L’OFFICINA DELLO SGUARDO
scritti in onore di Maria Andaloro
a cura di
Giulia Bordi, Iole Carlettini, Maria Luigia Fobelli, Maria Raffaella Menna, Paola Pogliani
I LUOGHI DELL’ARTEIMMAGINE, MEMORIA, MATERIA
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redazione scientificaSimone PiazzaconMichele BenucciChiara BordinoIvana BrunoDaniela Sgherri
Elaborazione delle immaginiDomenico Ventura
TECNO-ART, ASCOLI PICENO
UNIVERSITÀ DEGLI STUDI DELLA TUSCIA
DIPARTIMENTO DI SCIENZE DEI BENI CULTURALI, UNIVERSITÀ DEGLI STUDI DELLA TUSCIA
FONDAZIONE CASSA DI RISPARMIO DI VITERBO
DIPARTIMENTO DI LETTERE ARTI E SCIENZE SOCIALI, UNIVERSITÀ DEGLI STUDI G. “D’ANNUNZIO” DI CHIETI
DIPARTIMENTO DI STUDI UMANISTICI, UNIVERSITÀ DEGLI STUDI ROMA TRE
ASSEMBLEA REGIONALE DELLA SICILIA
ISBN 978-88-492-2753-6
In copertina: Pittura, architettura, paesaggio. Contaminazioni, abrasioni, innesti. Immagini, 2014 (particolare).
L’OFFICINA DELLO SGUARDOScritti in onore di Maria Andaloro
a cura diGiulia Bordi, Iole Carlettini, Maria Luigia Fobelli,
Maria Raffaella Menna, Paola Pogliani
Volume 2
IMMAGINE, MEMORIA, MATERIA
Indice
V. L’ESTETICA E LO SGUARDO
L’immagine dell’immagine 13LUCIA PIZZO RUSSO
L’immagine ibrida 21ELIO FRANZINI
Epistemologia dell’ornamento. Un’ipotesi di lavoro 27MASSIMO CARBONI
Icona e immagine 33GIUSEPPE DI GIACOMO
Icone moderne 39VICTOR I. STOICHITA
Il Fayum di Alberto Giacometti 45ELENA TAVANI
L’ultima spiaggia del monumento. Per una tipologia della contro-monumentalitàcontemporanea 55ANDREA PINOTTI
VI. L’OPERA �EL TEMPO
Mostri marini con e senza ali: considerazioni sul ‘grande pesce’ che ingoiò Giona 63FRANCESCA POMARICI
«In forma di teatro». Lo spazio liturgico antelamico in diocesi di Parma: nuove scoperte tra rimozioni e rilavorazioni 69CARLOTTA TADDEI
Paraíso e infierno en Gormaz: una iglesia a los pies de un castillo 75MILAGROS GUARDIA
Sfortuna del San Ludovico di Tolosa di Donatello: lo spazio negato 85LAURA CAVAZZINI
Segnalazioni del ‘Maestro dell’Adorazione di Glasgow’ 91RICCARDO NALDI
Giovanni Bellini introduce l’Anticristo 101ENZO BILARDELLO
Il disegno nascosto di Giovanni Santi 107MARIA ROSARIA VALAZZI
Uno sguardo su Maria. Iconografia mariana nella chiesa di Santa Maria del Popolo a Roma 113BARBARA FABJAN
Raffaello, Polidoro e lo Spasimo di Sicilia: un caso di scuola 119ANDREA DE MARCHI
La Pietà di Michelangelo: nuove ricerche su una Madonna coronata in San Pietro 127PIETRO ZANDER
Visione nordica e allegoria italiana nella Battaglia di Mühlberg di Enea Vico 141ENRICO PARLATO
Recomposition: Blade and Glue in Some Drawings by Ludovico Carracci 147GAIL FEIGENBAUM
Un nuovo quadro di Marco Benefial ‘che si direbbe di Carlo Maratta’ 153LILIANA BARROERO
VII. SEG�I E PERCORSI DELLA MEMORIA
Edizioni moderne, problemi antichi: la gloria del μεγαλόψυχος (Isocrate, Evagora 3) 161MADDALENA VALLOZZA
Peristili e cortili porticati nelle domus aristocratiche della Roma tardo-antica: alcuni esempi da ricerche recenti 167CARLO PAVOLINI
Note sulle iscrizioni ‘damasiane’ della basilica di Sant’Ippolito a Porto 173VINCENZO FIOCCHI NICOLAI
Johannes, monaco di San Pietro in Ciel d’Oro, e l’armarium dimenticato di San Savino a Piacenza 181STEFANIA BABBONI
L’immagine di Lemno in Italia tra XV e XVII secolo 185MARINA MICOZZI
