• Digital Humanities and Cultural Heritage

The main topic of this paper is the study of mosaics from Antique period on the Salona area. Thanks to the fact that Salona was the capital city of province, Salona was also the center of the activities in the mosaics workshops. Mosaic art is very widespread and popular painting technique from Antique period, and it reaches itʾs full development in Greece, Rome and Byzantine. Mosaic impersonate some sort of story or an event, and preserved floor mosaics in the Salona were actually representing the basics on which late Roman and early Christian art has developed. Floor mosaics are characterised by ornaments with floral motives. The main characteristics and the importance of the mosaics from the Antique period are presented in this paper. The following mosaics are presented: the figurative mosaics with Orpheusʾs portrait, the figurative mosaics with Apolloʾs portrait, the figurative mosaics with Tius Aureliusʾs portrait and the figurative mosaics with Muses and Sapphoʾs portrait, all of them also include a catalogue representation in the paperʾs attachment. Tematika ovog rada je proučavanje mozaika antičkog razdoblja na području Salone. Zahvaljujući činjenici da je bila glavni grad provincije, Salona je bila i centar aktivnosti mozaičke škole-radionice. Mozaik je vrlo raširena i omiljena slikarska tehnika u antičkom svijetu te svoj puni razvoj dostiže u Grčkoj, Rimu i Bizantu. Mozaici su prikazivali određenu priču ili događaj, a sačuvani podni mozaici u Saloni zapravo su predstavljali osnovu na kojoj se razvila kasnoantička i ranokršćanska umjetnost. Podne mozaike najčešće karakterizira ornamentika sa dosta biljnih motiva. U ovom radu su prikazane glavne karakteristike i značaj mozaika antičkog razdoblja. Prikazani su mozaici: Figurativni mozaik s prikazom Orfeja, figurativni mozaik s prikazom Apolona, figurativni mozaik s prikazom Tritona, mozaik s likom dječaka Tita Aurelija Aurelijana te figurativni mozaik s prikazom Muza i pjesnikinje Sapfo, koji su obrađeni i kataloški u prilogu ovog rada.

As a plant virologist, I have long been interested in tissue culture. Indeed, as early as 1949, Limasset and Cornuet had noticed that raeristems of tobacco mosaic virus-infected tobacco were devoid of virus, while Morel and Martin (1952) succeeded in curing dahlias infected with dahlia mosaic virus through the in vitro culture of meristems.

The studies developed by the team of the School of Specialization in Architectural Heritage and Landscape of "Sapienza" University of Rome, concerned the mosaics, mural paintings and coloring have been aimed to the comprehension of the complicated relation between the single analyzed part and the architectural complex. The ”reading” of the current state of the Basilica, i.e. the historical events that made it as we can see today, has been the starting point for the necessary critical to start the restoration project. Mosaics decorated all the walls in the Church of the Nativity. The decorative cycle included a Tree of Jesse on the counter-façade, whereas the provincial councils of Palestine, the seven Ecumenical Councils, a lower band showing Christ’s ancestors and an upper band between the windows with full-length images of angels were put on display in the central nave. The mosaic is made of glass tesserae, gold tesserae, silver tesserae and stone tesserae. One special feature that makes the mosaic even more precious is the presence of mother-of-pearl.

UIDB/00417/2020 UIDP/00417/2020 In this work we intend to extend the comparative study of the mosaics of Conuentus Bracaraugustanus published in the Corpus to the mosaics from Gallaecia and from other regions of Hispania, particularly from the region between the Ebro and Douro rivers, considering different mosaic workshops operating in these areas. We also register punctual relationships between some compositional schemes, themes and motifs that occur in the mosaics of the Conuentus Bracaraugustanus and some of the north African production. We will complement our study with information that resulted from the continuation of our research and that was provided to us after the publication of the Corpus, in 2019. publishersversion published

Corpus of the Roman Mosaics of the Conuentus Bracaraugustanus (Coordinated by Fátima Abraços), 276 pages, 143 colour and black and white figures, with illustrative descriptions, a synoptic chart, 4 maps, bibliography, Lisbon: Centre for Historical Studies - Universidade NOVA de Lisboa, 2019, ISBN 978-989-5430413. The text published here largely follows the presentation that I did when the book was launched on 26th June 2019, in the Auditorium of the National Library of Portugal. It was with great honour and pleasure that I accepted the task of presenting the book Corpus of the Roman Mosaics of the Conuentus Bracaraugustanus, with the coordination and authorship of Fátima Abraços. The preparation of the book also had the helpful collaboration of António Manuel de Carvalho Lima, Cátia Mourão, Filomena Limão, Licínia Wrench, Marcelo Mendes Pinto, Paulo Dórdio Gomes and Rui Lopes. I began by reading the Preface written by Professor Manuel Justino Maciel, pages 9 and 10 of this Corpus: “Whether or not mosaics are very significant in the lands of north-western Atlantic Hispania, whether or not there are more mosaics in the cities or in the uillae, the book, now published, will mark a step forward in addressing this interesting question. Corpus of the Roman Mosaics of the Conuentus Bracaraugustanus (Coordinated by Fátima Abraços), 276 pages, 143 colour and black and white figures, with illustrative descriptions, a synoptic chart, 4 maps, bibliography, Lisbon: Centre for Historical Studies - Universidade NOVA de Lisboa, 2019, ISBN 978-989-5430413.The text published here largely follows the presentation that I did when the book was launched on 26th June 2019, in the Auditorium of the National Library of Portugal.It was with great honour and pleasure that I accepted the task of presenting the book Corpus of the Roman Mosaics of the Conuentus Bracaraugustanus, with the coordination and authorship of Fátima Abraços. The preparation of the book also had the helpful collaboration of António Manuel de Carvalho Lima, Cátia Mourão, Filomena Limão, Licínia Wrench, Marcelo Mendes Pinto, Paulo Dórdio Gomes and Rui Lopes.I began by reading the Preface written by Professor Manuel Justino Maciel, pages 9 and 10 of this Corpus:“Whether or not mosaics are very significant in the lands of north-western Atlantic Hispania, whether or not there are more mosaics in the cities or in the uillae, the book, now published, will mark a step forward in addressing this interesting question.

