Herculanum. Des archives aux restitutions architecturales et décoratives

Dardenay, Alexandra; Allroggen-Bedel, Agnes; Eristov, Hélène; Grand-Clément, Adeline; Maraval, Marie-Laure; Marotta, Carla; Monteix, Nicolas; Rosso, Emmanuelle

doi:10.4000/cefr.1588

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Des Archives De Fouilles Aux Restitutions 3d1

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2017

2023

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Cited by 4 publications

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“…19 La presenza degli scavatori settecenteschi nella Casa d'Argo risulta dal confronto tra alcune pitture murali custodite nel Museo di Napoli ed i resti della decorazione murale rimasti in situ. 20 Nel museo si trova un frammento bellissimo a fondo bianco con la parte superiore di un'edicola e una tenda di colore blu, orlato da un tralcio d'uva (9863) 21 . Nell'ambiente 17 della Casa d'Argo (II 2, 17) si vedono ancora i resti di una decorazione che mostra lo stesso motivo permettendo l'attribuzione del frammento nel museo alla zona superiore.…”

Section: Des Archives De Fouilles Aux Restitutions 3dunclassified

I documenti settecenteschi come strumenti per lo studio degli scavi ercolanesi

Allroggen-Bedel¹

2017

anabases

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Section: Des Archives De Fouilles Aux Restitutions 3dunclassified

I documenti settecenteschi come strumenti per lo studio degli scavi ercolanesi

Allroggen-Bedel¹

2017

anabases

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Kuzey Suriye’deki Hierapolis’te (Münbiç) Keşfedilen Dionysos Mozaiği

ABDALLAH,

AL-KAIED

2023

Journal of Mosaic Research

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In 2017, the remains of the two mosaics were accidentally found in the city of Manbij, 60 km northeast of Aleppo in northern Syria. These mosaics seem to be part of the same architectural context that has completely disappeared. The best preserved mosaic has a very interesting theme. It is the Dionysus scene with his thiasos including Satyr and Bacchant and leopard. There is also an other scene of landscape with river god and animals. The last one, so damaged, conserve just a mask and the rest of two personages and an amphora, beside it, there is an inscription mentioning Eros. The scene of Dionysus evokes the well-known figures in Zeugma and Antioch, Turkey, dated to the end of the 2nd century AD and the beginning of 3nd centuries. Perhaps, it represents the epiphany of the god. The others scenes are probably linked with Dionysus iconography. The mosaic could be dated, according to the stylistic criteria, to the end of 2nd century AD and the beginning of 3nd century AD. It attests the diffusion of the Dionysus cult in the city of Manbij (Hierapolis) in the roman period.

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