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泰勒罗(Cella di Tellaro)上的卡德迪(Caddeddi):西西里岛的一座晚期罗马别墅及其马赛克

泰勒罗(Cella di Tellaro)上的卡德迪(Caddeddi):西西里岛的一座晚期罗马别墅及其马赛克

By R.J.A. 威尔逊 (BABESCH Annual Papers 上 Mediterranean Archaeology Suppl. 28). Pp. viii + 200, figs. 197. Peeters, Leuven 2016. €80. ISBN 978-90-429-3388-0(纸)。

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罗马晚期别墅的计划<em>contrada</em>加里迪西北角的苍白线条表示属于埋在下面的早期别墅一部分的墙壁(Wilson 2016,27,图2.2)。

大约半个世纪前才发现的Ceneddi,是西西里岛东南部Tellaro河(古老的Heloros)以南的晚期罗马别墅。这是该时期西西里岛仅有的六座罗马别墅之一。在吉塞佩·沃扎(Giseppe Voza)领导的发掘中发现的是三个独立马赛克的一部分,这些马赛克引起了许多出版物和公众利益的关注。 expected. These mosaics are the focus of 威尔逊’s book.

Before discussion of Caddeddi or its mosaics, the author gives a brief overview of the other Late Roman villas 上 the island and their mosaics: Gerace, Patti Marina, Pistunina, Settefrati, and the most well known, Piazza Armerina. The last is given the most attention, and overall this provides a good basis for subsequent discussions. Emphasized in this chapter, and an underlying theme of the rest of the book, are the characteristics of the mosaics indicating a connection to mosaicists from Africa. This is an intriguing framework in which to place the mosaics of Caddeddi, and 威尔逊 goes into further detail surrounding the chronological and geographical contexts of the mosaics 上 ce all is presented.

After introducing the site of Caddeddi and its chronology and metrology, the author discusses the three mosaics. He begins with the smallest surviving 上 e: the Ransom of Hector. This was just 上 e of (hypothetically) 12 square designs covering what 威尔逊 interprets as the principal dining room (32), but the names of “Odysseus,” “Achilles,” and “Trojans” coupled with telltale iconography make the identification certain. Next, the Bacchus mosaic, adorned with the traditional representations of various fruits and scenes of satyrs and maenads surrounding Bacchus himself, is stylistically similar to comparanda from Carthage, perhaps even the work of a single group of craftsmen. Last, the most intricate of the three, earning a place 上 the cover, is the mostly complete hunt mosaic. Several scenes illustrate Roman soldiers at various stages of gathering wild beasts for transport to arenas across the empire, and these surround a seated female figure, the largest image in the mosaic. This mosaic is rightfully given the most detailed analysis, and 威尔逊 provides solid groundwork for his interpretation of the central female figure as Mauretania, not Africa as previously suggested (104–11). The two appendices detail further stylistic elements of the mosaics such as saddles, shoes, and legwear, including how in the Ransom of Hector mosaic the shoes and legwear worn by the Greek heroes and the 木马 are most likely Roman in origin. This is plausibly due to the mosaicist being more interested in overall impressions than historical accuracy (135).

So, what can these mosaics tell us about the inhabitants of this villa? Unfortunately, 威尔逊 does not attempt to answer that question at length. Perhaps this is because there is little evidence for discussion, or, more likely, because he is reserving that topic for Voza’即将在整个网站上发布。可以说是一个富裕但上层社会的家庭的图画,他们只强调客人经常光顾的地方的奢华。例如,唯一已知的入口是在东北角,尽管有七个白色大理石台阶的楼梯通向马赛克铺成的前厅,“这几乎不是一个宏伟的展览入口 ” (31) and would have been 上 the bottom floor of a two-story (maybe three-story?) structure. While I am inclined to believe there was a main entrance toward the south side, if this point of access, far from and below the central peristyle and facing away from views of the Tellaro River valley, was indeed the first impression for visiting dignitaries, it would have been quite disappointing. Entering instead from the southern end of the villa would have allowed the visitor to be led past the central peristyle, presumably with a garden, into Room 8, where the Ransom of Hector mosaic lies (see figure). 威尔逊 suggests that Rooms 8, 8A, and 11 were 上 e room 上 the second floor (28), and if so, this would have been the largest room in the villa, ideal for entertaining guests. It would be the perfect location to embrace the view over the river valley, and given that this was a multistoried structure, the view must have been essential to its construction. One can imagine stepping into a beautifully ornate dining hall, looking past an opulently laid table to the Sicilian landscape in the distance. If guests were taken through the northeast entrance, the presentation would have been lackluster.

威尔逊’这本书是对Ceneddi马赛克的高度详细,经过深入研究的介绍和检查。的确,他在序言中强调“这本书不是(也从未打算)是Cappeddi别墅的完整出版物。” (vii). While the title may be somewhat misleading, those interested in the nuances of the entire villa will not be disappointed. 威尔逊’s discussion of Sicilian and North African mosaics in the Late Roman period does allow for some broad connections; however, the narrow scope is also to be welcomed, especially by those interested in Sicilian history. Further, while ancient southeast Sicily gets much attention from publications 上 Syracuse, the southernmost corner of the island, and the ancient town of Heloros in particular, is often overlooked. This book brings some attention to the ancient people and communities of the area. The author makes full use of informative and well-sourced endnotes. He uses them sparingly in the text, which aids the flow of the book and avoids bogging down the analyses with minute detail. The almost 200 figures adorn nearly every page, and, albeit necessary for any examination of mosaics, enhance the book greatly, allowing the reader to follow along closely. Perhaps the 上 ly disappointing elements in the volume are the two site plans. The villa was partly built 上 a spur where the remains of the eastern section are 上 a slope, and the northern section is actually the ground floor. There are two site plans included (figs. 2.2, 2.4); however, neither indicates elevation changes. In fact, 上 ly 上 e illustration, figure 2.7, a photograph taken from the northeast corner facing up the slope to the southwest, makes the geological conditions noticeable. As 威尔逊 indicates (27–8),没有别墅的等高线图,这将非常有帮助,因为只有仔细阅读文字才能充分了解该地点。否则,选址计划将是有用的,它可以显示仍可使用的别墅的范围,确定房间编号以方便参考,并指示覆盖别墅南部大部分地区的现代农舍的位置。

Lastly, 威尔逊 concludes with a riassunto italiano 六章和附录中的部分内容,使本书对于那些更喜欢阅读意大利语的人具有直接的价值。总体而言,这本书是对别墅的重要介绍,使读者对Voza充满期待’更全面的网站发布。

杰拉德·兰开斯特
人类学系
University of Akron
jlancaster@uakron.edu

的书评 泰勒罗(Cella di Tellaro)上的卡德迪(Caddeddi):西西里岛的一座晚期罗马别墅及其马赛克, by R.J.A. 威尔逊

耶拉德·兰开斯特(Jerrad Lancaster)评论

美国考古学杂志 卷122,第3号(2018年7月)

在线发布于 www.ajaonline.org/book-review/3703

DOI:10.3764 / ajaonline1223.j-lancaster

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