Private Spaces in Pompeii Roman Domestic Architecture Roman Domestic Architecture Roman Domestic Architecture
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Villas and Agriculture in Republican Italy
CHAPTER 20 Villas and Agriculture in Republican Italy Jeffrey A. Becker 1 Introduction The iconicity of the “Roman villa” affords it a rare status in that its appeal easily cuts across the boundaries of multiple disciplines. This is perhaps because the villa has always stimulated our imagination about the ancient world and cultivated a longing for that realm of convivial, pastoral bliss that the villa conjures up for us. Just as Seneca contem- plated Roman virtues in the context of the villa of Scipio Africanus (Sen. Ep. 86), mod- ern (and post-modern) thinkers continue to privilege the villa both as place and space, often using its realm as one in which to generate reconstructions and visions of the ancient past. In the nineteenth century the Roman villa appealed to the Romantics and the exploration of Vesuvian sites, in particular, fueled a growing scholarly interest in the architecture and aesthetics of the Roman villa (most recently, Mattusch, 2008). Often guided by ancient texts, villas were divided into typological groups, as were the interior appointments from wall paintings to floor mosaics. Villas seemed to be a homogeneous type, representative of a “Roman” cultural norm. The fascination with villa life began in antiquity, not only with the likes of Seneca but also poets and scholars such as Virgil and Varro. In spite of the iconic status of the villa from antiquity to modernity, a good deal of uncertainty remains with respect to the archaeology of Roman villas of the latter half of the first millennium. The scholarly approach to the Roman villa finds itself at something of a crossroads, particularly with respect to the villas of the Republican period in Italy. -
T2-H-5271-Pompeii-Photo-Information-Powerpoint Ver 1.Pdf
This colonnade forms part of the forum. The forum was a public square which would have been used for meetings, criminal trials, public speeches, and markets. Colonnade Many streets remain in Pompeii. Here you can see cobbled streets with pavements on each side. In the distance is Mount Vesuvius – the volcano that destroyed Pompeii. Street In ancient Pompeii, there were many types of entertainment. One popular pastime was the theatre where people went to watch plays. This theatre had space for 1,000 spectators. Odeon – small theatre The Romans worshipped many gods. This temple is dedicated to Apollo, the god of music, and was built on a high platform to make it look more impressive. Temple of Apollo The House of the Vettii was one of the most impressive and richly decorated houses in Pompeii. It was named after the owners, Aulus Vettius Conviva and Aulus Vettius Restitutus. House of the Vettii The Romans use mosaics to decorate wealthy houses and public buildings. Each mosaic used thousands of tesserae (small pieces of tile or stone) to create a picture or pattern. Mosaic Another popular way of decorating rooms was with wall paintings (frescoes). This one, in the Casa del Menandro (House of Menander) shows a hunting party. Can you see the dogs and the man with a bow and arrow? Paintings in Casa del Menandro Myths and legends were a common source of inspiration for Roman artists. This painting depicts Narcissus who was so beautiful that he fell in love with his own reflection. Painting of Narcissus Archaeologists at Pompeii have found so many artefacts, it is not possible to have them all on display at once. -
Recent Work on the Stone at the Villa Arianna and the Villa San Marco (Castellammare Di Stabia) and Their Context Within the Vesuvian Area
Recent Work on the Stone at the Villa Arianna and the Villa San Marco (Castellammare di Stabia) and Their Context within the Vesuvian Area Barker, Simon J.; Fant, J. Clayton Source / Izvornik: ASMOSIA XI, Interdisciplinary Studies on Ancient Stone, Proceedings of the XI International Conference of ASMOSIA, 2018, 65 - 78 Conference paper / Rad u zborniku Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) https://doi.org/10.31534/XI.asmosia.2015/01.04 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:123:583276 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-05 Repository / Repozitorij: FCEAG Repository - Repository of the Faculty of Civil Engineering, Architecture and Geodesy, University of Split ASMOSIA PROCEEDINGS: ASMOSIA I, N. HERZ, M. WAELKENS (eds.): Classical Marble: Geochemistry, Technology, Trade, Dordrecht/Boston/London,1988. e n ASMOSIA II, M. WAELKENS, N. HERZ, L. MOENS (eds.): o t Ancient Stones: Quarrying, Trade and Provenance – S Interdisciplinary Studies on Stones and Stone Technology in t Europe and Near East from the Prehistoric to the Early n Christian Period, Leuven 1992. e i ASMOSIA III, Y. MANIATIS, N. HERZ, Y. BASIAKOS (eds.): c The Study of Marble and Other Stones Used in Antiquity, n London 1995. A ASMOSIA IV, M. SCHVOERER (ed.): Archéomatéiaux – n Marbres et Autres Roches. Actes de la IVème Conférence o Internationale de l’Association pour l’Étude des Marbres et s Autres Roches Utilisés dans le Passé, Bordeaux-Talence 1999. e i d ASMOSIA V, J. HERRMANN, N. HERZ, R. NEWMAN (eds.): u ASMOSIA 5, Interdisciplinary Studies on Ancient Stone – t Proceedings of the Fifth International Conference of the S Association for the Study of Marble and Other Stones in y Antiquity, Museum of Fine Arts, Boston, June 1998, London r 2002. -
