Fig. 1: General map of the early Byzantine district (Zanini 2011–2012)
Fig. 1: General map of the early Byzantine district (in gray, the structures excavated in 2011 season).
Fig. 2: General view of the large building west of the street (Zanini 2011–2012)
Fig. 2: General view of the large building west of the street.
Fig. 3: Aerial view of the newly excavated area (Zanini 2011–2012)
Fig. 3: Aerial view of the newly excavated area.
Fig. 4: The entrance and the courtyard of the large building west of the street (Zanini 2011–2012)
Fig. 4: The entrance and the courtyard of the large building west of the street.
Fig. 5: Goat and/or sheep bones on the courtyard floor (Zanini 2011–2012)
Fig. 5: Goat and/or sheep bones on the courtyard floor.
Fig. 6: Glazed White Ware I dish from the rubbish deposit on the courtyard floor (Zanini 2011–2012)
Fig. 6: Glazed White Ware I dish from the rubbish deposit on the courtyard floor.
Fig. 1: Exterior of the Enkleistra and plan of the cave complex (Koukoulli and Fischer 2011–2012)
Fig. 1: Exterior of the Enkleistra (top) and plan of the cave complex showing the Cell, the Bema, the Naos, and the Narthex (bottom; Mango and Hawkins 1966).
Fig. 1a: Plan of the Enkleistra complex of St. Neophytos (Koukoulli and Fischer 2011–2012)
Fig. 1a: Plan of the Enkleistra complex of St. Neophytos (Mango and Hawkins 1966).
Fig. 2: Depiction of St. Neophytos flaked by the archangels Michael and Gabriel (Koukoulli and Fischer 2011–2012)
Fig. 2: Depiction of St. Neophytos flaked by the archangels Michael and Gabriel, who hold him by the shoulders (Bema).
Fig. 3: Fresco painting depicting St. Andrew Salos (Koukoulli and Fischer 2011–2012)
Fig. 3: Fresco painting depicting St. Andrew Salos, painted in a single giornata.
Fig. 4: Scene of the Crucifixion on the south wall of the Cell (Koukoulli and Fischer 2011–2012)
Fig. 4: Scene of the Crucifixion on the south wall of the Cell, painted over a thin layer of lead white applied as an intermediate layer to mask a preexisting painting.
Fig. 5: UV/Vis/NIR reflectance spectra of a reference celadonite mineral sample from Cyprus and an unknown green paint sample from the Enkleistra (Koukoulli and Fischer 2011–2012)
Fig. 5: UV/Vis/NIR reflectance spectra of a reference celadonite mineral sample from Cyprus and an unknown green paint sample from the Enkleistra. UV/Vis/NIR provided the exact identification of celadonite with the speciation of the iron (Fe) compounds showing a broad absorption between 540 and 750 nm indicative of the d-d ligand-field and intervalence charge-transfer (IVCT) transitions in the visible region of the chromophors Fe^+2 and Fe^+3 and by the overtones and combination bands of the structural OH (octahedral site, bound to a cation) stretching and bending vibrations and H2O stretching and bending vibrations in the near infrared region.
Fig. 6: UV/Vis/NIR reflectance spectra of a reference lapis lazuli (lazurite mineral) and unknown blue paint samples from the Enkleistra (Koukoulli and Fischer 2011–2012)
Fig. 6: UV/Vis/NIR reflectance spectra of a reference lapis lazuli (lazurite mineral) and unknown blue paint samples from the Enkleistra. The identification of lapis lazuli in the blue paints was determined by its distinctive electronic spectrum displaying a strong and broad absorption around 600 nm in the visible caused by the S3 paramagnetic radical anion in lapis lazuli.
Fig. 7: UV/Vis/NIR reflectance spectra of a reference cinnabar sample and unknown red paint samples from the Enkleistra (Koukoulli and Fischer 2011–2012)
Fig. 7: UV/Vis/NIR reflectance spectra of a reference cinnabar sample and unknown red paint samples from the Enkleistra. The identification of cinnabar in the red paints was possible due to the characteristic absorption edge (or band edge) of sulfur (S) and by pXRF spectroscopy with the photon emissions at 9.987 keV (L-alpha edge energy) and 11.823 keV (L-beta edge energy) characteristic of mercury.