Un’impresa per la Virtù. Accademia e parodia nella Roma farnesiana 191PAOLO PROCACCIOLI
I manoscritti di Antonio Bruzio (1614-1692) sulla basilica di San Giovannia Porta Latina 197ALIA ENGLEN
Immagini come documenti. Il caso del Fiume del terrestre Paradiso (1652) di Niccolò Catalano con le incisioni di Francesco Curti 205GIOVANNA SAPORI
Luoghi di memoria e memoria dei luoghi: Costantinopoli e le mura terrestri nei diari del reverendo John Covel (1670-1677) 213ALESSANDRA RICCI
Su alcuni disegni di un frammento della serie dei Rilievi ‘Valle-Medici’ con personificazioni di nationes e civitates 221STEFANO DE ANGELI
Temi di metodo. Mengs, il Barocco e il Naturalismo spagnolo: una riflessione e un interrogativo 227ROSANNA CIOFFI
Survey of Iasos by Royal Navy, 1822 231FEDE BERTI
Le torri di Vlanga Bostani: un tratto perduto delle mura marittime di Costantinopoli nei disegni di Mary Adelaide Walker 237ANDREA PARIBENI
«Ai tempi del potente re Ruggero…». Aubin-Louis Millin a Santa Maria del Patir 245ANNA MARIA D’ACHILLE, ANTONIO IACOBINI
La «stanza di re Ruggero» del Palazzo reale di Palermo dalla destinazione d’uso alla fortuna nell’arte dell’Ottocento 257IVANA BRUNO
Cassette, pissidi, olifanti. Un taccuino inedito di Ugo Monneret de Villard 265SILVIA ARMANDO
Alla ricerca di Cimabue: i disegni di Ingres ad Assisi 271IOLE CARLETTINI
Calamatta: l’ideale d’artista ne Les Maîtres Mosaïstes di George Sand 277ROSALBA DINOIA
Pavel A. Florenskij e il discorso sull’icona 283MARIA LUIGIA FOBELLI
La ‘questione delle origini’: un dibattito nella Viterbo neomedievalista 291MARIA TERESA MARSILIA
Wrap Museum: un progetto di Christo per la Galleria Nazionale d’Arte Moderna di Roma 297STEFANO MARSON
Persistenti memorie. Segmenti identitari dell'arte contemporanea nell'area del Mediterraneo 303PATRIZIA MANIA
VIII. CRITICA, STRUME�TI E METODI DEL RICO�OSCIME�TO
Il riconoscimento come ricostituzione. Per un’edizione commentata della Teoria del restauro di Cesare Brandi 311MARIA IDA CATALANO
Appunti sul ‘restauro preventivo’, oggi 317PIETRO PETRAROIA
L’occhio del fotografo e l’occhio del restauratore 325GIOVANNA MARTELLOTTI
Il restauro scientifico per le opere d’arte decorativa 331MARIA CONCETTA DI NATALE
Fragili oggetti riscoprono antichi contesti 337ROSALIA VAROLI PIAZZA
Percorsi inediti del restauro in Italia negli anni Quaranta del Novecento: Federico Zeri e Mario Modestini 343SILVIA CECCHINI
Politica e accademia: Lionello Venturi, Roberto Longhi e la successione a Pietro Toesca nell’ateneo romano 347VALENTINO PACE
Il dibattito tra arte e architettura in Italia negli anni della ricostruzione (1945-1955) 353ELISABETTA CRISTALLINI
Proposta per una nuova organizzazione museale 359FRANCESCO ANTINUCCI
Niğde Müzezi 365FASLI AÇIKGÖZ
Uso e abuso dei GIS: dal bene immobile alle collezioni museali 367ELENA LATINI
Conservazione preventiva e controllo climatico nei musei: un viaggio fra Viterbo, Teheran e Città del Vaticano 371HAYDÈE PALANCA
La chiesa di Santa Maria Assunta a Monterano: fonti documentarie, stratigrafia, fasi costruttive 375MICHELE BENUCCI, GIUSEPPE ROMAGNOLI
Rilievo morfologico e rappresentazione dell’architettura rupestre 385MARCO CARPICECI
Un futuro per il passato: un tell tra ricerca, conservazione e fruizione 391ISABELLA CANEVA
Dendroprovenienza dei legni dei supporti dipinti (IV-XV secolo) e delle sculture in area mediterranea 397MANUELA ROMAGNOLI
