ROMA ANTICA. CENTRO STORICO Introduction Founded by Romulus
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James E. Packer Source: American Journal of Archaeology, Vol
Report from Rome: The Imperial Fora, a Retrospective Author(s): James E. Packer Source: American Journal of Archaeology, Vol. 101, No. 2 (Apr., 1997), pp. 307-330 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/506512 . Accessed: 16/01/2011 17:28 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=aia. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Archaeological Institute of America is collaborating with JSTOR to digitize, preserve and extend access to American Journal of Archaeology. http://www.jstor.org Report from Rome: The Imperial Fora, a Retrospective JAMES E. -
The Punishment of Tarpeia and Its Possible Iconographic Inspiration*
2017 ACTA UNIVERSITATIS CAROLINAE PAG. 43–55 PHILOLOGICA 2 / GRAECOLATINA PRAGENSIA THE PUNISHMENT OF TARPEIA AND ITS POSSIBLE ICONOGRAPHIC INSPIRATION* LENKA VACINOVÁ ABSTRACT The motif of the Punishment of Tarpeia is surprisingly rare in Roman visual arts. However, the surviving examples show iconographical unity and imply their common primary visual source of inspiration. The article is exploring the possible models considering the less obvious iconograph- ical similarities and resemblances in terms of content found in the Greek art. The cases of the infamous intriguer Dirce and traitor Dolon are dis- cussed, as well as the remarkable resemblances found on some images of the Death of Caeneus. While the latter indicates the inspiration based on free associations and the similar circumstances of death of the both protagonists, Dolon and Dirce seem to influence the creator of the icono- graphic scheme of the Punishment of Tarpeia in a more straight way. Keywords: iconography; Tarpeia; betrayal; punishment; exposure; nudity Roman art is abundant in the iconographic paradigms borrowed from Greek visual arts, as well as in scenes with no such close and apparent parallels. The story of Tarpeia ’ s treachery and her punishment seems to belong to the latter group. The tragic tale of a girl who, enchanted by the golden bracelets of the enemy, betrays Rome to the Sabine king Titus Tatius under the promise of “what the Sabines wear on their left hands” and who instead meets her fate under a pile of their shields (which the Sabines unfortunately also carry on their left arms), is dealt with both by Greek and Latin authors in a quite different versions.1 On the contrary, the scarcely preserved depictions of Tarpeia seem to share almost the same iconographic scheme. -
Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C. Seth G. Bernard University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Bernard, Seth G., "Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C." (2012). Publicly Accessible Penn Dissertations. 492. https://repository.upenn.edu/edissertations/492 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/492 For more information, please contact [email protected]. Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C. Abstract MEN AT WORK: PUBLIC CONSTRUCTION, LABOR, AND SOCIETY AT MID-REPUBLICAN ROME, 390-168 B.C. Seth G. Bernard C. Brian Rose, Supervisor of Dissertation This dissertation investigates how Rome organized and paid for the considerable amount of labor that went into the physical transformation of the Middle Republican city. In particular, it considers the role played by the cost of public construction in the socioeconomic history of the period, here defined as 390 to 168 B.C. During the Middle Republic period, Rome expanded its dominion first over Italy and then over the Mediterranean. As it developed into the political and economic capital of its world, the city itself went through transformative change, recognizable in a great deal of new public infrastructure. -
Ancient Rome’S Most Exclu- Fare of the Roman Forum Gladiatorial Amphitheatre Sive Neighbourhood
