Analyzing Roman Mosaic Techniques and Themes in Empuries

Formal Analysis

Technical and Material Aspects

We are examining a mosaic tile painting consisting of a surface covered with mortar, colored paste pieces, and a thin layer of mortar on the edge to prevent moisture ingress. Depending on the size of the grid squares, two types emerge: opus tessellatum (regular pieces), opus sectile (irregular pieces), or opus vermiculatum (very small tesserae). The pieces are made of glass paste, various minerals, colored marble, and small pieces of painted pottery. In this work, we have stones of different colors and even some graffiti.

Composition

The line dominates; a black outline surrounds the characters, which is the first element to wear out. The challenge lies in conveying space and volume, not color gradations. This technique complicates the depiction of shadows and light, resulting in a stylized, synthetic art form. Different areas create tesserae that produce shadows or shine to simulate drapery or settings. Ultimately, line and stylization prevail in this technique.

Volume

Volumes are created using tesserae of various colors, achieving a rendering of depth through:

• Obstruction: One character's vision is obscured by another.
• Characters are arranged on a horizontal plane, mostly in a central strip.
• Attempts to create enclosed spaces with canopies projecting towards the viewer.

Negative aspects: There is only one vanishing point. If there were multiple vanishing points, the characters would appear higher than they are, especially the children.

Colors

Contrasting colors are subtle. Beeswax was used to enhance the brilliance of the colors.

Stylistic Analysis

The style is very realistic, yet scarce. We observe a shield, a leaping deer, and a servant with a tray.

Interpretation: Meaning and Function

Function

Initially, mosaics served as a practical covering material. There were three types of mosaic tiles:

1. Carpet Tiles: Used on floors or walls, sometimes with borders.
2. Mosaics with Emblemata: Central symbols representing a family or conveying information.
3. Hellenistic Mosaics: Paintings inspired by Greek artists like Polygnotus and Zeuxis, recreating mythological episodes.
4. Mosaics depicting daily life scenes.

Our Hellenistic mosaic is also an Emblemata, as it was centrally located in a small tiled room. The theme is inspired by Euripides, where the author recounts an episode from the Trojan War. Agamemnon offends the goddess Artemis by killing a sacred deer. Artemis then stops the wind, preventing the ships from sailing to Troy. Agamemnon consults the seer Calchas, who advises him to sacrifice his daughter Iphigenia. However, as he is about to do so, Artemis appears and replaces Iphigenia with a deer. The characters depicted are Agamemnon, Iphigenia, Ulysses, Calchas, Menelaus, a servant, a soldier, and the goddess Artemis. This work belonged to a wealthy class in an Empuries domus. Other pictorial techniques are also present in the mosaic:

1) Embedding: Smooth walls painted to resemble different colored marbles.
2) Architectural: Painted columns, domes, and windows that are not actually present.
3) Illusionist: Landscapes are represented with depth.
4) Illusionary Figures: Characters are depicted in an empty room.

Conclusion

Mosaics existed before the Roman period, but the Romans perfected the technique with remarkable results. The Romans were practical in their approach to home construction, building with available materials and then decorating them.