Relevant bibliographies by topics / Roman Villa Museum

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Roman Villa Museum'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Roman Villa Museum"

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Dicks, Jonathan. "The Roman Villa at Woodham's Farm, Kings Worthy, Hampshire." Hampshire Studies 73, no. 1 (November 1, 2018): 145–55. http://dx.doi.org/10.24202/hs2018006.

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Additional information about the Romano-British villa at Woodham's Farm was discovered whilst researching the villas at Sparsholt and Twyford. Amongst the Sparsholt material held by the late David Johnston was an envelope containing coins from Woodham's Farm. Similarly, amongst the Twyford paper archive held by Martin Biddle was a letter from Mr. W. H. Blake of Woodham's Farm to Lieut. Colonel Montague dated 14th September 1925. The letter briefly described his excavation of the site and contains a sketch of the exposed ground plan of parts of the villa. This short report is based on the information held by Winchester Museum Services (History File ARCH 296). It documents the discoveries found and attempts to put the Romano-British Villa at Woodham's Farm into a regional context.
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Ferretti, Paolo, Michela Canali, and Barbara Maurina. "Archaeometric Characterization of Wall Paintings from Isera and Ventotene Roman Villas." Heritage 5, no. 4 (November 1, 2022): 3316–28. http://dx.doi.org/10.3390/heritage5040170.

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The authors present the first results of an archaeometric research project set up by the Rovereto Civic Museum Foundation in collaboration with MUSE–Trento Science Museum, aiming at analysing and comparing Roman plasters from different sites in order to highlight similarities and differences related to the preparation and realization of Roman wall renderings. The data concern the characterization of plaster samples from the Roman Villa of Isera and Ventotene (northern and central Italy) by means of a thin-section mineropetrographic examination under an optical microscope and a scanning electron microscope (SEM).
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Gómez Merino, José Luis. "La villa romana La Olmeda y la mitología de uno de sus mosaicos: Aquiles en la isla de Skyros." Virtual Archaeology Review 1, no. 1 (April 11, 2010): 17. http://dx.doi.org/10.4995/var.2010.4751.

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<p>The roman villa La Olmeda (Palencia) is open for the visitors again. The works in order to protect the remains are finished. Balawat team made the virtual reconstruction of the mansion helped by the archaeologist managers of the villa. We made some animations for its museum. Amongst them there is a version of the mythological mosaic of Achilles in the main room of the house. It’s made following the ancient iconography of black figure pottery.</p>
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Mráv, Zsolt. "A Late Roman Luxury Villa in Nagyharsány, at the Feet of the Szársomlyó Mountain." Hungarian Archaeology 10, no. 1 (2021): 11–21. http://dx.doi.org/10.36338/ha.2021.1.2.

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Those who visit the tourist attractions of the Villány–Siklós wine route may not even suspect that a ruin of a high-status Roman villa is hiding under the picturesque landscape with vineyards at the foot of the Szársomlyó Mountain. The Mediterranean beauty and climate of this region attracted the late imperial elite of the Roman Empire, among whom an influential, senatorial family built its luxury villa here. This villa only revealed its significance and treasures slowly. After the excavation of its bathhouse, an unfortunately commissioned deep ploughing twisted large pieces of the mosaic floors out of the ground. After a long pause, the Hungarian National Museum continued the investigation of the site in 2016. The excavations brought to light the villa’s banquet hall, the floor of which was once covered with colourful mosaics representing the highest quality of Roman mosaic art. Masterpieces of Roman glass craftmanship – pieces of a wine set – were also found here. The villa of Nagyharsány plays an important role in the research of the Seuso Treasure too. The luxury reflected by the interior decoration and the artefacts of the banquet hall proved that the educated and wealthy imperial aristocracy was present in late Roman Pannonian provinces, the members of which could afford a set of silver tableware comparable to the Seuso Treasure in quality, understood the literary and visual culture based on the classical education of the elite, and spoke its sophisticated language.
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Tsirogiannis, Christos, and David W. J. Gill. "“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection." International Journal of Cultural Property 21, no. 4 (November 2014): 465–80. http://dx.doi.org/10.1017/s0940739114000289.