Paper Information: Title: the Realm of Janus: Doorways in the Roman
Paper Information: Title: The Realm of Janus: Doorways in the Roman World Author: Ardle Mac Mahon Pages: 58–73 DOI: http://doi.org/10.16995/TRAC2002_58_73 Publication Date: 03 April 2003 Volume Information: Carr, G., Swift, E., and Weekes, J. (eds.) (2003) TRAC 2002: Proceedings of the Twelfth Annual Theoretical Roman Archaeology Conference, Canterbury 2002. Oxford: Oxbow Books. Copyright and Hardcopy Editions: The following paper was originally published in print format by Oxbow Books for TRAC. Hard copy editions of this volume may still be available, and can be purchased direct from Oxbow at http://www.oxbowbooks.com. TRAC has now made this paper available as Open Access through an agreement with the publisher. Copyright remains with TRAC and the individual author(s), and all use or quotation of this paper and/or its contents must be acknowledged. This paper was released in digital Open Access format in April 2013. The Realm of Janus: Doorways in the Roman World Ardle Mac Mahon For the Romans, the doorways into their dwellings had tremendous symbolic and spiritual significance and this aspect was enshrined around the uniquely Latin god Janus. The importance of principal entrance doorways was made obvious by the architectural embell ishments used to decorate doors and door surrounds that helped to create an atmosphere of sacred and ritual eminence. The threshold was not only an area of physical transition but also of symbolic change intimately connected to the lives of the inhabitants of the dwelling. This paper will explore the meaning of the architectural symbolism of the portal and the role of doorways in ritual within the Roman empire by an examination of the architectural remains and the literary sources. -
1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
Women Slaves and the Bacchic Murals in the Villa of the Mysteries in Pompeii
Women Slaves and the Bacchic Murals in the Villa of the Mysteries in Pompeii Elaine K. Gazda, University of Michigan, Ann Arbor The Villa of the Mysteries in Pompeii has held a special place in the scholarly and popular imagination ever since the excavations of 1909-10 that uncovered the room containing the now famous murals of women performing rituals in the presence of the god Bacchus and members of his mythical entourage. These powerful images have given rise to numerous speculations, all of them highlighting the perspective of the elite members of the household and their social peers. Scholarly studies have proposed various interpretations—cultic, nuptial, mythological and prophetic, social, and theatrical. They also focus on the principal figures: the so-called “Domina,” “Bride” and other figures thought to represent the “Initiate.” In contrast, this paper considers meanings that the murals may have held for non-elite viewers—in particular, the female slaves and freed slaves of the household. It proposes that those household slaves identified with the women on the walls through the lens of their own experiences as slaves in both domestic and cultic contexts. Focusing on those women who play various supporting roles in the visual drama depicted on the walls, this paper contends that a number of “jobs” portrayed in the murals in cultic form correspond to jobs that female slaves of the household performed in their daily lives in the villa. Merely recognizing the work that the non-elite women on the walls perform would have allowed slaves and former slaves as viewers to identify with their depicted counterparts. -
Roman Domestic Religion : a Study of the Roman Lararia
