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Journal articles on the topic 'Roman paintings'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Barringer, Judith M. "The Mythological Paintings in the Macellum at Pompeii." Classical Antiquity 13, no. 2 (1994): 149–66. http://dx.doi.org/10.2307/25011012.

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This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing

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2

Radpour, Roxanne, Christian Fischer, and Ioanna Kakoulli. "New Insight into Hellenistic and Roman Cypriot Wall Paintings: An Exploration of Artists’ Materials, Production Technology, and Technical Style." Arts 8, no. 2 (2019): 74. http://dx.doi.org/10.3390/arts8020074.

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A recent scientific investigation on Hellenistic and Roman wall paintings of funerary and domestic contexts from Nea (‘New’) Paphos, located in the southwest region of Cyprus, has revealed new information on the paintings’ constituent materials, their production technology and technical style of painting. Nea Paphos, founded in the late 4th century BC, became the capital of the island during the Hellenistic period (294–58 BC) and developed into a thriving economic center that continued through the Roman period (58 BC–330 AD). A systematic, analytical study of ancient Cypriot wall paintings, ex

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3

Pierguidi, Stefano. "La ‘terza stanza de quadri’ in Palazzo Farnese nel 1644." Journal of the History of Collections 32, no. 2 (2019): 265–73. http://dx.doi.org/10.1093/jhc/fhz016.

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Abstract L’articolo punta a stabilire il criterio museografico nell’allestimento della ‘terza stanza de quadri’ in Palazzo Farnese nel 1644, a partire dalla sorprendente presenza in quell’ambiente di molti disegni incorniciati accanto a dipinti su tavola a fondo oro di primo Quattrocento e a poche, importanti tele. Nella stanza era sinteticamente narrata la storia della pittura a Roma dal Quattro al Cinquecento, attraverso soli capolavori, di maestri quasi unicamente appartenenti alla scuola romana. This article aims to establish the museographic criteria involved in the display of pictures in

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4

Rogers, Dylan. "The Hanging Garlands of Pompeii: Mimetic Acts of Ancient Lived Religion." Arts 9, no. 2 (2020): 65. http://dx.doi.org/10.3390/arts9020065.

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Roman painting is full of items associated with religious practice. Garlands, in particular, are found represented in Roman frescoes, often draped over different panels to enliven the painted surface with the semblance of abundant fresh flowers. There are indications, however, that in Roman domestic spaces, latrines, and streets, physical garlands were actually attached to the frescoes as votive offerings that mimic the painted garlands behind them. This paper considers how Roman paintings worked in tandem with garlands and other physical objects, and how Pompeiians engaged in mimetic acts. Th

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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

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Rampazzi, Laura, Cristina Corti, Ludovico Geminiani, and Sandro Recchia. "Unexpected Findings in 16th Century Wall Paintings: Identification of Aragonite and Unusual Pigments." Heritage 4, no. 3 (2021): 2431–48. http://dx.doi.org/10.3390/heritage4030137.

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Sixteenth century wall paintings were analyzed from a church in an advanced state of decay in the Apennines of central Italy, now a remote area but once located along the salt routes from the Po Valley to the Ligurian Sea. Infrared spectroscopy (FTIR-ATR), X-ray diffraction (XRD) and scanning electron microscopy (SEM) with a microprobe were used to identify the painting materials, as input for possible future restoration. Together with the pigments traditionally used for wall painting, such as ochre, ultramarine blue, bianco di Sangiovanni, cinnabar/vermilion, azurite, some colors were also fo

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7

Knauer, Elfriede R. "Wind Towers in Roman Wall Paintings?" Metropolitan Museum Journal 25 (January 1990): 5–20. http://dx.doi.org/10.2307/1512891.

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8

Andreoli, Martina. "Mosaics of Frescoes: Digital Photogrammetry, Raster Representation, Pigment Analysis and Metrology of a Flavian Wall Painting on the Caelian Hill (Rome)." Cambridge Archaeological Journal 24, no. 2 (2014): 233–48. http://dx.doi.org/10.1017/s0959774314000420.

