Search Results · Art of Making

Altıntaş Quarry

The quarries at Altıntaş, not far from Iscehisar, were a second source of purple-and-white marble, also known as pavonazzetto in the Roman period. The main ... More period of exploitation of these quarries appears to have been in the early 2nd century AD, and like the nearby Iscehisar quarries they seem to have been run under imperial supervision. Lazzarini, L., Moschini, G., Waelkens, M., and Xusheng, H. (1985). 'New light on some Phrygian marble quarries through a petrological study and the evaluation of Ca/Sr ratio', in P. Pensabene (ed.). Marmi antichi: problemi d’impiego, di restauro e d’identificazione (=Studi Miscellanei 26). Rome: 41–6. Waelkens, M., de Paepe, P., and Moens, L. (1986). 'Survey in the white marble quarries of Anatolia', Araştırma Sonuçları Toplantısı 4: 113–26.

Altıntaş Quarry: Miscellaneous Architecture

The quarries at Altıntaş, not far from Iscehisar, were a second source of purple-and-white marble, also known as pavonazzetto, in the Roman period. As at ... More Iscehisar roughed-out architectural elements have been found in the quarries, primarily column shafts. Lazzarini, L., Moschini, G., Waelkens, M., and Xusheng, H. (1985). 'New light on some Phrygian marble quarries through a petrological study and the evaluation of Ca/Sr ratio', in P. Pensabene (ed.). Marmi antichi: problemi d’impiego, di restauro e d’identificazione (=Studi Miscellanei 26). Rome: 41–6. Waelkens, M., de Paepe, P., and Moens, L. (1986). 'Survey in the white marble quarries of Anatolia', Araştırma Sonuçları Toplantısı 4: 113–26.

Aphrodisias Quarries

The so-called 'City Quarries' at Aphrodisias are located 2 km to the north of the city and are easily accessible. White, grey and dark grey ... More marble were quarried in this area, all of it destined for building and carving projects in the city. Lazzarini, L., Ponti, G., Preite Martinez, M., Rockwell, P., and Turi, B. (2002). 'Historical, technical, petrographic, and isotopic features of Aphrodisian marble', in J. Herrmann, N. Herz, and R. Newman (eds). Interdisciplinary studies on ancient stone. International Conference of the Association for the Study of Marble and Other Stones in Antiquity (5th: 1998: Boston, Mass.) (ASMOSIA 5). London: 163–68. Long, L. (2012). 'The regional marble quarries', in C. Ratté and P. De Staebler (eds). The Aphrodisias regional survey (Aphrodisias 5). Mainz: 165–201. Ponti, G. (1996). 'Ancient quarrying at Aphrodisias in the light of geological configuration', in C. Roueché and R. R. R. Smith (eds). Aphrodisias papers 3: the setting and quarries, mythological and other sculptural decoration, architectural development, Portico of Tiberius, and Tetrapylon: including the papers given at the Fourth International Aphrodisias Colloquium held at King's College, London on 14 March, 1992, in memory of Kenan T. Erim (Journal of Roman Archaeology supplementary series 20). Ann Arbor MI: 105–10. Rockwell, P. (1996). 'The marble quarries: a preliminary study', in C. Roueché and R. R. R. Smith (eds). Aphrodisias papers 3: the setting and quarries, mythological and other sculptural decoration, architectural development, Portico of Tiberius, and Tetrapylon: including the papers given at the Fourth International Aphrodisias Colloquium held at King's College, London on 14 March, 1992, in memory of Kenan T. Erim (Journal of Roman Archaeology supplementary series 20). Ann Arbor MI: 81–104.

Aphrodisias: Agora Gate

This gate to the South Agora at Aphrodisias provided a monumental entrance to the city's second most important public plaza. The gate was probably first ... More erected in the 1st century AD but was modified in Late Antiquity and turned in a nymphaeum. Linant de Bellefonds, P. (2009). The mythological reliefs from the agora gate (Aphrodisias 4). Mainz.

Aphrodisias: Apprentice Pieces

Numerous apprentice pieces, both hands and feet, have been found at Aphrodisias. These appear to have been exercises that trainee carvers performed during their apprenticeships. Voorhis, ... More J. A. van (1998). ‘Apprentices’ pieces and the training of sculptors at Aphrodisias’, Journal of Roman Archaeology 11: 175–92. Voorhis, J. A. van (2008). ‘The training of marble sculptors at Aphrodisias’, in R. R. R. Smith and J. L. Lenaghan (eds). Aphrodisias’tan Roma Portretleri=Roman Portraits from Aphrodisias. Istanbul: 120–35.

Aphrodisias: Basilica Reliefs

The Civil Basilica was one of the most important civic structures at Aphrodisias. Built in the Flavian period it is one of the largest known ... More in Asia Minor. In Late Antiquity, the interior of the basilica was decorated with a series of new reliefs depicting foundations myths of Aphrodisias. Yıldırım, B. (2004). ‘Identities and empire: local mythology and the self- representation of Aphrodisias’, in B. E. Borg (ed.). Paideia: the world of the Second Sophistic (Millennium-Studien 2). Berlin: 23–52.

Aphrodisias: Hadrianic Baths

The Hadrianic Baths were the main monumental public baths of the city. Facing on to the South Agora they were built in the Hadrianic period ... More by various members of the local elite and then continued to be altered and re-modelled right up into Late Antiquity. Numerous statues and relief sculpture have been recovered from the baths. Smith, R. R. R. (2007). ‘Statue life in the Hadrianic Baths at Aphrodisias, AD 100-600: local context and historical meaning’, in F. A. Bauer and C. Witschel (eds). Statuen in der Spätantike (Spätantike, frühes Christentum, Byzanz. Reihe B, Studien und Perspektiven 23). Wiesbaden: 203–35. Therkildsen, R. H. (2012). ‘A 2nd century CE colossal marble head of a woman: a case study in Roman sculptural polychromy’, Tracking colour: the polychromy of Greek and Roman sculpture in the Ny Carlsberg Glyptotek. Preliminary Report 4: 45–63

Aphrodisias: Miscellaneous Architecture

Various architectural elements that come from uncertain contexts have been documented at Aphrodisias. Most of these date to the highpoint of building in the city, ... More in the 1st and 2nd centuries AD, but some date to Late Antiquity. Dillon, S. (1997). ‘Figured pilaster capitals from Aphrodisias’, American Journal of Archaeology 101: 731–69.

Aphrodisias: Miscellaneous Reliefs

Several reliefs have been found at Aphrodisias that come from unknown contexts. Chaisemartin, N. de (1999). ‘Technical aspects of the sculptural decoration at Aphrodisias in Caria’, ... More in M. Schvoerer, N. Herz, K. A. Holbrow, S. Sturman (eds). Archéomatériaux: marbres et autres roches: ASMOSIA IV, Bordeaux-Talence, 9-13 octobre 1995: actes de la IVème Conférence internationale de l'Association pour l'étude des marbres et autres roches utilisés dans le passé. Bordeaux: 261–7.

Aphrodisias: Miscellaneous Statuary

Aphrodisias was famous in the Roman period for its sculptors and sculpture. The city was full of statues and many of these are now in ... More the Aphrodisias Museum. Hallett, C. H. (1998). ‘A group of portrait statues from the civic center of Aphrodisias’, American Journal of Archaeology 102.1: 59–89. Smith, R. R. R. (2006). Roman portrait statuary from Aphrodisias (Aphrodisias 2). Mainz.

Aphrodisias: Miscellaneous Vessels

Hollowed-out marble vessels are common at Aphrodisias but rare elsewhere. They were probably used for storing oil, wine or perhaps grain.

Aphrodisias: North Agora

The North Agora was the main agora of the city and was laid out in the late 1st century BC and monumentalised over the course ... More of the next century. Chaisemartin, N. de (1999). ‘Technical aspects of the sculptural decoration at Aphrodisias in Caria’, in M. Schvoerer, N. Herz, K. A. Holbrow, S. Sturman (eds). Archéomatériaux: marbres et autres roches: ASMOSIA IV, Bordeaux-Talence, 9-13 octobre 1995: actes de la IVème Conférence internationale de l'Association pour l'étude des marbres et autres roches utilisés dans le passé. Bordeaux: 261–7.

Aphrodisias: Sarcophagi

Hundreds of complete and fragmentary sarcophagi have been found at Aphrodisias. All of them were carved in the local marble and were intended for local ... More use. Several different types are identifiable, the most popular being those decorated with either garlands or columnar screens. Işik, F. (1992). 'Zum Produktionsbeginn von Halbfabrikaten kleinasiatischer Girlandensarkophage', Archaologischer Anzeiger 1992: 121–45. Işik, F. (2007). Girlanden-Sarkophage aus Aphrodisias (Sarkophag-Studien 5). Mainz. Öğüş, E. (2008). ‘Lahit üretimi: mermer ocağından mezar anıtına/Sarcophagus production: from quarry block to funerary monument’, in R. R. R. Smith and J. L. Lenaghan (eds). Aphrodisias’tan Roma Portreleri = Roman portraits from Aphrodisias. Istanbul: 169–83. Öğüş, E. (2010). Columnar sarcophagi from Aphrodisias: construction of elite identity in the Greek East, Ph.D. dissertation, Harvard Unversity. Smith, R. R. R. (2008). 'Sarcophagi and Roman citizenship', in C. Ratté and R. R. R. Smith (eds). Aphrodisias papers 4: new research on the city and its monuments (Journal of Roman Archaeology supplementary series 70). Portsmouth RI: 347–94. Turnbow, H (2012). ‘Roman sarcophagi’, in C. Ratté and P. De Staebler (eds). The Aphrodisias regional survey (Aphrodisias 5). Mainz: 309–46.

Aphrodisias: Sculptor's Workshop

The Sculptor's Workshop at Aphrodisias consists of a suite of small rooms immediately behind the Bouleuterion. When it was excavated in the 1960s a range ... More of part-finished statues were found, as well as some second-hand items that were being repaired. Carving tools and signs of marble-working were also discovered. To judge from these finds, and the coins from these rooms, this workshop was in operation between the Severan period and the 4th or 5th centuries AD. It has also been proposed, however, that rather than a workshop in the traditional sense this space might have been used for storing and altering statues, some of which had already been in use elsewhere in the city. Rockwell, P. (1991). ‘Unfinished sculpture associated with the sculptor's studio’, in R. R. R. Smith and K. T. Erim (eds). Aphrodisias papers 2: the theatre, a sculptor's workshop, philosophers and coin-types: including the papers given at the Third International Aphrodisias Colloquium held at New York University on 7 and 8 April 1989 (Journal of Roman Archaeology supplementary series 2). Ann Arbor MI: 127–43. Smith, R. R. R. (2011). ‘Marble workshops at Aphrodisias’, in F. D'Andria and I. Romeo (eds). Roman sculpture in Asia Minor: proceedings of the International conference to celebrate the 50th anniversary of the Italian excavations at Hierapolis in Phrygia, held on May 24-26, 2007, in Cavallino (Lecce) (Journal of Roman Archaeology supplementary series 80). Portsmouth RI: 62–76. Voorhis, J. A. van (2012). ‘The working and re-working of marble sculpture at the sculptor's workshop at Aphrodisias’, in B. Poulsen and T. M. Kristensen (eds). Ateliers and artisans in Roman art and archaeology (Journal of Roman Archaeology supplementary series 92). Portsmourth RI: 38–54. Voorhis, J. A. van (forthcoming). The sculptor’s workshop at Aphrodisias (Aphrodisias 5). Mainz.

Aphrodisias: Sebasteion

Built between the reigns of Tiberius and Nero and paid for by two local families, the Sebasteion at Aphrodisias is a monumental complex devoted to ... More the imperial cult. The complex consists of two parallel porticoes, each of three stories, flanking a street which leads from a monumental gateway (propylon) to a temple of the imperial cult. The families who financed construction each paid for one of these porticoes which were decorated on there upper two stories with 200 marble relief panels. These were inserted into the engaged architectural order of these facades and bear scenes depicting local and wider Greek and Roman myths, the Julio-Claudian emperors, various divinities and conquered peoples. The figures on these panels are approximately lifesize and the range of quality and techniques employed suggests that a number of different teams of sculptors were employed on this enormous project. The marble used is all local, from the nearby quarries. In the Late Roman period the north portico was damaged by an earthquake and cleared, while the south portico remained in place and was restored. For this reason most of the surviving reliefs, now on display in the archaeological museum at Aphrodisias, come from the south portico. Rockwell, P. (1989). ‘Finish and unfinish in the carving of the Sebasteion’, in C. Roueché and K. T. Erim (eds). Aphrodisias papers: recent work on architecture and sculpture, including the papers given at the Second International Aphrodisias Colloquium held at King's College London on 14 November 1987 (Journal of Roman archaeology supplementary series 1). Ann Arbor MI: 101–18. Smith, R. R. R. (1987). ‘The imperial reliefs from the Sebasteion at Aphrodisias’, Journal of Roman studies 77: 88–138. Smith, R. R. R. (1988), 'Simulacra gentium: the ethne from the Sebasteion at Aphrodisias', Journal of Roman studies: 50–77. Smith, R. R. R. (in press). The marble reliefs from the Julio-Claudian Sebasteion at Aphrodisias (Aphrodisias 6). Mainz.

Aphrodisias: South Agora

The South Agora at Aphrodisias was the city's second most important public plaza after the North Agora. In was originally laid out in the early ... More 1st century AD. In its final form it was surrounded on its northern, western and southern sides with colonnades decorated with a mask and garland frieze. Access on the eastern side was provided via the monumental Agora Gate. The Basilica and the Hadrianic Baths opened on to the South Agora. Running along the centre of the South Agora was a monumental pool. Chaisemartin, N. de (1999). ‘Technical aspects of the sculptural decoration at Aphrodisias in Caria’, in M. Schvoerer, N. Herz, K. A. Holbrow, S. Sturman (eds). Archéomatériaux: marbres et autres roches: ASMOSIA IV, Bordeaux-Talence, 9-13 octobre 1995 : actes de la IVème Conférence internationale de l'Association pour l'étude des marbres et autres roches utilisés dans le passé. Bordeaux: 261–7. Waelkens, M. (1987). ‘Notes d'architecture sur l'agora et le portique de Tibère à Aphrodisias de Carie’, in J. de La Genière, K. T. Erim, N. de Chaisemartin (eds). Aphrodisias de Carie: Colloque du Centre de recherches archéologiques de l'Université de Lille III, 13 novembre 1985. Paris: 123–9.

Aphrodisias: Theatre

The theatre at Aphrodisias was originally constructed in the Late Hellenistic period but its form as it exists today largely dates from the Augustan period, ... More when it was remodelled under G. Iulius Zoilos. At some point under either Claudius or Nero further changes were made to the theatre, with the addition of an entranceway, two side entrances (parodoi) onto the cavea, and further retaining walls. This work was paid for my Aristokles Molossos and his son and seems to have expanded the size of the theatre. Chaisemartin, N. de, Theodorescu, D. (2006). ‘Le bâtiment de scène du thèâtre d'Aphrodisias: restitution et étude fonctionnelle de la structure scénique, Pallas 71: 57–70. Chaisemartin, N. de (2007).‘Remarques sur la syntaxe décorative de la frons scaenae d'Aphrodisias: le rôle des décors en bande’, in in F. D'Andria and I. Romeo (eds). Roman sculpture in Asia Minor: proceedings of the International conference to celebrate the 50th anniversary of the Italian excavations at Hierapolis in Phrygia, held on May 24-26, 2007, in Cavallino (Lecce) (Journal of Roman archaeology supplementary series 80). Portsmouth, RI: 77–90. Theodorescu, D., Chaisemartin, N. de (1992): ‘La frons scaenae du théâtre d'Aphrodisias, aperçu sur les recherches en cours’, Revue archéologique: 181–7.

Aphrodisias: Theatre Bath Reliefs

The Theatre Baths at Aphrodisias are the second largest in the city and are located just to the south of the theatre. They are probably ... More 2nd century AD in date, though they were heavily restored and perhaps remodelled later. These relief piers flanked the entrance to the baths.

Aphrodisias: Zoilos Monument

C. Iulius Zoilos was a slave and then freedman of Octavian (later Augustus) before returning to his hometown of Aphrodisias, where he became a major ... More benefactor. Zoilos was responsible for the planning of much of the civic centre of Aphrodisias and many of its early monumental projects, including important additions to the Temple of Aphrodite and the city's theatre. These reliefs come from a funerary monument or heroon honouring Zoilos, the exact location of which is unknown. Smith, R. R. R. (1993). The monument of C. Julius Zoilos (Aphrodisias 1). Mainz.

Ara Pacis Augustae

The Altar of Augustan Peace (Ara Pacis Augustae) was dedicated on 30 January 9 BC, having been decreed by the Senate to celebrate the return ... More of Augustus from Spain and Gaul on 4 July 13 BC. It was carved entirely in white marble from near Luna (modern Carrara). The Ara Pacus was originally situated next to the Via Flaminia on the Campus Martius but is now on display in a purpose-built museum, the Museo dell'Ara Pacis (the current incarnation of which was opened in 2006). In its current form the Ara Pacis is the result of reconstruction work carried out in 1938 during which hundreds of fragments were put together with the gaps filled with plaster. The reliefs on the Ara Pacis celebrate Augustus wider political and social ideology. The upper zone of the exterior sides of the altar's enclosure are ornamented with two friezes, depicting a public procession of the key members of the Roman order: priests, magistrate, Augustus and his family, and the citizens of Rome. Beneath these reliefs the lower zone of the side walls is decorated with elaborate acanthus plants. This motif is found again on the end walls of the enclosure beneath four reliefs flanking the two entrances to the altar itself: on the front, either side of the main steps, these reliefs refer to the foundation myths of the city, to Romulus and to Aeneas respectively; on the other end, the goddess Roma enthroned on a pile of weapons and accompanied by Honos and Virtus faces across the entranceway to a relief depicting a female figure in a landscape of abundance. The identity of this female figures is much debated by she appears to represent either Peace (Pax), Land (Terra), Tellus (Mother Earth), Venus Genetrix, or perhaps even a combination of all of these intended to celebrate the multifarious character of peace and the wealth that it had brought to Italy. Inside, the altar itself it decorated with a relief showing a sacrificial procession while the interior of the enclosure walls are ornamented with garlands, paterae (offering dishes) and bulls' skulls, all reference to the actual acts of sacrifice that took place here. The quality of the carving of all of this decoration is among the highest found on any monument of any period in Rome and draws heavily on the classicizing style that dominated Augustan state art. Conlin, D. A. (1997). The artists of the Ara Pacis. The process of Hellenization in Roman relief sculpture. Chapel Hill NC. Cohon, R. (2004). ‘Forerunners of the scrollwork on the Ara Pacis Augustae made by a Western Asiatic workshop’, Journal of Roman Archaeology 17: 83–106. Foresta, S. (2011). ‘La policromia dell’Ara Pacis e i colori del Campo Marzio settentrionale’, in M. Rossi (ed.). Colore e colorimetria. Contributi multidisciplinari. Vol. VIIA (Collana Quaderni di Ottica e Fotonica 20). Santarcangelo di Romagna: 333–40. Hannestad, N. (2000). ‘Late-antique reworking of the Ara Pacis?’, Journal of Roman Archaeology 13: 311–18. La Rocca, E. (1983). Ara Pacis Augustae: in occasione del restauro della fronte orientale. Rome. Rossini, O. (2010). ‘I colori dell'Ara Pacis. Storia di un esperimento’, Archeomatica: tecnologie per i beni culturali 1.3: 20–5.

Arch of Constantine

The Arch of Constantine was dedicated in AD 315 and spanned the Triumphal Way. Both the inscription on its attic and the continuous frieze running ... More around it make specific reference to Constantine's victory over his rival Maxentius at the Battle of the Milvian Bridge in AD 312. Aside from these elements most of the other reliefs on the arch are re-used from earlier monuments, adjusted slightly to represent Constantine. The eight panels that adorn the attic and flank the dedicatory inscriptions on both sides are from a lost monument of Marcus Aurelius, probably another arch. On each the emperor has been re-carved as Constantine. The eight round reliefs beneath these are taken from a Hadrianic monument and depict hunting and sacrifice scenes. Again, the main figure on each is re-carved as Constantine or his co-emperor Licinius. The large scenes on the walls of the central archway, meanwhile, are Trajanic in date, originally belonging together as part of a long relief, usually called the Great Trajanic Frieze. Two other sections of this frieze adorn the short ends of the attic at the top of the arch. This frieze depicts the emperor (Trajan, or perhaps Domitian, re-carved as Constantine) both in battle against barbarians and being received as victor by Victory and other personifications. In addition to these reliefs, the arch also employs eight statues of captured Dacians, from Trajan's Forum, which are erected on top of the eight fluted columns which adorn its sides. The Constantinian features of the design, then, include only the frieze - depicting scenes of Constantine's campaigns against Maxentius - and the figures of Victories and river deities which adorn the pedestal bases on each side and the spandrels. The style of these reliefs contrasts markedly with the high-quality of the earlier, re-used panels and is often used as a demonstration of the decline of artistic technique in the Late Roman period. Since the re-carved portraits of Constantine are generally of a high quality we should be careful not to dismiss all of the sculptors working in this period and it is important to distinguish between scenes telling a story, like the frieze, and those representing symbolic scenes, like the panels and roundels; even in earlier periods different styles were employed for different purposes. Still, the reliance on earlier monuments in the Arch of Constantine is striking. Whether these earlier reliefs were meant to symbolise Constantine's continuation of the practices of these earlier, 'good' emperors, or were employed simply because it was quicker and easier than producing new ones remains much debated. The different reliefs of this monument are useful either way for revealing the development of Roman sculptural techniques over time. Elsner, J. (2000). ‘From the culture of spolia to the cult of relics: the arch of Constantine and the genesis of late Antique forms’, Papers of the British School at Rome 68: 149–84. Jones, M.W. (2000). ‘Genesis and mimesis: the design of the Arch of Constantine in Rome’, Journal of the society of architectural historians 59: 50–77. Pensabene, P. and Panella, C. (eds) (1999). Arco di Costantino tra archeologia e archeometria (Studia archaeologica ("Erma" di Bretschneider) 100). Ryberg, I. S. (1967). The panel reliefs of Marcus Aurelius (Monographs on archaeology and fine arts 14). New York NY. Touati, A.-M. L. (1987). The great Trajanic frieze: the study of a monument and of the mechanisms of message transmission in Roman art (Skrifter utgivna av Svenska institutet i Rom 45). Stockholm.

Arch of Galerius

The Arch of Galerius is a marble high relief triumphal arch which is structurally linked as part of a prestigous 4th century imperial precinct composed ... More of palace and a rotunda possible intended as a mausoleum. The octopyle gate between the northern end of the palace and the southern entrance of the rotunda. The arch was constructed in 298-299 AD, but wasn't dedicated until 303 AD, and celebrates the victory of the tetrarch Galerius over the Sassanid Persians and the capture of Ctesiphon. Only three pillars remain extant with substantial damage to the figures on the relief through either damnatio memoriae or iconoclasm. Laubscher, H. P. (1975). Der Reliefschmuck des Galeriusbogens in Thessaloniki. Berlin. Rothman, M. S. P. (1977). ‘The thematic organization of the panel reliefs on the arch of Galerius’, American Journal of Archaeology 81: 427–54.

Arch of Titus

The Arch of Titus was dedicated in AD 81-2 in honour of the recently deceased Titus. It is a single span arch and is now ... More heavily restored. Built into a castle in the Medieval period only the central portion of the arch is original, the rest having been restored in the nineteenth century. The arch is carved in Pentelic marble, the blocks of which are a wide range of sizes. The main decorative reliefs are on the walls of the archway itself. These depict two scenes from the triumph that Titus held with his father in Vespasian in AD 71, following his victories in Judaea. On the south, a detail of the triumphal procession is depicted: booty taken from Jerusalem is paraded on litters, among them the menorah from the sacked Great Temple. On the north, meanwhile, Titus is shown on his chariot, crowned by Victory and accompanied by representations of the Genii of the Senate and People of Rome, Roma or perhaps Honos and Virtus. Above both scenes, among the coffers on the underside of the arch Titus is shown riding to heaven on the back of an eagle. The theme of these scenes is repeated on what is left of the arch's exterior. Running around the whole monument at the level of the first entablature is a continuous frieze depicting the triumphal procession again. The spandrels are decorated with Victories while the keystones above the archway depict Roma and the Genius of the People. Holloway, R. R. (1987). ‘Some remarks on the Arch of Titus’, L'antiquite classique 56: 183–91. Pfanner, M. (1983). Der Titusbogen (Beiträge zur Erschliessung hellenistischer und kaiserzeitlicher Skulptur und Architektur 2). Mainz.

Arch of Trajan

The Arch of Trajan at Benvento is a single, barrel-vaulted monumental arch which was built between AD 114 and 117 to celebrate the completion of ... More the Via Traiana, which left the Via Appia at Benevento. The arch is exceptionally well-preserved and is decorated with a well-known series of sculpted reliefs of its eastern and western facades. In the attic on each facade the large dedicatory inscriptions are flanked by two relief panels. These depict, on the west facade, the emperor Trajan either arriving at or leaving Rome and the Capitoline Triad, and on the east facade, two scenes making reference to the emperor's conquests in Dacia. Four relief panels also decorate the eastern and western facades of the arch below the attic, two on each pier. These focus on the emperor's civic acts home and abroad, such as the foundation of cities and the reorganisation of the corn supply. These panels are divided from each other by smaller panels showing Victories slaying bulls and sacrificial assistants decorating candelabra. The final component of the exterior decoration on the arch is the continuous frieze which runs around the arch at a level just above the top of the central bay. This depicts a triumph, probably Trajan's second Dacian triumph of AD 107. The climax of this complex decorative scheme, though, are the two large reliefs which decorate the walls inside the bay of the arch. On the north side a scene of sacrifice commemorates the opening of the Via Traiana. On the south side we see the emperor Trajan overseeing the handing out of money to poor children while the personifications of four cities look on. This is a reference to the emperor's alimenta scheme which was intended to help children in Italy and certainly operated in Benevento and the surrounding towns. Rotili, M. (1972). L'Arco di Traiano a Benevento. Rome. Torelli, M. (1997). '“Ex his castra, ex his tribus replebuntur”: the marble panegyric on the Arch of Trajan at Beneventum', in D. Buitron-Oliver (ed.). The interpretation of architectural sculpture in Greece and Rome (Studies in the history of art 49; Center for Advanced Study in the Visual Art, symposium papers 29). Hanover, NH; London: 145–77.

Belevi Mausoleum

The mausoleum at Belevi is a major tomb just north of Ephesos. Probably built in the 3rd century BC it is the largest in Asia ... More Minor after the Hecatomnid tombs of Caria. Heinz, R. (2005). ‘Bau- und Versatztechnik in der Grabkammer des Mausoleums von Belevi’, in B. Brandt, V. Gassner, S. Ladstätter (eds). Synergia: Festschrift für Friedrich Krinzinger 2 vols. Vienna 1: 99–112. Praschnicker, C. and Theuer, M. (1979). Das Mausoleum von Belevi (Forschungen in Ephesos 6). Vienna. Prochaska, W. and Grillo, S. M. (2010). ‘A new method for the determination of the provenance of white marbles by chemical analysis of inclusion fluids. The marbles of the mausoleum of Belevi, Turkey’, Archaeometry 52: 59–82.

Butkara stupas

Butkara is an important Buddhist site in the Swat Valley. The most important stupa (or reliquary) at the site is thought to date to the ... More 2nd century BC but others were placed around it over the next thousand years. Faccenna, D. (1962). Sculptures from the sacred area of Butkara I, Swāt, W. Pakistan (Istituto italiano per il Medio ed Estremo Oriente. Centro studi e scavi archeologici in Asia, reports and memoirs 2). Rome. Rockwell, P. (2006). ‘Ghandaran stoneworking in the Swat Valley’, in P. Callieri (ed.). Architetti, capomastri, artigiani: l'organizzazione dei cantieri e della produzione artistica nell'Asia ellenistica: studi offerti a Domenico Faccenna nel suo ottantesimo compleanno (Serie orientale Roma 100). Rome: 157–81. Sardar, B. (2005). Buddhist rock carvings in the Swāt Valley. Islamabad.

