Roman glassware, as good as new

I have always been fascinated by Roman glassware in all its shapes, forms, and colors (see: The beauty of ancient glassware). 

Yet, I never came across glassware that survived in such pristine condition as that retrieved from the Cape Corse shipwreck in 2023. It lies on a Roman commercial route connecting Luna (modern Luni, Italy) to Massalia (modern Marseille), between Cape Corse in Corsica and the island of Capraia in Italy. It is the second known find with a cargo of almost exclusively glass, either in its raw state as blocks of various sizes or in the finished product of blown glass tableware. 

[Picture from Soprintendenza Nazionale per il Patrimonio Culturale Subacqueo]

The ship sank around 100 AD, and although it was discovered in 2013, we had to wait ten years for an international team of researchers to explore the wreck with two underwater drones. This modern equipment allowed them to retrieve the major part of its precious cargo using a very delicate claw system. 

A few thousand glass artifacts have been recovered, including drinking glasses, bottles, plates, cups, small bowls, and an ointment jar; also two bronze basins and several amphorae of different type such as oriental, the Beirut type, and four Gallic vessels. Combined with the raw glass, this find led the archaeologists to believe that the ship must have originated from a port in the Middle East, possibly Lebanon or Syria, and was headed towards the coast of Provence in Southern France. 

The Syrians were probably the first to have mastered the art of glass blowing as early as the 1^st century BC. Craftsmen from Sidon, Aleppo, Hama, and Palmyra developed the technique of using a blowpipe to shape molten glass, which allowed them to create objects faster than from cast glass. As a result, Syria became one of the most important glass production centers in the world, before, during, and after the Roman Empire. 

The main trade route started in Antioch (modern Antakya in Turkey) to supply the markets of Alexandria, Byzantium, and Rome, which, in turn, had steady connections with Massalia.

The question remains, how these thousands of glass objects were still undamaged and survived in such good conditions after resting at the bottom of the Mediterranean for two thousand years.

About the preservation of mosaics

Mosaics from whatever time period or location always have a lot to tell about customs, religion, and simple daily life, and as such are very valuable testimonies of our past. 

Yet, as soon as the precious tesserae are exposed, the question arises about what to do with the mosaic and about the best way to preserve it. 

The problem was first confronted during the 18^th century when sites like Pompeii and Herculaneum were excavated. In those days, archaeology was not established as a proper science and most of the finds were carried away to be displayed in the mansions of the rich and famous. As a result, the mosaics were taken apart and the most pleasing pictures were framed in simple or elaborate frames. 

As the number of excavations steadily grew in the 19^th and 20^th centuries, archaeology matured equally and it became clear that not all mosaics – and certainly not the larger ones – could be moved for conservation inside a museum. 

Another option was to rebury the mosaics. To this purpose and probably by trial and error, different materials such as soil, gravel, or sand were used to cover the mosaics. The most obvious material was the soil, which was readily available at the excavation site. Besides, it made sense to rebury the mosaics using the same material that had contributed to their survival for many centuries. Nowadays, sand and gravel with or without plastic netting are often implemented all over antique sites. 

I often regret that I cannot actually have a look at those hidden treasures although I totally understand the logic behind this decision. However, standing at the entrance of the Royal Palace in Aegae and not being able to see the large round mosaic of the Tholos or Sanctuary is rather frustrating. In other places, like in Dion, Greece, (see: Dion, the Macedonian Sanctuary), strolling among the remains of Roman houses is not as rewarding as it could be if the many floors were exposed. 

At times, in order to help the visitor visualize the wealth of the mosaics in situ, shelters have been built to protect the precious stones under all circumstances. There are many such cases, such as Pella, Greece, or Nea Paphos in Cyprus. 

In the end, it all depends on the circumstances and the locations where the mosaics are discovered. In Zeugma, Turkey, (see: Zeugma, Border-town along the Euphrates River) even larger floors were removed from the site because the old city was to be flooded after the construction of a dam on the Euphrates. The only way to save what could be saved was to remove the mosaics and shelter them in a newly constructed museum in Gaziantep. 

