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Workshops of sarcophagi in Aquincum and Brigetio. This contribution deals with problems of chronology, iconography and decoration of the sarcophagi of Aquincum and Brigetio. For the chronology the inscriptions, which name the cities as municipium or colonia are more helpful than the dates of the stationing of the legio I adiutrix and the legio II adiutrix respectively. Regarding the iconography of the many sarcophagi with erotes in the fields on both sides of the inscription the type of this representations is decisive.
. But the case of Eurydice seems to be different because the danger was for her and not for Orpheus. This latter should not fear from contamination and the matter was only the coming of Eurydice back to life or her definitive death. Several sarcophagi of
Abstract
Systematic studies on art objects using instrumental neutron activation analysis and neutron autoradiography have been carried out in the Institute of Nuclear Chemistry and Technology in collaboration with the Faculty of Art Conservation and Restoration of the Academy of Fine Arts in Cracow, as well as with other Academies of Fine Arts and museums in Poland. It was possible to accumulate a number of essential data on the concentration of trace elements particularly in chalk grounds and pigments (such as lead white, lead-tin yellow, smalt), Chinese porcelain, Thai ceramics, as well as in the clay fillings of sarcophagi of Egyptian mummies. The above mentioned examination of art objects prior to their conservation helps to determine precisely the materials used in the process of creating art objects, as well as to identify the approximate place of origin of particular materials.
The grave relief of Sempronius Marcellinus in Savaria does not show the scene of abreptio Helenae — as thinks Z. Kádár — but rather the painful moment of Eriphyle’s fateful decision followed by Amphiaraus’s leave (profectio). The closest conceptual analogy of the scene can be found on the Phaedra-sarcophagus with the difference that the fateful decision is made by the man there, not by the woman. Instead of the multi-figure scene of the sarcophagi here the three-figure composition, together with the figures in the background, can compress the entire story, enabling a complex semantic interpretation. This meaning is fateful separation and praise of the deceased person. Sempronius Marcellinus, who had ordered the tombstone, placed himself in the role of Amphiaraus while his wife in that of Eriphyle. But the representation of their relationship is obviously not the expression of betrayal but of pain felt over eternal separation.
graves underground walled grave chambers, over ground walled graves chambers and sarcophagi. The burials that can not be grouped into any of above categories are summed up under the title ʻmiscellanea’. Most of the burials are single pit graves of which
Egy Andriolo de Santinak tulajdonítható Krisztus-szobor a budapesti Szépművészeti Múzeumban
A Christ Statue in the Museum of Fine Arts, Budapest, Attributable to Andriolo de Santi
Abstract
The sculpture, which the extant invoice claims to have originated from the Sant' Agostino church of Cremona, was bought by the museum from Achille Glisenti, a painter and art dealer, in 1895 (figs 1–2). The frontal pose and the compactness of the white marble sculpture of exquisite quality in composition and execution (h.: 52 cm, w.: 21 cm, d.: 16 cm), as well as the finish of the sides and the back clearly reveal that it was designed for some niche. The representation of the enthroned Christ Pantocrator was prevalent in Venetian sepulchral sculpture in Italy in the 14th century, mainly in the 1340s–60s. The Budapest sculpture is most closely analogous with specimens of this strain by virtue of the iconography and style. Just like the analogies, it was probably set in the middle of the longitudinal side of the sarcophagus recessed in the shape of an ornate throne. Although no Christ figure carved separately of the side of a sarcophagus is known, there are at least two specimens of the enthroned Madonna figures far more frequently featuring in Venetian sarcophagi in the same place (figs 3–4). These two Virgin figures were carved for an exceptionally representative type of sepulchral monuments “with acroteria”, which is attributable to one of the most notable local master of the period, Andriolo de Santi.
The closest analogy to the Budapest sculpture can also be found in this circle. Christ Pantocrator adorning the main portal of the San Lorenzo church in Vicenza made by Andriolo's workshop in 1342–44 is almost like a copy of the Budapest work (figs 5–6). It is however hard to decide whether it was made by the same hand or it is a copy. There is yet another carving – that of the enthroned Madonna in the tympan of the portal – that resembles even more closely the Budapest statue in terms of quality, overall form and certain details (fig. 8). Though there are hardly any clues as to the authorship of individual parts of the portal, it is not far-fetched to presume – in agreement with many researchers – that the tympan figures were in all likelihood carved by Andriolo. In this way it is possible to attribute the Budapest sculpture to him, too, and it may as well be presumed that it was made for an above-mentioned representative sarcophagus. Furthermore, the quality even permits the assumption that it might be the prototype for the Venetian Pantocrator series of the 1340s–60s.
All this confirms that the Christ statue and the respective tomb must have been made for a distinguished person. There is however no data in connection with the Sant' Agostino church of Cremona or the related sources that might be linked to this sepulchral monument in any way, therefore the identification of the person is not possible. The client must have been a Cremonese with close contacts to Venice, which may be why he imported the sepulchre to the Lombardian city. The phenomenon fits in well with the overall situation of sculpture in Cremona in the 14th century: there was probably no noteworthy stonecarving workshop in the city, at least all the surviving works are by masters active elsewhere.
WHITEHEAD : Biography and Formula in Roman Sarcophagi , Ph.D diss. Yale University , 1984 . Annemarieke WILLEMSEN : Playing with Reality, Games and Toys in the Oeuvre of Hieronymus Bosch , in Hieronymus Bosch: New Insights into his Life and Work
The celebration of the lizard:
The iconography and iconology of a magic ritual against the evil forces
composed of three mosaics and three sarcophagi. The first artefact is a polychrome mosaic from Thugga, near Téboursouk in Tunisia (2 nd half of the 4 th c. AD), where two winged naked Erotes are represented among the branches of the vine, overflowing from
the paintings of the Roman catacombs and in early Christian sarcophagi, these scholars intended to free late antique art of the extant preconceptions of its decline and decadence and to endow it with its own genuine identity. Fig. 3. Helmut Buschhausen
, cannot be ruled out but the burial into sarcophagi from the 4 th c. became the most frequent use even in the case of the members of the imperial family, mainly in early Christian churches. 29 Based on this fact Constantius and his wife could have been
