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Journal articles on the topic 'Roman Wall-Painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Tybout, Rolf A. "Roman wall-painting and social significance." Journal of Roman Archaeology 14 (2001): 33–56. http://dx.doi.org/10.1017/s1047759400019814.

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During the last two decades a spate of publications forcefully brought to our attention the importance of the Roman house in the socio-political life of the élite in the late Republic and early Imperial period, both in Rome and in “provincial” towns like Pompeii, the metropolitan center of power setting the patterns for the lifestyle of local grandees. The focus is on the rôle of architecture in shaping the spatial, and thereby social, articulation of the domus. Literary sources concerning Roman domestic life and known for a long time are scrutinized for the light they might shed on the archae

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2

FILIP, DUMITRITA DANIELA, MIHAI GLIGOR, ILIE ALEXANDRU LASCU, et al. "Non-invasive techniques for characterizing the pigments applied on wall houses from Roman Apulum (Romania)." Romanian Reports in Physics 77, no. 2 (2025): 803. https://doi.org/10.59277/romrepphys.2025.77.803.

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In the past 136 years, numerous archaeological finds have enriched the history of Roman Apulum and Roman Province Dacia with new data. Various pieces were described and analyzed from a stylistic point of view, but they were not investigated in terms of non-invasive analytical techniques to elucidate the painting techniques and the materials used. In this context, this study aims to identify and characterize the pigments used by Roman painters/craftsmen in decorating houses using Apulum and the painting technique. To achieve this goal, fragments of Roman wall paintings recently discovered in th

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Piovesan, Rebecca, Lara Maritan, Martina Amatucci, Luca Nodari, and Jacques Neguer. "Wall painting pigments of Roman Empire age from Syria Palestina province (Israel)." European Journal of Mineralogy 28, no. 2 (2016): 435–48. http://dx.doi.org/10.1127/ejm/2015/0027-2500.

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Small. "Circling Round Vitruvius, Linear Perspective, and the Design of Roman Wall Painting." Arts 8, no. 3 (2019): 118. http://dx.doi.org/10.3390/arts8030118.

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Many scholars believe that linear perspective existed in classical antiquity, but a fresh examination of two key texts in Vitruvius shows that 1.2.2 is about modularity and symmetria, while 7.Pr.11 describes shading (skiagraphia). Moreover, these new interpretations are firmly based on the classical understanding of optics and the history of painting (e.g., Pliny the Elder). A third text (Philostratus, Imagines 1.4.2) suggests that the design of Roman wall painting depends on concentric circles. Philostratus’ system is then used to successfully make facsimiles of five walls, representing Style

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Philip Stinson. "Perspective Systems in Roman Second Style Wall Painting." American Journal of Archaeology 115, no. 3 (2011): 403. http://dx.doi.org/10.3764/aja.115.3.0403.

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Allen, Ruth. "‘Eye-Like Radiance’: The Depiction of Gemstones in Roman Wall Painting." Arts 8, no. 2 (2019): 60. http://dx.doi.org/10.3390/arts8020060.

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The study of ornament in Greek and Roman art has been the focus of increasing scholarly interest over the last decade, with many publications shedding new light on the dynamics of ornatus in antiquity, and the discourses that shaped and situated it. Through an analysis of the depiction of gemstones in Roman wall painting, this article demonstrates the importance of ornamental details both to the mechanics of two-dimensional representation and to the interpretation of the images they adorned. I argue that by evoking the material qualities and sensual pleasures of real precious stones, painted g

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Hallett, C. H. "Response to R. Tybout “Roman wall-painting and social significance”." Journal of Roman Archaeology 14 (2001): 414–16. http://dx.doi.org/10.1017/s1047759400020043.

