El estado de la sala 10 del Museo Arqueológico Municipal de Lorca tras los terremotos del 11 de mayo de 2011. Vista de la terraza superior de la uille (foto cortesía del equipo de excavación).
MARQ
La pintura mural de la habitación 32
El panel de pintura mural conservado se encontró mirando hacia adelante en los restos del muro oeste y con la parte posterior del lomo del pez visible, lo que nos lleva a pensar que puede corresponder a la zona media del muro mirando al muro este (fig. .9). . La técnica utilizada es pintura al fresco para la mayor parte del muro y técnica mixta para aquellos detalles y/o elementos decorativos que requirieron mayor tiempo y cuidado en la ejecución. El esquema compositivo desarrollado consta de un zócalo corrido de 60 cm de altura, es decir, aproximadamente dos pies romanos, decorado imitando mármol punteado, sobre el que, sobre fondo blanco, aparecen puntitos rojos, amarillos, azules y verdes; una superficie promedio de 1,5 m de alto, compuesta por paneles blancos de 1,20 m de ancho, enmarcados internamente con franjas rojas y externamente con bandas rojas de 5 cm de ancho, que los separan de los paneles de 19 cm de ancho aproximadamente, decorados con tallos de vegetales en el muro este y pájaros descansando. en jarrones con un dibujo muy esquemático en el muro oeste; y, finalmente, un marco de estuco moldeado de 30 cm de altura sin ningún elemento decorativo añadido (figs. 10 y 11).
Aunque su técnica de ejecución es cuidada, su repertorio decorativo resulta bastante sencillo y esquemático si lo comparamos con otros espacios de la uilla, donde la calidad y variedad son mayores. Colapso del mural en la pared este de la sala 32 de la uila (fotos cortesía del equipo de excavación). Hipotética restitución de la pintura mural de las paredes este y oeste de la sala 32 uille (dibujo de L. Suárez Escribano y A. Fernández Díaz).
Ubicación de la habitación 32 en la terraza superior de la uilla (foto cortesía del equipo de excavación).
Alicia Fernández Díaz, catedrática de Arqueología de la Universidad de Murcia y especialista en murales romanos. Las intervenciones de conservación comenzaron con la consolidación de las policromías para la fijación de pigmentos debido al polvo que presentaban. Documentación inicial del mural a su llegada al Laboratorio de Restauración del MARQ, apreciando el delicado estado de conservación del conjunto, múltiplesmente fragmentado e inconexo.
Limpieza físico-mecánica de la superficie de la imagen; Este proceso se llevó a cabo, según lo determinado por los ensayos, mediante medios mecánicos y disolventes de diversa índole. Análisis y registro de la decoración pictórica para su examen y reintegración, que pueda facilitar la hipotética restitución de la estancia donde fue encontrada. Reintegración cromática de los vacíos pictóricos para integrar las áreas perdidas que previamente estaban estucadas al conjunto del mural.
El proceso de montaje y adhesión se realiza sobre un soporte nuevo mediante la aplicación de un mortero sintético con las mismas propiedades que el utilizado en el tratamiento posterior.
The uil ing
The useum’s Pe'manent Colle tions an alle'ies
It will be held until May 13, 2012 in the Hipóstila Gallery of the Spanish National Library in Madrid. This means that the museum's permanent exhibitions are not open to the public, but all of the museum's other public duties are still fulfilled. . In the re-exhibited rooms, the focus will be on a selection of the objects that are currently part of the Museum's permanent collection.
This was organized by the Spanish Ministry of Culture in partnership with the Regional Government of Murcia and the Lorca Town Council with the financial support and collaboration of the Ibermuseos programme. When the renovation work on the third floor of the museum was completed, a fully equipped conservation laboratory was opened. Here, 29 items were damaged due to the legs of the stock display units breaking.
However, the museum has organized a series of guided visits, led by museum staff, for students from the city's local schools and district schools, to Los Cipreses Archaeological Park.
The Roman uilla
The discovery of murals in Pompeii and Herculaneum, in the mid-18th century by King Charles III, was the catalyst for the exploration of this type of decorative art form. This was not only because of the spectacular nature of the discovery, which would greatly contribute to Roman research, but also because it opened new perspectives for research and interest in Roman archaeology. However, in Spain during this period, after some early discoveries were made, interest in their murals began to wane.
