in Constanţa, are provincial variations of the Roman classic technique, similar to the paintings from other hypogea and catacombs from the same period but located in other areas. In situ observations, the close study of the surfaces and the previous chemical analysis bring new information about the painting techniques of the mural paintings inside the hypogeum at Constanţa. Analyzing its passage through time and its state of conservation one can notice the fact that its microclimate was relatively stable, as a consequence of the fact that the space was unused for a long period and also of the surroundings that consisted of clay soil. Th rough the accidental discovery of the hypogeum some damage was made to the superior part of the vault. After its discovery (another period of its passage through time), a temporary protection building was constructed. In situ emergency interventions of conservation were minimal and aimed the compatibility of the materials used and the resistance at the active degradation factors. After these emergency interventions, carried out until the year 1995, other projects of general protection of the hypogeum or conservation operations could not be realized, even if as a consequence to the analysis carried out several solutions of general protection and preventive conservation are being considered. As a conclusion to all these technical, methodological and strategic specifi cations, one could say that long term conservation should be focused on the fi ght against the causes of the deterioration, rather than “fi xing” its effects.
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Vojvodic, Dragan. "Wall paintings of the Davidovica monastery: Additions to the thematical programme and dating." Zograf, no. 39 (2015): 177–92. http://dx.doi.org/10.2298/zog1539177v.
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Owing to old photographic plates that recorded those segments of the mural decoration of Davidovica on the Lim which were later destroyed or considerably damaged, it is possible to put forward a more complete reconstruction of its thematic program. The programmatic and iconographic features of both the destroyed frescoes and the surviving ones correspond to the solutions that can be found in Post-Byzantine painting. The palaeographic analysis of inscriptions and the analysis of the style of the murals in the dome, the area under the dome and both chapels in Davidovica clearly indicate that we are dealing with paintings done in the second half of the sixteenth century.
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Cristescu, Cătălin. "Tradition and infl uence in the Dacian pottery discovered at Sarmizegetusa Regia." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 5 (2014): 37–53. http://dx.doi.org/10.47950/caieteara.2014.5.03.
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Dacians, Sarmizegetusa Regia, painted pottery, stamped decoration, cooking ware. Abstract: This paper aims to identify the Mediterranean and Celtic influences in the Dacian pottery from Sarmizegetusa Regia. The imitated or influenced vessels correspond mainly to tableware and storage jars, while cooking ware tends to belong to a local cultural layer, in regards to morphology and technology. Late Hellenistic and Roman technical influences used by the Dacian craftsmen are: slip, painting and stamped decoration. Laboratory analyses showed that both in the cases of tableware and kitchen pottery, the “recipes” used by the potters working in the ceramic workshops on the Grădişte Hill were practically identical.
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Lampakis, Dimitrios, Ioannis Karapanagiotis, and Olga Katsibiri. "Spectroscopic Investigation Leading to the Documentation of Three Post-Byzantine Wall Paintings." Applied Spectroscopy 71, no. 1 (July 20, 2016): 129–40. http://dx.doi.org/10.1177/0003702816654151.
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The main churches of three monasteries in Thessalia, Central Greece, were decorated with wall paintings in the post-Byzantine period. The main goal of the present study is to characterize the inorganic and organic materials present in the paint layers of areas that have been gilded. Optical microscopic examination was carried out on samples taken from the gilded decoration of the paintings to view their layer build-up. The combined use of micro Fourier transform infrared (FT-IR) and micro-Raman spectroscopy led to the detection of the pigments and the binding media used. The results from specimens taken from different wall paintings were compared with each other to observe their differences and similarities. The three investigated churches are believed to have been painted by the same iconographer, Tzortzis, who however has only been identified in only one of them. The comparison led to the conclusion that there are many similarities in the painting materials used and the general methodology adopted and, therefore, this study offers support to the belief that the mural paintings of the three monasteries could have been painted by the same iconographer. While not authenticating the two painting as being by Tzortzis, the results provide further critical material that is consistent with this attribution. However, this statement must be carefully considered because the pigments identified have been commonly and diffusely used in historic mural paintings.
