In these work, Industrial unit for treatment of marble and granite wastes by physical methods was designed. It treats both wet and dry wastes. After treatment, wastes are used as filler or reinforcement for composite materials industries. Metal molds are used in manufacturing for good surface finish and dimension stability. The molds have heaters and gas cooling system. Heating and cooling rates depends on the properties required in the final products. Final products have different shapes, properties, dimensions, thicknesses, lengths and colors. The unit treats the wastes of the natural marble and granite with all of their types and preparing them in a physical way in order to preserve their characteristics and keep them valid as products. The general characteristics of the product were tested, the objectives of recycling process of marble and granite were established, market analysis and competition factors were studied, the manpower and expected job opportunities were evaluated. The economical feasibility study for the case study in Egypt was done, capital cost, working costs, operation costs, direct and indirect costs were calculated. Expected risks and crisis are evaluated. Results depends on the case study were taken into account. General conclusions and recommendations are mentioned. [Hebatalrahman, A. Feasibility Study of Industrial Unit for Preparation and Recycling of Marble and Granite Wastes. Report and Opinion 2011;3(12):59-67]. (ISSN: 1553-9873). http://www.sciencepub.net/report

Import of Stone and Objects of Art from Gotland and Öland
to the Commonwealth of Two Nations (XIII‒2nd Half of the XVIII C.)

The goal of the present paper is to thoroughly systematize the state of knowledge ofthe identification, import, and use of ‘Swedish stone’ in small architecture and sculpture in Royal Prussia and Warmia, as well as in the neighbouring lands of the Polish-Lithuanian Commonwealth. The paper was elaborated on the grounds of a newly isolated group of modern monuments made from material imported from Gotland and Oland, almost exclusively executed by Netherlandish and German artists aliated mainly with Gdansk. In the geographical and statistical perspective this phenomenon had a fundamental impact on the development of small architecture and stone sculpture in this part of Central Europe in the
12th‒18th c.
All the reddish and greyish Ordovik orthoceras limestone from the Baltic See island of Oland and the greyish-greenish quartz Late Silurian Burgsvik sandstone from nearby Gotland meant for use in architectural decoration and figural sculptures reached the Polish-Lithuanian Commonwealth, just like all the other countries of the Baltic See region, as raw material, prefabricates, or ready items. Due to its deep and long-lasting shine, in Northern and Central Europe of the modern times it was called lapis sueticus and treated like marble.
‘Swedish stone’, first of all Oland limestone, was used in the late Middle Ages to make relief tombstones. Starting from the 16th c., there began a mass import of unworked floor and
tombstone slabs from Oland; those were polished and sculpted in by almost all the Gdansk stonemasons and sculptors. From Gdansk and Elbląg via Konigsberg they reached the far destinations inland the Commonwealth, as far as Ruthenia and Cracow in the south.
Significantly less far reaching were the tombstones which in the case of those founded by the Church or knights gradually evolved throughout the 2nd half of the 16th c. to resemble
contemporary Renaissance Italian tombstones: vertical on-wall half–or full-figure representations: either standing or lying down. In the 16th‒17th c. these were commissioned almost exclusively by town patricians and clergy from the Prussian chapters. Similar representations were much scarcer among the gentry in the region and were executed merely for the Konopackis and their related families.
Starting from the 1580s., in the workshops of Gdansk, Elbląg, Konigsberg, as well as other centres around the Baltic coast, the red varieties of Oland limestone and Burgsvik sandstone became the basic media in small architecture and sculpture. The unique feature of those artistic circles could be found in the creative incorporating of the ‘Swedish stone’ into a contrasting tricolour range of marble, Moza limestone, and English alabaster transplanted there in the 3rd quarter of the 16th c. by the disciples of Cornelis Floris de Vriendt, who headed by Willem van den Blocke had not so long arrived from southern Netherlands. Lapides suetices were regarded by sculptors and stonemasons of the time as a much cheaper material and a more readily available surrogate of other materials imported from Western Europe at a much higher cost. The majority of works of the van der Blocke family were precisely made in ‘Swedish stone’, while the precious alabaster or white Carrara marble were reserved strictly for prestigious royal or magnate commissions.
The same material happened to serve as the main medium for, inter alia, Italian sculptors: Constante and Giacomo Tencalla, employed to execute the court foundations of King Sigismund III Vasa in Vilnius, Warsaw, and Mazovia. Moreover, Gotland Burgsvik sandstone was used on a mass scale for ornamental and figural decoration in big architecture, as it is to be found in all the buildings in Gdansk, Elbląg, and Toruń, some other minor works of the workshops in Great Poland and Kujawy, as well as in Podlasie and the Grand Duchy of Lithuania.
In the Gdansk and Elbląg centres the same tendency prevailed in the artistic output of subsequent generations of artists until the 2nd half of the 18th c. when the material imported from Sweden finally supplanted the until then used ashen-greyish Devon limestone excavated in Dębnik/Czerna.

