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Activity and Rhythms in Roman Fora in the Republican and Early Imperial Periods

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Activity and Rhythms in Roman Fora in the Republican and Early Imperial Periods Activity and Rhythms in Roman Fora in the Republican and Early Imperial Periods by Matthew C. Naglak A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Art and Archaeology) in the University of Michigan 2020 Doctoral Committee: Professor Nicola Terrenato, Chair Professor Mary T. Boatwright, Duke University Associate Professor Ian Moyer Professor Lisa Nevett Professor Christopher Ratté Matthew C. Naglak [email protected] ORCID iD: 0000-0003-0473-3116 © Matthew C. Naglak 2020 To my family, for believing in me no matter where my path led ii Acknowledgements This project came together over many years and through many conversations with friends and colleagues. I would first like to thank my dissertation advisor, Professor Nicola Terrenato, not only for his advice on this work but also for the many scholarly opportunities he has provided me. Similar thanks go to the other members of my committee, Professors Christopher Ratté, Lisa Nevett, Ian Moyer, and Mary Boatwright, for their comments and contributions along the way. Countless faculty, staff, and students spanning multiple departments at the University of Michigan and elsewhere have influenced my thinking on the ancient world. I would like to give special thanks to my IPCAA cohort, Craig Harvey, Caitlin Clerkin, and Arianna Zapelloni Pavia. There is no other group of people I’d rather have spent the past seven years with. Thanks also to Troy Samuels, Katherine Beydler, James Faulkner, and Sheira Cohen for reading drafts of many of the chapters below as well as other publications over the years. And to Greg Tucker, Tyler Johnson, Paolo Maranzana, and Matteo Milesi, in the hope there will be even more beers at Neo in our future. Thanks to Victoria Moses, Scott Harlow, and Ashley Hahn for being willing to go sit in piazza spaces with me in Rome and watch the people go by. And to Rebecca Levitan, my oldest archaeology friend. Thanks to Elaine Gazda, Suzanne Davis, Dawn Johnson, and Alex Zwinak, each of whom made my time at Michigan a little easier in their own ways. And thanks to Jason Colman and Jon McGlone for the opportunity to enter the world of digital publishing and to gain skills for the next step of my career. iii This project marks the completion of my years in college and graduate school, and so I would like to thank Profs. David Fredrick, Alexandra Pappas, and Philip Stinson for their guidance and friendship over my time at the University of Arkansas and Kansas. Summers spent excavating at Gabii have been a joy over the past seven years, and I would like to thank all of those who made my time there an unforgettable experience. This is especially true of the many members of the topography team who have come and gone, each leaving their mark. Special thanks goes to Dr. Rachel Opitz for her mentorship and friendship; without her example and trust, I certainly wouldn’t be in the position I am today. I would like to thank Parrish Wright for supporting me and putting up with me through the ups and downs of graduate school. There is no one else I’d rather go through quarantine with on two separate continents. I love you. Finally, I would l like to thank my family for their support through my way-too-many years of school. Thanks to my grandparents, who saw me begin graduate school but passed away before I finished and were a constant source of love (and delicious food!) throughout my life. Thanks to my sister Elizabeth, who always had to deal with being the younger sibling yet will always be the first Dr. Naglak in the family and has helped me survive in Arkansas, Kansas, Michigan, and now Massachusetts. And last but certainly not least, my parents John and Kathryn Naglak, who trusted me to find my way in this crazy world and have always loved me unconditionally. I love you all. iv Table of Contents Dedication ii Acknowledgements iii List of Figures ix Abstract xiii Chapter 1 : Introduction 1 1.1 Vignette: Ann Arbor 1 1.2 Introduction 3 1.3 Structure of This Dissertation 12 Chapter 2 : Recent Applications of Urban Theory to the Roman City 17 2.1 Vignette: Siena 17 2.2 Introduction 21 2.3 Mertonian Middle-Range Theory 24 2.4 Rhythmanalysis 28 2.5 Middle-Range Theory in Studies of the Urban Environment 37 2.5.1 Architecture and Behavior in the Built Environment 38 2.5.2 Space Syntax and Visibility Analysis 44 2.5.3 Phenomenology and Sensory Studies of Urban Environments 48 2.5.4 Reader-Response Studies