Dissertations / Theses on the topic "Roman Mural painting and decoration"
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Tamm, John A. "Argentum potorium in Romano-Campanian wall-painting /." *McMaster only, 2001.
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Olsson, Melinda. "The Casa della Venere in Bikini (I 11, 6-7) at Pompeii : its decoration and finds /." Title page, contents and abstract only, 1989. http://web4.library.adelaide.edu.au/theses/09PH/09pha733.pdf.
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Thesis (Ph. D.)--University of Adelaide, Dept. of Classics, 1989?Vol. 2. consists of 64 leaves of mounted photographs. Plate 1 is Plan of I 11, 6-7, by Barry Rowney of Dept. of Architecture, University of Adelaide. Includes bibliographical references (leaves 276-291).
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Horrocks, Paul. "The architecture of the Forum of Pompeii." Title page, contents and synopsis only, 2000. http://web4.library.adelaide.edu.au/theses/09PH/09phh161.pdf.
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"Thesis presented June 1998, amended February 2000." Includes bibliography. V. I: text -- v. IIa: Figures -- v. IIb: Figures. This thesis demonstrates the falsity of the assumptions that ancient architects followed innate spatial cues or responses in their designs, that ancient people experienced the resulting buildings through the same responses, and that modern scholars can thus reconstruct both the intentions of the ancient architects and the architectural effects experienced by ancient visitors to ancient buildings throught the medium of their own spatial reactions. This underlying belief is contestable given its basis in unproven and untested late nineteenth century theories of perception. The thesis also demonstrates that the assumption made by modern scholars that the architects of the Forum of Pompeii were primarily concerned with uniformly enclosed space, axial symmetry, and orthogonality, is wrong, and is contradicted by the actual form of the buildings around the Forum.
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Holford, Stephen Charles John. "Cocteau in London: the Lady Chapel, Notre-Dame de France." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12327.
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The murals created by Jean Cocteau, for the walls of the Lady Chapel in London’s Notre-Dame de France (1959-60), are the only works of their kind outside of France. The visual art of Cocteau – better known for his poetic and filmic achievements – has suffered long-standing scholarly neglect. This dissertation seeks to redress this gap and to further our understanding of this renowned twentieth-century French multi-media artist. This study of Cocteau’s London murals demonstrates that they are informed by earlier artistic tradition, with which he was deeply engaged, as well as his own poetic and filmic œuvre; crucially also, by his own experience as a gay male in the mid twentieth-century. Despite the original and idiosyncratic beauty of this cycle, the paintings are amongst Cocteau’s least known. It is distinguished from the artist’s other religious projects; not only the smallest, but the London commission was the only one undertaken in his lifetime overseen and controlled by ecclesiastical authorities. Cocteau depicts three significant moments from the life of the Virgin: the Annunciation, Crucifixion, and Assumption. Cocteau’s murals are dissimilar to any other sacred art of the period, notably that of post-war Art sacré. What is revealed is Cocteau’s innovative method of re-imagining these canonical subjects, which he does in a manner that is both surprising and yet highly respectful of the Marist Order. A detailed case study, this thesis traces the progress of the commission, reconstructs Cocteau’s creative process as revealed in extant sketches, journals and other archival materials, and analyses the artist’s distinctive renditions of canonical religious subjects. In chapter 1, the historical context, the church itself and the commissioning order is examined. Cocteau’s original envisaged scheme is reconstructed and analysed in chapter 2. Chapters 3 to 8 examine in detail each of the three murals as they appear today.
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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1101.
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The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." University of Sydney, 2005. http://hdl.handle.net/2123/1101.