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In his article in this issue, R. Tybout has some harsh words (38-39) for an article by S. Yerkes published in JRA 13. T.'s reaction seems to involve not so much a scholarly disagreement as a major misunderstanding of Yerkes' paper. I would like to offer a brief corrective to his comments.T. seems under the impression that the identification of Vitruvius' monstra is the main — or only — point of Yerkes' essay. This is probably because of the title. The paper is a radically reduced presentation of the argument of the author's master's thesis which was entitled “Neo-Attic motifs in Roman painting

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Duran, A., L. A. Perez-Maqueda, J. Poyato, and J. L. Perez-Rodriguez. "A thermal study approach to roman age wall painting mortars." Journal of Thermal Analysis and Calorimetry 99, no. 3 (2010): 803–9. http://dx.doi.org/10.1007/s10973-009-0667-2.

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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 (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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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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Osborne, John. "Early Mediaeval Wall-painting in the Roman Catacombs: Patronage and Function." RACAR : Revue d'art canadienne 12, no. 2 (1985): 197. http://dx.doi.org/10.7202/1073670ar.

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12

IIJIMA, Akihito. "Serial Disposition of Still Life Motifs in the Roman Wall-Painting." Bulletin of the Society for Near Eastern Studies in Japan 41, no. 2 (1998): 194–212. http://dx.doi.org/10.5356/jorient.41.2_194.

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13

Elsner. "Viewing Ariadne: From Ekphrasis to Wall Painting in the Roman World." Classical Philology 102, no. 1 (2007): 20. http://dx.doi.org/10.2307/4620786.

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Elsner, Jaś. "Viewing Ariadne: From Ekphrasis to Wall Painting in the Roman World." Classical Philology 102, no. 1 (2007): 20–44. http://dx.doi.org/10.1086/521130.

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15

Dardenay, Alexandra. "Roman wall-painting in southern Gaul (Gallia Narbonensis and Gallia Aquitania)." Journal of Roman Archaeology 31 (2018): 53–89. http://dx.doi.org/10.1017/s1047759418001241.

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In the Greek world, the practice of decorating walls with painted stucco emerged in the 5th or 4th c. B.C. and was at first limited to public and religious monuments and the palaces of rulers, later spreading to the houses of the aristocracy. In the homes of the nobility, painted decoration enhanced the ornamentation of rooms used for receiving visitors, such as the dining room (andron), in which the floors were sometimes decorated with mosaics, most often with geometric motifs. In the wealthiest abodes, as seen at Pella in the 4th c. B.C., Alexandria, or on Delos in the 2nd c. B.C., a mosaic

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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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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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Pelosi, Claudia, Filomena Di Stasio, Luca Lanteri, Martina Zuena, Marta Sardara, and Armida Sodo. "The “Restoration of the Restoration”: Investigation of a Complex Surface and Interface Pattern in the Roman Wall Paintings of Volsinii Novi (Bolsena, Central Italy)." Coatings 14, no. 4 (2024): 408. http://dx.doi.org/10.3390/coatings14040408.

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(1) Background: The present paper reports the results of the analyses performed on the wall paintings of Room E of the Domus delle Pitture (Room of the Paintings) in the Roman archaeological site of Volsinii Novi (Bolsena, Viterbo, Central Italy) aimed at supporting the recently concluded restoration. (2) Methods: ultraviolet fluorescence photography was conducted to evaluate the conservation state. Painting materials were investigated via portable X-ray fluorescence spectrometer (p-XRF), µ-Raman spectroscopy, cross-section analysis under polarizing microscope, scanning electron microscopy cou

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Sciuti, S., G. Fronterotta, M. Vendittelli, A. Longoni, and C. Fiorini. "A Non-Destructive Analytical Study of a Recently Discovered Roman Wall Painting." Studies in Conservation 46, no. 2 (2001): 132. http://dx.doi.org/10.2307/1506843.

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Sciuti, S., G. Fronterotta, M. Vendittelli, A. Longoni, and C. Fiorini. "A Non-Destructive Analytical Study of a Recently Discovered Roman Wall Painting." Studies in Conservation 46, no. 2 (2001): 132–40. http://dx.doi.org/10.1080/00393630.2001.12071700.

