Το πρόγραμμα συντήρησης του μοναστηριακού συγκροτήματος του Αγίου Λωτ περιελάμβανε in situ επεμβάσεις συντήρησης, σωστική αποκόλληση και επανατοποθέτηση ενός από τα έξι ψηφιδωτά δάπεδα που βρίσκονταν στην Βασιλική και την ανασκαφή ενός ψηφιδωτού που είχε καταρρεύσει και κατακερματιστεί σε εκατοντάδες θραύσματα στην κλιτύ του λόφου, όπου βρίσκεται η Μονή. Η αποκόλληση του πρώτου ψηφιδωτού δαπέδου και η επακόλουθη ανακάλυψη ενός πρωιμότερου ψηφιδωτού δαπέδου κάτω από αυτό, καθώς και η εύρεση ενός ακόμα σε θραύσματα μας έδωσε την ευκαιρία να παρατηρήσουμε και να καταγράψουμε επιμελώς τις τεχνικές που χρησιμοποιήθηκαν στην κατασκευή των ψηφιδωτών. Ο χαρακτηρισμός επιλεγμένων δειγμάτων κονιαμάτων μας επέτρεψε να προσδιορίσουμε τη σύστασή τους και να ταυτοποιήσουμε το είδος των αδρανών και των προσμίξεων που εμπεριέχει. Οι τεχνικές που χρησιμοποιήθηκαν για την ανάλυση των κονιαμάτων είναι οι: η Περιθλασιμετρία κόνεως ακτίνων-Χ (XRD), η Ηλεκτρονική Μικροσκοπία Σάρωσης (SEM- EDS), η Φασματοσκοπία Απορρόφησης Υπερύθρου (FTIR) και η Οπτική Μικροσκοπία (ΟΜ). Επιπλέον, η πετρογραφική ανάλυση των ψηφίδων, που έγιναν από συνεργάτες του έργου, μας έδωσαν πληροφορίες σχετικά με την προέλευση των πρώτων υλών που χρησιμοποιήθηκαν. Μετά από αναλύσεις και λεπτομερή παρατήρηση, λάβαμε πληροφορίες σχετικά με τις πρώτες ύλες, την προετοιμασία των κονιαμάτων, την στρωματογραφία του ψηφιδωτού δαπέδου, την μέθοδο εκτέλεσης των εργασιών κατασκευής, αλλά και τον τρόπο επεξεργασίας της επιφάνειας. Οι διαφορές που παρατηρούνται στην στρωματογραφία και τη σύσταση των κονιαμάτων, όπως και στις ψηφίδες σε ψηφιδωτά που δημιουργήθηκαν σε διαφορετική χρονική περίοδο συμβάλλουν στην αρχαιολογική μελέτη και κυρίως στην κατανόηση της αρχιτεκτονικής ενότητας και μετατροπών που υπέστη κατά την διάρκεια της χρήσης του χώρου. / The conservation project at the monastic complex of Saint Lot involved the rescue lifting of one of the six mosaics which paved the basilica as well as the excavation of a second one that was found in hundreds of fragments fallen on the slope. The lifting of the first mosaic and the consequent discovery of fragments of an earlier mosaic floor underneath it, as well as the fragmentary state of the second mosaic gave us the opportunity to observe and record thoroughly the techniques employed in the construction of these mosaics. Characterization of selected mortar samples allowed the determination of their composition, identification of the aggregate and its additives. X-Ray Diffraction, Fourier transform infrared spectroscopy, Optical Microscopy and Scanning Electron Microscopy with EDS were the main techniques employed. Mineralogical analyses of tesserae samples, that was employed from other partners of the project, provided information about the provenance of the raw materials that were used. Through detailed observation and analysis, significant information on the raw material selection, preparation of mortars, bedding stratigraphy, method of execution, as well as aspects of tesserae cutting and surface finishing techniques were documented. The variation in the bedding stratigraphy, the composition of the mortars as well as the petrography of the tesserae between mosaics that were executed in different periods contribute in the study of the archaeological context and especially in understanding the succession of the renovation and modification phases of the building.