Mosaic floors that belong to extensive villas are nowadays generally kept intact. A good example is the huge Villa of Piazza Armerina in Sicily (best known for the pictures of the bikini-girls) which has been largely roofed. On other occasions, the entire basement of the villa is cleared and made accessible underground as is the case in Ravenna, Italy. This site, called Tapeti di Pietra (carpets of stone) had been discovered during the construction of a parking lot underneath a modern building. Another similar situation occurred in Antakya, Turkey (see: Antakya’s rich collection of mosaics) where the heavily undulating mosaic floor will be incorporated into the hotel that is under construction. 

It appears that there are many options to safeguard a mosaic floor, all depending on the location and the circumstances in which they are found. Overall, the best and safest conservation choice is the reburial technique. However, this has to be done very carefully and the site must be kept under surveillance. It is sad to find mosaics disintegrating because the layer of sand and gravel is not thick enough and curious or malicious visitors scratch the protection away to expose the mosaics underneath. Many archaeological sites in the Middle East and North Africa are being damaged beyond repair like in Ptolemais, Libya (see: Ptolemais, heritage of the Ptolemies in the Cyrenaica).

Antakya’s rich collection of mosaics

Antakya in Turkey is the modern name for Laudetia, which Seleucos Nicator named after his mother. It was later renamed Antioch-on-the Orontes. Today, the city is most famous for its rich collection of mosaics that are displayed in the local Hatay Archaeology Museum and worth a visit by itself. 

Unsurprisingly, a mosaic from the 2^nd century AD was discovered during the construction works to build a new hotel. It is described as a hand-woven carpet and, with its 1050 square meters, the largest single-piece mosaic in the world – although this may be exaggerated. 

Because of its size and shape, the mosaic will remain in place. It has been wracked by repeated earthquakes in the area (see: Eyewitnesses of an earthquake in Antioch-on-the-Orontes). 

Luckily, the hotel owner sees the archaeological find as an extra opportunity to lure clients and visitors alike and turn his project into a museum-hotel which he’ll name Necmi Asfuroǧlu Archaeology Museum. Besides the mosaic, some 200 artifacts from Hellenistic, Roman, Byzantine, Islamic, and Ottoman times have been unearthed and will find a place in this future museum. 

Indeed another reason to visit Antakya soon!

[Pictures from onedio]

Roman mosaics, another Hellenistic legacy

The Romans did not “invent” the use of mosaics to embellish the floors of their houses and public buildings, as this art made its first appearance during the Hellenistic era. The invention of mosaics is generally attributed to the Phrygians, who used abstract patterns during the 9th or 8th century BC. The art slowly spread west, and classical Greece used pebbles to create a sort of mosaic flooring, as we can still admire in Alexander’s hometowns of Pella and Aegae. The natural pebbles came in all possible shades of gray, ranging from black to white; the only true colors were sparingly used on details like the eyes, lips, hair, sword hilts, or brooches.

Yet it was the Romans who truly mastered the art, creating intricate patterns and vivid scenes to embellish their luxurious villas and lavish temple floors and walls. Since most surviving sites are Roman and generally date from the second century AD, most mosaics we know today can be dated as belonging to that era.

The art consisted in creating images by setting small pieces of stones, marble, or glass (tesserae) into walls and floors of private houses for the rich and famous, but also in public buildings like temples and bath complexes. As the Romans occupied the entire Mediterranean, their mosaics can be found from Italy to North Africa, France, and Spain to Turkey and Syria. The art was so popular that it was copied by the Byzantines, who kept using it till the 6^th century AD, but by then, the stones were larger, and the pictures were much rougher and less refined.

It is clear that local craftsmen developed their own style, some of them becoming specialized in creating scenes using the tiniest pieces of stone and tesserae. Here Alexandria springs to my mind, where the finest and most expensive mosaics were made to be exported to Libya, where they constituted the focal point in larger mosaics like those that still can be seen at Sabratha, for instance.

Last but not least, there is a noticeable difference between floor and wall mosaics in how the pieces are placed on their support. Unfortunately, that is not evident when admiring mosaics in a museum, where they are put randomly on the floor or against the walls.

The floor mosaics are laid out as a flat surface on which we can walk without tripping and which can easily be cleaned. The wall mosaics, on the other hand, are there for the pleasure of the eye only. The most striking example may be the mosaic of Emperor Constantine IX Monomachus and Empress Zoe at the Hagia Sophia in Istanbul, where the gold background is truly sparkling because the tesserae are unevenly applied. Another example can be found in the two mosaic medallions now at the Museum of Antakya (Turkey), each framing the portrait of a man who keeps looking at you wherever you are in the room.