Il contributo delle Scienze della Terra nei beni culturali 403GINO MIROCLE CRISCI, MAURO FRANCESCO LA RUSSA, DOMENICO MIRIELLO
Il MLAC Museo Laboratorio di Arte Contemporanea all’Università degli Studi della Tuscia (1992-1997) 407SIMONETTA LUX
La formazione universitaria nel settore della Conservazione dei beni culturali: qualche riflessione 413GIOVANNI SOLIMINE
L’arte del restauro, eccellenza made in Italy: dalla mente alla mano 421LIDIA RISSOTTO
Al di fuori dei percorsi accademici 427RAFFAELLA PASCUCCI
IX. DAI PO�TEGGI
Lazur de graico colore: sui sentieri del lapislazzulo 431GIOVANNA VALENZANO
I primi due strati dipinti della parete-palinsesto di Santa Maria Antiqua: nuove osservazioni di carattere tecnico-esecutivo 437WERNER MATTHIAS SCHMID
Pittori e mosaicisti nei cantieri di Giovanni VII (705-707) 443PAOLA POGLIANI
L’uso di sagome per dipingere: il ciclo dei Santi Quirico e Giulitta nella cappella di Teodoto in Santa Maria Antiqua al Foro Romano 451VALERIA VALENTINI
Nella basilica di San Pietro a Tuscania, il più antico disegno di cantiere conosciuto del Medioevo italiano? 457RENZO CHIOVELLI
«Prestarsi con tutto amore ed impegno per le cose patrie»: il barone Mandralisca e i restauri ottocenteschi dei mosaici di Cefalù 465VINCENZO ABBATE
Un illustre inedito. L’Istituto Centrale per il Restauro e la prima campagna di restauri dei soffitti della Cappella Palatina di Palermo (1948-1953) 473FRANCESCA ANZELMO
L’esperienza del Laboratorio di Diagnostica per la Conservazione e il Restauro ‘Michele Cordaro’ nel cantiere di studio del frammento musivo con l’Angelo dalla Navicella di Giotto 479CLAUDIA PELOSI
L’icona musiva di san Sebastiano nella basilica romana di San Pietro in Vincoli. Analisi critica con l’ausilio dell’indagine digitale riflettometrica 487GABRIELE BARTOLOZZI CASTI
Impurezze associate al litargirio in cicli pittorici medievali 495PIETRO MOIOLI, CLAUDIO SECCARONI
Una statua di età giulio-claudia dal Palatino: studio delle tecniche di esecuzione 501SILVIA BORGHINI
The Conservation Work on the Mosaics of the Amazons Villa from Early Byzantine Period, Şanlıurfa-Turkey 507Y. SELÇUK ŞENER
An example of rock-hewn church restoration in Cappadocia: Ürgüp Kayakapı rock church 513BEKIR ESKICI
A propósito de la reciente restauración del claustro de Santa María de Ripoll y del hallazgo de una imagen medieval de estuco 519IMMACULADA LORÉS I OTZET
Restauro di un tratto crollato delle mura medievali di Tarquinia presso la chiesa di Santa Maria in Castello. Metodologia di analisi e di intervento 527MARINA A.L. MENGALI
OMAGGI 533RODOLFO FIORENZA, GAETANO ALFANO, DOMENICO VENTURA
La signora del viaggio 541A Maria Andaloro ΔέσποιναPIETRO LONGO
Corsi tenuti da Maria Andaloro nelle Università di Chieti e Viterbo 545
Maria Andaloro. Bibliografia 1970-2013 547
507
The villa, called the Villa of the Amazonsbecause of the mosaic with Four Amazon War-riors fighting lions, is situated on an area calledHaleplibahçe in the center of the Province ofŞanlıurfa (located in the southeast of Turkeynear the Syrian border), to the north of the an-cient citadel.
In the early 2000s the Ministry of Cultureand Tourism and the Şanlıurfa Municipalityagreed on a project to transform Haleplibahçeinto a Theme Park.