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BÉARAT, H. "CHEMICAL AND MINERALOGICAL ANALYSES OF GALLO-ROMAN WALL PAINTING FROM DIETIKON, SWITZERLAND." Archaeometry 38, no. 1 (1996): 81–95. http://dx.doi.org/10.1111/j.1475-4754.1996.tb00762.x.

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Cortea, Ioana Maria, Lucian Ratoiu, Luminița Ghervase, Ovidiu Țentea, and Mihaela Dinu. "Investigation of Ancient Wall Painting Fragments Discovered in the Roman Baths from Alburnus Maior by Complementary Non-Destructive Techniques." Applied Sciences 11, no. 21 (2021): 10049. http://dx.doi.org/10.3390/app112110049.

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In this study, several wall painting fragments discovered in the Roman baths from the archeological site Alburnus Maior (Roşia Montană, Romania) were analyzed with the aim to investigate the material composition of both plasters and pictorial layers. Dated from the beginning of the second century AD, these rare findings stand among the oldest examples of preserved decorative polychrome paintings on plaster excavated thus far in the former territory of the Roman province of Dacia. A non-destructive multi-analytical approach based on complementary techniques was considered: Fourier transform inf

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Gavrilovic, Dragana, and Kristina Ponjavic. "Re-conservation and reinpretation of a Roman Fresco from Sirmium." Starinar, no. 70 (2020): 225–37. http://dx.doi.org/10.2298/sta2070225g.

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This paper deals with the re-conservation of an old conserved unit and the new iconographic analysis of a wall painting that was kept in the Museum of Srem?s (Sremska Mitrovica, Serbia) storage depot. Experts from the Provincial Institute for the Protection of Cultural Monuments started but did not finish the reconstruction in the 1990s, which has led to its further deterioration. Their conservation and restoration work on these fragments were extensive and offered a wealth of extraordinary technological and iconographic information.

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Cortea, Ioana Maria, Luminița Ghervase, Lucian Ratoiu, Ovidiu Țentea, and Monica Dinu. "New Insights into the Materials and Painting Techniques of Ancient Wall Paintings from the Roman Province of Dacia: A Minimally Invasive Multi-Method Approach." Heritage 7, no. 9 (2024): 5268–94. http://dx.doi.org/10.3390/heritage7090248.

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A group of wall painting fragments discovered at Ulpia Traiana Sarmizegetusa, an important Roman archeological site located in the former Roman province of Dacia (Romania), have been investigated with the aim of defining the material composition of their pictorial layers and exploring the pictorial technology used. In order to preserve the integrity of the murals and minimize sampling, an array of non- and micro-invasive techniques has been employed, including X-ray fluorescence, laser-induced breakdown spectroscopy, Fourier transform infrared spectroscopy, and hyperspectral imaging. In accord

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Blümich, Bernhard, Eleonora Del Federico, Denis Jaschtschuk, et al. "Nondestructive Analysis of Wall Paintings at Ostia Antica." Heritage 4, no. 4 (2021): 4421–38. http://dx.doi.org/10.3390/heritage4040244.

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Roman wall paintings at Ostia Antica were studied for the first time in situ in an integrated approach using nuclear magnetic resonance (NMR) depth profiling, portable X-ray fluorescence (XRF), and visible induced luminescence (VIL) in order to explore the materials used in their construction and gain insight into the evolution of the Roman painting technique over time. NMR revealed the signatures of covered wall paintings through details of the structure of the top painted mortar layers, and the loss of this information that can be encountered when paintings are detached from the wall for pre

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Valladares, Hérica. "Fallax Imago: Ovid's Narcissus and the seduction of mimesis in Roman wall painting." Word & Image 27, no. 4 (2011): 378–95. http://dx.doi.org/10.1080/02666286.2011.563063.

