d. fellague, h. savay-guerraz, f. masino, g. sobrà, "the use of marble in the roman...

«L’ERMA» di BRETSCHNEIDER

Interdisciplinary Studies on Ancient StoneASMOSIA X

Proceedings of the Tenth International Conference of ASMOSIAAssociation for the Study of Marble & Other Stones in Antiquity

Rome, 21-26 May 2012

P. PENSABENE, E. GASPARINI (eds.)

Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XI

I VOLUME

1. APPLICATION TO SPECIFIC ARCHAEOLOGICAL QUESTIONS - USE OF MARBLE

Architecture with concave and convex rhythms and its decoration in Hadrian age: the Ma-ritime Theatre and the Southern pavilion of Piazza d’Oro in Hadrian’s Villa, B. Adembri,S. Di Tondo, F. Fantini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Imported marbles found in three Roman cities of the territory of “Cinco Villas”(Zaragoza), north of Hispania Citerior, J. Andreu Pintado, H. Royo Plumed, P. Lapuente, M.Brilli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Pentelic marble in the Severan Complex in Leptis Magna (Tripolitania, Libya),F. Bianchi, M. Bruno, S. Pike . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

The limestone quarries of Wadi Gadatza in the territory of Leptis Magna, M. Bruno,F. Bianchi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Provenance and distribution of white marbles in the arches of Titus and Septimius Severusin Rome, M. Bruno, C. Gorgoni, P. Pallante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

The imitation of coloured marbles in a first style wall painting from the Etruscan-Romantown of Populonia (LI – Italy), F. Cavari, F. Droghini, M. Giamello, C. Mascione, A. Scala . 55

Small Euboean quarries. The local community markets, M. Chidiroglou . . . . . . . . . . . . . . . 63

Lumachella at Cosa: late Republican?, J. Collins-Clinton . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Ancientmarbles.org: an open community for sharing knowledge about ancient marblefrom different approaches, S. Costa, F. Marri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

The use of marble in Lusitania between Rome and Islam, M. Cruz Villalón . . . . . . . . . . . . . 85

“Marmora Ostiensa”. New results from the Ostia Marina Project, M. David, S. Succi, M. Turci . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

A column shaft in ‘verde rana ondato’ from the archaeological excavations in Palazzo Al-temps, M. De Angelis d’Ossat, S. Violante, M. Gomez Serito . . . . . . . . . . . . . . . . . . . . . . . . . 103

The exploitation of coralline breccia of the Gargano in the Roman and late antique pe-riods, A. De Stefano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Ships lapidariae and the wreck, with marmor numidicum, discovered in Camarina: hypo-thesis of route, G. Di Stefano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

V

INDEX

The use of marble in the roman architecture of Lugdunum (Lyon, France), D. Fellague,H. Savay-Guerraz, F. Masino, G. Sobrà . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Marmora and other stones in the architectural decoration of early imperial Barcino(Barcelona, Spain), A. Garrido, A. Àlvarez, A. Doménech, A. Gutiérrez Garcia-M., I. Rodà,H. Royo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Provenance of the Roman marble sarcophagi of the San Pietro in Bevagna Wreck, M. T. Giannotta, G. Quarta, A. Alessio, A. Pennetta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Thasian Exports Of Prefabricated Statuettes, J. J. Herrmann, Jr., D. Attanasio, A. van denHoek . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Multimethod marble identification for figural sculpture in Hippo Regius (Annaba, Algeria),J. J. Herrmann, Jr., R. H. Tykot, A. van den Hoek, P. Blanc . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Awaiting identity: Copenhagen’s “diskophoros” and its auxiliary support, M. B. Hollinshead 171

Provenance, distribution and trade of the local building materials in the Sarno river plain(Campania) from the 6th century BC to AD 79, P. Kastenmeier, G. Balassone, M. Boni, G. di Maio, M. Joachimski . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

White and coloured marble on Pantelleria, T. Lappi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Local stones and marbles found in the territory of “Alto Aragon” (Hispania), in Romantimes, P. Lapuente, H. Royo, J.A. Cuchi, J. Justes, M. Preite-Martinez . . . . . . . . . . . . . . . . . . 191

The Marmor Lesbium reconsidered and other stones of Lesbos, E. Leka, G. Zachos . . . . . 201

The marbles from the Villa of Trajan at Arcinazzo Romano (Roma), Z. Mari . . . . . . . . . . . . 213

The introduction of marble in the cavea of the Theatre of Hierapolis: building process andpatronage, F. Masino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Shipwrecks with sarcophagi in the Eastern Adriatic, I. Mihajlovic, I. Miholjek . . . . . . . . . . 233

The marble decoration of the peristyle building in the SW quarter of Palmyra (Pal.M.A.I.S.Mission), S. Nava . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Stone materials in Lusitania reflecting the process of romanization, T. Nogales-Basarrate, P.Lapuente, H. Royo, M. Preite-Martinez . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

A uotorum nuncupatio from Colonia Augusta Firma. An analytical approach, S. Ordóñez,R. Taylor, O. Rodríguez, E. Ontiveros, S. García-Dils, J. Beltrán, J. C. Saquete . . . . . . . . . . . 263

The Muses in the Prado Museum and the pentelic marble of the Odeon in Hadrian’s villa:workshops and statuary programmes. Preliminary report, A. Ottati . . . . . . . . . . . . . . . . . . 269

Local workshops of the Roman imperial age. A contribution to the study of the produc-tion of Campanian Sarcophagi, A. Palmentieri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Ceraunia and lapis obsianus in Pliny, L. Pedroni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Marbles from the Domus of ‘Bestie ferite’ and from the Domus of ‘Tito Macro’ in Aquileia (UD), Italy, C. Previato, N. Mareso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Production and distribution of Troad granite, both public and private, P. Pensabene,I. Rodà, J. Domingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