The design phase of the Theme Park Projectwas completed in the early 2000s and it was en-visaged that the project include a mosque, achurch, and a synagogue along with many otherunits such as cafeterias, museums, the Tabletsabout the Prophets, a Tower of Samarra, aMevlevi Dervish Lodge, an Amphitheater, aConference Hall, Sports grounds, Ponds, and aPromenade and Recreation Park.
Infrastructure work was initiated on the sitein 2005. By the end of 2006, architectural re-mains and floor mosaics were unearthed to thesouth of the site. Construction work was haltedand archeological digs (excavations) were ini-tiated by the Şanlıurfa Archaeological Muse-um.
During the excavations, which were con-ducted between 2006 and 2008, the remains ofan ancient Roman bath from the Late Roman /Early Byzantine era and architectural remainsof two villas were unearthed along with a largeamount of mosaic flooring.
The Theme Park Project was canceled inthe spring of 2008 by a scientific and technicalcommittee formed by the Ministry of Cultureand Tourism, and decisions were made to ac-celerate in situ conservation work on the un-
covered architectural and mosaic remains, toconstruct an archeological museum here, andto transform Haleplibahçe into an Archeopark.
The Villa of the Amazons consists of the re-mains of a building having an ‘inverted-T’ planwith 14 rooms built over an area of approxi-mately 1500 square meters and with most of itswalls reduced to the foundation level. Thebuilding came into prominence for the partiallyor almost completely preserved floor mosaicscovering seven hundred square meters intwelve of its rooms (fig. 1).
The designs of the mosaics are generallyplain white in the pools, and in the other spacesare composed of panels with stylized plant andgeometric figures, and also include mythologi-cal figures. The central panels of the mosaicsgenerally depict figures while the borders aredesigned with stylized plant, geometric, and hu-man and animal figures.
The layers forming the mosaics arearranged from bottom to top as follows: thestatumen, rudus, nucleus, setting beddinglayer, and the tessellatum. The tesserae usedaverage around 4-6 millimeters, however infigure details they may be as small as 2 mm.The colours of the tesserae are: white, black,cream, grey, ochre yellow, mustard yellow,burgundy, red, pink, blue, light blue, green,light green, brown, and light brown. The ma-terials are sedimentary stone, marble, and asmall amount of glass (fig. 1).
Conservation and Restoration Works
In the conservation and restoration of theVilla of the Amazons and its mosaics, the pri-
THE CONSERVATION WORK ON THE MOSAICS OF THE
AMAZONS VILLA FROM EARLY BYZANTINE PERIOD,ŞANLIURFA-TURKEY
Y. Selçuk Şener
mary aim was the conservation of the mosaics.However, this work could not be carried out ignoring the very few architectural remains, inother words the walls.
If we were unable to find the walls surroun-ding the rooms where the mosaics were, the solework of conserving the mosaics would not havebeen sufficient. It furthermore would have beendifficult to perceive the relation between thefloor mosaics, each of which is in a kind of‘island’, and the architecture within which theyare situated. Therefore, the work began with re-storing the walls and continued with mosaicconservation.
Restoration and resetting of building wallsDetailed excavations were carried out anew
in the parts of the building where the wallswere situated, which were filled with earth.Taking into account all inputs emerging fromthese excavations, such as walls, traces of
walls, and foundation traces, a layout plan wasdrawn up for the building (fig. 1).
During restoration work, the existing wallparts that were under the level of the mosaicflooring that formed the base of the rooms wereraised so as to surround the mosaic flooringwith at most one course of wall stones; the partsof the missing wall parts were reconstructedtaking into consideration measures close to thislevel.
Stones of a size close to those of the origi-nal walls were used in the bond of the restoredwalls. In order to easily distinguish the newlybuilt walls from the original, grout of differentcolour and texture was used (fig. 2).
Thanks to the wall restoration, we both de-limited the boundaries of the spaces necessaryfor the preservation of mosaics, and were ableto better perceive the building named the villaof the Amazons, at least in terms of its layoutfeatures (fig. 2).
508 Y. SELÇUK ŞENER
FIG. 1 Şanlıurfa, Haleplibahçe, the mosaics of the Villa of the Amazons
Restoration and conservation of mosaicsConservation and restoration work on mo-
saics generally consisted of cleaning, consoli-dation, and reintegration to preserve thegeneral aesthetic appearance.