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Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University Art Museum. In January 2012 it was announced that some fragments from the Bothmer collection would be returned to Italy, because they fitted vases that had already been repatriated from North American collections. The Euaion painter fragments are considered against the phenomenon of collecting and donating fractured pots.
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Crnobrnja, Adam, Snezana Ferjancic, and Veselinka Ninkovic. "A new Latin inscription from Vinca in Belgrade." Starinar, no. 73 (2023): 71–87. http://dx.doi.org/10.2298/sta2373071c.

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In the summer of 2020, a fragmentary lower part of a statue base with a Latin inscription carved on its underside was accidentally discovered in Vinca, in the area of the archaeological site of Osljane. The remains of ? Roman building (presumably a villa rustica) were located at the aforementioned site. After the discovery, the monument was stolen, then it was soon recovered and transferred to the National Museum of Serbia. The inscription records the career of a member of the equestrian order.
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Valero Tévar, Miguel Ángel, Xoan Moreno Paredes, Pablo Guerra García, Xabier Arroyo Rey, and Nelia Valverde Gascueña. "Macroscopic and Petrographic Analyses of the Mortars from the Roman villa of Noheda (Villar de Domingo García, Cuenca)." Crystals 12, no. 5 (April 25, 2022): 606. http://dx.doi.org/10.3390/cryst12050606.

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The Roman villa of Noheda, located in the municipality of Villar de Domingo García (Cuenca), is one of the most important archaeological sites in Spain and one of the most important museum complexes in Europe. In recent years, several archaeological investigations have been developed (archaeometry of building materials, natural resources, ways and roads). Furthermore, various restoration and consolidation works have been carried out on structures, walls and floors. The archaeological management team requested a characterisation of the mortars found in the coatings of the walls and floors of the complex to identify differences in its production. After checking the rooms, the state of conservation of the elements and the significance of the materials used, several mortar samples were analysed by means of macroscopic techniques before applying a petrographic analysis. The results showed an interesting variety in the distribution of aggregates, a complex microstratigraphy and a range of grain sizes in the mortars from different rooms. Magnesium, silica and aluminium from limestone were found. Crushed and powdered limestone was used as an aggregate with irregular distribution. Calcite nodules were observed as evidence that the mortar had been poorly mixed in preparation.
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Valero Tévar, Miguel Ángel, Xoan Moreno Paredes, Pablo Guerra García, Xabier Arroyo Rey, and Nelia Valverde Gascueña. "Macroscopic and Petrographic Analyses of the Mortars from the Roman villa of Noheda (Villar de Domingo García, Cuenca)." Crystals 12, no. 5 (April 25, 2022): 606. http://dx.doi.org/10.3390/cryst12050606.

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The Roman villa of Noheda, located in the municipality of Villar de Domingo García (Cuenca), is one of the most important archaeological sites in Spain and one of the most important museum complexes in Europe. In recent years, several archaeological investigations have been developed (archaeometry of building materials, natural resources, ways and roads). Furthermore, various restoration and consolidation works have been carried out on structures, walls and floors. The archaeological management team requested a characterisation of the mortars found in the coatings of the walls and floors of the complex to identify differences in its production. After checking the rooms, the state of conservation of the elements and the significance of the materials used, several mortar samples were analysed by means of macroscopic techniques before applying a petrographic analysis. The results showed an interesting variety in the distribution of aggregates, a complex microstratigraphy and a range of grain sizes in the mortars from different rooms. Magnesium, silica and aluminium from limestone were found. Crushed and powdered limestone was used as an aggregate with irregular distribution. Calcite nodules were observed as evidence that the mortar had been poorly mixed in preparation.
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Harvey, Sarah M. "Iron Tools from a Roman Villa at Boscoreale, Italy, in the Field Museum and the Kelsey Museum of Archaeology." American Journal of Archaeology 114, no. 4 (October 2010): 697–714. http://dx.doi.org/10.3764/aja.114.4.697.

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Masseti, Marco. "Gazelles (Gazella spp.) depicted in frescoes and sculpture from Herculaneum and Pompeii." Archives of Natural History 49, no. 2 (October 2022): 259–68. http://dx.doi.org/10.3366/anh.2022.0789.