and Mental Mapping 54 2.6 Conclusion 60 v Chapter 3 : Textual Evidence for Activity in Roman Fora 63 3.1 Vignette: Campo de' Fiori 63 3.2 Introduction: Encounters in the Forum 66 3.3 Commerce 73 3.4 Paving the Forum with Shellfish: Elite and Non-elite Leisure, Busking, and Begging 85 3.5 Urban Warfare and Military Functionality 100 3.6 Punishment and Execution 109 3.7 News, Gossip, Omens, and Funerals 115 3.8 Gladiatorial Games, Rituals, and Other Events on the Roman Calendar 130 3.9 Slaves 135 3.10 Women and Children 140 3.11 Conclusion 149 Chapter 4 : Architectural Feature Types and Spatial Influence in Roman Fora 151 4.1 Introduction 151 4.2 Shaping the Piazza: Framework-feature Elements 154 4.2.1 Piazzas, Integration, and the Street Grid 154 4.2.2 Pavement 161 4.2.3 Looking Forward 169 4.3 Brief Remarks on Local-feature Elements 170 4.3.1 Evidence for Vegetation 172 4.4 Transitory-feature Elements 175 4.4.1 Temporary Barriers, Shade, and Other Structures 177 4.4.2 Animals 182 vi 4.4.3 Trash and Other Waste 184 4.4.4 Conclusion 186 Chapter 5 : The Rhythm of the Triumph 188 5.1 Vignette: Piazza di Santa Maria in Trastevere 188 5.2 Introduction 190 5.3 The Rhythm of the Triumph 191 5.4 Before, After, During 202 5.5 The Non-Elite Experience 207 5.6 Interregnum I 209 5.7 The Elite Experience 210 5.8 Interregnum II 212 5.9 The Circus Maximus: A Combined Experience? 213 5.10 Conclusion 216 Chapter 6 : The Evolving Rhythms of a Gabine Piazza 218 6.1 Vignette: Piazza San Calisto 218 6.2 Introduction: Seen from the Window 220 6.3 The Rhythms of Kinship (9th - 6th centuries BCE) 228 6.4 The Rhythms of the City (5th - 1st centuries BCE) 231 6.5 The Rhythms of Industry (1st century BCE - 5th century CE) 240 6.6 Conclusion: The Rhythms of Reuse (5th century CE - Present) 244 6.7 A Refrain 248 Chapter 7 : Conclusion 250 7.1 Conclusion: Liberty Piazza, Ann Arbor 250 vii 7.2 Postscript 253 Bibliography 254 viii List of Figures Figure 1.1: University of Michigan President Henry Tappan announces the attack on Fort Sumter on the courthouse lawn (image from the Washtenaw County Historical Society). 2 Figure 1.2: The Martyrdom of St. Agnes in the Roman Forum, in the year 303, under Diocletian 1864. Painting by Joseph Désiré Court (1797-1865). Oil on Canvas. Musée des Beaux-Arts, Rouen, France. 6 Figure 1.3: Screenshot from the Rome Reborn 3D reconstruction of the Roman forum (from www.romereborn.org). 8 Figure 1.4: Transformation of a hypothetical street grid into a network graph (after Jiang et al. 1999). 9 Figure 2.1: The shadow of the Torre del Mangia slowly moves across the Piazza del Campo over the course of a sunny August day (photo by author). 18 Figure 2.2: Looking southwest across the Piazza del Campo as it is set up for the palio (photo by Rebecca Levitan, July 1, 2018). 19 Figure 2.3: View of the center of the Piazza del Campo on the day of the palio (photo from Getty Images). 20 Figure 3.1: Campo dei Fiori in the morning, one of the most famous markets in Rome (photo from Wikipedia Commons). 65 Figure 3.2: Campo dei Fiori in the evening, one of the most famous dining and drinking locations in Rome (photo by author). 65 Figure 3.3: Full remains of the Fasti Praenestini, showing its nundinal letters on the left side (image from Wikipedia Commons). 78 Figure 3.4: Part of the “Forum Frieze” the House of Julia Felix depicting a market in the forum of Pompeii (image from Wikipedia Commons). 79 Figure 3.5: View of the Roman Forum, 1735, by Giovanni Paolo Panini. Oil on Canvas. Detroit Institute of Arts. 85 ix Figure 3.6: Roman game board inscribed into the steps of the Basilica Julia (image from Wikipedia Commons). 89 Figure 3.7: Map of the town of Norba, a member of the Latin League in 499 BCE, a Roman colony in 492 BCE, destroyed by Sulla in 82 BCE (map from Lackner 2008, 362). 93 Figure 3.8: Roman mosaic from Villa de Cicero (Villa of Cicero) in Pompeii on display in the National Archaeological Museum (Museo Archeologico Nazionale di Napoli) in Naples, depicting street musicians playing instruments often connected with the cult of Cybele (image from Wikipedia Commons). 96 Figure 3.9: Part of the “Forum Frieze” the House of Julia Felix in Pompeii, depicting people reading a banner across the front of the equestrian statues (Naples Archaeological Museum. Inventory number 9068). 121 Figure 3.10: Relief depiction the triumphal return of the Romans from the Arch of Titus (image from Wikipedia Commons). 122 Figure 3.11: Depiction of the riot in 59 CE between Nuceria and Pompeii from a fresco in the House of Actius Anicetus (Museo Archeologico Nazionale di Napoli, inventory.
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