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The courtyard of Ramses II, towards the colonnade, view into the imperial cult chamber

Description:
“The room that became the imperial cult chamber during the Tetrarchy was in pharaonic times the first in a series of halls that made up the temple's inner sanctum. Immediately upon entry, visitors (exclusively priests in the Egyptian cult, because the unpurified were never allowed into this part of the temple) were confronted with a large doorway on the opposite, southern wall that led into another hall, which led to the barque shrine, where the image-bearing boat was kept, and finally ended in the holiest chamber of all, the sanctuary of Amun. This first room was therefore a liminal space, marked as important by its inaccessibility to the general public, yet it was not a room in which the presence of the deity resided per-manently. It was, however, a space where a visitor physically realized the transition from secular to sacred space, by moving through it, or at least seeing through it, toward the gods (or rather, the statues of the gods in the inner sanctuary). The choice of this room as the focus of Roman modifications to Luxor Temple seems therefore a particularly powerful political statement. By the Romans' blocking the southern doorway of this room, which once led to the pharaonic inner sanc-tum, and filling it instead with images of the Roman emper-ors, the reconfigured room simultaneously usurped access to the pharaonic god and was reconstituted as a space in which the Roman emperors, represented by their painted presence, underwent a divine transformation. Diocletian especially, illustrated with the attributes of Jupiter, the Roman avatar of Amun, was not only presented as the divine ruler of Egypt but also as the arbiter of legitimate temporal power” (McFadden 2015, 127-128).
Date:
February-March 2009
Resource Type:
still image
Photographer:
Vescovo, Arnaldo
Vescovo, Alessandro
Collection:
Luxor Roman Wall Paintings
The courtyard of Ramses II, towards the colonnade, view into the imperial cult chamber

Shelter during construction

Description:
In order to protect the mosaics within their original context, a 15 x 12 m shelter was built to prevent damage from detrimental atmospheric factors, especially rainwater. The shelter protects the mosaic floors from direct sunshine (staving the risk of thermal expansion) and possible damage from visitors. As they are situated 1.5 m below ground level, a footbridge was constructed for viewers. There are no internal supports to conflict aesthetically with the remaining ancient ruins. The shelter's outer wall was designed to adjust to the existing walls of the Byzantine building. In places where the walls did not survive or were preserved in lower course, new walls made of security glass panels were introduced. For more details on the shelter design, refer to the Final Report or the Progress Reports.
Date:
October 1998 - October 1999
Resource Type:
still image
Photographer:
Vincent, Robert
Dobrowolski, Jaroslaw
Collection:
Villa of the Birds Mosaic Conservation
Shelter during construction

Mosaic A6 before conservation

Description:
It should be assumed that most of the mosaics in house alpha could be dated to the first half of the second century AD. Mosaic A6 appears to be slightly earlier and may have been executed even at the very end of the 1st or beginning of the 2nd century AD. The original design of the emblem was altered in antiquity as a result of reparations. Out of the original hunting scene, only the panther remained alongside two little horns of a goat beside the left leg. This motif related to the Dionysiac mythology is a rare occurrence for Egyptian mosaic floors. The emblema was made in opus vermiculatum technique. Briefly, the state of the mosaic can be summarized with: 20% of the original surface is missing; tesserae losses along the edges; mosaic A7 was superimposed on its surface, amongst other distortions. Reinforcements, partial reconstructions, cleaning and other conservation measures were undertaken as necessary. For more details, refer to Progress Report 5 or the Final Report.
Date:
December 1998 - January 1999
Resource Type:
still image
Photographer:
Brock, Edwin
Dobrowolski, Jaroslaw
Collection:
Villa of the Birds Mosaic Conservation
Mosaic A6 before conservation

Mosaic A6 after conservation

Description:
It should be assumed that most of the mosaics in house alpha could be dated to the first half of the second century AD. Mosaic A6 appears to be slightly earlier and may have been executed even at the very end of the 1st or beginning of the 2nd century AD. The original design of the emblem was altered in antiquity as a result of reparations. Out of the original hunting scene, only the panther remained alongside two little horns of a goat beside the left leg. This motif related to the Dionysiac mythology is a rare occurrence for Egyptian mosaic floors. The emblema was made in opus vermiculatum technique. Briefly, the state of the mosaic can be summarized with: 20% of the original surface is missing; tesserae losses along the edges; mosaic A7 was superimposed on its surface, amongst other distortions. Reinforcements, partial reconstructions, cleaning and other conservation measures were undertaken as necessary. For more details, refer to Progress Report 5 or the Final Report.
Date:
May 1999 - April 2000
Resource Type:
still image
Photographer:
Brock, Edwin
Vincent, Robert
Collection:
Villa of the Birds Mosaic Conservation
Mosaic A6 after conservation