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Paintings and sculptures depicting gazelles ( Gazella spp.) are frequent in Ancient Roman art. Images of gazelles have been discovered during the archaeological explorations of Herculaneum and Pompeii, devastated by the eruption of Mount Vesuvius in ad 79. Two bronze statues of ungulates from the Villa of the Papyri, Herculaneum, now on display at the Museo Archeologico Nazionale di Napoli (National Archaeological Museum of Naples), have not been correctly identified, consequently causing erroneous speculation about their cultural significance. The aim of this paper is to suggest which gazelle species inspired these artefacts, and to also discuss the wider context of the artistic representations of gazelles from Herculaneum and Pompeii and their surroundings.
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Dissertations / Theses on the topic "Roman Villa Museum"

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Almeida, Vera da Silva Dias Moitinho de. "Espaços museológicos virtuais : a villa romana do rabaçal, estudo de caso." Master's thesis, 2007. http://hdl.handle.net/10216/12509.

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Almeida, Vera da Silva Dias Moitinho de. "Espaços museológicos virtuais : a villa romana do rabaçal, estudo de caso." Dissertação, 2007. http://hdl.handle.net/10216/12509.

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Serra, Miguel Soares Baptista. "O património cultural do Concelho da Golegã e a sua aplicação no ensino da disciplina de história no 3º Ciclo do Ensino Básico e no Ensino Secundário." Master's thesis, 2018. http://hdl.handle.net/10362/45937.

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O presente Relatório enquadrou-se na realização da Prática de Ensino Supervisionada (PES), que decorreu na Escola B 2, 3/S Mestre Martins Correia, localizada na Golegã, durante o ano letivo de 2016/2017. Os seus objetivos visaram articular o património cultural existente no concelho da Golegã e o ensino de História no 3º Ciclo do Ensino Básico e no Ensino Secundário. O cumprimento destes objetivos exigiu, em primeiro lugar, um levantamento do património cultural existente no concelho da Golegã e em alguns concelhos limítrofes, como o Entroncamento e Torres Novas e, posteriormente, uma seleção de alguns monumentos e equipamentos museológicos aí existentes. Foram alvo de uma primeira seleção e estudo a Igreja Matriz, o Pelourinho, a Casa-Estúdio de Carlos Relvas e os Museus Municipais da Máquina de Escrever e de Martins Correia, localizados na Golegã; o Museu Nacional Ferroviário, sedeado no Entroncamento e as Ruínas Romanas de Vila Cardílio, situadas em Torres Novas. Foi possível, deste modo, verificar quais os que se enquadravam melhor no Programa de História do 3º Ciclo do Ensino Básico e Secundário e, mais concretamente, do 8º, 10º, 11º e 12º anos letivos, que integraram a PES. Por fim, foram realizados três estudos de caso, que incidiram sobre as referidas Igreja Matriz, Ruínas Romanas de Vila Cardílio e Museu Nacional Ferroviário, tendo sido planificadas aulas, visitas de estudo e um conjunto de materiais e instrumentos pedagógicos, tais como apresentações powerpoint, fichas de trabalho, cronologias e guiões de visita guiada. Estabeleceu-se, desta forma, uma articulação entre os Programas e as Metas Curriculares da disciplina de História e o património e equipamentos culturais e museológicos dos quais os concelhos da Golegã, Entroncamento e Torres Novas se encontram dotados.
The following Report was written as part of the Supervised Teaching Internship which was held in the school B 2, 3/S Mestre Martins Correia, in Golegã, during the 2016/2017 school year. The objectives that guided this report aimed to establish a connection between the Golegã cultural heritage and the History School Program in the Basic and Secondary teaching levels. The completion of this Work Project Report required a survey of the Golegã, Entroncamento and Torres Novas cultural heritage. The chapter that dealed with the local heritage studied the Parish Church, the “Pelourinho”, The House of Carlos Relvas, the Typewriter and the Martins Correia Municipal Museums, located in Golegã, the National Railway Museum, in Entroncamento and the Roman Ruins of Vila Cardilio, located in Torres Novas. The sudy of this monuments and museums aimed to clarify which ones could be framed in the objectives of the 8th, 10th 11th and 12th school years, taught under the Supervised Teaching Internship. The last chapter of this report approaches three case studies, about the Golegã Parish Church, the Roman Ruins of Vila Cardílio and the National Railway Museum. As part of these three case studies, we created school lessons and visit plans, didactic and pedagogic instruments like powerpoint presentations, tests, chronologies and school visit guides. This work established a connection between the History School Programs and the museums and cultural heritage of these three municipalities, Golegã, Entroncamento and Torres Novas.
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Books on the topic "Roman Villa Museum"

