Archäologie als Kunst. Archäologische Objekte und Verfahren in der bildenden Kunst des 18. Jahrhunderts und der Gegenwart

Der Band enthält Beiträge zu zwei Veranstaltungen, die ausgehend von Ausstellungen in Köln und Salzburg die Wiedergabe archäologischer Objekte und Verfahrens­ weisen in der Bildenden Kunst des 18. Jahrhunderts und der Gegenwart behandelten. Die Beiträge des ersten Teils zeigen, wie sich die Vor­ stellungen des G. B. Piranesi von der Größe Roms in seinen hybriden Antikenrekonstruktionen und in seinen antikisierenden Reliefs niederschlugen. Auch die gleich­ zeitig entstandenen Korkmodelle sowie Daktyliotheken, Wandgemälde, Figuren und Gefäße aus Porzellan visuali­ sierten Wissen von der römischen Antike, hielten es in der aktuellen Lebenswelt der Zeitgenossen präsent, regten zum Gespräch darüber an und formatierten so den historischen Diskurs. Die Beiträge des zweiten Teils gehen von der Frage aus, was es für die Archäologie als Wissenschaft bedeutet, wenn zeitgenössische Künstler ihre Gegenstände, Metho­den und Ordnungssysteme aufnehmen und weiterent­ wickeln

Cécile Evers, Les portraits d'Hadrien. Typologie et ateliers

Leander-Touati Anne-Marie. Cécile Evers, Les portraits d'Hadrien. Typologie et ateliers. In: L'antiquité classique, Tome 66, 1997. pp. 685-688

Water, well-being and social complexity in insula V1 : A Pompeian city block revisited

Swedish archaeologists have been working in Pompeii since 2000. Our fieldwork has consisted mainly of the study of standing walls and cleared floor levels in a city block unearthed in the 19th century and of the production of a comprehensive documentation, presented in an open access publication: www.pompejiprojektet.se/insula.php. The perspective of the present paper is the insula as a whole. Its main study objects are features of recurrent nature that in varying form and fre¬quency are found in many of the separate houses and other units that constitute this insula: for example, the divergent materials used for the rubble masonry in the first phase of urbanisation, structures used for water management such as water supply and drains, possible earthquake damage and resulting repairs, preferences for where kitchens and sani¬tary installations are placed, markers indicating property borders and dependencies such as pavement curbing, courses of water inlets and drains, shops communicating with the houses through rear doorways, and the existence and extent of second-storey flats. The features studied are contextualised in their natural and urban environment. In general, historical events enter the discussion when linked to the chronological development of the infrastructures, communal and private, which this study highlights as being of decisive importance for understanding the development of the organisation of real estate and social structures in this insula and on a wider stage as well

Monuments and Images of the Moving City

This chapter investigates the interaction between monuments, city-scape and viewers. It targets representation of movement and arrest in the public narrative reliefs of Imperial Rome. A leading idea is that movement in the image was consciously designed to connect with movement in front of it – to attract and guide the viewers’ move and gaze. As a consequence, the nature of the monument and its immediate topographical surrounding are factors that should enter any explanation of these imageries. To demonstrate this thesis, the chapter reviews a series of famous monuments which may still be considered in their original contexts. It ends with an attempted reconstruction in which movement, directive injunction and visibility are used as leads in a discussion on the original location and design of the dismantled and fragmented imagery of the Great Trajanic Frieze

Piranesi’s Grande Cheminée, virtually recreated for John Wilton-Ely

This text presents a virtual reconstruction of an exceptional chimneypiece, made during the very last days of Giovanni Battista Piranesi’s activity in the marble business. After its export to Sweden, the marble double frame (jambs and architraves) from which it was constituted were divided, and reused for two distinct chimneypieces, located in two different Royal residences. The origins of these pieces were forgotten, but through the series of documents presented in this article, could be rediscovered. The reconstruction was achieved in 3D. The data, acquired by means of photogrammetry, was used to build two models, which proved an exact fit when scaled and fitted together. The exceptional design of this object is underlined through a series of comparisons with other creations, either Piranesian in origin, or in derivation. The argument also considers the diverging sources of influence, Piranesian or ancient, of the ‘Grande Cheminée’s’ constituent parts. In conclusion, our reconstruction is substantiated further by the identification of the original project drawing, which reveals the artist’s initial intention to use the constituent parts of the Cheminée for the creation of his own final memorial