CleaningIn the cleaning of mosaic surfaces the layer
of soil was first carefully removed with trow-els, spatulas, and brushes. To clean away rem-nants of mud adhering to the surface a‘washing procedure’ was carried out which in-volved wet scrubbing and wiping the surfacewith a sponge (fig. 3).
In cleaning away the hard and adhering de-posits on mosaic surfaces, mechanical methodswere used. The dense layers of limestone werethinned down, first with diamond-pointed thinsteel chisels; the final stage of cleaning was
completed using a scalpel, which gave us morecontrol¸ and also by washing with brushes ofmedium firmness (fig. 3).
Surface cleaning was carried out more de-licately on areas where bulging, depression,
509The Conservation Work on the Mosaics of the Amazons Villa from Early Byzantine Period, Şanlıurfa-Turkey
FIG. 2 Restoration and resetting of building walls
FIG. 3 The cleaning of mosaic surfaces
510 Y. SELÇUK ŞENER
and lacunae had formed in the mosaics; to ex-pose the boundary between mosaic and lacunawe used a portable steam cleaner which provi-ded low pressure hot water steam. The steamcleaner softened the soil that had filled the la-cunae, thus facilitating its removal (fig. 3).
ConsolidationThis involved the different procedures car-
ried out with the aim of repairing and/or im-proving the poor condition of the layersconstituting the mosaics.
Consolidation of Edges This is a mortar filling procedure to pre-
vent disaggregation of the edges of the lacu-nae in the mosaics’ tessellatum, nucleus andrudus layers, and for stabilizing them. Themortar used in this procedure was one that wasa mixture of lime, stone powder, brick powder,and water, prepared in a ‘cream-like pinkishcolor’ closer to the supporting mortar layers(the nucleus and rudus). When applying themortar, first the bases and edges of the lacunaewere cleaned and dampened with water; thenthe mortar was filled in with spatulas, startingover a wide area on the base of the lacuna andmerging on the upper side of the tesserae, sothat its cross-section form a triangle (fig. 4).
Consolidation and stabilization of the tes-
sellatum, nucleus, and rudus layersIn the consolidation of the tessellatum, nu-
cleus, and rudus layers where voids and de-tachment occurred, we used the method ofinjecting fluid hydraulic lime mortar.
One or two tesserae were removed in des-ignated areas, at specific intervals, and, usinglong, slender chisels, channels were openedthat descended into the voids beneath the nu-cleus. The voids were washed by introducinga mixture of alcohol and water into these chan-nels, and finally a hydrous mortar was injected(fig. 4).
Renovation of setting beds Renovation of setting beds was performed
on areas where detachment occurred betweentessellatum and the mortar layers beneath it.This procedure involved covering or bindingthe tessellatum layer with cotton cloth gluedwith acrylic resin. Then, the tessellatum waspartially lifted off the level of the bedding layerusing slender wedges, and then was laid ontemporary supports. After cleaning, the newsetting bed was laid at the level where the liftedpart had been. The partially lifted tessellatumwas then reset, and then leveled by slightlyhammering through small blocks of wood; andafter the desired evenness was achieved it wasleft to dry. At the final stage the remnants ofcloth and resin were cleaned away (fig. 4).
Partial lifting of the tessellatum was prefered to lifting it off as a whole with theaim of preserving as much as possible its ori-ginal place and position. Indeed, this kind ofconsolidation was carried out only when the-re was no other choice and on mosaics / mo-saic parts in which connections to mortarlayers had been lost to a great extent; and in-deed, in cases where other methods would notbe effective/sufficient (such as the applicationof liquid mortar) due to mortar layers and/ornuclei having lost most of their integrity.
Filling and reintegrationFilling and reintegration procedures carried
out on floor mosaics were applied as much formosaic conservation as for ensuring aestheticintegrity.
Reintegration of lacunae in the mortar(rudus and nucleus) layers
Reintegration in the rudus and nucleuslayers was carried out by filling the lacunae atFIG. 4 Consolidation and stabilization of the mosaics
the level where the procedure would be ap-plied. For deep lacunae, the soil surface wasleveled and compressed. A new hardcore layerwas formed with rubble stone. The lacunar areawhose base was consolidated was filled, incompliance with its original texture, first witha coarse-grained, and then with a finer-grainedlime mortar.
In contrast, only mortar was used for fillingshallow superficial lacunae (for example in thescoop scars on the rudus). In all instances, forupper layers that were exposed and could beseen, coloured (aesthetic) mortar fills wereused.
