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UCL - INSTITUTE OF ARCHAEOLOGY

ARCL0018 ROMAN ART AND ARCHITECTURE

2019

15 credits 2nd/3rd Year Module, BA

Co-ordinator: Professor Jeremy Tanner [email protected] IoA Room 105, Tel: 0207 679 1525 Office hours: Tuesday 11-12 and Wednesday 11-12 (or by appointment)

Turnitin Class ID: 3884024 Turnitin Password IoA1819

Essay submission: Essay must be handed in in class Tuesday 19thth March Target date for essay handbacks: Friday 22nd March, pm.

Please see the last page of this document for important information about submission and marking procedures, or links to the relevant webpages

1. OVERVIEW OF COURSE:

This module provides an introduction to Roman art – sculpture, painting, architecture, minor arts (cameos, gems, silverware) – from c. 300 BC to 400 AD. Particular attention will be paid to the relationship between Roman art and society. Problems addressed will include: stylistic change and innovation, elite competition and the formation of Roman art, Roman art and the projection of Roman imperial power, painting and patronage, the Roman architectural revolution, the rise of Christian art and the decline of Roman art. The module will include visits to the Roman collections in the British Museum.

Lectures will be held on Tuesdays 9-11am, IoA Room 209 Tutorials will be held on Thursdays in the British Museum – as scheduled – 12-3pm

ARCL0018 ROMAN ART AND ARCHITECTURE - COURSE SCHEDULE

8/1/19 1. Introduction to the Module 2. Etruscan and Italic Art before the Rise of Rome

PT I: HELLENISM AND THE FORMATION OF ROMAN ART

15/1/19 3. Rome and the Heritage of Greece: Conquest, Appropriation, Display 4. Elite Competition and the Formation of Roman Art 17/1/19 1st British Museum Tutorial: Etruscan, Italic and Early Roman Art

22/1/19 5. Technology, Form and Function in the Development of Roman Architecture PT II: THE AGE OF AUGUSTUS 6. Augustus and the Transformation of Urban Space

29/1/19 7. Religion, Politics and Propaganda in Augustan Rome 8. Imperial Art in the Private Sphere 31/1/19 2nd British Museum Tutorial: Augustan Art: Portraits, Glass and the Portland vase, Silver

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PT III: ART, ARCHITECTURE AND THE PROJECTION OF IMPERIAL POWER

5/2/19 9. Reading the Roman House 10. War and Triumph

[12/2/19 Reading Week]

19/2/19 11. Palaces and Pleasure Grounds: The Aesthetics and Politics of Imperial Building 12. Consecration: Emperors as Gods 21/2/19 3rd British Museum Tutorial: The High Empire: Painting, Portraits, Mosaics

26 /2/19 13. Death and Renewal: Social and Cultural Symbolism in Roman Funerary Art 14. Center and Periphery in Roman Art: Provincialism and Regionalism 28/2/19 4th British Museum Tutorial: Centers and peripheries in Roman Funerary Art: Roman Sarcophagi, Palmyran Art, Romano-Egyptian mummy portraits

PT IV: IMPERIAL CRISIS

5/3/19 15. The Antonines, the Severans and the "Stilwandel" 16. From the Age of Anxiety to the Art of the Dominate

12/3/19 17. The Arch of Constantine: Decline or Renewal? Course Assessment

PT V: THE GREAT TRANSFORMATION

18. The Origins of Christian Art 14/3/19 5th British Museum Tutorial: Late Antique and Early Christian Art

19/3/19 19. The Art of the Late Antique State Hand in Essay at Class (Handbacks: Friday) 20. No lecture: Exam, Revision Techniques, Discuss Assessment.

METHODS OF ASSESSMENT This module is assessed by means of: (a) a two-hour written examination in May (67 % of the final grade for the course) and (b) one piece of course-work, an essay of 2375-2625 words, which contributes 33% to the final grade for the course.

TEACHING METHODS This module is taught through lectures and tutorials. Attendance at both is required. Lectures will introduce students to basic materials and issues, with some time for discussion based around specified readings to be done prior to class. Tutorials in the British Museum provide the opportunity for more detailed first hand examination and discussion of examples of some of the most characteristic and important specimens of Greek art, introduced through student presentations.

WORKLOAD There will be 18 hours of lectures and 6 hours of tutorial sessions (5 in Winter term, I hour revision tutorial summer term) for this course. Students will be expected to undertake around 86 hours of reading for the course, plus 20 hours preparing for and producing the assessed work, and an additional 20 hours on revision for the examination. This adds up to a total workload of some 150 hours for the course.

2. MODULE AIMS, OBJECTIVES AND OUTCOMES; MODULE ASSESSMENT

AIMS This module provides an introduction to Roman art – sculpture, painting, architecture, minor arts (cameos, gems, silverware) – from c. 300 BC to 400 AD. Particular attention will be paid to the relationship between Roman art and society. Problems addressed will include: stylistic change and innovation, elite competition and the formation of Roman art, Roman art and the projection of Roman imperial power, painting and patronage, the Roman architectural revolution, the rise of Christian art

3 and the decline of Roman art. The module will include visits to the Roman collections in the British Museum.

OBJECTIVES On successful completion of this module a student should: Have an overview of the development and the major monuments of Roman art from the 8th century BC to the 6th century AD. Understand the principles of the major methodologies of art analysis Be familiar with the major iconographic themes of Roman art Be able to analyse the major styles of Roman art, and date objects by style

OUTCOMES On successful completion of this module students should have developed: Oral presentation skills Skills for the critical analysis and interpretation of visual representations Ability to find, organize, evaluate and communicate evidence and theories in relationship to specific research questions

3. TUTORIAL GROUPS AND PRESENTATIONS Tutorials in the British Museum will take place on Thursdays. Students will be divided into groups, in order to ensure everybody can see the objects we are looking at (some quite small). All students will be required to give at least one, probably two, short presentations in the British Museum (see below for details, pp. 24-28 – section on PRESENTATIONS). Failure to give scheduled presentations will result in a minimum penalty of the student being required to write an additional essay in order to complete the course.

ASSESSMENT DETAILS

Details of essay questions, with guidance on required and supplementary readings can be found on pages 19-23 of this module handbook.

The Module Co-ordinator is willing to discuss an outline (maximum one page) of the student's approach to the assignment, provided this is planned suitably in advance of the submission date. . Word-length Your essay should be between 2375 and 2625 words in length. The lower limit is a guideline foe expected length; the upper limit is strict, and the standard draconian UCL penalities apply for overlength essays. The following should not be included in the word-count: bibliography, appendices, and tables, graphs and illustrations and their captions. Do feel free, within reason, to write detailed captions (not more than 100 words or so), pointing up specific features of images that play a role in the argument of your essay: quite a useful skill for an art historian, and allows a little wiggle room around the word limit.

In the 2019-19 session penalties for overlength work will be as follows:

 For work that exceeds the specified maximum length by less than 10% the mark will be reduced by five percentage marks, but the penalised mark will not be reduced below the pass mark, assuming the work merited a Pass.  For work that exceeds the specified maximum length by 10% or more the mark will be reduced by ten percentage marks, but the penalised mark will not be reduced below the pass mark, assuming the work merited a Pass.

Coursework submission procedures  All coursework must normally be submitted both as hard copy and electronically. (The only exceptions are bulky portfolios and lab books which are normally submitted as hard copy only.)  You should staple the appropriate colour-coded IoA coversheet (available in the IoA library and outside room 411a) to the front of each piece of work and submit it to the red box at the Reception Desk (or room 411a in the case of Year 1 undergraduate work)

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 All coursework should be uploaded to Turnitin by midnight on the day of the deadline. This will date-stamp your work. It is essential to upload all parts of your work as this is sometimes the version that will be marked.  Instructions are given below.

Note that Turnitin uses the term ‘class’ for what we normally call a ‘module’. 1. Ensure that your essay or other item of coursework has been saved as a Word doc., docx. or PDF document, and that you have the Class ID for the module (available from the module handbook) and enrolment password (this is IoA1819for all modules this session - note that this is capital letter I, lower case letter o, upper case A, followed by the current academic year) 2. Click on http://www.turnitinuk.com/en_gb/login 3. Click on ‘Create account’ 4. Select your category as ‘Student’ 5. Create an account using your UCL email address. Note that you will be asked to specify a new password for your account - do not use your UCL password or the enrolment password, but invent one of your own (Turnitin will permanently associate this with your account, so you will not have to change it every 6 months, unlike your UCL password). In addition, you will be asked for a “Class ID” and a “Class enrolment password” (see point 1 above). 6. Once you have created an account you can just log in at http://www.turnitinuk.com/en_gb/login and enrol for your other classes without going through the new user process again. Simply click on ‘Enrol in a class’. Make sure you have all the relevant “class IDs” at hand. 7. Click on the module to which you wish to submit your work. 8. Click on the correct assignment (e.g. Essay 1). 9. Double-check that you are in the correct module and assignment and then click ‘Submit’ 10. Attach document as a “Single file upload” 11. Enter your name (the examiner will not be able to see this) 12. Fill in the “Submission title” field with the right details: It is essential that the first word in the title is your examination candidate number (e.g. YGBR8 In what sense can culture be said to evolve?), 13. Click “Upload”. When the upload is finished, you will be able to see a text-only version of your submission. 14 Click on “Submit”

. If you have problems, please email the IoA Turnitin Advisers on [email protected], explaining the nature of the problem and the exact module and assignment involved.

One of the Turnitin Advisers will normally respond within 24 hours, Monday-Friday during term. Please be sure to email the Turnitin Advisers if technical problems prevent you from uploading work in time to meet a submission deadline - even if you do not obtain an immediate response from one of the Advisers they will be able to notify the relevant Module Coordinator that you had attempted to submit the work before the deadline

Examination The module has a two hour unseen examination which will be held during May; the specific date and time will be announced when the schedule of examinations is set by the College. The exam will consist of two parts, each carrying equal marks. The first part will consist of a series of eight pictures, four of which you must identify, date and discuss in terms of style and iconography. The second part will require you to write two (from a choice of four) slightly longer commentaries on pairs of images or images and texts, paying special attention to issues or problems they raise relevant to the themes of the course, in particular broader questions of socio-historical context

Previous examination papers, with the same format and examples of the style of questions which will be asked, are available for consultation in the Institute Library, and are available on the UCL Web-site. A revision session to discuss the examination will be held in the first week of third term

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4. ONLINE RESOURCES

The full UCL Institute of Archaeology coursework guidelines are given here: http://www.ucl.ac.uk/archaeology/handbook/common/marking.htm. The full text of this handbook is available here (includes clickable links to Moodle and online reading lists if applicable) http://www.ucl.ac.uk/silva/archaeology/course-info/.

5. ADDITIONAL INFORMATION

Libraries and other resources In addition to the Library of the Institute of Archaeology, other libraries in UCL with holdings of particular relevance to this degree are the Classics and Ancient History sections of the main UCL library.

Institute of archaeology coursework procedures General policies and procedures concerning courses and coursework, including submission procedures, assessment criteria, and general resources, are available in your Degree Handbook and on the following website: http://wiki.ucl.ac.uk/display/archadmin It is essential that you read and comply with these. Note that some of the policies and procedures will be different depending on your status (e.g. undergraduate, postgraduate taught, affiliate, graduate diploma, intercollegiate, interdepartmental). If in doubt, please consult your module co-ordinator.

Information for intercollegiate and interdepartmental students Students enrolled in Departments outside the Institute should obtain the Institute’s coursework guidelines from Judy Medrington (email [email protected]), which will also be available on the IoA website. . Dyslexia If you have dyslexia or any other disability, please make your lecturers aware of this. Please discuss with your lecturers whether there is any way in which they can help you. Students with dyslexia are reminded to indicate this on each piece of coursework.

