Introduction to Roman Wall

What is/are Roman Wall?

Roman Wall - Sources report its use in Roman times as an aggregate in mortars, and in the literature it has only been shown in Roman wall paintings. ^[1] In surway trenches traces of several demolished Roman walls were observed. ^[2] Among the mixtures of pigments, the most singular outcome concerns the pink fragments revealing the possible application of bone white, which seems to be rather uncommon as a pigment in Roman wall decorations. ^[3] Excavations in 1993-1999 and 2005 in the contrade Telegrafo and Sotto San Francesco led to the discovery of an urban settlement at the top of the hill of Caronia, dating from at least the fourth century BC to the end of the first century AD, where several Hellenistic/early Roman wall structures and cisterns were uncovered. ^[4] Combined laboratory and field research examining the possible alterations caused by herbicide treatments applied to the construction materials (schist and some granite, bound with mortar) in the Roman wall of Lugo (NW Spain), declared a World Heritage site by UNESCO in 2000, was performed in three separate studies in the past 20 years. ^[5] This paper aims at presenting an overview of Roman wall painting production between late Republic and the early Empire. ^[6] 2) suggests that the design of Roman wall painting depends on concentric circles. ^[7] This paper describes the application of 3D modelling techniques in the specific case of the Roman wall paintings from the Sala del Mosaico de los Amores, in Castulo Archaeological Site (Linares, province of Jaen). ^[8] Through an analysis of the depiction of gemstones in Roman wall painting, this article demonstrates the importance of ornamental details both to the mechanics of two-dimensional representation and to the interpretation of the images they adorned. ^[9] Photogrammetry is also well-suited to the illustration and reconstruction of Roman wall painting and Roman domestic interiors. ^[10] This paper explores the potentiality of investigating Roman wall decorations by integrating the visual examination of the technical aspects of wall paintings and plasterworks, to the virtual reconstruction. ^[11] A Roman wall, gravel surfacing and demolition material was identified between 1. ^[12] A recent scientific investigation on Hellenistic and Roman wall paintings of funerary and domestic contexts from Nea (‘New’) Paphos, located in the southwest region of Cyprus, has revealed new information on the paintings’ constituent materials, their production technology and technical style of painting. ^[13] This article engages with the interplay of two-dimensional and three-dimensional wall decoration in Roman wall decoration of the so-called four Pompeian styles. ^[14]

roman wall painting

Sources report its use in Roman times as an aggregate in mortars, and in the literature it has only been shown in Roman wall paintings. ^[1] This paper aims at presenting an overview of Roman wall painting production between late Republic and the early Empire. ^[2] 2) suggests that the design of Roman wall painting depends on concentric circles. ^[3] This paper describes the application of 3D modelling techniques in the specific case of the Roman wall paintings from the Sala del Mosaico de los Amores, in Castulo Archaeological Site (Linares, province of Jaen). ^[4] Through an analysis of the depiction of gemstones in Roman wall painting, this article demonstrates the importance of ornamental details both to the mechanics of two-dimensional representation and to the interpretation of the images they adorned. ^[5] Photogrammetry is also well-suited to the illustration and reconstruction of Roman wall painting and Roman domestic interiors. ^[6] A recent scientific investigation on Hellenistic and Roman wall paintings of funerary and domestic contexts from Nea (‘New’) Paphos, located in the southwest region of Cyprus, has revealed new information on the paintings’ constituent materials, their production technology and technical style of painting. ^[7]

roman wall decoration

Among the mixtures of pigments, the most singular outcome concerns the pink fragments revealing the possible application of bone white, which seems to be rather uncommon as a pigment in Roman wall decorations. ^[1] This paper explores the potentiality of investigating Roman wall decorations by integrating the visual examination of the technical aspects of wall paintings and plasterworks, to the virtual reconstruction. ^[2] This article engages with the interplay of two-dimensional and three-dimensional wall decoration in Roman wall decoration of the so-called four Pompeian styles. ^[3]