Ce travail se fonde sur une partie de ma thèse de doctorat (2010), dédiée à Claude Le Maire et aux activités archéologique françaises en Afrique du nord et remploi des monuments en France, entre XVIIe et XVIIIe (dir. A. Schnapp).
On examine ici certaines données relatives à l’activité de recherche, de fouilles, d’acquisition, de transport et de réemploi de marbres datant de l’époque romaine, de l’Afrique du Nord (de Leptis Magna surtout) en France, entre XVIIe siècle et XVIIIe siècle (activités qui tournent en grande partie autour de la personne de Claude Le Maire, consul français dans diverses villes du Levant et de la Barbarie entre 1683 et 172), la réception esthétique de ces marbres et leur influence sur le goût du temps.
Parmi les résultats on peut compter :
première recueil des donnés relatives à la vie et aux activités de Claude Le Maire et leur narration historique effectuée même par des documents d’archives, en partie inédits ;
approfondissement et premier éclaircissement général sur les monuments arrivés en France, sur les modalités d’envoi et de transport, et sur leur destin ;
découverte des monuments in situ (ex. Saint-Sulpice) ou diversement (et successivement) réemploies (Rouen, Toulon et surtout Louvre, où on relève l’usage massif des « marbres Le Maire » pour les plaquages) ;
découverte du manuscrit relatif à la Succession des héritiers Seignelay, dont l’objet principal est constitué justement par les « marbres Le Maire ».

Sculptors and Stonemasons’ Family of the Venostas vel Venestas, Venustas and Its Activity in Chęciny in the 1st Half of the 17th Century