56 ©Lonely Planet Publications Pty Ltd A n c i e n t R o m e COLOSSEUM | FORUMS | CAMPIDOGLIO | PIAZZA VENEZIA | BOCCA DELLA VERITÀ & FORUM BOARIUM Five Top Experiences 1 Getting your first 2 Exploring the haunting 4 Walking up Via Sacra, glimpse of the Colosseum ruins of the Palatino (p 60 ), the once grand thorough- (p 58 ). Rome’s towering ancient Rome’s most exclu- fare of the Roman Forum gladiatorial amphitheatre sive neighbourhood. (p 63 ). is both an architectural 3 Coming face to face 5 Surveying the city masterpiece, the blueprint with centuries of awe- spread out beneath you for much modern stadium inspiring art at the historic from atop Il Vittoriano design, and a stark, spine- Capitoline Museums (p67 ). (p 69 ) tingling reminder of the brutality of ancient times. 000000000000000000 000000000000000000 000000000000000000o 000000000000000000Piazza Traian e 0200m 000000000000000000Venezia oro # 00.1miles 000000000000000000ia F 000000000000000000V 000000000000000000arco 000000000000000000M V ri 000000000000000000i San nga d Imperial i V Zi V000000000000000000ia #æ a egli # ia 0000000000000000005 Forums T Via d V00000000000000000000000000 V or 000000000 000000000000000000ia 00000000 ä# d 000000000000a i e n 000000000000000000d 00000000 Via a d 000000000oni 000 i e 000000000000000000'A 00000000 A e 000000Via L 000000 00000000000000000000000000 dei F ' S 000000000000 r le C ccina 000000000000000000a 00000000 a Ba e 000000000000 000000000000000000c 00000000 s o Vi i P s nt r 000000000000000000o 00000000 ori n o p e iet a e'M 00000000000000000000000000 -
Rodolfo Lanciani, the Ruins and Excavations of Ancient Rome, 1897, P
10/29/2010 1 Primus Adventus ad Romam Urbem Aeternam Your First Visit to Rome The Eternal City 2 Accessimus in Urbe AeternA! • Welcome, traveler! Avoiding the travails of the road, you arrived by ship at the port of Ostia; from there, you’ve had a short journey up the Via Ostiensis into Roma herself. What do you see there? 3 Quam pulchra est urbs aeterna! • What is there to see in Rome? • What are some monuments you have heard of? • How old are the buildings in Rome? • How long would it take you to see everything important? 4 Map of Roma 5 The Roman Forum • “According to the Roman legend, Romulus and Tatius, after the mediation of the Sabine women, met on the very spot where the battle had been fought, and made peace and an alliance. The spot, a low, damp, grassy field, exposed to the floods of the river Spinon, took the name of “Comitium” from the verb coire, to assemble. It is possible that, in consequence of the alliance, a road connecting the Sabine and the Roman settlements was made across these swamps; it became afterwards the Sacra Via…. 6 The Roman Forum • “…Tullus Hostilius, the third king, built a stone inclosure on the Comitium, for the meeting of the Senators, named from him Curia Hostilia; then came the state prison built by Ancus Marcius in one of the quarries (the Tullianum). The Tarquin [kings] drained the land, gave the Forum a regular (trapezoidal) shape, divided the space around its borders into building- lots, and sold them to private speculators for shops and houses, the fronts of which were to be lined with porticoes.” --Rodolfo Lanciani, The Ruins and Excavations of Ancient Rome, 1897, p. -
The Architecture of Roman Temples
P1: JzL 052181068XAgg.xml CB751B/Stamper 0 521 81068 X August 28, 2004 17:30 The Architecture of Roman Temples - The Republic to the Middle Empire John W. Stamper University of Notre Dame iii P1: JzL 052181068XAgg.xml CB751B/Stamper 0 521 81068 X August 28, 2004 17:30 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C John W. Stamper 2005 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2005 Printed in the United Kingdom at the University Press, Cambridge Typefaces Bembo 11/14 pt., Weiss, Trajan, and Janson System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Stamper, John W. The architecture of Roman temples : the republic to the middle empire / John W. Stamper. p. cm. Includes bibliographical references and index. isbn 0-521-81068-x 1. Temples, Roman – Italy – Rome. 2. Temple of Jupiter Capitolinus (Rome, Italy) 3. Architecture, Roman – Italy – Rome – Influence. 4. Rome (Italy) -
The Campidoglio