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Cobau, Andreina Costanzi. Una villa in una stanza: La villa romana di Sant'Imbenia : documentazione, conservazione, musealizzazione dei reperti rinvenuti nel corso degli scavi, 1944-2005 = The Roman Villa in Sant'Imbenia : documentation, conservation and museum display of the artifacts found during the 1994-2005 excavations. Roma: CCA editore, 2015.

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Mēnakakēs, Vasilēs. Mouseia Vatikanou, Kapitōliou: Romē. Athēna: Viliothēkē Technēs Hē Kathēmerinē, 2010.

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Spier, Jeffrey, and J. Paul Getty Museum Staff. Guide to the Getty Villa. Getty Publications, 2018.

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Products, Cachet. Roman Villa-Blank Book-Unlined 8 1\2 X 11: Museum Notes--The Metropolitan Museum of Art. Cachet Products, 1993.

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Products, Cachet. Roman Villa-Blank Book-Lined 8 1\2 X 11: Museum Notes--The Metropolitan Museum of Art. Cachet Products, 1993.

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Products, Cachet. Roman Villa-Blank Book-Lined 5 1\4 X 8 1\4: Museum Notes--The Metropolitan Museum of Art. Cachet Products, 1993.

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Products, Cachet. Roman Villa-Blank Book-Unlined 5 1\4 X 8 1\4: Museum Notes--The Metropolitan Museum of Art. Cachet Products, 1993.

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Williams Symposium on Classical Architecture 1990 University of penns. The Roman Villa: Villa Urbana : First Williams Symposium on Classical Architecture Held at the University of Pennsylvania, Philadelphia, April 21-22, 1990 (University Museum Monograph). Univ Museum Pubns, 1998.

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Kuttner, Ann. (Re)presenting Romanitas at Sir John Soane’s House and Villa. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190272333.003.0002.

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This paper considers the houses of Neoclassical British architect Sir John Soane (1753–1837): his famous House Museum in Lincoln’s Inn Fields, London; and the considerably less-well known Pitzhanger Manor House, Ealing. With architectural precedents set by Sir Francis Bacon and Lord Burlington, nothing could have been more Roman in Soane and his contemporaries than the conviction that a house and its decor express the persona of the inhabitant. Soane was a working-class Englishman with enormous social and professional ambitions. Both Pitzhanger Manor and the house at Lincoln’s Inn Fields and drew inspiration and showcased materials from Soane’s travels in Italy with Frederick Hervey, Earl-Bishop of Derry and the design of his classicizing estate at Downhill; contemporary excavations at Pompeii and the Villa Negroni; and Soane’s own collection of Classical sculpture, and plaster casts. These houses, with their faux-ruins and talismanic interiors of “Pompeiian red,” were not only dwelling places for Soane and his family, they signaled his gentrification, while simultaneously advertising what he could produce for elite clients. Soane’s interpretation of Classical forms and creation of Neoclassical forms was grounded in archaeological discoveries and a knowledge of Classical antiquity, marking an important distinction between him and many of his contemporaries.
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Buckman, James. Notes on the Roman Villa at Chedworth, Glousestershire, with a Catalogue Descriptive of the Articles Deposited in the Museum Attached to It, by Prof. Buckman and R.W. Hall. Franklin Classics Trade Press, 2018.

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Book chapters on the topic "Roman Villa Museum"

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van Eck, Caroline. "Introduction." In Piranesi's Candelabra and the Presence of the Past, 1—CI.P43. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192845665.003.0001.