Capitoline Museums: Sarcophagi

Among the archaeological collections of the Capitoline Museums are a large number of elaborately carved marble sarcophagi. The majority of these come from Rome and ... More its environs and are carved in imported marble, generally by carvers based in the capital. Albertoni, M. et al. (2000). The Capitoline Museums. Milan. Bertoletti, M., Cima, M., and Talamo, E. (2004). Sculptures of ancient Rome: the collections of the Capitoline Museums at the Montemartini Power Plant. Milan. La Rocca, E. and Presicce, C. P. (eds) (2010). Musei Capitolini: le sculture del palazzo nuovo 1. Milan

Capitoline Museums: Statuary

The Capitoline Museums hold large numbers of statues, mainly from Rome and its environs, though some come from further afield. Albertoni, M. et al. (2000). The ... More Capitoline Museums. Milan. Bertoletti, M., Cima, M., and Talamo, E. (2004). Sculptures of ancient Rome: the collections of the Capitoline Museums at the Montemartini Power Plant. Milan. La Rocca, E. and Presicce, C. P. (eds) (2010). Musei Capitolini: le sculture del palazzo nuovo 1. Milan

Carrara Quarries

Carrara (near ancient Luna) is famed for its quarries of white and grey marble and has been the centre of the international marble trade for ... More the best part of the last 500 years. Marble was first quarried here in the Etruscan period but large scale extraction did not occur until the mid 1st century BC and intensified significantly in the reign of Augustus. Many of the largest monuments erected in Rome in the late 1st century BC, 1st and 2nd centuries AD were built in in marble from Carrara. Marble from Carrara was shipped from the port of nearby Luna to where it was transported first by sledge then waggon down the steep mountainsides. Quarrying at Carrara seems to have slowed in the late 2nd century AD, perhaps due to the silting of the harbour at Luna. Work at the quarries remained much reduced until the Renaissance when demand for marble increased once more. Dolci, E. (1980). Carrara cave antiche: materiali archeologici. Carrara. Dolci, E. (1988), 'Marmora Lunensia: quarry technology and archaeological use', in N. Herz and M. Waelkens (eds). Classical marble: geochemistry, technology, trade (NATO ASI series. Series E, applied sciences 153). Dordrecht; London: 77–84. Pensabene, P. ‘The quarries at Luni in the 1st century AD: final considerations on some aspects of production, diffusion and costs’, in A. Gutiérrez Garcia-Moreno, P. Lapuente Mercadal, and I. Rodà de Llanza (eds). Interdisciplinary studies on ancient stone: proceedings of the IX Association for the Study of Marbles and Other Stones in Antiquity (ASMOSIA), Conference (Tarragona 2009) (Documenta 23). Tarragona: 731–43.

Carrara Quarries: Miscellaneous Architecture

A wide range of architectural elements, most roughed-out, were found in and around the ancient quarries at Carrara. Most were discovered abandoned among piles of ... More quarrying debris and had flaws in them that explain why they were never used. The most common architectural elements found to date are capitals and bases. The capitals were roughed-out to a distinctive geometric form and were intended for carving into either Corinthian or Composite forms. Finer detailed work on these objects would have been done when they reached their destination, which could have been Rome or another Italian city, or even southern France, eastern Spain or western North Africa. Dolci, E. (1995). 'Due capitelli semilavorati da una cava lunense', Quaderni del Centro Studi Lunensi (new series) 1: 127–36. Dolci, E. (2006). Museo del Marmo, Carrara. Catalogo-guida. Pontedera.

Cava di Cusa Quarries

The quarries at Cava di Cusa just north of Selinunte were the principal source of limestone for the major temples built in the city in ... More the Classical period. They are one of the few places where Classical-era quarrying techniques can be clearly observed, partly because they went out of use in the 2nd century BC when Selinunte was largely abandoned. Several large column drums, presumably destined for the temples of Selinunte, can still be seen in place in the quarries. These show that column drums were quarried upright and shaped while still attached to the bedrock. Peschlow-Bindoket, A. (1990). Die Steinbrüche von Selinunt. Die Cave di Cusa und die Cave di Barone. Mainz.

Chennai workshops

The various stone carving workshop in and around Chennai, capital of Tamil Nadu, India, specialise in carving hard stones like granite and making decoration for ... More temples. Kasinathan, N. (2007). Ancient industries of Tamilnadu (Bulletin of the Madras Government Museum. New series, general section 15, no. 5). Chennai. Check ref for use Murari, P., Reeves, R., Nambiar, P. K. (1964–6). Madras: handicrafts and artisans of Madras State. 9 vols. Delhi. Vol. 5: icons in stone and metals.

Colosseum

Inaugurated by Titus in AD 80, the Flavian amphitheatre as the Colosseum was originally known, had been begun by Vespasian in AD 70. It was ... More the largest amphitheatre anywhere in the Roman world, seating around 50,000 spectators, perhaps more. It was refurbished heavily in the early 3rd century AD, following a severe fire, and again in the early 4th, mid 5th and early 6th centuries AD. The structure was built primarily in tuff and brick-faced concrete faced on the exterior in travertine. Marble architectural elements were used for decoration around the main entrances and the top of the seating on the inside. The exterior wall of the Colosseum is made up of three superimposed arcades, the first in the Tuscan order, the second in the Ionic, the third in Corinthian; a fourth storey contained small windows. On the first three levels the arches are framed by engaged columns supporting an entablature while on the fourth these columns are replaced with pilasters. Beste, H. J. (2000). ‘The construction and phases of development of the wooden arena flooring of the Colosseum’, Journal of Roman Archaeology 13: 79–92. Coarelli, F. (2001). The Colosseum. Los Angeles CA. Cozzo, G. (1971). The Colosseum: the Flavian amphitheatre, architecture, building techniques, history of the construction, plan of works. Rome. Lancaster, L. (2005). ‘The process of building the Colosseum: the site, materials and construction techniques’, Journal of Roman Archaeology 18: 57–82. Pensabene, P. (1992). 'The method used for dressing the columns of the Colosseum portico', in M. Waelkens, N. Herz and L. Moens (eds). Ancient stones: quarrying, trade and provenance. Interdisciplinary studies of stones and stone technology in Europe and Near East from the prehistoric to the early Christian period (Acta archaeologica Lovaniensia monographiae 4). Leuven: 81–92.

Column of Marcus Aurelius

Presumably set up by his son, Commodus, the Column of Marcus Aurelius copies the basic form of the earlier Column of Trajan. Like its predecessor, ... More the column comprised a base, shaft with central spiral staircase, and a capital originally adorned with a statue of the emperor. It is 39 m tall but was originally taller, since it had the statue on top and was on a stepped base that is now underground. As on the Column of Trajan, the frieze that runs around the shaft depicts a pair of military campaigns, in this case Marcus Aurelius' wars against the Marcomanni and Sarmatians, in AD 172-3 and 174-5 respectively. In terms of detailed content and technique, though, the frieze differs markedly from that on the Column of Trajan. The scenes focus far more on actual fighting, are more crowded and carved in much higher relief. All of this makes the frieze much harder to read. The style of the frieze in fact differs quite markedly from contemporary monuments which focus on more symbolic scenes of state ritual - such as the Antonine reliefs incorporated into the Arch of Constantine. Beckmann, M. (2011). The Column of Marcus Aurelius: the genesis and meaning of a Roman imperial monument (Studies in the history of Greece and Rome). Chapel Hill NC. Claridge, A. (2005). ‘Postscript. Further considerations on the carving of the frieze on the Column of Marcus Aurelius’, Journal of Roman Archaeology 18: 313–16. Coarelli, F. (2008). La colonna di Marco Aurelio=The column of Marcus Aurelius (Roma nelle immagini). Rome. Depeyrot, G. (2010). La colonne de Marc Aurèle (Collection Moneta 104-5). 2 vols. Wetteren.

Column of Trajan

Erected in AD 113, the Column of Trajan is a 38 m high monument composed of twenty-nine blocks of Luna marble. It is made up ... More of a base, capital and a long shaft down the middle of which a spiral staircase runs. The top was originally decorated with a large bronze statue of Trajan. Although originally set up as a victory monument the column was made into Trajan's tomb on his death in AD 117. This was an unusual act, which required permission from the Senate, and it has been proposed that Trajan intended the column to be his tomb from the beginning. The most famous feature of the column is the long helical frieze carved on its shaft. Around 200 m long, it wraps around the column twenty-three times. The subject of the continuous frieze are Trajan's two campaigns in Dacia in AD 101-2 and 105-6. These are represented through 155 scenes, many symbolic set-piece arrangements, which contain over 2,500 figures. The focus is primarily on the daily tasks of military life and the superiority of the Roman army over its enemies in all aspects of warfare. The details of the frieze are possibly based on Trajan's own written commentaries of these wars and the emperor features heavily: he is represented nearly sixty times, repeatedly in the act of addressing his troops, performing sacrifice, and meeting prisoners. The figures on this frieze are roughly two-thirds lifesize and finished in extraordinary detail which is consistent across its entire surface, even though some of it was displayed more than 20 m from the ground. The details of the carving, analysed by Peter Rockwell, suggest that the frieze was carved as the column was erected by a series of teams of sculptors, some specialising in figures, others in details of the background. The scenes are numbered in the following catalogue using the convention established by Conrad Cichorius in his publication of 1896-1900 (Die Reliefs der Trajanssäule (Berlin)). Coarelli, F. et al. (2000). The Column of Trajan. Rome. Conti, C. (2001). ‘Gli scultori della Colonna Traiana’, in F. Festa Farina, G. Calcani, C. Meucci, M. L. Conforto (eds). Tra Damasco e Roma: l'architecttura di Apollodoro nella cultura classica. Rome: 199–215. Claridge, A. (1993). 'Hadrian's column of Trajan', Journal of Roman Archaeology 6: 5–22. Galinier, M. (2007). La Colonne Trajane et les Forums Impériaux (Collection de l'École française de Rome 382). Rome. Lancaster, L. (1999). ‘Building Trajan’s Column’, American Journal of Archaeology 103.3: 419–39. Lepper, F., and Frere, S. S. (1988). Trajan's Column: a new edition of the Cichorius plates. Gloucester. Rockwell, P. (1981-1983). 'Preliminary study of the carving techniques on the column of Trajan', in P. Pensabene (ed.). Marmi antichi: problemi d'impiego, di restauro e d'identificazione (=Studi miscellanei 26). 101–11. Wilson Jones, M. (1993). ‘One hundred feet and a spiral stair: the problem of designing Trajan’s Column’, Journal of Roman Archaeology 6: 23–38.

Easter Island Quarry

Most of the famous moai or monolithic sculptures found on Easter Island (Rapa Nui) were carved in hard volcanic tuff quarried around the edge of ... More and inside the crater of Rano Raraku. Nearly 400 moai remain in the quarries and these allow the stage of production of these statues to be reconstructed. Charola, A. E. (1997). Death of a Moai: Easter Island statues: their nature, deterioration and conservation (Easter Island Foundation occasional paper 4). Los Osos CA. Mulloy, W. (1970). ‘A speculative reconstruction of techniques of carving transporting and erecting Easter Island statues’, Archaeology and physical anthropology in Oceania 5.1: 1–23 Van Tilburg, J. A. (1994). Easter Island: archaeology, ecology and culture. London.

El Djem amphitheatre

The large amphitheatre at El Djem is one of the best preserved in the Roman world and could probably have seated 35,000 spectators. It was ... More built around AD 238. Slim, H. (1986). 'Les amphithéâtres d’el-Jem’, Académie des inscriptions et belles-lettres. Comptes rendus des séances de l’année 1986: 440–69 Younès, A., Gaied, E. and Gallala, W. (2012). 'Identification of stone blocks used for the building of the Thysdrus and Thapsus amphitheatres in Tunisia', Archaeometry 54.2: 213-29.

Ephesos: Miscellaneous Architecture

Ephesos was the largest city in Roman Asia Minor. Originally an Attic-Ionian foundation it became the major Ionian city in the Classical period and boomed ... More as the capital of the Roman province of Asia. Today, the archaeological site of Ephesos is one of the most visited in Turkey and is famous for the scale and extent of its standing remains. Mangartz, F. (2010). Die byzantinische Steinsäge von Ephesos: Baubefund, Rekonstruktion, Architekturteile (Monographien Römisch-Germanisches Zentralmuseum Mainz. Forschungsinstitut für Vor- und Frühgeschichte 86). Mainz. Prochaska, W. and Grillo, S. M. (2012). 'The marble quarries of the metropolis of Ephesus and some examples of the use of marbles in Ephesian architecture and sculpturing’, in A. Gutiérrez Garcia-Moreno, P. Lapuente Mercadal, and I. Rodà de Llanza (eds). Interdisciplinary studies on ancient stone: proceedings of the IX Association for the Study of Marbles and Other Stones in Antiquity (ASMOSIA), Conference (Tarragona 2009) (Documenta 23). Tarragona: 584–91. Yavuz, A. B., Bruno, M., and Attanasio, D. (2011). 'An updated, multi-method database of Ephesos marbles, including white, greco scritto and bigio varieties', Archaeometry 53.2: 215–40.

Ephesos: Miscellaneous Sarcophagi

Ephesos was an important centre of sarcophagus production in Asia Minor. Various canonical types were produced by carvers in the city, especially a distinctive garlanded ... More variety. These were carved in the local white marble in the main. Wealthy residents of the city also imported sarcophagi, however, from producers close to the Prokonnesian quarries and from Athens. Asgari, N. (1977). 'Die Halbfabrikate kleinasiatischer Girlandensarkophage und ihre Herkunft', Archaologischer Anzeiger 1977: 329–80. Işik, F. (1992). 'Zum Produktionsbeginn von Halbfabrikaten kleinasiatischer Girlandensarkophage', Archaologischer Anzeiger 1992: 121–45

Ephesos: Miscellaneous Sculpture

Ephesos was a major centre of sculpture production, as well as large market for statuary. The city's wealthiest inhabitants, which included members of the provincial ... More administration, imported the finest statuary and also commissioned local artists. Some of this statuary is still preserved on site, while most of it has been moved to the archaeological museum in Selçuk. Aurenhammer, M. (1990). Die Skulpturen von Ephesos 1: Bildwerke aus Stein. Idealplastik 1 (Forschungen in Ephesos 10/1). Vienna.

Euromos: Temple of Zeus

Euromos was a relatively small town near Mylasa in Caria. The only well-preserved remains are the second-century AD temple, probably dedicated to Zeus. The fluting ... More of the remaining columns is only partly completed. On several columns it is roughed-out while on at least three the fluting has yet to be started. Most of the columns have dedicatory panels on them showing that they were given by different members of the local community. Pülz, S. (1989). ‘Zur Bauornamentik des Zeustempels von Euromos’, Istanbuler Mitteilungen 39: 451–3.

Florence: Miscellaneous Renaissance Sculpture

Rockwell, P. (2003). ‘The carving techniques of Michelangelo’s Pieta’, in J. Wasserman (ed.). Michelangelo’s Florence Pieta. Princeton NJ; Oxford. Schulz, J. (1975). ‘Michelangelo's unfinished works’, Art ... More Bulletin 57.3 (Sept.): 366–73. Wallace, W. E. (2000). ‘Michelangelo, Tiberio Calcagni, and the Florentine Pietà’, Artibus et historiae 21.42: 81–99.

Fountain of Andrea Doria, Carrara

This sculpture is unfinished but is intended to show the naval captain Andrea Doria as Neptune, a commission from the grateful city fathers of Genoa ... More for his role in expelling the French in the city and reestablishing the republic under imperial protection. The portrayal of Doria as Neptune was again taken-up in a portrait by Bronzino in 1555. It seems there were two periods when Bandinelli worked on the piece in 1529 and in 1537-1538 before abandoning the project. Boccardo, P. (1989). Andrea Doria e le arti: committenza e mecenatismo a Genova (Storia dell'arte). Rome. Bush, V. (1976). The colossal sculpture of the cinquecento (Outstanding dissertations in the fine arts). New York NY. Polleross, F. (2001). ‘Rector marium or Pater patriae?: The portraits of Andrea Doria as Neptune’, in L. Freedman and G. Huber-Rebenich (eds). Wege zum Mythos (Ikonographische Repertorien zur Rezeption des antiken Mythos in Europa 3). Berlin: 107-21. Viatte, F., Bormand, M., Delieuvin, V., Goarin, V. (2011). Baccio Bandinelli: dessins, sculptures, peinture (Musée du Louvre, Cabinet des dessins. Inventaire général des dessins italiens 9). Paris.

Iscehisar Quarries

The quarries at Iscehisar (ancient Dokimeion) in central Phrygia were a major source of white marble and a purple-streaked marble called pavonazzetto. The quarries were ... More controlled by the Roman state but this does not mean that all of the marble quarried here was imperially controlled. White marble from these quarries was predominately used for sarcophagi and statuary locally, though these objects were sometimes exported. The pavonazzetto quarried at Iscehisar, however, was widely exported, mainly to Rome. Fant J. C. (1989). Cavum antrum Phrygiae: the organization and operations of the Roman Imperial marble quarries in Phrygia (British archaeological reports, international series 482). Oxford. Fant, J. C. (1990), 'Les carrières des empereurs romains', in M. Waelkens (ed.). Pierre éternelle: du Nil au Rhin: carrières et prefabrication. Brussels: 147–58. Lazzarini, L., Moschini, G., Waelkens, M., and Xusheng, H. (1985). 'New light on some Phrygian marble quarries through a petrological study and the evaluation of Ca/Sr ratio', in P. Pensabene (ed.). Marmi antichi: problemi d’impiego, di restauro e d’identificazione (=Studi miscellanei 26). Rome: 41–6. Röder, J. (1971) 'Marmor phrygium. Die antiken Marmorrüche von Iscehisar in Westanatolien', Jahrbuch des deutschen archäologischen Instituts 86: 253–312. Waelkens, M. (1982) 'Carrières de marbre en Phrygie (Turquie)', Troisièmes journées de l'industrie minérale: le marbre. Château de Namur (Citadelle) - 16, 17 et 18 novembre 1981 (=Bulletin des Musées royaux d’art et d’histoire 53.2). Brussels: 33–55.

Iscehisar Quarries: Miscellaneous Architecture

The quarries at Iscehisar (ancient Dokimeion) in central Phrygia were a major source of white marble and a purple-streaked marble called pavonazzetto. Various roughed-out architectural ... More elements have been found at the site, mainly beneath the large debris piles that cover the area around the quarries. Since most of these objects have flaws of some sort they were probably abandoned as rejects. Fant J. C. (1989). Cavum antrum Phrygiae: the organization and operations of the Roman Imperial marble quarries in Phrygia (British archaeological reports, international series 482). Oxford.

Iscehisar Quarries: Sarcophagi

In the 2nd and 3rd centuries AD the Iscehisar quarries developed as an important source of white marble for sarcophagus producers in this region. These ... More high-end sarcophagi, often decorated with elaborate columnar schemes, were exported across Asia Minor and even to the Levant and Italy. Fant, J. C. (1985). 'Four unfinished sarcophagus lids at Docimium and the Roman imperial quarry system in Phrygia', American Journal of Archaeology 89.4: 655–62. Waelkens, M. (1982). Dokimeion. Die Werkstatt der repräsentativen kleinasiatischen Sarkophage. Chronologie und Typologie ihrer Produktion (Archäologische Forschungen 11). Berlin.

Istanbul Archaeological Museum: Statuary

The Istanbul Archaeological Museum contains an enormous number of statues from sites all across Asia Minor, Greece, Syria and Lebanon. Pasinli, A. (1995). Istanbul Archaeological ... More Museum. Istanbul. Smith, R. R. R., Ertuğ, A. (2001). Sculptured for eternity: treasures of Hellenistic, Roman and Byzantine art from İstanbul Archaeological Museum. Istanbul.

Kovalam workshop

This small stone carving workshop on Kovalam beach, India, specialises in producing small soapstone carvings for tourists.

Laboratorio Morseletto

The Laboratorio Morseletto is a workshop in Vicenza famous for its sculpture, which is mainly carved in the local limestone but sometimes also white marble. ... More Peter Rockwell documented the working techniques at the workshop as an example of sculpture carving which typically does not employ models.

Lahore Fort workshop

Lahore Fort (or Shahi Qila) is the citadel of Lahore, Pakistan. This series of images were taken by Peter Rockwell of the carvers who are ... More working on the restoration of the fort.

Mahabalipuram workshops

This small stone carvers workshop in Mahabalipuram in Tamil Nadu, India, was photographed by Peter Rockwell as an example of a traditional workshop. Swaminathan, S. (2010). ... More Mahabalipuram: unfinished poetry in stone. Chennai.

Marino Quarries

Marino was known in the Roman period for its quarries of a variety of tufa called peperino. This stone was extensively used in Republican Rome ... More as a building material and is still quarried today in limited quantities. Heiken, G., Funiciello, R., and De Rita, D. (2005). The seven hills of Rome: a geological tour of the eternal city. Princeton NJ; Oxford

Marmara Adası Quarries

The white marble quarries on Marmara Adası (ancient Prokonnesos) are the largest known to have been used in the Roman period. Quarrying of the island ... More started in the Archaic Greek period and has continued right the way through to the present day. Activity reached a peak, however, in the Roman period, especially between the 2nd and 5th centuries AD, when demand for white marble from first Rome and then Constantinople led to vast quantities of marble being quarried on the island. The marble quarries originally covered most of the northern side of the island and were concentrated around the small harbour of Saraylar. Asgari, N. (1978). ‘Roman and Early Byzantine marble quarries of Proconnesus’, in E. Akurgal (ed.). The proceedings of the Xth International Congress of Classical Archaeology, Ankara-İzmir, 23-30/IX/1973. 3 vols. Ankara 1: 467–80. Attanasio, D., Brilli, M., and Bruno, M. (2008). ‘The properties and identification of marble from Proconnesos (Marmara Island, Turkey). A new database including isotopic, EPR and petrographic data’, Archaeometry 50.5: 747–74.

Marmara Adası Quarries: Miscellaneous Architecture

The quarries of Marmara Adası (ancient Prokonnesos) were an important source of white marble for building projects across the eastern Mediterranean and as far west ... More as Rome. Finds of roughed-out objects from the quarries shows that it was common for material to be shaped initially on the island to reduce its weight as much as possible for transport. These objects have now been grouped together in an open-air museum in the village of Saraylar. Asgari, N. (1988). 'The stages of workmanship of the Corinthian capital in Proconnesus and its export form', in N. Herz and M. Waelkens (eds). Classical marble: geochemistry, technology and trade (NATO ASI series E: Applied Sciences 153). Dordrecht: 115–26. Asgari, N. (1992). 'Obsevations on two types of quarry-items from Proconnesus: column-shafts and column-bases', in M. Waelkens, N. Herz, and J.-L. Moens (eds). Ancient stones: quarrying, trade and provenance: interdisciplinary studies on stones and stone technology in Europe and Near East from the prehistoric to the early Christian period (Acta archaeologica Lovaniensia 4). Leuven: 73–80.

Marmara Adası Quarries: Miscellaneous Sarcophagi

The quarries of Marmara Adası (ancient Prokonnesos) were an important source of white marble for sarcophagus production across the eastern Mediterranean and as far west ... More as Rome. Roughed-out and hollowed-out sarcophagus chests and lids were produced on the island and then shipped overseas for finishing locally in a range of forms. On Prokonnesos itself a small necropolis was discovered containing various types of roughed-out sarcophagus. This necropolis seems to have served the small population of quarrymen on the island and perhaps some higher status traders and administrators. Asgari, N. (1977). 'Die Halbfabrikate kleinasiatischer Girlandensarkophage und ihre Herkunft', Archaologischer Anzeiger 1977: 329–80. Asgari, N. (1990). 'Objets de marbre finis, semi-finis et inachevés du Proconnèse', in M. Waelkens (ed.). Pierre éternelle du Nil au Rhin: carrières et prefabrication. Brussels: 106–26.

Marmara Adası Quarries: Miscellaneous Statuary

Relatively few roughed-out statues have been found in the Prokonnesian quarries compared to architectural elements or sarcophagi. A pair of near-finished imperial statues, however, probably ... More datable to the 4th century AD are exceptional. These were worked on the island, close to the quarries, with their heads left for finishing either elsewhere or by a different sculptor. Finds from other quarries indicate that statues were rather carved this far before being shipped but that it did happen occasionally and possibly more frequently from the 4th century AD onwards. Asgari, N. (1990). 'Objets de marbre finis, semi-finis et inachevés du Proconnèse', in M. Waelkens (ed.). Pierre éternelle du Nil au Rhin: carrières et prefabrication. Brussels: 106–26.

Modena Museo Civico: Sarcophagi

Modena was an important city in the Roman period and the local museum contains a number of richly-decorated funerary monuments attesting to the wealth of ... More its inhabitants. Among these are a number of marble sarcophagi. These were probably carved locally in imported Prokonnesian marble and similar objects are known at Milan, Ferrara, Bologna, Ravenna and Aquileia, as well as other sites along the coast of the Adriatic. It was considerably easier for carvers in this region to import marble from the Aegean that from Carrara (ancient Luna) because of the difficulty of transporting heavy material across the Apennines. Gabelmann, H. (1973). Die Werkstattgruppen der oberitalischen Sarkophage (Beihefte der Bonner Jahrbücher 34). Bonn.

New York State Capitol building

The New York State capital building houses the state legislature. The building was began in 1867 and was finally completed in 1899 at the cost ... More of 25 million dollars (or about half a billion dollars in modern money). It was the most expensive government building of its time. The unfinished nature of the decorative scheme results from the fact that when Grover Cleveland took office as governor in 1883 he appointed a new director of the building works in order to finish the building because of the growing expense. Rockwell, P. (1983). ‘Carving for the ages’, in Proceedings of the New York state capitol symposium. Albany: 77–84.

Orvieto Cathedral

The large cathedral (duomo) at Orvieto was built over three centuries between 1290 and 1591, though alterations continued to be made to it up to ... More the 20th century. The cathedral's facade made use of substantial quantities of white marble stripped from Roman buildings in Rome and Ostia. The cathedral is included as a case study in this database because close analysis of the bas reliefs decorating its facade provides an insight into how the supply of material and the carving of large-scale reliefs worked in practice, even though this building is not ancient. The artists responsible for these reliefs are not known but they seem to date to the 14th and 15th centuries and were probably laid out under the direction of Lorenzo Maitani, the Sienese architect and sculptor responsible for work from 1309. Fumi, L. and Riccetti, L. (2002). Statuti e regesti dell'Opera di Santa Maria di Orvieto: il Duomo di Orvieto e i suoi restauri (Collezione dell'Opera del Duomo di Orvieto 1; Fonti per la storia dell'Umbria 28). Orvieto. Martellotti, G. and Rockwell, P. (1988). ‘Osservazioni sugli strumenti della scultura nei rilievi della facciata’, in L. Riccetti (eds). Il Duomo di Orvieto. Bari: 101–22. Moskowitz, A. F. (2009). The façade reliefs of Orvieto cathedral. London.

Ostia Museum: Reliefs

The archaeological museum at Ostia contains a number of statues, reliefs and other objects found at the site over the years, while many of the ... More best pieces have been moved to museums in Rome. D'Ambra, E. (2006). ‘Death and commemoration. Imitations of life: style, theme, and a sculptural collection in the Isola Sacra Necropolis, Ostia’, E. D'Ambra and G. P. R. Métraux (eds). The art of citizens, soldiers and freedmen in the Roman world (BAR international series 1526). Oxford: 73–90. Pensabene, P. (2007). Ostiensium marmorum decus et decor: studi architettonici, decorativi e archeometrici (=Studi miscellanei 33). Rome.

