mosaic Flashcards
(32 cards)
Mosaic trends in Italy
1st century CE: a lot of monochromatic mosaics, some figural but largely geometric
2nd century CE: polychromatic exist but not as popular - generally opus sectile is flooring of choice for the rich so if it’s polychrome, most often in that form
revival of polychrome in late 2nd century - geometric, floral and vegetal - figural designs encased in geometric design
sites for good examples of monochromatic mosaics
Ostia Antiqua and Hadrian’s Villa
Mosaic of Oceanus Ain Temouchent
Algeria, 4/5th century CE
head of oceanus with sea nymphs around him is pretty distinctive to north africa
4th century shift from figural scenes with many vantage points into a more cohesive the,e with s single vantage point
Mosaic of Chryses and Agamemnon
Neapolios, Tunisia, 4th Century
growth in the scale of mosaic scenes in north africa, maintain similar scenes but shift from figural scenes with many vantage points into more cohesive theme and single vantage point
common scenes in north african mosaic
gladiators fighting animals
mythological scenes (much less than other regions of empire)
more interest in scenes of daily life than mythology - racing, hunting, agriculture
deified 4 seasons appear frequently in particular
mosaic of medusa and the seasons
Carmona, Palencia, Spain
innovation of style for regional purposes - elements of colour integrated into monochromatic geometric mosaics through portrait/figural elements
influence of north-african mosaics upon the style and subject matter of iberian peninsula (also in sicily for the record)
depictions of the 4 seasons not exclusive to north africa but much more common than elsewhere
trends in mosaic of the Iberian Peninsula
pre-roman local tradition: pebble mosaics - mostly geometric if including distinctive shapes at all
1st century - adopt roman styles and subjects, with heavy influences from north africa
late 2nd century - local style begins to emerge - integration of polychromatic and monochromatic, uptake in polychrome although monochromatic does persist intro the 4th century
demarcated panels with stricter geometric separation than north africa (lots of medusa and 4 seasons)
3rd/4th century - uptake. in mythological figural scenes
OTHER THEMES: similar to north african - circus scenes, hunting, gladiatorial mosaic but with local flair - squatter figures, local fashions
mythological scenes in iberian mosaic (with examples)
uptake in mythological figural scenes from 3rd/4th century
EUROPA AND THE BULL, HERCULES etc - still usually set in geometric panels - use of bright blues, yellows, oranges and pinks
overtime figural scenes become central focal point with single vantage points into
JUDGEMENT OF PARIS - pains taken to place the scene in a spatial context - includes backgrounds, ground and rocks, steps down to rocks etc
features of gallic mosaics
VERY STRONG GEOMETRIC PANELLING: multiple decor type, from 2nd to 4th century 0 floral or ornamental with figures trapped in tight panels, surrounded by incredibly intricate geometry
braided geometric patterns very popular
even separation of space - figural panels of equal size and distribution, very symmetrical
reversal of italian traditions - black backgrounds with white or polychrome figures
if panels with white background - maybe some indication of ground but more often floating in space
STRONG INTEREST IN THE MUSES
methodological issues with Romano-British mosaics
difficult to piece together a timeline of style progression because the evidence is very scattered
no pre-roman history of mosaic design to compare with or understand local cultural/stylistic influences from
features of romano-british mosaics
polychromatic designs but quite geometric/schematic figural approach - some figural representations but these are also quite abstract - less regimented layout and symmetry than gaul
a lot of similarities with Gallic styles = possible workshops on mainland europe came to work in britain or shared skills with local artists
colours: red, ochre, blue, black - available from local stone, harder to find variety in the local area without it being to expensive via import
figures: heavy outlines - strong striped of colour to denotes form with patches of stark white to highlight and create depth
floral elements very local informed - regional flowers
mythological and literary scenes surprisingly prevalent
Fishbourne Palace, England
1st century CE
perhaps earliest extant mosaics in britain
geometric patterning based on cubes and triangles, very abstract but quite exacting and neat
mosaic of oceanus, st albans
2nd century CE
mid century - archeological record of mosaics in uk begin to pick up
schematic facial and figural approach - similar symmetry to gaul
stark use of highlight and deep skin tones used to sketch out shape of figure - hair is very geometric - figure is essentially an outline with stark use of polychromatic contrast
which background and bust portrait of oceanus surrounded by neat but simple geometric patterning (looks kind of like a maze)
Orpheus Mosaic at Littlecote Roman Villa, England
260-280