The Campidoglio ”… The Capitol, the head of the world, where consuls and senators governed the earth”. (Mirabilia Urbis) The current magnificent Capitol square is located on the Mons Capitolinus of the Pagan Rome. This was the smallest of the seven hills of Rome: only 50 meters high, but surpassed for importance all the other hills nearby. Here dominated the superb Fortress of the City, the Arce, then the oldest temple, dedicated to Capitoline Jupiter, where the triumphal parade of the victorious leaders ended with a sacrifice to the god, then the sanctuary of Juno and finally the State archive, the indestructible mass of the Tabularium. The facades of these buildings faced in the past the Forum, this means on the opposite side, so the roads of access to the Capitol were on the side of the Forum too. On the Campidoglio on the 1st of January the ceremony of investiture of consuls took place and from here all governors took their way to the provinces of the Empire. Through the centuries the Capitole was abandoned, becoming nude and deserted, reduced to a few pieces of marble and to the ruins of the Tabularium. At the beginning of the Middle Age the whole hill was just reduced to the possession of the cloister belonging to the Church of Santa Maria d’Aracoeli. The triumph of Christian Rome, after dark and stormy periods, revenged its ancient right on the Mount Capitolino with the erection, in the VI cent., of the Church of Santa Maria d’Aracoeli, upon the ruins of the Temple dedicated to Juno. -
Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2013 Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Custom Citation Kinney, Dale. "Spoliation in Medieval Rome." In Perspektiven der Spolienforschung: Spoliierung und Transposition. Ed. Stefan Altekamp, Carmen Marcks-Jacobs, and Peter Seiler. Boston: De Gruyter, 2013. 261-286. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/70 For more information, please contact [email protected]. Topoi Perspektiven der Spolienforschung 1 Berlin Studies of the Ancient World Spoliierung und Transposition Edited by Excellence Cluster Topoi Volume 15 Herausgegeben von Stefan Altekamp Carmen Marcks-Jacobs Peter Seiler De Gruyter De Gruyter Dale Kinney Spoliation in Medieval Rome i% The study of spoliation, as opposed to spolia, is quite recent. Spoliation marks an endpoint, the termination of a buildlng's original form and purpose, whÿe archaeologists tradition- ally have been concerned with origins and with the reconstruction of ancient buildings in their pristine state. Afterlife was not of interest. Richard Krautheimer's pioneering chapters L.,,,, on the "inheritance" of ancient Rome in the middle ages are illustrated by nineteenth-cen- tury photographs, modem maps, and drawings from the late fifteenth through seventeenth centuries, all of which show spoliation as afalt accomplU Had he written the same work just a generation later, he might have included the brilliant graphics of Studio Inklink, which visualize spoliation not as a past event of indeterminate duration, but as a process with its own history and clearly delineated stages (Fig. -
Section of a Floor Mosaic Depicting Fall
VMFA Resources CLASSROOM ACTIVITY VIRGINIA MUSEUM OF FINE ARTS Section of a Floor Mosaic Depicting Fall Section of a Floor Mosaic Depicting Fall, 3rd–4th century AD Roman Stone and glass tesserae, 70 x 40 in. Adolph D. and Wilkins C. Williams Fund, 51.13 VMFA Resources CLASSROOM ACTIVITY VIRGINIA MUSEUM OF FINE ARTS Object Information Romans often decorated their public buildings, villas, and houses with mosaics—pictures or patterns made from small pieces of stone and glass called tesserae (tes’-er-ray). To make these mosaics, artists first created a foundation (slightly below ground level) with rocks and mortar and then poured wet cement over this mixture. Next they placed the tesserae on the cement to create a design or a picture, using different colors, materials, and sizes to achieve the effects of a painting and a more naturalistic image. Here, for instance, glass tesserae were used to add highlights and emphasize the piled-up bounty of the harvest in the basket. This mosaic panel is part of a larger continuous composition illustrating the four seasons. The seasons are personified aserotes (er-o’-tees), small boys with wings who were the mischievous companions of Eros. (Eros and his mother, Aphrodite, the Greek god and goddess of love, were known in Rome as Cupid and Venus.) Erotes were often shown in a variety of costumes; the one in this panel represents the fall season and wears a tunic with a mantle around his waist. He carries a basket of fruit on his shoulders and a pruning knife in his left hand to harvest fall fruits such as apples and grapes. -
Recent Discoveries in the Forum, 1898-1904