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Chronological and stylistic studies of Roman wall paintings and mosaics were based for a long time only on optical direct analysis and current analogue or digital photographic reproduction. The aims of fresco research today remain the same as in the past — i.e. pigment types and sources, painting subjects and styles, application methods, and the relationship between paintings and the function of their locations. Modern technologies, however, have now been developed which can finally improve our knowledge about ancient decorative taste and workshops. New methodologies such as highly accurate co

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9

Santiago Godos, Victoria. "La recuperación y restauración de la pintura mural romana en el sureste español." Virtual Archaeology Review 4, no. 9 (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 s

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Souček, Josef. "Roman Model-Books as a Resource for Digital Architectural Reconstructions." Heritage 4, no. 1 (2020): 20–32. http://dx.doi.org/10.3390/heritage4010002.

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Upon examination of Roman landscape paintings preserved in situ and in museums of Naples and Rome, additional evidence has been found for the additive character of creation of imaginary landscapes as well as evidence for using standardized elements and whole scene compositions in Roman painting. This attitude is compared to the modern way of creating virtual landscapes—computer game level design and the process called “kitbashing”. I propose that both these processes share the same task to create a familiar landscape using a visual language understandable to its contemporary viewer, but also a

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11

TANIICHI, TAKASHI. "ROMAN AND POST-ROMAN GLASS VESSELS DEPICTED IN ASIAN WALL PAINTINGS." Orient 22 (1986): 128–42. http://dx.doi.org/10.5356/orient1960.22.128.

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Linn, R. "Layered pigments and painting technology of the Roman wall paintings of Caesarea Maritima." Journal of Archaeological Science: Reports 11 (February 2017): 774–81. http://dx.doi.org/10.1016/j.jasrep.2016.12.018.

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Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.

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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds wer

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Mazzocchin, Gian Antonio, Danilo Rudello, and Emanuela Murgia. "Analysis of Roman Wall Paintings Found in Verona." Annali di Chimica 97, no. 9 (2007): 807–22. http://dx.doi.org/10.1002/adic.200790066.

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Knauer, Elfriede R. "Roman Wall Paintings from Boscotrecase: Three Studies in the Relationship between Writing and Painting." Metropolitan Museum Journal 28 (January 1993): 13–46. http://dx.doi.org/10.2307/1512917.

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Haber, Agnes, Bernhard Blümich, Daria Souvorova, and Eleonora Del Federico. "Ancient Roman wall paintings mapped nondestructively by portable NMR." Analytical and Bioanalytical Chemistry 401, no. 4 (2011): 1441–52. http://dx.doi.org/10.1007/s00216-011-5180-3.

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Baraldi, P., C. Baraldi, R. Curina, L. Tassi, and P. Zannini. "A micro-Raman archaeometric approach to Roman wall paintings." Vibrational Spectroscopy 43, no. 2 (2007): 420–26. http://dx.doi.org/10.1016/j.vibspec.2006.04.029.

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Perez-Rodriguez, Jose Luis, Maria del Carmen Jimenez de Haro, Belinda Siguenza, and José María Martinez-Blanes. "Green pigments of Roman mural paintings from Seville Alcazar." Applied Clay Science 116-117 (November 2015): 211–19. http://dx.doi.org/10.1016/j.clay.2015.03.016.

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Tsantini, Evanthia, Takeshi Minami, Miguel Ángel Cau Ontiveros, Kazuya Takahashi, and Joan Carles Melgarejo. "Sulfur Isotope Analysis to Examine the Provenance of Cinnabar Used in Wall Paintings in the Roman domus Avinyó (Barcelona)." Minerals 11, no. 1 (2020): 6. http://dx.doi.org/10.3390/min11010006.

