Ancora sulle pitture con Arianna e Leda a Sabratha

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Abstract

[automatically translated] STILL ON PAINTINGS BY ARIANNA AND LEDA A SABRATHA The contribution examines the decoration of the ceiling and most of two walls of a small room, found in fragments in the excavation of the House of Leda (Regio II, ins. 6) and today exposed in "Ariadne's room and Leda" of the Archaeological Museum of Sabratha. The study of paintings, known so far only thanks to a quick note of Gennaro Fish appeared in the Bulletin of Art in 1951, is part of a private research on construction of Sabratha coordinated by the writer, as part of the study design and publishing old Italian excavations conducted by the archaeological Mission of the University of Palermo in Sabratha. The main subjects depicted on the panels of the two walls, are the discovery of Ariadne by Dionysus and of Leda and Zeus loves. The architectural structure and size of the small room are compatible with those of the alcove of a cubiculum and the erotic theme that unites the subjects chosen for the pictorial decoration it is recurrent in this type of environment. An examination of these frescoes have emerged interesting directions (for example as regards the elements detectable in the composition of the Arianna panel, not all attributable to pictorial models, but also to the repertoire of the neo-attic relief, or still for the choice, in that of Leda, an iconographic type of symplegma not common in painting), useful in the analysis of the role of local workers also in relation to the models used, and the open question of the radiation centers. Another important issue addressed is that of the presence of the representation of Sabratha ' epiphany Dionysian within the parietal decorative repertoire of three different houses: the spread of the subject is investigated in relation to the mechanisms of choice by clients of the scenes to be devoted to the decoration of the house, in a city where the cult of Dionysus / Liber Pater he was particularly felt. There also looks of classification timing of the frescoes of the House of Leda, for which reference is made, sharing the underlying reasons, the development of wall painting in Tripolitania dashed by Antonino Di Vita, but also to the indications that emerged from the English essays conducted the northern end of the block. the spread of the subject is investigated in relation to the mechanisms of choice by clients of the scenes to be devoted to the decoration of the house, in a city where the cult of Dionysus / Liber Pater was particularly felt. There also looks of classification timing of the frescoes of the House of Leda, for which reference is made, sharing the underlying reasons, the development of wall painting in Tripolitania dashed by Antonino Di Vita, but also to the indications that emerged from the English essays conducted the northern end of the block. the spread of the subject is investigated in relation to the mechanisms of choice by clients of the scenes to be devoted to the decoration of the house, in a city where the cult of Dionysus / Liber Pater was particularly felt. There also looks of classification timing of the frescoes of the House of Leda, for which reference is made, sharing the underlying reasons, the development of wall painting in Tripolitania dashed by Antonino Di Vita, but also to the indications that emerged from the English essays conducted the northern end of the block.
Original languageItalian
Pages (from-to)83-94
Number of pages12
JournalRIVISTA DELL' ISTITUTO NAZIONALE DI ARCHEOLOGIA E STORIA DELL' ARTE
Volume60 (2005)
Publication statusPublished - 2010

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