Postea ingressi sunt, ut etiam aedificiorum figuras imitarentur. A proposito di una parete dipinta dalla Casa dell'Attore tragico a Sabratha

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Abstract

[automatically translated] Within the private research on construction of Sabratha are being published wall paintings in fragments recovered during the excavation of two houses, that of Leda and the Actor's tragic. This initiative, born from the interest assessment documentary, variety and, in some cases, the quality of the paintings, it is proposed to revise the location and history as part of the parietal pictorial production of Roman Tripolitania, taking into account the news emerged after the publication of contexts unpublished, which advise to revamp its stylistic analysis, and try to recover, where possible, the relationship with life stages of housing, through the revision of the structures, flanked by stratigraphic tests, and the reinterpretation of the old excavations, within the limits granted by the sparse archival records. This article deals with the paintings of one of the "House of the Actor tragic" walls, currently on display in the local Archaeological Museum; it was presented for the first time by Salvatore Aurigemma, in his famous book on painting in Tripolitania, where great importance is given to the description, but little space was given to the critical assessment and possible history of the monument. The "House of the Actor tragic" corresponds to a unit located in the northern end of the insula 3 of Region V, which is a member with the neighboring Royal IV, the residential planned during the second century. AD in the north and west of the theater of Sabratha, characterized by the presence of prestigious homes (including two houses in peristyle), a terma and an impressive building temple dedicated to Hercules. The "Theatre District" come many pictorial documents - including the cycle commissioned to cover the apses of commodiana phase of the temple - spanning a chronological range rather large, documenting the activity of sabratensi pictores until the fourth century. The wall paintings of the House of the Actor tragic, found in fragments during the excavation of the insula in the '30s, were restored a few years later, allowing the partial reconstruction of three walls, not connected to each other. Based on the single excavation documentation, the attempt to establish a link between the pictorial fragments and life stages of the house does not guarantee good results. In the wall we examined, in which is clearly marked vertical tripartition - with the two lateral fields, constituted by jutting columns, flanking to his full height on center court - the horizontal registers include a high plinth quadrangular fields alternating with niches on the forehead above the plinth monochrome; a large central panel flanked by panels, above which the wall opens on architectural views; articulated entablature that concludes the depicted buildings. Precisely the characteristics of the decorative wall system, the elements that constitute its ornate and the effect given to the colors, vivid and contrasting, have led us to place our painting in the current asserted itself during the Middle Kingdom in the provincial painting, which welcomes, reprocessing them, different styles. Such considerations, not contradicted by the few items deductible of tempering conditions, have led us to place the parietal ornamentation running in the last decades of the second, or at the latest in the early third century AD, the period most likely connected with the first phase of the home life; They remain instead of the circumstances of its disposal all the dark, in the absence of extrinsic elements and useful in the excavation reports. The article also
Original languageItalian
Pages (from-to)45-55
Number of pages11
JournalMARE INTERNUM
Volume5 (2013)
Publication statusPublished - 2014

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