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Paladini, Alessandra, Francesco Toschi, Francesca Colosi, Gianluca Rubino, and Paola Santoro. "Stratigraphic investigation of wall painting fragments from Roman villas of the Sabina area." Applied Physics A 118, no. 1 (2014): 131–38. http://dx.doi.org/10.1007/s00339-014-8815-3.

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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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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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Popkin, Maggie L. "Shaping Roman Landscape: Ecocritical Approaches to Architecture and Wall Painting in Early Imperial Italy." Journal of the Society of Architectural Historians 83, no. 4 (2024): 525–26. http://dx.doi.org/10.1525/jsah.2024.83.4.525.

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Savani, Giacomo. "A misleading source: the fortuna of a sixteenth-century engraving and its impact on the history of Roman baths studies." Classical Receptions Journal 11, no. 3 (2019): 296–335. http://dx.doi.org/10.1093/crj/clz007.

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AbstractIn this article, I follow the mixed fortunes of a woodcut depicting a cutaway view of a set of ancient baths, so far neglected by modern scholarship. First published in a mid-sixteenth-century treatise on balneology and based on a misinterpretation of Vitruvius (5.10.1), it reappeared as a copy of a Roman wall-painting in several eighteenth-century antiquarian works. The remarkable resonance enjoyed by this image in specialist and popular publications until the early twentieth century makes it one of the most influential and controversial sources in the history of Roman baths studies.

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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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McClinton, Kelly E. "Applications of Photogrammetric Modeling to Roman Wall Painting: A Case Study in the House of Marcus Lucretius." Arts 8, no. 3 (2019): 89. http://dx.doi.org/10.3390/arts8030089.

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Across many sites in Italy today, wall paintings face particular dangers of damage and destruction. In Pompeii, many extant fragments are open to the air and accessible to tourists. While efforts are underway to preserve the precious few examples that have come down to us today, after excavation even new finds begin to decay from the moment they are exposed to the air. Digital photogrammetry has been used for the documentation, preservation, and reconstruction of archaeological sites, small objects, and sculpture. Photogrammetry is also well-suited to the illustration and reconstruction of Rom

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Castillo Alcántara, Gonzalo, Daniel Cosano Hidalgo, Alicia Fernández Díaz, and José Rafael Ruiz Arrebola. "Archaeological and Archaeometric Insights into a Roman Wall Painting Assemblage from the Blanes Dump (Mérida)." Heritage 7, no. 6 (2024): 2709–29. http://dx.doi.org/10.3390/heritage7060129.

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In this paper we describe the archaeological and archaeometric analysis of a Third Pompeian Style assemblage from the Blanes dump in Mérida (Spain). Based on the pottery context, the material would have been part of the decoration of a public or private space remodelled towards the end of the 1st century AD. Several samples from to the middle area of the assemblage, including panels, inter-panels and a frieze, were selected and studied using X-ray diffraction (XRD), X-ray fluorescence (XRF), Raman, gas chromatography and petrographic analysis. The results revealed the use of hematite, cinnabar

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Vadrucci, Monia, Anna Mazzinghi, Beatrice Sorrentino, et al. "Characterisation of ancient Roman wall‐painting fragments using non‐destructive IBA and MA‐XRF techniques." X-Ray Spectrometry 49, no. 6 (2020): 668–78. http://dx.doi.org/10.1002/xrs.3178.

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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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Zavadskaya, Irina. "Christian Symbols in Wall-Painting of Burial Vaults of Chersonese." Materials in Archaeology, History and Ethnography of Tauria, no. XXVIII (December 26, 2023): 123–40. http://dx.doi.org/10.29039/2413-189x.2023.28.123-140.