TEACHING SCHEDULE

Lectures will be held 9-11am on Tuesdays in room 209; Winter term only. British Museum Tutorials will be held at the British Museum on Thursdays, as specified on the module schedule. There will be up to three groups, starting at 12, 1 and 2 pm respectively.

Following pages include: 1. Module Syllabus/schedule 2. Bibliography, class by class with topic outlines 3. Essay choices with supplementary bibliography 4. Readings for British Museum Presentations

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MODULE SYLLABUS

ARCL0018 ROMAN ART AND ARCHITECTURE - COURSE SCHEDULE

8/1/19 1. Introduction to the Module 2. Etruscan and Italic Art before the Rise of Rome

PT I: HELLENISM AND THE FORMATION OF ROMAN ART

15/1/19 3. Rome and the Heritage of Greece: Conquest, Appropriation, Display 4. Elite Competition and the Formation of Roman Art 17/1/19 1st British Museum Tutorial: Etruscan, Italic and Early Roman Art

22/1/19 5. Technology, Form and Function in the Development of Roman Architecture PT II: THE AGE OF AUGUSTUS 6. Augustus and the Transformation of Urban Space

29/1/19 7. Religion, Politics and Propaganda in Augustan Rome 8. Imperial Art in the Private Sphere 31/1/19 2nd British Museum Tutorial: Augustan Art: Portraits, Glass and the Portland vase, Silver

PT III: ART, ARCHITECTURE AND THE PROJECTION OF IMPERIAL POWER

5/2/19 9. Reading the Roman House 10. War and Triumph

[12/2/19 Reading Week]

19/2/19 11. Palaces and Pleasure Grounds: The Aesthetics and Politics of Imperial Building 12. Consecration: Emperors as Gods 21/2/19 3rd British Museum Tutorial: The High Empire: Painting, Portraits, Mosaics

26 /2/19 13. Death and Renewal: Social and Cultural Symbolism in Roman Funerary Art 14. Center and Periphery in Roman Art: Provincialism and Regionalism 28/2/19 4th British Museum Tutorial: Centers and peripheries in Roman Funerary Art: Roman Sarcophagi, Palmyran Art, Romano-Egyptian mummy portraits

PT IV: IMPERIAL CRISIS

5/3/19 15. The Antonines, the Severans and the "Stilwandel" 16. From the Age of Anxiety to the Art of the Dominate

12/3/19 17. The Arch of Constantine: Decline or Renewal? Course Assessment

PT V: THE GREAT TRANSFORMATION

18. The Origins of Christian Art 14/3/19 5th British Museum Tutorial: Late Antique and Early Christian Art

19/3/19 19. The Art of the Late Antique State Hand in Essay at Class (Handbacks: Friday) 20. No lecture: Exam, Revision Techniques, Discuss Assessment.

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LECTURE SUMMARIES AND BIBLIOGRAPHY The following is an outline for the module as a whole, and identifies essential and supplementary readings relevant to each session. Information is provided as to where in the UCL library system individual readings are available; their location and Teaching Collection (TC) number, and status (whether out on loan) can also be accessed on Explore, the UCL computer catalogue system. Readings marked with an * are considered essential to keep up with the topics covered in the course. Copies of individual articles and chapters identified as essential reading are in the Teaching Collection in the Institute Library (where permitted by copyright).

ARCL0018: ROMAN ART AND ARCHITECTURE – BIBLIOGRAPHY

FINDING READINGS: Library class numbers are given in brackets for all the required readings. TC = teaching collection. ID = issue desk. Qto = quarto volume – shelved separately from standard size volumes in library. If you have any difficulties finding anything, please come and ask. It is there, although sometimes the UCL library can be a little confusing.

BASIC REFERENCES: You may want to buy the basic text books for the course. They are: 1. D. Strong Roman Art 2 ed. R. Ling 1988 (YATES A40 STR) 2. Frank Sear Roman Architecture 1982 (YATES K5 SEA, and on issue Desk); 3. J. J. Pollitt The Art of Rome, c. 753 BC - AD 337 - Sources and Documents. 1966, reissued 1983 (YATES A40 POL). They are normally available at Waterstone’s or The British Museum Bookshop, but cheapest from Amazon. There is no need to buy them (plenty of copies in library), and they are listed in order of desirability (primary consideration good plates) In what follows references to these books will be given by name of author only.

Other good introductory texts and handbooks, also subsequently listed under authors name only, are, (with their call numbers, not subsequently repeated): Beckwith, J. 19792. Early Christian and Byzantine Art. (YATES A48 BEC) Boethius, E. 1978. Etruscan and Early Roman Architecture. (YATES K2 BOE + ID) Brilliant, R. 1974. Roman Art from the Republic to Constantine. (YATES A40 BRI + ID) Elsner, J.R. 1995. Art and the Roman Viewer: The Transformation of Roman Art from the Pagan World to Christianity. (YATES A60 ELS) Hannestad, N. 1988. Roman Art and Imperial Power. (Fantastic bibliography, with subject and period headings) (YATES Qto R45 HAN + ID) Henig, M. ed. 1983. A Handbook of Roman Art: A Survey of Visual Arts in the Roman World. (YATES A40 HEN) Kleiner, D. 1992. Roman Sculpture. (YATES Qto M70 KLE) Krautheimer, R. 19864 Early Christian and Byzantine Architecture. (IoA CDD 398 KRA + ID) Ling, R. 1991. Roman Painting (YATES Qto P140 LIN) MacDonald, W. L. 1982 (Revised edition). The Architecture of the Roman Empire I: An Introductory Study (YATES Qto K5 MAC) _____. 1986. The Architecture of the Roman Empire II: An Urban Appraisal Strong, D. and D. Brown eds. 1976. Roman Crafts. (IoA K STR + ID) Ward-Perkins, J. 1981, Roman Imperial Architecture (IoA ID WAR + ID)

Recommended for BM: Burn, Lucilla, 1991. The British Museum Book of Greek and Roman Art Walker, Susan, 1991. Roman Art (British Museum Publications)

The bibliography for each lecture or class is listed under two headings, "required" and "recommended". It will be assumed that you have read at least the relevant sections of Strong, Sear and Pollitt before the lecture. Asterisked (*) readings represent the minimum necessary reading for each lecture in order to be able to answer the picture and commentary questions in the exam. Anything marked with an ® should be read before the class, as the basis for in class discussion. Required reading represents the minimum necessary for the corresponding essay topics (see the other sheet for further details and supplementary bibliography). Recommended reading

8 represents more than you could possibly hope to read in a single term, so don't try. It does, however, provide a starting point for further reading on any objects or topics which might particularly catch your interest, and also suggests alternatives if you are unable to find items on the required list, and supplements for essay reading. (FIGURES IN BRACKETS ARE UCL LIBRARY AND TEACHING COLLECTION NUMBERS) If you have any difficulties finding any of these readings, please do not hesitate to contact module instructor.

1. INTRODUCTION TO THE COURSE.

2. ETRUSCAN AND ITALIC ART BEFORE THE RISE OF ROME

Required: *Brilliant, R. 1974. Roman Art. pp. 224-231 "Developments in the Etrusco-Italic koine, sixth to first century BC" *Strong pp. 21-7 "The beginnings" *Rasmussen, T. 1983. "Early Roman Art", pp. 13-25 in M. Henig ed. Handbook Holloway, R.R. 1986. "The bulls in the tomb of the bulls at Tarquinia", American Journal of Archaeology 90, 447-452. Olson, J.P. 1975. "Greek myth and Etruscan Imagery in the tomb at Tarquinia", American Journal of Archaeology 79, 184-200 Osborne, R. 2000. ‘Why did Athenian pots appeal to the Etruscans’, World Archaeology 33 (2): 277-95 Izzet, V. 2001. ‘Form and meaning in Etruscan ritual space’, Cambridge Archaeological Journal 11: 185-200. *Pappini, M. 2015. “Republican Rome and Italic art”, in B. Borg ed. A Companion to Roman Art. Oxford: Wiley-Blackwell. 95-113 [Online]

Recommended: Pallotino, M. 1952. Etruscan Painting Brendel, O.J. 1978. Etruscan Art. Bonfante, L. 1981. "Etruscan Couples and their Aristocratic Society", pp. 323-343 in H.P. Foley ed. Reflections of Women in Antiquity. Steingraber, Stephan. 1986. Etruscan Painting. Torelli, M. ed. 2000. The Etruscans. (Lavishly illustrated catalogue of major exhibition).

Best place for learning about Etruscans: Corinna Riva’s course. Very useful recent handbook with series of good introductory surveys on art: Sinclair Bell and Alexandra Carcapino eds. A Companion to the Etruscans. Oxford: Blackwell, [Online]. Nb esp. Nail “Materializing the Etruscans: expression and negotiation of identity”, Bizarri and Soren “Etrusan Domestic architecture, hydraulic engineering etc: innovations and legacy to Rome”, Steingräber “Rock tombs and the world of Etruscan Necropoleis”, Pieraccini “Etruscan wall paintings”, Gunter “The Etruscans, Greek art and the Near East”, de Angelis “Etruscan bodies and Greek ponderation: anthropology and artistic form”, Carpino “The taste for violence in Etruscan art”

PT I: HELLENISM AND THE FORMATION OF ROMAN ART

3. ROME AND THE HERITAGE OF GREECE: CONQUEST, APPROPRIATION, DISPLAY.

Required: *Strong 54-74 *Pollitt 29-48, 63-85 Pollitt, J. J. 1978. "The Impact of Greek Art in Rome." Transactions of the American Philological Association 108, 155-75. (Online) *Brilliant, R. 1984. "Pendants and the Mind's Eye"; ch 2, pp. 53-89 in idem Visual Narratives. (IoA TC 833) *Bartmann, E. 1988. "Decor et Duplicatio. Pendants in Roman Sculptural Display." American Journal of Archaeology 92, 211-235. (Online)

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*Clarke, J. R. 1991. The Houses of Roman Italy: Ritual, Space and Decoration 100 BC - AD 250. Pp. 31-53 (first two Pompeian styles) [IoA CDC 398 CLA, IoA Issue Desk CLA 19] Thompson, M. L. 1960/1. "The Monumental and literary Evidence for Programmatic Painting in Antiquity." Marsyas 9, 36-77. von Blanckenhagen, P. H. 1963. "The Odyssey Frieze." Römische Mitteilungen 70, 100-146. Vermeule, C. C. 1977 Greek Sculpture and Roman Taste. Pp. 1-25 "Installation of sculpture in Greek and Roman times", 26-44 "Creative commercialism for architectural display". Leen, A. 1991. "Cicero and the rhetoric of art", American Journal of Philology 112.2, 229-245 Warden, P. 1994. “The course of glory: Greek art in a Roman context at the Villa of the Papyri at Herculaneum”, Art History 17.2: 228-254 [Online]

Recommended: Dillon, S. 2000. “Subject selection and viewer reception of Greek portraits from Herculaneum and Tivoli”, Journal of Roman Archaeology 13: 21-40 Gruen, E. S. 1992. "Art and Civic Life." ch 3, pp.84-130, “Art and ideology” Ch 4, pp. 131-82 in idem Culture and Identity in Republican Rome. [Online] Tonybee, J. M. C. 1951. Some Notes on Artists in the Roman World. Collection Latomus no 6. Gros, P. 1979. "Les Statues de Syracuse et les Dieux de Tarente: la Classe Politique Romaine devant l'Art Grec à la Fin du IIIe Siècle av JC." Révue des Études Latines 57, 85-114. Ling, R. 12-22 (First Style), 23-51 (Second Style); ch 6, pp. 101-141 "Mythological and Historical Paintings" (Friezes, Panel Pictures, The Relation of Panel Pictures to old Masters, Themes and their Organisation).