The use of Almadén de la Plata marble in the public programs of Colonia Augusta Firma –Astigi (Écija, Seville, Spain), O. Rodríguez, R. Taylor, J. Beltrán, S. García-Dils, E. On-tiveros, S. Ordóñez . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

INDEX

VI

Architectural elements of the Peristyle Building of the SW quarter of Palmyra (PAL.M.A.I.S.(PAL.M.A.I.S. Mission), G. Rossi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Casa del Rilievo di Telefo and opus sectile at Herculaneum, A. Savalli, P. Pesaresi, L. Lazzarini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

The use of marble in Roman Pula, A. Starac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Architectural decoration of the episcopal church of Rhodiapolis in Lycia, A. Tiryaki . . . . . 377

Byzantine carved marble slabs from Çanakkale Archaeology Museum, A. Turker . . . . . . . . 385

First preliminary results on the marmora of the late roman villa of Noheda (Cuenca,Spain), M. A. Valero Tévar, A. Gutiérrez García-M., I. Rodà de Llanza . . . . . . . . . . . . . . . . . 393

Parian lychnites and the Badminton Sarcophagus in New York, F. Van Keuren, J. E. Cox,D. Attanasio, W. Prochaska, J. J. Herrmann, Jr., D. H. Abramitis . . . . . . . . . . . . . . . . . . . . . . 403

The use of Estremoz marble in Late Antique Sculpture of Hispania: new data from the pe-trographic and cathodoluminescence analyses, S. Vidal, V. Garcia-Entero . . . . . . . . . . . . . . 413

Montegrotto Terme (Padova) – Marble and other stone used in architectonic decoration of the Roman villa, P. Zanovello, C. Destro, M. Bressan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

2. PROVENANCE IDENTIFICATION I: MARBLE

The monument landscape and associated geology at the sanctuary of Zeus on mt.Lykaion, I. Bald Romano, G. H. Davis, D. G. Romano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Marbles of the Aracena Massif (Ossa-Morena zone, Spain): aspects of their exploitationand use in roman times, J. Beltrán Fortes, M. L. Loza Azuaga, E. Ontiveros Ortega, J. A.Pérez Macías, O. Rodríguez Gutiérrez, R. Taylor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Isotopic analysis of marble from the Stoa of Attalos in the Athenian Agora and the Hel-lenistic quarries of Mount Pentelikon, S. Bernard, S. Pike . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

An update on the use and distribution of white and black Göktepe marbles from the firstcentury AD to Late Antiquity, M. Bruno, D. Attanasio, W. Prochaska, A.B. Yavuz . . . . . . . . 461

The use of coloured marbles in the neapolitan Baroque: the work of Cosimo Fanzago(1591-1678), R. Bugini, L. Cinquegrana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

The imitation of coloured marbles in the Venetian Renaissance painting, R. Bugini, L. Folli 475

Stones and ancient marbles of the ‘Francesco Belli’ Collection: archaeological, art-histori-cal, antiquarian, geological - technical and petrographical aspects, R. Conte, A. D’Elia, E.Delluniversità, G. Fioretti, E. Florio, M. C. Navarra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Provenance investigation of a marble sculptures from Lyon Museum, M.P. Darblade-Au-doin, D. Tambakopoulos, Y. Maniatis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

The limestone quarries of the Karaburum peninsula (southern Albania), A. De Stefano . . . 513

The main quarries of the central part of Dardania (present Kosova) during the Roman pe-riod: their usage in funerary and cult monuments, E. Dobruna-Salihu . . . . . . . . . . . . . . . . . 519

The use of marble in Hispanic Visigothic architectural decoration, J.A. Domingo Magaña . 527

Preliminary study of Los Bermejales, a new roman quarry discovered in the province ofCádiz, Southwestern Spain, S. Domínguez-Bella, M. Montañés, A. Ocaña, J. M. Carrascal,J. Martínez, A. Durante, J. Rendón Aragón, J. Rios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

INDEX

VII

Marble pavements from the house of Jason Magnus in Cyrene, E. Gasparini, E. Gallocchio 545

The Portoro of Portovenere: notes about a limestone, S. Gazzoli, G. Tedeschi Grisanti . . . . 555

Saw cuts on marble sarcophagi: New York and Ostia, J. J. Herrmann, Jr., M. Bruno, A. vanden Hoek . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559

The basalt of the sacred caves at Ajanta (India): characterization and conservation, F. Ma-riottini, M. Mariottini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565

Marble and stones used in the central eastern Alpine area and in the northern area of Bena-cus: topographical reconstruction of trade routes and aspects of use in the Roman Era,A. Mosca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575

Life of Nora (Province of Cagliari - South Sardinia). Roman quarries and their organizationin the rural landscape, C. Nervi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Naxian or parian? Preliminary examination of the Sounion and Dipylon kouroi marble,O. Palagia, Y. Maniatis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593

Analysis of the stony materials in the Arucci city, E. Pascual, J. Bermejo, J. M. Campos . . . . 601

Blocks and quarry marks in the Museum of Aquileia, P. Pensabene . . . . . . . . . . . . . . . . . . . 611

Archaeology and archaeometry of the marble sculptures found in the “Villa di Poppea” atOplontis (Torre Annunziata, Naples), P. Pensabene, F. Antonelli, S. Cancelliere, L. Laz-zarini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

“Marmo di Cottanello” (Sabina, Italy): quarry survey and data on its distribution, P. Pensa-bene, E. Gasparini, E. Gallocchio, M. Brilli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629

