The range of icongraphy used on mosaics in romano- british villas Essay

The range of icongraphy used on mosaics in romano- british villas during the 4th century AD - Essay Example 1 Introduction Much can be learned from the study of 4th Century Roman Mosaic iconography as it had traversed the Empire. The intent of the study is to show that Britannia was a vibrant Roman economic centre where mosaics were used in villas to show wealth, social standings and a mixture of religious beliefs whereas common conjecture had been that Britannia was a poor province of Rome . As Britannia flourished, as did the mosaic iconography which took on local elements or used Roman mythology adapted to local culture. Two time periods will be discussed in terms of the development of the complexity of the art: when mosaic iconography came to Britannia in the 2nd Century and the height of the artistic and economic era in the 4th Century. A presentation of the techniques used today in dating mosaic iconography will assist in comparing these two periods . The last part of the paper will show the importance of the different themes of the mosaics and the geometric patterns; and how they we re combined into intricate tile combinations. 1 The significant areas in England where they exist today will be shown. To conclude, it will be shown that the life and stands of the Britannia's Elite can be studied through the study of their Mosaic iconography. Based on research of 4th century A. D. art and architecture, figurative iconography was used across the Empire. Architectural structure and floor, wall and ceiling paintings and mosaics were influenced by the artists' use of pattern books without the artist every having seen actual statues or paintings. The presentation of these Graeco-Roman themes are necessary before analysing the influence they had on Britannia's culture. Thesis Question: How the Different subject matters used in Mosaic Iconography in Romano- British Villas in the 4th Century A. D show the beliefs, religion, and way of life of its occupants ? 2 Mosaic Interpretation with Local Cultures The Brading Villa mosaic pavement is considered a typical example of the level of Romano-British mosaics interpretation; it is damaged in situ. It is possible to establish that the level of design and craftsmanship is naive in comparison to the best of the Mediterranean mosaic record from the same period. For instance, based on the details in the British mosaics, it is clear that errors were made in transferring the traditional ideas onto the mosaics. The Rudston Villa, for example, contains an image of the God, Mercury, which had caduceus and leaves on his cap where he should have been holding the caduceus and the leaves should have been as ears.. On a side note, to some viewers, the leaves are confused with wings. However, Mercury’s wings are on the top of his head, between the two leaves. His wings are Mercury’s key identifier, which is why it does not make sense to depict him in this way.2 In giving the artist the benefit of the doubt, it is possible he or she was not well-versed in mythology; therefore, was unable to recognize the sig nificance of the imagery he was copying. Another explanation would be that the patron had asked to be portrayed as the chief element of the work and was chosen as a Mercury figure. However, before hastily judging the flaws in provincial iconography, it is