4. ELITE COMPETITION AND THE FORMATION OF ROMAN ART.

Required: *Strong 28-53 *Pollitt 26-9, 49-58, 81-95 ®Smith, R. R. R. 1981. "Greeks, Foreigners and Roman Republican Portraits." Journal of Roman Studies LXXI, 24-38. (UCL Electronic Periodicals) Alföldi, A. 1956. "The Main Aspects of Political Propaganda on the Coinage of the Roman Republic." in Essays in Roman Coinage Presented to Harold Mattingly. Torelli, M. 1982 "The Earliest Roman Historical Reliefs." Pp. 5-25 in idem Typology and Structure of Roman Historical Reliefs. *Hannestad 1988 pp. 15-38 "The Republic" Brilliant 1974 pp. 232-7 "The Republic, third to first century BC" Anderson, M.L. and L. Neista. 1988. "Ius imaginum and public portraiture" and "Roman portraits in religious and funerary contexts", pp. 33-9 and 61-8 in idem eds. Roman Portraits in Context. Richardson, E. 1953. "The Etruscan Origins of Early Roman Sculpture." Memoirs of the American Academy in Rome XXI, 25-124. Tanner, J. 2000. “Portraits, power and patronage in the late Roman Republic”, Journal of Roman Studies XC, 18-50.

Recommended: Gruen, E. S. 1992. "Art and Ideology." ch 4, pp. 131-182 in idem Culture and Identity in Republican Rome. Breckenridge, J. 1968. Likeness. Pp. 143-86, 3-14

5. TECHNOLOGY, FORM AND FUNCTION IN THE DEVELOPMENT OF ROMAN ARCHITECTURE.

Required: *Sear 10-28 Republican Rome, 29-48 Building types, 69-85 Techniques and Materials. MacDonald vol. I, 3-19. Boethius 136-215 *Dwyer, E. 1991. "The Pompeian Atrium House in Theory and Practice." Pp. 25-48 in E. Gazda ed. Roman Art in the Private Sphere (IoA TC 391, YATES A40 GAZ)

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*Coarelli, P. 1977. "Public Building in Rome between the Second Punic War and Sulla." Papers of the British School at Rome 45, pp. 1-23. (IoA TC 818) **Clarke, J.R. 1991. The Houses of Roman Italy, 100 BC - AD 250: Ritual, Space and Decoration, pp. 1-29 "Space and ritual in domus, villa and insula, 100 BC - AD 250" [IoA CDC 398 CLA, IoA Issue Desk CLA 19) Rawson, E. 1975 "Architecture and Sculpture: The Activities of the Cossutii." Papers of the British School at Rome 43, 36-47. Stambaugh, J. E. "The Functions of Roman Temples." Aufstieg und Niedergang der Römischen Welt II, 16.1, 554-608. Russell, Amy. 2016. The Politics of Urban Space in Republican Rome. Cambridge: Cambridge University Press. [Online] {esp. Chapter 4 “The Forum between political space and private space”, 7 “Pompey and the privatization of public space on the Campus Martius” Davies, P.J. 2017. “A Republican dilemma: city or state. The concrete revolution revisited”, Papers of the British School at Rome 85: 77-107

Recommended: Blagg, T. 1983. "Roman architecture", pp. 26-65 in Henig ed. Handbook gives a good brief overview of Roman architecture in general. Adam, J-P. 1994. Roman Building: Materials and Techniques.

PT II: THE AGE OF AUGUSTUS:

Required: *Zanker, P. 1988. The Power of Images in the Age of Augustus. Try to read as much of this as you can during the next couple of weeks. It is easy to read, lavishly illustrated, and perhaps the most important monograph on Roman art to be published during the last generation (ANC HIST R15 ZAN – 4 copies) *Hannestad. 1988. pp. 39-92 "The Augustan principate"

6. AUGUSTUS AND THE TRANSFORMATION OF URBAN SPACE.

Required: *Sear 49-68. *Pollitt 103-111

Recommended: Ward-Perkins 21-44 Blanckenhagen, P. von 1954, "The Imperial Fora" Journal of the Society of Architectural Historians XIII, 21-6 Gros, P. 1981. "Les métamorphoses d'ovide et le décor interieur des temples Romains", pp. 353-366 in X. Lafon and G. Sauron eds. L' Art Decoratif a Rome. Rowell, H.T. 1940. “The forum and the funeral imagines of Augustus”, MAAR 17: 131-43

7. AUGUSTAN PROPAGANDA.

Required: *Strong 75-89 *Pollitt 112-20 ®Walker, S. and A. Burnett. 1981. The Image of Augustus. (very short) IoA Issue Desk – WAL. ®Elsner, J. 1991. "Cult and Sculpture: Sacrifice in the Ara Pacis Augustae." Journal of Roman Studies LXXXI, 50-61 (UCL Electronic Periodicals) Elsner Viewer pp. 161-172 "The statue of Augustus from Prima Porta" Kleiner, D. 1978. "The Great Friezes of the Ara Pacis Augustae: Greek Sources, Roman Derivatives and Augustan Social Policy." Mélanges de l'École Francaise de Rome: Antiquité , 753-85.

Recommended: Stuart, M. 1939. "How were Imperial Portraits Distributed Through the Empire." American Journal of Archaeology 43, 601-17. Winkes, E. ed 1986. The Age of Augustus

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Holliday, P.J. 1990. "Time, history and ritual on the Ara Pacis Augustae", Art Bulletin 72, 542-57 Kampen, N.B. 1991. “Reliefs of the Basilica Aemilia”, Klio: Beitrage zur Alten Geschichte 73: 448-58 Ramage, E.S. 1997. “Augustus propganda in Gaul", Klio 79: 117-60

8. IMPERIAL ART IN THE PRIVATE SPHERE.

Required: *Strong 89-107 *Leach, E. 1982. "Patrons, Painters and Patterns: the Anonymity of Romano-Campanian Painting and the Transition from the Second to the Third Style." Pp 135-73 in B. K. Gold ed Literary and Artistic Patronage in Ancient Rome. (IoA TC 835) *Ling, R. 1977. "Studius and the Beginnings of Roman Landscape Painting." Journal of Roman Studies 67, 1ff. (Online – UCL Electronic Pers) Pollini, J. 1993. "The Gemma Augustea: ideology, rhetorical imagery and the creation of dynastic narrative", pp. 258-298 in P. Holliday ed. Narrative and Event in Ancient Art *Silberg-Pierce, S. 1980. "Politics and Private Imagery: the Sacral Idyllic Landscape." Art History 3, 1- 24. (UCL Electronic Periodicals) Leach, E. 1988. "Sacral idyllic landscapes", pp. 197-260 in The Rhetoric of Space: Literary and Artistic Representations of Space in Republican and Augustan Rome Zanker, P. 1988. "Bilderzwang: Augustan political symbolism in the private sphere", pp. 1-22 in J. Huskinson et al. eds Image and Mystery in the Roman World.

Recommended: Leach, E. 1980. "Sacral Idyllic Landscape and the Poems of Tibullus First Book." Latomus 39.1, 47-69 Blanckenhagen A. von and Alexander 1990. The Augustan Villa at Boscotrecase. Dawson, C. M. 1964. Romano-Campanian Mythological Landscape Painting. Yale Classical Studies 17. Ling ch 4, pp. 52-70 "The Third Style"; ch 7, pp. 142-167 "Other paintings" (Landscapes, Gardens, Still, Life, Portraits, Genre Scenes, Burlesque). Grimal, P. 1981. "Art decoratif et poesie au siecle d' Auguste", pp. 321-336 in X. Lafon et G. Sauron eds. L' Art Decoratif a Rome Yerkes, S.R. 2000. “Vitruvius monstra”, Journal of Roman Archaeology 234-251. Zadocks-Josephus Jitta, A. N. 1964. "Imperial Messages in Agate." Bulletin antieke beschaving 39, 156-61. (Mainly on later cameos, but ask JJT if interested; not in UCL libraries)

PT III: ART, ARCHITECTURE AND THE PROJECTION OF IMPERIAL POWER.

9. READING THE ROMAN HOUSE: WALL-PAINTING AND SOCIETY

Required: *Wallace-Hadrill, A. 1994. Houses and Society in Pompeii and Herculaneum, pp. 3-16 "Reading the Roman House", 17-37 "The language of public and private", 38-61 "The articulation of the house, pp. 143-174 "Luxury and status" (pp. 3-61 are a reprint of the article "The social structure of the Roman house", published in Papers of the British School at Rome 1989, pp. 43-97 - but the book version is much more fully illustrated) (YATES K73 WAL) *Clark, J. R. 1991. The Houses of Roman Italy . Pp. 65-77 (Fourth Pompeian Style) - entire book highly recommended (IoA CDC 398 CLA, IoA Issue Desk CLA 19) Wiseman, T.P. 1987. "Conspicua postes tectaque digna deo: the public image of aristocratic and imperial houses in the late Republic and early empire", pp. 393-413 in L' Urbs. Espace Urbain et Histoire. Collection de l'École Française de Rome, vol 98. *Lorenz. Katharina. 2015. “Wall painting”, in B. Borg. Ed. A Companion to Roman Art. Oxford: Wiley- Blackwell. 252-267. [Online]

Recommended: Bergmann, B. 1991. "Painted Perspectives of a Villa Visit. Landscape as Status and Metaphor." Pp. 47-90 in E. K. Gazda ed. Roman Art in the Private Sphere. Ling 71-100 (The Fourth Style)

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Archer, W.C. 1990. "The paintings of the alae of the Casa dei Vettii and a definition of the fourth Pompeian style", American Journal of Archaeology 94, 95-123 Tybout, R.A. 2001. “Roman wall-painting and social significance”, Journal of Roman Archaeology 14: 33-56

10. WAR AND TRIUMPH.

Required: *Strong: 141-170 (Trajan) *Scott-Ryberg, I. 1955. "The Triumph." Pp. 141-62 in Rites of the State Religion in Roman Art. Memoirs of the American Academy of Rome XXII (IoA TC 415; whole volume available online) ®Brilliant, R. 1984. "The Column of Trajan and its Heirs." Pp. 90-123 in idem Visual Narratives. (IoA TC 415; YATES Qto A35 BRI, 2 copies, one Reference) Hamberg, P. G. 1945. Studies in Roman Imperial Art. Pp. 104-61 "The Columns of Trajan and Marcus Aurelius and their Narrative Treatment: the Epic Documentary Tradition in State Reliefs." Pp. 162-92. "Convention and Realism in the Battle Scene: on the Relations between Formal Legacy and Contemporary Experience." *Brilliant, R. 1974. Pp. 111-128 "Triumphal monuments: statues, trophies, arches, columns." ®Veyne, P. 1988. "Conduct without belief and works of art without viewers", Diogenes 143 (Fall) 1-22 (UCL Electronic Periodicals) Koeppel, G. 1982. "The grand pictorial tradition of Roman historical representation during the early empire", Aufstieg und Niedergang der Römischen Welt II 12.1, 507-535 Holliday, 1997. “Roman triumphal painting: its function, development and reception”, Art Bulletin 79: 130-47