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Abstract The Introduction gives a first presentation of the three art works that are the protagonists of this book: the colossal candelabra made by Giovanni Battista Piranesi (1770–1778) at the end of his life out of fragments excavated at the site of the Villa Hadriana in Tivoli. Although they were among the most sought-after and prestigious of his works, and fetched enormous prices during Piranesi’s life, they suffered a steep decline in appreciation from the 1820s onwards, and even today they are among the least studied of his works. The Introduction presents the main arguments of this book about the role of these artefacts and their biographies from fragment to museum piece in the emergence of neoclassicism, and it situates this book in current debates about human–thing entanglement, materiality, and the material reception of Roman antiquity.
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Coltman, Viccy. "Conclusion: Joseph Nollekens’ The Judgement of Paris ." In Classical Sculpture and the Culture of Collecting in Britain Since 1760, 273–80. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199551262.003.0009.

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Abstract Four sculptures (figures 82–5) now in the collections of the J. Paul Getty Museum and Villa at Malibu may be seen to embody the problematic inherent in the historiography of ancient marbles in Great Britain as codified in the later 19th century by the German Professor of Archaeology, Adolf Michaelis. Michaelis’ pioneering research—critiqued here in Chapter 1 for the first time—exposed over 2,000 individual ancient marble specimens in 66 private collections in Britain to the latest ‘scientific’ scrutiny. They were systematically studied, numbered, measured, deciphered, and classified in a corpus of ancient Greek and Roman sculpture. Michaelis’ classic work, continued by his grateful successors, including A. H. Smith, Cornelius Vermeule, and Frederik Poulsen, put ancient marbles in Britain on the academic agenda, when they had hitherto been neglected in favour of the study of painting, in an estrangement of the sister arts that has still to be properly realigned.
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Hingley, Richard. "‘The Roman occupation of Britain and our own occupation of India’." In The Recovery of Roman Britain 1586-1906. Oxford University Press, 2008. http://dx.doi.org/10.1093/oso/9780199237029.003.0009.

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The late eighteenth and early nineteenth centuries were a time of significant social change, with the industrialization of society and a massive increase in population, but there was no sudden transformation of ideas about Roman Britain. During this period, significant new archaeological finds came to light as a result of development associated with the industrialization of society, including the excavation of quarries, the construction of sewers, canals, and railways, while deep ploughing located further buried remains in the countryside. Writing in 1849, Charles Tucker suggested that the scale of development since the mid 1820s had contributed ‘so extensively to more certain knowledge of the habits and manners of the early occupants’ of Britain. Improvements in public transport resulted in a wider popular interest in the past, with the creation of national and regional archaeological societies, including the British Archaeological Association, which held its first meeting in 1844. These new organizations held meetings at which antiquaries could discuss archaeological discoveries, while the published proceedings disseminated knowledge. The realization of the antiquity of the human race brought about a serious and sustained challenge to the biblical story of creation during the middle of the nineteenth century. Gradually, with the developing knowledge of geology, ‘prehistory’ was seen to represent a great depth of time and this made it possible to conceive of a chronologically based understanding of the ‘primeval’ past. Understandings of Roman Britain, however, were slower to change, since they were based on more firmly established roots derived from centuries of study of classical texts, artefacts, and sites. Nevertheless, important discoveries helped to formulate new ideas. The period from the 1780s to 1820 was highly significant with the impressive architectural remains discovered at Bath and at a number of Roman villa sites, demonstrating the wealth of some elements of society in Roman southern Britain. The context for reflection upon these archaeological remains was transformed through the actions of British collectors in the Eastern Mediterranean who, from the 1840s, brought home classical monuments and artefacts for display in the British Museum. A renewed focus of interest in ‘the Roman Wall’ developed in the mid nineteenth century, while significant new work was undertaken on the buried Roman remains at London, Cirencester, Silchester, and Verulamium.
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Hallam, Tony. "Volcanic activity." In Catastrophes and Lesser Calamities. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780198524977.003.0011.