A quantitative and qualitative study on marble revetments of service area in the Villa delCasale at Piazza Armerina, P. Pensabene, L. Gonzalez De Andrés, J. Atienza Fuente . . . . . . 641

Quarry-marks or masonry-marks at Palmyra: some comparisons with the Phoenician-Punic documentation, D. Piacentini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651

Fine-grained dolomitic marble of high sculptural quality used in antiquity, W. Prochaska . . 661

Discriminating criteria of Pyrenean Arties marble (Aran Valley, Catalonia) from Saint-Béatmarbles: evidence of Roman use, H. Royo, P. Lapuente, E. Ros, M. Preite-Martinez,J. A. Cuchí . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671

II VOLUME

3. PROVENANCE IDENTIFICATION II: OTHER STONES

The stone architecture of Palmyra (Syria): from the quarry to the building, R. Bugini, L. Folli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683

Quarries in rural landscapes of North Africa, M. De Vos Raaijmakers, R. Attoui . . . . . . . . . 689

Local and imported lithotypes in Roman times in the Southern part of the X Regio Au-gustea Venetia et Histria, L. Lazzarini, M. Van Molle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699

Preliminary study of the stone tesserae of Albanian mosaics. Materials identification, E. Omari . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713

4. ADVANCES IN PROVENANCE TECHNIQUES METHODOLOGIES AND DATABASES

Provenance investigation of some funeral marble sculptures from ancient Vienna (France), V. Gaggadis-Robin, J.-L. Prisset, D. Tambakopoulos, Y. Maniatis . . . . . . . . . . . . . . . . . . . . . . 725

INDEX

VIII

Isotopic testing of marble for figural sculpture at Guelma, Algeria, J. J. Herrmann, Jr., R.H. Tykot, D. Attanasio, P. Blanc, A. van den Hoek . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739

5. QUARRIES AND GEOLOGY

Analysis and discrimination of Phrygian and other Pavonazzetto-like marbles, D. Atta-nasio, M. Bruno, W. Prochaska, A. B. Yavuz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753

Roman stone-carvers and re-carving: ingenuity in recycling, S. J. Barker, C. A. Ward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765

Can a fire broaden our understanding of a Roman quarry? The case of el Mèdol (Tarragona, Spain), A. Gutiérrez Garcia-M., S. Huelin, J. López Vilar, I. Rodà De Llanza . . . . . . . . . . . . . 779

The Roman marble quarries of Aliko Bay and of the islets of Rinia and Koulouri (Skyros,Greece), M. Karambinis, Lorenzo Lazzarini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791

The splendor of Andesite. quarrying and constructing in Larisa (Buruncuk) Aeolis, T. Sa-ner, U. Almaç . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805

Carving a corinthian capital. New technical aspects regarding the carving process, N. Toma . 811

New evidence on ancient quarrying activity at the Mani Peninsula, M.P. Tsouli . . . . . . . . . . 823

Ancient lithic naval cargos around Sicily, S. Tusa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831

An unusual Roman stone cinerary urn from London, D.F. Williams, R. Hobbs . . . . . . . . . . 843

Presenting and interpreting the processes of stone carving: The Art Of Making In Anti-quity Project, W. Wooton, B. Russell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 851

The Roman Mio-Pliocene underground quarries at Ksour Essaf (Tunisia), A. Younès, M.Gaied, W. Gallala . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 861

6. STONES PROPERTIES, WEATHERING EFFECTS AND RESTORATION

A strigilated sarcophagus in providence: ancient, modern or both?, G. E. Borromeo, M. B. Hollinshead, S.Pike . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 871

Art historical and scientific perspectives on the nature of the orange-red patina of theParthenon, O. Palagia, S. Pike . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881

7. PIGMENTS AND PAINTINGS ON MARBLE

The polychromy of Roman polished marble portraits, A. Skovmøller, R. H. Therkildsen . . 891

Some observations on the use of color on ancient sculpture, contemporary scientific explo-ration, and exhibition displays, J. Pollini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 901

The Ulpia Domnina’s sarcophagus: preliminary report about the use of digital 3d model forthe study and reconstruction of the polychromy, E.Siotto, M. Callieri, M. Dellepiane, R.Scopigno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911

8. SPECIAL THEME SESSION: ORDERS, REPERTOIRES AND MEANING OF MARBLE WITHINTHE PUBLIC AND THE DOMESTIC CIRCLE FROM ANTIQUITY TILL POST-ANTIQUE TIME

Marbles from the theatre of Colonia Caesar Augusta (provincia Hispania Citerior),M. Beltrán, M. Cisneros, J. Á. Paz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 923

INDEX

IX

Calculating the cost of columns: the case of the Temple of Apollo at Didyma, P. Barresi . . . 933

The decorative stoneworks in the east and center of Roman Gaul: recent data of the ar-chaeological operations, V. Brunet-Gaston . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 941

Colored columns and cult of the emperors in Rome, B. Burrell . . . . . . . . . . . . . . . . . . . . . . . 947

Roman sculpture in Pannonia between imports and local production, M. Buzov . . . . . . . . . 955

A New Julio-Claudian Statuary cycle from Copia Thurii. Brief remarks on quality andmethods of extraction and processing of marble used for the sculptures, A. D’Alessio . . . . 969

Stone in the decorative programs of Villa A (So-Called Villa Of Poppaea) at Oplontis, J. C. Fant, S. J. Barker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 977

Stable isotope analysis of Torano valley, Carrara, marble used in 18th-century frenchsculpture, K. Holbrow, C. Hayward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 987

Cassiodorus on marble, Y.A. Marano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 997