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The wall-paintings of 11 burial vaults of Chersonese, including mostly floral and vegetal designs, images of birds and imitation of marble wall-facing, correspond to the iconography of the early Christian funerary painting in the Late Roman Empire dating from the last quarter of the fourth to the early fifth century. Most likely, the outside painters of the Chersonesan vaults followed already established and well-known decorative and symbolic system by making a certain set of scenes. There is an image of undoubtedly Christian symbol, namely the Christogram, surviving on the vaulting of two str

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Bergamonti, Laura, Martina Cirlini, Claudia Graiff, Pier Paolo Lottici, Gerardo Palla, and Antonella Casoli. "Characterization of Waxes in the Roman Wall Paintings of the Herculaneum Site (Italy)." Applied Sciences 12, no. 21 (2022): 11264. http://dx.doi.org/10.3390/app122111264.

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A multi-analytical approach is proposed for the detection and quantitative characterization of waxes in wall paintings from the Vesuvian area, in particular in the House of the Skeleton, the House of the Deer and the House of the two Atriums in Herculaneum (Italy). Different types of waxes, of animal, vegetable, mineral and artificial origin, were investigated, as reference materials, by Fourier transform infrared (FTIR) spectroscopy, Raman spectroscopy and gas chromatography coupled with mass spectrometry (GC/MS). The obtained results were compared with those found on samples from the wall pa

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Nassar, M., Muheisen Z. Al, Sekhaneh W. Al, A. Al-Shorman, M. Abdelaziz, and R. Seiseh. "ARCHAEOMETRICAL ANALYSIS STUDY OF THE WALL PAINTING – FRESCO OF A ROMAN TOMB AT ABILA (QWAILBEH) JORDAN." SCIENTIFIC CULTURE 10, no. 1 (2023): 69–81. https://doi.org/10.5281/zenodo.8297708.

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This study examines the wall painting in the Roman tomb in the city of Abila (Qwailbeh). Archeometrical study to know the actual composition of the pigments used in the composition of the mural paintings is very important to archaeologists, especially with regard to restoration and preservation processes. This study as-pires to provide a qualitative addition to this field by knowing the characteristics and components of these wall drawings in the city of Abila the techniques used in their implementation and identification of these dyes collecting information about them and determining the iden

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Castillo Alcantara, Gonzalo, Daniel Cosano Hidalgo, Alicia Fernández Díaz, Juan Manuel Román Rodríguez, Fernando Lafont, and José Rafael Ruiz Arrebola. "Archaeological and Archaeochemical Analysis of the Painting in the Baths in Julián Besteiro Square, Carmona (Seville, Spain)." Heritage 8, no. 2 (2025): 67. https://doi.org/10.3390/heritage8020067.

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This paper addresses the archaeological and archaeochemical study of the fragments of mural painting recovered from the excavation of the baths in Julián Besteiro Square in Carmona. The analysis of the fragments allowed us to associate them with the first phase of the building’s decoration, one of the few examples of urban mural painting currently known in Carmona. It was dated between the first half and the middle of the first century AD. The archaeochemical study identified the composition of the mortar and the pigments of the fragments belonging to the middle and upper zones of the wall, co

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Hales, Shelley. "Art and archaeology." Greece and Rome 70, no. 2 (2023): 343–51. http://dx.doi.org/10.1017/s001738352300013x.

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The most significant book of this review is Richard Beacham and Hugh Denard's Living Theatre in the Ancient Roman House, a volume in which the authors’ previous accomplishments, expertise in theatre and leading roles at Kings Visualisation Laboratory (which is reflected in the use of digital visualizations throughout the volume, both to recreate architectural spaces and to test the viability of painted architecture), is brought to bear on domestic space. The subject, epic length, and format of the book immediately evoke the memory of Cambridge University Press's last major publication on wall

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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 (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

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Ormand, Kirk. "OVID'S HERMAPHRODITUS AND THE MOLLIS MALE." Ramus 51, no. 1 (2022): 74–104. http://dx.doi.org/10.1017/rmu.2022.4.

