The Pelta

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Resumé More demanding forms, including those in which the mosaic artists developed their own styles, are found in filler motifs. Especially common were peltae with elaborate endings which decorated the corners of a diamond or circular composition. <strong>The</strong>se pelta forms don’t demonstrate any connection to representations of the pelta as a defensive shield. 38
Notes Notes <strong>The</strong> research on the pelta motif on mosaics in Greece is taken from my 1994 dissertation*. In my work I was supported by the mathematician and Germanist Heinrich Siemens and the linguist Yannis Kakridis. As a classical archaeologist I’ve concerned myself as closely as possible with pelta decoration, as well as the associated geometrical patterns, by collecting, categorising, describing and comparing as many examples as possible. In the case of some descriptions I’ve gone into close detail (perhaps even too much detail), in order to capture every distinctive feature. Now, more than 15 years later, I would probably approach the pelta patterns differently and concentrate more on the mosaic artists’ reliance on the mathematical knowledge of the time. In recent years there have been many developments in this area (see the Wikipedia-Artikel on wallpaper group, plane symmetry group or plane crystallographic group; pattern in islamic art, islamic geometric design) and there is analysis by mathematicians which could also be interesting for archaeologists (e.g. Tiling - Wolfram Demonstrations Project; research into circle parts). If time allows, I’ll deal with this theme in a later study. This work would include a consideration of the psychological effects of geometric designs, layouts and rhythms in motif sequences. *Alexandra Kankeleit, Kaiserzeitliche Mosaiken in Griechenland (Dissertation Bonn, 1994) Vol. I pages 197-228. A precise bibliography for the mosaics dealt with here can be found in Catalogue Vol. II. 39
Page 1 and 2: The Pelta A geometric motif on mosa
Page 3 and 4: The Pelta 3
Page 5 and 6: The Pelta The main form of the pelt
Page 7 and 8: The Pelta Pelta variations Peltae w
Page 9 and 10: The Pelta On another example the mi
Page 11 and 12: Compositions Patterns featuring fou
Page 13 and 14: Compositions 11 12 13 14 15 16 17 2
Page 15 and 16: Compositions An apparent speciality
Page 17 and 18: Compositions The peltae on the pave
Page 19 and 20: Compositions Designs featuring pelt
Page 21 and 22: Compositions It appears as a filler
Page 23 and 24: Compositions 11 12 13 14 15 16 17 2
Page 25 and 26: Compositions Designs consisting of
Page 27 and 28: Compositions Fig. 44 The pelta vort
Page 29 and 30: Filler motifs On four other mosaics
Page 31 and 32: Filler motifs Filler motifs with tw
Page 33 and 34: Filler motifs Fig. 46 Double peltae
Page 35 and 36: Filler motifs Fig. 49 Somewhat more
Page 37: Resumé Conclusion This paper offer
Page 41 and 42: Notes of the ninth season of work 1
Page 43 and 44: Notes Viererpelten lassen sich eben
Page 45 and 46: Notes Auch bei diesem Muster wurde
Page 47 and 48: Examples BAssMosAnt 2, 1970, 59 Nr.
Page 49 and 50: Examples 59 Abb. 17,1. 20,4 Taf. 10
Page 51 and 52: Examples Chronologie 64 mit Anm. 54
Page 53 and 54: Bibliography • M.A. Alexander, M
Page 55 and 56: Bibliography • C. Bertelli (Hrsg
Page 57 and 58: Bibliography • M. Donderer, Das
Page 59 and 60: Bibliography • J.W. Graham, Orig
Page 61 and 62: Bibliography • M. Lenerz-de Wild
Page 63 and 64: Bibliography • N.D. Papachatzis,
Page 65 and 66: Bibliography • D. Salzmann, Ein
Page 67 and 68: Bibliography • G.B. Waywell, The
Page 69 and 70: Abbreviations Abbreviation Bibliogr
Page 71 and 72: Locations A Amphipolis 32, 46 Argos

The Pelta

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