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Copyright of Matica Srpska Journal for Fine Arts / Zbornik Matice Srpske za Likovne Umetnosti is the property of Matica Srpska, Department of Visual Arts 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.)

This essay examines the evidence for the Domitianic ‘Arae Incendii Neroniani’, a presumed set of monumental altars dedicated to Vulcan in fulfilment of a vow dating back to the Neronian Fire of a.d. 64. A close reading of the text of the dedicatory inscription creates a framework for exploring the larger historical and cultural context of these monuments, which offer a significant illustration of Flavian rhetoric concerning Rome's post-Neronian transformation. Reaffirming Julio-Claudian notions of civic identity, collective memory, and the ruler's privileged relationship with the gods, the Arae also constitute a conspicuous form of posthumous reproach to Nero. [ABSTRACT FROM PUBLISHER]

Copyright of Archaeologia Adriatica is the property of Sveuciliste u Zadru 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.)

The article focuses on the discovery of two marble altars in Gordion on 2008 as one has an inscription which honors the roman emperor known as Caracalla. The archaeological team of the Pennsylvania Museum found the ancient artifacts. The latter are virtually identical as features include a height of slightly over one meter, square cross-section, and an upper zone of moldings in the flat top. The Roman Empire between 212 and 217 CE was ruled by Caracalla.

Monuments are by definition unique buildings which cannot be reduced to any standard structural scheme. In this study, we have used quasi-static loads, which is common practice in many finite-element (FEM) analyses of masonry structures. Thus it is difficult to evaluate their reliability, because in addition to the many uncertainties that exist in all 'old' buildings, no statistics on the behaviour of similar buildings are available. In this paper we describe a study of the structure of the chapel of San Salvador de Valdediós and proposals for its restoration. The non-linear analysis is based on the application of FEM to each of the stone blocks in this ancient structure. The blocks are assembled side by side using 'contact elements' in order to reproduce the mechanical behaviour of the mortar and the surface conditions of the blocks, some of which are seriously damaged. A clear understanding of the structural behaviour, based on sophisticated analysis tools, can reduce the extent of the remedial measures necessary for the restoration of the chapel vault and portico. In this case, severe damage to the chapel vault has affected the portico, resulting in the possibility of a structural collapse. Finally, based on the numerical results obtained for different load cases and hypotheses, we propose a solution for the repair of this part of the chapel using either traditional materials or compatible substitutes. [ABSTRACT FROM AUTHOR]

A new analysis shows that the present arrangement of the pulpit is a farrago of ca. 1200, combining the sculpted pieces which survived from the destroyed Romanesque pulpit of ca. 1100 with some additional preexisting material. Whatever can be gathered of the character of the original Romanesque work should be understood in the context of its surroundings in the church of Sant'Ambrogio, at that time overcrowded with sacred mementos of the Ambrosian church of Milan. The fragments of the original sculptural program accordingly emerge as stylistically historicist, deliberately rehashing past forms. Their iconography, however, echoes a new concept of the orders of Christian society, centering on a contrast between the reformed clergy, dedicated to God's work, and the worldly laity whose concerns are marriage and physical labor. The combination of historicism and innovation reflects a tension between the traditional local establishment and the movement of ecclesiastical reform, supported by the papal establishment of Rome. [ABSTRACT FROM AUTHOR]

The presented work discusses results of radiocarbon dating of lime mortars sampled from walls of a Romanesque chapel at the Wleń castle. Considering a homogeneous structure of the mortars, an attempt to determine the chronology was made. Radiocarbon dating was carried out both on carbonate binders and laboratory-selected charcoals from the mortars. According to obtained data, charcoal ages are older than the age of the binders. Assuming the 12th century chronology of the chapel's erection to be correct, it was found that the applied method did not provide the result which is consistent with archaeological estimations. [ABSTRACT FROM AUTHOR]