Mosaic A5 after conservation

Description:
Notably asymmetrical, the composition, executed in opus tessellatum technique, is situated in a room (possibly a cubiculum) between A2 and A6. Each of the seven preserved figural panels represent different species of birds (duck, heron, parrot, peacock, quail, pigeons and a couple of pigeons drinking water). Some of the panels have additional decorative elements (cups, flowers, fruits and Floral motifs). Mosaic A5 suffered extensive damage; including burning; loss of 30% of its surface; and mechanical damages. Conservation measures included: documentation (photographs and tracing); cleaning; modern interventions reversed; lime mortar protective band on mosaic edges; weak tesserae were treated with Paraloid B-60 diluted in ethanol; some fragments were reconstructed using retrieved original material. After reconstruction of the wall foundations, missing parts of the mosaic bedding and big lacunae were filled with new mortar and gravel.For more information, refer to the Final report or Progress Report 5.
Date:
December 1998 - 2010
Resource Type:
still image
Photographer:
Brock, Edwin
Vincent, Robert
Collection:
Villa of the Birds Mosaic Conservation
Mosaic A5 after conservation

Moasic A5 during conservation

Description:
Notably asymmetrical, the composition, executed in opus tessellatum technique, is situated in a room (possibly a cubiculum) between A2 and A6. Each of the seven preserved figural panels represents different species of bird (duck, heron, parrot, peacock, quail, pigeons and a couple of pigeons drinking water). Some of the panels have additional decorative elements (cups, flowers, fruits, and Floral motifs). Mosaic A5 suffered extensive damage; including burning; loss of 30% of its surface; and mechanical damages. Conservation measures included: documentation (photographs and tracing); cleaning; modern interventions reversed; lime mortar protective band on mosaic edges; weak tesserae were treated with Paraloid B-60 diluted in ethanol; some fragments were reconstructed using retrieved original material. After the reconstruction of the wall foundations, missing parts of the mosaic bedding and big lacunae were filled with new mortar and gravel. For more information, refer to the Final Report or Progress Report 5.
Date:
July 24 - October 1998
Resource Type:
still image
Photographer:
Brock, Edwin
Vincent, Robert
Collection:
Villa of the Birds Mosaic Conservation
Moasic A5 during conservation

Limestone cornice fragment in situ

Description:
A large and well preserved fragment of entablature found directly on top of the courtyard pavement could provide a hint as to the architectural decoration of the house. It combines the Doric triglyph with elements of the Ionic cornice in a syncretic approach to architectural decoration that was common in Greco-Roman Alexandrian art. For further details on the architectural remains of Early Roman villa Alpha, see the Final report or Progress Report 2.
Date:
July 8-9, 1998
Resource Type:
still image
Photographer:
Brock, Edwin
Collection:
Villa of the Birds Mosaic Conservation
Limestone cornice fragment in situ

Exterior of shelter after construction

Description:
In order to protect the mosaics within their original context, a 15 x 12 m shelter was built to prevent damage from detrimental atmospheric factors, especially rainwater. The shelter protects the mosaic floors from direct sunshine (staving the risk of thermal expansion) and possible damage from visitors. As they are situated 1.5 m below ground level, a footbridge was constructed for viewers. There are no internal supports to conflict aesthetically with the remaining ancient ruins. The shelter's outer wall was designed to adjust to the existing walls of the Byzantine building. In places where the walls did not survive or were preserved in lower course, new walls made of security glass panels were introduced. For more details on the shelter design, refer to the Final Report or the Progress Reports.
Date:
May 1999 - April 2000
Resource Type:
still image
Photographer:
Brock, Edwin
Vincent, Robert
Dobrowolski, Jaroslaw
Collection:
Villa of the Birds Mosaic Conservation
Exterior of shelter after construction