Located in the central part of former Lesser Poland, Chęciny, near Cracow, constituted in the 1st half of the 17th century the third after Cracow and Gdansk sculptural and stonemason centre whose impact and influence covered almost the whole territory of the Kingdom of Poland (with the exception of Royal Prussia), and subsequently Wilno, Holszany, Różana and Krzemienica in the Grand Duchy of Lithuania (currently: Lithuania and Belarus), as well as Lwów, Sokal, Brzeżany, Nawaria and Podhorce in the Ruthenian territories of the Crown (presently Ukraine). The Author based his investigation on the entries to be found in the 17th-century Chęciny town records, Cracow central court files and those of the Kurzelów Judicial Vicarage in the Gniezno Archdiocese.
In the 1570s-1580s, several large quarries of coloured limestone appropriate for masonry and sculpture, as well as polishing, at the time named ‘marbles’ (Góra Zamkowa, Bolechowice, Jerzmaniec / Czerwona Góra, Góra Zelejowa, Miedzianka), were in operation in the vicinity of Chęciny. What remained the most important medium to be applied in figural sculpture throughout the whole 17th century was the brown-dark-brownish Middle-Devonian ‘Chęciny marble’ from Góra Zamkowa and Bolechowice, today referred to as ‘Bolechowice marble’; as of the 1590s. architecture was also decorated with patterned stone types (Zygmuntówka, Różanka Zelejowska, and Zelejowa).
Among the six professional figural sculptors living and working in Chęciny in the 1st half of the 17th century, as many as four came from the Venosta vel Venesta, Venusta family, descending most likely from the small towns of Mazza, Tirano, and Grossio [Grozio] located in south-western Tirol’s Valtellina [Germ. Veltlin] Valley bordering on Val Venosta [Germ. Vinschgau]. The workshop was founded by Bartholomeo (recorded 1614, d. ca. 1625-28; failed co-founder of the local sculptors and masons’ guild), later subsequently employing his younger brother or nephew Sebastiano (recorded 1633, d. before 10 Aug. 1639; a posthumous inventory of his movables containing, e.g., a list of his uncompleted works from 1640), as well as his sons: Agostino and Giacomo (recorded together in 1640-49; after their father’s death respectively in 1640 and 1641; admitted for apprenticeship by the atelier of a rivalling Chęciny sculptor, the Flemish Augustin van Oyen who took over Sebastian’s property after his death). Moreover, Bartholomeo’s only son Giovanni (recorded by 1642) may have also been a sculptor or a mason. In Chęciny, the Venostas owned a sumptuous tenement building and a wooden house with a garden in Radkowska Street.
The present article is the first presentation of biographic and artistic information on the Venosta family in Chęciny. In view of an earlier study of the sculptural output of Augustin van Oyen (recorded in Chęciny from 1611, systematically from 1623; d. 1655) and the third major workshop of Janusz Oleksy (mentioned 1614-46) and his sons: Piotr, Marcin, and Wojciech, as well as grandson Adam (all recorded 1639-74), it has been proposed to attribute a set of high quality sculptural works and small architectural forms, associated with the so-far anonymous Chęciny workshop, operating in ca. 1608-49, and headed by the ‘Master of Straightened Figures’ to Bartholomeo and Sebastian. The set, put together by Mariusz Karpowicz in 1974, gradually completed and worked out in view of the formal and stylistic genesis by himself and subsequent researchers, e.g. the author of the present article, can be regarded today as a quality mark of the local arts and crafts centre of the period; unquestionable is also the impact it had on other masters, headed by another anonymous ‘Master of Pointed Beards’.
The suggested identification of the ‘Master of Straightened Figures’ and the ‘Master of Pointed Beards’ with the Venosta family sculptors active in Chęciny at the time, namely Bartholomeo and Sebastiano respectively, is solidly grounded in archival biographical data. Finding the source material to confirm the continuation of the Venosta family workshop through his brother or cousin Sebastian and his two sons: Agostino and Giacomo until the late 1640s, serves as a logical explanation for the long persistence of the stylistics of the ‘Master of Straightened Figures’ observed in the Chęciny sculpture in the 2nd quarter of the century. Moreover, the article contains the first presentations of seven previously unknown in literature high quality historic pieces of figural sculpture found in major Polish museum collections, which on the grounds of formal and stylistic comparative analysis have been convincingly related either to Bartholomeo and Sebastian Venosta themselves or to their disciples and followers. It should be, however, observed that the latter works created in the 1630s and 1640s did not reach any former excellence, models of knights and females having undergone clear typization, while the ornaments, e.g., ornamental incisions characteristic of the Chęciny workshop shown against spotted background having become schematic and reduced. The up-to-date research into the Chęciny sculpture has never expanded so significantly the earlier output of the leading 17th-century Chęciny stonemason workshops, however the present article has demonstrated the potential for a radical change in this respect after several decades.
As Chęciny lacked a bricklayers and stonemasons’ guild, it did not have any typical systems organizing the work of sculptors and stonemasons, additionally regulating the number and composition of workshop workers, namely the numerous clauses of masters, journeymen, and apprentices. This unrestricted development of craftsmen body was thus accompanied by a relatively unlimited flow of free stonemason journeymen from one workshop to another, depending on the tasks assigned to them by their superiors. This is confirmed through a formal-stylistic analysis of the Chęciny historical sculptures from the 1st half of the 17th century, including those by the ‘Master of Straightened Figures’, ‘Master of Pointed Beards’, and Augustin van Oyen, which makes one inclined to consider them in their vast majority to be collective works, executed with the contribution of as many as several stonemasons at a time carried out under the auspices of the three afore-mentioned masters heading extensive workshops and having their respective share in the market. 
A very peculiar style of the Chęciny small architectural forms and sculpture from the 1st half of the 17th century constitutes a creative fusion of the 16th-century tradition of the Italian Renaissance sculpture in Cracow and Pińczów (compositional types of monuments and figures in post-Sansovino poses by Bartholomeo Berecci da Pontassieve and Gianmaria Mosca called Il Padovano) with a strong Dutch stylistic component (particularly visible in the unnatural stiffness of the figures of the deceased and ornamentation after the graphic patterns of Cornelis Floris de Vriendt and Hans Vredeman de Vries). Before Chęciny, Dutch motifs had been introduced in the nearby centre of Pińczów, famous in the 16th century, following which they became present in Chęciny, this owing to the Flemish Augustin van Oyen and Bartholomeo and Sebastian Venosta, educated probably on the models of Alexander Colijn (of Mechelen), and present in Innsbruck and Tyrol. Apparently, such a formula was not most greatly appreciated in the circles of the capital city of Cracow, at the time already focused on the early Baroque models inflowing from Rome, Lombardy, and Ticino (southern Switzerland), yet it proved more appealing in Greater Poland, Kuyavia, the Łęczyca and Sieradz Provinces, as well as in Mazovia and the Grand Duchy of Lithuania where Dutch influence was stronger and where the output of the Chęciny workshops in the 1610-20s and in the 1630s-50s successfully rivalled the best imports of Dutch and German sculptors from the grand centres of Gdańsk, Elbląg, and Toruń. It was there that over 20 major works (tombstones, epitaphs, and altars) by the ‘Master of Straightened Figures’ and ‘Master of Pointed Beards’, namely Bartholomeo and Sebastian Venosta, were sent.
It has to borne in mind, however, that neither of the Venosta seniors was a precursor of figural sculpture hewn in the ‘Chęciny marble’ – the genesis of their individual manner should be sought in the works, created a decade earlier, by the Pińczów masters from the circles of Santi Gucci and Thomas Nikiel, first of all among the relatives of the latter: Malcher (his family name unknown) and Michael Werner. The Venostas first of all followed them in the models of figures in the traditional post-Sansovino pose and kneeling, as well as in a type of a Renaissance plate armour, fully encasing the legs, and also in an outdated in ca. 1600 spearman beaver or a modern hussar basinet.
In view of all the presented formal and stylistic analogies it can be assumed that prior to 1608-14 both representatives of that south-western Tyrolean sculptor family of Venosta established in Chęciny a workshop flourishing until 1639, while their outstanding accomplishments spread the centre’s fame throughout the whole Polish-Lithuanian Commonwealth. Such an impressive output, counted in tens of executed works, as well as an unprecedented vast territory of their activity, comparable only with the territory of the influence of the concurrently active sculpture-masonry and construction shop of the Flemish Willem and Abraham van den Block operating in Hanseatic Gdansk, places the Venosta Chęciny workshop among the most important sculpture workshops of the modern era in the Crown territories.