Orpheus common subject matter across the empire but English innovation in layout - Orpheus at the centre holding his lyre with mounted animals parading in a concentric circle around him - divided from him with geometric knotted patterning
incredibly well executed and well preserved mosaic
Lullingstone Mosaic
4th century
literary mosaic example - specifically references to mythological depictions in literature that can be neatly identified are relatively unique to Britain
Rape of Europa believed to be based on Ovid and with an accompanying inscription that references Virgil
pretty abstract depictions for creatures / schematic approach
low ham mosaic
mid 4th century
on the floor of the frigidarium - mosaic goes right up to the wall
story of Aeneas and Dido as told in Virgil’s Aeneid - panel orientation faces them outwards from the centre - would have to move around the space too see each panel properly
scene of venus and aeneas/dido but the cave is reimagined as a forest - from the position of the bath, this is the scene that would be facing you
knotted geometric border
schematic highlighting and contrast maintained from other mosaics
rutland mosaic
3rd/4th century
very poorly preserved - large portions of the mosaic are damaged or missing
mosaic located in the triclinium
depicts the battle of Achilles and Hector at the end of the Trojan war - as told in Homer’s Iliad - unique in England and one of only a few across all of europe
two figures in their chariots - heavy body outlines and use of a lot of red in the shields, chariots and bridles of the horses as well as the geometric frame
Achilles in heroic nudity and much bigger than Hector who is clothed
COMPARANDA: villa romana del tellaro in sicily)
Iliadic mosaic in Villa Romana del Tellaro, Sicily
Built after 350 AD (small hoard of coins dated to latest 348 AD under floor)
Several geometric mosaics in the portico - very elaborate designs and use of colour
mosaic of the ransom of the body of hecht - detailed figures clustered together in a scene/ crowd - only south west of mosaic survives
ancient greek inscription indicates the characters
theatrical masks in frame - probably because the weighing of Hector’s body is not actually described by Homer, but was likely portrayed in a play by Aeschylus (‘Phrygians’)
define trabeated
constructed with a beam or on the principle of a beam as an entablature or flat ceiling
define post and lintel systems
constructed using vertical and horizontal elements - found in the four architectural styles of Romano-Campanian painting (think of the pompeian third style in which walls thought of a a vertical support of horizontal ceiling which is then supported by beams at right angles to load-bearing walls)
expectation that the floor repeat the grid-based decorative system of wall and ceiling
significant to early/monochromatic mosaic which began with figural reliefs trapped in a tight geometric frame
Triton at Terme Del Foro, Herculaneum
64-8 AD
‘apodyterium’ mosaic - figures released from the post-and-lintel system by which mosaic figures must be held in a tight geometric framework
centre figure of triton - seems to rise up from the floor in response to the barrel-vaulted space - organic mirroring of the structure of the space almost a foil to the architectural expansion of space in Pompeian 3rd style frescos
COMPOARANDA: Terme Dei Sette Sapienta at Ostia 130 AD - also monochromatic but quite conservative layout - surface evenly divided with tiny figures subordinated to the geometric pattern in response to vaulted rotunda
MOSAIC OF NEPTUNE at the Baths of Neptune, Ostia
139 AD
Monochromatic mosaic - survive due to silting of the river tiber protecting them
combines element of opus vermiculitum and opus tesselatum
likely composed of volcanic stone (selce) and either limestone or marble fragments.
positioned on the floor at the entrance of the baths - depicts neptune at the centre riding a chariot drawn by hippocampi, surrounded by marine mammals - both real and mythological
areas of damage
figures are black silhouettes - incredibly high quality monochromatic mosaics
rise of monochromatic mosaic and vaulted ceilings occur together - vaulting changes shape and character of the floor plan - this programme of mosaics utilises the geography to tell a story
CONSIDER SPACE: though neptune is highlighted by central position - vantage point within the room would foreground and background figures based on distance - not in the bath itself but the abstracting effect of stark white background and the shadow figural approach - creates sense of shadows beneath water
programme of mosaics in the Baths of Neptune, Ostia
Neptune mosaic at the entrance - creates a kinetic thrust through its relationships with the. other mosaics in the building - Amphitrite rides her marine stead towards Neptune in the next room. the two mosaics cannot be viewed simultaneously and thus create a visual pathway where a full viewing of the scene can only be completed if all the rooms are moved through.
‘silhouette’ effect of monochromatic also incredibly effective because it creates illusion of viewing the scene through deep water - appropriate for thermal baths
