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Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of the most remarkable characteristics in Lusitania’s villae is their diversity: Each place embodies a set of contents and symbols, which were carefully defined by their owners. By analysing all the different architectural and iconographic variants, we are trying to understand who these domini were and how the elites conveyed all contents belonging to the bigger picture of the Mediterranean Oikoumene. Landscape, building spaces and plants, the relation between inner and outer environments, iconographic contents, and decorative grammar are analysed in order to be able to understand the way in which the cultural values found in Lusitania’s villae were transmitted.

Copyright of Black Sea / Karadeniz is the property of Black Sea / Karadeniz and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this study, chemical and mineralogical compositions, physical, microstructural and pozzolanic properties of Roman Period building bricks taken from Kızıl Avlu (Serapeum) in Pergamon and from several different buildings from ancient sites of Aigai and Nysa were determined by using XRF, XRD, FTIR, SEM-EDS and chemical analyses. Chemical compositions of bricks were evaluted by statistical analyses in order to identify whether or not these bricks were manufactured by using same natural raw material sources. Analyses results indicated that Roman period building bricks were manufactured by using calcium rich clay sources and fired at low temperatures (<900°C). Brick samples were mainly composed of quartz, albite, anorthite, muscovite and hematite. Statistically significant differences found in their chemical compositions revealed that local raw material sources were selected for the manufacturing of historic brick samples belonging to different cities. [ABSTRACT FROM AUTHOR]

Copyright of CEDRUS is the property of Mediterranean Civilisations Research Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One crucial debate that resonated in eighteenth-century Europe concerned the origins of European architecture whose effects continue to inform present-day notions of the same. Numerous important eighteenth-century works were produced in the context of emergence of the discipline of architectural history. In this architectural, historical, and archaeological framework, Venetian architect and scholar Giovanni Battista Piranesi (1720-1778) played an important role by his visual and literary works as well as original approach to history. Piranesi developed a history of architecture that was not based on the East/West division and the separation of continents. In opposition to writers like Winckelmann who rooted the origin of Roman architecture in the Greek, he claimed that Roman architecture derived from the Etruscan which found its roots in Egypt. Discussion of roots depended on the eighteenth century on aesthetical theory interpreting Grecian architecture as 'beautiful' and Roman -thus Egyptian- as 'sublime'. It was in this lively intellectual environment that Piranesi searched the origins of Roman -and thus the whole European-architecture. His works were, however, misinterpreted as being Orientalist by contemporary scholars following Said. [ABSTRACT FROM AUTHOR]