Recommended: Richmond, A.I. 1935. "Trajan's army on Trajan's column", Papers of the British School at Rome 13, 1- 40. (Reprinted as monograph, Rome 1982) Brilliant, R. 1999. “’Let the trumpet’s roar’, The Roman Triumph”, in Bergmann, B. and Kondoleon, C, eds. The Art of Ancient Spectacle. 221-30 Favro, D. 1994. “Rome. The street triumphant: the urban impact of Roman triumphal parades”, in Celik. Z et al eds. Streets of the World: Critical Perspectives on Public Space. 230-57 Holliday , Peter. 2002. The Origins of Roman Historical Commemoration in the Visual Arts. Cambridge: Cambridge University Press. Kleiner, F.S. 1989. “The study of Roman triumphal and honorary arches 50 years after Kahler”, Journal of Roman Archaeology 2: 195-206 _____. 1998. “The Roman arches of Gallia Narbonensis”, Journal of Roman Archaeology 11: 610-12 Richmond, A.I. 1967. “Adamklissi”, Papers of the British School at Rome 35: 29-39 Silberberg-Peirce, S. 1986. “The many faces of the Pax Augusta: images of war and peace in Rome and Gallia Narbonensis”, Art History 9.3: 306-24

11. PALACES AND PLEASURE GROUNDS: THE AESTHETICS AND POLITICS OF IMPERIAL BUILDING.

Required: *Sear 86-102 (The Julio-Claudians),134-153 (The Flavians), 154-184 (Trajan and Hadrian) *Pollitt 130-1 (Tiberius), 133-5 (Caligula), 136-8 (Claudius), 140-44 (Nero), 160-3 (Domitian), 169-70 (Trajan), 175-9 (Hadrian) *MacDonald vol. I, ch 2, pp. 20-46 "Nero's Palaces"; ch. 3, pp. 47-74 "Domitian's Palace."; ch 8, pp. 167-183 "The New Architecture." Stewart, A. F. 1977."To Entertain an Emperor: Sperlonga, Laokoon and Tiberius at the Dinner Table." Journal of Roman Studies LXVII, 76-90. Boethius, A. 1951 "The Reception Halls of the Roman Emperors." Annual of the British School at Athens, 46, 25-31. Ward-Perkins, J. B. 1956. "Nero's Golden House." Antiquity XXX, 209-19 MacDonald, W.L. and J.A. Pinto. 1995. Hadrian's Villa and its Legacy. Pp. 25-46 "The site", 47-75 "Familiar architecture", 78-102 "Unfamiliar architecture" (chs. V, VI, VII also recommended, esp. ch VI) Van Oyen, Astrid. 2017. “Finding the ‘material’ in material culture”: form and matter in Roman concrete”, 133-152 in Astrid van Oyen and Martin Pitts eds. Materialising Roman Histories. Oxbow: Oxford. [IoA DA170 OYE]

Recommended:

13

MacDonald vol. I, ch 4, pp. 75-93 "Trajan's Market."; ch 5, pp.94-121 "The Pantheon". Boethius, A. 1960. The Golden House of Nero. Ward-Perkins 45-61 (The Julio-Claudian Emperors), 63-95 (Architecture in Rome from Trajan to Vespasian), 97-120 (Material and Methods: the Roman Architectural Revolution) Aurigemma, S. 1961. Villa Adriana. In Italian, but with excellent plates. Squire, Michael. 2003. “Giant questions: dining with Polyphemus at Sperlonga and Baiae”, Apollo July 2003: 29-37 Ball, L.F. 2003. The Domus Aurea and the Roman Architectural Revolution. Cambridge: Cambridge University Press.

12. CONSECRATION: EMPERORS AS GODS.

Required: Hopkins, M. K. 1978. "Divine Emperors or the Symbolic Unity of the Roman World." ch 5, pp. 197-242 in idem Conquerors and Slaves. *Price, S. 1984. Rituals and Power: The Roman Imperial Cult in Asia Minor. ch 6, pp. 133-69 "Architecture"; ch 7, pp. 170-206 "Images". (ANC HIST R74 PRI) Gordon, R. 1990. "The Veil of Power: Emperors, Sacrificers and Benefactors". Pp. 199-231 in M. Beard, J. North eds. Pagan Priests *Scott-Ryberg, I. 1955. "The Ruler Cult in Art." Pp. 81-103 in idem Rites of the State Religion in Roman Art. Memoirs of the American Academy in Rome. *Yegül, F. K. 1982. "A Study in Architectural Iconography: Kaisersaal and the Imperial Cult." Art Bulletin, 64, 7-31 [Online] ® Elsner, J.R. 1995. Art and the Roman Viewer: The Transformation of Roman Art from the Pagan World to Christianity. (YATES A60 ELS – 3 copies; ISSUE DESK IOA ELS 2; Xerox of the chapter IoA Teaching Collection 3771 – 3 copies ). Pp. 159-189 "Reflections of a revolution: a transformation in the image and conception of the emperor" (Prima Porta, Luxor Tetrarchs, Justinian and Theodora at San Vitale - Ravenna). *Smith, R.R.R. 1987. "The imperial reliefs from the Sebasteion at Aphrodisias." Journal of Roman Studies 77, 88-138 (Online) Price, S. 1987. "From noble funerals to divine cult: the consecration of Roman emperors", pp. 56-105 in D. Cannadine and S. Price Rituals of Royalty: Power and Ceremonial in Traditional Societies.

Recommended: Ward-Perkins, J. B. and M. H. Ballance. "The Caesareum at Cyrene and the Basilica at Cremna." Papers of the British School at Rome 26, 137-194 Monneret de Villard, U. 1953 "The Temple of the Imperial Cult at Luxor." Archaeologia XCV, 85-105 Kalevrezou-Maxeiner, L. 1975. "The imperial chamber at Luxor", Dumbarton Oaks Papers 29, 225- 251 Sjöquist, E. 1956. "Kaisareion: a Study in Architectural Iconography." Acta Rom Suec. XVIII, 86-108 Bonfante, L.W. 1964. "Emperor, God and man in the fourth century", Parola del Passato 19, 401-27 Wallace-Hadrill, A. 1981. "The emperor and his virtues", Historia 30, 298-323 ______. 1982. "Civilis princeps: between citizen and king", Journal of Roman Studies 72, 32-48 Cohen, A. 1969. "Political anthropology: the analysis of the symbolism of power relations", Man, New Series 4, 215-235 Palagia, O. 1986. "Imitation of Herakles in ruler portraiture: a survey from Alexander to Maximinus Daza", Boreas 9, 137-57

13. DEATH AND RENEWAL: SOCIAL AND CULTURAL SYMBOLISM IN ROMAN FUNERARY ART

Required: *Strong 125-6, 137-40, 169-70, 188-196, 202-6, 231, 257-8 (on sarcophagi). *Nock, A. D. 1946. "Sarcophagi and Symbolism." American Journal of Archaeology 50, 140-70 (Online – UCL Electronic Pers) *Walker, S. 1985 Memorials to the Roman Dead. (Very short and readable, based on the British Museum Collections). (YATES M127 WAL, IoA CDC 394 WAL (ID)) Ward-Perkins, J. B. 1975/6 "Workshops and Clients: the Dionysiac Sarcophagi in Baltimore." Rendiconti Atti della Pontificia Academia Romana di Archeologia 48, 191-238.

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Kleiner, D. E. E. 1981."Second Century Mythological Portraiture: Mars and Venus." Latomus 40, 512- 44. *Brilliant, R. 1984. "Mythological Sarcophagi: Proleptic Visions." Pp. 124-65 in idem Visual Narratives. (YATES Qto A35 BRI) Koortbojian, M. 1995. Myth, Meaning and Memory on Roman Sarcophagi. Pp. 1-18 "Introduction", 23- 48 "Adonis tale", 114-126 "Myth, meaning and memory", 127-142 "The recognition of correspondences" Dunbabin, K.M. 1986. "Sic erimus cuncti.... The skeleton in Graeco-Roman art", Jahrbuch des Deutschen Archaeologischen Instituts 101, 185-255 Morris, I. 1992. Death Ritual and Social Structure in Classical Antiquity. Pp. 1-30 "The anthropology of a dead world", 31-69 " 'Mos Romanus': cremation and inhumation in the Roman empire". Kleiner, D.E.E. 1988. "Roman funerary art and architecture: observations on the significance of recent studies", Journal of Roman Archaeology 1, 115-120.

Recommended: Lawrence, M. 1945. The Sarcophagi of Ravenna. Lawrence, M. 1965. "The Velletri Sarcophagus." American Journal of Archaeology LXIX, 207-22. Turcan, R. 1978. "Les sarcophages romains et le probleme de symbolisme funeraire", Aufstieg und Niedergang der Römischen Welt 2.16.2, 1700-1735 Koortbojian, M. 1996. "In commemorationem mortuorum: text and image along the Street of the Tombs", pp. 210-233 in J. Elsner ed. Art and Text in Roman Culture. North, J.A. 1983. "These he cannot take", Journal of Roman Studies 73, 169-174. Meiggs, R. 19732. Roman Ostia, pp. 451-478 "The cemeteries". Mau, A. 1899. Pompeii: its Life and Art, pp. 397-428 "The tombs". Tonybee, J.M.C. 1971. Death and Burial in the Roman World. Panofsky, E. 1992. Tomb Sculpture. Pp. 28-45 Birk, Stine. 2012. “Carving sarcophagi: Roman sculptural workshops and their organisation”, 12-37 in Kristensen, T.M. and B. Poulsen. Eds. 2012. Ateliers and Artisansin Roman Art and Archaeology. JRA Supplementary Volume 92. [YATES QUARTOS A6 KRI] Davies, Glenys. 2010. “Before sarcophagi”, in Jas Elsner and Janet Huskinson eds. Life, Death and Representation. Some New Work on Roman Sarcophagi. (Walter de Gruyter). 25-51.

14. CENTER AND PERIPHERY IN ROMAN ART: PROVINCIALISM AND REGIONALISM

Required: *Strong pp. 114-121, 162-9, 214-7, 242-4, 266-7 (on provincial art) **Henig, M. 1995. The Art of Roman Britain . Pp. 79-105 "Natives and strangers in Roman Britain", 174-189 "Attitudes to the art of Roman Britain" (IoA DAA 170 HEN) *Smith, D.J. 1983. "Mosaics", pp. 116-138 in Henig ed. Handbook. *Henig, M. 1985. "Graeco-Roman art and the Romano-British Imagination", Journal of the British Archaeological Association cxxxviii, 1-22 Erim, K.T. 1982. "A new relief showing Claudius and Britannia from Aphrodisias", Britannia xiii, 277-81 Woolf, G. 1990. "World systems analysis and the Roman empire", Journal of Roman Archaeology 3, 44-58 *Rowlands, M. 1987. "Centre and periphery: a review of a concept", in M. Rowlands, M. Larsen and K. Kristiansen eds. Center and Periphery in the Ancient World. Pp. 1-11 (other articles also worth a look) (IoA AB ROW) Kleiner, F.S. 1977. "Artists in the Roman world: an itinerant Augustan workshop." Melanges de l' École Francaise de Rome, Antiquités 89, 661-696 Kuttner, A.L. 1995. Dynasty and Empire in the Age of Augustus: the Case of the Boscoreale Cups, pp. 69-93 "The peoples of the empire". Smith, R.R.R. 1987. "The imperial reliefs from the Sebasteion at Aphrodisias", Journal of Roman Studies 77, 88-138 ______. 1988. "Simulacrum gentium: the Ethne from the Sebasteion at Aphrodisias", Journal of Roman Studies 78, 50-77

Recommended: Bianchi-Bandinelli, R. 1967. "Arte plebea", D. Arch. 1, 7-19 Hannerz, U. 1992. "The global ecumene", pp. 217-267 in Cultural Complexity: Studies in the Social Organisation of Meaning. (for an interesting account of core-periphery relations in contemporary world - principles of analysis, at least, applicable to Roman empire).