ROMAN DOMESTIC RELIGION : A STUDY OF THE ROMAN LARARIA by David Gerald Orr Thesis submitted to the Faculty of the Graduate School of the University of Maryland in partial fulfillment of the requirements fo r the degree of Master of Arts 1969 .':J • APPROVAL SHEET Title of Thesis: Roman Domestic Religion: A Study of the Roman Lararia Name of Candidate: David Gerald Orr Master of Arts, 1969 Thesis and Abstract Approved: UJ~ ~ J~· Wilhelmina F. {Ashemski Professor History Department Date Approved: '-»( 7 ~ 'ii, Ii (, J ABSTRACT Title of Thesis: Roman Domestic Religion: A Study of the Roman Lararia David Gerald Orr, Master of Arts, 1969 Thesis directed by: Wilhelmina F. Jashemski, Professor This study summarizes the existing information on the Roman domestic cult and illustrates it by a study of the arch eological evidence. The household shrines (lararia) of Pompeii are discussed in detail. Lararia from other parts of the Roman world are also studied. The domestic worship of the Lares, Vesta, and the Penates, is discussed and their evolution is described. The Lares, protective spirits of the household, were originally rural deities. However, the word Lares was used in many dif ferent connotations apart from domestic religion. Vesta was closely associated with the family hearth and was an ancient agrarian deity. The Penates, whose origins are largely un known, were probably the guardian spirits of the household storeroom. All of the above elements of Roman domestic worship are present in the lararia of Pompeii. The Genius was the living force of a man and was an important element in domestic religion. -
Roman Art: Pompeii and Herculaneum
Roman Art: Pompeii and Herculaneum August 24, 79 AD A Real City with Real People: The Everyday Roads & Stepping Stones Thermopolia …hot food stands Pistrina Pistrina = bakery Aerial view of the forum (looking northeast), Pompeii, Italy, second century BCE and later. (1) forum, (2) Temple of Jupiter (Capitolium), (3) basilica. The Forum Aerial view of the amphitheater, Pompeii, Italy, ca. 70 BCE. Brawl in the Pompeii amphitheater, wall painting from House I,3,23, Pompeii, Italy, ca. 60–79 CE. Fresco, 5’ 7” x 6’ 1”. Museo Archeologico Nazionale, Naples. Pompeii was surrounded by a wall about 2 miles long Outside the Wall • Pompeians buried their dead outside the city wall. Inside the Walls • Buildings are packed close together Houses Restored view and plan of a typical Roman house of the Late Republic and Early Empire (John Burge). (1) fauces, (2) atrium, (3) impluvium, (4) cubiculum, (5) ala, (6) tablinum, (7) triclinium, (8) peristyle. Floor Plan – Villa of the Mysteries • The main entrance often included mosaics “CAVE CANEM” House of the Tragic Poet Atrium An atrium had a compluvium and an impluvium What was the purpose of these features? Purposes: • Collect rain water • Allow light to come in Reconstruction of the atrium at the Villa of the Faun Peristyles (court yards) House of the Vettii Villa of the Mysteries Wall Paintings • Generally, elaborate paintings covered the walls of every room Studious Girl, Fresco from a Pompeii Home. Not a portrait of an individual. Its purpose is too show that the inhabitants of the house were literate and cultured people. The Four Pompeian Styles • Division = Based on differences in treatment of wall and painted space First Pompeian Style • began 2nd century BCE • Goal: imitate expensive marble House of Sallust Samnite House, Herculaneum Second Pompeian Style • Began early 1st century BCE • Goal: create a 3D world on a 2D surface Villa of the Mysteries (oecus – banquet hall) Dionysiac mystery frieze, Second Style wall paintings in Room 5 of the Villa of the Mysteries, Pompeii, Italy, ca. -
Art, Industry and Infrastructure in Roman Pompeii
Art, industry and infrastructure in Roman Pompeii edited by Eric Poehler, Miko Flohr and Kevin Cole OXBOW BOOKS Oxford and Oakville Published by Oxbow Books, Oxford, UK © Oxbow Books and the individual authors, 2011 ISBN 978-1-84217-984-0 This book is available direct from: Oxbow Books, Oxford, UK (Phone: 01865-241249; Fax: 01865-794449) and The David Brown Book Company PO Box 511, Oakville, CT 06779, USA (Phone: 860-945-9329; Fax: 860-945-9468) or from our website www.oxbowbooks.com Front cover: Back cover: A CIP record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Printed and bound by *** Contents List of Contributors v Figure List vii Abbreviations x Acknowledgements xi Maps xii Introduction 1 Eric Poehler, Miko Flohr and Kevin Cole Art 1. Beyond Painting in Pompeii’s Houses: Wall Ornaments and Their Patrons 10 Jessica Powers 2. The Sculpture of the Casa di Octavius Quartio at Pompeii 33 Francesca Tronchin 3. Porticus and Cryptoporticus in Luxury Villa Architecture 50 Mantha Zarmakoupi 4. Playful Workers. The Cupid Frieze in the Casa dei Vettii 62 Francesco de Angelis Industry 5. Disruption or Continuity? The Spatio-Visual Evidence of Post Earthquake Pompeii 74 Michael Anderson 6. Reconsidering the atrium House: Domestic fullonicae at Pompeii 88 Miko Flohr 7. Pottery Production in Pompeii: an Overview 103 Myles McCallum Infrastructure 8. What was a via? An Integrated Archaeological and Textual Approach 115 Alan Kaiser iv Contents 9. Lead Contamination in the Drinking Water of Pompeii 131 Duncan Keenan-Jones, John Hellstrom and Russell Drysdale 10. -
The Roman House