Wapienie południowoniderlandzkie były pierwszymi ze szlachetnych gatunków kamieni, jakie importowano na ziemie polskie. Potwierdziła to obecność wapienia ,,Noir de Torunai” w płycie nagrobnej Arnolda Lishorna w Chełmnie (zm. 1275). Fakt, iż materiały te występują na terenach historycznie polskich już w 4. ćw. XIII w.,  początkowo wyłącznie na terytorium dawnego Państwa Krzyżackiego, a od 4. ćw. XVI do 3. ćw. XVIII w. już na stałe w Gdańsku, na Pomorzu i na pozostałych północnych ziemiach Korony i Wielkiego Księstwa Litewskiego, pozwala uznać je nie tylko za najdłużej i bez wątpienia najczęściej wykorzystywane na całym tym terenie. Można też przyjąć, iż kamienie te miały pierwszoplanowe znaczenie dla historii rozwoju całej małej architektury i rzeźby kamiennej w Rzeczypospolitej, ale także w południowej i wschodniej części basenu Morza Bałtyckiego. Import i rozpowszechnienie marmurów i wapieni znad Escaut / Schlede, Mozy i Sambre należy ostatecznie związać z działalnością nie tylko samych wywodzących się z szeroko pojętych Niderlandów rzeźbiarzy i kamieniarzy czynnych w całej Rzeczypospolitej od 2. poł. XVI do XVIII w., ale także z liczną, omówioną grupą kupców i faktorów flamadzkich i holenderskich, którzy w tym handlu i imporcie pośredniczyli, nie tylko realizując na zlecenie królów Zygmunta III i Władysława IV Wazów, ale także samych artystów i pośredników z Gdańska, Elbląga, Wilna czy Królewca.
Należy w tym miejscu podkreślić, iż odległość Polski od Niderlandów powodowała, iż przez cały okres średniowiecza i nowożytnyści marmury i wapienie południowoniderlandzkie były traktowane nawet w Gdańsku i Elblągu jako materiały luksusowe, i z tego powodu w bieżącej produkcji kamieniarskiej i rzeźbiarskiej zastępowano je najczęściej tańszymi i łatwiej dostępnymi wapieniami z Olandii i piaskowcem Burgsvik z Gotlandii.
Charakterystyczna dla późnorenesansowej i manierystycznej stylistyki niderlandzkiej kontrastowa trójbarwna, czarno-czerwono-biała kolorystyka dzieł małej architektury i rzeźby kamiennej, przeszczepiona na grunt środkowoeuropejski, w tym do Rzeczypospolitej, wyłącznie przez przybyłych z Niderlandów artystów i sprowadzane stamtąd materiały, odegrała też w 1. tercji XVII w. pierwszorzędną, jeśli nie jedyną rolę w wykreowaniu w Polsce nowej lokalnej gamy barwnej takich dzieł. Na szczególne podkreślenie zasługuje fakt, iż taką ,,niderlandzką” gamę kolorystyczną przejęli nawet w swojej twórczości rzeźbiarskiej czynni w stołecznej Warszawie i Wilnie wybitni twórcy włoscy z architektami i rzeźbiarzami królewskimi na czele. Inni Włosi zatrudnieni w odległym Krakowie: bracia Castelli i Sala, zaadaptowali ją natomiast do lokalnych możliwości zastępując oryginalne importowane materiały wydobywanymi w regionie Małopolski. Nie zmieniło to jednak w najmniejszym stopniu zachowanego przez nich wiernie oryginalnego trójbarwnego zestawienia kolorystyki oraz podyktowanego czynnikami materiałowymi i funkcjonalnymi rozmieszczenia poszczególnych kamieni w strukturach architektonicznych i dekoracji rzeźbiarskiej.
Znaczenie zjawiska importu i rozprzestrzenienia dzieł wykonanych w Gdańsku i pozostałych ośrodkach rzeźbiarskich Prus Królewskich z kamieni mozańskich w terenie całej Rzeczypospolitej ilustrują najpełniej dołączone do tekstu mapa oraz zestawienie tychże prac. Dowodzą one, iż w ciągu ponad 180 lat (ok. 1584-1762) z tych luksusowych i drogich materiałów czynni w Gdańsku, Elblągu i Toruniu kamieniarze i rzeźbiarze niderlandzcy i północniemieccy oraz nieliczni Komaskowie i Tessyńczycy w Warszawie i Wilnie odkuli przynajmniej 200 dzieł, z których zdecydowana większość m.in. ze względu na dobór tych właśnie materiałów odróżnia się znacznie wyższym poziomem rzeźbiarskiego opracowania od produkcji pozostałych ośrodków kamieniarskich w Rzeczypospolitej. Nie powinno to dziwić, zważywszy na to, że tacy twórcy pracujący w 4. ćw. XVI i XVII w. w Gdańsku jak Niderlandczycy Willem i Abraham van den Blocke i Niemcy: Hans Caspar i Hans Michael Gockheller oraz Andreas Schlüter są powszechnie uważani za najwybitniejszych rzeźbiarzy swoich czasów. Należy też zaznaczyć, że poza omówionymi już fundacjami królewskimi w Warszawie i Wilnie rzeźbiarze gdańscy w XVII w. większość zleceń w głębi ziem Korony otrzymywali od najwyższych hierarchów kościelnych i kleru średniego szczebla (kanonicy kapituł katedralnych i kolegiackich w Gnieźnie, Poznaniu, Włocławku, Płocku i Łowiczu), natomiast w Wilnie i na terenie Wielkiego Księstwa Litewskiego zlecenia te płynęły w ciągu 1. poł. tego stulecia głównie od miejscowych rodzin magnackich, przede wszystkim Radziwiłłów, oraz Wiesiołowskich, Sapiehów i Kiszków.
Głównymi szlakami komunikacyjnymi, wzdłuż których dzieła znad Bałtyku i Pomorza rozchodziły się po całym olbrzymim terytorium kraju były podobnie jak w Niderlandach i pozostałych krajach Europy Środkowej wielkie rzeki: w Koronie Wisła z licznymi jej dopływami umożliwiającymi stosunkowo tani spław nawet do odległych o kilkaset kilometrów miejsc w głębi Małopolski, Mazowsza i Podlasia, natomiast w Wielkim Księstwie Litewskim – Niemen i Wilia aż po radziwiłłowski Nieśwież i stołeczne Wilno. Te same rzeki odgrywały równie ważną rolę w rozprzestrzenianiu w Rzeczypospolitej nie tylko powstających na znacznie większą skalę w ośrodkach rzeźbiarskich Prus Królewskich wyrobów z wapieni olandzkich i piaskowca Burgsvik, ale również wszystkich innych gatunków kamieni i dzieł z pozostałych wielkich nowożytnych ośrodków kamieniarsko-rzeźbiarskich Korony w Krakowie, Lwowie, Pińczowie Chęcinach i Dębniku / Czernej.

