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The aim of this article is to analyze and interpret a mosaic in one of the Roman houses (the House of Birds) in Italica (today Santiponce, Sevilla). This mosaic, depicting 33 birds of various species in square fields, will be considered in the context of the scientific interest in birds, which dates back to the Hellenistic era, as well as the custom of arranging aviaries in the country villas.

This paper seeks to respond to two questions posed by previous commentators concerning the arrangement of Trimalchio's porticus as described in Petronius’ Satyrica (Sat. 29): first, whether the freedman's house lacked an atrium; second, whether the cursores (runners) who are described as unconventionally exercising in the portico were pictorial representations or real-life athletes who would symbolize the social incompetence of the dominus. This paper argues that nothing in the text supports the interpretation of Trimalchio's house as having an unconventional architectural layout. Instead, as the narrative requires that Encolpius move quickly towards the triclinium, in his description the loca communia appear conflated, while he only sparsely notices a few relevant elements of the decor. The presentation of Trimalchio's porticus appears to have a functional rather than a simply descriptive purpose: it symbolizes both Roman contemporary practices (the loca communia as a distinctive unit within the domus) and the influence of Greek cultural habits (the characteristic association of colonnaded courtyards and athletics). The excerpt that describes the guests’ arrival at Trimalchio's house, therefore, serves an important narrative function, providing essential information about the character's origins, self-image and social life.

Palazzo Valentini, the institutional head office of Città Metropolitana di Roma Capitale, stands in in a crucial position in the Roman archaeological and urban contexts, exactly between the Fora valley, Quirinal Hill slopes, and Campus Martius. It stands on a second-century A.D. complex to which belong, between other archeological remains, two richly decorated aristocratic domus. One of these buildings, the domus A, presents an outward porticoed room with a fourth-century AD central impluvium (open air part of the atrium designed to carry away rainwater) with a black/white tiled mosaic pavement, the preservation status of which is compromised by an incoherent degradation product that has caused gradual detachment of the mosaic tiles. To identify the product and determine the causes of degradation, samples of the product were taken and subjected to SEM-EDS, XRF, NMR, FT-IR and GC-MS analyses. The findings reported in this study can help restorers, archaeologists and conservation scientists in order to improve knowledge about the Roman mosaic, its construction phases, conservation problems and proper solutions.

La excavación arqueológica realizada en un solar al sureste de la ciudad de Augusta Emerita, ha puesto al descubierto los restos de un complejo de baños privados. Este balneum, del que se ha podido documentar prácticamente su planta completa, se suma a los ya reconocidos en diversas áreas de la ciudad. La particularidad del mismo, radica en la planta sobre la que se desarrolla, siendo el único ejemplo de doble cabecera absidada documentada en Mérida, lo que nos permite establecer una nueva planta para los conjuntos termales de la ciudad. A private thermal complex has recently been found the southeast area of Augusta Emerita. Of this balneum, we have documented the whole building. This finding increases the amount of these structures in this city. The main peculiarity is the plan developed. It is the first time in Mérida that a double apse is located in the emeritense cast of thermal complexes.

At Dura-Europos, homes were architecturally adapted across the late 2nd and 3rd c. CE by different religious groups to serve the needs of their communities. Although the Synagogue, Mithraeum, and Christian Building all began as domestic structures and share a similar architectural development, the origins of the latter have received unique attention through its classification as a domus ecclesiae or house church. This (hyper)focus on the structure's past use as a house does not do full justice to the archaeology of the building. Through an analysis of architectural adaptations, including before-and-after 3D reconstructions and daylight simulations, the authors show how the renovations significantly differentiated the Christian Building from its domestic antecedent and from Dura's houses more broadly. This approach is meant to shift attention away from more generalized, translocal, evolutionary models of Christian architectural development to micro-level archaeological analysis that situates structures within the spatial vernacular of their local contexts.

Environmental elements, such as insects, plants, algae and microbes, may provide important information when reconstructing and interpreting past events. In archaeological contexts, the study of the insects associated with dead bodies can contribute to describe funerary practices. Funerary archaeoentomology is increasingly being utilized; however, there is a lack of application in ancient contexts, thousands of years old. During archaeological excavations carried out at the Filigosa archaeological site (Sardinia, Italy), a prehistoric grave cut named Domus de Janas was found. This type of grave is typical of the island and dates to the Recent Neolithic period. The sepulchral chamber containing 77 individuals (49 adults and 28 subadults) was investigated revealing the presence of some entomological fragments. The mineralized specimens found belonged to the immature stages of flies (Diptera) in the genera Calliphora and Lucilia, as well as beetles (Coleoptera) in the genus Necrobia. These species are typically associated with body decomposition. The analysis and interpretation of these findings led to the following conclusions based on archaeological hypotheses: (1) the cadavers were exposed for a period of time, allowing the arrival of the blow flies during the initial wave of colonization; (2) subsequent primary depositions occurred within the chamber, and (3) a geological change likely occurred shortly after the cessation of the tomb utilization leading to the presence of mud and water.