Colored marbles of Diocletian’s Palace in Split, K. Marasovic, D. Matetic Poljak, Ð. Gobic Bravar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1003

Fabri Luxuriae. Production and consumption of coloured stone vases in the Roman Period,S. Perna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1021

Porphyry bathtubs in the sacred space, O. Senior-Niv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1031

Mythological sculptures in late antique domus and villas: some examples from Italy,C. Sfameni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1039

Architectural language and diffusion of decorative models: a group of unpublished figuredcapitals from Hierapolis in Phrygia, G. Sobrà . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1049

INDEX

X

THE USE OF MARBLE IN THE ROMAN ARCHITECTURE OF LUGDUNUM(LYON, FRANCE)

D. Fellague1, H. Savay-Guerraz2, F. Masino3, G. Sobrà4

1. Maître de conférences, Université Pierre-Mendès-France, CRHIPA (Grenoble), chercheur associé à l’IRAA (Lyon). [email protected].

2. Conservateur, musée gallo-romain de Lyon-Fourvière. [email protected]. Architect inspector, Soprintendenza per i Beni Archeologici del Piemonte, [email protected]. Architect inspector, Ministero per i Beni e le Attività Culturali, Direzione Regionale del Piemonte [email protected]. We acknowledge the help of N. Lumb (Institut de Physique Nucléaire de Lyon) for his contribution to this translation.6. Mazenod 1940.7. Braemer 1983.8. Wuilleumier 1951.9. Audin, Burnand 1975.10. Desbat 1984.11. Savay-Guerraz, Desbat 1992.12. Villedieu et al. 1990, 21, 107.13. Ayala 1992.

AbstractThis contribution5 is a general presentation of the use ofmarble in the architecture of Lugdunum. Besides specify-ing which structures employed marble and which types ofstone were used, other themes will be developed. Stylisticstudies provide us with certain chronological elementsand show that the use of marble follows a general evolu-tion in the architecture of Lyon, with marble in use fromthe Augustan period, and with a particular taste for mar-ble probably from the Flavian period onwards. Uncom-mon techniques were used in certain buildings, such asmarble crustae covering column shafts. The marks whichwe can observe unfortunately do not give enough infor-mation because they are too rare. The question of thelink between workshops and the materials used will beconsidered, but this approach is of limited use due to thelack of marble analyses in the laboratory. We finish bydiscussing the reuse of materials in the Roman periodand with a few examples of medieval uses which may besymbolic.

KeywordsLugdunum-Lyon, marble types, chronology, use-reuse

History of research

Despite the size of the Roman colony, marble hasbeen little studied in Lyon. There are just a few scarcementions in the literature of the nineteenth and earlytwentieth centuries. Excavations at the theatre and theodeon which started in 1933 and continued through to

the early 1960’s provided a considerable mass of marble,but these searches were major earthworks intended touncover remains, without any stratigraphic concern.The first monographic study was realized by G.Mazenot who published an analysis of the materialsfrom the theatre of Fourvière6. He correctly identifiedseveral marbles among the most famous in the crustaecollected (porfido verde and cipollino from Greece, por-fido rosso from Egypt...). On the other hand, several va-rieties imported from the Mediterranean Basin were at-tributed by mistake to the North of Italy, on the basis ofcomparisons made with the marbles used in Lyon at thebeginning of the XXth century. As F. Braemer noted7,these incorrect identifications were carried over into thepublication on the theatre8, then in a summary article onthe trade of stones in Lyon9.

From the early 1970’s, the development of preven-tive excavations was accompanied by a more scientificanalysis of buildings and their decoration. The bathson the Rue des Farges were one of the first buildingssubject to this new approach10. The archaeological sur-veys realized in the palaestra found traces of buildingsites, with the remains of materials used for the marbledecoration11. As a result of the excavations in 1983 ofthe third century baths at Saint-Jean (public baths?)12,several hundred fragments of marble crustae of variouskinds have been identified13. In recent years a numberof sites have revealed the remains of marble decora-tion from houses. Furthermore, a recent thesis onpublic architecture in Lyon and its decoration provid-ed an opportunity to examine around one thousandarchitectural pieces, including marble elements, butthe study was not focused on the analysis of ancient

stones14. Finally, a thesis in preparation about the mar-ble in the Rhône Valley should increase our knowledgeon this subject15. It should however be emphasisedthat the study of the use of marble in architecture inLugdunum suffers from a lack of analyses neverthelessfundamental/crucial for an investigation of work-shops. A single fragment of white marble among onethousand pieces was the object of a laboratory identifi-cation.

The buildings and their decoration

Almost all the public monuments in Lyon have yield-ed some marble. The most important are shown in fig.1. On the Fourvière hill (Fig. 1, n° 1), some blocks ofwhite marble dating to the Augustan age or not earlierthan the Flavian era are part of a complex of monu-ments previously interpreted as the forum, but whichmay have been a sanctuary16. A building of this sanctu-

THE USE OF MARBLE IN THE ROMAN ARCHITECTURE OF LUGDUNUM (LYON, FRANCE)

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Fig. 1. Some sites and buildings mentioned (H. Savay-Guerraz, D. Fellague; cartography: M.-N. Baudrand).