Апстракт: У раду je обрађенo четрнаест иконa од мермера са иконографским садржајем култа подунавских коњаника са простора римске провинције Горње Ме-зије. Типолошка класификација је извршена на основу форме и иконографије, коју чине три типа и две варијанте у оквиру првог и трећег типа. Примарна подела се заснива на приказу једног, односно два коњаника. Сви примерци из Горње Мезије са једним коњаником завршавају се искључиво едикулом у горњем делу. Наведени тип икона представља најраније примерке култа који се развио почетком II века. Иконе са два коњаника резлутат су еволуције и све већег утицаја култног синкретизма, током друге половине II века до прве половине IV. У поређењу са примерцима ис-товетног култа од олова, назначена су извесна одступања која се односе на облик, намену и иконографску интерпретацију. Налази из Горње Мезије су аутентични примерци, који су вероватно настали на просторима исте провинције. У подунав-ском делу провинције могу се очекивати радионице у већим градским центрима (Singidunum, Viminacium), док у унутрашњости Горње Мезије такав центар може-мо очекивати у Скупима. Кључне речи: иконе, подунавски коњаници, мермер, Горња Мезијa Иконе подунавских коњаника од мермера на простору провинције Горње Мезије (Moesia Superior) углавном су публиковане заједно са иконама од других материјала и различитих култова132.). Циљ овог рада је да се посебно размотре иконе од камена које се по облику и иконографији разликују од осталих примерака, посебно од оних оловних. Значајно је упоредити примерке од ове две врсте материјала, јер је реч о најбројнијим примерцима. Међу обрађеним материјалом једино икона из С. Костолца (Viminacium, кат. бр. 4) до сада није била позната стручној