Ostia: Material from the Fossa Traiana, Portus

In excavations in the 19th and 20th centuries a large number of marble blocks were found in the channel running alongside the major harbour at ... More Portus, just north of Ostia. This channel, the so-called Fossa Traiana, seems to have been a loading point for these materials which were imported in substantial quantities into Portus in the 2nd and first half of the 3rd century AD destined ultimately for Rome. In general these blocks are roughly squared or sometimes shaped into column shafts and other architectural elements. Many of them are inscribed indicating that there were being channelled through the imperial system for the supply of decorative stones. These blocks might constitute the remnants of a large stockpile of imported marbles but since many are damaged they could also just be rejects or leftovers which were waiting to be used up. These blocks are now on display at Ostia, where they have been grouped by material. Baccini Leotardi, P. (1979). Marmi di cava rinvenuti ad Ostia e considerazioni sul commercio dei marmi in età romana (Scavi di Ostia 10). Rome. Baccini Leotardi, P. (1989). Nuove testimonianze sul commercio dei marmi in età imperiale. (Studi pubblicati dall'Istituto italiano per la storia antica 44). Rome. Pensabene, P. (1994). Le vie del marmo: i blocchi di cava di Roma e di Ostia, il fenomeno del marmo nella Roma antica (Itinerari ostiensi 7). Rome Pensabene, P., Lazzarini, L., Soligo, M. et al. (2000). ‘The Parian marble blocks of the Fossa Traiana’, in D. Schilardi, S. Katsarou, D. Katsōnopoulou, and C. M. Brenner (eds). Παρία λίθoς. Λατoμεία, μάρμαρo και εργαστήρια γλυπτικής της Πάρoυ. Πρακτικά A' Διεθνoύς Συνεδρίoυ Aρχαιoλoγίας Πάρoυ και Kυκλάδων, Παρoικία, Πάρoς 2-5 Oκτωβρίoυ 1997=Paria lithos: latomeia, marmaro kai ergastēria glyptikēs tēs Paros; praktika A' diethnous synedriou archaiologias Parou kai Kykladōn, Paroikia, Paros 2-5 oktovriou 1997=Paria lithos: Parian quarries, marble and workshops of sculpture. Proceedings of the first international conference of the archaeology of Paros and the Cyclades, Paros, 2-5 October 1997 (Αρχαιολογικης και ιστορικης μελετες 1=Archaiologikēs kai historikēs meletes 1=Archaeological and historical studies 1). Athens: 527–36.

Ostia: Miscellaneous Sarcophagi

Ostia was an important commercial hub as the harbour city of Rome and numerous sarcophagi in imported marble have been found there. Some of these ... More were probably carved in Ostia itself but others were produced by workshops in the capital or by producers overseas and then imported fully-finished. The number of marble sarcophagi in the city suggests that there was a core of wealthy individuals capable of spending the sums needed to buy these monuments. Bonanno Aravantinos, M. (2008). ‘Sarcofagi di Ostia’, Archeologia Classica 59: 147–82.

Penteli Quarries

The quarries at Penteli (ancient Mount Pentelikon), just north-east of Athens, were an important source of white marble throughout the Classical, Hellenistic and Roman periods. ... More The major monuments of 5th century BC Athens were almost all built in this high-quality, golden-hued stone and from the 2nd century BC onwards, Pentelic marble was exported to Italy. Throughout the 2nd and 1st centuries BC and the 1st century AD, Pentelic marble was one of the favoured materials for architectural projects at Rome and it continued to be used for sarcophagi and statuary in the 2nd and first half of the 3rd century AD. Major extraction at the Pentelic quarries appears to have declined in the mid 3rd century AD, perhaps following the Herulian sack of Athens in AD 267. Bernard, S. G. (2010). ‘Pentelic marble in architecture at Rome and the Republican marble trade’, Journal of Roman Archaeology 23: 35–54. Dworakowska, A. (1975). Quarries in ancient Greece (Bibliotheca antiqua 14). Warsaw. Goette, H. R., Polikreti, K., Vakoulis, T., and Maniatis, Y. (1999). 'Investigation of the blue-grey marble of Pentelikon and the equivalent hymettian: possible uses in antiquity', in M. Schvoerer (ed.). Archéomatériaux: marbres et autres roches: ASMOSIA IV, Bordeaux-Talence, 9-13 octobre 1995: actes de la IVème Conférence internationale de l'Association pour l'étude des marbres et autres roches utilisés dans le passé. Bordeaux: 83–90. Pike, S. (1999), 'Preliminary results of a systematic characterization study of Mount Pentelikon, Attica, Greece', in M. Schvoerer (ed.). Archéomatériaux: marbres et autres roches: ASMOSIA IV, Bordeaux-Talence, 9-13 octobre 1995: actes de la IVème Conférence internationale de l'Association pour l'étude des marbres et autres roches utilisés dans le passé. Bordeaux: 165–70. Pike, S. (2009). ‘A stable isotope database for the ancient white marble quarries of Mount Pentelikon, Greece,’ in Y. Maniatis (ed.). ASMOSIA VII: actes du VIIe colloque international de l'ASMOSIA organisé par l'Ecole française d'Athènes, le National Center for Scientific Research Dimokritos, la 18e éphorie des antiquités préhistoriques et classiques, Kavala, et l'Institute of Geology and Mineral Exploration, Thasos, 15-20 septembre 2003 = proceedings of the 7th International Conference of Association for the Study of Marble and Other Stones in Antiquity, organized by the French School of Athens, the National Center for Scientific Research "Dimokritos," the 18th Ephoreia of Prehistoric and Classical Antiquities (Kavala), and the Institute of Geology and Mineral Exploration, Thassos, September 15-20, 2003 (Bulletin de correspondance hellénique. Supplément 51). Athens: 699–708.

Pula Amphitheatre

The amphitheatre at Pula is one of the best preserved in the Roman empire, still standing to its full height almost all the way around. ... More First built as a wooden arena under Augustus the large version that now survives was erected under Vespasian, and finished by Titus. Girardi Jurkić, V. ‘The cavae romanae quarry. Properties and use of the stone for the amphitheater in pula (Croatia)’, in A. Gutiérrez Garcia-Moreno, P. Lapuente Mercadal, and I. Rodà de Llanza (eds). Interdisciplinary studies on ancient stone: proceedings of the IX Association for the Study of Marbles and Other Stones in Antiquity (ASMOSIA), Conference (Tarragona 2009) (Documenta 23). Tarragona: 640–4. Mlakar, Š. (1957). Das Amphitheater in Pula (Kunsthistorische Denkmäler in Istrien 1). Pula.

Saidu Sharif Museum: Relief Sculpture

Rockwell, P. (2006). ‘Ghandaran stoneworking in the Swat Valley’, in P. Callieri (ed.) Architetti, capomastri, artigiani: l'organizzazione dei cantieri e della produzione artistica nell'Asia ellenistica: ... More studi offerti a Domenico Faccenna nel suo ottantesimo compleanno (Serie orientale Roma 100). Rome: 157–81. Sardar, B. (2005). Buddhist rock carvings in the Swāt Valley. Islamabad.

Sardis: Temple of Artemis

The Temple of Artemis lies just outside Sardis, up the Pactolus valley. This large Ionic temple was probably started in the 3rd century BC, or ... More perhaps at the end of the 4th century BC, but was not finished until the Roman period. Originally designed with a single cella, the temple appears to have been turned into a double temple at some point in the 2nd century AD, with one cella facing west, the other east. Cult statues of members of the Antonine dynasty suggest that it may have been used as a temple of the imperial cult in this period or at least as a temple of both Artemis and Faustina, wife of Antoninus Pius. Butler, H. C. (1925). Sardis: publications of the American Society for the Excavation of Sardis. Vol. 2, Architecture. Pt. 1, The Temple of Artemis. Leiden. Yegül, F. (2012). ‘The temple of Artemis at Sardis’, in Schulz, T. (ed.). Dipteros und Pseudodipteros: bauhistorische und archäologische Forschung. Internationale Tagung 13.-15. November 2009 an der Hochschule Regensburg (Byzas. Veröffentlichungen des Deutschen Archäologischen Instituts Istanbul. Istanbul 12). Istanbul: 95-112.

Studi di Scultura Nicoli

The Studi di Scultura Nicoli is a workshop in Carrara famed for its sculpture. These photos were taken by Peter Rockwell when he worked in ... More the Studi di Scultura Nicoli. Berresford, S., Biagini, L., Passeggia, L. (eds). (2007). Carrara e il mercato della scultura. Milan.

Swat Valley workshop

The Swat Valley in north-western Pakistan was an important centre of stone carving well-known for its Buddhist monuments. Kalter, J. (1989). Swat: Bauern und Baumeister im ... More Hindukush. Stuttgart. Kalter, J. (1991). The arts and crafts of the Swat valley: living traditions in the Hindu Kush. London.

Syracuse Quarries

The large limestone quarries at Syracuse, in south-eastern Sicily, were used throughout the city's history, especially in the Classical period. It was to these quarries ... More that the nearly 7,000 Athenians captured after the failed Sicilian Expedition in 413 BC were condemned. Wilson, R. J. A. (1990). Sicily under the Roman empire: the archaeology of a Roman province, 36 BC-AD 535 (Archaeologists' guides to the Roman Empire). Warminster.

Temple of Vespasian

Completed by Domitian in the 80s AD, the Temple of Vespasian and Titus is located at the western end of the Forum Romanum. Three columns ... More and part of the entablature of the monument are standing and have been heavily restored, while a section of the entablature is also visible in the substructures of the 'Tabularium', now part of the Capitoline Museums. The frieze is decorated with bulls' skulls and sacrificial equipment. De Angeli, S. (1992). Templum divi Vespasiani (Lavori e studi di archeologia 18). Rome. Rockwell, P. (1987-1988). 'Carving instructions on the Temple of Vespasian', Rendicoti della Pontificia Accademia romana di archeologia 60: 53–69.

Teos Quarries

Teos (near modern Sığacık) was an important city in the Archaic and Classical period. In the Roman period it was the source of a distintive ... More black-red-green recrystallised limestone, called marmor lucullum or africano. This material was widely distributed, especially to Rome, and its quarries were probably under imperial control. A grey marble also quarried at the site and at various locations around it was used locally. Fant, J. C. (1986). ‘Poikiloi lithoi. The anomalous economics of the Roman imperial marble quarry at Teos’, in S. Walker and A. Cameron (eds). The Greek renaissance in the Roman Empire: papers from the Tenth British Museum Classical Colloqium (Bulletin supplement (University of London. Institute of Classical Studies) 55). London: 206–18. Türk, N., Çakıcı, S., Uz, D. M., Akça, S., and Geyik, K. (1988). 'The geology, quarrying technology and use of Beylerköy marbles in western Turkey', in N. Herz and M. Waelkens (eds). Classical marble: geochemistry, technology and trade (NATO ASI series. Series E, Applied sciences 153). Dordrecht: 85–90.

Thasos Quarries

Thasos was an important quarrying centre in the Roman period. White marble extraction on the island began as early as the Archaic Greek period, though ... More little material was exported at this date. As demand for white marble grew through the Classical and into the Hellenistic period work at the various Thasian quarries intensified. This reached its culmination in the Roman and Late Roman periods, when demand from first Rome and then Constantinople led to large amounts of marble being quarried on Thasos. The city of Thessaloniki (ancient Salonika) also used considerable quantities of Thasian marble in its buildings and funerary monuments. The largest quarries on the island are on the south coast, at Aliki especially, where a variety of calcitic marble was quarried. On the north-east coast, dolomitic marble was also quarried at various sites. Brunet, M. (1992). 'Les carrières de marbre de Thasos', Les dossiers d’archéologie 173: 40–5. Bruno, M., Conti, L., Lazzarini, L., Pensabene, P., and Turi, B. (2002). 'The marble quarries of Thasos: an archaeometric study', in L. Lazzarini (ed.). Interdisciplinary studies on ancient stone: proceedings of the Sixth International Conference of the "Association for the Study of Marble and Other Stones in Antiquity," Venice, June 15-18, 2000. Padua: 157–62. Herz, N. (1988). 'Classical marble quarries of Thasos', in G. A. Wagner and G. Weisgerber (eds). Antike Edel- und Buntmetallgewinnung auf Thasos (Der Anschnitt, Zeitshrift für Kunst und Kultur im Bergbau 6). Bochum: 232–40. Kozelj, T. and Wurch-Kozelj, M. (1997). ‘Les traces d'extraction dans l'antiquité dans les mines et les carriéres à Thassos’, in Aρχαία ελληνική τεχνoλoγία, Πράκτικα: 1o Διέθνες Συνέδριo Θεσσαλονικη=Archaia Hellēnikē technologia, 1st Diethnes Synedrio Thessalonike=Ancient Greek technology, proceedings: 1st international conference. Athens: 55–64. Laskaridis, K. and Perdikatsis, V. (2009). ‘Characterisation of the timeless white marble and quarrying activity in Thassos’, in Y. Maniatis (ed.). ASMOSIA VII: actes du VIIe colloque international de l'ASMOSIA organisé par l'Ecole française d'Athènes, le National Center for Scientific Research Dimokritos, la 18e éphorie des antiquités préhistoriques et classiques, Kavala, et l'Institute of Geology and Mineral Exploration, Thasos, 15-20 septembre 2003 = proceedings of the 7th International Conference of Association for the Study of Marble and Other Stones in Antiquity, organized by the French School of Athens, the National Center for Scientific Research "Dimokritos," the 18th Ephoreia of Prehistoric and Classical Antiquities (Kavala), and the Institute of Geology and Mineral Exploration, Thassos, September 15-20, 2003 (Bulletin de correspondance hellénique. Supplément 51). Athens: 309–17. Sodini, J. O., Lambraki, A., and Koželj, T. (1980). 'Les carrières de marbre d'Aliki a l'époque paléochrétienne', in Aliki I (Études thasiennes 9). Athens: 81–137.

Thessaloniki Museum: Sarcophagi

The Thessaloniki Museum has a collection of Attic and unfinished sarcophagi displayed outside in the forecourt and in the yard. Stefanidou-Tiveriou, T. (2009). 'Thasian marble: ... More a connection between Thasos and Thessaloniki', in Y. Maniatis (ed.). ASMOSIA VII: actes du VIIe colloque international de l'ASMOSIA organisé par l'Ecole française d'Athènes, le National Center for Scientific Research Dimokritos, la 18e éphorie des antiquités préhistoriques et classiques, Kavala, et l'Institute of Geology and Mineral Exploration, Thasos, 15-20 septembre 2003 = proceedings of the 7th International Conference of Association for the Study of Marble and Other Stones in Antiquity, organized by the French School of Athens, the National Center for Scientific Research "Dimokritos," the 18th Ephoreia of Prehistoric and Classical Antiquities (Kavala), and the Institute of Geology and Mineral Exploration, Thassos, September 15-20, 2003 (Bulletin de correspondance hellénique. Supplément 51). Athens: 19–29.

Unfinished relief from Takht-i-Bahi

Takht-i-Bahi is a Buddhist monastic complex dating back to the 1st century BC in Pakistan. Rockwell, P. (2006). ‘Ghandaran stoneworking in the Swat Valley’, in P. ... More Callieri (ed.) Architetti, capomastri, artigiani: l'organizzazione dei cantieri e della produzione artistica nell'Asia ellenistica: studi offerti a Domenico Faccenna nel suo ottantesimo compleanno (Serie orientale Roma 100). Rome: 157–81. Sardar, B. (2005). Buddhist rock carvings in the Swāt Valley. Islamabad.

Vatican Museums: Reliefs

Vatican Museums: Sarcophagi

Among the large archaeological collections of the Vatican Museums are an enormous number of elaborately carved marble sarcophagi. Many of these come from Christian or ... More Jewish catacombs but others were collected for their artistic merit. The majority of the sarcophagi in the Vatican collections come from Rome and its environs and are carved in imported marble, generally by carvers based in the capital.

Vatican Museums: Statuary

The Vatican Museums hold large numbers of statues, mainly from Rome and its environs, though some come from further afield. Amelung, W. and Lippold, G. (1903– ... More ). Die Sculpturen de Vaticanischen Museums. Berlin.

Yedi Tașlar Quarries

The quarries in the vicinity of Yedi Tașlar on Çigri Dâg in the Troad were an important source of grey granite in the Roman period. ... More The distinctive granite from these quarries has a violet hue and is often referred to as granito violetto. The quarries are no longer worked today and as a result are well-preserved. A large number of roughed-out column shafts are still preserved in them. Ponti, G. (1995). 'Marmor Troadense: granite quarries in the Troad: a preliminary survey', Studia Troica 5: 291–320.

Abrasives

Various kinds of abrasives are used for achieving smooth finishes on stone. These range from coarse and hard materials like emery to softer ones, like ... More sandstone and pumice. These materials are rubbing across the surface of the stone, usually with water, to essentially grind down its surface. Carvers work from rough abrasives to finer ones, applying each in turn. Softer abrasives will provide a matt finish while for a really high gloss polish a carver will need to use a wide range of different abrasives right down to the finest grade. In the modern period artificial abrasives are used to achieve a high gloss polish.

Axe

The axe is essentially a pick with a wide cutting edge that can be either flat or toothed. Distinguished between the marks made by a ... More flat-edged axe and a flat chisel, or a tooth-edged axe and tooth chisel, can be difficult, but axes are typically used for relatively rough work on soft stones, like limestone and sandstone. Axe marks are most often found in the Roman world on building blocks or sculpture in north-western Europe, North Africa and the Middle East.

Building tools

Callipers

Basic and more complicated measuring in stone carving is usually done using callipers. With callipers a carver can take measurements off a model, a sketch ... More or a set of guidelines and apply them to what they are carving, increasing or decreasing them by set multiples as required. Callipers are a simple and effective tool for working out sets of proportions during the carving process.

Carving tools

Channelling Tool

A range of chisels can be described as channelling tools, that is tools designed for the carving of narrow channels. These are similar in form ... More to narrow flat chisels or roundels, with a cutting edge of 0.5-1 cm and a shaft 15-25 cm long. The distinctive feature of most of these tools, when viewed from above, is the narrowness of their shaft immediately above the cutting edge. This allows the tool to be inserted into deep crevices and hollows. In profile the shaft thickens at this point so that the structurally strength of the chisel is not compromised. This distinctive shape explains why this tool is often described as a ‘fish tail’ chisel in Britain. This tool is used in the Roman period primarily for carving deep drapery in much the same places as the drill might also be used.

Drill

The drill is used to make a hole in the stone, usually at 90° to the surface, that has a uniform diameter its entire depth. ... More In the Roman period the standard form of drill was the strap or cord drill. This consists of a bit, usually a chisel-like metal tool, set into a shaft connected to a wooden handle within which it can rotate freely. The shaft is moved by pulling back and forth on a cord wrapped around it several times. This cord is operated by one person while another directs the drill itself, applying pressure on the handle and deciding where the bit is placed. The speed of rotation and the pressure applied can both be varied. Since the drill operator is free to use both hands to direct the drill and apply pressure the cord drill is more flexible than most other types of drills (such as the staff drill or bow drill) which are operated by just one person. Peter Rockwell notes that the cord puller was often an apprentice and had to work hard to keep up with the drill operators actions: ‘I have been told by workers who were trained with this tool that the strap puller, usually an apprentice, learned quickly because he had his head slapped every time the cord slipped off the shaft, something which can happen quite easily’ (1993: 37). The drill was used for a variety of tasks. These included creating holes for dowels or metal fittings but mainly it was employed to achieve depth in delicate areas of carving where the chisel might cause damage. To achieve a deep channel a row of drill holes would be created next to each other, at 90° to the surface of the stone, and the bridges between them then knocked out with a fine flat chisel or channelling tool of some description. Rows of drill holes which were not joined together can be seen on a range of Roman monuments and become increasingly common from the third century AD onwards. The cord drill could also be used as a running drill. Using a wooden support held in one hand to guide the drill bit, the drill operator would drill into the surface at a 35-45° angle, lifting the drill out and moving it slightly along continually to create a series of holes which are at such a shallow angle to the surface of the stone that they look like a channel. The Roman carver Eutropos depicts himself and his assistant, on his grave plaque from Urbino, using a cord drill in this way to finish the detailing on a sarcophagus.

Flat Chisel

The flat chisel, like the point and tooth chisels, is a metal hand-held tool which is struck with a metal hammer, or wooden mallet in ... More some cases. It consists of a shaft, 15-25 cm long and 1-2 cm in diameter, with a flat and sharpened cutting edge perpendicular to the line of the shaft. The width of the cutting edge can vary significantly, between 0.5 and 10 cm; the wider varieties are sometimes called bolsters or droves. Further variation is found in the profile of the corners of this cutting edge. Sometimes they are rounded so that they do not catch on anything during delicate work but often they are left squared and sharpened for the careful application of detail and especially for letter-carving. The flat chisel is typically used for applying detail, smoothing surfaces and finished forms. It is usually held at 35-60° to the surface of stone but like other chisels it can be used in various ways, carefully to smooth or more roughly to shape quickly. The traces left behind by the flat chisel tend to consist of almost smooth sets of parallel straight lines, sometimes barely noticeable when the carver has worked particularly carefully.

Measuring tools

Metal clamp/pin

In the Roman period, most stone blocks in large monuments were fixed to their neighbours using a combination of metal clamps and pins. Iron clamps ... More were usually used but tended to be wrapped in lead to prevent them rusting and then set in molten lead to hold them in place. Metal clamps and pins were also employed on statues to piece together different blocks of stone and on sarcophagi to secure lids in place and prevent their contents being robbed.

Pick

The pick is a tool used primarily during quarrying. With a wooden handle up to 70-80 cm long the quarry pick has a metal head ... More with points on one or both ends. The points themselves act effectively like a point chisel but the long handle allows the user to impart far more force, though less control, with each stroke. On quarryfaces the marks of the quarry pick are identifiable as long, often curved lines where the quarrymen struck the same spot repeatedly before moving on along, working parallel to the line of rockface. In the Roman imperial period a heavier form of the quarry pick than had previously been used seems to have been introduced. This gave the quarryman more power but it also made the process more wasteful, since more stone would be smashed away using this tool. In addition to quarrying the pick was also used for squaring blocks and hollowing-out sarcophagi. In Medieval Europe a smaller pick, the carver's pick, usually with a handle 20-40 cm long, was used for shaping but there are no signs that this was used in the Roman period.

Point

The point chisel is a metal hand-held tool consisting of a shaft, 20-30 cm long and 1-2.5 cm in diameter, with a pyramidal point at ... More one end. The length of the point varies depending on which material it is being used on. For marble and limestone the point tends to be drawn out while for granite it is blunter. The point chisel is hit against the stone with a metal hammer, sometimes a wooden mallet, and is the basic chisel used for most carving. As Peter Rockwell puts it: ‘This chisel is the workhorse of carving. At least 85% of the stone removed in the process of carving a statue is cut away using this tool’ (1993: 39). It is used primarily for roughing-out and basic shaping, though it can also be employed as a finishing tool to achieve a particular effect. The way in which the chisel is applied to the stone varies according to the effect desired and the material. On granite and other hard stones it tends to be held at 90° to the surface of the stone; a stroke at this angle effectively shatters the surface of the stone but at any shallower angle the chisel would simply bounce off these hard materials. For marble carving the point chisel is held shallower, at around 70° or less, to cut into rather than shatter the surface of the stone. Working with successive strokes, lifting the chisel between each to cut a series of short grooves across the surface, a carver can remove large quantities of material quickly using this method (sometimes called the ‘mason’s stroke’). Working at a shallower angle, around 45°, and not lifting the chisel between each stroke (the ‘sculptor’s stroke’), a series of more controlled parallel lines will be created which can be used to define the form of a shape. The marks of all of these methods of working can be found on roughed-out objects, primarily from the quarries. A slight variation on the point chisel is the limestone point or punch which tends to have a wider cutting edge, usually 0.5 cm long. This wider edge is better suited to softer stones which can sometimes be shattered by the point chisel.

Polishing tools

Quarrying tools

Rasp

The rasp is a double-ended tool, ranging in length between 12-40 cm, comprising a shaft in the middle and two flattened ends which are covered ... More with sharp points. The ends can be squared, rounded or pointed, flat or curved. The density of points varies between rasps depending on the fineness of the finish sought. The rasp is rubbed across the surface and is used for smoothing after the flat chisel or roundel and the range of shapes of the ends allows it to be a flexible tool for moving across and around complex forms. It can also be used for fine shaping on certain details. It is mainly used by marble carvers since it would have little effect on granite while scrapers are easier to use for smoothing softer stones. The marks left by the rasp consist of fine scratches crisscrossing the surface of stone and often overlapping.

Roundel

The roundel is similar in basic form to the flat chisel except that its cutting edge is curved rather than flat. It is a metal ... More hand-held tool which is struck with a metal hammer or wooden mallet, consisting of a shaft, 15-25 cm long and 1-2 cm in diameter. The curve of the cutting edge varies considerably from a semicircle to a barely discernible curve. There is fine line between flat chisels with rounded corners and roundels. The roundel can be used for rough and smooth work and is well-suited to delicate areas of carving since it has no corners that might catch on anything. It is especially suited to carving hollows since its shape fits the curves. Occasionally it is also used for surface texture, especially on natural forms like trees or rocks. Like the flat and tooth chisel, the roundel is usually held at 35-60° to the surface of stone. It is often used on marble and very common on softer stones but almost never used on granite.

Saw

Saws can be used on almost all stones and were widely used in the Roman period for creating thin panels for wall revetment or flooring. ... More Stone saws usually comprise a long, thin metal blade, typically no more than 5 mm wide and often over 2 m long. Normally these would have been operated by two workers pulling in sequence on each end. Smaller saws could have been operated by a single carver but only when they were used on soft limestone, sandstone or tuff. On these soft stones the blade tends to be toothed while on harder stones it is flat and used in conjunction with abrasives mixed in water. The blade cuts the stone by moving back and forth through this mixture of water and abrasives grinding away at it. The largest saw blades are usually fixed to wooden frames suspending above the stone by a system of pulleys and weights. This allows the operators to concentrate on the sideways motion of the saw without having to worry about keeping it level. This system also ensures that the saw blade rests gently on the stone, leaving just enough space for the water and abrasive mix to pass between them. Saw blades, when used on hard stones, leave few traces aside from a very smooth surface with occasionally ripples in it where the blade has moved. Sometimes long straight lines can be identified. Modern stone saws tend to be operated by motors and there is evidence for the mechanization of these tools even in the Roman period. Water-powered stone saws are known at Ephesos and at Jerash in Jordan, both datable to the 5th or 6th centuries AD. In the same period the poet Ausonius describes the noise made by these saws in the valley of the Moselle in north-eastern Gaul. These machines were worked by waterwheels fed by channels of continually flowing water. The two archaeologically-attested examples both have multiple blades arranged on two arms so that two blocks of stone could be sawn at once into multiple panels. The job of the operator in this arrangement was to ensure that enough water and abrasives were present to maintain the grinding motion.

Scraper

The scraper is a tool much like a tooth or flat chisel except that it tend to have a curved end so that it can ... More be scraped across the surface of the stone rather than struck with a mallet. It is used to flatten or smooth surface, especially on soft stones.

Sculptor's Pick

The sculptor's pick is a small version of the quarry pick that was widely used in Medieval Italy for rough shaping of figures, often in ... More place or alongside the tooth chisel. A similar tool is also found in modern Pakistan, where it is used for lettering.

Tooth Chisel

The tooth chisel is a metal hand-held tool consisting of a shaft, 16-22 cm long and 1-2 cm in diameter, with a toothed cutting edge ... More at one end typically 0.5-10 cm wide. It is again usually hit with a metal hammer or sometimes a mallet. The number of teeth on this cutting edge varies, usually between three and five, but a variation with two teeth also exists. The tooth chisel is usually used between roughing-out and finishing, to clear away the rough marks left by the point chisel and prepare the surface for finer work with the flat chisel. While the tooth chisel is usually an intermediary tool it was occasionally used in the Roman period (and more later) to apply texture, especially on large expanses of flat surfaces where a smooth finish was not required. Typically the tooth chisel is held at 35-60° to the surface of stone and leaves behind characteristic sets of shallow parallel lines. Sometimes it is held closer to the vertical to cut into the stone more in which the marks left behind are less regular. The shape of the actual teeth on tooth chisels will also obviously affect the marks they leave behind. The tenth can be either pointed or squared, with sharper ones preferred for marble carving and blunter ones for limestone carving. Tooth chisels are not used on granite because their teeth would break.

Wax

An artificial polish can be applied to stone surface by rubbing them with a thin layer of wax which reflects the light in much the ... More same way as a high gloss polish. In the Renaissance a number of Roman statues and especially sarcophagi were given a fake polish in this way, though over time the wax has discoloured, giving them a yellowish hue.

Wedge

Wooden or metal wedges are used to split stone. Both varieties are hammered into pre-prepared holes, usually carved with a point chisel. While metal wedges ... More are simply hammered into the stone, wooden ones are soaked with water so that they split the stone as they expand. By aligning rows of wedges a carver or quarryman can direct the line of the split. Wedges were usually employed during the quarrying process.