14. Fellague 2007.15. Delphine Remeau, Le marbre dans la vallee du Rhône a l'époque romaine: approvisionnement et utilisation, thesis in

preparation, Université Montpellier 3, enlever le gras by P. Thollard.16. Fellague et al. 2012.

ary also presented crustae of coloured marble. Severalhundred blocks of white marble also come from thesanctuary of the Clos du Verbe Incarné (Fig. 1, n° 2), in-terpreted as the municipal sanctuary of the ImperialCult. They belong to two phases at least: some blocksare connected with a phase at the beginning of the Im-perial Age whereas the others originate from a restora-tion in the Flavian time. The material was not analysed,but it could consist principally of Luni marble17. Theodeon (Fig. 1, n° 3) has homogeneous architectural ele-ments which could date from the time of construction,at the end of the first century A. D. or from the begin-ning of the second century18. The nearby theatre, builtin the Augustan era, is the monument which provided-most marble, from various periods, up to the Late Em-pire as demonstrated by at least one capital19. Bothbuildings delivered numerous veneers of coloured mar-ble for the orchestra, coverings of the aditus, the balteus,and also shafts in coloured marble from the scaenaefrons. In addition to the remains of building sites, the

excavations of the baths on the Rue des Farges (Fig. 1,n° 4) uncovered wall and floor coverings in white andcoloured marbles of which some may be contemporane-ous to the construction towards 50-60 A. D. whereas theothers must relate to a reconstruction of the beginningof the second century. White marbles elements, in par-ticular Asiatic capitals of the second or third century,probably belong to other baths at the north of the city(Fig. 1, n° 5)20. We have already mentioned the discov-ery of crustae in the baths at Saint-Jean, avenue A. Max(Fig. 1, n° 7). On the hill of the Croix-Rousse (Fig. 1, n°10), there are also a few marble elements which comefrom the federal sanctuary of the Three Gauls. Besidesthe famous garland friezes, whose attribution to the al-tar remains hypothetical, some shafts and cornices be-long to monuments of the sanctuary21. At last, more re-cently, in the Saint-Georges district (Fig. 1, n° 8), a setof two hundred architectural blocks were discovered onthe banks of the Saône22, including a dozen made ofmarble, from various provenances.

D. FELLAGUE, H. SAVAY-GUERRAZ, F. MASINO, G. SOBRÀ

127

17. André, 1991; André, 1998; Fellague 2007, chapter 3, 47-115.18. Fellague 2007, chapter 10, 400-448 and chapter 11, pieces of the theatre or the odeon.19. Fellague 2007, chapter 9, 278-399.20. Fellague 2007, chapter 13, 490-500.21. Fellague 2007, chapter 6, 218-223.22. Fellague 2007, chapter 4, 116-168; Fellague, Bérard 2013 (for pieces in limestone); Savay-Guerraz 2013.

Fig. 2. Origin of the main marbles imported in Lyon in the roman architecture (H. Savay Guerraz; cartography: M.-N. Baudrand).

In the most luxurious houses, some elements of walldecorations in marble were found23 as in the houses ofthe Antiquaille excavated in 2011-201224 (Fig. 1, n° 9).The opus sectile floors have generally disappeared: of-ten, the only remains are the imprints of the removedslabs. On the other hand, mosaic or concrete floorsdecorated with marble fragments are frequently found.

The materials

While the majority of white marble can probably beattributed to the quarries of Luni, one can distinguish bythe naked eye various features corresponding to other

provenances yet to be identified in the absence of analy-ses. A recent analysis of one fragment of white marblerevetment from Y. Maniatis revealed the presence ofmarble from Thasos used in the portico of the odeon.

Concerning coloured marbles, most of those foundin Lyon are imported from the Mediterranean Basin(Fig. 2), showing the prosperity and the important statusof the city. But there are also some materials of more lo-cal origin, such as several shafts. A small column shaftfrom the archaeological site of Saint-Georges (D.: 20cm)25 and another shaft of unknown origin (D.: ca 15cm)26 are cut in the red Vimines breccia from Savoy. Thisis an oligocene breccia consisting of light coloured lime-stone fragments wrapped in a dark red matrix with abeige coloured cement27. During Antiquity, this materialwas exploited with an especially regional utilisation, inSavoy and in Isère. A fragment of a small shaft found inthe recent excavations of the Basilica of Saint-Denis(Seine-Saint-Denis) indicates however a more extendeddistribution28. Probably coming from the same building,three column shafts in cipollino mandolato (D.: 43,5-50,3cm) were discovered at Saint-Georges (Fig. 3)29. Thisnodular green and violet-red limestone, designated bythe generic name of « griotte marble », is well identifiedamong the marble of Aquitaine exported to Rome30.This stone started to be extraceted in the first in the firstcentury in Campan (quarry of Espiadet), in the Adourvalley (Hautes-Pyrénées), but its diffusion increasedfrom from the second century. Other quarries wouldhave existed in the Roman period: based on geochemicalanalyses, F. Antonelli and L. Lazzarini conclude that thequarries of the Ariège (Pont de la Taule) were among themost productive during Antiquity31. This marble wasfound in numerous sites of Narbonnaise, but also in theThree Gauls, in Hispania, in Brittany and in Italy32. Itwas used essentially in opus sectile floors, in wall crustaeand in small columns. Its use for the big shafts discov-ered in Lyon is therefore remarkable. In Lyon, we alsoobserve the use of a red crinoidal limestone from Bour-gogne (region of Pouillenay, not far from Saumur-en-Auxois, in Côte d’Or)33. It is relatively plentiful amongthe crustae collected in the portico of the odeon and wasalso excavated in the baths of the Rue des Farges. Therecan be no doubt that other decorative stones from quar-ries located in Gaul have yet to be identified.

The majority of pieces in coloured marble are usedin crustae or slabs. The pavement of the odeon orchestra


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Fig. 3. Shaft in cipollino mandolato discovered at Saint-Geor-ges (no inv. 2004.02.142) (photo: Inrap).