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Wall paintings in the Roman period were used to decorate both public and private spaces; therefore, they reflect, on the one hand, ideas and convictions, and on the other, daily activities and socio-economic models. Characterizations of the pigments used in mural paintings are useful for determining the economic status of a specific settlement or the importance of a particular area or the buildings within it, since the cost of different pigments varied widely. Isotope analysis can be used to identify the provenance of pigments and to establish whether the raw materials are local, regional, or

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Vai, Stefania. "The Bessarion Chapel." Paragone Past and Present 2, no. 1 (2021): 120–36. http://dx.doi.org/10.1163/24761168-00201006.

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Abstract The Bessarion chapel in the church of Santi Apostoli represents a new chapter in the study of the Roman Quattrocento. Its frescoes, painted by Antoniazzo Romano between 1464 and 1467, are a fundamental example of the Roman artistic taste in the early Renaissance. This essay examines unexplored aspects surrounding the origin of the chapel by understanding how Romano obtained this commission and how much he used visual solutions borrowed from the past. In addition, this investigation sets out to reconsider the artistic influence of the Bessarion commission, focusing on the paintings whi

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21

Tybout, Rolf. "Response to the comments of B. Bergmann and C. H. Hallett (JRA 14, 56-57 and 414-16)." Journal of Roman Archaeology 15 (2002): 346–48. http://dx.doi.org/10.1017/s1047759400014033.

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My article on Roman wall-painting and social significance (JRA 14, 33-56) provoked two immediate reactions. I would like to show that both scholars misinterpreted my argument and intentions.Bergmarm's views are compatible in all respects with mine expressed in my article. In two introductory sections (33-42) I drew attention to some major misunderstandings and misrepresentations of the chronological model of Roman wall-painting developed by H. G. Beyen by scholars who have recently focused on paintings in their spatial and social context. B. agrees “that we lose much by neglecting the contribu

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22

Cameron, Alan. "Young Achilles in the Roman World." Journal of Roman Studies 99 (November 2009): 1–22. http://dx.doi.org/10.3815/007543509789745034.

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This paper considers the representation of Achilles in Roman poetry and art and, in particular, Roman interest in his childhood, culminating in the ‘exposure’ on Scyros. It is argued that common features in literature and art support the existence of illustrated mythographic handbooks. The relationship of Statius' Achilleid to the cycle of scenes representing Achilles' early years known from wall-paintings, mosaics, sarcophagi and the Kaiseraugst plate is discussed. Although the surviving book of the Achilleid concerns the pre-Troy years, it is suggested that Statius' real focus was the Trojan

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23

Fredrick, David. "Beyond the Atrium to Ariadne: Erotic Painting and Visual Pleasure in the Roman House." Classical Antiquity 14, no. 2 (1995): 266–88. http://dx.doi.org/10.2307/25011023.

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Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items (mirrors, lamps, Arretine ware) suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film is adapted

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24

Mazzocchin, G. "Analysis of pigments from Roman wall paintings found in Vicenza." Talanta 61, no. 4 (2003): 565–72. http://dx.doi.org/10.1016/s0039-9140(03)00323-0.

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Kawamoto, Yukiko. "Rome Awards: Silvae: the Roman gardens depicted in wall paintings." Papers of the British School at Rome 85 (October 2017): 349–50. http://dx.doi.org/10.1017/s0068246217000228.

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Freedman, Luba. "Two Spalliera Paintings of Roman Monuments in the Galleria Colonna." Viator 42, no. 1 (2011): 349–82. http://dx.doi.org/10.1484/j.viator.1.102014.

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Aliatis, Irene, Danilo Bersani, Elisa Campani, et al. "Pigments used in Roman wall paintings in the Vesuvian area." Journal of Raman Spectroscopy 41, no. 11 (2010): 1537–42. http://dx.doi.org/10.1002/jrs.2701.

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Bologna, Francesca. "Water and stone: the economics of wall-painting in Pompeii (A.D. 62-79)." Journal of Roman Archaeology 32 (2019): 97–128. http://dx.doi.org/10.1017/s1047759419000072.