Additional Work

Carving

Detailing

The carving of specific details of the design which do not impact on its overall form but rather its final visual effect. Detailing might include ... More the addition of depth to facial features, drapery or hair with the drill followed by the channelling tool or the use of the corner of a flat chisel to decorate armour or add patterns to clothing, hair or beards. This is work usually only undertaken once the overall form of the carving is basically complete.

Fine shaping

The careful definition of the planned form, usually carried out with a flat chisel but sometimes a roundel or tooth chisel is employed. This could ... More be a final level of finish and no further smoothing was required. Numerous figures on Roman reliefs were never carved beyond this stage, which could follow immediately on from roughing-out or perhaps an intermediate stage of rough shaping.

Flattening

The rough working of a surface to provide a flat finish rather than a smooth one. Ashlar blocks in rough walls might be flattened on ... More all sides without being smoothed, and often the bottom of relief panels which would have been hidden from view are simply flattened off. This could be achieved using a tooth chisel or flat chisel.

Hollowing-out

Certain objects types, especially vessels, basins and sarcophagi chests, had to be hollowed-out. This was usually part of the roughing-out process and was typically carried ... More out with the point chisel, though for large spaces the quarry pick might have been used.

Insertion

The cutting of a hole or groove for the insertion of another piece of stone or more often a metal fixture, like a door hinge, ... More a clamp, pin or dowel. Stone architectural often had to be pinned together as did statues made of more than one block of stone.

Laying-out

Laying-out is the planning of a design on the surface of the stone. Roman carvers often sketched out the basic form of the design that ... More they had to carve on to the surface of the material they were working with. These guidelines could be detailed drawings or simply scratches on the stone which might act as reference points. They are found on a wide range of objects and are usually only preserved in areas which would originally have been hidden from view.

Lettering

Lettering refers to the carving of an inscription. Inscriptions are common features of many Roman monuments, used to record who paid for them, the occasion ... More on which they were erected, what they depict and their date. Letter-carvers are sometimes specialist craftsmen but this work could also be done by an ordinary carver if they were trained in it. In the Roman period most letters were carved with the corner of a narrow flat chisel. Sometimes letters were also painted.

Measurement

The accurate measuring of overall form or details of the design to ensure that the desired effect is achieved. Numerous architectural elements had to be ... More carefully planned so that they would fit with their neighbouring elements and measuring point are sometimes found on them. Likewise, measuring points are found on Roman statues. These are usually assumed to indicate that they were copied from models but it is also possible that these points were simply used by the carver as aids for the laying-out of designs. Rulers and set squares existed in the Roman period but most carvers probably used callipers for most measuring.

Outlining

The carving of an outline around particular details of the carving. This is a common feature of Roman reliefs, on which figures are often outlined ... More to set them apart from the background. Outlines are usually carved with the corner of a flat chisel, a roundel or sometimes a channelling tool. Deep outlines are a particular feature of Late Antique relief carving.

Painting

A large proportion of the sculpture produced in the Roman period was painted. New analytical techniques are beginning to show that Roman sculptural painting was ... More extremely sophisticated. A wide colour palette was achieved using a range of minerals, ground down and mixed together to create a spectrum of pigments which were then combined with various binders to help them adhere to the stone.

Placement

The actual lifting and placing of blocks of stone, reliefs and statues. Large Roman monuments and even many smaller ones were constructed of numerous blocks ... More of stone. Understanding how and when these different components were erected is important for reconstructing the construction process. On monuments incorporating carved decorative elements, like capitals, columns or relief panels it is also useful to know whether these were carved on the ground before being lifted into place or carved in place on the monument. This obviously affects how we understand the carving process being carried out, the role of carvers on building sites, and has implications for the organisation of the supply of material. Adjustments made to carved elements can sometimes indicate that they were carved before erection and then had to be slightly altered in place. Likewise, when decoration does not quite line up across blocks we can assume it was also carved on the ground. When detailed decorative forms are carved with interruption across blocks or take little account of these divisions, on the other hand, we can assume that they were finished in place.

Planning

Polishing

The smoothing of the surface of the carving with a series of progressively finer abrasives to achieve a range of finishes. There are different gradations ... More of polish, ranging from a basic matt one to an extremely high gloss finish. A matt one can be achieved by rubbing emery, sandstone or pumice over the surface of the stone, usually with water to help lubricate the process. Finer levels of polish can then be achieved by using finer substances, like sand and burnt and crushed animal bones mixed with water into a paste. Matt polishes are common on high-quality Roman sculpture and high gloss finishes are also found, though these are rarer on ancient than Baroque and modern sculpture. Only certain stones can take a polish, among them marble, various hard granites and porphyries, and certain types of limestone.

Quarrying

The removal of a piece of stone from the rockface, quarrying is the first stage of any carving project that is not using secondhand material. ... More Quarrying in the Roman period was undertaken with the quarry pick and wedge. Channels would be cut along the sides and rear of the block that was to be removed with the pick and then wedges would be inserted along its bottom and hammered in to split it from the rockface. In later periods explosives were used to dislodge material from the rockface. Modern quarrying is usually done with diamond wire saws.

Re-use

The re-employment of a stone object for the same or difference purpose from that for which it was originally intended. Re-use of architectural elements and ... More sometimes works of art was very common in the Roman period and especially the post-Roman period. It was a lot easier and cheaper to adapt an already existing object for use than go through the trouble of quarrying and carving one from scratch.

Removal

The cutting away of a section of stone either to remove something within it, like a metal clamp, or to break off a section of ... More the carving itself. Numerous Roman monuments had elements removed from them in later periods, especially any metal fixtures that could be re-used.

Restoration

Signs of repair and restoration are common on Roman monuments. Some of these are ancient but most are modern.

Rough shaping

The stage of carving often undertaken after roughing-out in which the forms of the planned design are further defined. This is not usually a final ... More stage but an intermediate one in which the carver still works relatively quickly. This kind of rough shaping can be done with the point chisel, tooth chisel, flat chisel or roundel. Often this stage of work is skipped altogether as the carver goes straight from roughing-out to a finer level of shaping.

Roughing-out

The initial stage of shaping of the form in a very rough way. Roughing-out was often carried out at the quarry to reduce the weight ... More of the object ready for onward transport. The basic forms of the final design are defined at this stage and as much excess material as possible removed. This is almost always undertaken with the point chisel and results in the removal of the largest volume of stone of any stage of carving.

Securing

Securing is the fixing in place of blocks of stone, usually architectural elements. Most architectural elements in the Roman period, especially columns, capitals and entablature ... More blocks were fixed together with metal pins or clamps to prevent them moving too much during construction or afterwards, particularly during earthquakes. Many of these metal fixtures were later removed for re-use.

Smoothing

The smoothing of the surface of the stone to produce an even finish and remove most traces of toolmarks. Further smoothing can be achieved with ... More polishing but many Roman carvers never went beyond a basic level of smoothing, usually achieved with the rasp, scraper or sometimes just the flat chisel. This is a common finish on Roman relief sculpture, especially on drapery.

Squaring

The shaping of a rough, usually newly quarried block so that it is flat on all sides and approximately square or rectangular. Ashlar blocks for ... More rough walls were often never carved beyond this stage and sometimes the rear sides of relief panels are left simply squared. This work would usually have been carried out with the point chisel, sometimes the quarry pick.

Transport

Transport refers to the movement of objects, either by land, sea or river. Stone is a heavy and awkward material to move and a range ... More of techniques were developed to dealing with this in the Roman period. In quarries we find specially adapted roads down which material would be winched on rollers. Specially-reinforced vehicles are also mentioned by Vitruvius. Despite the difficulties, stone was often moved enormous distances, especially by sea, to meet demand for exotic materials at Rome and elsewhere.

Africano

Africano is a breccia conglomerate of white, sometimes pink, limestone clasts in a green-black matrix. It is one of the most widely distributed stones in ... More the Roman world and was quarried near Teos on the Aegean coast of Asia Minor. It is typical used for small columns, revetment and flooring panels. It is first attested at Rome in the 1st century BC.

Aphrodisian marble

White marble was extracted from several quarries around the city of Aphrodisias, in north-eastern Karia in Asia Minor. The main source was the so-called City ... More Quarries, just 2 km north of the city, where relatively soft, medium grained white and mottled grey marbles were extracted. These materials were mainly used for architecture and especially high-quality statuary in Aphrodisias itself. Finished statuary from the city was widely exported, though, and Aphrodisian carvers also imported this material when they settled overseas. Recently a source of very fine-grained white and black marble was identified at Göktepe, 40 km to the south-west of Aphrodisias. Marble from these quarries was certainly used at Aphrodisias but it was also employed by Aphrodisian carvers exporting works or working overseas, as shown by sculptures in this material at Rome signed by Aphrodisians.

Dokimeian marble

A fine-grained, medium hardness, calcitic white marble, sometimes with a slight golden hue was quarried at Iscehisar, ancient Dokimeion/Docimium. These quarries were more famous as ... More the source of the purple and white Pavonazzetto, the extraction of which was controlled by the imperial administration in the Roman period. This was a large quarrying area and white and coloured material outcrop together. The white marble was primarily used for statuary and sarcophagi, both of which were exported across Asia Minor and even overseas.

Göktepe marble

The quarries of Göktepe are around 40 km south of Aphrodisias and produced a fine-grained white marble, as well as a fine-grained black marble. Occasionally ... More these two materials could be quarried side by side and several black and white sculptures from Aphrodisias exploited this two toned aspect of this marble.

Granite

Granite is an igneous rock containing principally quartz, alkali and plagioclase feldspar. It is an acid rock, meaning that it formed on the continental plates. ... More It tends to lack internal structures, such as faults, and is extremely hard-wearing. Granites range in colour from pink to grey. Due to their hardness, colouring and the consistency of their texture granites were popular in the Roman world for monolithic columns but also some sculpture, large basins and panels for revetment and flooring. The main sources of granite targeted in the Roman period were in Egypt, in the Eastern Desert and at Aswan on the Nile, in the Troad in Turkey, and around the Tyrrhenian Sea, especially on Elba, Giglio, Corsica and Sardinia. Granite is carved in a quite different manner from other stones, with the tools held closer to vertical during carving. Fragile tools, like the tooth chisel, are not used for granite carving.

Limestone

Limestone is a non-clastic sedimentary rock composed largely of calcium carbonate (CaCO3), usually formed at the bottom of shallow seas. The solubility of limestone makes ... More it easily eroded; caves and sink-holes are typical features of limestone terrains. Limestone can vary substantially in hardness, the softer forms being very easy to cut, the harder ones often as hard as marble. It also varies in colour, from brown to grey, yellow to white. Limestones of various types were widely used in the Roman world for building and sculpture, especially in those area lacking in fine marble sources. In north-western Europe, North Africa and the Balkans limestone was commonly used for most projects.

Luna Marble

A range of white and grey calcitic marbles are quarried in and around modern Carrara, near ancient Luna. The highest-quality of these is the statuary ... More marble (statuario) which is very fine-grained with an ivory colour. It has a high tensile strength, can take a high gloss polish and holds very fine detail. Another popular material for statuary is the so-called ordinario marble, also white in colour, though sometimes with a greyish hue. In addition to these white marble and streaked grey, black and white marble called Bardiglio is also quarried at Carrara and was used in the Roman period, for revetment and flooring especially. White marble from Carrara began to be quarried intensively in the mid to late 1st century BC, though it was sporadically extracted prior to this period. In the 1st century AD it was the principal white marble used at Rome though it was gradually replaced in the course of the 2nd century AD with eastern marbles. It was widely exported in the western Mediterranean in the Roman period and is used in enormous quantities in southern France, eastern Spain and areas of western North Africa. Carrara marble became popular again in the Renaissance and it was quarried intensively throughout the 19th and 20th centuries. Carrara remains the centre of the worldwide stone industry.

Marble

Marble is a metamorphic rock, formed by the low-to-high grade metamorphism of limestone, limestone breccias, conglomerates, and sometimes also dolomite rock. Metamorphism is caused by ... More the heat and pressure which occur when continental plates collide (regional metamorphism) to create mountains or when the intrusion of igneous rocks causes an increase in temperature (contact metamorphism). The recrystallisation that takes place during this metamorphism causes the grains within the rock to interlock making in more durable and able to take a polish. Minerals, or impurities, within a rock will affect its colour while the different forces that it is exposed to during metamorphism will affect its composition. Pressure can contort rocks (folding), it can cause the minerals within a metamorphic rock to align along one plane (foliation), which then allows them to be split, or it can stretch and break up clasts or individual grains within a rock (shearing). Marble is popular for sculpture because it is hard and usually fine-grained enough to hold detail without being as hard as granite and can also take a polish. Numerous sources of marble were exploited in the Roman period with the most favoured white marbles coming from Luna (modern Carrara) in northern Italy, various locations around the Aegean and Sea of Marmara, as well as Aphrodisias and Dokimeion in inland Turkey.

Pavonazzetto

So-called Pavonazzetto is a breccia conglomerate containing white marble clasts in a red-purple matrix. Is was quarried at Iscehisar, ancient Dokimeion/Docimium, alongside a fine-grained white ... More marble. Pavonazzetto was extracted in huge quantities between the 1st century BC and the 6th centuries AD and was widely exported beyond Asia Minor. It is used across Asia Minor but especially at Rome, where it was favoured for monolithic columns and panels for revetment and flooring. From at least the 1st century AD the quarrying of this material was controlled by the imperial administration but it still ends up in non-imperial contexts in significant quantities.

Pentelic Marble

Pentelic marble from the quarries at Penteli north of Athens is a fine-grained calcitic marble. It is white with a golden tinge. Pentelic marble was ... More used for most of the major monuments of Classical Athens, especially from the 5th century BC onwards and was the first white marble to be used in significant quantities at Rome, in the 2nd century BC. In the Roman period it is used for architectural elements, statuary and sarcophagi.

Peperino

Porphyry

Prokonnesian Marble

A medium to coarse grained white marble, often with grey streaks, was quarried in enormous quantities on Marmara Adası, ancient Prokonnesos/Proconnesus. This activity had begun ... More by at least the 6th century BC and continued well into the Byzantine period. Indeed the quarries were well-placed to fulfil the needs of the new capital at Constantinople from the 4th century AD onwards. The marble quarries on the island cover a large area, over 40 km², centred on the harbour at Saraylar, from where material was exported. In the Roman period Prokonnesian marble was mainly used for architectural elements and sarcophagi. The accessibility of the quarries via sea made Prokonnesian marble one of the most widely distributed white marble even though it does not match Luna or Parian marble in terms of its quality. At Rome, Prokonnesian marble is used in large quantities from the 2nd century AD onwards and it is also becomes the import of choice in the Adriatic, in much of central North Africa, in the Levant and around the coasts of Asia Minor, though it is rarely imported far inland.

Sandstone

Sandstone is a clastic sedimentary rock composed of fine grains of quartz and other minerals. It varies in hardness and composition depending on the process ... More of its formation and comes in a range of colours, ranging from pale yellow to dark red. In the Roman period sandstone was widely used as a building stone, especially in the north-western Europe, North Africa and Egypt. It is also sometimes used for sculpture though it can be difficult to achieve fine detail when carving sandstone which is also prone to weathering.

Schist

Soapstone

Soapstone is a talc-schist created by metamorphism. It is softer than marble and some limestones and widely used for sculpture in India, central Asia, areas ... More of Greece and Scandinavia.

Stone

Thasian Calcitic Marble

White calcitic marble with large crystals was quarried on Thasos at Aliki. The enormous quarries here show the scale of demand for this material which ... More was available in large blocks and is uniformly white. Thasian marble, though, is notoriously hard and can be difficult to carve in fine detail. Despite this, Thasian white marble was very popular for imperial portraits and also for sarcophagi, many of which were exported to Rome.

Thasian Dolomitic Marble

White dolomitic marble with large crystals was quarried on Thasos at Saliara and Vathy. The enormous quarries here show the scale of demand for this ... More material which was available in large blocks and is uniformly white. Thasian marble, though, is notoriously hard and can be difficult to carve in fine detail. Despite this, Thasian white marble was very popular for imperial portraits and also for sarcophagi, many of which were exported to Rome.

Travertine

Travertine is a non-clastic sedimentary rock which forms as stalactites and stalagmites in caves through the evaporative precipitation of carbonates. Travertine can also form near ... More hot springs through a similar process, as can the more porous calcareous tuff (tufa in Italian), not to be confused with volcanic tuff (tufo). Travertine is rarely used for sculpture because of the holes that characterise its texture but it is a common building material at Rome and is sometimes employed for sarcophagus chests.

Troad Granite

Grey granite with a violet tinge was quarried in the Troad in the Roman period, especially between the 2nd and 6th centuries AD. The main ... More quarries are on Çigri Dâg. This was a popular materials for monolithic columns.

Tuff

Tuff is a soft rock formed of compacted volcanic ash, sometimes including pumice and scoria. It tends to be porous is nature and can be ... More fragile. Though far from ideal for detailed carving tuff has been used for building at Rome throughout the city's history. Thick beds of tuff surround Rome and though easy to quarry tuff hardens when exposed to air making it a useful building stone. Tuff can also be cut using a toothed saw and quickly shaped into ashlar blocks or the small pyramidal blocks used in opus reticulatum.

Undefined white marble

Distinguishing between white marble by eye is almost impossible. Certain marbles have distinguishing characteristics - like the grey stripes in Prokonnesian or the golden tint ... More to Pentelic - but these are generally unreliable indicators. Archaeometric methods, chemical and petrographic, offer more reliable basis for identification but since not all monuments have been tested with these relatively expensive methods many can only be identified as 'white marble'.

Albany

Albany is the capital city of New York State. it became the capital of New York in 1797.

Aliki

The Aliki quarries on the southern coast of Thasos were a major source of calcitic white marble. The faces of the more than 27 different ... More quarrying sites identified to date testify to the demand for this material; some reach heights of 15-20 m. Material could be loaded straight from these coastal quarries onto waiting ships and sockets for cranes are still visible.

Altıntaş

The quarries at Altıntaş in the upper Tembris valley of western central Turkey, were a source of the purple-and-white marmor phyrgium or pavonazzetto as well ... More as white marble. They are located 50 km north-west of the large quarries at Iscehisar (ancient Dokimeion), the most famous source of pavonazzetto and were perhaps also under imperial ownership. While the pavonazzetto quarried at the site was probably mainly quarried for export, the white marble was used at nearby Aizanoi for building.

Aphrodisias

Aphrodisias is an ancient city in Caria, south-western Turkey. It was founded in the Hellenistic period and rose to prominence in the Julio-Claudian period, in ... More part due to its connections with Aphrodite/Venus, the supposed progenitor of Augustus and his descendants. The city is exceptionally well-preserved since it was largely abandoned in the 6th and 7th centuries and remained a small village thereafter. Most of the civic centre of the city is now exposed and the city is famous for the remarkable number of high-quality statues and sarcophagi that have been found during excavations at it. Aphrodisian sculptors were certainly famous in the Roman period and good quality marble was quarried in the immediate territory of the city.

Aphrodisias Museum

The museum at Aphrodisias contains most of the statuary recovered from the city and almost all of the reliefs from the Sebasteion, the imperial cult ... More complex in the city which is its most famous monument.

Aphrodisias Museum depot

Bargello Museum

The Bargello Museum is a former barracks and prison which in 1865 opened as a national art museum with a large collection of Gothic and ... More Renaissance art including many works that were originally in the collection of the Della Robbia family.

Belevi

Belevi is a small village north-east of Ephesos, the site of a major Hellenistic mausoleum.

Benevento

Benevento (ancient Beneventum) is a town in inland Campania, 50 km northeast of Naples. Originally a Samnite settlement the city became a Roman colony and ... More achieved particular prominence after Trajan's construction in AD 109 of the Via Traiana, which left the Via Appia at the city. The most famous and best-preserved Roman monument in the city is the Arch of Trajan, built to celebrate the opening of this road and dedicated in AD 114.

Butkara

Butkara is an important Buddhist archaeological site in the Swat Valley near Saidu Sharif.

Capitoline Museums

The Capitoline Museums contain one of the largest collections of ancient material in Rome. They are located in three palazzi which has been recently extended ... More on the Capitoline hill. The original collection of material was first deposited here by Pope Sixtus IV in the 15th century. Statuary from Rome and its environs forms the core of the collection.

Carrara

Carrara (near ancient Luna) is a small town in north-western Tuscany in the Apuan Alps. It is famed for its quarries of white and grey ... More marble and has been the centre of the international marble trade for the best part of the last 500 years. Marble was first quarried here in the Etruscan period but large scale extraction did not occur until the mid 1st century BC and intensified significantly in the reign of Augustus. Many of the largest monuments erected in Rome in the late 1st century BC, 1st and 2nd centuries AD were built in in marble from Carrara. Marble from Carrara was shipped from the port of nearby Luna to where it was transported first by sledge then waggon down the steep mountainsides. Quarrying at Carrara seems to have slowed in the late 2nd century AD, perhaps due to the silting of the harbour at Luna. Work at the quarries remained much reduced until the Renaissance when demand for marble increased once more.

Chennai

Chennai is the capital of Tamil Nadu province in south-eastern India.

Chile

Croatia

Egypt

El Djem

El Djem, ancient Thysdrus, was a small but prosperous city in the Roman period in eastern Tunisia.

Ephesos

Ephesos was the largest city in Roman Asia Minor. Originally an Attic-Ionian foundation it became the major Ionian city in the Classical period and boomed ... More as the capital of the Roman province of Asia. It was famed for its Temple of Artemis/Diana, the patron goddess of the city, and is today one of the best preserved ancient cities in Turkey.

Ephesos Archaeological Museum

Euromos

Euromos is an ancient town 12 km north-west of Milas in Turkey. Today the only standing remains are the Temple of Zeus, probably dating to ... More the Hadrianic period.

Florence

Göktepe

Göktepe is a quarry in Muğla province, Turkey, where fine-grained fine and black marble was quarried.

Greece

India

Iscehisar

Iscehisar, ancient Dokimeion, is a small quarrying town, 21 km north-east of Afyon in central western Turkey. In the Roman period, Dokimeion was well-known as ... More the source of the purple-and-white marmor phyrgium or pavonazzetto, which was exported to Rome in enormous quantities and widely distributed around the Mediterranean. High-quality white marble was also quarried here and used for sarcophagus and sculptural production. Objects in this marble have been found at various urban sites in the eastern Mediterranean and at Rome. The town remains an important quarrying centre.

Istanbul Archaeological Museum

Italy

Izmir

Izmir Archaeological Museum

Izmir Archaeological Museum contains one of the most important collections of Roman sculpture in Turkey, including material from Smyrna and its surroundings but also other ... More sites along the Aegean coast and even as far inland as Aphrodisias.

Kovalam

Kovalam or Covelong is a small fishing village south of Chennai, India, along the road to Mahabalipuram.

Lahore

Lahore is the capital of the Punjab, Pakistan.

Mahabalipuram

Mahabalipuram is a small seaside town in Tamil Nadu, India, 60 km south of Chenai. It is famous as an early harbour and for its ... More rock-cut temples.

Marino

A small town in the Alban Hills, 21 km south of Rome. Marino was known in the Roman period for its quarries of a variety ... More of tufa called peperino. This stone was extensively used in Republican Rome as a building material. This stone is still quarried today in limited quantities.

Marmara Adası

Marmara Adası, ancient Prokonnesos, is an island in the Sea of Marmara, north-western Turkey, 110 km south-west of Istanbul. In antiquity the island was a ... More famous source of white marble, quarried was quarried along its northern side, especially around the harbour at Saraylar. This was the largest quarrying district in the Roman world, covering almost 40km². The accessibility of the quarries by sea made them a popular source of marble for building but also for sarcophagus and statue production. The island remains an important quarrying centre today.

Modena

Mons Porphyrites

Museo Civico, Modena

Museo del Marmo

This is the museum of marble in Carrara which now contains artefacts found in the Roman quarries, including roughed-out architectural elements and tools. The museum ... More also provides an overview of the whole history of marble quarrying and carving in Carrara, the town which is still the hub of the worldwide marble trade.

Museo dell'Opera del Duomo

The museum houses many pieces of work created for the Duomo or the Basilica di Santa Maria del Fiore.

Museum, Thessaloniki

The Archaeological Museum of Thessaloniki was founded in 1962 to contain the archaeological material that had been found in the surrounding ancient cities of Macedon, ... More in particular, from the cities of Aigai and Pella.

Orvieto

Ostia

Ancient Ostia was the harbour city of Rome, located at the mouth of the Tiber 30 km south-west of the capital. It was a major ... More commercial hub, the population of which boomed after the construction of the harbour complex at Portus, just to the north, under first Claudius and then Trajan.

Ostia Museum

Pakistan

Paros

The central Aegean island of Paros was a major source of high-quality white marble through the Archaic, Classical and Roman periods. A variety of white ... More marbles were quarried here but the most prestigious was the almost translucent lychnites marble. This was especially popular for statuary and was extracted from underground galleries accessed via tunnels in the area around Marathi. Parian marble was widely exported, notably to Rome but statues carved in it have been found at many large Roman urban centres.

Penteli

Mount Pentelikon is a mountain 17 km north-east of Athens and source of the white marble from which most of the city's monuments were built. ... More Though there were other sources of marble around Athens the Pentelic quarries were used for the most prestigious monuments throughout the city's history, most notably the Parthenon. In the 2nd and 1st centuries BC Pentelic marble was also exported to Rome where it was used for temple construction. This marble continued to be widely used through the Roman period, notably in Flavian projects at Rome and the Severan complexes at Lepcis Magna, where it was used alongside Prokonnesian marble. Sarcophagi in Pentelic marble were also widely distributed in the Roman period, at least until the mid to late 3rd century AD when quarrying seems to have slowed, perhaps following the Herulian sack of Athens in AD 267.

Pula

Pula is the largest city in the Croatian province of Istria. It is now a major port city. In the Roman period it was the ... More town of Pietas Iulia, made a colony under Julius Caesar, which was an important administrative and military centre in Istria.

Rana Rarako

Rana Rarako is a volcanic crater at the eastern end of Easter Island. It is the main source of the stone used for the famous ... More moai on the island.

Rome

A sizeable proportion of the images in this archive come from Rome, where there is the largest concentration of sculpted monuments anywhere in the Roman ... More world, as well as many of the most important collections of Roman material. Most of the ancient monuments still standing in Rome date from the Roman imperial period, particularly the 1st-4th centuries AD. Rome was the artistic and architectural centre of its empire, as well as the commercial and political one. It drew on the extensive resources of all of its territory and this is clearly revealed by the huge quantities of imported stone used in its monuments. The local tuff and travertine found around Rome, while suitable for basic construction, is of limited use for fine carving and from the 2nd century BC onwards Roman architects and artists increasingly imported marble from the Aegean. In the 1st century BC polychrome materials began to imported from North Africa and Asia Minor, and by the 1st century AD decorative stones from Egypt were also exploited. Many of the architects and artists operating in Rome, especially in the Republican period were themselves Greeks and the city remained a hub of immigration, a fact which left a major impact on its artistic and architectural landscape.

Saidu Sharif Museum

The archaeological museum in Saidu Sharif holds important collections of Buddhist sculpture from the numerous sites of the Swat Valley and large numbers of Gandharan ... More reliefs.

Saliara

The quarries at Saliara and on nearby Cape Vathy were major sources of dolomitic white marble in the Roman period. They had been exploited prior ... More to this but their accessibility by sea made them a popular source of material. Numerous roughed-out sarcophagus chests have been found at these quarries of a format popular at Rome and the same objects have been found in shipwrecks off southern Italy.

San Lorenzo

The basilica serves as the principle burial place for members of the Medici family from the 1460's to the 1720's.

Saraylar

Sardis

Sardis was a large and wealthy ancient city in the Hermos valley of western Turkey. Capital of the kingdom of Lydia, the city later became ... More an important Persian administration centre until its conquest by Alexander. In the Roman period Sardis prospered once more and was adorned with several major building complexes, among them the large bath-gymnasium, which has been heavily restored.

