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10. F2011 London
- 2. Tiepolo, Triumph of Aurelian (Queen Zenobia of Palmyra)
- 3. London
- 4. Roman Wall
- 5. London – Water supply - Wallbrook
- 6. Water Supply - Wells
- 7. Water Hoist
- 8. Basilica and Forum • Early construction destroyed by Boudica • 70 CE • 90 CE New construction while old area still in use – 555’ x 545’ – largest in Britain
- 10. • Probably largest in Empire until Basilica Ulpia of Trajan • Largest north of the Alps: 492’ x 115’
- 11. Port
- 13. Pottery Imports
- 14. Glass Working - Sites
- 15. Window glass- Basinghall St. find
- 16. A London Town House
- 17. A London Town House
- 18. A London Town House
- 21. Diet-London London-Aldgate London Pig Sheep/Goat Pig Ox Sheep/Goat Ox
- 22. Diet-Colchester Pre-Roman Roman Pig Pig Sheep/Goat Ox Sheep/Goat Ox
- 24. Winchester Palace Construction • 100-120 Ground raised with debris • Building with bath • Inscription indicates use by legionaries or veterans • Deterioration in 3rd century
- 25. Fresco – Winchester Palace Baths
- 28. Winchester Palace Baths – Severan Period
- 29. Wall Painting - Pigments • Earth colors – ochre • Soot, charcoal • Minerals – cinnabar • Mixtures – Egyptian blue • Vegetable based - indigo
- 31. Shape
Editor's Notes
- Carrhae-Harran – in Turkey near the border w Syria. Centuries later, the emperor Caracalla was murdered here at the instigation of Macrinus (217). The emperor Galerius was defeated nearby by the Parthians' successors, the Sassanid dynasty of Persia, in AD 296. The city remained under Persian control until the fall of the Sassanids to the Arabs in AD 651.During the late 8th and 9th centuries Harran was a centre for translating works of astronomy, philosophy, natural sciences, and medicine from Greek to Syriac by Assyrians, and thence to Arabic, bringing the knowledge of the classical world to the emerging Arabic-speaking civilization in the south. Baghdad came to this work later than Harran
- Well casing – reused barrel; Wooden pipe with lead fitting found in the industrial area of the upper WalbrookThe wells were either square in construction, with the upper parts normally timber-lined using wooden posts and planking or were circular, re-using wooden barrels which would have originally held German wine. Water collected from springs and wells was stored in large cisterns which supplied the public complexes. The baths at Huggin Hill and the complex at Cannon Street were constructed below the natural spring line to capture fresh water. Cisterns allowed water to settle-out the silts prior to its transfer.
- At Wroxeter some stock preserved after burial following fire. Mortaria made in Britain for pounding food. Samian ware from Gaul. Whetstones. Basilica 492 feet long by 115 feet wide. Estimate 89’ high. St. Peters is 730’ x 500’ x 152’ high
- Dendochronlogy shows building and rebuilding from late first century through third century.
- Southwark Warehouse
- Glassmaking by the Romans, the founding of glass from its raw materials, is thought not to have taken place in London. The term “glassworking” indicates the melting and reworking of imported raw glass or locally collected cullet. Glassworking sites are typically identified from the cullet, waste and moils from glassblowing, more rarely from the remains of a furnace or furnaceCoppergate YorkThe typological date for the glass-melting pots suggests that the glass-working may have been taking place sometime in the later second to mid-third centuries, and this date would be appropriate for the melting of the colourless glass. It was a period of considerable activity that probably started with the return of the bulk of the Sixth Legion from northern Britain where it had been engaged in building activities on the Antonine Wall.42 Inside the fortress there is evidence for the re-building of structures in stone at that time,43 and the fortress defences themselves were extensively re-constructed in the late second or early third century.As Ward-Perkins has pointed out,50 the introduction and widespread use of window-glass was an event of some importance for Roman architecture, and it can certainly be expected that by the late second century the principal buildings of the fortress (at the very least) would have been glazed. Mid-first-century glazing is attested at Colchester at several sites,51 and the fortress baths at Caerleon were glazed from their original construction in c. A.D. 75.52 The manufacture of the window-glass would certainly not have been beyond the competence of late second- to early third-century legionary craftsmen because at that time the common type in use was made by casting, i.e. by simply pouring molten glass out onto trays of wood or sand.53 The combination of the evidence for the relatively large-scale melting of glass at Coppergate together with only a small amount of blowing debris might well suggest that the glass was being melted to form windows. Most Roman cast window-glass was blue/green but colourless and light green glass are not uncommon finds,54 and so the colours of the glass being melted would not be inappropriate. One explanation may lie in the special circumstances pertaining in York in the late second to early third centuries. It has been recognised for some time that Ebor ware of that time appears to be imitating North African forms,63 and it has recently been pointed out that the forms being imitated are specialist cooking-vessels.64 This must reflect the arrival of North African soldiers amongst the garrison of York who required specialist vessels to be able to cook their favourite food. Thus, at the time the Coppergate glass-making and melting activity was being carried out, there was a North African contingent in the York garrison substantial enough to have had an impact on the local pottery production. Amongst these North African legionaries, could there have been individuals who were familiar with the process of making glass from the raw ingredients?