Öz: Phaselis antik kenti Antalya’nın güneybatısında Kemer ile Tekirova arasında deniz kıyısında yer almaktadır. Kentin tarihinin MÖ 691 yıllarına kadar gittiği söylenmektedir. Kentin jeolojik yapısında, Üst Kretase okyanus tabanı magmatik kayaçlardan en son jeolojik dönemde (Kuvaterner) oluşmuş traverten – traverten breşi (Fanglomera) birimlerine kadar değişen birimler gözlenmektedir. Antik kentin ilksel ana yapı malzemesi (kesilmiş, boyutlandırılmış bloklar) traverten breşleridir. Jura yaşlı kireçtaşları (Tekedağı formasyonu kireçtaşları) neotektonik dönemde (Plio-Kuvaterner) yükselmiş ve bunların önüne düşen kayaç parçaları, faylardan gelen karbonatlı sularla taşlaşarak traverten breşlerini (Fanglomera) oluştur-muştur. Ayrıca antik kentin yerleşim alanında kalkarenitler ve gabrolar da görülmektedir. Phaselis antik kentinde ilksel olarak çevredeki kayaçlar (traverten breşleri, travertenler, kalkarenitler, serpantinler ve gabrolar), sonraki dönemlerde ise dışarıdan getirilmiş mermerler, limra ve limra breşleri de kullanılmıştır. Traverten breşleri ve diğer yapı malzemeleri tarih boyunca değişik bozuşmalara maruz kalmıştır. Traverten breşlerindeki bozuşmalar, şehrin ana yapı unsuru olduğundan önemlidir. Traverten breşlerinin bozuşmasındaki ana unsur breşlerin çimentosu olan malzeme ile ilgilidir. Çimento tamamen karbonattan olu-şursa bloklar oldukça dayanıklı olur, fakat bu bölgede çimentoya karışan kil malzemesi hava şartlarından etkilenerek bozuşmalara neden olmuştur. İleride restorasyon yapılması düşünüldüğünde, çevreden üre-tilecek traverten bloklarının çimentosuna bu anlamda özellikle dikkat etmek gerekecektir.
Anahtar sözcükler: Phaselis, Yapıtaşları, Breş, Limra, Mermer, Bozuşma
Abstract: The ancient city of Phaselis lies on the seafront between Kemer and Tekirova, southwest of Antalya. It is said that the city’s history dates back to 691 B.C. Geological feature of the city is formed ranging from the Upper Cretaceous magmatic rocks to in the last geological period (Quaternary) to the travertine - travertine breccia (Fanglomera) units. The primary main building material of the ancient city is the travertine breccias. The Jurassic limestones (Tekedağı formation limestones) have been elevated during the neotectonic period and Plio-Quaternary rocks, which were petrified with carbonated waters from the faults, and the travertine breccias (Fanglomera) were formed. Also calcarenites and gabbros are observed in the settlement area of the ancient city. In the ancient city of Phaselis, the surrounding rocks (travertine breccias, travertines, calcarenites, serpentines and gabbros) were firstly used, in later periods marbles, limestone and limra breccia were also used. Travertine breccias and other building materials have been subject to various alteration throughout the history. Alterations in travertine breccias are important because they are the main building element of the city. The main factor in the degradation of the travertine breccias is related to the cement material of the breccias. If the cement is completely carbonated, the blocks are highly resistant. However, the clay material added to the cement is affected by the weather conditions. Considering the future restoration, particular attention will be paid to the cement of the travertine blocks to be produced from the environment.
Keywords: Phaselis, Cut-Stones, Breccia, Limra, Marble, Alteration
 Jeoloji Yük. Müh., Competent Person (CP-Australia JORC), Doktora ögrencisi, Hacettepe Üniversitesi, Fen Bilimleri Enstitüsü, Jeoloji Bölümü, Ankara. ferdaoner@hotmail.com

Between Italy and the Low Countries. Centres of stonemasonry and sculpture in Central Europe and the early modern tradition. Some remarks on material and technology

Artists from Florence, Venice, Como and Ticino representing the dominant Italian Renaissance in Hungary, the lands of the Habsburg monarchy and the Polish Commonwealth in 16th-century smallscale architecture and stone sculpture, made use nearly exclusively of materials typical for the local, Central European artistic tradition. The choice of new materials: the red “king’s stone” from Hungary, or the several reddish-brown varieties of “Salzburg marbles, ” which had been exploited since Roman times (ca. 2nd c. ad), was not a consequence of the Early Modern Italian tradition, but of rich local experience inherited from earlier periods. For example Italians working in the capital city of Cracow used those “marbles” until the end of the 1630s, though from the end of the 16th century these were hard to source and were replaced by a more accessible substitute – Bolechowice limestone, which was mined near Chęciny by Kielce. One of the biggest paradoxes of the Central European art of ca. 1550–1630 is the previously unknown phenomenon of the gradual introduction of a new range of colours of stone materials corresponding with the Italian Renaissance tradition. It was, however, introduced in all the above-mentioned countries not by the Italians active there but mainly by sculptors and stonemasons from the Low Countries. The tricolour black-red-white composition, with a light-coloured fi gure carved in English alabaster or, more rarely, Carrara marble, exposed against a dark background of architecture, was introduced into Netherlandish art by the famous Jacques du Broeucq (ca. 1505–1581) from Mons, who had studied in Italy, and it was popularised by Cornelis Floris de Vriendt and other artists from his Antwerp atelier. In the southern lands of the Holy Roman Empire of the German Nation, Prague and central Bohemia, County Tyrol and Upper Austria the pioneers of the new style were Alexander Colijn from Mechelen (1526–1612) and his numerous pupils, who made use of varieties of limestone local to the Salzburg area. In northern Germany, Denmark, Sweden and ducal Prussia the proponents were Cornelis Floris himself, Phillip Brandin, Willem van den Blocke and Robert Coppens. In Silesia and its capital Wrocław, the new stylistic manner and colour range was introduced by Hans Fleiser, called Gruyter, from Nijmegen (noted since 1558). He applied it to the locally available varieties of stones, including gabbro from Mount Ślęża (Germ. Zobtenberg) and serpentines from Zoblitz in Saxony. In the Polish Commonwealth the first sculptors to make use of local materials, the so-called Ruthenian alabasters, mined near Lwow (now Lviv), were, from the early 1560s, Herman Hutte from Aachen and Heinrich Horst from Groningen, and later Hans Pfi ster from Wrocław and his pupil Melchior Erlenberg. The same pattern was adopted in Cracow ca. 1570 by Jan Michałowicz from Urzędow and his pupils Jan Biały and Sebastian Czeszek. During the second half of the 16th century there were three independent sculptural centres functioning in Poland where the main role was played by Netherlanders and the above-mentioned three-colour range. Th ese were Gdańsk, Lwow and Poznań, and aft er the arrival of the Netherlander August van Oyen from Utrecht at the beginning of the 1620, Chęciny became a fourth centre. It is particularly important to note that this “Netherlandish” colour range was adopted even by eminent Italian artists active in Warsaw and Vilnius, including the king’s architect and sculptor Matteo Castello (ca. 1613–1619) and Constantino and Giacomo Tencalla (aft er 1624–1632). Other Italians employed in Cracow, the Castelli brothers and Sebastiano Sala, adapted this colour scheme to the local situation ca. 1627 by replacing the original imported materials with others mined in Lesser Poland: limestone from Dębnik, Czerna, Paczołtowice and Chęciny, and Ruthenian alabasters. This did not cause any changes in the three-colour scheme, which was dictated by the composition of sculptural and architectural elements. In all three capital cities of the Polish Commonwealth the unprecedented situation arose in which Italians, representing Early Baroque stylistics, not only had to work in materials imported from the region of Moselle and Sambre, which had previously been associated exclusively with the mannerist work of Netherlanders from Antwerp, Konigsberg or Gdańsk, but were also forced to adopt the colour range preferred by the Netherlanders. A similar situation occurred in Austria, the bishopric of Salzburg, Tyrol and Bavaria, as well as in Bohemia and Moravia.

