Archaeology
New study identifies traces of paint used to decorate the Parthenon Sculptures
Experts have used digital imaging techniques to identify traces of paint and carving techniques used on the Parthenon Sculptures at the British Museum.
The Parthenon Sculptures are a collection of decorative marble sculptures taken from the temple of Athena (the Parthenon) on the Acropolis in Athens.
Made between 447 BC and 432 BC, Lord Elgin (the British Ambassador to the Ottoman Empire), was granted a permit (firman) between 1801 and 1805 to remove around half of the remaining sculptures at the Parthenon for transportation to Britain, a move that today is highly contested by Greek authorities who have formally requested for their return.
It has long been assumed that the sculptures were left unpainted, however, using visible-induced luminescence imaging, the researchers have been able to identify microscopic traces of an Egyptian blue pigment on the sculpture’s garments. Egyptian blue is a man-made pigment composed of calcium, copper and silicon, that was commonly used in Ancient Greece and Roman, and even as far back as 3,000 BC in Egypt.
Image Credit : Trustees of the British Museum
According to a study, published in the journal Antiquity: “Small traces of white and purple were also detected on the sculptures. True purple pigment was very valuable in the ancient Mediterranean; it was produced from shellfish, but the Parthenon purple apparently was not. The exact nature of the purple remains unclear, but classical texts refer to recipes to make non-shellfish purple.”
A closer analysis has revealed that the pigments were also used to create elaborate floral patterns and other designs on the garments of the sculpted figures, reflecting the rich and elegant nature of classical monuments.
The evidence pertaining to the carving suggests an absence of any discernible technical manipulation between the marble’s surface finish and the paint application. Instead, it points to the sculptors’ emphasis on faithfully reproducing the intended forms, such as wool, linen, and skin, without employing specific surface treatments like keying or abrasion to enhance paint adhesion.
“Even if the surfaces were not explicitly prepared for the application of paint, however, carving and colour were unified in their conception. The Parthenon artists were sympathetic to the final intended polychrome sculpture providing surfaces that evoked textures similar to those of the subjects represented. It is likely that the painters took advantage of these mimetic surfaces to achieve the final effects” said Dr Wootton from King’s College London.
“The elegant and elaborate garments were possibly intended to represent the power and might of the Olympian gods, as well as the wealth and reach of Athens and the Athenians, who commissioned the temple,” says Dr Giovanni Verri, from the Art Institute of Chicago, and formerly a Mellon Fellow at the British Museum.
Verri adds: “The painting is certainly contemporary to the building, as we could see clear traces at the back of the sculpture. After being placed on the building, the back would have no longer been accessible. We can only speculate as to why they painted the back”.
https://doi.org/10.15184/aqy.2023.130
Header Image Credit : Trustees of the British Museum
A recent study, published in the journal ResearchGate, proposes that the Pyramid of Djoser could have been constructed using hydraulic lift.
The Pyramid of Djoser, also known as the Step Pyramid, is a proto-pyramid built as the final resting place of Djoser, the first or second pharaoh of Egypt’s 3rd Dynasty (2670–2650 BC) during the Old Kingdom period.
The pyramid rises from the Saqqara plateau in six steps to a height of around 60 to 62 metres, serving as the centre of a vast mortuary complex.
Due to the absence of authentic sources from the pyramid architects’ working sphere, there is currently no confirmed comprehensive model for the method used in the pyramid construction.
The prevailing theory suggests that the heavy stone blocks were transported on apparatuses such as rollers, and raised to height using a series of ramps.
In the study, a survey of watersheds near to the pyramid indicate that the Gisr el-Mudir (enclosure) has features of a check dam for trapping sediment and water. Furthermore, the topography beyond the “dam” shows a possible ephemeral lake west of the Djoser complex, and water flow inside the moat surrounding it.
The study authors explain: “In the southern section of the moat, we show that the monumental linear rock-cut structure consisting of successive, deep compartments, combines the technical requirements of a water treatment facility: a settling basin, a retention basin, and a purification system.”
Based on this finding, the study proposes that the Gisr el-Mudir and moat’s inner south section worked as a unified hydraulic system for regulating flow and improving water quality. In addition, the pyramid’s internal architecture is consistent with a hydraulic elevation mechanism never reported before.
“The ancient architects likely raised the stones from the pyramid centre in a volcano fashion using the sediment-free water from the Dry Moat’s south section. Ancient Egyptians are famous for their pioneering and mastery of hydraulics through canals for irrigation purposes and barges to transport huge stones. This work opens a new line of research: the use of hydraulic force to erect the massive structures built by Pharaohs,” said the study authors.
Please note: This study was submitted to PLOS ONE on December 7, 2023. After two rounds of review by peers, the paper was formally accepted by PLOS ONE on June 27, 2024. Since July 23, 2024, it has been the subject of new consultations and review by the PLOS ONE Editorial Board.
Header Image Credit : Shutterstock
Sources : ResearchGate | Piton, Guillaume. (2024). On the possible use of hydraulic force to assist with building the Step Pyramid of Saqqara. PLOS ONE.
This content was originally published on www.heritagedaily.com – © 2023 – HeritageDaily
Constructed between 1630 and 1633 in a Renaissance-Baroque style, the Great Synagogue of Vilnius served as the religious centre of a complex of synagogues, mikvahs, and community institutions devoted to Torah study in Vilnius, Lithuania.
According to a press statement by the Israel Antiquities Authority (IAA): “The Great Synagogue of Vilna was the beating heart of the Lithuanian Jewry, which included 12 synagogues and study houses, the community council building, the home of Rabbi Eliyahu – the Vilna Gaon, Kosher meat stalls, the famous ‘Strashun’ library, a bathhouse and more.”
During World War II, the synagogue was looted, burned, and partially destroyed by the Nazis in the holocaust. Soviet authorities completely demolished the remaining structure to build a school, intending to prevent any future restoration of Jewish worship.
Only three original pieces of the synagogue survived the destruction: a door of the Holy Ark, a reader’s desk, and a bas-relief with the Ten Commandments, which are now on display at the Vilna Gaon Jewish Museum.
Image Credit : Israel Antiquities Authority
In a recent study conducted by the IAA, the Association of Lithuanian Archaeology, the Good Will Foundation, and the Jewish Community of Lithuania, archaeologists have rediscovered traces of the synagogue’s decorated walls and remnants of flooring with red, black, and white floral patterns that paved the main hall.
Excavations also uncovered huge water reservoirs to feed halachically pure water to the mikva’ot, and one of the giant pillars that surrounded the Bimah (prayer platform).
Dr. Jon Seligman from the IAA and Justinas Rakas from the Lithuanian Archaeological Society, said: “The magnificent remains we are rediscovering bring back moments in the life of a lost vibrant community.”
Header Image Credit : Israel Antiquities Authority
Sources : IAA
This content was originally published on www.heritagedaily.com – © 2023 – HeritageDaily
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