scholarly journals New discoveries of marble sculptures in the Sirmium imperial palace

Starinar ◽  
2014 ◽  
pp. 77-86
Author(s):  
Ivana Popovic

In the course of archaeological excavations carried out in 2012 and 2013, in the northwestern section of the palatial complex in Sirmium (locality 85), many fragments of porphyry and marble sculptures were discovered. Worth mentioning among the marble sculptures is a female head with a lunular diadem that had, most probably, been made during the Antonine period. The head was used as spolia incorporated in the medieval wall. It was a fragment of a statue of some goddess, possibly Juno, Minerva or the deified empress Faustina the Younger, and erected in the area of the palatial complex during the Late Antique period.

Starinar ◽  
2006 ◽  
pp. 153-166 ◽  
Author(s):  
Ivana Popovic

Few fragments of marble sculpture have been found in the course of the archaeological excavations conducted in Sirmium between 2003 and 2005 at site 85 which is believed to be part of the imperial palace complex. The most important are two almost completely preserved heads of deities. The head of a young person made of milky white, fine-grained marble of exceptionally fine texture from Pentelicon was found under the Late Roman floor in room 7 of the residential structure. The sculpture, of exceptional quality, is from the second half of the 1st century and represents a deity, most probably Venus or Apollo. Another head made of Carrara marble, from the 4th century, was found in a secondary position and on the basis of its mural crown is identified as the Tyche of Sirmium.


Scrinium ◽  
2017 ◽  
Vol 13 (1) ◽  
pp. 19-42
Author(s):  
Vladimir A. Baranov

This article revisits an inscription on the Bronze Doors of the Imperial Palace in Constantinople and addresses the problem of its dating as well as the ideological and theological meaning of the inscription in the wider spatial and symbolical context of Late Antique gate decoration. A tentative reconstruction of the Transfiguration scene which the inscription might have accompanied is proposed, and the wider exegetical context of the Transfiguration, primarily, the interplay of the theological ideas of the Crucifixion, Resurrection, and Second Coming of Christ, embedded in this event are examined against the doctrines of the Byzantine Iconoclasts.



Starinar ◽  
2015 ◽  
pp. 197-220
Author(s):  
Nadezda Gavrilovic-Vitas ◽  
Bojan Popovic

During June and July 2014, at the site of Zadruzni Dom in Skelani, archaeological investigations of the late antique building were carried out, whose rooms were first discovered in the course of archaeological excavations in 2008. The building has a rectangular base, of a northeast-southwest orientation, with the discovered part measuring 20.90 x 30.90 m. What is distinguishable within the asymmetrical base is an entrance, along with eleven rooms, two of which have apses, and a peristyle, i.e. an inner courtyard with a roofed corridor surrounding it which connects all the rooms of the building. During the archaeological excavations, entrance thresholds and extremely well preserved mortar floors with mortar skirting were noted in most rooms, along with traces of fresco painting on the walls and mosaic floors, executed in the opus tesselatum technique, observed in several rooms, the peristyle and the encompassing corridor. The discovered mosaic fragments are decorated with geometric motifs in the form of a swastika, a Solomon?s knot, a square, a rhomboid, overlapping circles, etc. and floral motifs of ivy and petals, as well as a double braid motif. Small but, unfortunately, fragmented pieces of a mosaic with a figural representation were discovered in the central part of the peristyle, while the mosaic in room K was decorated with a motif portraying the winged head of Medusa. Two construction phases were noted, an older and a younger, with the walls, which were two Roman feet wide and built from dressed stone, and the older mortar floor belonging to the older construction phase, and the second, younger construction phase comprising mosaics, fresco painting, the younger mortar floor and two furnaces. Contemplating the planimetry of the building, one gets the impression of the rooms being divided between two parts - public and private, whereby the public part of the building would be located near the main entrance hall and would comprise rooms A, B, C, D and F, with mortar floors and traces of fresco painting on the walls. The other, possibly private, part of the building would include five rooms G, H, I, J and K and the inner courtyard. Rooms I, J and K had floor and wall heating, while rooms G and H had an arched apse and possibly functioned as a reception hall and/or a stibadium. The hallway with mosaics, which flanks the inner courtyard, was most likely roofed. Traces of burning in the north-western corridor testify to the destruction of the building in a fire. Based on the architectural elements and the traces of fresco painting and mosaics in the building at the site of Zadruzni Dom in Skelani, it can be deduced that this is a late antique building which can roughly be dated to the period between the end of the 3rd and the mid-4th century AD, and whose lavish decoration implies that it was owned by an affluent resident of Skelani from the aforementioned period.


