Antonino Di Vita e Sabratha

From 1962 to 2011 Antonino Di Vita conducted researches, excavations and restoration projects at Sabratha, site to which he dedicated his time and endless passion. Two, amongst the many of his research projects, stand out for importance, involvement and complexity. From 1963 up to the first years of the 70’s the Punic-Hellenistic Mausoleum B which he unearthed and worked at its complex anastylosis, followed by the rescue of the sacred Sidret el-Balik funerary area begun in 1972 and then continued with its anastylosis, restoration and preservation until 2011. Di Vita pointed out the incredible originality of the Mausoleum B’s plan, shape and size - triangular with concave sides, more than 23 m in height, with remarkable decorations on each of its levels marked by vertical cornices resulting in a dramatic chiaroscuro effect carefully created by bold combinations of architectural features and sculpture. It is undoubtedly the work of an artist living and working in a fully conscious Baroque atmosphere, inspired by the Baroque architects of the mid-Hellenistic time period, deliberately breaking away from the 5th-4th cent. Greek tradition architecture and clearly taking inspiration from models from the Punic world, mostly Carthaginian. His researches gave Di Vita the instruments to outline the urban development of the seattlement from the Hellenistic times to the 4th cent. B.C. Part of this complex project were: finding the street orientation of the old Punic quarters; the dating of part of block 11, probably already developed in 60-50 BC; the changes in the alignments of the end parts of the quarters mostly noticeable in blocks 11 and 13; the final reorganization of the area around the Forum (after the late-Neronian time earthquake); the tophet development, for which he suggested a time of use from the 2nd-1st cent BC to the 1st cent. AD; the existence of the necropolis at the Eastern part of the settlement including the 1st cent. AD frescoed tombs; the great mausoleia, at least eight, along the road to Oea, North-East of the amphitheatre, for which he suggested a dating to the 2nd-3rd cent.; finally the settlement walls layout and of some form of clausura, the ruins of which were destroyed during an intense urbanization process of the city during its last decades of life. Antonino Di Vita also researched in depth Roman painting in Africa, specifically those dating from the first half of the 1st cent. BC to the 1st cent. AD. He brought to attention how still in Roman Sabratha the influence of painting traditions from Alexandria could be found connected to an always present strong Punic substratus. The evidence is clearly visible in the tombs of the Gorgon, of Tanit and in the one of the Heroized Deceased. Of extraordinary importance is the excavation, consolidation and anastylosis of the sacred-funerary area of Sidret el-Balik were there is a tomb in a wide open court with its all-frescoed walls depicting city views, hunting scenes, a paradeisos with fierce and tame animals and scenes of grape-picking Amorini. The 180 sqm of frescoes are still, at present, the most important and complete painting cycle to have so far been found in Roman Africa, probably one of the most important ones in the entire Roman Empire. Antonino Di Vita’s research, also in the field of earthquakes, has been fundamental for the comprehension of all building phases of the monuments and of the growth, expansion and decline of the urban settlement of Sabratha. His studies give us a clear understanding of the architectural and artistic achievements of the city, especially in its Mid, Late Hellenistic and Roman phases, emphasizing the importance of how Hellenistic traditions from Alexandria and from the Punic world co-existed and made possible the emerging of incredibly original results. To be remembered are also his studies of the town’s inscriptions and civic institutions with which he gives us a complete picture of the economic and social life in Sabratha.