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Master of Visual ArtsThe Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
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Damiani, Piergiovanni. "L'oratorio dei confratelli di Civo religiosità popolare ed arte in Valtellina tra Quattro e Cinquecento /." Sondrio : Società storica valtellinese, 2003. http://catalog.hathitrust.org/api/volumes/oclc/53878936.html.
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Baird, Kathryn. "Secular wall painting in the sixteenth and seventeenth centuries." Thesis, University of Oxford, 2003. http://ora.ox.ac.uk/objects/uuid:bcc25824-3997-43ce-91d1-a58331519d68.
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Wall paintings survive in many houses dating from the late sixteenth and early seventeenth centuries yet, apart from recording the phenomenon, there has been very little written about them. This research explores how common wall paintings were, what sort of houses had them, when they were painted and most importantly, what was their significance in terms of what they can reveal about the lives of the people who chose to decorate their homes in this manner. Research has concentrated on the Welsh Marches although examples from elsewhere have been referred to. The research hypotheses are: - 1. Wall paintings were much more widespread than existing records suggest and were probably universal where there was money to spend on embellishing a house.
- 2. Following on from this, wall paintings would have been found in houses throughout the social scale, apart from the humblest dwellings.
- 3. The paintings were executed by itinerant painters who used pattern books as a source of design.
- 4. This form of decoration was most commonly found in the period 1550-1625, with few paintings prior to this date and a rapid decline in numbers after this period.
- 5. In some cases there is a connection between the content of the painting and the function of the room.
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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.
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Davos, Afroditi Climis. "Locating the politics of contemporary public art towards a new historiography /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973060661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textBooks on the topic "Roman Mural painting and decoration"
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Bischöfliches Dom- und Diözesanmuseum Trier. Constantinian ceiling paintings from a Roman palace underneath the cathedral of Trier =: Fresques constantiniennes du palais romain sous la cathédrale de Tr^eves. Trier: Bischöflichen Museums, 1986.
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Thomas, Renate. Römische Wandmalerei in Köln. Mainz am Rhein: P. von Zabern, 1993.
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Thomas, Renate. Die Dekorationssysteme der römischen Wandmalerei von augusteischer bis in trajanische Zeit. Mainz: Verlag Philipp von Zabern, 1995.
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Heinrich, Ernst. Der Zweite Stil in pompejanischen Wohnhäusern. München: Biering & Brinkmann, 2002.
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Drack, Walter. Römische Wandmalerei aus der Schweiz. Feldmeilen: Raggi-Verlag, 1986.
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Drack, Walter. Römische Wandmalerei aus der Schweiz. Feldmeilen: Raggi-Verlag, 1986.
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Convegno, internazionale di studi in ricordo di Mario Napoli (1996 Salerno Italy and Paestum Italy). La pittura parietale in Macedonia e Magna Grecia: Atti del Convegno internazionale di studi in ricordo di Mario Napoli, Salerno-Paestum, 21-23 novembre 1996. Paestum, Sa [i.e. Salerno, Italy]: Pandemos, 2002.
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Barbet, Alix. Les peintures des nécropoles romaines d'Abila et du nord de la Jordanie. Beyrouth: Institut français d'archéologie du Proche-Orient, 1988.
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Italy. Soprintendenza archeologica di Roma., ed. La decorazione pittorica dell'aula isiaca. Milano: Electa, 1997.
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Barbet, Alix. Les peintures des nécropoles romaines d'Abila et du nord de la Jordanie. Beyrouth: Institut français d'archéologie du Proche-Orient, 1994.
Find full textBook chapters on the topic "Roman Mural painting and decoration"
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Kriza, Ágnes. "Depicting Orthodoxy in Rus." In Depicting Orthodoxy in the Russian Middle Ages, 188–218. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198854302.003.0010.