For those who want to learn more about mosaics in general and Roman mosaics in particular, the Getty Villa in Malibu, California, is organizing a special exhibition Roman Mosaics Across the Empire, that runs from 30 March to 12 September 2016.

Apamea, heritage of Alexander

If we believe ancient Egyptian, Ugarian, and Hittite texts, Apamea goes back to 2000-1000 BC. Under Persian rule, it was called Pharnake. Still, the city entered my field of interest with Alexander the Great, who left a garrison behind and renamed it Pella after his hometown. The name Apamea appeared in 300/299 BC when Seleucos, a successor of Alexander, created one of the grandest cities in the east.

We have to go back to the mass wedding in Susa in 324 BC when Alexander arranged a mixed wedding party for about one hundred of his close friends and generals to bring Greece and Persia together. Seleucos' bride was to be Apame, the daughter of Spitamenes of Bactria. This union must have been happy, for it is the only one to survive Alexander's untimely death in 323 BC. Apame accompanied her husband during all of his expeditions and campaigns, which could not have been very comfortable traveling. In any case, after conquering the east, Seleucos decided to move the capital of his empire from Babylon to Antioch-on-the-Orontes, today's Antakya, Turkey. The region pleased him so much that he decided to dedicate another beautiful city to Pella, which was founded initially for Alexander's veterans. He renamed it Apamea after his wife. Apamea became his most important city, together with Antakya mentioned above. Laudetia, as Antakya was known by Seleucos, was named after his mother. Seleucia-on-the-Tigris was named after himself – yes, his empire reached all the way from the Mediterranean to the Indus! Seleucos truly moved in Alexander's footsteps!

The location of Apamea is worthy of Alexander, high above the fertile valley of the Orontes River, right on the junction of the busy road that connected the east with Antioch. Approaching today's town of Afamia, the visitor will see antique Apamea atop a trapezoidal hill just behind the new settlement, shining like a crown jewel. Vast parts of the 16 km-long city walls from the 2nd century BC and more than one hundred watchtowers can still be seen, sometimes reaching as high as 10 meters. Apamea, I'm told, is four times the size of the more familiar Palmyra.

Pompey showed little consideration for Apamea when, in 64 BC, the city became part of the Roman Empire. Yet it rose again and peaked at the beginning of the 1st century AD when the total population ran close to half a million (of which 380,000 were slaves), counting 40,000 horses and 500 fighting elephants. Unfortunately, Apamea was entirely destroyed during the cataclysmic earthquake on 13 December 115 AD (an estimated 7.5 on the scale of Richter).

This was the time to reform Apamea from a typical Hellenistic city into a Roman one. We may owe it to Emperor Trajan, who resided in nearby Antioch-on-the-Orontes at the time of the earthquake and nearly lost his life in the disaster, to rebuild Apamea. He kept the original Hippodamian plan, which fitted the known Roman pattern anyway, with a Cardo and a Decumanus. Apamea was enhanced with bath houses and public fountains, and near the original Hellenistic Agora, a new temple was dedicated to Belos or Baal. Near the city walls, a vast theater was built on the prior Hellenistic foundations, and it equaled the theater of Ephesus with a seating of over 20,000 persons! Roman/Byzantine Apamea lasted until it was conquered by the invading Muslims in 636 AD.

I have great expectations when I finally visit Apamea. For years, I have been in awe of the magnificent columns and mosaics that are the showpieces at the Archaeological Museum in Brussels. There, I saw the spiral columns for the first time, and when I met them later on in Sardes and Ephesus, I mentally kept calling them "Apamea columns." It is worth mentioning that the area was first excavated by Belgian archaeologists in the 1930s, and the restorations started in the 1970s – hence the museum pieces.

I enter Apamea from the north, next to the Antioch Gate. I immediately stop in my tracks since what I see is a Hellenistic city gate, two round towers just like the better-preserved ones that guard the entrance to Perge, Turkey – definitely a piece of the heritage left by Alexander through Seleucos, of course.