15

Green, M.J. 1998. “God in man’s image: thoughts on the genesis and affiliations of some Romano- British Cult imagery”, Britannia 29: 17-30 Henig, M. 2000. “Art in Roman London”, in I. Haynes, H. Sheldon and L. Hannigan eds. London Underground: the Archaeology of a City. (Oxford: Oxbow Books) 62-84 For more bibliography and some suggestions as to how to approach it, see essay 2.5 on regional styles.

PT IV: THE EMPIRE IN CRISIS

15. THE ANTONINES, THE SEVERANS AND THE STILWANDEL.

Required: *Strong:197-217 (The Antonines); 218-249 (The Severans). *Pollitt. 181-6. (The Antonines); 189-201 (The Severans) *Ward-Perkins, J. 1948. "Severan Art and Architecture at Lepcis Magna." Journal of Roman Studies 38, 59-80 *Hannestad 1984 pp. 143-248 "The adoptive emperors", 249-285 "The Severans" *Hannah, R. 1986. "The emperor's star: the Conservatori portrait of Commodus", American Journal of Archaeology 90, 337-42 Kleiner 1992. Pp. 267-314 "Antonine Art", 317-355 "The Antonine dynasty" Baharal, D., 1989. “Portraits of the Emperor L. Septimius Severus (193-211 A.D.) as an Expression of his Propaganda”. Latomus 48:566-58.

Recommended: Brilliant, R. 1967. The Arch of Septimius Severus in the Roman Forum. Memoirs of the American Academy in Rome XXIX. McCann, A. M. 1968. The Portraits of Septimius Severus. Memoirs of the American Academy at Rome XXX. Rodenwaldt, G. 1939. “The transition to late classical art”, in Cambridge Ancient History XII: The Imperial Crisis and Recovery AD 193-324. ed SA Cook et al. Cambridge. 544-70 _____. 1940. “Römische Reliefs: Vorstufen der Spätantike”, JdI 55: 12-43

16. FROM THE AGE OF ANXIETY TO THE ART OF THE DOMINATE.

Required: *Strong 250-263 (Third Century Crisis); 264-275 (The Tetrarchs). *Sear 255-276. *Pollitt 189-228. ®L'Orange, H. P. 1965.Art Forms and Civic Life in the Later Roman Empire. (ANC HIST R14 LOR – 5 copies; also a copy on 3 hour loan at issue desk). A very short book, with many pictures, so not as much reading as it might seem. Now also available on-line as ebook through Explore Wilson, R. J. A. 1983. Piazza Amerina. *Ellis, S. P. 1991. "Power, Architecture and decor: How the Late Roman Aristocrat Appeared to his Guests." Pp. 117-134 in E. K. Gazda ed. Roman Art in the Private Sphere. (YATES A40 GAZ) Rothman, M. S. P. 1977. "The Thematic Organization of the Panel Reliefs on the Arch of Galerius." American Journal of Archaeology XXXI, 427-54 *Hannestad. 1988. Pp. 285-338 "The dominate". Rossiter, J. 1991. "Convivium and villa in late antiquity", pp. 199-214 in W.J. Slater ed. Dining in a Classical Context. Wilson, R. J. A. 1983. "Luxury Retreat Fourth Century Style: A Millionaire Aristocrat in Late Roman Sicily." Opus 2, 532-52.

Recommended: Carandini, A., A. Ricci and M. de Vos. 1982. Filosofiana: the Villa of Piazza Amerina. Frazer, A. 1966. "The iconography of the Emperor Maxentius' Buildings in the Via Appia", Art Bulletin 48, 385-92 Breckenridge, J. 1968. "Late Antique Portraiture." Pp. 204-68 in Likeness.

16

17. THE ARCH OF CONSTANTINE AND THE PROBLEM OF DECLINE.

Required: *Strong 276-97 Berenson, B. 1954. The Arch of Constantine or the Decline of Form. *Peirce, P. 1989. "The Arch of Constantine: Propaganda and Ideology in Late Roman Art." Art History 12.4, 387-418. (MAIN TC 1022) Charlesworth, M. P. "Imperial Deportment: Two Texts and Some Questions." Journal of Roman Studies 37, 34-8. *Boatswain, T. 1988. "Images of Uncertainty: Some Thoughts on the Meaning of form in Late Antiquity." Byzantine and Modern Greek Studies 12, 27-46. (IoA TC 415) *Kitzinger 1977 Byzantine Art in the Making: Main Lines of Stylistic Development in Mediterranean Art, 3rd-7th Century , chs 1 and 2, pp 7-44. (ART HB5 KIT) *Fehl, P. 1972. The Classical Monument: Reflections on the Connection between Morality and Art in Greek and Roman Sculpture. Pp. 70-6 "The monument in late antiquity", 77-87 "Art historical perspectives" (TC MAIN 907) *Reece, R. 1983. "Art in late antiquity", pp. 234-248 in Henig Handbook. ®Spivey, Nigel. 1995. “Stumbling towards Byzantium: the decline and fall of late antique sculpture”, Apollo July, 20-23 Will be placed on Teaching Collection - IoA ®Elsner, Jas. 1998. “Berenson’s decline, or The Arch of Constantine Reconsidered”, Apollo Jul, 20-2. Will be placed on Teaching Collection - IoA

Recommended: MacCormack, S. 1980, Art and ceremony in Late Antiquity. Brown, P. 1980. "Art and society in late antiquity." Pp. 17-27 in K. Weitzmann, ed., The Age of Spirituality: A Symposium. Trilling, J. 1987 "Late antique and sub-antique or the'Decline of Form' reconsidered", Dumbarton Oaks Papers 41, 468-76 Harrison, E.B. 1967. "The Constantinian portrait", Dumbarton Oaks Papers 21, 79-96 Richardson, L. Jr. 1975. "The date and programme of the arch of Constantine", Arch Cl 27, 72-78 Elsner, J. 2000. “From the culture of spolia to the cult of relics: the arch of Constantine and the genesis of late antique forms”, Papers of the British School at Rome 68: pp?? Van Dam. Raymond. 2009. The Roman Revolution of Constantine. Cambridge. Ward-Perkins, J.B. 1954. “Constantine and the origins of the Christian basilica”, Papers of the British School at Rome 22: 69-90 Bardill, J. 2015. Constantine: Divine Emperor of the Christian Golden Age. Cambridge

PT V: THE GREAT TRANSFORMATION

18. THE ORIGINS OF CHRISTIAN ART.

Required: *Grabar, A. 1967. The Beginnings of Christian Art. Pp. 1-143 "Christian Painting and Sculpture before the Peace of the Church." Not as much reading as it may appear - full of good plates. (ART HB5 GRA) *Grabar, A. 1969. Christian Iconography: a Study of its Origins. Pp. 7-30 "The First Steps." (ART BC10 GRA) *Murray, Sister C. 1977. "Art and the Early Church." Journal of Theological Studies, ns 28, 303-45. (IoA TC 468) Huskinson, J. 1974. "Some Pagan Mythological Figures and their Significance in Early Christian Art." Papers of the British School at Rome 42, 68-97. *Elsner, J.R. Viewer. Pp. 249-287 " 'The truth within these empty figures': the genesis of Christian visual exegesis".

Recommended: Stevenson, J. 1978. The Catacombs: Rediscovered Monuments of Early Christianity

17

Murray, Sister C. 1989. "Artistic Idiom and Political Development." Pp. 288ff in Rowan Williams ed The Making of Orthodoxy. Tronzo, W. 1986. The Via Latina Catacomb: Imitation and Discontinuity in 4th Century Roman Painting. Perkins, A. 1973. The Art of Dura Europos. Krautheimer ch 1, pp.23-37 (The Beginnings of Christian Architecture) Duggan, L.G. 1989. "Was art really the 'book of the illiterate'?" Word and Image 5, 227-51 Chazelle, C.M. 1990. "Pictures, books and the illiterate: Pope Greogory I's letters to Serenus of Marseilles." Word and Image 6, 138-53 Goodenough, E.R. 1962. "Catacomb art". Journal of Biblical Literature 81, 113-42 Weitzmann, K. and H.L. Kessler. 1990. The Frescoes of the Dura Synagogue and Christian Art. Dumbarton Oaks Studies 28. Washington. Guttmannn, N. 1987. "The Dura Europus Synangogue paintings and their influence on later Christian and Jewish art", pp. 61-72 in L.I. Levine ed. The Synagogue in Late Antiquity. The American School of Orinetal Research. ______. 1984. "Early Synagogue and Jewish Catacomb Art and its relation to Christian art", Aufstieg und Niedergang der Romischen Welt II.21, 2, 1313-1342

19. RELIGION AND POLITICS IN THE ART OF THE LATE ANTIQUE STATE.

Required: *Strong 298-327 *Grabar, A. 1969. Christian Iconography: a Study of its Origins. Ch 2, pp.31-54 "The Assimilation of Contemporary Imagery." (ART BC10 GRA) *Bloch, H. 1963 "The Pagan revival in the West at the end of the 4th century." in A. Momigliano ed. Pagans and Christians in the Fourth Century. [JJT will make available – not in UCL library] Barber, C. 1990. "The Imperial Panels at San Vitale. A Reconsideration." Byzantine and Modern Greek Studies 14, 44-61. Onians, J. 1980. "Abstraction and Imagination in Late Antiquity." Art History 3, 1-24 MacMullen, R. 1964. "Some Pictures in Ammianus Marcellinus." Art Bulletin 46, 435-55. (=Changes in the Roman Empire. 1990, 78-106). *Kitzinger, E. 1977. Byzantine Art in the Making: Main Lines of Stylistic Development in Mediterranean Art. 3rd - 7th Century., ch 3, 4, pp. 45-80 (Fifth Century Conflicts), ch 5, pp. 81-98 The Justinianic Synthesis. (ART HB5 KIT) **Mathews, T. 1994. The Clash of the Gods. *Pp. 3-22 "The mistake of the emperor mystique". (All highly recommended)

Recommended: Grabar 1966. Beginnings (the remainder) Krautheimer Pt 2, pp. 39-92 (Constantine and 4th century); Pt 4, 201-282 (Justinian and Early Byzantine). Beckwith, J. chs 1-5, pp 1-143: Early Christian art until Justinian - chs 4 and 5 (pp 78-143) are probably the most useful. Ward-Perkins, J. 1954. "Constantine and the Origins of the Christian Basilica." Papers of the British School at Rome. 22, 68-90 Kent, J. P. C. and K. S. Painter eds 1977 Wealth of the Roman World AD 700-300. Cameron, Averil. 1979. "Images of authority: elites and icons in late sixth century Byzantium", Past and Present 84, 3-35 _____. 1992. "The language of images: the rise of icons and Christian representation." Pp. 1-42 in D. Wood ed. The Church and the Arts. Studies in Church History 28. Elsner, J. 1988. "Image and iconoclasm in Byzantium". Art History 11.4, 471-91 Stewart, P.C.N. 1999. “The destruction of statues in late antiquity”, in R. Miles ed. Constructing Identities in Late Antiquity (London Routledge) 159-89 Brown, Amelia R.. 2016. “Crosses, noses, walls and wells: Christianity and the fate of sculpture in late antique Corinth”, 150-176 in Troels Myrup Kristensen and Lea Stirling eds. The Afterlife of Greek and Roman Sculpture. Ann Arbor: University of Michigan Press. [Yates M8 Kri] Anderson, Benjamin. 2016. “The disappearing imperial statue: towards a social approach”, pp. 290- 309 in Troels Myrup Kristensen and Lea Stirling eds. The Afterlife of Greek and Roman Sculpture. Ann Arbor: University of Michigan Press. [Yates M8 Kri]

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Liverani, Paolo. 2016. “The sunset of 3D”. 310-329 in Troels Myrup Kristensen and Lea Stirling eds. The Afterlife of Greek and Roman Sculpture. Ann Arbor: University of Michigan Press. [Yates M8 Kri]

WORKSHOP/REVISION CLASS: ANALYSING VISUAL IMAGERY (Summer term)

Required: *PANOFSKY, E. 1939. “Introductory”. Pp. 1-31 in Studies in Iconology: Humanistic Themes in the Art of the Italian Renaissance. (TC IoA 591)

Recommended: Berger, J. 1972. Ways of Seeing. Williamson, J. 1978. Decoding Advertisments: Ideology and Meaning in Advertising.