Utilizando-se da metodologia proposta pela Arqueologia da Imagem, assim como dos estudos iconográficos tradicionais, este trabalho procura compreender a origem e posterior evolução das imagens paleocristãs entre os séculos III e inícios do VI.Considerando que a cristianização do mundo romano foi um processo lento e gradual, o estudo deimagens cristãs do período assinalado pretende averiguar, com o auxílio da análise da cultura material, a possibilidade de se identificar a formação de um discurso imagético, ou de um programa doutrinário visual cristãoao longo da Antiguidade Tardia. A investigação e explicitação deste discurso, por meio da pesquisa arqueológica, intenta decifrar a conexão existente entre arte e sociedade, localizando na evolução da iconografia cristã antiga a essência do poder das imagens para aquela comunidade, seu conteúdo de produção e difusão de símbolos identitários e espirituais. / Using the methodology established by the Archaeology of Image and the traditional iconographic studies, this present work intends to understand the origins and further evolution of paleochristian images between the IIIth and the beggining of the VIth century. The christianization of the Roman world was a slow and gradual process. The work with christian images of the period tries to investigate, with also the help of christian material culture, the creation of an imagetic discourse, or a visual doctrinal program through the Late Antiquity. The research and the exploitations of this discourse in archaeology intends to decipher the connection between art and society, localizing in the evolution of the ancient christian iconography the power of images, its content of production and the diffusion of spiritual and identity symbols.

Utilizando-se da metodologia proposta pela Arqueologia da Imagem, assim como dos estudos iconográficos tradicionais, este trabalho procura compreender a origem e posterior evolução das imagens paleocristãs entre os séculos III e inícios do VI.Considerando que a cristianização do mundo romano foi um processo lento e gradual, o estudo deimagens cristãs do período assinalado pretende averiguar, com o auxílio da análise da cultura material, a possibilidade de se identificar a formação de um discurso imagético, ou de um programa doutrinário visual cristãoao longo da Antiguidade Tardia. A investigação e explicitação deste discurso, por meio da pesquisa arqueológica, intenta decifrar a conexão existente entre arte e sociedade, localizando na evolução da iconografia cristã antiga a essência do poder das imagens para aquela comunidade, seu conteúdo de produção e difusão de símbolos identitários e espirituais. / Using the methodology established by the Archaeology of Image and the traditional iconographic studies, this present work intends to understand the origins and further evolution of paleochristian images between the IIIth and the beggining of the VIth century. The christianization of the Roman world was a slow and gradual process. The work with christian images of the period tries to investigate, with also the help of christian material culture, the creation of an imagetic discourse, or a visual doctrinal program through the Late Antiquity. The research and the exploitations of this discourse in archaeology intends to decipher the connection between art and society, localizing in the evolution of the ancient christian iconography the power of images, its content of production and the diffusion of spiritual and identity symbols.

Oggetto della tesi è lo studio dell’esegesi paleocristiana dei “racconti” contenuti nel libro di Daniele, in una prospettiva pludisciplinare che esamina le testimonianze provenienti dall’iconografia e dalla letteratura. Il lavoro prende in considerazione la documentazione dalle origini della produzione figurativa (fine II sec) alla cosiddetta “svolta costantiniana”, includendo materiali provenienti da tutti i contesti geografici dei primi cristianesimi. L’elaborato si articola in tre sezioni che ricostruiscono le principali tradizioni ermeneutiche della ricezione “tipologica”, “allegorica” e “letteraria” del testo biblico, sottolineando in particolare il ruolo che i “racconti” ebbero nella formazione della teologia del martirio antico. L’analisi assume un metodo storico-critico particolarmente attento all’integrazione e al raffronto fra tipologie documentarie distinte, che testimoniano la varietà e l’eterogeneità dell’interpretazione biblica applicata presso le primitive comunità cristiane. L’inclusione della fonte figurativa muove dal presupposto della sua rivalutazione: più che “biblia pauperum”, l’iconografia delle origini, prodotta in ambito liturgico, testimonia una tradizione indipendente e originale della ricezione dei “racconti”. Da questo punto di vista, la complessa interpretazione del libro di Daniele fornisce un valido paradigma per comprendere, in senso più ampio, i meccanismi che determinano la formazione del pensiero cristiano antico. / The subject of the present work is the study of the paleochristian exegesis of the “tales” included in the Book of Daniel, in a pluridisciplinary perspective which examines the evidences coming from both iconography and literature. The work takes into account the documentation from the origins of iconography (end of the II century), to the so-called “Constantinian period”, including materials coming from every geographic context of ancient Christianity. The research is divided in three sections, according to the principal hermeneutic traditions of the “typological”, “allegoric” and “literary” reception of the biblical text, mainly highlighting the role assumed by the “tales” in the formation of the ancient martyrdom theology. The analysis assumes an historical-critical method, mainly focusing on the comparison between two different documentary categories, which attest the variety and the heterogeneity of the biblical interpretation activated in the first communities. The inclusion of the figurative source derives from its revaluation: more than “biblia pauperum”, the ancient iconography, produced in the context of liturgy, expresses an independent and original tradition of the “tales” reception. Under this point of view, the complex interpretation of the Book of Daniel offers a good paradigm to understand, in a wider sense, the processes determining the formation of paleochristian thought.