Fig. 8: UV/Vis/NIR reflectance spectra of a green paint samples that were covered by wax applied in a previous restoration (Koukoulli and Fischer 2011–2012)
Fig. 8: UV/Vis/NIR reflectance spectra of a green paint samples that were covered by wax applied in a previous restoration. The wax was identified through the characteristic absorptions of CH2 and CH combination bands and overtones in the near infrared.
Fig. 9: XRF spectrum of the green paint in the scene depicting Virgin Mary (Koukoulli and Fischer 2011–2012)
Fig. 9: XRF spectrum of the green paint in the scene depicting Virgin Mary, orans (Bema, east wall), showing the prominent presence of arsenic (As). The iron (Fe) is from celadonite and calcium (Ca) from the plaster (calcium carbonate).
Fig. 10: XRF spectra of the green paint in a scene in the Bema (Koukoulli and Fischer 2011–2012)
Fig. 10: XRF spectra of the green paint in a scene in the Bema that does not contain arsenic (As). The spectrum shows the characteristic x-rays for Fe in the celadonite and Ca in the plaster.
Fig. 11: XRF spectra of the green paint in a scene in the Bema (Koukoulli and Fischer 2011–2012)
Fig. 11: XRF spectra of the green paint in a scene in the Bema that does not contain arsenic (As). The spectrum shows the characteristic x-rays for Fe in the celadonite and Ca in the plaster.
Fig. 12: Cross section samples of the arsenic-rich green paint (Koukoulli and Fischer 2011–2012)
Fig. 12: Cross section samples of the arsenic-rich green paint (from the Deesis scene, Cell, north wall) in reflected polarized light (top) and in backscattered electrons using VPSEM (bottom).
Fig. 13: Image of the scene “washing of the feet” (Koukoulli and Fischer 2011–2012)
Fig. 13: Image of the scene “washing of the feet” (Naos, west wall), showing an extensive area of red alteration on the robe of the apostle to the left.
Fig. 14: Alteration of cinnabar (HgS) (Koukoulli and Fischer 2011–2012)
Fig. 14: Alteration of cinnabar (HgS). Micrographs of sample 16 (from left clockwise): a stereomicroscopic image of sample 16 showing a layer of altered red; the same sample.
Fig. 1: Map of Cilician region showing Kilise Tepe and other sites in the Goksu Valley (Jackson 2011–2012)
Fig. 1: Map of Cilician region showing Kilise Tepe and other sites in the Goksu Valley (M. Jackson).
Fig. 2: Mound at Kilise Tepe from the east (Jackson 2011–2012)
Fig. 2: Mound at Kilise Tepe from the east (Bob Miller).
Fig. 3: Low-resolution screenshot from the ArcGIS database for the Byzantine phases of Kilise Tepe (Jackson 2011–2012)
Fig. 3: Low-resolution screenshot from the ArcGIS database for the Byzantine phases of Kilise Tepe showing the central part of the mound with the main Byzantine buildings excavated up until end of 2009 (grid 10m x 10m) (M. Jackson).
Fig. 4: Alexander Turner and Tuncay Korkmaz conducting Resistivity Survey in March 2011 prior to the summer excavation season (Jackson 2011–2012)
Fig. 4: Alexander Turner and Tuncay Korkmaz conducting Resistivity Survey in March 2011 prior to the summer excavation season (M. Jackson).
Fig. 5: Low-resolution screenshot from the ArcGIS database for the Byzantine phases of Kilise Tepe (Jackson 2011–2012)
Fig. 5: Low-resolution screenshot from the ArcGIS database for the Byzantine phases of Kilise Tepe showing the central part of the mound with the main Byzantine buildings excavated before 2011 together with the 2011 resistivity survey results (each grid square 10m x 10m) (M. Jackson and A. Turner).
Fig. 6: Position of 2011 excavation trenches identified by red boxes (Jackson 2011–2012)
Fig. 6: Position of 2011 excavation trenches identified by red boxes. Note the stele building and the northwest building belong to pre-Byzantine phases (C. Colantoni).