Selinunte

Selinunte is a small village in south-western Sicily, the site of the large Greek city of Selinus. Originally founded by colonists from Megara Hyblaea and ... More Megara, Selinus developed into one of the largest cities in Sicily. It is famous for its series of large temples, the stone for which comes from the nearby Cava di Cusa quarries. The city was eventually destroyed by the Carthaginians in the mid 2nd century BC and only continued as a relatively minor settlement in the Roman period.

Sığacık

Sığacık is a village near the site of Teos, the ancient Greek city on the Ionian coast of Asia Minor. Teos was an important city ... More in the Archaic and Classical period. In the Roman period it was the source of a distintive black-red-green recrystallised limestone, called marmor lucullum or africano. This material was widely distributed, especially to Rome, and its quarries were probably under imperial control.

Şile

Swat Valley

The Swat Valley is an area of north-western Pakistan close to the border with Afghanistan.

Syracuse

Syracuse is a large city in south-eastern Sicily. Originally a Corinthian colony it developed into the most powerful Greek city in Sicily, eventually siding with ... More the Carthaginians in the Punic wars only to be captured by Rome in 212 BC. The city had large limestone quarries. It was to these quarries that the nearly 7,000 Athenians captured after the failed Sicilian Expedition in 413 BC were condemned.

Takht-i-Bahi

Takht-i-Bahi is a small village in the Khyber-Pakhtunkhwa province of Pakistan, famous for its early Buddhist monastic remains.

Thasos

Thessaloniki

Thessaloniki is the second largest city in Greece and has been an important cultural and political hub since antiquity. The city was founded in 315 ... More BC by Cassander of Macedon, and evolved to become one of the most important cities in Macedon. In the Roman period, Thessaloniki became an important stop on the trade routes between Rome and Byzantium, and was the administrative capital of the Roman Empire during the tetrarchy under Galerius Maximianus Caesar. The city was the second largest in size and wealth in the Byzantine Empire.

Tivoli

Tivoli (ancient Tibur) is a small town 30 km north-east of Rome. In the Roman period it was famous as a source of travertine, which ... More was known to the Romans as lapis tiburtinus. This was an important building stone in ancient Rome but continued to be used in the Renaissance and the modern period. Also close to Tivoli is the palatial villa of the emperor Hadrian.

Tunisia

Turkey

United States of America

Vatican Museums

The Vatican Museums are the largest museum in Rome and comprise a series of separately accumulated papal collections. A huge number of Roman statues and ... More funerary monuments, including sarcophagi, are preserved in the collection. The Vatican also holds the largest collection of Early Christian art anywhere.

Vicenza

Vicenza is a small city in the Veneto region of north-eastern Italy.

Yedi Tașlar

The quarries in the vicinity of Yedi Tașlar on Çigri Dâg in the Troad were an important source of grey granite in the Roman period. ... More The distinctive granite from these quarries has a violet hue and is often referred to as granito violetto. The quarries are no longer worked today and as a result are well-preserved. A large number of roughed-out column shafts are still preserved in them.

BR01_01_01

Drawings of the point chisel and two limestone punches.

BR01_01_04

A series of point chisels of different sizes.

BR01_01_05

A point chisel being used on white marble.

BR01_01_06

A point chisel being used on white marble.

BR01_02_01

Drawings of a range of tooth or claw chisels.

BR01_02_02

A series of tooth chisels of different sizes.

BR01_02_03

A series of tooth chisels of different sizes.

BR01_02_04

A series of tooth chisels of different sizes.

BR01_02_05

A tooth chisel being used on white marble.

BR01_03_01

Drawings of a range of flat chisels.

BR01_03_02

A group of flat chisels and roundels.

BR01_03_03

A series of flat chisels.

BR01_04_01

Drawings of a selection of rasps.

BR01_04_02

A series of rasps and a small file.

BR01_04_03

A series of rasps.

BR01_04_04

Rasp in use on white marble.

BR01_04_05

Rasp in use on white marble.

BR01_04_06

Rasp in use on white marble.

BR01_05_01

Drawings of a range of roundels or bull-nosed chisels.

BR01_05_02

Series of roundels.

BR01_06_01

Drawing of a channelling tool.

BR01_06_02

Two sizes of channelling tool.

BR01_07_01

A cord or strap drill.

BR01_07_02

Detail of a cord or strap drill.

BR01_07_03

A pump drill.

BR01_07_04

A cord/strap drill and a pump drill.

BR01_08_01

A selection of measuring tools.

BR01_08_02

A selection of measuring tools.

BR01_09_01

Abrasive in use on white marble.

BR01_09_02

Abrasive in use on white marble.

BR01_09_03

Abrasive in use on white marble.

BR01_10_01

A small pick from Pakistan.

BR02_01_01

View of the Arch of Trajan at Benevento.

BR03_01_01

View of the western facade of the Arch of Trajan at Benevento.

BR03_02_01

General view of the Column of Trajan.

BR03_03_01

General view of the Ara Pacis Augustae.

BR03_04_01

General view of the Arch of Constantine

BR03_05_01

General view of the Sebasteion, Aphrodisias.

BR03_06_01

General view of the south end of the Agora Gate, Aphrodisias.

BR03_07_01

General view of the west end of the South Agora.

BR03_08_01

General view of the theatre at Aphrodisias.

BR03_09_01

Garland sarcophagus with an unfinished rear side at Aphrodisias.

BR04_01_01

A marble yard at Carrara with the quarries in the background.

BR04_01_02

View of one of the quarryfaces at Carrara.

BR04_01_03

Detail of a polished piece of white marble from Carrara.

PR103_01_02

General view of the Penteli Quarries (ancient Pentelikon)

PR103_01_11

Quarry track in the Penteli Quarries (ancient Pentelikon)

PR103_01_12

Carved slot in the Penteli Quarries (ancient Pentelikon)

PR103_01_15

Carved slot in the Penteli Quarries (ancient Pentelikon)

PR103_01_17

Quarry track in the Penteli Quarries (ancient Pentelikon)

PR103_01_23

General view of a row of quarries in the Penteli Quarries (ancient Pentelikon).

PR103_02_02

Quarry track in the Penteli Quarries (ancient Pentelikon).

PR103_02_05

Debris in the Penteli Quarries (ancient Pentelikon).

PR103_02_11

Detail of a squared block in the Penteli Quarries (ancient Pentelikon).

PR114_01_07

View of the Saliara Quarries on Thasos.

PR114_01_08

View of the Saliara Quarries on Thasos.

PR114_01_14

View of the Saliara Quarries on Thasos.

PR114_01_19

View of the Saliara Quarries on Thasos.

PR114_01_24

Quarrying marks on a face further inland on Thasos.

PR114_02_06

Roughed-out basin or sarcophagus chest in the Saliara Quarries on Thasos.

PR114_02_08

Slot cut into a quarry-face in the Saliara Quarries on Thasos.

PR114_02_12

Relief of Herakles in the Saliara Quarries on Thasos.

PR114_02_18

Roughed-out blocks in the Saliara Quarries on Thasos.

PR114_03_12

View of the Aliki Quarries on Thasos.

PR114_03_14

View of the Aliki Quarries on Thasos.

PR114_03_15

View of the Aliki Quarries on Thasos.

PR114_03_16

View of the Aliki Quarries on Thasos.

PR114_03_19

Detail of a quarry-face in the Aliki Quarries on Thasos.

PR114_03_20

Detail of a quarry-face in the Aliki Quarries on Thasos.

PR114_03_21

View of the Aliki Quarries on Thasos.

PR114_03_23

View of a small quarry-face in the Aliki Quarries on Thasos.

PR114_03_24

Detail of working on a block in the Aliki Quarries on Thasos.

PR114_04_01

Roughed-out column shaft in the Aliki Quarries on Thasos.

PR114_04_02

Column drum in the Aliki Quarries on Thasos.

PR114_04_05

Roughed-out column shaft in the Aliki Quarries on Thasos.

PR114_04_06

Detail of the end of a roughed-out column shaft in the Aliki Quarries on Thasos.

PR114_04_08

Detail of a block in the Aliki Quarries on Thasos.

PR114_04_10

Detail of quarry at Aliki on Thasos.

PR114_04_12

View of a quarry at Aliki on Thasos.

PR114_04_14

View of column drum in the Aliki Quarries on Thasos.

PR115_01_01

View of the Cava di Cusa quarries near Selinunte on Sicily.

PR117_01_04

View of the quarries at Syracuse on Sicily.

PR117_01_05

Tunnel in the quarries at Syracuse on Sicily.

PR117_01_09

Deep tunnel in the quarries at Syracuse on Sicily.

PR201_01_01

General view of the Ara Pacis Augustae during restoration in the 1980s.

PR201_01_02

General view of restoration work on the Ara Pacis Augustae in the 1980s.

PR201_01_03

Detail of restoration work on the Ara Pacis Augustae in the 1980s.

PR201_01_04

Detail of Augustus on the South Side of the Ara Pacis Augustae.

PR201_01_05

General view of the South Side of the Ara Pacis Augustae.

PR201_01_06

Members of the imperial family on the South Side of the Ara Pacis Augustae.

PR201_01_07

Detail of Agrippa on the Ara Pacis Augustae.

PR201_01_08

Close-up of priests on the Ara Pacis Augustae.

PR201_01_09

Detail of priests on the Ara Pacis Augustae.

PR201_01_11

Close-up of priests.

PR201_01_12

Close-up of three officials.

PR201_01_13

Detail of the faces of Roman officials.

PR201_01_14

Detail of the faces of priests.

PR201_01_15

Close-up of priests.

PR201_01_18

Close-up of members of the imperial family.

PR201_01_19

Detail of a member of the imperial family.

PR201_01_20

Close-up of Agrippa.

PR201_01_21

Detail of a togate figure.

PR201_01_22

Close-up of a togate figure.

PR201_01_23

Close-up of a togate figure.

PR201_02_01

Detail of drapery.

PR201_02_02

Close-up of drapery.

PR201_02_03

Close-up of drapery.

PR201_02_04

Detail of drapery.

PR201_02_05

Detail of the floral frieze.

PR201_02_06

Detail of the floral frieze.

PR201_02_09

General view of restoration work on the Ara Pacis Augustae in the 1980s.

PR201_02_11

Detail of restoration work on the Ara Pacis Augustae in the 1980s.

PR201_02_12

Detail of restoration work on the Ara Pacis Augustae in the 1980s.

PR201_02_13

Detail of the documentation of toolmarks on the surface of the Ara Pacis Augustae during restoration in the 1980s.

PR202_01_02

General view of the three standing columns of the Temple of Vespasian.

PR202_01_03

General view of the entablature of the Temple of Vespasian.

PR202_01_12

Detail of fluting.

PR202_01_13

Close-up of fluting.

PR202_02_07

Detail of a Corinthian capital.

PR202_02_12

Detail of Corinthian capital.

PR202_02_13

Detail of Corinthian capital.

PR202_02_15

Detail of the top of a Corinthian capital.

PR202_02_16

View of the underside of the entablature.

PR202_02_23

Detail of entablature now in the Capitoline Museums.

PR202_02_24

Detail of entablature now in the Capitoline Museums.

PR202_03_01

Detail of entablature now in the Capitoline Museums.

PR202_03_04

Detail of Corinthian capital.

PR202_03_05

Detail of the entablature now in the Capitoline Museums.

PR202_03_06

Detail of entablature now in the Capitoline Museums.

PR202_03_07

Detail of entablature now in the Capitoline Museums.

PR202_03_14

Detail of the entablature now in the Capitoline Museums.

PR202_03_15

Detail of entablature now in the Capitoline Museums.

PR202_03_16

Detail of entablature now in the Capitoline Museums.

PR202_03_17

Detail of the entablature now in the Capitoline Museums.

PR202_03_21

Detail of entablature now in the Capitoline Museums.

PR202_04_01

Close-up of the guideline strip on the entablature now in the Capitoline Museums.

PR202_04_03

Diagram showing the layout of the roughed-out section and guideline on the entablature now in the Capitoline Museums.

PR202_04_20

General view of the Temple of Vespasian.

PR202_05_02

View of the entablature on the Temple of Vespasian.

PR202_05_07

View of the podium of the Temple of Vespasian.

PR203_01_01

General view of the exterior of the Colosseum.

PR203_01_02

Detail of the exterior of the Colosseum.

PR203_01_07

Detail of a pier and vault on the exterior of the Colosseum.

PR203_01_11

Detail of the soffit of an arch on the exterior of the Colosseum.

PR203_01_13

Detail of an exterior pier on the Colosseum.

PR203_01_14

Detail of the upper section of a pier on the exterior of the Colosseum.

PR203_01_15

Detail of the lowest order on the exterior of the Colosseum.

PR203_01_16

View along the outermost corridor of the Colosseum.

PR203_01_18

Detail of a column shaft lying in the interior of the Colosseum.

PR203_01_19

Detail of the surface of a column shaft lying in the interior of the Colosseum.

PR204_01_02

General view of the west side of the Arch of Titus.

PR204_01_03

General view of the east side.

PR204_01_05

General view of the west side.

PR204_01_06

Drawing showing the original Roman material on the eastern face of the southern pier.

PR204_01_07

Drawing of the east side of the Arch of Titus showing the different sizes of blocks used and the original Roman material.

PR204_01_13

Drawing of the south side.

PR204_01_14

Cross-section showing the south side of the passageway.

PR204_01_20

Drawing of the eastern face of the southern pier.

PR204_01_22

Detail of drawing showing the eastern face of the southern pier.

PR204_02_05

Detail of the eastern facade.

PR204_02_07

Detail of the eastern facade.

PR204_02_09

Detail of the southern spandrel on the eastern facade.

PR204_02_11

Detail of spandrel on eastern facade.

PR204_02_13

Close-up of spandrel.

PR204_02_14

Detail of south-eastern spandrel.

PR204_02_16

View of the eastern face of the north pier.

PR204_02_17

View of the north-eastern spandrel.

PR204_02_18

Detail of north-eastern spandrel.

PR204_02_19

Close-up of north-eastern spandrel.

PR204_02_21

Detail of north-eastern spandrel.

PR204_02_24

Detail of the half-column adjacent to the north-eastern spandrel.

PR204_03_01

Close-up of the eastern face of the northern pier.

PR204_03_02

Detail of the eastern face of the northern pier.

PR204_03_03

Close-up of northern end of the eastern facade.

PR204_03_04

Close-up of the northern end of the eastern facade.

PR204_03_05

Detail of the northern end of the eastern facade.

PR204_03_08

Detail of the corner of the northern pier of the eastern facade and the passageway.

PR204_03_09

Close-up of the corner of the northern pier of the eastern facade and the passageway.

PR204_03_10

General view of the north side of the passageway.

PR204_03_13

View of the north side of the passageway.

PR204_03_15

The relief on the north side of the passageway.

PR204_03_16

View of the relief on the north side of the passageway.

PR204_03_19

Detail of the triumphal relief on the north side of the passageway.

PR204_03_21

Detail of the triumphal relief on the north side of the passageway.

PR204_04_01

Detail of the triumphal relief on the north side of the passageway.

PR204_04_04

Detail of the north side of the passageway.

PR204_04_06

Detail of the south side of the passageway.

PR204_04_10

Detail of the western end of the south side of the passageway.

PR204_04_12

Detail of the coffering.

PR204_04_13

Detail of the coffering.

PR204_04_15

Detail of the scene depicting the apotheosis of Titus in the soffit.

PR204_04_16

Detail of the apotheosis scene in the soffit.

PR204_04_17

Detail of the apotheosis scene in the soffit.

PR204_04_20

Detail of toolmarks on the flat surface beneath the main relief in the passageway.

PR204_04_21

Detail of the flat surface beneath the main relief in the passageway.

PR204_04_22

Detail of the flat surface beneath the main reliefs in the passageway.

PR204_04_23

Detail of the flat surface beneath the main relief in the passageway.

PR204_05_03

View of the eastern end of the relief on the south side of the passageway.

PR204_05_04

Relief on the south side of the passageway.

PR204_05_05

Relief on the south side of the passageway.

PR204_05_07

Detail of the relief on the south side of the passageway.

PR204_05_08

Detail of the relief on the south side of the passageway.

PR204_05_09

Detail of the relief on the south side of the passageway.

PR204_05_12

Close-up of figures on the relief of the south side of the passageway.

PR204_05_13

Detail of the relief on the south side of the passageway.

PR204_05_14

Detail of the menorah on the relief on the south side of the passageway.

PR204_05_17

Detail of figures on the relief on the south side of the passageway.

PR204_05_19

Detail of the relief on the south side of the passageway.

PR204_05_20

Detail of the bottom of the relief on the south side of the passageway.

PR204_05_21

Detail of the bottom of the relief on the south side of the passageway.

PR204_05_23

Close-up of the join between blocks at the bottom of the relief on the south side of the passageway.

PR204_06_03

Close-up of clamp hole on the relief on the south side of the passageway.

PR204_06_05

View of the eastern end of the south side of the passageway.

PR204_06_07

Close-up of the eastern end of the south side of the passageway.

PR204_06_09

Close-up of the eastern end of the south side of the passageway.

PR204_06_11

Detail of the eastern end of the north side of the passageway.

PR204_06_12

Detail of the eastern end of the north side of the passageway.

PR204_06_14

Close-up of the eastern end of the north side of the passageway.

PR204_06_16

View of the south-western corner.

PR204_06_17

View of the base of the western facade.

PR204_06_18

View of the base of the western facade.

PR204_06_19

View of the base on the southern end of the western facade.

PR204_06_20

View of the base of the south-western corner.

PR204_06_21

View of the base on the south side.

PR204_06_22

View of the base of the south-eastern corner.

PR204_06_23

View of the base of the south side.

PR204_07_01

Detail of the base at the south-western corner.

PR204_07_06

View of the base on the eastern facade.

PR204_07_07

View of the base on the south side.

PR204_07_08

Close-up of the south-eastern corner.

PR204_07_11

Close-up on the base on the south side.

PR204_07_12

View of the southern end of the east facade.

PR204_07_14

View of the base of the south side of the passageway.

PR204_07_15

Close-up of the base on the south side of the passageway.

PR204_07_16

Close-up of the base on the south side of the passageway.

PR204_07_17

Close-up of the base on the south side of the passageway.

PR204_07_18

Close-up of the base on the south side of the passageway.

PR204_07_20

General view of the Arch of Titus from the Forum Romanum to the west.

PR204_07_22

Painting of the Arch of Titus included in the Frangipani castle.

PR205_01_02

A diagram of the heights of the spiral for the Column of Trajan.

PR205_01_03

Average, maximum, and minimum band heights for the Column of Trajan.

PR205_01_04

Internal measurements for the Column of Trajan.

PR205_01_05

Heights of figures from the Column of Trajan.

PR205_01_17

Comparative measurements of frieze height, figure height, head height, and arm length.

PR205_02_13

A scene from the Column of Trajan during restoration.

PR205_02_18

Trajan addresses his troops.

PR205_02_22

Daicans being expelled from the moutains.

PR205_02_24

Two scenes of Trajan interacting with his soldiers.

PR205_03_01

Trajan greeting his soldiers.

PR205_03_03

Detail of the architecture from the scene of Trajan greeting his soldiers.

PR205_03_06

Trajan addressing his soldiers.

PR205_03_09

Trajan addressing his troops.

PR205_03_13

Detail of Trajan addressing his troops.

PR205_03_14

Detail of Trajan.

PR205_03_15

Trajan addressing his troops.

PR205_03_19

Trajan accepting the surrender of the Dacians.

PR205_03_21

Dacians surrendering to the Romans.

PR205_03_22

Dacians surrendering to the Romans.

PR205_03_24

Dacians at the end of the first war.

PR205_04_01

Trajan arriving at his camp and greeting his troops.

PR205_04_02

An example of a sudden jump in height of the border.

PR205_04_03

The capture of Decebalus.

PR205_04_04

A battle scene.

PR205_04_05

Trajan and his officers.

PR205_04_06

A battle scene.

PR205_04_14

Romans defending their fort.

PR205_04_16

Roman and Dacian soldiers fighting.

PR205_04_18

Dacians attacking a Roman fort.

PR205_04_19

Roman soldiers building a fort.

PR205_04_23

Roman prisoners being tortured by Dacian women.

PR205_05_01

Dacians crossing a river.

PR205_05_02

Detail of a Dacain crossing a river.

PR205_05_04

Dacians crossing a river.

PR205_05_05

Dacians crossing a river.

PR205_05_07

Dacians crossing a river.

PR205_05_08

Dacians crossing a river.

PR205_05_10

Dacian commander in despair.

PR205_05_13

Dacians attacking a Roman fort.

PR205_05_14

Detail of a wounded Dacian.

PR205_05_17

A Dacian soldier attacking a Roman fort.

PR205_05_19

A battle between Dacian and Roman soldiers.

PR205_05_20

A battle scene between Dacian and Roman soldiers.

PR205_05_23

Detail of a Dacian in a battle scene.

PR205_06_01

Roman soldiers on the move.

PR205_06_08

Roman soldiers crossing a bridge.

PR205_06_09

A Roman soldier holding a Dacian's head by his teeth.

PR205_06_10

Detail of a Roman soldier holding a Dacian's head with his teeth.

PR205_06_12

Roman soldiers setting Dacian buildings on fire.

PR205_06_13

A Dacian prisoner being bound by a Roman soldier.

PR205_06_14

The defeated Dacians.

PR205_06_16

The death throes of Dacian soldiers.

PR205_06_17

A dying Dacian.

PR205_06_19

Dacians in their death throes.

PR205_07_05

Roman soldiers embracing.

PR205_07_09

Head of a horse.

PR205_07_10

Soldiers on horseback.

PR205_07_12

Soldiers on horseback in battle.

PR205_07_13

Roman soldiers on horseback.

PR205_07_14

Horses crossing a river by boat.

PR205_07_17

A boat at the docks.

PR205_07_18

Detail of the boat at the docks.

PR205_07_19

Detail of a water channel, identified as the hot spring at Ad Aquas by Chicorius.

PR205_07_20

Detail of a boat.

PR205_07_21

Detail of a boat.

PR205_07_22

Detail of a ship.

PR205_07_23

A sacrifice for the purification of the Roman army.

PR205_08_01

Trajan with his officers.

PR205_08_02

Trajan approaching a fortress.

PR205_08_03

Detail of Trajan approaching a fortress.

PR205_08_04

Trajan receiving three Dacian leaders.

PR205_08_08

Trajan meeting a Dacian prisoner.

PR205_08_09

Trajan rewarding his troops.

PR205_08_10

Trajan with his advisors.

PR205_08_11

Detail of Trajan addressing his troops.

PR205_08_12

Detail of Roman soldiers and their standards.

PR205_08_13

Soldiers of Legio I Minervia.

PR205_08_14

Detail of the standards of the soldiers of Legio I Minervia.

PR205_08_15

The soldiers of Legio I Minervia march over the Danube.

PR205_08_16

The Roman soldiers from the Legio I Minerva marching over the Danube.

PR205_08_17

Roman soldiers cutting wood.

PR205_08_19

Trajan and his officers.

PR205_08_21

Trajan depicted as a priest.

PR205_08_22

Roman soldiers marching with artillery wagons.

PR205_08_23

Soldiers listening to address.

PR205_09_01

The Dacian army.

PR205_09_03

A Roman soldier with his horse.

PR205_09_08

Detail of Trajan and his officers

PR205_09_10

Roman soldiers taking part in a sacrifice at the Danube.

PR205_09_11

The bull is being led to sacrifice by the Roman soldiers at the Danube river.

PR205_09_13

Roman soldiers leading the bull for sacrifice at the Danube river.

PR205_09_14

Trajan sacrificing in front of the bridge over the Danube river.

PR205_09_17

A detail of Trajan sacrificing at the Danube river.

PR205_09_18

A detail of Trajan sacrificing at the Danube river.

PR205_09_21

Trajan meeting with foreign embassies.

PR205_09_22

A foreign embassy waits for an audience with Trajan.

PR205_10_08

Trajan crossing a river in a boat.

PR205_10_09

Roman soldiers building a fort.

PR205_10_10

Trajan in a fortress under construction.

PR205_10_11

The Romans building a fort.

PR205_10_13

Detail of the Romans building a fort.

PR205_10_14

Roman soldiers constructing a fort.

PR205_10_15

A soldier with a basket of earth.

PR205_10_17

A soldier hands a basket of earth to another soldier.

PR205_10_18

A soldier hands a basket of earth to another soldier during the construction of a fort.

PR205_10_19

Roman soldiers placing blocks and hammering in wooden supports during the building of a fort.

PR205_10_22

A detail of Roman soldiers working on a fort.

PR205_10_23

A Roman soldier building a fort.

PR205_10_24

A detail of a Roman soldier building a fort.

PR205_11_04

Roman soldiers building a fort.

PR205_11_06

A Roman soldier constructing a road.

PR205_11_09

Roman soldiers constructing a fort.

PR205_11_16

Dacian soldiers cutting trees.

PR205_11_23

Roman soldier building a fort.

PR205_12_10

The detail of a sandal.

PR205_12_23

Detail of a Roman soldier gathering building supplies.

PR205_13_04

Roman soldiers cutting down building materials.

PR205_13_06

Detail of a Roman soldier removing construction material.

PR205_13_08

A detail of the tree.

PR205_13_14

Roman soldiers cutting down material for building a fort.

PR205_13_17

Detail of a Roman soldier cutting down trees.

PR205_13_18

A detail of the axe used by a Roman soldier to cut down trees.

PR205_13_20

A detail of a soldiers foot.

PR205_13_22

A detail of flat chiseling for a mountainous background.

PR205_14_16

Detail of a Roman soldier.

PR205_15_14

Detail of a theatre.

PR205_15_23

Detail of the tops of trees.

PR205_16_02

Animals on the way to being sacrificed.

PR205_16_06

The head of a Roman horse.

PR205_1_01_01

Detail of the head of a Dacian fleeing.

PR205_1_01_02

Detail of Trajan.

PR205_1_01_03

Detail of the legs of two soldiers and a window.

PR205_1_01_04

Detail of Trajan and officers.

PR205_1_01_05

Close-up of Trajan.

PR205_1_01_06

Detail of a legionary.

PR205_1_01_07

Close-up of a legionary.

PR205_1_01_08

Soldiers holding standards.

PR205_1_01_09

Detail of soldiers with standards.

PR205_1_01_10

Detail of soldiers with a carroballista (cart-drawn artillery weapon).

PR205_1_01_11

A carroballista (cart-drawn artillery weapon).

PR205_1_01_12

Roman soldiers with carroballistae (cart-drawn artillery weapons).

PR205_1_01_13

Detail of standards.

PR205_1_01_14

Dacians in battle.

PR205_1_01_15

Roman soldiers marching behind a fence.

PR205_1_01_16

Soldiers moving rubble or earth in a basket.

PR205_1_01_17

Soldiers moving earth or rubble.

PR205_1_01_18

Dacians in battle.

PR205_1_01_19

Detail of Trajan embarking on a boat.

PR205_1_01_20

A soldier disembarking a boat.

PR205_1_02_01

Soldier disembarking a boat.

PR205_1_02_02

Detail of a sacrificial pig and sheep.

PR205_1_02_03

Detail of a military standard.

PR205_1_02_04

Detail of a military standard.

PR205_1_02_05

Detail of Roman soldiers.

PR205_1_02_06

Details of soldiers marching with a waggon.

PR205_1_02_07

Soldiers marching past a stockade.

PR205_1_02_08

Soldiers marching and a window.

PR205_1_02_09

Detail of baggage mules.

PR205_1_02_10

Soldier with a basket of earth.

PR205_1_02_11

Detail of soldiers in trees.

PR205_1_02_13

Detail of standard and soldier.

PR205_1_02_14

Detail of standard-bearers.

PR205_1_02_15

Detail of standards.

PR205_1_02_16

Roman soldiers cutting down trees.

PR205_1_02_17

Roman soldier cutting wood.

PR205_1_02_18

Detail of Roman legionaries cutting wood.

PR205_1_02_19

Detail of basket.

PR205_1_02_20

Detail of a Roman axe and a river.

PR205_1_03_01

The foot of a Roman soldier.

PR205_1_03_02

Detail of a rocky landscape.

PR205_1_03_03

Detail of a road-building scene in a rocky landscape.

PR205_1_03_04

Detail of a Roman soldier cutting down a tree.

PR205_1_03_05

Detail of a Roman legionary.

PR205_1_03_06

Roman cavalrymen attacking a Dacian village.