Filling of cracks in mortar layersIn the procedure of filling cracks in mortar
layers, first, earth and the like which had pene-trated into the cracks subsequently was remo-ved and cleaned away using brushes, spatulas,fine wire, and vacuum cleaner. The dampenedsurfaces were filled in with mortar up to the lev-
el of the layer and then leveled using spatulas.In the final stage, the filling mortar was packedusing brushes with soft, dense, natural bristles;it this way it was ensured that on the one handthe mortar would be compressed and, on theother, that the grainy aggregate compound con-stituting the mortar mix would be brought forththus achieving a homogenous surface appear-ance.
Reintegration of tessellatum with tesseraeTesserae that were detached from the mor-
tar bed and thus dislocated when the cover ofsoil on the surface was removed were resetwith lime mortar prepared faithful to the ori-ginal.
Areas with disaggregated tesserae or withsmall lacunae were reset using original tesserae.Prior to resetting, the tesserae were classifiedand separated according to color and type, andthe grime formed by soil and mud and mortardeposits and remnants were mechanically
511The Conservation Work on the Mosaics of the Amazons Villa from Early Byzantine Period, Şanlıurfa-Turkey
FIG. 5 The walkway and the building of the temporary cover
cleaned away. When resetting the tesserae, wetook into consideration the motifs and designsof the extant mosaics and their position in thedecoration.
Filling of tessellatum intersticesThe procedure of filling tessellatum inter-
stices was performed with the aim of reinfor-cing the tessellatum layer which had lost its in-tegrity due to disaggregation in the settingbeds. For this procedure, tessellatum intersticeswere first cleaned, then filled with a new mor-tar mix prepared with hydraulic lime. To fill theinterstices, the mortar mix used in reintegratingthe tessellatum was used.
Filling the tessellatum with mortarThis procedure involved reintegration of
lacunae using a mortar mix prepared in a waysimilar to the original mosaics in terms ofcolor, compound, and texture (aesthetic mor-tar).
In filling the tessellatum with mortar, deepareas were first filled with pebble stones insuch a way as to remain 5-6 cm below surfacelevel, then a lime mortar prepared with coarsesand and lime (grey mortar) was spread andleveled after filling the areas so that it remain,in general, 2-3 cm below the surface.
The aesthetic mortars to be used on the up-permost reintegration layer were selected fromamong a great number of trials prepared so asto match all the mosaics and in compliancewith the color texture of the tessellatum layer.
Aesthetic mortars were prepared with amixture of finely sifted sand, stone powder,brick powder, and hydraulic lime; pigmentswere used to color the mortars. Care was takento leave the aesthetic mortar fills about onemillimeter below the tessellatum layer.
Preventive conservation
In planning the conservation of the villaand mosaics, it was decided that conservationshould be carried out as both active and pre-
ventive conservation, which complement oneanother.
Preventive conservation measures wereplanned so as to include a walkway to ensurecontrolled visits of the building and mosaics;build a temporary cover to protect them fromenvironmental conditions; and install a drainagesystem around the building to prevent moisture(fig. 5).
The walkway was built at the final stage ofactive conservation work. Thanks to this walk-way, made of wood and set on the walls, thearea was opened to visits. Thus, thanks to therestoration work performed, we accomplishedthe first and second phases of the objective to«transform the area into an archeopark throughin situ conservation», as was envisaged at theoutset.
The task of building the temporary coverwas carried out by the museum authorities inthe autumn following completion of conserva-tion work. Though its appearance is not sopleasant, it can be said that it does fulfill its du-ty of protecting the site against environmentalconditions until the permanent cover is built(fig. 5).
Conclusion
In conclusion, restoration work on the Vil-la, initiated in July 2008, was completed inapproximately one year. Concentrating main-ly on cleaning and consolidation, the restora-tion work was carried out by one conservator,ten conservation technicians and eightworkers. Following restoration, the Villa ofthe Amazons and its mosaics were opened tothe public in 2009.
Our wish is that the permanent cover sys-tem, or systems, be designed and built, that in-formation panels be placed to ensure betterpromotion of the site and mosaics, and that inthe end the Haleplibahçe excavation site betransformed as soon as possible into an open-air (mosaic) museum connected to an archeo-logical museum envisaged to be built soon.
512 Y. SELÇUK ŞENER