In these work, Industrial unit for treatment of marble and granite wastes by physical methods was designed. It treats both wet and dry wastes. After treatment, wastes are used as filler or reinforcement for composite materials industries. Metal molds are used in manufacturing for good surface finish and dimension stability. The molds have heaters and gas cooling system. Heating and cooling rates depends on the properties required in the final products. Final products have different shapes, properties, dimensions, thicknesses, lengths and colors. The unit treats the wastes of the natural marble and granite with all of their types and preparing them in a physical way in order to preserve their characteristics and keep them valid as products. The general characteristics of the product were tested, the objectives of recycling process of marble and granite were established, market analysis and competition factors were studied, the manpower and expected job opportunities were evaluated. The economical feasibility study for the case study in Egypt was done, capital cost, working costs, operation costs, direct and indirect costs were calculated. Expected risks and crisis are evaluated. Results depends on the case study were taken into account. General conclusions and recommendations are mentioned. [Hebatalrahman, A. Feasibility Study of Industrial Unit for Preparation and Recycling of Marble and Granite Wastes. Report and Opinion 2011;3(12):59-67]. (ISSN: 1553-9873). http://www.sciencepub.net/report

The stonemasonry-and-statuary centre at Dębnik in the district of Cracow, Lesser Poland remained under the administration of the Discalced Carmelites of the nearby desertum from 1631 till as late as 1945, in any case formally so. Research published in 1952 in Władysław Tatarkiewicz’s fundamental monographic paper  presents the Dębnik complex as a superbly managed company. In the 17th and 18th centuries Dębnik serviced the whole area of the Kingdom of Poland and a large part of the Grand Duchy of Lithuania (now Lithuania, Latvia and Belarus’) in addition to Crown Rus’ (now Ukraine). Yet the Dębnik-born finished items, prefabricated products and crude ‘marble’ blocks travelled much further than that, reaching Upper and Lower Silesia (in the 15th–18th c. within the Kingdom of Bohemia), Spisz (Zips / Spiš) and Upper Hungary (now Slovakia), to get as far as Transylvania (historic part of the Kingdom of Hungary, now Romania). In terms of market and economy, the success of the Dębnik centre and its artists-artisans, first and foremost stonemasons, was quite unprecedented for all the intricate personnel changes and ownership transformations (running through independent management, lease, and stonemasons’ partnership, plus royal and derivative privileges). The period between the Swedish invasion (called ‘Deluge’ in Poland) during the second Northern War (1655–60) and the years, immediately after the third (1702–10), saw the centre’s gradual rise to dominance as a manufacturer of architectural fittings and stone sculpture throughout the Commonwealth of Poland and Lithuania.

The cargo of marble blocks off Capo Bianco was dated to the Roman period. New sampling and analysis has identified Carrara marble, and also Rosso di Francia (Rouge Languedoc) and Portargento, which strongly suggests a post-medieval date. This leads to the suggestion
that nearby finds dating between the second half of the 18th century and the first half of the 19th may come from the same ship, perhaps sailing from France and Liguria to deliver stone in southern Italy. This is rare evidence of the post-medieval marble trade and demonstrates the importance of archaeometric analysis for the interpretation of wrecked cargos.

W liczących już blisko 180 lat badaniach nad tym tematem skupiano się głównie na analizie typologicznej i formalno-stylistycznej zabytków 1 , natomiast (z wyjątkiem przełomowej, acz niepozbawionej błędów i częściowo zdezaktualizowanej już pracy Hanny Sygietyńskiej oraz ogólnych uwag Zofi i Kossakowskiej-Szanajcy i Mariusza Karpowicza 2 ) zagadnienie materiałoznawstwa pozostaje wciąż poza obszarem zainteresowania historii sztuki. Dzieje się tak pomimo prowadzonych od lat 50. XX w. interdyscyplinarnych badań w tej materii, łączących metody petrografi i, geologii historycznej i historii gospodarczej. Analiza historyczno-materiałoznawcza 3 może dostarczyć również niezbędnych argumentów w rozwiązaniu niektórych kwestii z dziedziny socjologii sztuki, np. realiów i mechanizmów ekonomicznych gospodarki i transportu w XVI i XVII w. Uwzględnienia m.in. takich wiadomości wymaga przyszła synteza nowożytnej plastyki na terenie dawnej Rzeczypospolitej, w której rola Warszawy jako nowej stolicy państwa Wazów i najważniejszego na Mazowszu centrum handlowego jest nie do przecenienia.