PR205_1_03_07

Detail of a bridge.

PR205_1_03_08

Detail of a Roman soldier.

PR205_1_03_09

Detail of a bridge with cavalry crossing.

PR205_1_03_10

A window.

PR205_1_03_11

Construction scene.

PR205_1_03_12

Detail of a Roman soldier building.

PR205_1_03_13

A dead Dacian.

PR205_1_03_14

Roman legionary cutting wood.

PR205_1_03_15

Dacians cutting down trees.

PR205_1_03_16

Roman standard-bearers.

PR205_1_03_17

Detail of a round stone building.

PR205_1_03_18

Detail of the roof of a round stone building.

PR205_1_03_19

Heads of three auxiliaries.

PR205_1_03_20

Detail of the legs of Trajan and other Roman soldiers.

PR205_1_04_01

Trajan receiving Dacians.

PR205_1_04_02

Detail of a Dacian's cloak.

PR205_1_04_03

Detail of a Roman legionary cutting wood.

PR205_1_04_04

Detail of a Dacian cutting wood.

PR205_1_04_05

Dacians demolishing a fort.

PR205_1_04_06

Leg of a Roman auxiliary.

PR205_1_04_07

Trajan receiving the surrender of Dacians.

PR205_1_04_08

Dacians being attacked.

PR205_1_04_09

Detail of a Roman auxiliary's armour.

PR205_1_04_10

Detail of a Roman auxiliary's armour.

PR205_1_04_11

An adlocutio scene.

PR205_1_04_12

Detail of Trajan.

PR205_1_04_13

A trampled Dacian.

PR205_1_04_14

Fleeing Dacians.

PR205_1_04_15

Detail of a water channel, identified as the hot spring at Ad Aquas by Chicorius.

PR205_1_04_16

Detail of a pair of Roman auxiliaries.

PR205_1_04_17

Detail of a Roman auxiliary's leg.

PR205_1_04_18

Roman legionaries building a fort.

PR205_1_04_19

Detail of trees.

PR205_1_04_20

Detail of a Dacian behind trees.

PR205_1_05_01

Detail of Roman legionary chopping wood.

PR205_1_05_02

Roman soldiers passing through a port city.

PR205_1_05_03

Detail of the foot of a Roman soldier and a section of drapery.

PR205_1_05_04

Dacians approaching a fort.

PR205_1_05_05

Livestock.

PR205_1_05_06

Roman children.

PR205_1_05_07

Roman civilians.

PR205_1_05_08

View of a Roman town (Ancona?).

PR205_1_05_09

Trajan leaving (Ancona?) on a ship.

PR205_1_05_10

Detail of a boat's lantern.

PR205_1_05_11

Arrival at a Roman port city.

PR205_1_05_12

Heads of Roman women.

PR205_1_05_13

Detail of a Dacian in wooded landscape.

PR205_1_05_14

Dacians surrendering en masse.

PR205_1_05_15

Detail of a Dacian and a tree.

PR205_1_05_16

A dead Dacian.

PR205_1_05_17

Detail of Trajan.

PR205_1_05_18

Detail of a sacrifice scene.

PR205_1_05_19

Detail of Trajan.

PR205_1_05_20

Detail of leaves.

PR205_1_06_01

Detail of Trajan.

PR205_1_06_02

Scene of sacrifice.

PR205_1_06_03

Detail of a window.

PR205_1_06_04

A Roman fort in a mountainous setting.

PR205_1_06_05

Trajan sacrificing in a port city.

PR205_1_06_06

Detail of military standards.

PR205_1_06_07

Detail of a temple and several other buildings in a port city.

PR205_1_06_08

Detail of a tower on a Dacian fort.

PR205_1_06_09

Detail of the border running between a scene showing a building and another showing a fallen Dacian.

PR205_1_06_10

Detail of a boat.

PR205_1_06_11

Dacian soldiers.

PR205_1_06_12

Detail of a Dacian's legs.

PR205_1_06_13

Detail of Dacian's legs.

PR205_1_06_14

Dacians greeting Trajan.

PR205_1_06_15

Sail of a boat.

PR205_1_06_16

Detail of a boat.

PR205_1_06_17

Detail of a group of Roman civilians.

PR205_1_06_18

Detail of the columns of a temple in a port city.

PR205_1_06_19

A ship at port.

PR205_1_06_20

Detail of the prow of a ship.

PR205_1_07_01

Roman legionaries marching.

PR205_1_07_02

A Dacian's hand.

PR205_1_07_03

Roman soldiers marching.

PR205_1_07_04

Legs of Roman soldiers.

PR205_1_07_05

Dacian ambassadors.

PR205_1_07_06

Detail of legs of Roman legionaries.

PR205_1_07_07

Dacians attacking a Roman fort.

PR205_1_07_08

Detail of a group of Dacians.

PR205_1_07_09

Detail of a Dacian.

PR205_1_07_10

Detail of a Dacian.

PR205_1_07_11

Roman soldiers defending their fort.

PR205_1_07_12

Roman soldiers defending a fort.

PR205_1_07_13

Detail of architecture.

PR205_1_07_14

Detail of a window.

PR205_1_07_15

Detail of a building with a portico.

PR205_1_07_16

Portrait of Trajan.

PR205_1_07_17

Detail of a building with a portico.

PR205_1_07_18

Scenes of battle and Trajan on the march.

PR205_1_07_19

Roman legionaries collecting crops.

PR205_1_07_20

Portrait of Trajan.

PR205_1_08_01

Roman auxiliaries marching out of a town.

PR205_1_08_02

Roman soldiers' feet and military standards.

PR205_1_08_03

Trajan performing a libation at an altar.

PR205_1_08_04

Detail of a musician.

PR205_1_08_05

Detail of Trajan as priest.

PR205_1_08_06

A Roman cavalryman and a window.

PR205_1_08_07

Detail of Roman soldiers and a vehicle.

PR205_1_08_08

Detail of a Roman legionary.

PR205_1_08_09

Trajan consulting his officers.

PR205_1_08_10

Roman soldiers establishing a new camp.

PR205_1_08_11

Detail of a Roman legionary.

PR205_1_08_12

Detail of Roman legionaries.

PR205_1_08_13

Legs of Roman soldiers marching.

PR205_1_08_14

Detail of Trajan and a deceased Dacian.

PR205_1_08_15

Detail of a Roman legionary.

PR205_1_08_16

Detail of the legs of Roman legionaries.

PR205_1_08_17

Detail of the legs of Roman legionaries.

PR205_1_08_18

Detail of the legs of Roman legionaries.

PR205_1_08_19

Detail of a Roman auxiliary's cloak.

PR205_1_08_20

Detail of a pair of Roman auxiliaries.

PR205_1_09_01

Roman waggons being loaded.

PR205_1_09_02

Roman soldiers picking crops.

PR205_1_09_03

Deceased Dacians.

PR205_1_09_06

Detail of tents.

PR205_1_09_07

A Roman legionary preparing siege works.

PR205_1_09_08

Three Dacians.

PR205_1_09_09

Detail of a Dacian in battle.

PR205_1_09_10

Two Dacians.

PR205_1_09_11

A battle scene.

PR205_1_09_12

A group of Roman legionaries.

PR205_1_09_13

Roman soldiers and trees.

PR205_1_09_14

A Dacian weapon (sica).

PR205_1_09_15

Roman legionaries destroying a fort.

PR205_1_09_16

Roman legionary chopping down a tree.

PR205_1_09_17

Dacians defending a fort.

PR205_1_09_18

Roman legionaries chopping wood.

PR205_1_09_19

Roman legionaries building siege works.

PR205_1_09_20

Battle scene.

PR205_1_10_01

Dacians defending a fort.

PR205_1_10_02

Roman legionary assaulting a Dacian fort.

PR205_1_10_03

Roman standard bearers.

PR205_1_10_04

Detail of Roman legionaries.

PR205_1_10_06

Detail of a Dacian's arm.

PR205_1_10_07

Detail of Dacian legs.

PR205_1_10_08

A group of Dacians.

PR205_1_10_09

Detail of a Dacian.

PR205_1_10_10

Detail of a building.

PR205_1_10_12

Dacians taking poison.

PR205_1_10_13

Deceased Dacians.

PR205_1_10_14

Dacians fleeing.

PR205_1_10_15

A group of Dacians fleeing.

PR205_1_10_16

Roman soldier and a wooden building.

PR205_1_10_18

A group of Dacians fleeing.

PR205_1_10_19

Roman legionaries at work.

PR205_1_10_20

Detail of Roman legs.

PR205_1_11_01

A dead Dacian and a mourning crowd within a fortified settlement.

PR205_1_11_02

Mourning Dacians preparing to take poison within a fortified settlement.

PR205_1_11_03

Dacians taking poison within a fortified settlement.

PR205_1_11_04

Dacians taking poison from Decebalus within a fortified settlement.

PR205_1_11_05

Dacians fleeing behind fortifications.

PR205_1_11_06

Dacians fleeing from a fortified settlement.

PR205_1_11_07

Dacians fleeing out a fortified settlement and into woods.

PR205_1_11_08

Detail of a Dacian.

PR205_1_11_09

Dacians setting fire to a town.

PR205_1_12_01

Detail of the legs of an auxiliary soldier.

PR205_1_12_02

Portrait of Trajan.

PR205_1_12_03

Detail of a Dacian.

PR205_1_12_04

Detail of Roman soldiers crossing a bridge.

PR205_1_12_05

Roman soldiers on a bridge.

PR205_1_12_06

Detail of Dacians listening to Decebalus.

PR205_1_12_07

Detail of a Dacian's legs.

PR205_1_12_08

A Roman legionary building.

PR205_1_12_09

Dacians in retreat.

PR205_1_12_10

Detail of a tree.

PR205_1_12_11

Roman legionaries building.

PR205_1_12_12

Adlocutio scene.

PR205_1_12_13

Detail of Roman legionaries building.

PR205_1_12_14

Roman soldiers crossing a bridge.

PR205_1_12_15

Detail of Roman soldiers crossing a bridge.

PR205_1_12_16

Detail of a sack of booty on a mule.

PR205_1_12_17

Close-up of a sack of booty on a mule.

PR205_1_12_18

Detail of Trajan's clothing.

PR205_1_12_19

Dead Dacian.

PR205_1_12_20

Dacian leaders in woods overseeing their troops attack a Roman position.

PR205_1_13_01

Detail of a tree.

PR205_1_13_02

Detail of a tree.

PR205_1_13_03

Close-up of a tree.

PR205_1_13_04

Two trees and a Dacian.

PR205_1_13_05

Roman auxiliaries capture a Dacian.

PR205_1_13_06

Dacians hailing.

PR205_1_13_07

Detail of a tree.

PR205_1_13_08

The death of Decebalus.

PR205_1_13_09

Roman auxiliaries closing in on Decebalus.

PR205_1_13_10

Death of Decebalus.

PR205_1_13_11

Capture of the children of Decebalus.

PR205_1_13_12

Detail of a Roman auxiliary.

PR205_1_13_13

A dead Dacian.

PR205_1_13_14

Dacians in woods listening to Decebalus.

PR205_1_13_15

Detail of a Dacian in woods.

PR205_1_13_16

Detail of Dacian.

PR205_1_13_17

Detail of Roman auxiliary's shield.

PR205_1_13_19

Roman cavalrymen.

PR205_1_13_20

Roman cavalrymen attack a group of Dacians.

PR205_1_14_01

Detail of a horse's head.

PR205_1_14_02

Detail of the tree behind Decebalus in his death scene.

PR205_1_14_03

Detail of a horse's head.

PR205_1_14_04

Roman auxiliaries in battle.

PR205_1_14_05

Detail of tree.

PR205_1_14_06

Detail of a Dacian's head and a tree.

PR205_1_14_08

Detail of Decebalus and a tree in his death scene.

PR205_1_14_09

Detail of the tree in Decebalus' death scene.

PR205_1_14_10

Detail of a Dacian building.

PR205_1_14_11

Detail of a Roman auxiliary burning a Dacian building.

PR205_1_14_12

A Roman auxiliary burning a Dacian building.

PR205_1_14_13

A battle in front of a Dacian village.

PR205_1_14_14

Detail of a Roman auxiliary.

PR205_1_14_15

A battle scene.

PR205_1_14_16

Battle scene.

PR205_1_14_17

Battle observed by a deity.

PR205_1_14_18

A wild boar.

PR205_1_14_19

Detail of a Dacian prisoner.

PR205_1_14_20

Detail of a stream running through woods.

PR205_1_15_01

Detail of two Dacians' faces.

PR205_1_15_02

Detail of a torch.

PR205_1_15_04

Detail of a Dacian's hand.

PR205_1_15_05

Detail of a Roman auxiliary in battle.

PR205_1_15_06

The heads of two Dacian prisoners and a tree.

PR205_1_15_07

Detail of a Roman auxiliary in battle.

PR205_1_15_08

The whole left by the removal of a metal clamp.

PR205_1_15_10

Dacian prisoners and a pastoral scene.

PR205_1_15_11

A goat.

PR205_1_15_18

A family of subjugated Dacians.

PR205_1_16_07

Roman legionary building a fort.

PR205_1_16_08

Detail of the head of a legionary building a fort.

PR205_1_16_09

Detail of a legionary building a fort.

PR205_1_16_10

Detail of a legionary cutting stone.

PR205_1_16_13

Detail of a channel out of which excess lead from the securing of a clamp in place could drain.

PR205_1_16_15

Close-up of the division between blocks at the base of the Column of Trajan.

PR205_1_16_16

Detail of the surface of the wall inside the Column of Trajan.

PR205_1_16_17

Close-up of the interior surface of a window.

PR205_1_16_18

The surface of the interior of the Column of Trajan.

PR205_1_16_19

Interior surface of the Column of Trajan.

PR205_1_16_20

Surface of the interior of the Column of Trajan.

PR208_01_02

Soldiers marching with an ox-drawn cart.

PR208_01_03

Detail of oxen.

PR208_01_04

Detail of soldiers marching with a baggage train.

PR208_01_05

Detail of a pair of soldiers and a waggon.

PR208_01_06

Detail of the spiral border and several soldiers.

PR208_01_08

Roman soldiers.

PR208_01_09

An adlocutio.

PR208_01_10

Roman soldiers.

PR208_01_12

Detail of a battle.

PR208_01_14

Detail of the relationship between a soldier and a window frame.

PR208_01_15

Detail of a hand crossing the border between spirals.

PR208_01_16

Detail of a barbarian's hand crossing the spiral border.

PR208_01_17

Detail of a trophy.

PR208_01_18

Barbarian children.

PR208_01_19

Detail of barbarian children.

PR208_01_20

Detail of barbarian children.

PR208_01_21

Detail of a barbarian.

PR208_01_22

Detail of a Roman soldier.

PR208_01_23

Detail of a barbarian cavalryman.

PR208_01_24

Roman soliders and barbarian women.

PR208_02_02

Detail of a decapitated barbarian.

PR208_02_07

Detail of an adlocutio scene.

PR208_02_09

General view of the top half of the Column of Marcus Aurelius.

PR208_02_16

General view of the bottom half of the shaft of the Column of Marcus Aurelius.

PR208_02_24

General view of the frieze.

PR208_03_01

Detail of the bottom of the frieze.

PR208_03_02

Detail of frieze.

PR208_03_03

View of the frieze.

PR208_03_04

General view of frieze.

PR208_03_05

General view of the frieze.

PR208_03_06

General view of the frieze.

PR208_03_08

General view of frieze.

PR208_03_24

General view of the frieze and a pair of windows.

PR208_04_17

General view of the Column of Marcus Aurelius from the east.

PR210_01_05

View of the northern facade encased in scaffolding during restoration in the 1980s.

PR210_01_12

Drawing showing the types of toolmarks visible on the righthand roundel on the northern face of the eastern pier.

PR210_01_13

Detail of figures surrounding an altar.

PR210_01_14

Detail of the deity.

PR210_01_15

Detail of tree.

PR210_01_16

Detail of tree.

PR210_01_17

Detail of a votive statue.

PR210_01_19

Detail of re-carved portrait.

PR210_01_21

Detail of Hadrianic head.

PR210_01_22

Detail of portrait of the emperor.

PR210_01_23

Detail of emperor and tree.

PR210_01_24

Detail of drapery.

PR210_02_01

Detail of tree and arch.

PR210_02_03

Detail of the border of the roundel.

PR210_02_10

Drawing showing the different toolmarks visible on three musicians and a cavalryman.

PR210_02_12

Detail of musicians and cavalrymen.

PR210_02_14

Detail of cavalrymen.

PR210_02_15

Detail of cavalrymen.

PR210_02_16

Detail of a horse.

PR210_02_17

Detail of cavalrymen.

PR210_02_19

Detail of Roman soldier's holding severed heads.

PR210_02_20

Detail of severed head.

PR210_02_21

Detail of soliders and a Dacian.

PR210_02_22

Detail of Roman soldier.

PR210_02_23

Detail of Roman soldiers.

PR210_02_24

Detail of a tree.

PR210_03_01

Detail of the head of a Roman cavalryman.

PR210_03_02

Detail of Dacian prisoner.

PR210_03_05

Detail of armour.

PR210_03_06

Detail of Roman cavalry in the Battle of the Milvian Bridge scene.

PR210_03_07

Detail of the Battle of the Milvian Bridge scene.

PR210_03_09

Detail of the Battle of the Milvian Bridge scene.

PR210_03_10

Detail of the Battle of the Milvian Bridge scene.

PR210_03_11

Detail of the Battle of the Milvian Bridge scene.

PR210_03_13

Detail of the Battle of the Milvian Bridge scene.

PR210_03_15

Detail of the scene of Constantine's oratio from the rostra in Rome.

PR210_03_16

Close-up of the scene of Constantine's oratio from the rostra in Rome.

PR210_03_17

Detail of the scene showing Constantine's army entering Rome.

PR210_03_18

Detail of the scene showing Constantine's army entering Rome.

PR210_03_23

Drawing showing the different toolmarks found on the panel depicting the departure of the emperor (profectio) from Rome.

PR210_04_01

Detail of the profectio panel.

PR210_04_03

Detail of a portrait of Constantine re-carved from one of Marcus Aurelius.

PR210_04_04

Detail of soldiers on the scene showing the profectio of Marcus Aurelius re-carved into Constantine.

PR210_04_05

Detail of flag.

PR210_04_06

Detail of flag.

PR210_04_07

Detail of garland and flag.

PR210_04_08

Detail of flag.

PR210_04_09

Detail of garland.

PR210_04_10

Detail of heads of Roman officials.

PR210_04_11

Detail of heads.

PR210_04_13

Detail of architectural background.

PR210_04_14

Detail of garland.

PR210_04_16

Detail of garland.

PR210_04_18

Detail of male figure.

PR210_04_19

Detail of male figure.

PR210_04_20

Detail of garland.

PR210_04_21

Detail of a male figure.

PR210_04_22

Close-up of male head.

PR210_04_23

Detail of male figure.

PR210_05_02

Details revealing the removal of Commodus from the scene.

PR210_05_04

Detail of male head.

PR210_05_05

Detail of flags and garlands.

PR210_05_06

Detail of flags and garland.

PR221_01_13

Sarcophagus depicting the massacre of the Niobids in the collection of the Vatican Museums.

PR221_01_14

Detail of the Niobids sarcophagus in the collection of the Vatican Museums.

PR221_01_16

Orestes sarcophagus in the Vatican Museum

PR221_01_17

Detail of the Orestes sarcophagus in the Vatican Museums.

PR221_01_21

Circus relief in the Vatican Museums

PR221_01_23

Detail of the Circus Relief in the Vatican Museums.

PR221_01_24

Detail of the Circus Relief in the Vatican Museums.

PR221_02_07

Detail of a female statue in the Vatican Museums

PR221_02_08

Detail of a female statue in the Vatican Museums.

PR221_02_18

Cancelleria Relief depicting the adventus of Vespasian, now in the Vatican Museums.

PR221_02_19

Detail of the Cancelleria Relief depicting the adventus of Vespasian, now in the Vatican Museum

PR221_02_23

Detail of the Cancelleria Relief depicting the adventus of Vespasian. now in the Vatican Museum.

PR221_03_01

Detail of the Cancelleria Relief depicting the profectio of Domitian, now in the Vatican Museums.

PR222_01_01

Detail of a sarcophagus depicting the myth of Selene and Endymion.

PR222_01_04

Detail of the lid sarcophagus depicting Meleager.

PR222_01_06

Lid of a sarcophagus decorated with scenes of birth and childhood, perhaps Dionysiac.

PR222_01_08

Detail of a sarcophagus depicting Selene and Endymion.

PR222_01_11

Detail of sarcophagus depicting Selene and Endymion.

PR222_01_15

Detail of sarcophagus depicting Endymion and Selene.

PR222_01_18

Detail of Endymion and Selene sarcophagus

PR222_02_03

Detail of Endymion and Selene sarcophagus.

PR222_02_05

Detail of sarcophagus depicting Selene and Endymion.

PR222_02_18

Portrait of Marcus Aurelius

PR222_03_02

Female portrait in the Capitoline Museum.

PR222_03_04

Portrait of Vespasian in the Capitoline Museum.

PR222_04_02

Colossal statue of Mars.

PR222_04_03

Side view of the statue of Mars in the Capitoline Museums.

PR222_04_05

Detail of colossal statue of Mars in the Capitoline Museum.

PR222_04_06

Detail of the colossal statue of Mars in the Capitoline Museums.

PR222_04_07

Detail of the colossal statue of Mars in the Capitoline Museums.

PR222_04_08

Statue of Polyphemus in the Capitoline Museums.

PR222_04_10

Head of Polyphemus in the Capitoline Museums.

PR222_04_11

Detail of the statue of Polyphemus in the Capitoline Museum.

PR222_04_13

Diagram showing toolmarks on the statue of Polyphemus in the Capitoline Museum.

PR222_04_16

Statue of Livia in the Capitoline Museum.

PR222_04_17

Statue of Livia in the Capitoline Museum.

PR222_04_18

Detail of statue of Livia in the Capitoline Museum.

PR222_04_19

Detail of the statue of Livia in the Capitoline Museum.

PR222_04_20

Detail of statue of Livia in the Capitoline Museum.

PR222_05_02

Drawing of the toolmarks and restoration on the statue of Livia in the Capitoline Museum.

PR222_05_05

Female statue in the Capitoline Museum.

PR222_05_06

Detail of female statue in the Capitoline Museum.

PR222_05_11

Statue of young man and dog, perhaps Endymion.

PR222_05_12

Statue of young man and dog, perhaps Endymion.

PR222_05_13

Detail of a statue of young man and dog, perhaps Endymion.

PR222_05_15

Detail of a statue of young man and dog, perhaps Endymion.

PR222_05_19

Detail of a statue of young man and dog, perhaps Endymion.

PR222_05_20

Detail of a statue of young man and dog, perhaps Endymion.

PR222_06_01

Detail of a statue of young man and dog, perhaps Endymion.

PR222_06_04

Diagram showing toolmarks and restoration on statue of young man and dog, perhaps Endymion.

PR222_06_08

Dionysiac sarcophagus in the Capitoline Museum.

PR222_06_09

Detail of Dionysiac sarcophagus in the Capitoline Museum.

PR222_06_10

Detail of Attic sarcophagus with Dionysiac scenes in the Capitoline Museum.

PR222_06_11

Detail of Attic sarcophagus with Dionysiac scenes.

PR222_06_12

Detail of Attic sarcophagus with Dionysiac scenes in the Capitoline Museum.

PR222_06_13

Detail of Attic sarcophagus with Dionysiac scenes in the Capitoline Museums.

PR222_06_14

Detail of Attic sarcophagus with Dionysiac scenes in the Capitoline Museums.

PR222_06_15

Detail of Attic sarcophagus with Dionysiac scenes in the Capitoline Museums.

PR222_06_16

Detail of Attic sarcophagus with Dionysiac scenes in the Capitoline Museums.

PR222_06_17

Sarcophagus depicting the myth of Meleager, re-worked in later period, now in the Capitoline Museum.

PR222_06_20

Sarcophagus depicting the myth of Meleager, re-worked in later period, now in the Capitoline Museum.

PR222_07_03

Sarcophagus depicting the myth of Meleager, re-worked in later period, now in the Capitoline Museum.

PR222_07_05

Sarcophagus depicting the myth of Meleager, re-worked in later period, now in the Capitoline Museum.

PR222_07_07

Sarcophagus depicting the myth of Meleager, re-worked in later period, now in the Capitoline Museum.

PR222_07_08

Sarcophagus depicting the myth of Meleager, re-worked in later period, now in the Capitoline Museum.

PR222_07_10

Sarcophagus depicting the myth of Meleager, re-worked in later period, now in the Capitoline Museum.

PR222_07_11

Sarcophagus depicting the myth of Meleager, re-worked in later period, now in the Capitoline Museum.

PR222_07_12

Sarcophagus depicting the myth of Meleager, re-worked in later period, now in the Capitoline Museum.

PR223_01_02

Central panel of a strigil sarcophagus from Ostia.

PR223_01_03

Detail of central panel of a strigil sarcophagus from Ostia.

PR223_01_04

Detail of central panel of a strigil sarcophagus from Ostia.

PR223_01_05

Detail of central panel of a strigil sarcophagus from Ostia.

PR223_01_06

Detail of the left panel of a strigil sarcophagus from Ostia.

PR223_01_07

Detail of the left panel of a strigil sarcophagus from Ostia.

PR223_01_08

Detail of the left panel of a strigil sarcophagus from Ostia.

PR223_01_09

Detail of the left panel of a strigil sarcophagus from Ostia.

PR223_01_1

Strigil sarcophagus with three figured panels from Ostia.

PR223_01_10

Detail of the right panel of a strigil sarcophagus from Ostia.

PR223_01_11

Detail of the right panel of a strigil sarcophagus from Ostia.

PR223_01_12

Detail of the right panel of a strigil sarcophagus from Ostia.

PR223_01_14

Columnar sarcophagus from Ostia with a lid shaped as couch (klinē) with reclining figures on.

PR223_01_15

Detail of columnar sarcophagus from Ostia.

PR223_01_16

Detail of columnar sarcophagus from Ostia.

PR223_01_17

Detail of columnar sarcophagus from Ostia.

PR223_01_18

Detail of columnar sarcophagus from Ostia.

PR223_01_19

Detail of the central panel of a columnar sarcophagus from Ostia.

PR223_01_20

Detail of a sarcophagus lid shaped as a couch (klinē) from Ostia.

PR223_02_02

Detail of a sarcophagus lid shaped as a couch (klinē) from Ostia.

PR223_02_03

Detail of a sarcophagus lid shaped as a couch (klinē) from Ostia.

PR223_02_04

Detail of a sarcophagus lid shaped as a couch (klinē) from Ostia.

PR223_02_05

Ionic capital from the Fossa Traiana at Portus.

PR223_02_07

Series of columns from Portus.

PR223_02_08

Four joined columns from Portus.

PR223_02_09

Repaired column shaft from Portus.

PR223_02_11

Strigil sarcophagus from Ostia.

PR223_03_04

Dionysiac relief in Ostia Museum.

PR223_03_05

Detail of Dionysiac relief in Ostia Museum.

PR223_03_06

Detail of Dionysiac relief in Ostia Museum.

PR223_03_09

Relief showing Vulcan/Hephaistos being thrown out of Olympos in Ostia Museum.

PR223_03_10

Detail of relief showing Vulcan/Hephaistos being thrown out of Olympos in Ostia Museum.

PR223_03_11

Detail of relief showing Vulcan/Hephaistos being thrown out of Olympos in Ostia Museum.

PR223_03_12

Detail of relief showing Vulcan/Hephaistos being thrown out of Olympos in Ostia Museum.

PR223_03_13

Detail of relief showing Vulcan/Hephaistos being thrown out of Olympos in Ostia Museum.

PR223_03_15

Detail of relief showing Vulcan/Hephaistos being thrown out of Olympos in Ostia Museum.

PR223_03_16

Detail of relief showing Vulcan/Hephaistos being thrown out of Olympos in Ostia Museum.

PR223_04_01

Detail of Attic sarcophagus for a child.

PR223_04_05

Attic child's sarcophagus.

PR223_04_08

Detail of Attic child's sarcophagus.

PR223_04_09

Detail of Attic child's sarcophagus.

