Making Roman Mosaics in Aquileia (I BC – IV AD): Technology, Materials, Style and Workshop Practices. Two Case Studies from the insula della Casa delle Bestie Ferite

The study of Roman mosaics is traditionally dominated by an aesthetic and stylistic approach. During the last couple of decades, a new interest for the material aspects has started to emerge, opening different perspectives of study and interpretation.1 This material-based approach is particularly effective for investigating the economic aspects of mosaics and for assessing their social value. High-end mosaics are likely to combine a complex decorative project, with the use of expensive materials, like marble or glass tesserae. However, determining the high quality is difficult and involves the evaluation of a combination of factors. An accurate mosaic project starts from designing and building appropriate foundations and beddings and continues with the creation of the surface. The elements that we need to assess accurately include the identification of the materials used in the construction of the mosaic and their distribution, the evaluation of the accuracy in cutting and laying the tesserae, and the care taken in planning the decoration and respecting the drawing. This comprehensive analysis of mosaics is particularly important for the study of decorations in domestic contexts. Here, spaces paved by mosaics and used for the reception of the guests play a key role in the decorative project of the building. These mosaics were a proper means of communication, expressing the social status of the owner. Looking at the details of tessellata floors, we discover that mosaics covering large surfaces with figural decorations, surely made to impress, are not always accompanied by a high technical quality. In this paper we present the results of the application of this methodological approach, by investigating two mosaics excavated at the site of Aquileia, at the insula della Casa delle Bestie Ferite (insula of the House of the Wounded Beasts) (fig. 1).