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Figures of intersexed individuals perhaps representing the minor Greek deity Hermaphroditus became, for reasons that are not entirely clear, strikingly popular in Roman sculpture and wall painting in the latter half of the first century CE. Depicting a fully bisexed human body, these figures have resulted in competing interpretations regarding their purpose, meaning, and effect. As it happens, we also have a text from the Augustan period that purports to explain not only the origin of the intersexed Hermaphroditus, but the production of future bisexed individuals, in Ovid's Metamorphoses Book

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De Kind, R. E. L. B., and J. H. De Mol. "Recent Finds of Roman Wall-Painting on the Bank of the River Waal at Nijmegen (the Netherlands)." Revue archéologique de Picardie 1, no. 1 (1990): 109–12. http://dx.doi.org/10.3406/pica.1990.1605.

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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.

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Ehrhardt, Wolfgang. "Donatella Mazzoleni: Domus. Wall painting in the Roman house. Essay and texts on the sites by Umberto Pappalardo. Photographs by Luciano Romano." Gnomon 81, no. 3 (2009): 249–61. http://dx.doi.org/10.17104/0017-1417_2009_3_249.

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Radpour, Roxanne, John K. Delaney, and Ioanna Kakoulli. "Acquisition of High Spectral Resolution Diffuse Reflectance Image Cubes (350–2500 nm) from Archaeological Wall Paintings and Other Immovable Heritage Using a Field-Deployable Spatial Scanning Reflectance Spectrometry Hyperspectral System." Sensors 22, no. 5 (2022): 1915. http://dx.doi.org/10.3390/s22051915.

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There is growing interest in bringing non-invasive laboratory-based analytical imaging tools to field sites to study wall paintings in order to collect molecular information on the macroscale. Analytical imaging tools, such as reflectance imaging spectrometry, have provided a wealth of information about artist materials and working methods, as well as painting conditions. Currently, scientific analyses of wall paintings have been limited to point-measurement techniques such as reflectance spectroscopy (near-ultraviolet, visible, near-infrared, and mid-infrared), X-ray fluorescence, and Raman s

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Rousseau. "Reflection, Ritual, and Memory in the Late Roman Painted Hypogea at Sardis." Arts 8, no. 3 (2019): 103. http://dx.doi.org/10.3390/arts8030103.

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Wall painting in the Sardis hypogea expresses a regional visual language situated within the context of Late Antique approaches to decorative surfaces and multivalent motifs of indeterminate religious affiliation. Iconographic ambivalence and a typically Late Antique absence of illusionism creates a supranatural world that is grounded in the familiar imagery of home and gardens but does not quite reflect the natural world. Ubiquitous and mundane motifs were thus elevated and potentially charged with polysemic allusions to funerary practice and belief. Twelve fourth century C.E. hypogea form a

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Joyce, Lillian B. "Dirce Disrobed." Classical Antiquity 20, no. 2 (2001): 221–38. http://dx.doi.org/10.1525/ca.2001.20.2.221.

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The Punishment of Dirce was a theme that intrigued both artists and patrons of the Roman period. It appeared in diverse locations and media, notably as a wall painting in the House of the Vettii in Pompeii and the Toro Farnese once displayed in the Baths of Caracalla in Rome. In all representations, Dirce struggles with the bull that will trample her to death. Traditional studies of this imagery have focused on the formal characteristics of these representations, studying issues of workshop practice and the relationship between originals and copies. Scholars seldom analyze the meaning of the m

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Tober, Barbara. "The hierarchical use of stucco decoration and wall painting in a representative building in Palmyra." Syria V (2019): 255–64. http://dx.doi.org/10.4000/12cjd.

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In the ancient city of Palmyra, a building with a big courtyard provides a unique context for interior stucco decoration and wall painting. The distribution of stucco- and wall paintings is clearly concentrated in certain areas of the building. The stucco decoration comprises nine different friezes and additional elements like a shell-shaped conch, borders of niches, fragmentary statues, appliquéd masks and other objects. Pre-fabricated, gilded fish and other sea creatures were nailed to wooden furniture, room equipment or a ceiling. The stucco cornices show a rich repertoire and are organized

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