PR223_04_10

Detail of the lid of an Attic child's sarcophagus.

PR223_04_12

Detail of the end of an Attic child's sarcophagus.

PR223_04_15

Metropolitan sarcophagus decorated with scenes of lapiths fighting centaurs.

PR223_04_17

Detail of sarcophagus showing lapiths fighting centaurs.

PR223_04_18

A tub-shaped lenos sarcophagus showing the triumph of Dionysos.

PR223_04_19

Detail of lenos sarcophagus.

PR223_04_20

Detail of lenos sarcophagus.

PR223_05_02

Clipeus sarcophagus in the Castello at Ostia.

PR223_05_03

Detail of clipeus on a sarcophagus from the Castello at Ostia.

PR223_05_04

Detail of the left end of the front of a sarcophagus from the Castello at Ostia.

PR223_05_05

Detail of the left end of the front of a sarcophagus from the Castello at Ostia.

PR223_05_06

Detail of the left end of the front of a sarcophagus from the Castello at Ostia.

PR223_05_07

Detail of the left end of the front of a sarcophagus from the Castello at Ostia.

PR223_05_10

Right end of the front of a sarcophagus from the Castello at Ostia.

PR223_05_11

Detail of the right end of a clipeus sarcophagus in the Castello at Ostia.

PR223_05_13

Detail of the right end of a clipeus sarcophagus in the Castello at Ostia.

PR223_05_15

Detail of the left end of a clipeus sarcophagus in the Castello at Ostia.

PR225_01_01

General view of the east facade.

PR225_01_03

East facade.

PR225_01_05

Lowest relief on the east side of the southern pier.

PR225_01_06

Upper relief on the eastern face of the southern pier.

PR225_01_07

Lower relief on the eastern face of the north pier.

PR225_01_08

Upper relief on the eastern face of the northern pier.

PR225_01_09

Detail of a deity on the upper scene on the eastern face of the northern pier.

PR225_01_10

Detail of deities on the upper relief on the east face of the northern pier.

PR225_01_11

Close-up of the upper scene on the east face of the northern pier.

PR225_01_12

Detail of a male figure on the upper relief on the east face of the northern pier.

PR225_01_15

View of the western facade.

PR225_01_18

View of the western facade.

PR225_01_20

Lower relief on the west face of the northern pier.

PR225_01_21

Middle relief on the western face of the northern pier.

PR225_01_23

Detail of the western face of the southern pier.

PR225_02_01

Detail of blocks beneath the relief on the south side of the passageway.

PR225_02_02

Detail of blocks beneath the relief on the south side of the passageway.

PR225_02_04

Detail of drapery on the Alimenta relief.

PR225_02_05

Detail of the top of the Alimenta relief and the moulding above it.

PR225_02_06

Detail of corner of moulding above the Alimenta relief.

PR225_02_07

Detail of coffering.

PR225_02_08

Detail of coffering.

PR225_02_09

Detail of coffering.

PR225_02_10

General view of coffering.

PR225_02_11

Detail of the continuous frieze on the north side.

PR225_02_12

Detail of bull.

PR225_02_13

Detail of man.

PR225_02_14

Close-up of man.

PR225_02_15

Detail of bull's head.

PR225_02_16

Detail of bull.

PR225_02_17

Detail of bull and victimarii.

PR225_02_18

Detail of victimarius and bull.

PR225_02_19

Detail of figures.

PR225_02_20

Detail of figures on the northern end of the continuous frieze on the eastern facade.

PR225_02_21

Detail of figure on the top narrow frieze on the western face of the north pier.

PR225_02_22

Close-up of figure on the top narrow frieze of the western face of the north pier.

PR225_02_23

Detail of drapery on the narrow relief at the top of the western face of the north pier.

PR225_03_01

Detail of the western end of the Alimenta relief on the south side of the passageway.

PR225_03_02

Detail of bottom western end of the Alimenta relief on the south side of the passageway.

PR225_03_03

Detail of the blocks beneath the relief on the south side of the passageway.

PR225_03_04

Detail of western end of the Alimenta relief on the south side of the passageway.

PR225_03_05

Detail of western end of the Alimenta relief on the south side of the passageway.

PR225_03_06

Detail of drapery from the Alimenta relief.

PR225_03_07

Detail of drapery on the Alimenta relief.

PR225_03_09

Detail of foot on the Alimenta relief.

PR225_03_10

Detail of western end of Alimenta relief.

PR225_03_12

Detail of figures on the Alimenta relief.

PR225_03_14

Detail of drapery on the Alimenta relief.

PR225_03_15

Detail of clothing on the Alimenta relief.

PR225_03_16

Detail of drapery on the Alimenta relief.

PR225_03_17

Detail of figures on the Alimenta relief.

PR225_03_18

Sacrifice relief on the north side of passageway.

PR225_03_19

Detail of the western end of the Sacrifice relief on the north side of the passageway.

PR225_03_20

Detail of the bottom of the Sacrifice relief on the north side of the passageway.

PR225_03_21

Detail of the eastern end of the north side of the passageway.

PR225_03_22

Detail of eastern end of the Sacrifice relief on the north side of the passageway.

PR225_03_24

Detail of blocks on the north side of the passageway.

PR225_04_01

Detail of Composite capital at the top of the western face of the northern pier.

PR225_04_03

Detail of Composite capital at the top of the western face of the northern pier.

PR225_04_04

Detail of figures on the upper relief of the western face of the north pier.

PR225_04_05

Close-up of figure on the upper relief on the western face of the north pier.

PR225_04_06

Detail of drapery on the upper relief of the western face of the north pier.

PR225_04_07

Detail of Trajan on the upper relief of the western face of the north pier.

PR225_04_08

Detail of drapery on the upper relief on the western face of the north pier.

PR225_04_10

Detail of Trajan on the upper relief on the western face of the north pier.

PR225_04_12

Detail of male head on the upper relief of the western face of the north pier.

PR225_04_14

Detail of the leg of Hercules on the northern relief on the western face of the attic.

PR225_04_16

Western face of the southern pier.

PR225_04_18

The Alimenta relief on the south side of the passageway.

PR225_04_20

Detail of the Alimenta relief on the south side of the passageway.

PR228_01_02

View of a group of quarries at Carrara.

PR228_01_05

Roughed-out blocks in a quarry at Carrara.

PR228_01_10

Ancient quarry-face at Carrara.

PR228_01_11

Ancient quarry-face at Carrara.

PR228_01_13

Detail of a quarry at Carrara.

PR228_01_14

Detail of a quarry-face at Carrara.

PR228_01_16

Detail of a quarry at Carrara.

PR228_02_01

Section of Roman quarry face now in the Museo del Marmo at Carrara.

PR228_02_05

Two roughed-out bases and a capital from the Carrara quarries, now in the Museo del Marmo at Carrara.

PR228_02_08

A large roughed-out capital and base from the quarries at Carrara now in the Museo del Marmo.

PR228_02_10

Two large roughed-out capitals from the Carrara quarries, now in the Museo del Marmo.

PR228_02_11

Roughed-out capital from the Carrara quarries, now in the Museo del Marmo.

PR228_02_13

Large roughed-out capital from the quarries at Carrara, now in the Museo del Marmo.

PR228_02_14

Large roughed-out capital from the Carrara quarries, now in the Museo del Marmo.

PR228_02_16

Small roughed-out capital and a larger base from the Carrara quarries, now in the Museo del Marmo.

PR228_02_17

Pair of roughed-out bases from the Carrara quarries, now in the Museo del Marmo.

PR228_02_23

Roughed-out blocks from the Carrara quarries, now in the Museo del Marmo.

PR239_01_01

Part-finished sarcophagus of Sosia Herennia in the Museo Civico, Modena.

PR239_01_02

Part-finished sarcophagus with roughed-out figures in the Museo Civico, Modena.

PR239_01_04

Left end of the sarcophagus of Sosia Herennia in the Museo Civico, Modena.

PR239_01_05

Detail of the sarcophagus of Sosia Herennia in the Museo Civico, Modena.

PR239_01_07

Detail of the sarcophagus of Sosia Herennia in the Museo Civico, Modena.

PR239_01_08

Detail of the sarcophagus of Sosia Herennia in the Museo Civico, Modena.

PR239_01_11

Detail of the sarcophagus of Sosia Herennia in the Museo Civico, Modena.

PR239_01_12

Detail of the sarcophagus of Sosia Herennia in the Museo Civico, Modena.

PR239_01_13

Detail of the sarcophagus of Sosia Herennia in the Museo Civico, Modena.

PR239_01_15

Detail of the sarcophagus of Appeiena Philumene in the Museo Civico, Modena.

PR239_01_17

Detail of the other end of the sarcophagus of Appeiena Philumene in the Museo Civico, Modena.

PR239_01_18

Detail of the sarcophagus of Appeiena Philumene in the Museo Civico, Modena.

PR239_01_19

Rear of the sarcophagus of Appeiena Philumene in the Museo Civico, Modena.

PR239_01_22

Re-used Roman sarcophagus in the Museo Civico, Modena.

PR239_01_23

Re-used Roman sarcophagus in the Museo Civico, Modena.

PR246_01_01

Dacian prisoner in the Vatican Museums.

PR246_01_02

Detail of Dacian prisoner in the Vatican Museums.

PR246_01_04

Detail of Dacian prisoner in the Vatican Museums.

PR246_01_05

Unfinished porphyry statue in the Vatican Museums.

PR246_01_06

Colossal roughed-out emperor from the Şile shipwreck.

PR246_01_07

Detail of roughed-out imperial statue from the Șile shipwreck.

PR252_01_11

General view of the largest amphitheatre at El Djem (ancient Thysdrus).

PR252_01_20

Detail of the wall of the amphitheatre at El Djem.

PR252_02_03

Detail of the wall of the amphitheatre at El Djem.

PR252_02_08

Detail of the wall of the amphitheatre at El Djem.

PR301_01_02

Sebasteion panel depicting Tiberius and a captive.

PR301_01_03

Side view of the Sebasteion panel depicting Tiberius and a captive.

PR301_01_04

Detail of Sebasteion panel depicting Tiberius and a captive.

PR301_01_05

Detail of the emperor on the Sebasteion panel depicting Tiberius and a captive.

PR301_01_06

Close-up of the torso of the emperor on the Sebasteion panel depicting Tiberius and a captive.

PR301_01_07

Detail of legs of the emperor on the Sebasteion panel depicting Tiberius and a captive.

PR301_01_08

Detail of the legs of the emperor in the Sebasteion panel depicting Tiberius and a captive.

PR301_01_09

Detail of Sebasteion panel depicting Tiberius and a captive.

PR301_01_10

Detail of the Sebasteion panel depicting Tiberius and a captive.

PR301_01_11

Detail of the torso of the emperor on the Sebasteion panel depicting Tiberius and a captive.

PR301_01_12

Detail of measuring point on the Sebasteion panel depicting Tiberius and a captive.

PR301_01_13

Detail of the emperor's righthand knee on the Sebasteion panel depicting Tiberius and a captive

PR301_01_14

Detail of emperor's right leg on the Sebasteion panel depicting Tiberius and a captive.

PR301_01_15

Detail of the left side of the emperor's right leg on the Sebasteion panel depicting Tiberius and a captive.

PR301_01_16

Diagram showing toolmarks on the Sebasteion panel depicting Tiberius and a captive.

PR301_01_19

Sebasteion panel depicting a Julio-Claudian prince as a Dioskouros.

PR301_01_20

Detail of horse's head on the Sebasteion panel depicting a Julio-Claudian prince as a Dioskouros.

PR301_01_21

Detail of imperial prince on the Sebasteion panel depicting a Julio-Claudian prince as a Dioskouros.

PR301_01_23

Sebasteion panel depicting Ares.

PR301_01_24

Detail of the Sebasteion panel depicting Ares.

PR301_02_02

Detail of the Sebasteion panel depicting Herakles and Antaios.

PR301_02_03

Detail of the Sebasteion panel depicting Herakles and Antaios.

PR301_02_04

Detail of Herakles on the Sebasteion panel depicting Herakles and Antaios.

PR301_02_05

Detail of the Sebasteion panel depicting Herakles and Antaios.

PR301_02_08

Sebasteion panel depicting a royal hero with hunting dogs.

PR301_02_09

Detail of Sebasteion panel depicting a royal hero with hunting dogs.

PR301_02_11

Detail of dog on the Sebasteion panel depicting a royal hero with hunting dogs.

PR301_02_12

Detail of the Sebasteion panel depicting a royal hero with hunting dogs.

PR301_02_13

Detail of hero on the Sebasteion panel depicting a royal hero with hunting dogs.

PR301_02_14

Detail of the Sebasteion panel depicting a royal hero with hunting dogs.

PR301_02_16

Sebasteion panel depicting Victory with a trophy.

PR301_02_17

Sebasteion panel depicting Agon.

PR301_02_18

Detail of the Sebasteion panel depicting Agon.

PR301_02_19

Detail of Sebasteion panel depicting Agon.

PR301_02_20

Detail of Sebasteion panel depicting Agon.

PR301_02_21

Detail of Eros on Sebasteion panel depicting Agon.

PR301_02_23

Detail of Sebasteion panel depicting Agon.

PR301_02_24

Detail of herm on the Sebasteion panel depicting Agon.

PR301_03_01

Sebasteion panel depicting Claudius with Land and Sea.

PR301_03_02

Detail of the emperor on the Sebasteion panel depicting Claudius with Land and Sea.

PR301_03_03

Detail of the Sebasteion panel depicting Claudius with Land and Sea.

PR301_03_04

Base of the Sebasteion panel depicting Claudius with Land and Sea.

PR301_03_05

Detail of the Sebasteion panel depicting Claudius with Land and Sea.

PR301_03_06

Detail of Sebasteion panel depicting Claudius with Land and Sea.

PR301_03_07

Detail of the Sebasteion panel depicting Claudius with Land and Sea.

PR301_03_08

Detail of Sebasteion panel depicting Claudius with Land and Sea.

PR301_03_09

Detail of Sebasteion panel depicting Claudius with Land and Sea.

PR301_03_12

Detail of Sebasteion panel depicting Bellerophon.

PR301_03_13

Detail of Sebasteion panel depicting Bellerophon.

PR301_03_14

Detail of Sebasteion panel depicting Bellerophon.

PR301_03_15

Detail of Pegasus on the Sebasteion panel depicting Bellerophon.

PR301_03_16

Detail of Sebasteion panel depicting Bellerophon.

PR301_03_17

Detail of Sebasteion panel depicting Bellerophon.

PR301_03_19

Sebasteion panel depicting Meleager and Atalanta.

PR301_03_20

Detail of Sebasteion panel depicting Meleager and Atalanta.

PR301_03_21

Detail of Sebasteion panel depicting Meleager and Atalanta.

PR301_03_22

Detail of Sebasteion panel depicting Meleager and Atalanta.

PR301_03_24

Detail of Sebasteion panel depicting Meleager and Atalanta.

PR301_04_02

Sebasteion panel depicting Anchises and Aphrodite.

PR301_04_03

Detail of Anchises on Sebasteion panel depicting Anchises and Aphrodite.

PR301_04_04

Detail of Sebasteion panel depicting Anchises and Aphrodite.

PR301_04_06

Detail of Sebasteion panel depicting Anchises and Aphrodite.

PR301_04_07

Detail of Sebasteion panel depicting Anchises and Aphrodite.

PR301_04_08

Detail of base of the Sebasteion panel depicting Anchises and Aphrodite.

PR301_04_09

Base of the Sebasteion panel depicting Anchises and Aphrodite.

PR301_04_10

Base of Sebasteion panel depicting Anchises and Aphrodite.

PR301_04_11

Detail of Sebasteion panel depicting Anchises and Aphrodite.

PR301_04_13

Detail of Sebasteion panel depicting Anchises and Aphrodite.

PR301_04_14

Sebasteion panel depicting Leda and the swan.

PR301_04_16

Detail of Sebasteion panel depicting Gaius and Lucius.

PR301_04_17

Detail of Sebasteion panel depicting Gaius and Lucius.

PR301_04_18

Detail of Sebasteion panel depicting Gaius and Lucius.

PR301_04_19

Detail of Sebasteion panel depicting Gaius and Lucius.

PR301_04_20

Detail of Sebasteion panel depicting Gaius and Lucius.

PR301_04_21

Detail of Sebasteion panel depicting Gaius and Lucius.

PR301_04_22

Detail of Sebasteion panel depicting Gaius and Lucius.

PR301_04_23

Detail of Sebasteion panel depicting Gaius and Lucius.

PR301_04_24

Detail of Sebasteion panel depicting Gaius and Lucius.

PR301_05_01

Sebasteion panel depicting Gaius and Lucius.

PR301_05_04

Detail of Sebasteion panel depicting Io and Argos.

PR301_05_05

Detail of the Sebasteion panel depicting Io and Argos.

PR301_05_06

Detail of Sebasteion panel depicting Io and Argos.

PR301_05_08

Sebasteion panel depicting Herakles freeing Prometheus.

PR301_05_09

Detail of Sebasteion depicting Herakles freeing Prometheus.

PR301_05_10

Detail of Sebasteion depicting Herakles freeing Prometheus.

PR301_05_11

Detail of Sebasteion depicting Herakles freeing Prometheus.

PR301_05_13

Detail of Sebasteion depicting Herakles freeing Prometheus.

PR301_05_14

Detail of the Sebasteion panel depicting Herakles freeing Prometheus.

PR301_05_15

Detail of Sebasteion panel depicting Herakles freeing Prometheus.

PR301_05_16

Detail of the Sebasteion panel depicting Herakles freeing Prometheus.

PR301_05_17

Detail of the Sebasteion panel depicting Herakles freeing Prometheus.

PR301_05_19

Detail of Sebasteion panel depicting Claudius and Agrippina.

PR301_05_21

Detail of Sebasteion panel depicting Andreia crowning Aphrodite.

PR301_05_22

Detail of Sebasteion panel depicting Claudius with Land and Sea

PR301_05_24

Detail of Sebasteion panel depicting Agon.

PR301_06_04

Sebasteion panel depicting Achilles and Penthesilea.

PR301_06_06

Detail of Sebasteion panel depicting Achilles and Penthesilea.

PR301_06_07

Detail of Sebasteion panel depicting Achilles and Penthesilea.

PR301_06_08

Detail of Sebasteion panel depicting Achilles and Penthesilea.

PR301_06_09

Detail of Sebasteion panel depicting Achilles and Penthesilea.

PR301_06_16

Detail of Sebasteion panel depicting Apollo and a hero at Delphi.

PR301_06_19

Detail of Sebasteion panel depicting Apollo and a hero at Delphi.

PR301_06_20

Sebasteion panel depicting Athena.

PR301_06_21

Detail of Sebasteion panel depicting Athena.

PR301_06_23

Side of Sebasteion panel depicting Athena.

PR301_06_24

Detail of the Sebasteion panel depicting the Roman people crowning an emperor.

PR301_07_01

Detail of Sebasteion relief depicting Andreia crowning Aphrodite.

PR301_07_02

Detail of the Sebasteion panel depicting the Roman people crowning an emperor.

PR301_07_03

Detail of the Sebasteion panel depicting the Roman people crowning an emperor.

PR301_07_04

Detail of an architectural block from the south building of the Sebasteion.

PR301_07_08

Architectural block from the Sebasteion.

PR301_07_17

View along the lower order of the south building of the Sebasteion, prior to anastylosis.

PR301_07_18

View along lower order of the north building of the Sebasteion.

PR301_07_19

View of the colonnade of the north building of the Sebasteion.

PR301_07_22

An engaged column from the south building of the Sebasteion.

PR301_07_23

Detail of an engaged column from the south building of the Sebasteion.

PR301_07_24

Detail of engaged column from the south building of the Sebasteion.

PR301_08_01

Detail of engaged column from the south building of the Sebasteion.

PR301_08_02

Detail of an engaged column from the south building of the Sebasteion.

PR301_08_03

Detailed of an engaged column from the south building of the Sebasteion.

PR301_08_04

Detail of an engaged column from the south building of the Sebasteion.

PR301_08_05

View down the interior of the south building of the Sebasteion.

PR301_08_06

View of the rear of one of the piers in the south building of the Sebasteion.

PR301_08_07

Close-up of the rear side of a pier from the south building of the Sebasteion.

PR301_08_08

View of a fluted column drum from the south building of the Sebasteion.

PR301_08_11

Detail of the end of a column section from the south building of the Sebasteion.

PR301_08_12

Detail of the end of a column section from the Sebasteion.

PR301_08_13

Detail of a socket for a pin on one end of a column section from the Sebasteion.

PR301_08_15

Detail of inscription on the Sebasteion.

PR301_08_17

Close-up of inscription from the Sebasteion.

PR301_08_18

Detail of the inscription from the Sebasteion.

PR301_08_22

Triglyphs from the entablature of the Sebasteion.

PR301_08_23

Detail of triglyphs from the entablature of the Sebasteion.

PR301_08_24

Detail of a triglyph from the entablature of the Sebasteion.

PR301_09_01

Architectural blocks with roughed-out bosses from the Sebasteion.

PR301_09_02

Architectural blocks with roughed-out bosses from the Sebasteion.

PR301_09_04

Diagram of toolmarks on the Sebasteion panel depicting Claudius with Land and Sea.

PR301_09_06

Diagram showing toolmarks on the Sebasteion panel depicting Herakles freeing Prometheus.

PR301_09_08

Diagram showing toolmarks on the Sebasteion panel depicting Achilles and Penthesilea.

PR301_09_10

Diagram showing toolmarks on the Sebasteion panel depicting Apollo and a royal hero.

PR302_01_05

General view of the Agora Gate at Aphrodisias.

PR302_01_06

View of the south end of the Agora Gate.

PR302_01_09

View of the southern wall of the Agora Gate.

PR302_01_10

General view of the southern wall of the Agora Gate.

PR302_01_16

Detail of the floor of the first storey of the Agora Gate.

PR302_01_20

Detail of the floor of the first storey of the Agora Gate.

PR302_02_01

Detail of a column shaft on the Agora Gate.

PR302_02_03

View of a column shaft on the Agora Gate.

PR302_02_07

Detail of a fluted column drums from the Agora Gate.

PR302_02_08

Section of a column shaft from the Agora Gate.

PR302_02_11

Wall with the remains of a robbed-out stairway on the Agora Gate.

PR302_02_12

Section of an entablature block from the Agora Gate.

PR302_02_13

Section of an entablature block from the Agora Gate.

PR302_02_18

Detail of a voussoir on the Agora Gate.

PR302_02_19

Detail of the voussoirs of the south archway of the Agora Gate.

PR302_02_21

Detail of the interior of the south archway of the Agora Gate.

PR302_02_24

Detail of a column shaft on the Agora Gate.

PR302_03_12

Detail of an ashlar wall on the Agora Gate.

PR302_04_24

Detail of the entablature of the North Agora colonnade.

PR302_05_01

Detail of the entablature of the North Agora colonnade.

PR302_05_02

Detail of the entablature of the North Agora.

PR302_05_19

Roughed-out entablature blocks.

PR302_06_01

Detail of the underside of an Ionic capital.

PR302_06_02

Detail of an Ionic capital and entablature block.

PR302_06_03

Detail of an Ionic capital.

PR302_06_04

Detail of an Ionic capital.

PR302_06_05

Detail of the side of an Ionic capital.

PR302_06_06

Detail of column base and podium in the Portico of Tiberius.

PR302_06_07

Detail of an entablature block.

PR302_06_08

Detail of a water spout on an entablature block

PR302_06_16

Decorated pilaster capital.

PR302_06_17

Pair of decorated pilaster capitals.

PR302_06_20

Figured pilaster capital.

PR302_06_21

Decorated pilaster capital.

PR302_06_22

Detail of a pilaster capital.

PR302_06_23

Detail of a decorated pilaster capital.

PR302_07_08

Detail of the south archway of the Agora Gate.

PR302_07_09

Detail of the south archway of the Agora Gate.

PR302_07_10

Detail of the south archway of the Agora Gate.

PR302_07_14

Detail of the floor of the first storey of the Agora Gate.

PR302_07_15

Detail of a column shaft on the first storey of the Agora Gate.

PR302_07_17

View of the north wall of the central archway in the skene of the theatre.

PR302_07_18

The north wall of the central archway in the skene of the theatre.

PR302_07_24

Detail of the rear wall of the scaenae frons of the theatre.

PR302_08_04

Detail of the entablature of the front of the scaenae frons of the theatre.

PR302_08_07

Detail of the inscription on the scaenae frons of the theatre.

PR302_08_20

View of the Sculptor's Workshop during excavation

PR303_01_01

Relief showing a boar.

PR303_01_02

Detail of relief depicting a boar.

PR303_01_04

Detail of relief depicting a boar.

PR303_01_06

Relief from the basilica a hero hunting a boar.

PR303_01_07

Detail of boar-hunting relief from the Basilica.

PR303_01_09

Relief panel depicting centauromachy from the Agora Gate.

PR303_01_10

Detail of relief panel depicting centauromachy from the Agora Gate.

PR303_01_11

Detail of relief panel depicting centauromachy from the Agora Gate.

PR303_01_12

Detail of relief panel depicting centauromachy from the Agora Gate.

PR303_01_13

Relief panel depicting centauromachy from the Agora Gate.

PR303_01_14

Detail of relief panel depicting centauromachy from the Agora Gate.

PR303_01_15

Detail of relief panel depicting centauromachy from the Agora Gate.

PR303_01_16

Detail of relief depicting centauromachy from the Agora Gate.

PR303_01_17

Relief panel depicting Ninos from the Civil Basilica.

PR303_01_18

Detail of relief panel depicting Ninos from the Civil Basilica.

PR303_01_19

Detail of relief panel depicting Ninos from the Civil Basilica.

PR303_01_20

Detail of relief panel depicting Ninos from the Civil Basilica.

PR303_01_21

Relief panel depicting Dionysos from the Civil Basilica.

PR303_01_22

Detail of relief panel depicting Dionysos from the Civil Basilica.

PR303_01_23

Relief depicting a barbarian or allegorical figure with a theatrical mask.

PR303_01_24

Detail of relief depicting a barbarian or allegorical figure with a theatrical mask.

PR303_02_02

Panel from the Monument of C. Iulius Zoilos.

PR303_02_03

Detail of panel from the Monument of C. Iulius Zoilos.

PR303_02_05

Detail of the panel depicting Aion from the Monument of C. Iulius Zoilos.

PR303_02_06

Detail of the figure of Polis on the Monument of C. Iulius Zoilos.

PR303_02_07

Detail of three panels of the Monument of C. Iulius Zoilos.

PR303_02_08

Detail of the Monument of C. Iulius Zoilos.

PR303_02_10

Detail of the Monument of C. Iulius Zoilos.

PR303_03_01

Relief depicting a putto.

PR303_03_02

Detail of a relief depicting a putto.

PR303_03_03

Fragment of a columnar sarcophagus depicting Nike/Victory.

PR303_03_04

Detail of a fragment of a columnar sarcophagus.

PR303_03_05

Relief depicting Bellerophon.

PR303_03_08

Detail of garland frieze blocks from the South Agora.

PR304_01_01

Detail of the mask and garland frieze from the South Agora.

PR304_01_02

Detail of a block of the mask and garland frieze from the South Agora.

PR304_01_03

Detail of a block of the masks and garlands frieze from the South Agora.

PR304_01_04

Detail of masks and garlands frieze from the South Agora.

PR304_01_05

Detail of a block of the mask and garland frieze from the South Agora.

PR304_01_06

Detail of a block of the mask and garland frieze from the South Agora.

PR304_01_09

View of the north side of the eastern decorated pier of the Theatre Baths.

PR304_01_10

Detail of the west side of the eastern decorated pier in the Theatre Baths.

PR304_01_11

View of the west side of the eastern decorated pier in the Theatre Baths.

PR304_01_12

South side of the eastern decorated pier in the Theatres Baths.

PR304_01_13

Detail of the west side of the eastern decorated pier in the Theatre Baths.

PR304_01_14

Detail of the west side of the eastern decorated pier in the Theatre Baths.

PR304_01_15

View of the north side of the eastern decorated pier in the Theatre Baths.

PR304_01_18

Close-up of the west side of the eastern decorated pier in the Theatre Baths.

PR304_01_19

Detail of the west side of the eastern decorated pier in the Theatre Baths.

