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In this paper are presented all roman hanging marble sculptures of the roman theatre in Verona (oscilla, lamps and masks) and an interesting historical frieze made in a local stone.
2018 •
Tra le sculture che decoravano il teatro di Catania, due tazze marmoree di grandi dimensioni lavorate a bassorilievo sono state rinvenute in frammenti e in tempi diversi. Una di esse ci è restituita da una porzione del catino rinvenuta nel 1938, oggi nel Museo Civico di Catania; l’altra è documentata da un’ampia descrizione di Vincenzo Bondice che ebbe modo di acquistarne un frammento intorno alla metà del XIX secolo. Sebbene il frammento della seconda tazza sia disperso, la dettagliata descrizione del Bondice permette di valutarne i principali aspetti tipologici e figurativi. L’analisi del frammento superstite, cui può essere affiancato anche un sostegno già nella collezione Biscari, forse pertinente proprio a una delle due tazze del teatro, permette di ascriverne la produzione a un’officina “neoattica” impegnata a Catania per una committenza di alto profilo e per commesse destinate a luoghi pubblici. Nonostante la parzialità della documentazione, si ricostruisce, in tal modo, un importante tassello del programma scultoreo approntato per l’edificio teatrale di Catania tra la fine dell’età augustea e l’età giulio-claudia. Among the sculptures of the theater of Catania, two large marble cups decorated in bas-relief were found in fragments and at different times. One of them is documented by a portion of the basin found in 1938, today in the Catania Civic Museum; the second one is documented by a wide description of Vincenzo Bondice who bought a fragment from it, around the middle of the nineteenth century. Although the fragment pertaining to the second cup is now lost, the detailed description of Bondice allows us to evaluate its main typological and figurative aspects. The analysis of the surviving fragment, which can also be added to a support, once in the Biscari collection, may be pertinent to one of the two cups of the theater, allows to ascribe their production to a “neo-attic” workshop engaged in Catania for high commissions and for orders destinated to public places. Despite the partiality of the documentation, an important piece of the sculptural program prepared for the theatrical building of Catania, between the end of the Augustan age and the Julio-Claudian age, is reconstructed.
The paper gives an updating of the available information about the sculptures from the Roman Amphitheater in Verona and about the internal furniture of the monument, after the finding or a new reading of old documents; then the historical data related to the games in the Veronese Arena are re-examined.
The frieze bearing representations related to agonistic themes was located above the porta regia of the theatre of Hierapolis (Phrygia). It celebrated the exaltation of local games, called the Apolloneia Pythia. In this article we suggest new possible identifications for some of the figures which constitute the frieze. Furthermore, a stylistic analysis of the frieze leads us to conclude that a workshop of "Docimian" sculptors worked at Hierapolis. These sculptors would have been responsible not only for the decoration of the scaenae frons of the theatre, but also for some sarcophagi found in the necropolis of the town. Finally, the study of the façade of the theatre as a whole sheds light on the multplie uses of this monument in antiquity. This allows us to understand the criteria for the selection of some iconographies, in order to transmit some messages. The decoration of the scaenae frons as a whole can be viewed as a "text" to be read on different levels. Its messages are expressed through a complicated code which combined images and written language.
2023 •
This fifth supplement to the Corpus of Roman Inscriptions of Verona and its territory contains both unpublished texts and new readings of already known inscriptions. The first contribution analyses a previously unknown stele preserved in the Archaeological Museum at the Roman Theatre; this monument bears a dedication to a woman, Cornelia Salvia, freedwoman of her companion M. Cornelius Favor. The second contribution examines an inscribed fragment known toTheodor Mommsen only through the manuscript tradition (CIL, V, 3838), the reading of which can now be improved through autopsy. The third contribution concerns a new fragment of a funerary inscription walled up outside the church of San Zeno in Oratorio which bears the indication of a pedatura. In the following two notes, one can respectively find the re-edition of CIL, V, 3796, a fragment known to Mommsen only through the antiquarian tradition, and the discovery of a new fragment in the church of Ognissanti in Marzana, which completes another fragment bearing the name of a freedwoman reused in the same church (SI 640). The sixth contribution deals with two fragments of funerary stelae preserved in the Archaeological Museum at the Roman Theatre. The last contribution examines two fragments of architrave reused in the church of San Fidenzio in Novaglie (CIL, V, 3698 and AE 2005, 627), published separately but actually belonging to the same funerary monument which M. Servilius Messius made for himself and his family.
AION 13-14, 2006-2007 The article re-examines certain painted scenes in the black salon of the Villa of the Farnesina, dated to ca. 20 BCE, proposing a new interpretation of the frieze, which seems to follow the adventurous story, constructed by incremental additions of narrative elements, of 2 or 3 male characters (and their women?) of humble social condition. The true protagonists of the representation thus appears to be the 'common people', rather than, as most scholars believe, a pharaoh "of proverbial justice".The frieze sophisticatedly juxtaposes the lower-class characters it depicts with the cultivated and wordly style in which it is painted, marked by a rapid technique and vivid, changing colors stainding out against the dark background, an important testimony of the role of genres in stylistic languages. The narrative function of color in this painting is also remarkable. Besides contributing to establish an atmosphere for the story, colors are employed to facilitate ist reading by helping to identify the same characters in different scenes. Finally, the article discusses - for the methodological conclusions that can be drawn from it - the urban columbarium of C. Scribonius Menophilus, which reproduces some of the scenes in the frieze.
Gli oggetti sulla scena teatrale ateniese, funzione rappresentazione comunicazione. Giornate internazionali di studio, Università degli Studi di Padova 1-2 dicembre 2015, a cura di Alessandra Coppola, Caterina Barone, Monica Salvadori
Euripide e L’architettura: fregi, triglifi e cornicioni come oggetti sulla scena teatrale2016 •
2023 •
(Memorie del Museo Civico di Storia Naturale di Verona. 2 Serie. Scienze dell'Uomo, 15), 2023
Rendiconti Pontificia Accademia Romana di Archeologfia
ZEVI-MARINI Art RPAA La storia più antica di Roma sul fregio della basilica di Ostia2009 •
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