- The Roman era was inaugurated with the dumping of a 30m wide, up to 1m thick layer of burnt clay, daub, and masses of pottery to raise the ground level. This was probably the debris of a warehouse fire of c. AD 70-90, although, oddly, it was not deposited on site until c. AD 100-120. This dumping was intended to provide a flood free level building plot for a large 2nd century masonry building.
- In the foreground is a five-partstructure consisting of a projecting central pavilion and wing-blocks, with linking porticoesset back in the intervening spaces. The central pavilion, supported by a pair of columns ateach side and surmounted by a low pediment, is open, and through it we see a colonnade, ona smaller scale and evidently more distant. The linking porticoes, each two intercolumniations long, arc closed save for a window in the upper part of the broaderintercolumniation next to the central pavilion. The wing-blocks are only partially preserved,but they, too, seem to have been closed. uncertainties are created by the inconsistent treatment and colouring of the surfacesbetween the columns. The foreshortened spaces between front and rear columns of theprojecting elements are filled in by a pale green screen-wall at the bottom, but seem to beopen above, because the underside of the architrave is fully visible; yet the 'opening' ispainted dark green and allows no view of the structures behind. In the recessed porticoes,while the first intercolumniation has a red screen-wall and the opening above is painted blueto suggest the sky, with a glimpse of a column which implies the existence of a rear porticocorresponding to the one at the front, the second intercolumniation is coloured entirelyyellow; moreover, this yellow surface is conceived, not as a screen within the portico, but as awall beyond it, because it appears to pass behind the portico's ceiling. Too little survives ofthe outer wing-blocks to determine the full details of their treatment, but at least part of theirfront plane was red.The more distant colonnade visible through the central pavilion consists simply of a line ofsix columns with an additional column set in front of the second one from each end. Theentablature above the colonnade juts forward over the two advanced columns, where it issurmounted by acroteria in the form of paterae. The background of this columnar screen isyellow, repeating the tone within the outer intercolumniation of the porticoes; but the yellowchanges abruptly above, in a stepped arrangement, to the blue of the 'sky'. The yellowbackground is clearly conceived as a wall, because it is pierced by a couple of doorways, eachpainted red and containing a halt-open door; but there is no crowning moulding or otherarchitectural feature to define its summit.Above the foreground structures one might have expected the sky to reappear. But the wholeof the space at the top is coloured red (above the central pediment) and yellow (at the sides).The transition from one colour to the other, which takes place directly above the frontcorners of the central pavilion, is again abrupt and masked by no architectural or otherelement.The Southwark lunette has no real parallel among the paintings so far discovered in RomanBritain. Perspectival architecture occurs in the so-called Painted House at Dover, but therethe architectural forms are sturdier, the colour-scheme simpler, and the degree of recessionstrictly limited.2 At Leicester the paintings from a courtyard house in Blue Boar Lanecontained columnar pavilions, fantastic in their slenderness and finely painted as atSouthwark; but their role was to provide regular vertical accents between large flat fields,following a scheme popular in the Fourth Style at Pompeii and familiar also in Antoninedecorations in Rome and Ostia; the colour-scheme again was different, with the architecturalelements on a black ground and the intervening fields red.3 Other specimens of perspectivalarchitecture, from Wigginton and Winchester,4 are on fragments too small toallowconclusions on the overall design, though the Winchester fragment at least shows a similarquality of painting to Southwark and incorporates motifs found at Southwark: a jutting pieceof entablature and a patera (here floating free rather than used as an acroterium).During the Antonine period we can trace a development in architectural wall-paintingstowards increasing flatness and illogicality; the architectural elements themselves begin tolose their plasticity and perspectival character, and the emphasis on exchanges of colour andon ornamental figures and motifs set within fields often makes it difficult to discern thestructure of the schemes.The paintings from a house in Via Merulana in Rome, and those of a portico in a houseunder the Baths of Caracalla, now known only from a nineteenth-centuryphotograph,illustrate the first stage in the process. The Via Merulana paintings containrelatively solid and realistic architectural forms, but the emphasis is upon the harmoniccombination of coloured surfaces (red, maroon and yellow), while some of the figure motifswithin the schemes (a dove and the Egyptian sacred bull Apis) are set illogically at the bottoms of panels, appearing neither as decorative emblems in the field nor as living faunastanding on the architectural surfaces. The result is a lack of any real effect of depth
- painter: Anton Raphael Mengs (German, 1728-1779), engraver: Angelo Campanella (Italian, 1746-1803), publisher: CamilloButi (Italian, 1747-1808)en_USdc.datecreation date: ca. 1778
- The most stable pigments for fresco painting were ochres, green earth (terreverte), Egyptian blue and vermilion and most paintings consisted of these. Cinnebar, an expensive red pigment, was found to have been used in the impressive painting in the substantial bath-house in Southwark. White was often added to pigments to allow better cover and would have been made from white lead, chalk or ground oyster shells. Black was obtained from soot or charcoal which was mixed with size.Egyptian blue was a pigment artificially prepared from copper, silica and calcium. Small balls of Egyptian blue pigment have been found at Regis House on the waterfront as well as other sites. Other colours, such as indigo and purple, were made from vegetable dyes added to other mediums to make them usable as pigments.