23. Fellague 2007, chapter 8, 262-270 (a capitel and two architraves).24. Report in preparation supervised by E. Hofmann (Service Archéologique de la Ville de Lyon).25. Inv. musée gallo-romain de Lyon-Fourvière: 2004.02.145.26. Inv.: 2000.00.83.27. Mazeran 1995; Tritenne, Rival 2006.28. Blanc, Guyard, Magnan 2003.29. Inv.: 2004.02.141, 142 and 143.30. Gnoli 1988, 156.31. Antonelli, Lazzarini 2000.32. Antonelli 2002.33. Lamotte, Brunet-Gaston 2008.

is a wonderful example of this, with a great diversity ofmarble types, all imported from the east of the Mediter-ranean Basin (cipollino verde; giallo antico; africano; por-fido verde; fior di pesco; rosso antico; pavonazzetto; porfi-do rosso; ofite (?); breccia corallina... and a few pieces ofgreco scritto34), though some fragments were added dur-ing the restorations. In a few houses35, great diversity ofmarble types has been used, perhaps in order to pro-duce a sort of « catalogue » of imported materials, usingpieces sparingly for reasons of economy, as in the houseof Polybius in Pompeii36.

In addition to this variety, also the presence of realblocks, not just simple crustae, highlights the importanceof the building activity in Lugdunum. The most famousexample is the imposing granite column shafts perhapsfrom the Asswan region or from the Gebel Fatireh(mons Claudianus) quarries (ht.: ca 9,50 m; D.: ca 1 m),re-used in the church of Saint-Martin d’Ainay. But thereare many shafts carved from different materials; forexample, in the theatre and in the odeon, there are shaftsmade of giallo antico, africano, pavonazzetto, cipollinoverde, bigio antico, fior di pesco and even red porphyryfrom Egypt.

Chronology of the use of white and colouredmarble

Just a few years ago, it was thought that the import ofwhite marble to Lyon went hand in hand with theopening of the hard limestone quarries of the Jura(called the « choin »), around the middle of the firstcentury A. D., and that it corresponded to the

development of a fashion for hard stones37. Admittedly,the majority of white marble pieces preserved dates fromthe end of the first and second century, but somearchitectural blocks of marble can be placed in the earlyImperial age, from the Augustan or Tiberian era. Theseare not only crustae, but also pieces of massive size. It ishardly coincidental that these pieces belong to the mostimportant monumental groups, in particular sanctuaries:the sanctuary of the Verbe Incarné; the sanctuary ofFourvière; a monument at the sanctuary of the ThreeGauls; and the theatre.

Examples are provided by three crowning elementsor cornices that we attribute to a monument of the fede-ral sanctuary whose decoration (leaves and darts, leaves,eggs) can be dated from the Augustan age (Fig. 4)38.Other cornices, with decorative features characteristicof the Augustan period and which have similarities tothose mentioned above, had to belong to a building of asanctuary at Fourvière39. Concerning the marble piecesfrom the sanctuary of the Verbe Incarné which can bedated to the beginning of the Julio-Claudian time, itseems that their use was reserved to the inner parts, thecella and the pilasters of the portico. Some marblepieces from the theatre which can be attributed to thescaenae frons were produced in the Julio-Claudian age,and even probably in the Augustan period. Blocksreused in a wall of the north aditus of the theatre, theimprint of which is preserved, and also some pieces inthe museum, probably belong to the Augustan scaenaefrons40. We can mention another marble capital (Fig. 5),which contains only two rows of acanthus leaves, with


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Fig. 4. Cornice in white marble attributed to a monument ofthe federal sanctuary, no inv. 2000.00.205 (photo: J.-M. De-gueule, msée gallo-romain de Lyon-Fourvière).

34. The determination of this material was realized by Annie Blanc who we thank.35. See for example the opus scutalatum of the house rue de la Monnaie (Le Mer, Chomer 2007, 361-362) or the one of the house

of rue Chambonnet (Le Mer, Chomer 2007, 373-374).36. Cancelliere S., Lazzarini L., Turi 2002.37. Savay-Guerraz 1990, 142; Savay-Guerraz 1998, 442. Information taken from for example Darblade-Audoin 2006, 131.38. Fellague 2007, 220-223.39. Fellague et al. 2012, 237-240, n° 26-30.40. Fellague 2011. In boxes not inventoried at the gallo-roman museum, we found recently (in october 2012) fragments of

friezes in godrons of which we only conserved imprints until now on the wall of the north aditus of the theatre.

Fig. 5. Capital in white marble, no inv.: 200.00.069 (photo: J.-M. Degueule, musée gallo-romain de Lyon-Fourvière).

no cauliculi nor volute, with only suggested helixes andwithout a real abacus, that is reduced to a band. It couldbe the part of a candelabra in the shape of a capital. Theinterest of this element, whose place of discovery is notassured, is its chronology and the use of acanthus leaveswith drops41. These leaves with short, sharp digitations,crossed by veins, and the asymmetrical contact of whichforms drops-like eyelets could be dated to the AugustanAge. This type of leaf, who refers to a Microasiatic mod-el, is represented in Lyon only by this capital. It is pro-bably a Greek work.

While its use remains limited, white marble has infact been used since the beginning of the Imperial Age inLugdunum. This is in no way surprising for this city as itwas a Roman colony and a provincial capital. In othercities of the Gauls, the noble material started to be ap-preciated in the Augustan period and at the beginning ofthe first century A. D., in particular in the cities of Nar-bonnaise: in the theatre of Arles towards 20 B. C.42, inOrange43, in Narbonne44, in Vienne45, and also in Au-tun46. The same observation can be made for cities inother western provinces, such as in the Iberian Peninsulawhere the marble would be used from the triumviral pe-riod in the theatre of Cadix (Luni marble)47; at the begin-ning of the Imperial Age for a part of the temple of Evo-ra48; in the scaenae frons decoration in the theatre ofCartagena (Luni marble, between 5 and 1 B. C.)49 andthe theatre of Merida (second phase, from the Augustanage)50. We can again mention as examples some architec-tural elements from Tarragona51, from the forum of Sego-brig52 or from Colonia Patricia (Cordoba)53. Further-more, the marble extraction in Hispania began at thetime of Augustus (marble from Almadén de la Plata,Cabezo Gordo marble, marble from Estremoz, MijasMountain marble)54.