19

ESSAYS

ARCL0018: ROMAN ART AND ARCHITECTURE - REQUIREMENTS AND ESSAY TOPICS

Students must write one essay in order to complete the course. The essay will count as 33% of the final mark.

Primary bibliographical sources are listed under the appropriate lectures, with a little additional guidance given here where the appropriate reading is scattered amongst a number of lectures. A reasonably intelligent rehash of the lectures and the relevant required reading listed in the main bibliography, should get you a 2.2, at best a low 2.1. Those who aspire to higher things will want to read some of the items listed under recommended bibliography and/or some of the supplementary bibliography listed for each question here.

Always be sure to back up your arguments with discussion of specific artistic monuments and their relevant visual properties (style, iconography etc).

ESSAY TOPICS:

1. To what extent can "Greek influence" explain the development of Roman sculpture in the late Republic?

Primary refs: s.v.lectures 2, 3 (Pollitt, Vermeule), 4 (esp. Smith, Torelli, Hannestad, Richardson)

Supplementary: Richter, G.M.A. 1958. "Was Roman art of the first century BC and AD classicising?" Journal of Roman Studies 48, 10-15

2. Why did the Romans collect Greek art, and how did their purposes in collecting shape their display of Greek art? Primary refs s.v. lecture 3

3. How important were political structures in Rome to the development of Roman architecture in the late Republic and the early Empire (to the death of Augustus)? Primary refs. s.v. lectures 5 and 6 (including the relevant parts of Zanker)

4. How did Augustan propaganda seek to persuade and how persuasive was it? Primary refs s.v. lectures 6, 7, 8 (esp. Pollini)

5. What are the four Pompeian styles of wall-painting? Do they deserve their place at the center of our approach to Roman wall-painting. Primary refs. s.v. lectures 3 (Brilliant, Clarke, Thompson, von Blankenhagen, Ling), 8 (Leach 1982, Silberg Pierce), 9 (esp. Wallace-Hadrill, Clarke)

6. What role does the representation of landscape play in late Republican and early imperial Roman art, and how can we explain changes in landscape representation? Primary refs s.v. lecture 8 - Leach 1988 is vital

Supplementary: Clarke, K. Landscape into Art. Bryson, N. 1990. "Xenia", pp. 17-59 in Looking at the Overlooked: Four Essays in Still-Life Representation.

7. How important is the institution of the triumph to the development of Roman art (to the end of the 2nd century AD)? Primary refs. s.v. lectures 3, (Pollitt) 10. Pollitt - Sources s.v. triumph Supplementary bibl on triumphal arches in Kleiner Roman Sculpture

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8. When did "Roman" art begin? Primary refs: all asterisked readings up to and including lecture 10 - plus the classic study of O.J. Brendel, 1979, Prolegomena to the Study of Roman Art. An earlier version was published as "Prolegomena to a book on Roman art", in Memoirs of the American Academy in Rome, 1953. Similar ground is covered more briefly in R. Brilliant, 1974, Roman Art. Pp. 11-18.

9. What was the Roman architectural revolution and how should we explain it? Primary refs. s.v. lectures 5 and 11

10. How is the sacred status of emperors evoked by Roman art? How do these evocations change over time and why? Primary refs. s.v. lecture 12.

11. To what extent is the notion that "art reflects social life" borne out by the history of either a) portrait sculpture from the second to fourth centuries AD or b) architecture from the second to the fourth centuries AD.

A - Portraiture:

Primary refs: lecture 15 (Hannestad, Hannah), 16 (Breckenridge), 17 (Charlesworth, Boatswain, Fehl). The following are also required: Smith, R.R.R. 1985. "Roman portraits: honours, empresses and late emperors", Journal of Roman Studies 75, 209-21 _____. 1990. "Late Roman philosopher portraits from Aphrodisias", Journal of Roman Studies 80, 127-55 Vermeule, C.C. 1977. "Commodus, Caracalla and the Tetrarchs: Roman emperors as Herakles", Festschrift Frank Brommer 289-94 Kleiner, Roman Sculpture - sections on portraiture for the relevant period Pollitt, Sources - sections on portraiture for the relevant period Gregory, A.P. 1994. "Powerful images: responses to images and the political uses of images in Rome", Journal of Roman Archaeology 7, 80-99

Supplementary: L' Orange, H.P. 1947. Apotheosis in Ancient Portraiture. Wood, S. 1986. Roman Portrait Sculpture 217-260 AD

B - Architecture

Primary refs: lectures 11 (Sear and Pollitt Trajan and Hadrian, MacDonald and Pinto, Boethius), 16 (L' Orange, Wilson - booklet on Piazza Amerina and article, Rossiter, Ellis, Frazer)

Supplementary: Lehmann, K. 1945. "The dome of heaven", Art Bulletin 27, 1-27

12. What problems do the modern viewers face in trying to interpret the cultural and social meanings of Roman funerary art, and how can they overcome them? Primary refs. s.v. lecture 13

13. To what extent can we distinguish regional styles in Roman imperial art, and how should we interpret them. Quite a difficult essay this - you might approach it either by concentrating on the art of a particular province and compare it with the art of Rome, the center, or compare the art of two different provinces (one western and one eastern). Alternatively, you might look at a particular medium and its varying regional manifestations - for example mosaic (for which I have suggested some bibiliography, although you might equally well look at painting, sculpture).

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R. Bianchi Bandinelli, 1971, Rome: the Late Empire and W. Dorigo, 1971, Late Roman Painting: a Study of Pictorial Records 30 BC - AD 500 both adopt a regional perspective on Roman art. Primary bibliography: s.v. lecture 14. Supplementary suggestions, some at least of which you should follow up:

Mosaics: Dunbabin, K. 1978. The Mosaics of Roman North Africa. Esp. pp. 1-37, 196ff Clarke, J.R. 1979. Roman Black and White Mosaics. Smith, D. 1969. "The mosaic pavements", pp. 71-125 in A. Rivet ed. The Roman Villa in Britain. Neal, D.S. 1981. Roman Mosaics in Britain.

Gaul and the Germanies. MacMullen, R. 1965. "The Celtic renaissance", Historia 14. 93-104 Wightman, E.M. 1970. Roman Trier and the Tresviri. (Sections on art, religion, romanisation) ______. 1985. Gallia Belgica. (Sections on art, religion, Romanisation) MacKendrick, P. 1972. Roman France. Pp. 151-183 "shrines and statues", 185-209 "Gallic arts and crafts".

The Roman East Browning, I. 1979. Palmyra. Pp. 19-52 "People, power and politics" Colledge - s.v. presentations bibliography 4.2

Roman Britain Henig, M. 1995. The Art of Roman Britain. (The best and most thoughtful study - with an excellent bibliography, from which most of what follows is taken.) Barrett, A.A. 1978. "Knowledge of the literary classics in Roman Britain", Britannia ix, 307-13 Beeson, A.J. 1990. "Perseus and Andromeda as lovers. A mosaic panel from Brading and its origins", Mosaic 17, 13-19. Blagg, T.F.C. 1989. "Art and architecture", pp. 203-217 in M. Todd ed. Research on Roman Britain 1960- 1989, Britannia Monograph Series, no 11. Cookson, N.A. 1984. Romano-British Mosaics. A Reassesment and Critique of Some Notable Stylistic Affinities. British Archaeological Reports, Brit. Ser. 135. Johnson, P. 1984. "The mosaics of Bignor villa, England: a Gallo-Roman connection", pp. 405-10 in R. Farioli Campanati, III colloquio internazionale sul mosaico antico, Ravenna. Jope, E.M. "Celtic art: expressiveness and communication through 2500 years", Proceedings of the British Academy lxxiii, 97-123 Mackintosh, M. 1986. "The sources of the Horseman and Fallen Enemy motif on the tombstones of the Western Roman empire", Journal of the British Archaeological Association cxxxix, 1-21 Phillips, E.J. 1977. "The classical tradition in the popular sculpture of Roman Britain", pp. 35-49 in J. Munby and M. Henig eds. Roman Life and Art in Britiain. British Archaeological Reports, Brit. Ser. 8. Scott, S. 1991. "An outline of a new approach for the interpretation of Romano-British mosaics, and some comments on the possible significance of the Orpheus mosaics of fourth-century Roman Britain", Journal of Theoretical Archaeology 2, 29-35 Tonybee, J.M.C. 1986. The Roman Art Treasures from the Temple of Mithras, London and Middlesex Archaeological Society special paper no 7.

14. How helpful is the concept of "artistic decline" in explaining the transformation of Roman art between the 2nd and the 4th centuries AD? Primary refs: s.v. lectures 15 (Kleiner), 16 (esp. L' Orange, Breckenridge, Ellis Hannestad), 17 (Berenson and Charlesworth in addition to the asterisked readings), 19 (Onians). Add: Elsner, Viewer pp. 190-244 "From the literal to the symbolic: a transformation in the nature of Roman religion and Roman religious art".

15. Either a) Is "Christian art" a helpful concept or not? Or b) Did the rise of Christianity fundamentally transform the visual culture of the ancient world? Primary refs.: s.v. lectures 18, 19 Add: Elsner, Viewer, pp. 190-244

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16. What special problems and opportunities are presented in the interpretation of the Roman minor arts? Answer with reference to either a) Ivory carving or b) silver work.

A - Ivory carving:

Required: Refs. in Presentations bibliography 5.3, lecture 19 (Bloch) Buckton, D. ed. 1994. Byzantium: Treasures of Byzantine Art and Culture. pp. 57-9, 71-65 Shelton, K. 1989. "Roman aristocrats, Christian commissions: the Carrand diptych", pp. 105-27 in F.M. Clover and R.S. Humphreys eds. Tradition and Innovation in Late Antiquity. Watson, C.J. 1981. "The programme of the Brescia casket", Gesta 20, 283-98 Natanson, J. 1953. Early Christian Ivories Gibson, M. 1994. The Liverpool Ivories. Cameron, A. 1982. "A note on ivory carving in fourth century Constantinople", American Journal of Archaeology 86, 126-9 Netzer, N. 1983. "Redating the consular ivory of Orestes", Burlington Magazine 125, 265-71 Cutler, A. 1984. "The making of the Justinian diptychs", Byzantion 54, 75-115 _____. 1993. "Five lessons in late Roman ivory", Journal of Roman Archaeology 6, 167-92 Milburn, R. 1988. Early Christian Art. Pp. 234-250 "Carved ivories"

Supplementary Cameron, A. 1986. "Pagan ivories" pp. 41-72 in F. Paschond ed. Colloque Genevois sur Symmaque, Paris. Kötzsche, L. 1994. "Die trauernden Frauen. Zum Londoner Passionskästchen", pp. 80-90 in D. Buckton and T.A. Heslop eds. Studies in Medieval Art and Architecture presented to Peter Lasko. Cameron, A. 1998. “Consular diptychs in their social context: new eastern evidence”, Journal of Roman Archaeology 11: 385-403