Two spherical marble stone finds are remarkable in Level Va of Maydos Kilisetepe (1500-1300/1200 BC). These artifacts were assumed to be possible pommels belonging to weapons such as swords and bronze daggers, exemplified by very few examples, the presence of the shaft hole and rivet holes on each side, and very similar examples found around the prehistoric sites of the Aegean. Like these pommels, it is known from the bronze age levels of the bronze age with a smooth and shiny view, is known from the bronze age levels of Troia and Beycesultan in Western Anatolia. In the second half of the 2nd millennium BC, such as unusual pommels seen on the handles of Mycenaean type swords and daggers found in various settlements and graves in Greece, which are recognized as evidence of cultural contacts across the Aegean, indicate the presence of possible Mycenaean activity in Maydos Kilisetepe. In this study, the function of sword pommels, which were made from rare and exotic raw materials such as marble, ivory, mountain crystal, which are mounted on sword and dagger handles, was mostly found in tombs. Therefore, they are considered to be a kind of prestige or status object. These artifacts represent the wealth of the elites and can be foreign to many settlements that are rarely seen in western Anatolia and the Aegean. In addition, the chronological and typological development of Bronze Age swords and pommels found in Aegean and Anatolia is briefly evaluated.

Bretonstone® is a patented technology invented in the early 70’s by Breton S.p.A. a privately held company of Castello di Godego (TV) in the north-east of Italy and supplier of machines and technologies for making engineered stone. Nowadays most manufacturers of engineered stone use this patented Bretonstone system, also known as vibro-compression under vacuum.

The internal structure of marble is investigated. A precise measurement of the speeds of longitudinal and moving waves in marble samples. The internal structure of samples is visualised and localised microcracks. The geometric sizes of the microcracks are determined. Using the obtained velocity values, the Young's modulus and porosity were calculated. According to the research and calculations, the effectiveness of using marble as a facing stone in urban and industrial areas was made.

The finial from Thebes undoubtedly crowned an imposing grave stele. It is of lyre design, consisting of two double volutes, decorated by painted patterns on the front face. A specialized photographic technique (using oblique light) allowed the restoration of its painted decoration: a principal design of double volutes surmounted by a fifteen-petalled palmette and a secondary pair of volutes on a painted band separating the finial from the shaft surmounted by a thirteen-petalled palmette. Vertical volutes on the edges featuring five-petalled palmettes in the interstices enrich the whole decoration system. On the basis of its newer elements, such as the large number of palmette petals and the great distance between the tips of the lower pair of volutes itself, the finial should be dated to the beginning of the 5th c. BC.

The plate geometries during Neoproterozoic time have been reconstructed using humite occurrences
for the first time. These occurrences are also used to demonstrate the hitherto undocumented humite
epoch dominated by extremely water-rich,  fluorinated, fluid activity during the Pan-African event.
Humite-bearing marbles occur in the Kerala Khondalite Belt of southernmost India, South Madagascar,
Sri Lanka and the Lutzow±Holm Complex of East Antarctica. These occurrences prompt a fit of these
areas with the Tanzania±Mozambique region of Africa and suggest an intercontinental humite epoch
coeval with the waning stages of Pan-African activity extending from the Lutzow±Holm complex of
East Antarctica upto the East African Orogen along the eastern ¯anks of the Mozambique Belt. The
modified Smith and Hallam fit of continents ends support in this study.

Esiste un'arte la cui bellezza perdura nei secoli, essa è fatta di pietra. E così come scrive il grand connoisseur, nessuno è più nobile di chi ama le pietre.
L’attenta scelta dei materiali è parte fondamentale dell’opera di lavoro a intarsio. L'atto dell'artificio si realizza anche nel saper ricavare dalla natura forme meravigliose trasformandone la materia in un unico corpo vivo e vibrante. È così che l'abile artigiano litico, occhio di lince, avendo profonda conoscenza dei colori e delle sfumature delle pietre e consapevolezza delle loro possibili combinazioni, sceglie le migliori e le più belle, le ritaglia, incastra commette e accorda in un'armonia cromatica unica, cui ultimo soffio vitale è la luce.

Le applicazioni di incrostazioni marmoree, realizzate in Diaspro di Sicilia, nelle chiese veneziane del Settecento, con particolare attenzione alla Chiesa di Santa Maria del Rosario detta dei Gesuati a Venezia, opera dell’architetto Giorgio Massari.
Applications of marble crusts, made of Jasper of Sicily, in the eighteenth century Venetian churches, paying particular attention to the Santa Maria del Rosario Church called of the Gesuati in Venice, designed by the architect Giorgio Massari.