From the Late Imperial Age, architectural pieces aremore scarce, although a few marble capitals from theLate Antiquity and the early Mediaeval age have beenpreserved.

With regard to coloured marble pieces, it seems arather perilous endeavour to state when they were intro-duced to Lyon, since coloured marble was used mainlyfor parts without any decoration, which makes them dif-ficult to date with stylistic arguments. It is found mainlyin column shafts and smooth crustae. In the baths of theRue des Farges, fragments of the production waste ofthe stone workshop dating from from the constructionconstruction, the middle of the first century, attest tothe use of coloured marble by this date at least.

Although we do not know exactly when colouredmarble was introduced, the use of marble – colouredand white – became more general in the Flavian andAntonine periods. Building activity was thus given anew impetus, which made the period from the late firstcentury to the first half of the second century the zenithof Lugdunum architecture, corresponding exactly to thedevelopment of Roman architecture in western cities.

Marks on marble architectural pieces

In Lyon, marble architectural pieces with engravedmarks do not seem to be so numerous. These simplemarks are either the isolated letters i and v, or the Ro-man numerals I55, III56, V57 and VI58. It is not easy to dis-tinguish the marks used for the placement from thosemade for stock inventories. There are other marks withtwo to three letters which can be associated with numer-als. Three moulding blocks of unknown origin are en-graved on a face and we read: FR59; MAE60 or EAM;


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41. We thank P. Pensabene for drawing our attention to this piece which we did not include in our thesis.42. Roth-Congès 1983, 113 and n. 71, fig. 10-11; Gros 1987, 343.43. Concerning the marbles used in Arausio, see Antonelli et alii 2002; Antonelli, Lazzarini 2004.44. Janon 1986, 89-90. 45. Gros 1987, 343 n. 18.46. Olivier 1987, 62-64, n° 98 (Augustan age); 66-69, n° 101 e (first half of the first century); Chardron-Picault, Lamotte 2004,

236-237 and n. 3.47. Bernal, Arévalo 2011, 199-205. It could be the first example of import of the marble of Luni in the Iberic peninsula.48. Hauschild 1992, 114.49. Ramallo Asensio 2004, 172-176.50. M. Pfanner quoted in Mar 1993, 146.51. See a corinthian capital of pilaster dated the years 10-30 A.D. and attributed to Auguste's temple: Ruiz de Arbulo et alii

2004, 134-135 and fig. 21.52. Cebrián 2004.53. Marquez 1998, 204 and 210; Gutiérrez Deza 2004, 565.54. Àlvarez Pérez et alii 2009, 13, 24, 36, 66, 112.55. 2000.00.459, white marble (?): extremity of a shaft column or base molding block with a surface marked by I (height: 2,1

cm).56. 2004.02.142, marble from Campan: shaft column discovered at Saint-Georges; III marked on the bottom surface (height: 3

cm).57. 2000.00.54 : decoreted base in white marble from the odeon: V marked on the upper surface (height: 2,5 cm). 2010.00.284,

white marble: molding block; rear face with V.58. Capitel of the sanctuary of the Verbe Incarné, white marble; mark VI on the rear face (height: 2,5 cm ) (Fellague 2007, 65,

V.I. 42).59. 2010.00.285, white marble.60. 2010.00.287, white marble.

PPII61. A piece of entablature discovered between thetheatre and the odeon has this numeral inscription onits back: DIIX62.

On the famous oak garland frieze traditionally at-tributed to the altar of the Three Gauls, there is nodoubt that the letters engraved are assembly marks. Onthe main face of the most complete slab, there is a Dclose to a side edge and an E at the other end63.

In unpublished notes, the architect P. André whoworked on the architectural elements of the sanctuary ofVerbe Incarné mentioned the existence of fragments ofmarble blocks some of which contained quarry marks orcontrol marks for export. Unfortunately, the blocks ofthis sanctuary are not easily accessible today and wewere not able to verify the information by specifying thedetail of these marks. Nevertheless, P. André mentionedthat a block cut in situ during the complete marmorisa-tion in the Flavian period contained a fragment of oneM followed by CXXII. Another piece presents on a facethe words « Lo associé à un alpha (en lettres) »64.

Workshops and materials

It was not uncommon for workers from outside a re-gion to accompany materials, and then to work themand put them in place. For limestone, this link betweenmaterial and stylistic influence can be shown. The firstlimestone used in Lyon came from the south of Franceand the style of the pieces from the late Republic to theearly Augustan Age testifies the influence or interven-tion of workshops from the province of Narbonnensis65.

For marble, there is unfortunately no petrographicanalysis which would allow for consideration of this linkbetween quarry origin and workshop origin. For exam-ple, Asiatic Corinthian capitals from the northern bathsand from the theatre66 were probably made in the sec-ond century or at the beginning of the third by sculptorsfrom the Orient, Asia Minor or Greece, whether thepieces were imported ready-made or not. It would beuseful to know whether the marble comes from Greeceor Anatolia, or from elsewhere.

