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Campana reliefs (also Campana tiles) are Ancient Roman terracotta reliefs made from the middle of the first century BC until the first half of the second century AD. They are named after the Italian collector Giampietro Campana, who first published these reliefs (1842). The reliefs were used as friezes at the top of a wall below the roof, and in other exterior locations, such as ridge tiles and antefixes, but also as decoration of interiors, typically with a number of sections forming a horizontal frieze. They were produced in unknown quantities of copies from moulds and served as decoration for temples as well as public and private buildings, as cheaper imitations of carved stone friezes. They originated in the terracotta tiled roofs of the Etruscan temples. A wide variety of motifs from mythology and religion featured on the reliefs as well as images of everyday Roman life, landscapes and ornamental themes. Originally they were painted in colour, of which only traces of this occasionally remain. They were mainly produced in the region of Latium around the city of Rome, and their use was also largely limited to this area. Five distinct types were produced. Today examples are found in almost all major museums of Roman art worldwide. == History of research == With intensified excavation in the Mediterranean in the nineteenth century, terracotta reliefs increasingly came to light in and around Rome, from which original architectural contexts were determined. Metal and marble objects had previously been the most sought by excavators, scholars and collectors, but at this time artefacts in other materials received wider interest, beginning with the late-18th century appreciation of Greek vases which when they first appeared were thought to represent Etruscan pottery. The first collector to make the tiles items of interest was marchese Giampietro Campana. His influence and contemporary reputation in archaeology was so great that he was named an honorary member of the Instituto di corrispondenza archeologica. He published his collection in 1842 in ''Antiche opere in plastica'' ("Ancient works in plastic arts"), in which his findings on the reliefs were first laid out in a scholarly fashion. Thus the tiles became known as ''Campana reliefs''. Afterwards Campana was sentenced to imprisonment for embezzlement: in 1858 he lost his honorary membership in the ''Istituto di corrispondenza archeologica'' and his collection was pawned and sold. The terracotta reliefs owned by him are now in the Louvre in Paris, the British Museum in London and the Hermitage in St Petersburg. Other collectors, such as August Kestner, also collected the reliefs and fragments of them in greater numbers. Today examples are found in most larger collections of Roman archaeological finds, though the majority of the reliefs are in Italian museums and collections. Despite Campana's research, for a long time the reliefs were rather neglected. They were viewed as handicrafts, thus inherently inferior, and not art, like marble sculptures. The idea that that they should be treated as important sources for the craftwork of the period, for decorative fashions, and for their iconography only achieved prominence in the early years of the twentieth century. In 1911 Hermann von Rohden and Hermann Winnefeld published ''Architektonische Römische Tonreliefs der Kaiserzeit'' ("Roman Architectural Clay Reliefs of the Imperial Period") with a volume of images in Reinhard Kekulé von Stradonitz's series ''Die antiken Terrakotten''. This was the first attempt to organise and classify the reliefs according to the emerging principles of Art history. The two authors first distinguished the main types, discussed their use and considered their development, style, and iconography. The book remains fundamental. Thereafter, apart from the publication of new finds, interest flagged for more than fifty years. In 1968 Adolf Heinrich Borbein's thesis ''Campanareliefs. Typologische und Stilkritische Untersuchungen'' ("Campana Reliefs: Typological and Stylistic Investigations") brought these archaeological finds to wider attention. In his work, Borbein was able to establish the development of the Campana reliefs from their origins among Etruscan-Italiote terracotta tiles. He also dealt with the use of motifs and templates derived from other media and pointed out that the artisans thereby produced creative new works. Since Borbein's publication, researchers have mainly devoted themselves to chronological aspects or the preparation of catalogues of material from recent excavations and publications of old collections. In 1999 Marion Rauch produced an iconographic study ''Bacchische Themen und Nilbilder auf Campanareliefs'' ("Bacchic Themes and Nile Images in Campana Reliefs") and in 2006 Kristine Bøggild Johannsen described the usage contexts of the tiles in Roman villas on the basis of recent archaeological finds. She showed that the reliefs were among the most common decorations of Roman villas from the middle of the first century BC until the beginning of the second century AD, both in the country houses of the nobility and in the essentially agricultural ''villae rusticae''.〔On the history of scholarship on the Campana reliefs, see: Anne Viola Siebert: ''Geschichte(n) in Ton. Römische Architekturterrakotten''. Schnell + Steiner, Regensburg 2011, ISBN 978-3-7954-2579-1 (Museum Kestnerianum 16), p. 19–21.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Campana reliefs」の詳細全文を読む スポンサード リンク
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