This is the main reason why, until recently, wall paintings were not included in site descriptions and excavation reports of Roman buildings. Only technical construction, floor coverings, statues, bronzes and fine tableware were recorded as components of material culture, while pictorial decoration was considered secondary due to conservation problems. This state of affairs continued until the last quarter of the 20th century, and today Roman wall painting is considered a primary element of material culture in Spanish research and is studied as a decorative technique.
Roman wall painting is found throughout the Roman Empire - from east to west and from the coast to the interior.
Roman uilla – the atrium and corridor connecting it to the baths (fig. 2), as well as some of the rooms of the peristyle decorated with murals and mosaics. From the atrium could be accessed a series of large rooms associated with the private baths of the house and decorated with mosaic floors. In the southeast corner of the atrium were steps leading to an upper terrace.
Archaeological work carried out on the mural in Room 7 uillain 1998 (photo courtesy of the excavation team). The atrium and bathhouse of the lower terrace of theuille (photo by the excavation team). Therefore, only a few remains of pottery have been found, mostly associated with the final phase of the uilla - southern Gaelic single ware and the local production of bowls, vessels and oil pots.
However, neither the layout, nor the architecture, nor the decoration of the uilla provide us with any information about the function of the uilla.
The Wall Painting of Room 32
But in contrast to this lack of finds, almost the entire uilla's layout and its decorative scheme, both murals and mosaics, have survived ². Was it a production center or a stopping place and resting place on the way to the interior of Andalusia. The surviving piece of mural painting was found turned over on its front side, on top of the remains of the west wall and with the back part showing.
This suggests that it corresponds to the middle zone of the mural that decorates the east wall (Fig. 9). Fresco painting was the technique used for the majority of the walls, with mixed techniques used for some of the finer and more detailed elements. The mural consisted of a 60 cm high continuous skirting board (about two Roman feet), decorated with imitation marble.
Although the decoration has been produced with some attention and detail, its overall composition is quite simple and schematic compared to the higher quality and variety of decoration in other rooms of the uille.
Putting La Quintilla’s Wall Painting into Context
It was mainly developed in western provinces and continued until the middle of the 2nd century AD and the collection of murals from La Quintilla can be associated with this later period. However, the features of renovation, represented by large architectural elements, and innovation, represented by imitation marble rising to the middle zone of the wall, are not present. Before discussing the function and significance of our collection of wall paintings, it is important to briefly review the origins and evolution of Roman wall painting.
This can now be identified in both the archaeological record and literary sources with the discovery of the earliest painted decoration in cities such as Pompeii and Herculaneum. At the end of the 19th century, based on material and literary evidence, a classification system was created that grouped wall paintings into four Pompeian styles. A fourth style, known as the Illusionist style for its impressionistic approaches and rich and vivid colors emphasized by the use of detailed separate border panels, dates back to the late Julio-Claudian period.
However, in the remaining provinces, the style of mural painting returns to reflect an earlier style, the third Pompeian style, and incorporates some elements of the fourth style, creating what is known as the fourth provincial style.
With the back part of the mural stabilized, the next step was to remove the mesh that had been wrapped around the pieces to protect them in the excavation. Once this mesh was removed, an initial study of where the pieces fit together and the adhesion of the fragments was performed. Initial documentation of the mural in MARQ's Conservation Laboratory, noting the delicate state of preservation, the poor cohesion and fragmentation.
Next, a water-based resin was applied to the back of the mural to improve its cohesion, as several areas had badly disintegrated. The different pieces of wall paint are structurally reinforced with a layer of inert synthetic mortar, depending on the thickness of the layer ofarriccio (top layer of plaster). Treat the back part of the mural by injecting inert synthetic mortar to stabilize the adhesion of the fragments.
Mounting the mural on the new support frame, applying an identical synthetic mortar to that used in treating the back of the painting.
Further readingPara saber más y en profundidad
F., 1995a: “La villa romana de La Quintilla (Lorca): una aproximación a su proyecto arquitectónico y programa ornamental”, en J. Trabajos de extracción, excavación y consolidación de las pinturas murales de la sala 35 de la villa romana de La Quintilla ( Lorca)", % uria.
Further reading
Créditos Credits