It is essential, nonetheless, to draw attention to thefact that local workshops were able to work importedmarble. In the sanctuary of the Verbe Incarné, a so-called provincial composite capital with flutes seems tobe made of Luni marble67. On the contrary, in one of themonuments of the Fourvière sanctuary, a capital near

the so-called metropolitan composite is cut in a regionallimestone from Bourgogne68.

Circular shafts revetment

The presence of marble revetments for circularshafts is attested in a number of buildings in Lyon69: thetheatre, the odeon, the sanctuary of the Verbe Incarnéand that of Fourvière. One piece, furthermore, is of in-determinate origin. All these elements present cabledflutings separated by fillets and they differ in dimensionof the supporting shafts, number of flutings and degreeof finish. They were used to imitate the hypostyle orpseudo-hypostyle marble architecture by using less ex-pensive materials and current masonry techniques forthe inner structure.

Among those attributed to the sanctuary ofFourvière (which are the best known), some are pre-served entirely and allow us to understand that the basicmodule covered 1/6 of a circumference (Fig. 6 a), beingendowed with four flutings and four fillets, the one atthe right end covering the joint with the contiguous ele-ment. The complete shaft would therefore have a diam-eter of approximately 0,80-0,90 m. Some other elementscorrespond to the edge of the shafts (Fig. 6 c), thusshowing the ending lunulae of the flutings; others aresmaller and organized in only two flutings and three fil-lets. The last type is particularly meaningful, for it impli-


131

61. Not inventoried element coming from the « box 98 ».62. This element is mentioned in the field notebook of A. Audin (15 october 1945). It is maybe the architrave Th 209 (Fellague

2007, 376) but we were not able to see the rear face.63. Guey, Audin 1956, 59.64. André 1991, 25, 26; André 1998, 4, 25. We thank P. André for the confirmation of this information sent by e-mail in novem-

ber 2012.65. Fellague 2009.66. Fellague 2007, 366-367, 393-394, 496-498, 614-615; Fellague 2009, 537-538.67. Fellague 2007, 59, V.I. 19.68. Fellague et al. 2012, 223-228.69. Fellague 2007, 57, 62, 245-247, 394, 436, 554, 593; Fellague et al. 2012, 233-235, 241.

Fig. 6. Shafts revetments from the sanctuary of Fourvière.From left to right: a. four flutings element with jointing fileton the right; b. two-fluting element with starting filet on theleft and jointing filet on the right; c. fragment of a shaft’s lowerend (photo: F. Masino, G. Sobrà).

cates the presence of shafts with a number of flutingswhich was not a multiple of four, as for example en-gaged three-quarter columns (Fig. 7 b).

Unfortunately, the type of inner structure of theserevetments is generally unknown: it may have been ofstone masonry, opus caementicium or bricks. At theodeon, rough drum made of stones were described, onwhich marble slabs were bonded (or could have been?)using tile mortar70.

This technique is not well known, but it is certainlymore common than one would think. It is attested inseveral contexts: a few comparisons in Gaul (in the«Capitole» of Toulouse71; at Feurs in the Loire depart-ment72; in the Roman villa à Saint-Georges-de-Reneinsin the Rhône region73) and in Iberia (theatre of Tarra-co)74 are known. The most famous comparison is inRome in the « Stadium » of the Flavian Palace, wherethose revetments are used for engaged columns, thecore of which was built of concrete and brick masonry,like the nearby walls75. Probably a systematic inventorywould multiply the comparisons as many elements havenot been published yet.

For the interpretation of the finds in Lyon, we cannot reject a priori the hypothesis, dating back to the time

of the excavations, of free standing columns built in ma-sonry or stone blocks, then covered with marble. In anycase on the basis of the analysis of the revetment ele-ments, it seems easier to imagine their use in the defini-tion of engaged columns, at least at Fourvière.

Re-use of marble pieces

It is not surprising that antique marble pieces were re-used in Antiquity. For example, a composite capitalfrom the first half of the second century coming fromthe theatre or the odeon is in fact a re-used architrave76.Moreover, in the theatre, as previously noted, crustaeprobably coming from the first Augustan scaenae fronswere re-used as orthostates in the lower part of the wallsof the aditus in the theatre, while the upper sectionswere painted. The marble crustae – pilasters, architrav-es, friezes – were applied to the wet mortar on the rearface, thus leaving the imprint of their former decora-tion.

In the Mediaeval and Modern times, the marbleblocks which escaped the lime kiln were also re-used, assimple construction rubble. More interesting is the sym-


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Fig. 7. Examples of assemblage of the revetment elements: From left to right: a. engaged half-column; b. engaged three-quartercolumn; c. free-standing column (drawing: F. Masino, G. Sobrà).

70. Audin 1979, 150.71. Arramond, Boudartchouk 1997, 213.72. Valette, Guichard 1991, 147.73. Information given by J.-Cl. Béal (Université Lyon 2) who we thank.74. The information was given us by Javier Angel Domingo Maganya (La Sapienza University, Rome) who we thank. The

indroduction of marble in the theatre at Tarraco maybe dates to the Flavian age (Mar et alii 2010, 185-187).75. Macdonald 1982, 158, pl. 133.76. Fellague 2007, 454, ThOd 21.

bolic dimension which the re-use or simply the use ofmarble pieces may have. The façade of Saint-JeanCathedral (Fig. 1, n° 6) added in the fourteenth centuryshows an initial course of cipollino marble as if to assertthe legacy of Antiquity, demonstrating at the same timea supremacy over the pagan religion. Finally, the major-ity of epitaphs in early Christian times are engraved onslabs of white marble, whereas during the Empire, pa-gan epitaphs are almost all on hard limestone. Marblewas probably used for its value as a stone of eternity andpurity.

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