Fig. 7: Working plan of west end of building complex (Jackson 2011–2012)
Fig. 7: Working plan of west end of building complex in N12, O12, N11 and O11 excavated in July 2011 following identification during geophysical survey in March 2011 (T. Sutcliffe and C. Colantoni).
Fig. 8: Plan of the large building excavated in July 2011 (Jackson 2011–2012)
Fig. 8: Plan of the large building excavated in July 2011 in N12, O12, N11 and O11 (view to south) (Bob Miller).
Fig. 9: Secondary rooms in O11 and O12 (Jackson 2011–2012)
Fig. 9: Secondary rooms in O11 and O12 built against the east side of the structure to the west (view to west) (Bob Miller).
Fig. 10: Threshold preserved in wall W5501 in N11a (Jackson 2011–2012)
Fig. 10: Threshold preserved in wall W5501 in N11a (Bob Miller).
Fig. 12: Collapsed mud brick and stones from walls in O11a (Jackson 2011–2012)
Fig. 12: Collapsed mud brick and stones from walls in O11a (view to east) (Bob Miller).
Fig. 13: Fire installation FI11/7 (Jackson 2011–2012)
Fig. 13: Fire installation FI11/7 (view from south) (Bob Miller).
Fig. 14: Stone mortars O12/57 and O12/58 (Jackson 2011–2012)
Fig. 14: Stone mortars O12/57 and O12/58, excavated immediately south of W6600 in O12c (Bob Miller).
Fig. 15: Lamp chain O11/064 (Jackson 2011–2012)
Fig. 15: Lamp chain O11/064, from destruction deposit in O11a (Bob Miller).
Fig. 16: Partially-reconstructed early Byzantine jar N11/77 (Jackson 2011–2012)
Fig. 16: Partially-reconstructed early Byzantine jar N11/77 with painted decoration, from southwest room of complex in N11 (Bob Miller).
Fig. 17: Working plan of area N14c, N13a, and N13c (Jackson 2011–2012)
Fig. 17: Working plan of area N14c, N13a, and N13c (T. Sutcliffe).
Fig. 18: I17a (view to north) (Jackson 2011–2012)
Fig. 18: I17a (view to north). Large wall W6700 (running east-west) in foreground and the robber trench (running north) showing its return north. Pit P11/045, to the right of picture, cuts the surface that lay at the base of the wall replaced by robber trench (Bob Miller).
Fig. 19: Ash layers on surface against the north and west sides of robber trenches of former walls (Jackson 2011–2012)
Fig. 19: Ash layers on surface against the north and west sides of robber trenches of former walls (view to east, where ash layers run up to robbed east return of robbed wall) (Bob Miller).
Fig. 20: Pit P11/045 (Jackson 2011–2012)
Fig. 20: Pit P11/045. Detail of section through the pit showing burnt wheat (Bob Miller).
Fig. 5: Excavation Unit in relation to the Artists Village (Ogundiran 2011–2012)
Fig. 5: Excavation Unit in relation to the Artists Village (also showing the location of ash pit and glass cullet finds).
Fig. 10b: Ohuntoto Market Site: Sculptures depicting Yoruba Mythology Scenes in Osun Grove (Ogundiran 2011–2012)
Fig. 10b: Ohuntoto Market Site: Sculptures depicting Yoruba Mythology Scenes in Osun Grove.
Fig. 10d: Priestesses in Osun-Lakokan Sanctuary, Osun Grove (2011–2012)
Fig. 10d: Priestesses in Osun-Lakokan Sanctuary, Osun Grove.
Fig. 11: Vervet Monkeys, sitting on one of the New Sacred Art walls, Osun Grove (Ogundiran 2011–2012)
Fig. 11: Vervet Monkeys, sitting on one of the New Sacred Art walls, Osun Grove.
Fig. 13a: The billboard of a multinational gin beverage company at the entrance of Osun Grove (Ogundiran 2011–2012)
Fig. 13a: The billboard of a multinational gin beverage company at the entrance of Osun Grove.