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This article investigates production times, workforce, and materials involved in the creation of wall-paintings, applying figures obtained from pre-industrial building manuals and through experimental archaeology. This is a crucial yet — at least with regard to Roman wall-painting – unexploited avenue for research, one that has already been successfully applied to the study of ancient construction, stone-working, and mosaic production.1 The implications of this type of study are twofold: estimating labour figures allows us to assess painters’ working practices and workforce organization, yet i

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Cherstich, Luca, and Anna Santucci. "A new discovery at Cyrene: Tomb S64 and its ‘Pompeian Second Style’ wall paintings. Preliminary notes." Libyan Studies 41 (2010): 33–45. http://dx.doi.org/10.1017/s026371890000025x.

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AbstractS64 is an extraordinary tomb. Its well-preserved isodomic façade leads to an antechamber decorated with wall paintings recalling what is usually labelled as ‘Pompeian Second Style’, a unique example in Cyrenaica thus far. This article gives a brief insight on this tomb, its wall paintings and a short discussion of their importance in the wider context of local and foreign monumental funerary customs. This tomb suggests a ritual complexity with few comparisons in Cyrene, but it is also important for the history of the Hellenistic and Roman painted architectural styles.

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Olson, Todd P. "Pitiful Relics: Caravaggio's Martyrdom of St. Matthew." Representations 77, no. 1 (2002): 107–42. http://dx.doi.org/10.1525/rep.2002.77.1.107.

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Caravaggio's seminal ambitious program in the Contarelli Chapel (San Luigi dei Francesi, Rome) representing the Calling and the Martyrdom of St. Matthew (1599-1600) invoked the threat of iconoclasm as it imagined the martyr's body as a violated relic. Counter-Reformation images and hagiographies, such as the engravings in Richard Verstegan's Thééââtre des cruautéés des hééréétiques nostre temps, traduit du latin en franççois (Anvers, 1588) and Giovanni Battista Cavalieri's Ecclesiae Anglicanae Trophaea (Rome, 1584), after paintings by Pomarancio, depicted disintegrated sacred bodies subject bo

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Dal Fovo, Alice, Anna Mazzinghi, Sergio Omarini, et al. "Non-invasive mapping methods for pigments analysis of Roman mural paintings." Journal of Cultural Heritage 43 (May 2020): 311–18. http://dx.doi.org/10.1016/j.culher.2019.12.002.

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Toschi, Francesco, Alessandra Paladini, Francesca Colosi, et al. "A multi-technique approach for the characterization of Roman mural paintings." Applied Surface Science 284 (November 2013): 291–96. http://dx.doi.org/10.1016/j.apsusc.2013.07.096.

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Bugini, Roberto, Cristina Corti, Luisa Folli, and Laura Rampazzi. "Roman Wall Paintings: Characterisation of Plaster Coats Made of Clay Mud." Heritage 4, no. 2 (2021): 889–905. http://dx.doi.org/10.3390/heritage4020048.

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This paper reports on the mineralogical characterisation of samples of wall paintings from various Roman sites in Lombardy (Italy), revealing recurrent types of stratigraphy. One of the stratigraphic samples analysed was found to be a particular kind of plaster: a three-coat work featuring two coats made of clay mud, found in the site of Santa Maria alla Porta (area of the Imperial Palace of Milan—first century CE). The fragments were analysed using optical microscopy on thin sections, X-ray diffraction, scanning electron microscopy with an energy-dispersive spectrometer and infrared spectrosc

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Ling, Roger. "Inscriptions on Romano-British Mosaics and Wall-Paintings." Britannia 38 (November 2007): 63–91. http://dx.doi.org/10.3815/000000007784016395.

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The article reviews the principal surviving examples of inscriptions on mosaic pavements and wall-paintings in Roman Britain. For some of these it makes tentative suggestions towards new readings or seeks to adjudicate between the conflicting readings of earlier commentators. The eleven inscriptions examined belong to different classes: signatures, dedications, good luck messages, labels, and literary or pseudo-literary glosses upon figure-scenes. The existence of the inscriptions implies that viewers were expected to be literate, or at least that being literate, if not actually well-educated,

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Jones, Nathaniel B., and Sara Ryu. "Distance and proximity in Hubert Robert." Classical Receptions Journal 11, no. 4 (2019): 476–507. http://dx.doi.org/10.1093/crj/clz013.