This article examines the representation and significance of the Holy House of Mary as a metaphor for the domus Dei in the initial letters of a 13th-century Book of Hours (Brailes Hours BL MS Add. 49999) using hermeneutics, visual studies, and anthropology of art methodologies. The manuscript delves into the theological implications of the doctrine of the Incarnation and the virginal divine motherhood of Mary depicted in these images. Additionally, it explores the connection between these representations and the devotion to the Holy House of Nazareth and its replica in the sanctuary of Our Lady of Walsingham, recognized as a sacred pilgrimage site. To conduct this analysis, the article considers the figures of the Holy House depicted on pilgrim badges and religious jewels. Specifically, it focuses on the Hylle jewel, whose effectiveness, attributed to its form and materiality, symbolized the aurea palatium Dei.

Fragments and micro-fragments of painted plasters from the Sphinx Room, recently discovered in the Domus Aurea Esquiline wing (Rome, Italy), were studied. They were respectively taken from the debris in the vicinity of the walls and from already damaged edges of the decorated walls. A previous study, mainly based on non-destructive and non-invasive investigations, proved effective in giving a general overview of the employed palette, allowing the comparison with paintings from the same palace and other coeval contexts, and also providing some preliminary hints concerning the pictorial technique. Nevertheless, some issues remained unsolved, concerning the pigment mixtures (e.g., lead-/iron-based yellow to red colors; copper-/iron-based green/greyish areas), and the a fresco/a secco painting technique debate. Therefore, cross sections of the above-mentioned fragments were observed by means of Optical (OM) and Scanning Electron (SEM) Microscopy and analyzed with micro-Raman spectroscopy and Energy Dispersive X-Ray Spectroscopy (EDS), with the aims of: studying the paint layer composition through point analysis and mapping of the elemental distribution; comparing these in relation to what was observed with previously reported non-destructive analyses; studying the stratigraphy of the painted plaster, focusing on the contact between the plaster and the paint.

The recent discovery of the Sphinx Room, belonging to the Domus Aurea Esquiline wing, thanks to the framework given by the project “Non-destructive analytical studies at Parco Archeologico del Colosseo (Rome, Italy)”, allowed to perform an analytical campaign, both in situ and on micro-fragments. The first aim was to contribute to the overall comprehension of the Domus Aurea complex and to contextualize the newly-discovered room inside this extraordinary imperial architecture by means of an archaeometrical characterisation of the painting materials. The palette, composed of Egyptian blue, green earths, iron- and lead-based red, orange and yellow, calcite, carbon-based black, allowed to compare the Sphinx Room to Corridor 92 and Room 114 of Domus Aurea and to other sites in Rome. Furthermore, the employ of an organic binder in some spots can be put forward based on spectroscopic results, which does not exclude a wider use of the a fresco. Furthermore, a complementary methodological strategy was designed, in order to achieve a complete characterization of the materials. In addition to the well-known combination of portable X-ray fluorescence and portable/laboratory Raman analyses, Infrared Fourier Transform Spectroscopy was used, both in situ (Diffuse Reflectance) and in the lab (Attenuated Total Reflectance). The results confirm the suitability of this approach for the characterization of Roman wall paintings, where both inorganic and organic materials are simultaneously present.

We present an analysis of pictorial remains found in domestic environments of conventus Caesaraugustanus, dated in the first century ad. The study, based on a methodology through which we examined the technical and stylistic aspects of the fragments from the domestic sphere of nine sites located in that territory, has allowed us to deepen the understanding of both the representation of III and IV Pompeian styles in the provincial world, and craft workshops that made them. The decorative remains will also bring us out to those patrons who selected certain ornamental motives for their homes. So, we will consider whether it is possible to document, through the Roman wall painting and in the territory concerned, the social mutation occurred in the Iberian Peninsula with the advent of Augustus, taking into account the precedent indigenous substrate and the strong impulse that the accession process to the new culture reached at this time.