Starinar ◽  
2021 ◽  
pp. 21-60
Author(s):  
Haskel Greenfield ◽  
Aleksandar Kapuran

Systematic archaeological excavations at the multicultural site of Foeni-S?la? in the Romanian Banat conducted during the first half of the 1990s uncovered evidence that the site was inhabited during the Early Neolithic, Copper, Bronze, Early Iron, Late Antique and Medieval Ages. This paper summarises the cultural history of the settlement at the site and describes the relevant deposits and material culture in each period.


Starinar ◽  
2019 ◽  
pp. 273-285
Author(s):  
Ivana Popovic

In the course of archaeological excavations of the north section of the imperial palace in Sirmium (locality 85), conducted in 2015, as many as 39 lead seals were found to the south of column IV of the polygonal structure encountered in 2014. Nine specimens of imperial seals with a representation of four busts, i.e. images of the tetrarchs, are particularly interesting in this group. These seals appear in three iconographic variants (a-c) depending on whether the four busts are positioned in two rows or in a single row and whether they are of identical size. The discovery of imperial lead seals with the busts of tetrarchs bears witness to the importance of Sirmium at the time of the tetrarchy, not only as an army base for Diocletian?s wars against the Sarmatians, but also as a commercial centre where the deliveries of various products also arrived. They were, among other things, intended for building and decorating the polygonal structure used for celebrating the imperial cult.


2019 ◽  
Vol 69 ◽  
pp. 175-194
Author(s):  
Nikolaos Karydis

AbstractThe Church of St Mary is one of the most significant monuments of Ephesos, but also one of the most enigmatic. Its repeated modifications prior to its destruction created an amalgam of different phases that have proven difficult to decipher within the present remains. Written records and inscriptions suggest that this church was the venue of the riotous Ecumenical Council of AD 431, but the identification of the phase of the building that corresponds to this event is controversial. And, although the remains make it clear that at some point the church was transformed into a domed basilica, the latter’s form and date have not been established with certainty. The present article tries to fill these lacunae through a new survey of the remains of the church and a re-examination of the evidence from the archaeological excavations of the 20th century. This new investigation of wall structures and design patterns within the remains leads to new interpretations of the evidence, and sheds further light on the history of the Church of St Mary from its late antique origins to the Dark Ages.


2021 ◽  
Author(s):  
Miklós Kázmér ◽  
Rosana Škrgulja

<p>Archaeological excavations of the Roman city of Siscia (Sisak, Croatia) found walls of the city, up to 2 m thick, toppled in the moat. Brick masonry wall segments were found in various orientations: tilted, rotated, twisted, toppled, overturned. Foundations display features of twisting and shearing. There are additional shearing planes within the fallen walls, which allowed the segments to extend during collapse. Much of construction material was robbed in later centuries, so original dimensions are estimates only. Subsoil is alluvial sandy clay. We suggest that a major earthquake damaged the city wall of Siscia. Excitated by site effects of loose soil, high peak ground acceleration caused the wall to be sheared off from its foundation, landing it ultimately in the adjacent moat. Rebuilding of the city wall in the late antique period suggests that the first wall collapsed between the beginning of the 3rd and the middle of the 4th century. This earthquake between ~200 AD and ~350 AD is missing from historical catalogues. Both the Antique and the modern earthquakes were of intensity IX. The St. Quirinus site at Siscia is 12 km from the fault which caused the destruction in Petrinja on 29 December 2020, mere 3 km from the fault. We suggest that the Antique earthquake was stronger than the M 6.2 modern event.</p>


Author(s):  
Brittany Thomas

Abstract Ravenna, the former grand capital of the late Roman and early Byzantine Empires and a popular modern UNESCO World Heritage site, is a city rarely included in major historical surveys of Italy during the Grand Tour. An exploration of period sources may reveal why: it was, for many centuries between the Middle Ages and the nineteenth century, a rundown parish town that was incredibly difficult to reach by conventional transportation. This article collates and deconstructs a number of Grand Tour sources in order to gain an understanding of Ravenna in the eighteenth century, and, further, an understanding of the contemporary attitudes towards post-Classical monuments and artwork. This exploration allows us to ask broader questions about Ravenna’s place on the Grand Tour. As a city with very little to offer in the way of Classical monuments, it slightly complicates our idea of classical reception on the Grand Tour and shows us how travellers navigated a place replete with late antique basilicas and Byzantine mosaics instead of marble sculptures and tombs.


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