B - Roman silver

Required: Primary refs: s.v. Presentations 2.3 (early imperial silver), 5.2 (Esquiline treasure) Johns, C. 1990. "Research on Roman silver plate", Journal of Roman Archaeology 3, 28-43 Cameron, A. 1985. "The date and owners of the Esquiline treasure", American Journal of Archaeology 89, 135-45 Shelton, K.J. 1985. "The Esquiline treasure: the nature of the evidence", American Journal of Archaeology 89, 147-55 Brendel, O. 1941. "The Corbridge lanx", Journal of Roman Studies 31, 100-127 Cahn, H.A., A. Kaufmann-Heinimann and K. Painter, 1991. "A table-ronde on a treasure of late Roman silver", Journal of Roman Archaeology 4, 184-91 Cameron, Alan. 1992. "Observations on the distribution and ownership of late Roman silver plate", Journal of Roman Archaeology 5, 178-85 Van Grunsven-Eygenraam, M. 1973. "Heraclius and the David plates", Bulletin Antieke Beschaving 48, 158-74 Tonybee, J.M.C. and K.S. Painter. 1986. "Silver picture plates of late antiquity, AD 300-700", Archaeologia 108, 15-65 Johns, C. 1981. "The Risley-Park silver lanx: a lost antiquity from Roman Britain", Antiquaries Journal lxi, 53-72 Painter, K. 1993. "Late Roman silver plate: a reply to Alan Cameron", Journal of Roman Archaeology 6, 109-115 Vermeule, C.C. 1963. "Augustan and Julio-Claudian Court Silver", Antike Kunst 6, 33-40

Recommended: Dalton, O.M. 1906. "A second silver treasure from the district of Kyrenia, Cyprus", Archaeologia 60, 1-24 Haversfield, F. 1914. "Roman silver in Northumerland", Journal of Roman Studies 4, 1-12 Mango, M.M. 1990. "Der Sevso-Schatzfund. Ein Ensemble westlichen und östlichen Kunstschaffens", Antike Welt 20, 70-88 _____. 1990. "The Sevso treasure hunting plate", Apollo (July), 2-13 Painter, K.S. 1977. The Mildenhall Treasure. _____. 1990. "The Sevso treasure", Minerva 1, 4-11

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Spain-Alexander, S. 1977. "Heraclius, Byzantine imperial ideology and the David plates", Speculum 52, 217-37 Johns, C. and Painter, K. 1991. "The rediscovery of the Risley Park Roman lanx", Minerva ii, no. 6, 6-13

17. What factors shaped the design of Roman imperial palaces and villas from the age of Augustus to the Tetrarchs, and how does the design of palaces change over time? Primary refs: lectures 6 (Zanker and Sear - parts on house of Augustus on Palatine), 11, 16 (L'Orange, Wilson bis, Ellis, Rossiter), 17 (MacCormack - index s.v. palace of emperor)

18. "Greek art, Egyptian function." How far is this an adequate summary of the cultural meanings and historical significance of the painted Egyptian mummy portraits of the Roman period? (Question of historical significance an important one here: is the Romano-Egyptian painted portrait continuous with earlier traditions of painted portraiture, or are we dealing with something new here, the origins of the Byzantine icon?)

Required: Shore, A.F. 1972. Portrait Painting from Roman Egypt. Doxiadis, E. 1995. The Mysterious Fayum Portraits: Faces From Ancient Egypt. Thompson, D.L. 1979. "Painted portraiture at Pompeii", pp. 78-92 in Pompeii and the Vesuvian Landscape (Papers of a Symposium sponsored by the Archaeological Institute of America, Washington Society and the Smithsonian Institution; Washington 1979). Ling, R. 1991. Roman Painting. Pp. 157-9 "Portraits". Grabar, A. 1969. Christian Iconography: A Study of its Origins. Pp. 60-86 "The portrait". Kitzinger, E. 1954. "The cult of images in the age before iconoclasm", Dumbarton Oaks Papers VIII, 83- 150 _____. 1963. "Some reflections on Portraiture in Byzantine art", Recueil des Travaux de l' Institut d' Études Byzantines 8, 185-93 Corcoran, L.H. 1992. "A cult function for the so-called Faijum mummy portraits", pp. ???? in J.H. Johnson ed. Life in a Multi-Cultural Society: Egypt from Cambyses to Constantine and Beyond. Chicago.

Recommended: Ehlich, W. 1968. "Vom hellenistischen Mummienporträt zum östlichen Heiligen Bild", Helikon 8, 370-9 Herrin, J. 1982. "Women and the Faith in Icons in Early Christianity", pp. 56-83 in R. Samuel and G.S. Jones eds. Culture, Ideology and Politics: Essays for Eric Hobsbawm, London 1982. Nowicka, M. 1993. Le Portrait dans la Peinture Antique. Warsaw.

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PRESENTATIONS

ARCL0018 ROMAN ART AND ARCHITECTURE PRESENTATION TOPICS AND BIBLIOGRAPHY

All students will be required to give at least one presentation on the objects we shall be looking at in the British Museum. Presentations should be no less than five and no longer than ten minutes. Key questions to consider are: the material, function, provenance and date of the objects in question; means of manufacture; style, iconography and social context. Do not prepare too much material. 10 minutes is not a very long time. Pare your presentation down to essentials. Be sure to tie the points you make to specific objects which we can look at in the BM. Remember who the primary addressees of your talk will be: not me, but your colleagues in the class who will probably know as little about the material at hand as you did before preparing your presentation: keep things clear and simple. Presentations are not formally assessed; they are, however, required. Failure to do your presentation/s will result, as a minimum penalty, in your being required to write an additional essay in order to complete the course. Be sure to prepare your presentation thoroughly and well in advance. This means going to take a look at the object for a preliminary inspection before you do the reading, doing the reading, and then taking another look at the object before writing your presentation. The British Museum sometimes closes rooms at short notice, so do not rely on being able to go in Wednesday afternoon or Thursday morning immediately before your presentations in order to prepare. Please get in touch at once if you have any difficulty finding either your objects or the readings.

1 ETRUSCAN, ITALIC AND EARLY ROMAN ART.

1.1 Etruscan painting: the Boccanera plaques (BM room 71, on the wall, right-hand side coming from room 70) *Brendel, O. 1978. Etruscan Art. Pp. 153-157 "Pontic amphorae and Boccanera slabs". *Hinks, R.P. 1933. Catalogue of the Greek, Etruscan and Roman Paintings and Mosaics. London, British Museum. PP. 3-5, pls. I-II, nos 5-5e - bibliography, description, details of restorations. *Pallotino, M. 1952. Etruscan Painting. Pp. 25-8

1.2 Etruscan sculpture in bronze and terracotta (BM Room 71. select two or three of your choice from the following: 1) Case 27: Bronze head of a young man, c. 375-50 BC, GR 1824.4-70.6; 2) Case 15: Painted terracotta sarcophagus of Seianti Thanunia Tlesnasa, Chiusi, 150-30 BC) 3) Case 30: Bronze votive statue of a young woman GR 1920.6.12.1; 4) Funerary urns – take one example from GR 1930.1..-12.3 (ScD 64), GR 1925.5-10.1 (Sc D67), GR 1856.10-31.1 (Sc D 40-1), GR 1926.3-24.124. *Brendel EA pp. 397-400 (classical bronze portraits), 420-423 (Hellenistic funerary sculpture) *H.B. Walters. 1903. Catalogue of the Terracottas in the British Museum. Pp. 428-9. *Haynes, H. 1971. Etruscan Sculpture. Pp. 23 (pl. 10), 27-8 (pl. III) *Haynes, S. 1960. “The bronze priests and priestesses from Nemi”, Romische Mitteilungen LXVII, 34- 8.

1.3 Roman Republican Portraits- (BM room 70 far end left hand side, portraits in case 6 and the freedman plaques on the walls: GR 1824.2.1-3; GR 1973.3.30-7; 1954.12-14.1; 1858.8-19.2; 1920.2.20-1) *Smith, R.R.R. "Greeks, foreigners and Roman Republican portraits", Journal of Roman Studies LXXI, 24-38 *Kleiner, D. 1992. Roman Sculpture. Pp. 31-47 "Republican portraiture", 79-81 "Portraits of freedmen and freedwomen under Augustus"

@[1.4 Praenestine cistae. Bellerophon and Pegasus, Achilles sacrificing Trojan prisoners Brendel pp. 353-359 - ch. 27 + notes 1-10 and bibl - nothing in English]

@[1.5 Etruscan Mirrors..

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Brendel pp. 359-371, notes 10-33 + bibl - nothing in English Beazley, J.D. 1949. "The world of the Etruscan Mirror", Journal of Hellenic Studies lxix 1-17 Haynes, S. 1970. "Etruscan bronzes in the British Museum: new acquisitions and old possessions." Pp. 177-93 in Art and Technology. A Symposium on Classical Bronzes. Cambridge Mass.]

2. ROMAN ART IN THE AGE OF AUGUSTUS

2.1 Augustan and Julio-Claudian Portraiture (BM room 70 - Augustus, Gaius, Germanicus, Livia. Tiberius) *Walker, S. and A. Burnett. 1981. The Image of Augustus. *Kleiner, D. 1992 Roman Sculpture. Pp. 61-72 "Portraiture of Augustus", 72-78 "Portraiture of Augustus family."

2.2 Roman glass and the Portland Vase (BM room 70; cases 17 for a reasonable selection of types of Roman glass and 12 for the Portland vase) *Price, J. 1983. "Glass", pp. 205-219 in M. Henig Handbook Price, J. 1976. "Glass", pp. 111-126 in Strong and Brown Craft *Haynes, D.E.L. 1995. "The Portland Vase: a reply", Journal of Hellenic Studies CXV, 146-152. *Hind, J.G.F. 1995. "The Portland vase: new clues towards old solutions." ibid 153-155 Ashmole, B. 1967. "A new interpretation of the Portland Vase", Journal of Hellenic Studies LXXXVII, 1- 17 Haynes, D.E.L. 1968. "The Portland Vase again", Journal of Hellenic Studies LXXXVIII, 59-72 Hind, J.F.G. 1979 "Greek and Roman Epic Scenes on the Portland Vase", Journal Of Hellenic Studies XCIX, 20-5 Scott, G. 1995. “A study of the Lycurgus cup”, Journal of Glass Studies 37, 51-64

2.3 Early imperial silver: Orestes Cup and Acanthus Cups (BM room 70, case 13 - silver cups with trails of acanthus and vine, silver cup with repousse scene of Orestes, Iphigenia and Pylades) *Henig, M. "Silver plate: late Republic and early Empire", 1983. Pp. 138-143 in idem Handbook *Corbett P.E. and D.E. Strong. 1960/1. "Three Roman silver cups". British Museum Quarterly XXIII, 66-86, pls. xxxi-xxxvii Haynes, S. 1961. "Drei neue Silberbecher im British Museum" Antike Kunst IV, 30-6 pls. 15-16. (in German, but with excellent plates of the Sophocles cup) *Sherlock, D. 1976. "Silver and silver-smithing", pp. 11-23 in Strong and Brown eds. Crafts.

2.4 ‘The Warren Cup’,( Room 70 Case 12a) Clarke, John R. 1993. “The Warren cup and the contexts for representations of male to male love- making in Augustan and early Julio-Claudian art”, Art Bulletin 75: 275-94 _____. 1998. Looking at Love-Making: Constructions of Sexuality in Roman Art 100 BC-AD 250. Pollini, John. 1999. “The Warren cup: homoerotic love and symposium rhetoric in silver”, Art Bulletin 81: 21-52 Williams, Dyfri. 2006. The Warren Cup. London.