The production of the mosaic core of Diocletian’s Palace in Split is attributed to the Salonitan mosaic school-workshop, which has been present in the Roman Province of Dalmatia since the end of the second to the beginning of the seventh century. The former comparative analysis of individual samples of mosaic components and certain decorative motifs, which was executed according to the catalogical model (a globally' accepted scientific method), has proven that thesis. Progress in that research with the goal of continued examination of influence models of the same mosaic workshop, requires a research of utilized materials, in which limestone, marble and dolomite dominate quantitatively. This article displays the results of laboratory processing and comparison of several mosaics’ structural matter in Diocletian’s Palace, which as a broader agenda has the formation of catalogues of used materials and mapping of their distribution inside the Salonitan school- workshop’s area of influence. Such an overview would enable us to determine more precisely the affiliation of a specific mosaic to a school- workshop. Although the remains of the mosaic from the most representative parts of the Palace (such as the imperial bath houses or the Vestibule) are fragmented, that is, in some cases reduced to the smallest workable pieces, it would be interesting to examine if a found material belongs to a preferred influential habitus of a Salonitan workshop, which would increment its high reputation that stands above provincial influence.

L’article propose d’analyser les programmes décoratifs des édifices résidentiels et religieux d’époque romaine en Italie du nord. Des synthèses récentes, en fait, ont mis en évidence un conformisme des décors, mais aussi l’existence de particularités liées au type de édifice à orner (sanctuaire ou temple vs domus ou villa). À partir des données du territoire de l’Italie du nord, cet article invite à réfléchir sur plusieurs questions: est-il possible de comparer les schémas décoratifs? Est-il possible d’identifier l’existence de schémas directeurs définissant les modes décoratifs des édifices privés et religieux? On tentera en outre d’établir si la diffusion de certains schémas est liée à une symbolique particulière du décor (par exemple les peintures du deuxième Style du temple tardo-républicain à Brescia) ou plutôt à la caractérisation et la hiérarchisation des espaces (par exemple les peintures et les mosaïques du sanctuaire de Minerve à Breno). La réponse n’est pas simple ni univoque: l’étude des décors en lien avec leur contexte architectural offre, chaque fois, une interprétation différente.

En todo proceso edificatorio podemos encontrar una serie de fases o procesos que son imprescindibles para que este pueda desarrollarse de manera lógica, correcta, y acorde a la planificación preestablecida. Todos damos por hecho que habitualmente, y de manera mayoritaria, toda obra va a contar con una fase de movimiento de tierras, de cimentaciones, así como seguro que cuenta con estructura o acabados, entre otras... Pero no todo termina aquí. Para poder decir que una obra está 100% terminada, es imperativo que esta haya tenido un proceso de limpieza final de obra, ya sea por la misma empresa constructora, o por una subcontrata a un servicio externo. Es a partir de esto cuando en los años 60, en España, surge el oficio del pulidor de suelos. Este oficio, en antaño, consistía en una cuadrilla de hombres que acudían a finalizar las obras, a limpiar y a dejar en perfectas condiciones las áreas construidas. Para ello, era necesario poder dejar los pavimentos de terrazo, -que era el suelo más predominante en las construcciones de esta época-, de manera preciosa y brillante. Primeramente, la técnica empleada era con métodos manuales: con piedra pómez combinada con ácido oxálico, pero el poco rendimiento de este proceso hizo que se innovara la técnica y diera paso a la presencia de maquinaria, la cual aún a día de hoy, sigue presente en los tratamientos para las técnicas actuales. Es imprescindible para un desarrollo más sostenible, no dejar de lado aquellas técnicas, métodos, o sistemas, que nos aporten una reutilización de los recursos que disponemos, y así evitar que tantas edificaciones queden obsoletas. En el caso que tratamos en este documento, las técnicas que veremos a continuación, son un elemento clave para poder restaurar y conservar aquellos pavimentos que, a priori, pueden parecer deteriorados o anticuados, pero que en muchos casos pueden tener muchas más vidas de las que pensamos. En el presente, existen diversas marcas comerciales dedicadas a este oficio, así como una gran variedad de productos para diferentes casuísticas. Afortunadamente, a día de hoy, aun no se ha abandonado la técnica de un oficio que cada vez, desgraciadamente, va a menos, y que solo unos pocos pueden presumir de controlar a la perfección.