Turning to the south, I face the most impressive Cardo Maximus, once a busy commercial thoroughfare and as Roman as you can find. And amazing it is: nearly two kilometers long and 38 meters wide, lined initially with 1200 columns, of which 400 are still standing, each approximately 9 meters high and generally crowned with Corinthian capitals. The spiral columns, I expect, show up further down the road next to the Agora; till then, they are just plain.

On my left, behind the colonnade and paved sidewalk, stand well-preserved facades of shops, up to the first floor with decorated window and door frames – ready for use, it seems. The pavement of the Cardo is pretty much intact and clearly shows the traces left by the many carts that delivered the goods up and down the street.

The Cardo, which almost resembles a boulevard, is crossed by two Decumani. The first crossing is marked by a 14-meter-high votive column resting on a triangular base, smack in the middle of the straight road – something I haven't seen anywhere before. Walking over this centuries-old pavement flanked by these giant guards looking down on you is quite something! The gray clouds blend with the gray weathered columns and contribute to the melancholic atmosphere.

Further down the Cardo, I find the Roman Baths built by Emperor Trajan (116-117). They are positioned so that the water can flow down with gravity from the city walls. They were rebuilt and renewed time and again until the 7th century and were still functioning during the rule of the Ayyubids and Mamluk. Excavation works are underway, and earthen water and sewage pipes have recently been exposed. A little further on, I recognize the inevitable Nymphaeum, and behind it, I discover the public latrines fit to receive 80-90 people – a cozy place. Closer to the city center stands a column decorated with a relief of Bacchus carrying the thyrsus staff and framed with vine motifs. This was once the basis of an arch signaling the entrance to a side street.

Finally, I reach the immense Agora (300 x 45 meters), where the typical spiral columns along the Cardo replace the otherwise unfluted ones. For me, this is how Apamea should be! After closer scrutiny, I noticed that the spirals twist alternatively to the right and to the left, which, from a distance, make a V-pattern creating a zigzag effect. Apparently, they date back to 166 AD. Three of these columns have a console holding a statue of Antoninus Pius, Lucius Verus, and Marcus Aurelius. Another one carried a statue in honor of Lucius Julius Agrippa, a leading citizen of Apamea, set up by Quintus Munatis Marinus, who had the title of Beneficiarius as he helped to rebuild the city after the devastating earthquake of 115 AD. Further West are the remains of the famous Temple of Zeus Belos, known for its oracles and heavily visited by the believers, which included Emperor Septimius Severus. This temple was used without interruption till Christianity took over in 384-385 AD.

This is where I have to end my visit. The day is hiding behind the lead-colored clouds, and I deeply regret that I cannot take a picture of the golden sunrays illuminating these majestic colonnades. It is too late to walk down to the famous and grand theater at the end of the next Decumanus.

Apamea is a top location to visit as the remains from Hellenistic and Roman times are so vividly present. As I mentioned above, the city suffered heavily from the Muslim invasion, leading to its decline. During the 7th century, however, Apamea experienced a short revival with the coming of the Crusaders. In 1106, Prince Tancredi from Normandy arrived at the head of the First Crusade, later to be promoted to Prince of Galilea and Regent of the Principality of Antioch. In 1157 and again in 1170, northern Syria was hit by a series of severe earthquakes, destroying Apamea and cities like Hama, Emesa (Homs), and Antioch-on-the-Orontes (Antakya).

It is certain that even in antiquity, Apamea appealed to everyone's imagination and received many important guests. Cleopatra VII stopped here on her way back from the Euphrates when she accompanied Marc Anthony on his campaign against the Armenians. Septimius Severus arrived in 179 as Legatus of the Fourth Scythian Legion, and later, in 215, Emperor Caracalla paid a visit on his way home after staying in Egypt. And now it is my turn!

At the foot of this marvelous city lies a caravanserai built around 1524 by the Ottomans, where merchants and pilgrims could rest and spend a night on their way to the Orontes Valley. The building has recently been restored and serves as a museum for the finds from Apamea, mainly grave steles and mosaics from private houses, among which is the exceptional mosaic of Socrates and the Wise Men. However, the largest and probably the best-preserved mosaic is to be found in the Archaeological Museum in Brussels.

[Click here to view all the pictures of Apamea]