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Abstract This essay focuses on questions of distance and proximity, both chronological and spatial, in the painting of eighteenth-century French artist Hubert Robert. It argues that, through the manipulation of different modes of distance in his paintings, Robert sought to articulate an aesthetic attitude which highlighted the remoteness of the past at the same time as he brought it into dialogue with the present. This aesthetic of distance is variously enacted by Robert's pictorial reflections on the ancient Roman system of roads, the virtual creation and collection of antiquities, and the ac

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Bacchielli, di Lidiano. "Pittura Funeraria Antica in Cirenaica." Libyan Studies 24 (1993): 77–116. http://dx.doi.org/10.1017/s0263718900001989.

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AbstractWith the exception of two epigraphic references and a surviving example at Ptolemais, paintings have vanished from the ancient buildings of Cyrenaica along with the walls that supported them. Only the rock-cut tombs offer a rich conspectus of funerary paintings from Hellenistic to early Christian times. These attracted the attention of several early travellers and archaeologists, but they have never been the object of detailed interpretative study.Here an account is given of ten painted tombs, beginning with the Hellenistic ‘Tomb of the Swing’ at Cyrene, the painted metopes of which ar

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Krampen, Martin. "Jakobson's Model of Linguistic Functions and Modern Painting." Empirical Studies of the Arts 14, no. 1 (1996): 49–63. http://dx.doi.org/10.2190/c68f-kb07-wn5y-gd12.

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Four of the six functions of linguistic communication postulated by Roman Jakobson were applied to twenty color reproductions of modern paintings. The functions were: Emotive self-expression of the addresser, the poetic (more general aesthetic) function (concerning the material aspects of the message), the conative function (concerning the persuasion of the addressee) and the referential function (applied to the context). Thirty artistically trained and thirty “lay persons” rated the paintings on 5-point scales, expressing degrees of agreement with two statements descriptive of each function.

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Salcuni, Andrea. "Eric M. Moormann: Divine Interiors. Mural Paintings in Greek and Roman Sanctuaries." Gnomon 86, no. 3 (2014): 258–64. http://dx.doi.org/10.17104/0017-1417_2014_3_258.

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Mazzocchin, G. A., F. Agnoli, and M. Salvadori. "Analysis of Roman age wall paintings found in Pordenone, Trieste and Montegrotto." Talanta 64, no. 3 (2004): 732–41. http://dx.doi.org/10.1016/j.talanta.2004.03.055.

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Weber, Johannes, Walter Prochaska, and Norbert Zimmermann. "Microscopic techniques to study Roman renders and mural paintings from various sites." Materials Characterization 60, no. 7 (2009): 586–93. http://dx.doi.org/10.1016/j.matchar.2008.12.008.

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Velo-Gala, Almudena, and José Antonio Garriguet Mata. "Roman window glass: an approach to its study through iconography." Lucentum, no. 36 (December 1, 2017): 159. http://dx.doi.org/10.14198/lvcentvm2017.36.10.

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Despite the fact that iconographic studies are recognized as an important tool for understanding antiquity, there are few references of Roman window glass among scholars in this field. This paper, which analyses images in reliefs, mosaics and wall paintings, shows how representations of window glass are more common than hitherto argued. The data from these analyses provides important information about the chronology, use and availability of this type of material, adding to the small body of knowledge regarding an object little understood in scholarly circles, even though windows are believed t

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Hajdú, Attila. "Visions of Narcissus from the Late Imperial Period Remarks on the Statue of Narcissus from Callistratus’ Ekphraseis." Sapiens ubique civis 1, no. 1 (2020): 161–85. http://dx.doi.org/10.14232/suc.2020.1.161-185.