Xil^A.: ORum 1898- 1:904 I^H^^Hyj|Oj|^yL|i|t I '^>^J:r_J~ rCimiR BADDELEY '•^V^^^' ^^^ i^. J^"A % LIBRARY RECENT DISCOVERIES IN THE FORUM Digitized by the Internet Archive in 2011 with funding from University of Toronto http://www.archive.org/details/recentdiscoverieOObadd ^%p. ji^sa&i jI Demolishing the Houses Purchased by Mp. L. Piitlltps (1899) Frontispiece RECENT DISCOVERIES IN THE FORUM 1898-1904 BY AN EYE-WITNESS S:i^ CLAIR BADDELEY BEING A HANDBOOK FOR TRAVELLERS, WITH A MAP MADE FOR THIS WORK BY ORDER OF THE DIRECTOR OF THE EXCAVATIONS AND 45 ILLUSTRATIONS LONDON GEORGE ALLEN, 156, CHARING CROSS ROAD 1904 [All rights reserved] -. s* r \ i>< ^^ARY# r^ ¥ ^ y rci/O FEB 26 'X_> Printed by BALLANTYNK, HANSON <5r» Co. At the Ballantyne Press TO LIONEL PHILLIPS, Esq, IN MEMORY OF DAYS IN THE FORUM PREFATORY NOTE 1 HAVE heard life in the Forum likened unto ' La Citta Morte/ wherein the malign influences of ancient crimes rise up from the soil and evilly affect those who live upon the site. I have also heard it declared to be a place dangerous to physical health. It is with gratifi- cation, therefore, after living therein, both beneath it and above, as few can have done, for considerable portions of the last six years, that I can bring solid evidence to belie both accusations. They indeed would prove far more applicable if levelled at certain other august centres of Rome. For I find it necessary to return thanks here for valuable assistance given to me without hesitation and at all times, not only by my personal friend Comm. -
Under the Influence of Art: the Effect of the Statues of Horatius Cocles and Cloelia on Valerius
Under the Influence of Art: The Effect of the Statues of Horatius Cocles and Cloelia on Valerius Maximus’ Facta et Dicta Memorabilia In his work, Facta et Dicta Memorabilia, Valerius Maximus stated in the praefatio of his chapter “De Fortitudine” that he will discuss the great deeds of Romulus, but cannot do so without bringing up one example first; someone whose similarly great deeds helped save Rome (3.2.1-2). This great man is Horatius Cocles. Valerius Maximus noted that he must next talk about another hero, Cloelia, after Horatius Cocles because they fight the same enemy, at the same time, at the same place, and both perform facta memorabilia to save Rome (3.2.2-3). Valerius Maximus mentioned Horatius Cocles and Cloelia together, as if they are a joined pair that cannot be separated. Yet there is another legendary figure, Mucius Scaevola, who also fights the same enemy, at the same time, and also performs facta memorabilia to save Rome. It is strange both that Valerius Maximus seemed compelled to unite Cloelia with the mention of Horatius Cocles, and also that he did not include Mucius Scaevola. Instead, Scaevola’s story is at the beginning of the next chapter (3.3.1). Traditionally these three heroes, Horatius Cocles, Cloelia, and Mucius Scaevola, were mentioned together by historians such as Livy and Dionysius of Halicarnassus, whose works predate Valerius Maximus’ (Ab Urbe Condita 2.10-13, Roman Antiquities 5.23-35). Valerius Maximus was able to split up the triad, despite the tradition, without receiving flack because it had already been done by Virgil in the Aeneid, where he described the dual images of Cocles and Cloelia on Aeneas’ shield, but Scaevola is absent (8.646-651). -
De Ornanda Instruendaque Urbe Anne Truetzel
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2011 De Ornanda Instruendaque Urbe Anne Truetzel Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Truetzel, Anne, "De Ornanda Instruendaque Urbe" (2011). All Theses and Dissertations (ETDs). 527. https://openscholarship.wustl.edu/etd/527 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department of Classics De Ornanda Instruendaque Urbe: Julius Caesar’s Influence on the Topography of the Comitium-Rostra-Curia Complex by Anne E. Truetzel A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts August 2011 Saint Louis, Missouri ~ Acknowledgments~ I would like to take this opportunity to thank the Classics department at Washington University in St. Louis. The two years that I have spent in this program have been both challenging and rewarding. I thank both the faculty and my fellow graduate students for allowing me to be a part of this community. I now graduate feeling well- prepared for the further graduate study ahead of me. There are many people without whom this project in particular could not have been completed. First and foremost, I thank Professor Susan Rotroff for her guidance and support throughout this process; her insightful comments and suggestions, brilliant ideas and unfailing patience have been invaluable.