PR304_01_20

Close-up of foliage on the south side of the eastern decorated pier in the Theatre Baths.

PR304_01_21

Detail of the western side of the eastern decorated pier in the Theatre Baths.

PR304_02_02

Colossal figured console depicting a giant from the Hadrianic Baths.

PR304_02_04

Colossal figured console depicting Medusa from the Hadrianic Baths.

PR304_02_05

Detail of the colossal console depicting Medusa from the Hadrianic Baths.

PR304_02_06

Colossal console depicting the minotaur from the Hadrianic Baths.

PR304_02_09

Close-up of the colossal console depicting the minotaur from the Hadrianic Baths.

PR304_02_13

Detail of the west face of the eastern decorated pier in the Theatre Baths.

PR304_02_18

General view of the south side of the eastern decorated pier in the Theatre Baths.

PR305_01_02

Right end of a roughed-out garland sarcophagus.

PR305_01_03

Left end of a roughed-out garland sarcophagus.

PR305_01_04

Detail of the front of a roughed-out garland sarcophagus.

PR305_01_06

Roughed-out garland sarcophagus.

PR305_01_07

Roughed-out garland sarcophagus.

PR305_01_12

Roughed-out garland sarcophagus.

PR305_01_14

Roughed-out garland sarcophagus.

PR305_01_19

Fragmentary garland sarcophagus.

PR305_01_22

Roughed-out garland sarcophagus.

PR305_01_23

Detail of right end of garland sarcophagus.

PR305_01_24

Fragmentary garland sarcophagus.

PR305_02_04

The right end of a garland sarcophagus.

PR305_02_08

Detail of the right end of a garland sarcophagus.

PR305_02_09

Left end of a garland sarcophagus.

PR305_02_10

Front of a garland sarcophagus.

PR305_02_11

Right end of a garland sarcophagus.

PR305_02_13

Left end of a garland sarcophagus.

PR305_02_17

Rear of a roughed-out garland sarcophagus.

PR305_02_18

Garland sarcophagus.

PR305_02_20

Front of a garland sarcophagus.

PR305_02_21

Right end of a garland sarcophagus.

PR305_02_22

Fragment of the front of a garland sarcophagus.

PR305_02_24

Front of a garland sarcophagus.

PR305_03_03

Front of a garland sarcophagus.

PR305_03_05

Left end of a garland sarcophagus.

PR305_03_07

Fragment of a garland sarcophagus.

PR305_03_08

Detail of a garland sarcophagus.

PR305_03_09

Front of a garland sarcophagus.

PR305_03_12

Fragment of a garland sarcophagus.

PR305_03_18

Detail of a roughed-out garland sarcophagus.

PR305_03_19

Roughed-out garland sarcophagus from the heroon adjacent to the Bouleuterion.

PR305_03_22

Front of a columnar sarcophagus.

PR305_03_24

Detail of the front of a columnar sarcophagus.

PR305_04_02

Detail of front of a columnar sarcophagus.

PR305_04_03

Right end of columnar sarcophagus.

PR305_04_06

Front side of an altered garland sarcophagus.

PR305_04_08

Detail of an altered garland sarcophagus.

PR305_04_09

Detail of an altered garland sarcophagus.

PR305_04_11

Right end of an altered garland sarcophagus.

PR305_04_12

Front of a figured relief sarcophagus.

PR305_04_13

Left end of relief sarcophagus.

PR305_04_14

Front of a relief sarcophagus.

PR305_04_15

Front of a columnar sarcophagus.

PR305_04_18

Kline lid.

PR305_05_10

Front and left end of a columnar sarcophagus.

PR305_05_11

Fragment of a garland sarcophagus.

PR305_05_12

Detail of a fragment of a garland sarcophagus.

PR305_05_13

Detail of a fragment of a garland sarcophagus.

PR305_05_16

Detail of the front of a columnar sarcophagus with representations of the Seasons.

PR305_05_18

Detail of the front of a columnar sarcophagus with representations of the Seasons.

PR305_05_19

Detail of the front of a relief sarcophagus.

PR305_05_20

Close-up of front of a relief sarcophagus.

PR305_05_21

Detail of the front of a relief sarcophagus.

PR305_05_22

Detail of the front of a relief sarcophagus.

PR305_06_05

Front side of a columnar sarcophagus with representations of the Seasons.

PR305_06_06

Detail of the front of a columnar sarcophagus with representations of the Seasons.

PR305_06_07

Detail of the front of a relief sarcophagus.

PR305_06_08

Detail of the inside of a sarcophagus.

PR305_06_09

Inside of a sarcophagus chest.

PR305_06_10

Blank sarcophagus chest with a roughed-out socle.

PR306_01_01

Stone dolium.

PR306_01_07

Detail of a stone dolium.

PR307_01_02

Togate male statue from the Sculptor's Workshop.

PR307_01_03

Side view of the togate male statue from the Sculptor's Workshop.

PR307_01_04

Detail of the togate male statue from the Sculptor's Workshop.

PR307_01_06

Side view of the togate male statue from the Sculptor's Workshop.

PR307_01_07

Detail of the togate male statue from the Sculptor's Workshop.

PR307_01_11

Detail of the togate male statue from the Sculptor's Workshop.

PR307_01_13

Roughed-out statue of Artemis from the Sculptor's Workshop.

PR307_01_15

Detail of the unfinished Artemis from the Sculptor's Workshop.

PR307_01_16

Detail of the unfinished Artemis from the Sculptor's Workshop.

PR307_01_18

Detail of the unfinished Artemis from the Sculptor's Workshop.

PR307_01_19

Detail of the unfinished Artemis from the Sculptor's Workshop.

PR307_01_22

Unfinished statue of Poseidon (or Perseus?) from the Sculptor's Workshop.

PR307_01_24

Detail of the unfinished Poseidon (or Perseus?) from the Sculptor's Workshop.

PR307_02_02

Detail of the unfinished Poseidon (or Perseus?) from the Sculptor's Workshop.

PR307_02_03

Unfinished athlete modelled on the Polykleitan diskophoros from the Sculptor's Workshop.

PR307_02_07

Detail of the unfinished athlete modelled on the Polykleitan diskophoros from the Sculptor's Workshop.

PR307_02_09

Detail of unfinished athlete modelled on the Polykleitan diskophoros from the Sculptor's Workshop.

PR307_02_10

Re-carved head of a bearded man from the theatre.

PR307_02_12

Unfinished satyr from the Sculptor's Workshop.

PR307_02_13

Detail of the unfinished satyr from the Sculptor's Workshop.

PR307_02_14

Unfinished Hermes from the West Necropolis.

PR307_02_17

Detail of the unfinished Hermes from the West Necropolis.

PR307_02_18

Detail of the unfinished Hermes from the West Necropolis.

PR307_02_21

Detail of the unfinished Hermes from the West Necropolis.

PR307_02_24

Large and Small Satyr and Dionysos groups from the Sculptor's Workshop.

PR307_03_01

Large and Small Satyr and Dionysos groups from the Sculptor's Workshop.

PR307_03_02

Head of a goddess from the Hadrianic Baths.

PR307_03_04

Side view of the head of a goddess from the Hadrianic Baths.

PR307_03_08

Detail of the head of a goddess from the Hadrianic Baths.

PR307_03_14

Unfinished seated male from the Sculptor's Workshop.

PR307_03_16

Detail of the seated male from the Sculptor's Workshop.

PR307_03_18

Detail of the unfinished seated male from the Sculptor's Workshop.

PR307_03_20

Detail of the unfinished seated male from the Sculptor's Workshop.

PR307_03_22

Detail of the unfinished seated male from the Sculptor's Workshop.

PR307_04_04

Detail of cuirassed male statue.

PR307_04_08

Detail of cuirassed male statue.

PR307_04_11

Detail of cuirassed male statue.

PR307_04_12

Detail of cuirassed male statue.

PR307_04_21

Unfinished Asklepios from the Sculptor's Workshop.

PR307_04_23

Detail of cuirassed male statue.

PR307_05_01

Small togate male statue.

PR307_05_03

Detail of small statue of a togate male.

PR307_05_04

Detail of small male togate statue.

PR307_05_12

Side view of the statue of L. Claudius Diogenes Dometeinus.

PR307_05_14

Detail of the statue of L. Claudius Diogenes Dometeinus.

PR307_05_16

Detail of statue of L. Claudius Diogenes Dometeinus.

PR307_05_18

Detail of statue of L. Claudius Diogenes Dometeinus.

PR307_07_05

Statue of Flavius Palmatus, a Late Antique governor of Caria.

PR307_07_09

Detail of statue of Flavius Palmatus.

PR307_07_10

Detail of the statue of Flavius Palmatus.

PR307_07_11

Detail of the statue of Palmatus.

PR307_07_12

Detail of statue of Palmatus.

PR307_08_14

Statuette of Europa and the bull.

PR307_08_15

Detail of the statuette of Europa and the bull.

PR307_10_05

Detail of a statue of a satyr carrying the infant Dionysos.

PR307_10_07

Detail of a statue of a satyr carrying the infant Dionysos.

PR307_10_11

Detail of a small statue of a satyr carrying the infant Dionysos.

PR307_10_12

Detail of a small statue of a satyr carrying the infant Dionysos.

PR307_10_17

Detail of a statue of a nude male in the form of a Polykleitan Diskophoros.

PR307_10_19

Detail of a statue of a nude male in the form of a Polykleitan Diskophoros.

PR307_10_21

Detail of a statue of a nude male in the form of a Polykleitan Diskophoros.

PR308_01_21

Re-carved portrait of a philosopher.

PR308_02_01

Detail of re-carved philosopher.

PR308_02_02

Detail of re-carved philosopher.

PR308_02_04

Detail of re-carved philosopher.

PR308_02_06

Detail of re-carved philosopher.

PR308_02_07

Detail of front of re-carved philosopher.

PR308_05_06

Shield-portrait of Socrates.

PR308_05_07

Detail of the shield-portrait of Socrates.

PR308_05_08

Detail of the shield-portrait of Socrates.

PR308_05_10

Detail of shield-portrait of Socrates.

PR308_05_11

Detail of shield-portrait of Socrates.

PR308_05_12

Detail of back of shield-portrait of Socrates.

PR308_05_13

Detail of the top of the shield-portrait of Socrates.

PR308_05_18

Series of carved feet, probably apprentice practice pieces.

PR308_05_19

Series of carved feet, probably apprentice practice pieces.

PR308_05_22

Detail of a carved foot, probably apprentice practice pieces.

PR308_05_24

A pair of carved feet, probably apprentice practice pieces.

PR308_06_01

A pair of carved feet, probably apprentice practice pieces.

PR308_06_03

A pair of carved feet, probably apprentice practice pieces.

PR308_06_05

A pair of carved feet on the same block, probably apprentice practice pieces.

PR308_06_07

A pair of carved feet on the same block, probably apprentice practice pieces.

PR308_06_11

A carved foot, probably an apprentice practice piece.

PR308_06_12

A carved foot, probably an apprentice practice piece.

PR308_06_13

A carved foot, probably an apprentice practice piece.

PR308_06_14

A carved foot, probably an apprentice practice piece.

PR308_06_15

A carved foot, probably an apprentice practice piece.

PR308_06_16

A carved foot, probably an apprentice practice piece.

PR308_06_17

A carved foot, probably an apprentice practice piece.

PR308_06_18

A pair of carved feet, probably an apprentice practice piece.

PR308_06_19

A pair of carved feet, probably an apprentice practice piece, on two sides of a block.

PR308_07_02

Series of carved hands, perhaps apprentice pieces.

PR308_07_03

Carved hand, perhaps an apprentice piece.

PR308_07_06

Series of carved hands, perhaps apprentice pieces.

PR308_07_07

Carved hand, probably an apprentice piece.

PR308_07_11

Carved hand, perhaps an apprentice piece.

PR308_08_03

Detail of foot and Pan.

PR308_08_04

Side view of the unfinished Pan.

PR308_08_18

Unfinished Pan.

PR309_01_19

View of Quarry 47 on the Ardıçlı hill near Aphrodisias.

PR309_01_21

View of Quarry 47 on the Ardıçlı hill near Aphrodisias.

PR309_02_16

View of a quarry on the Taşkesiği hill, Aphrodisias.

PR309_02_17

View of a quarry on the Taşkesiği hill, Aphrodisias.

PR309_02_20

View of a quarry on the Taşkesiği hill, Aphrodisias.

PR309_02_22

View of a quarry on the Taşkesiği hill, Aphrodisias.

PR309_02_24

View of a quarry on the Taşkesiği hill, Aphrodisias.

PR309_03_04

View of a quarry on the Taşkesiği hill, Aphrodisias.

PR309_03_05

View of a quarry on the Taşkesiği hill, Aphrodisias.

PR309_03_10

View of the quarry debris from the largest quarries on the Taşkesiği hill, Aphrodisias.

PR309_03_11

View of the quarry debris from the largest quarries on the Taşkesiği hill, Aphrodisias.

PR309_04_06

View from the top of one of the largest quarries (Quarry 13) on the Taşkesiği hill, Aphrodisias.

PR309_04_11

View of the lower quarry face of Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_04_13

View of Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_04_16

View of Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_04_24

View of Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_05_15

Aerial photograph of the quarries on the Taşkesiği hill, Aphrodisias.

PR309_05_19

View of Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_05_23

View of Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_05_24

View of Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_06_04

View of Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_06_05

Detail of a partially quarried block in Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_06_06

Detail of a partially quarried block in Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_06_07

Detail of a partially quarried block in Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_06_08

Detail of a partially quarried block in Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_06_09

Detail of a partially quarried block in Quarry 13 on the Taşkesiği hill, Aphrodisias.

PR309_06_18

View of the southern end of Quarry 18 on Taşkesiği hill, Aphrodisias.

PR309_06_24

View of Quarry 18 on Taşkesiği hill, Aphrodisias.

PR309_07_02

Detail of the main quarry-face in Quarry 18 on Taşkesiği hill, Aphrodisias.

PR309_07_13

View of the northern end of Quarry 20 on Taşkesiği hill, Aphrodisias.

PR309_07_15

View of the northern end of Quarry 20 on Taşkesiği hill, Aphrodisias.

PR309_07_16

Detail of the southern side of Quarry 12 on Taşkesiği hill, Aphrodisias.

PR309_07_23

Channel quarry on the Taşkesiği hill, Aphrodisias.

PR309_08_01

Possible basin cut into the rock in the quarries on the Ardıçlı hill near Aphrodisias.

PR309_08_06

Detail of toolmarks on a quarry-face on the Ardıçlı hill near Aphrodisias

PR309_09_02

Detail of a roughed-out object in a quarry on Ardıçlı hill near Aphrodisias.

PR309_09_05

Detail of a roughed-out object in a quarry on Ardıçlı hill near Aphrodisias.

PR309_09_07

Detail of a quarrying work in a quarry on Ardıçlı hill near Aphrodisias.

PR309_09_10

Detail of a partially-worked block in a quarry on Ardıçlı hill near Aphrodisias.

PR309_09_12

Detail of a partially-worked block in a quarry on Ardıçlı hill near Aphrodisias.

PR309_09_18

Details of quarry-face on Ardıçlı hill near Aphrodisias.

PR309_09_21

Detail of quarry-face on Ardıçlı hill near Aphrodisias.

PR309_09_24

Detail of quarry-face on Ardıçlı hill near Aphrodisias.

PR309_10_14

Detail of a roughed-out object in a quarry on Ardıçlı hill near Aphrodisias.

PR309_10_15

Detail of a roughed-out object in a quarry on Ardıçlı hill near Aphrodisias.

PR309_11_03

Partially-quarried block in a quarry on Ardıçlı hill near Aphrodisias.

PR309_11_06

Detail of a possible wedge hole in a quarry on Ardıçlı hill near Aphrodisias.

PR309_11_07

Pair of possible wedge holes in a quarry on Ardıçlı hill near Aphrodisias.

PR309_11_10

Quarry picks marks in a quarry on Ardıçlı hill near Aphrodisias.

PR309_11_12

Quarry pick marks in one of the so-called City Quarries near Aphrodisias.

PR309_12_09

Detail of the quarry-face of Quarry 18 on the Taşkesiği hill, Aphrodisias.

PR309_14_14

Detail of quarrying marks in a quarry on Ardıçlı hill near Aphrodisias.

PR309_14_16

Modern quarrying activity on Ardıçlı hill near Aphrodisias.

PR309_14_19

Detail of quarrying marks in a quarry on Ardıçlı hill near Aphrodisias.

PR309_14_22

Modern quarrying activity on Ardıçlı hill near Aphrodisias.

PR309_15_16

Detail of quarry working in the so-called City Quarries near Aphrodisias.

PR309_15_19

Detail of wedge holes and quarry pick marks in one of the so-called City Quarries near Aphrodisias.

PR309_16_04

Detail of a quarry-face on Ardıçlı hill near Aphrodisias.

PR309_16_21

Detail of Quarry 12 on the Taşkesiği hill, Aphrodisias.

PR311_01_03

Series of roughed-out column shafts in the Bacakale quarry at Dokimeion.

PR311_01_04

Roughed-out object in the quarries at Altıntaş, near Iscehisar.

PR311_01_05

Roughed-out sarcophagus lid shaped as couch (klinē) with reclining figures on, from the Bacakale Quarry, Iscehisar.

PR311_01_14

View of a quarry face at Altıntaş, near Iscehisar.

PR311_01_15

Roughed-out block in a quarry at Altıntaş.

PR311_01_16

View of a channel quarry at Altıntaş, near Iscehisar.

PR311_01_19

View of the Bacakale Quarry at Iscehisar.

PR311_01_20

View of the Bacakale Quarry at Iscehisar.

PR311_01_21

View of a debris pile at the Bacakale Quarry at Iscehisar.

PR311_01_22

View of a debris pile at the Bacakale Quarry at Iscehisar.

PR311_02_05

View of a quarry-face at the Bacakale Quarry at Iscehisar.

PR311_02_06

View of a quarry-face at the Bacakale Quarry at Iscehisar.

PR311_02_07

View of the Bacakale Quarry at Iscehisar.

PR311_02_08

Piles of roughed-out blocks in the Bacakale Quarry, Dokimeion.

PR311_02_09

View of the Bacakale Quarry, Iscehisar.

PR311_02_11

View of a quarry-face at Bacakale Quarry, Iscehisar.

PR311_02_12

View of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_02_15

View of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_02_17

View of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_02_23

View of a road leading into the Iscehisar quarries between debris piles.

PR311_03_07

View of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_03_09

View of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_03_10

Detail of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_03_13

Detail of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_03_14

Detail of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_03_15

Detail of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_03_19

Detail of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_03_20

Detail of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_03_21

Detail of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_03_22

Detail of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_03_23

Detail of a quarry-face in the Bacakale Quarry, Iscehisar.

PR311_04_03

Roughed-out columns and blocks in the Bacakale Quarry, Iscehisar.

PR311_04_05

Roughed-out columns in the Bacakale Quarry, Iscehisar.

PR311_04_06

Roughed-out column shafts in the Bacakale Quarry, Iscehisar.

PR311_04_07

Roughed-out blocks and columns in the Bacakale Quarry, Iscehisar.

PR311_04_08

Detail of a roughed-out block and column shaft from the Bacakale Quarry, Iscehisar.

PR311_04_09

Roughed-out columns in the Bacakale Quarry, Iscehisar.

PR311_04_11

Roughed-out sarcophagus lid shaped as couch (klinē) with reclining figures on, from the Bacakale Quarry, Iscehisar.

PR311_04_12

Roughed-out sarcophagus lid shaped as couch (klinē) with reclining figures on, from the Bacakale Quarry, Iscehisar.

PR311_05_07

Roughed-out sarcophagus lid shaped as couch (klinē) with reclining figures on, from the Bacakale Quarry, Iscehisar.

PR311_05_08

Roughed-out sarcophagus lid shaped as couch (klinē) with reclining figures on, from the Bacakale Quarry, Iscehisar.

PR311_05_15

Roughed-out fragment of a sarcophagus from the Bacakale Quarry, Iscehisar.

PR311_05_16

Roughed-out column shaft from the Bacakale Quarry, Iscehisar.

PR311_05_17

Roughed-out blocks from the Bacakale Quarry, Iscehisar.

PR311_05_19

Large roughed-out column in the Bacakale Quarry, Iscehisar.

PR311_05_20

Roughed-out column shaft from the Bacakale Quarry, Iscehisar.

PR311_05_24

Modern block yard in the Bacakale Quarry, Iscehisar.

PR311_06_02

View of the Bacakale Quarry, Iscehisar.

PR311_06_05

Roughed-out block in the Bacakale Quarry, Iscehisar.

PR311_06_08

Partially roughed-out sarcophagus lid from the Bacakale Quarry, Iscehisar.

PR311_06_11

Roughed-out sarcophagus lid shaped as couch (klinē) with reclining figures on, from the Bacakale Quarry, Iscehisar.

PR311_06_13

Roughed-out sarcophagus lid shaped as couch (klinē) with reclining figures on, from the Bacakale Quarry, Iscehisar.

PR311_06_14

Roughed-out sarcophagus lid shaped as couch (klinē) with reclining figures on, from the Bacakale Quarry, Iscehisar.

PR312_01_07

Section of an entablature block from Ephesos.

PR312_01_16

Relief depicting a tripod from Ephesos.

PR312_01_17

Relief depicting Victory from Ephesos.

PR312_01_21

Side of a roughed-out garland sarcophagus from Ephesos.

PR312_03_08

Male portrait head in Ephesos archaeological museum.

PR312_03_09

Detail of male portrait head in Ephesos archaeological museum.

PR312_03_11

Detail of male portrait head in Ephesos archaeological museum.

PR312_03_13

Relief depicting a heroic scene.

PR312_03_14

Detail of heroic relief from Ephesos.

PR312_03_17

Statue of Dionysos in Ephesos Museum.

PR312_03_18

Detail of the back of a statue of Dionysos in Ephesos Museum.

PR312_03_19

Detail of the back of the statue of Dionysos in Ephesos Museum.

PR312_03_21

Detail of the back of the statue of Dionysos in the Ephesos Museum.

PR312_03_22

Detail of the leg of the statue of Dionysos in Ephesos Museum.

PR312_03_24

Detail of the back of the legs of the statue of Dionysos in Ephesos Museum.

PR313_01_09

Fluted column from the Temple of Zeus at Euromos.

PR313_01_11

Fluted column from the Temple of Zeus at Euromos.

PR313_01_13

Fluted column from the Temple of Zeus at Euromos.

PR313_01_14

Fluted column from the Temple of Zeus at Euromos.

PR313_01_15

End of a column from the Temple of Zeus at Euromos.

PR313_01_17

Column from the Temple of Zeus at Euromos.

PR314_01_01

The Arch of Galerius.

PR314_01_02

The Arch of Galerius.

PR314_01_03

The Arch of Galerius.

PR314_01_05

The Arch of Galerius.

PR314_01_06

The Arch of Galerius.

PR314_01_08

The arch of Galerius.

PR314_01_09

Attic sarcophagus.

PR314_01_10

Attic sarcophagus.

PR314_01_11

Attic sarcophagus.

PR314_01_12

Attic sarcophagus.

PR314_01_16

A series of sarcophagi.

PR314_01_18

A series of sarcophagi.

PR314_01_19

A series of sarcophagi.

PR315_01_03

Exterior of the cella wall of the Temple of Artemis at Sardis.

PR315_01_04

Exterior of the cella wall of the Temple of Artemis at Sardis.

PR315_01_05

Exterior of the cella wall of the Temple of Artemis at Sardis.

PR315_01_06

Columns of the Temple of Artemis at Sardis.

PR315_01_07

Columns of the Temple of Artemis at Sardis.

PR316_01_01

Detail of a quarry on Marmara Adası (ancient Prokonnesos).

PR316_01_02

Debris and a roughed-out block in a quarry on Marmara Adası (ancient Prokonnesos).

PR316_01_05

General view over the quarrying area on Marmara Adası (ancient Prokonnesos).

PR316_01_09

Detail of a quarry on Marmara Adası (ancient Prokonnesos).

PR316_01_15

General view over the quarrying area on Marmara Adası (ancient Prokonnesos).

PR316_01_17

Detail of a quarry on Marmara Adası (ancient Prokonnesos).

PR316_01_18

Detail of a quarry on Marmara Adası (ancient Prokonnesos).

PR316_01_20

Roughed-out block in a quarry on Marmara Adası (ancient Prokonnesos).

PR316_01_22

Roughed-out blocks in a quarry on Marmara Adası (ancient Prokonnesos).

PR316_02_03

General view over the quarrying area on Marmara Adası (ancient Prokonnesos).

PR316_02_07

Roughed-out block in a quarry on Marmara Adası (ancient Prokonnesos).

PR316_02_10

A modern quarryman squaring a block in a quarry on Marmara Adası (ancient Prokonnesos).

PR316_02_13

Modern quarryman using plugs and feathers to split the end off a block in a quarry on Marmara Adası (ancient Prokonnesos).

PR316_02_15

Modern quarryman using plugs and feathers to split the end off a block in a quarry on Marmara Adası (ancient Prokonnesos).

PR316_02_19

Roughed-out blocks in a quarry on Marmara Adası (ancient Prokonnesos).

PR316_03_05

View of a quarry on Marmara Adası (ancient Prokonnesos).

PR316_03_08

View of a quarry on Marmara Adası (ancient Prokonnesos).

PR316_03_12

A block being lifted onto a boat in Saraylar harbour on Marmara Adası (ancient Prokonnesos).

PR316_03_13

A block being lifted onto a boat in Saraylar harbour on Marmara Adası (ancient Prokonnesos).

PR316_03_14

A block being lifted onto a boat in Saraylar harbour on Marmara Adası (ancient Prokonnesos).

PR316_03_17

Collection of roughed-out architectural elements from the quarries on Prokonnesos.

PR316_03_18

Various roughed-out objects from the Prokonnesian quarries.

PR316_03_21

Roughed-out bases and other objects from the Prokonnesian quarries.

PR316_03_22

Various roughed-out elements from the Prokonnesian quarries.

PR316_03_24

Various columns from the Prokonnesian quarries.

PR316_04_01

Series of columns from the Prokonnesian quarries.

PR316_04_05

Roughed-out entablature block from the Prokonnesian quarries.

PR316_04_11

Pair of roughed-out capitals from the Prokonnesian quarries.

PR316_04_12

Three roughed-out capitals from the Prokonnesian quarries.

PR316_04_18

Roughed-out Corinthian capital from the Prokonnesian quarries.

PR316_04_20

Part-worked capital from the Prokonnesian quarries.

PR316_04_21

Large column base from the Prokonnesian quarries.

PR316_04_24

Detail of a base from the Prokonnesian quarries.

PR316_05_02

Detail of base from the Prokonnesian quarries.

PR316_05_03

Various roughed-out objects from the Prokonnesian quarries.

PR316_05_06

Sarcophagi in the necropolis at Saraylar.

PR316_05_08

Roughed-out sarcophagi in the necropolis at Saraylar.

PR316_05_10

View of the necropolis at Saraylar.

PR316_05_11

Imperial statue with a roughed-out head from the Prokonnesian quarries.

PR316_05_13

Detail of imperial statue from the Prokonnesian quarries.

PR316_05_15

Detail of imperial statue from the Prokonnesian quarries.

PR316_05_16

Detail of imperial statue from the Prokonnesian quarries.

PR316_05_17

Detail of imperial statue from the Prokonnesian quarries.

PR318_01_03

Roughed-out blocks in the quarries at Kara Göl near Teos.

PR318_01_04

Roughed-out blocks in the quarries at Kara Göl near Teos.

PR318_01_06

Roughed-out blocks in the quarries at Kara Göl near Teos.

PR318_01_07

Roughed-out blocks in the quarries at Kara Göl near Teos.

PR319_01_01

The Roman amphitheatre at Pula.

PR319_01_05

Interior of the amphitheatre at Pula.

PR319_01_10

Detail of the exterior of the amphitheatre at Pula.

PR319_01_12

Detail of the exterior of the Pula amphitheatre.

PR319_01_14

Detail of the exterior of the amphitheatre at Pula.

PR319_01_16

Guidelines on the paving outside the amphitheatre at Pula.

PR319_01_18

Guidelines inscribed on the paving outside the amphitheatre at Pula.

PR319_01_19

Guidelines on the paving outside the amphitheatre at Pula.