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Of all the geological phenomena that make an impression on the general public, volcanic eruptions must be the most spectacular. The sight of incandescent lava being spewed into the air or creeping down hillsides is a regular standby of television documentaries dealing with the natural world, and the invocation by Old Testament writers of fire and brimstone in their portraits of hell indicates how vivid is the image of volcanic activity that has persisted throughout recorded history. How significant, though, are erupting or exploding volcanoes as killers? Many years ago I paid a standard tourist visit to Pompeii and Herculaneum, the Roman towns destroyed by the eruption of Vesuvius in AD 79. I was duly impressed by the exhumed streets and buildings, but what caught my imagination most were the plaster casts from Pompeii of human beings found in recumbent or prone positions, or huddled against a wall, at the locations where they had been enveloped almost instantaneously by incandescent ash. These had been produced during the nineteenth-century excavations by a team of archaeologists led by an ingenious professor, who poured plaster of Paris down holes in the volcanic rock occupying the rooms of Roman villas. The rock was then removed. Good examples of these plaster casts can be seen in the Naples Museum, and picture postcards are freely available for tourists visiting the Bay of Naples area. They make disturbing mementi mori to send to your friends and relatives. It is not known how many died as a result of the Vesuvius eruptions: perhaps not too many, as most inhabitants had time to escape. This was not the case, though, with the eruption in 1902 of Mont Pelée in Martinique, during which no fewer than 30,000 inhabitants of St. Pierre – ‘the Paris of the West Indies’ – were killed as what is called a nuée ardente smothered the town. There were only two survivors. The term nuée ardente is normally translated as ‘glowing cloud’ or ‘glowing avalanche’, though some of the more frivolous students I have taught have preferred their own mistranslation: ‘ardent nudes’.
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Beneš, Mirka. "The Social Significance of Transforming the Landscape at the Villa Borghese, 1606-30: Territory, Trees, and Agriculture in the Design of the First Roman Baroque Park." In Gardens in the Time of the Great Muslim Empires, 1–31. BRILL, 1997. http://dx.doi.org/10.1163/9789004660823_004.

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Conference papers on the topic "Roman Villa Museum"

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Benedito, Josep, José Manuel Melchor, Juan José Ferrer, José Ricart, and Rafael Ayora. "DOCUMENTACION DIGITAL APLICADA A LA VILLA ROMANA DE SANT GREGORI (BURRIANA, ESPAÑA)." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.2993.

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In this paper we aim at presenting the digitalization process done on the archaeological site at San Gregori a villa a mare from the Early Roman Empire found in Burriana, a Mediterranean coastal village of Spain. The archaeological work is part of a joint research project carried out by Universitat Jaume I in Castellón and the Archaeological Museum of Burriana. To date, the residential part of the villa in the northeast corner of the settlement has been excavated; this area is situated about 100 meters from the waterfront. The villa has been dated around the change of Era and IV c. A. D.; however, some Roman republican and Iberian materials have also been registered. The last phase of the work consisted on the development of a 3D laser scanning to complete the graphical work for the archaeological documentation of the site.
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Castillo Alcántara, Gonzalo, Óscar González Vergara, and Alicia Fernández Díaz. "A PINTAR COMO LOS ROMANOS. Un taller didáctico para la villa romana de Portmán (Cartagena-La Unión)." In II Simposio de Patrimonio Cultural ICOMOS España. Valencia: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/icomos2022.2022.14895.

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En los últimos años los especialistas en patrimonio cultural han centrado sus esfuerzos en acercar a la población general el conocimiento sobre nuestro pasado mediante distintas exposiciones y talleres que permitan conocer prácticas y aspectos comunes del día a día de las civilizaciones que nos han precedido y, de este modo, comprender mejor los restos arqueológicos recuperados y puestos en valor para su disfrute. Dentro de esta labor, el desarrollo de talleres didáctios destinados a enseñar a pequeños y adultos cuestiones concretas sobre el funcionamiento de aspectos como la construcción, el artesanado o la alimentación constituyen un recurso más, ya que permite no solo un aprendizaje dinámico sino también la creación de experiencias en grupo o en familia que refuerzan estas dinámicas. Entre las distintas opciones que se han implementado, el desarrollo de talleres de pintura cuenta con un gran interés al abordar aspectos técnicos y decorativos del mundo romano que permiten tanto el aprendizaje como el trabajo manual. En este trabajo exponemos una propuesta de taller didáctico para el Museo Arqueológico de Portmán y el yacimiento de la villa romana de Portmán (Cartagena-La Unión), con el doble objetivo de difundir entre el público general el funcionamiento del artesanado de la pintura y el proceso de decoración de un espacio y servir a la dinamización de la puesta en valor del yacimiento. De este modo se persigue crear conciencia social sobre el patrimonio arqueológico de Portmán y su entorno.
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