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An outline of the history of mural and icon-painting in Novgorod demonstrates that the pictorial references in icons to church constructions, interiors, and their mural decorations had a long-standing tradition in Novgorod. Over time, these references became more and more explicit, so that they identified the Christian Church recognizably and exclusively with Byzantine Orthodoxy. The first half of the chapter analyses church decoration and the second icon-painting of Novgorod, thus seeking to explore the direct iconographic roots of the Wisdom icon. The chapter discusses the meaning of the prepared throne (Hetoimasia) in the Novgorod Sophia image, its light symbolism, and the development of anti-Latin ecclesiological iconographies in Novgorod.
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Lauritsen, M. Taylor. "Ornamental Painting on Campanian House Façades." In Principles of Decoration in the Roman World, 123–40. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110732139-008.
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Brennan, T. Corey. "Images of the Roman Fasces." In The Fasces, 26—C3.P72. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197644881.003.0003.
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Abstract When the institution of the fasces first confronts us in the visual medium, it appears quite evolved—and terrifying. That emerges from a second-century bce mural painting from the Esquiline in Rome which depicts lictors in distinctive dress, menacingly parading in triumph, and a coin (late second century bce) which represents a lictor about to dole out punishment. Moneyers of the Republic only sporadically include the fasces in their designs minted in Rome, and just once as an abstract symbol of state power. Rome’s emperors from Augustus through Nerva (i.e., 27 bce–98 ce) essentially avoid depicting the fasces on their coins, at Rome or in the provinces. The reason must be that the insignia primarily transmitted terror. In the second century ce, minters for Trajan, Hadrian, and Antoninus Pius revisited the fasces as a design motif, but with an emphasis on the lictors who carried them, sometimes acting as instruments of imperial philanthropy. By the early third century ce, the fasces had received a makeover, now as long curved rods with nonfunctional axe heads. This is the form that persists through late antiquity, certainly well into the sixth century ce in both West and East. Though the fasces proper does not play a major part in Byzantine ceremonial practices, lictor-like attendants with axes, twelve in number, show up in Constantinople at the coronation of the emperor Manuel II Palaeologus in the year 1391. All of this is powerful evidence for the tenacity of the basic institution.
Conference papers on the topic "Roman Mural painting and decoration"
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Armetta, Francesco, Dario Giuffrida, Barbara Fazzari, Carmelo Malacrino, Anna Arcudi, Maria Luisa Saladino, and Rosina Celeste Ponterio. "New insight about the mural painting branches of Roman baths in Reggio Calabria." In 2022 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. Budapest: IMEKO, 2023. http://dx.doi.org/10.21014/tc4-arc-2022.023.
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Saihoo, Nam-oi. "THE STUDY OF COLOR SCHEME OF MURAL PAINTING AND DECORATION IN INTERIOR ARCHITECTURE (CASE STUDY: TEMPLES IN KHONKAEN)." In International Conference on Arts and Humanities. The International Institute of Knowledge Management (TIIKM), 2018. http://dx.doi.org/10.17501/icoah.2017.4103.
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Kruk, MiroslawKruk. "STS CONSTANTINE CYRIL AND METHODIUS AS PATRONS OF THE KINGDOM OF POLAND." In THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.06.
Full textAbstract:
In 1436 Zbigniew Oleśnicki (1423–1455), Bishop of Kraków, mentioned that Saint Cyril and Saint Methodius, were the patrons of the Polish kingdom. This event remains highly mysterious, as because the bishop was rather famous for his activities in the field of strengthening the role of the Roman Catholic Church, and nothing is known of his other manifestations of sympathy for the Orthodox Church, its patrons and saints. 108 Intriguing in this context are the plans for the introduction of ecclesiastical union which were supposedly presented by Gregory Tsamblak, an envoy of Władysław Jagiełło, King of Poland, at the Council of Constance in 1418, as well as a number of his foundations of orthodox frescoes in the Catholic churches of Lesser Poland. A separate issue is the memory of the “Solun Brothers” in nineteenth-century Krakow, evidenced by a painting by Jan Matejko in 1885 and his contribution to the painting decoration of the Greek Orthodox Church in the former Catholic Church of St. Norbert in Krakow.