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In his longest ekphrasis (5), Callistratus (fl. probably in 4th century AD) uses enargeia and phantasia to depict vividly Narcissus’ marble sculpture and to evoke the tragic fate of the young boy. Based on the surviving works of art, it is well-known that the representations of Narcissus were widespread in the Roman world from the 1st century AD. Therefore, there is no reason to assume that it would have been a difficult task for Callistratus to take inspiration from the statues of Narcissus exhibited in the horti of Roman villas, public parks and baths, or from the large number of wall-painti

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Cosh, Stephen R. "Bramdean Roman Villa: a Note on Plans of its Buildings." Hampshire Studies 75, no. 1 (2020): 28–35. http://dx.doi.org/10.24202/hs2020002.

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A plan of Bramdean Roman villa, dating to the 1820s, has given new data on the layout of the buildings and the villa courtyard. John Lickman (1774–1844), a schoolmaster based near Andover, made the plan and associated paintings of the mosaics, copies of which are now held at Stourhead and Lydney Park. This paper discusses the plan, reconciles it with other plans made of the site, and proposes that Bramdean was a typical winged-corridor house within a rectangular courtyard, with an aisled building at right-angles to it at the other end of the courtyard.

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Graves, Kiernan, David Carson, Ilaria Catapano, et al. "Portable in practice: investigations using portable instrumentation for materials analysis and mapping of decorated architectural surfaces in the tablinum of the House of the Bicentenary at Herculaneum." MRS Advances 2, no. 33-34 (2017): 1831–48. http://dx.doi.org/10.1557/adv.2017.317.

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ABSTRACTThe conservation of the architectural surfaces in the tablinum of the House of the Bicentenary at the ancient Roman site of Herculaneum is a collaborative project of the Getty Conservation Institute, the Herculaneum Conservation Project and the Soprintendenza Pompeii. The tablinum was selected as a case study given the significance, beauty, and severe deterioration of its decorated surfaces. A multi-disciplinary team with a wide range of expertise, comprised of conservators, chemists, geo-physicists, engineers, and conservation scientists, worked in partnership across a number of insti

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Painter, K. S., and G. W. Meates. "The Roman Villa at Lullingstone, Kent. Vol. 2: The Wall-Paintings and Finds." Britannia 21 (1990): 420. http://dx.doi.org/10.2307/526326.

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Smith, R. R. R. "Spear-won land at Boscoreale: on the royal paintings of a Roman villa." Journal of Roman Archaeology 7 (1994): 100–128. http://dx.doi.org/10.1017/s1047759400012526.

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Garofano, I., A. Duran, J. L. Perez-Rodriguez, and M. D. Robador. "Natural Earth Pigments From Roman and Arabic Wall Paintings Revealed by Spectroscopic Techniques." Spectroscopy Letters 44, no. 7-8 (2011): 560–65. http://dx.doi.org/10.1080/00387010.2011.610655.

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Agnoli, Francesca, Irene Calliari, and Gian-Antonio Mazzocchin. "Use of Different Spectroscopic Techniques in the Analysis of Roman Age Wall Paintings." Annali di Chimica 97, no. 1-2 (2007): 1–7. http://dx.doi.org/10.1002/adic.200690093.

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Birolo, Leila, Antonella Tomeo, Marco Trifuoggi, et al. "A hypothesis on different technological solutions for outdoor and indoor Roman wall paintings." Archaeological and Anthropological Sciences 9, no. 4 (2016): 591–602. http://dx.doi.org/10.1007/s12520-016-0408-y.

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Waywell, G. B., and J. J. Wilkes. "Excavations at Sparta: The Roman stoa, 1988–91 Part 3." Annual of the British School at Athens 92 (November 1997): 401–34. http://dx.doi.org/10.1017/s0068245400016750.

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Abstract:

This is the third and concluding report on the survey and excavations carried out on the site of the Roman Stoa at Sparta in 1988–91, following on from earlier reports in BSA 88 (1993), 219–86 and BSA 89 (1994), 377–432. It presents a catalogue and description of the most significant small finds and fragments of Byzantine wall-paintings recovered, gives a full list of coins found and their identities, and offers a detailed discussion of the environmental programme and its preliminary results. An appendix publishes the results of analysis of concrete samples from the ancient theatre at Sparta,

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