THE ROMAN HOUSE 1. FAUCES, the main entrance, consisting of a passageway between the front door and the ATRIUM, sometimes with a vestibule. 2. ATRIUM, the social and religious center of the house. It is the first open space that confronts the visitor entering from the street, and was often colonnaded and decorated to impress upon the visitor the importance of the family that owns the house. 3. IMPLUVIUM, located in the Atrium directly beneath the COMPLUVIUM (open skylight) in the ceiling, collects rainwater. 4. ALAE, recesses often used for the display of imagines or ancestor portraits. 5. TABLINUM, or reception room, where the leader of the household (almost always the pater familias , or father of the family) conducts business and meets clients. It is the axis of the house, in the sense that the rooms that preceded it were public or semi-public, and the rooms behind it (below) were for more private use. 6. PERISTYLE, often with a small reflecting pool or garden 7. PRIVATE / SERVANT ENTRANCE 8. CUBICULUM, a bedroom. In fact, the function of the rooms in the private area of the house vary greatly from house to house, or even season to season, so most of these rooms could also be used as a cubiculum. 9. TRICLINIUM, the dining room. Again, the location varies, and any of numerous rooms could have been used for dining, with seasonal considerations in mind. But the hallmark of a dining room in Roman (and in Greek) architecture is the off-center door. Central doors do not allow for an optimal spacing of dining couches. -
1 Page ART in the LIVES of ORDINARY ROMANS
Page | 1 ART IN THE LIVES OF ORDINARY ROMANS ARH 327R (19805) * Spring 2019 * MWF 11:00-12:00 * DFA 2.204 EUS 347 (36105) John R. Clarke Office DFA 2.114 Office Hours: W 1-3 Phone 512-232-2355 e-mail [email protected] Course Objectives 1) To examine how study of visual representations allows us to enter into the mentality of ancient non-elite Romans 2) To survey the art and architecture of Roman Italy between 100 B.C. and A.D. 315 3) To explore Roman attitudes toward the practices of daily life: religion, work, theater, gladiatorial games, tavern-going, banqueting, sexuality, self-representation, death, and burial 4) To learn how the Romans were—and were not—“just like us” Procedure Page | 2 1) This is primarily a lecture course—but with me stopping to ask a lot of questions. 2) I reward well-prepared students who speak up in class and show they’ve read the assignments. 3) There are three 50-minute exams: March 1 (35% of grade) April 12 (35% of grade) May10 (30% of grade) Each exam consists of 20 minutes of slide identifications and comparisons and a 30-minute prepared essay. Grades +/- grades will be assigned according to the system in effect since the fall of 2009. Instructions on Viewing Image Reserves To view images on reserve for your three exams, go to DASE (Digital Archives SErvices): https://dase.laits.utexas.edu and enter your UT EID and Password. When the DASE screen comes up, go to Browse Public User Collections/Slideshows. -
The Casa Della Regina Carolina (CRC) Project, Pompeii: Preliminary Report on 2018 and 2019 Field Seasons
The Journal of Fasti Online (ISSN 1828-3179) ● Published by the Associazione Internazionale di Archeologia Classica ● Palazzo Altemps, Via Sant’Appolinare 8 – 00186 Roma ● Tel. / Fax: ++39.06.67.98.798 ● http://www.aiac.org; http://www.fastionline.org The Casa della Regina Carolina (CRC) Project, Pompeii: Preliminary Report on 2018 and 2019 Field Seasons Caitlín Barrett - Kathryn Gleason - Annalisa Marzano - with additional contributions on palynology by Dafna Langgut Questo articolo presenta i risultati delle prime due campagne di scavo (2018-2019) condotte nel giardino della “Casa della Regina Carolina’ a Pompei (VIII.3.14) nell’ambito di un progetto scientifico multidisciplinare che investiga la relazione tra cultura materiale, ruoli sociali e cambiamenti storici. La domus oggetto di studio fu scavata nel XIX secolo, ma il giardino, tra i più ampi giardini domestici di Pompei, non fu investigato e questo ha consentito di effettuare vari saggi stratigrafici mi- rati, da un lato, ad individuare la superficie coltivata in antico e dall’altro a chiarire come lo spazio fosse utilizzato e vissuto da parte dei vari ‘utenti’ dal diverso ceto sociale (ad es. il padrone di casa, lo schiavo-giardiniere, etc.). Lo scavo ha restitui- to non solo dati interessanti sulla natura del giardino distrutto nel 79 d.C., ma ha anche rivelato i resti monumentali di una domus a peristilio di età sannitica. Il diverso orientamento di questa domus che, date le dimensioni e vicinanza al foro pro- babilmente apparteneva ad un membro di spicco della Pompei repubblicana, indica che l’intera insula subì un drastico ri- maneggiamento. I dati attualmente a nostra disposizione suggeriscono che tale rimaneggiamento risalga al periodo suc- cessivo al terremoto del 62 d.C.