@[2.5 Roman fine-ware pottery (case 16 - Samian and Arretine red-slip pottery - chose a couple of intersting pieces - for example the applique medallions with a tribunal and an erotic scene, krater with representations of seasons, Diana and Actaeon bowl) *Brown, D. 1976. "Pottery", pp. 74-91 in Strong and Brown eds. Crafts *King, A. 1983. "Pottery", pp. 179-190 in Henig Handbook.) *Johns, C. 1971. Arretine and Samian Pottery. (British Museum Publications booklet)]

@[2.5 Gems etc? - ]

3. THE HIGH EMPIRE

3.1 Roman painting in the British Museum (Room 70, case 11: chose two which interest you from. nos. 2, Bacchus and Silenus, and 5, Phaidra and attendant nurse both megalographic, Greek tradition; Ariadne on Naxos, Fresco of a Woman Playing a Lyre; 3, Death of Icarus and 4,

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Ulysses and the Sirens - miniature mythological landscapes; {6 - costal scene, similar style to sacral-idyllics - cf. Ling on Studius – not on display 2017}.

General and technique: *Pratt, P. 1976. "Wall-painting", pp. 223-229 in Strong and Brown Crafts. *Hinks, R.P. 1933. Catalogue of the Greek Etruscan and Roman Paintings and Mosaics. London, British Museum. Cat. nos. 23 (pl. VIII), 27 (pl. XI), 28 (pl. XII), 29 (fig. 14)

3 and 4 *Ling Roman Painting pp. 112-119 "Panel pictures" *Dawson, C.M. 1944. Romano-Campanian Mythological Landcape Painting. (Yale Classical Studies 9) - Cat no 58 = Daedalus and Icarus (pp. 109, 121, 133-4, 140-2, 181, 185, 187), Cat no 59 = Odysseus and the Sirens (pp. 109, 133-4, 165-6, 181, 187). ( Recommended: Pp. 116-135 "The composition of the landscape paintings", 136-72 "The relationship of myth landscape to previous tradition")

2 and 5 No obvious bibliography - but give some thought to how the figure style of this pair differs from the others we shall be looking at.

6 *Ling pp. 142-149 "Landscapes"

3.2 2nd Century Roman Portraiture (Room 70, chose a couple which take your fancy from Trajan, Hadrian, Antoninus Pius, Faustina or her anonymous neighbour, Marcus Aurelius, Lucius Verus) *Kleiner, pp. 208-12 (Trajan), 238-241 (Sabina), 268-277 (Antonines), 277-280 (Female portraiture under the Antonines) *Smith, RRR. 1998. “Cultural choice and political identity in honorific portrait statues in the Greek east in the second century AD”, Journal of Roman Studies lxxxviii, 56-93

3.3 Roman Mosaics (Select two from amongst the following: 1.) Case 11 - lion taunted and bound by cupids, opus vermiculatum; (by case 17 - left hand side of room 71) 2). North African hunt mosaic, c. 200-256 AD; 3) Edible fish mosaic, AD 100; Fish- and fruit-baskets, North Africa, 1st-2ndC AD) *Smith, D.J. 1983. "Mosaics", pp. 116-138 in Henig Handbook *Neal, D.S. 1976. "Floor mosaics", pp. 241-252 in Strong and Brown Crafts. *Bryson, N. 1990. "Xenia", pp. 17-59 in Looking at the Overlooked: Four Essays on Still Life Painting. *Hinks, R.P. 1933. Catalogue of the Greek Etruscan and Roman Paintings and Mosaics. London, British Museum.. Mosaics - pp. 65 no 1 (pl. XXV), p. 66 no 4 (pl. xxvi and fig 73), p. 119, no 45.

@[3.4 Roman stucco decoration Ling, R. 1976. "Stuccowork", pp. 209-221 in Strong and Brown Crafts. ]

4. CENTER AND PERIPHERY IN ROMAN FUNERARY ART

4.1 Sarcophagi and funerary urns (BM room 83, basement) obviously you cant talk about them all - select two or three which you think are particularly interesting/representative. *Walker, S. 1985. Memorials to the Roman Dead. Uses almost exclusively material from the British Museum - the best starting point. You may also wish to consult S. Walker's Catalogue of the Roman Sarcophagi in the British Museum (1990). *Kleiner 1992 Roman Sculpture. Pp. 256-9, 301-8, 384-93 Tonybee, J. 1971. Death and Burial in the Roman World. Esp. pp. 43-72 "Funerary rites and the cult of the dead", 270-277 "Decorated sarcophagi".

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4.2 The Art of Palmyra (BM room 70, left hand side, second bay, entering from 69, Palmyrene funerary portraits) *Kropp, A. and Raja, R. 2014. “The Palmyra portraits project”, Syria 91: 393-405 [Online] *Colledge, M.A.R. 1976. The Art of Palmyra. Pp. 58-77 "Funerary sculpture", 109-118 "Funerary sculpture", 122ff iconography - esp. 126f frontality, 138-9 gestures, 139-41 headgear, 141-4 hairstyles, 144-5 features, 145-9 clothing, 149-50 drapery, 150-2 jewellery [Smith, Andrew M. 2013. Roman Palmyra: Identity, Community and State Formation. Oxford. [INSTARCH DBD 10 SMI] {Good up to date historical study; thin on art, but interesting for social and cultural context}

4.3 Painted Mummy portraits from Roman Egypt (Room 62, case 17) *Shore, A.F. 1972. Portrait Painting From Roman Egypt. (British Museum Booklet) *Doxiadis, E. 1995. The Mysterious Fayum Portraits: Faces from Ancient Egypt. Pp. 34-46 "Graeco- Roman Egypt" (The social and religious context), 82- 102 "The Portraits" (The Pictorial Tradition: from Apelles to Icons; Technique: Scale, Materials and Colours) *Walker, S. 1997. Ancient Faces: Mummy Portraits from Ancient Egypt. Cat. Nos. 18, 24, 25, 56, 81, 141, 143.

4.4 Romano-British Sculpture (Room 49: Uley Mercury, Case 20; Funerary Stelai – on the walls, middle of the room, right hand side approaching from Room 41; case 14: Nero statuette, Claudius portrait, Hadrian portrait). Choose any two objects which take your interest) Ellison, A. and M. Henig. 1981. "Head of Mercury from Uley, Gloucstershire", Antiquity lv, 43-4 Brown, D. 1976. "Bronze and pewter", pp. 25-41 in Strong and Brown Crafts (in particular p. 31-2 on the Hadrian and Nero) Toynbee, Jocelyn. 1962. Art in Roman Britain. Phaidon. Cat no 48 (Towcester Head, straight in front of you as you enter room 49 from 41), 87 (Seated Woman from South Shields – this is a cast, original in South Shields) Johns, C. 2003. “Art, Romanisation and competence”, 9-23 in S. Scott and J. Webster eds. Roman Imperialism and Provincial Art. Makintosh, M. 1986. “The sources of the horseman and fallen enemy motif on the tombstones of the Western Roman empire”, Journal of the British Archaeological Association 131,1: 1-21 {JJT: check CSI vols}

4.5 The Lullingstone Paintings ( BM Room 49, PRB 1967.4.7.10) Davey, N. and R. Ling. 1982. Wall-Painting in Roman Britain. (Britannia Monograph Series 3), pp. 138-145, 211-2 Meates, G.W. 1987. The Roman Villa at Lullingstone, Kent II: The Wall-Paintings and Finds pp. 11- 46

5. LATE ANTIQUE ART

5.1 Late antique portraiture (BM room, 70 - 3rd and 4th century portraits, first on left when exiting room 69 - choose a couple that take your fancy) *Kleiner 1992 pp. 319-328 "Severan portraiture", 361-384 (Third century portraiture), 400-408 "Imperial portraiture under the tetrarchs", 433-444 (Constantinian portraiture) McCann, A.M. 1968. The Portraits of Septimius Severus. Memoirs of the American Academy in Rome XXX.

5.2 The Esquiline Treasure and the Projecta Casket (BM room 41, case 7) *Elsner, J. 1995. Art and the Roman Viewer. Pp. 249-61 (best starting point) *Buckton, D. 1994. Byzantium: Treasures of Byzantine Art and Culture. Catalogue nos. 10-14, pp. 33- 37 *Shelton, K. 1981. The Esquiline Treasure. Full publication. (Ask JT for xerox of the most important parts, if still unavailable in UCL)

5.3 Late antique and early Christian ivories (BM room 41, Case 8 ) Apotheosis Diptych = Rome 1857.1013; Maskell Passion Cycle: Rome 1856.0623.4-7 *Grabar, A. 1969 Christian Iconography. Index, s.v. ivories. *Buckton, D. 1994. Byzantium etc (as above 5.2) nos. 44-5, pp. 57-9 (with supplementary bibliography)

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St Clair, A. 1964. "The apotheosis diptych", The Art Bulletin 64, 205-11 Entries from Weitzmann, Age of Spirituality: Online from Metropolitan Museum of Art, new York Spier, J. 2007. Picturing the Bible. Pp. 229-232 (Maskell Ivories – Passion Cycle) (ART BC10 SPI)

5.4 Late Roman Silver – The Mildenhall Treasure (BM Room 49) Focus on the Great Dish Tonybee, J.M.C. and K.S. Painter. 1986. "Silver picture plates of late antiquity, AD 300-700", Archaeologia 108, 15-65 Painter, K.S. 1977. The Mildenhall Treasure. London. [IoA Issue Desk: PAI] Hobbs, Richard. 2012. The Mildenhall Treasure. London. Hobbs, R. 2010. “ Platters in the Mildenhall Treasure”, Britannia 41 (2010), pp. 24-33 Hobbs, R. 2008. 'The secret history of the Mildenhall Treasure', The Antiquaries Journal 88 (2008), pp. 376-420. Hobbs, R. 1997. ‘The Mildenhall Treasure: Roald Dahl’s ultimate tale of the unexpected?’ Antiquity, 71 (no. 271), March (1997), pp. 63-73

5.5 The Corbridge Lanx Brendel, O. 1941. "The Corbridge lanx", Journal of Roman Studies 31, 100-127 Nicholson, Oliver. 1995 “The Corbridge Lanx and the Emperor Julian”, Britannia 26: 312-5 Tonybee, J.M.C. and K.S. Painter. 1986. "Silver picture plates of late antiquity, AD 300-700", Archaeologia 108, 15-65

@[6. THE ART OF ROMAN BRITAIN

6.3 The Hinton St Mary Mosaic (room 35) Eriksen, R.T. 1980. "Syncretic symbolism and the Christian Roman Mosaic at Hinton St Mary: a closer reading", Proc. Dorset. Nat. Hist. Archaeol. Soc. cii, 43-8 ) Painter, K. 1976. "The design of the Roman mosaic at Hinton St Mary", Antiquaries Journal lvi, 49-54 Tonybee, J.M.C. 1964. "A new Roman mosaic pavment found in Dorset", Journal of Roman Studies liv, 7-14 ] Painter, K. 1968. “The Roman site at Hinton St Mary”, British Museum Quarterly 32, 135-51 _____. 1971. “Villas and Christianity in Roman Britain”, British Museum Quarterly 35, 156-75

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APPENDIX A: POLICIES AND PROCEDURES 2018-19(PLEASE READ CAREFULLY) This appendix provides a short précis of policies and procedures relating to courses. It is not a substitute for the full documentation, with which all students should become familiar. For full information on Institute policies and procedures, see see the IoA Student Administration section of Moodle: https://moodle.ucl.ac.uk/module/view.php?id=40867

For UCL policies and procedures, see the Academic Regulations and the UCL Academic Manual: http://www.ucl.ac.uk/srs/academic-regulations ; http://www.ucl.ac.uk/academic-manual/

GENERAL MATTERS ATTENDANCE: A minimum attendance of 70% is required. A register will be taken at each class. If you are unable to attend a class, please notify the lecturer by email. DYSLEXIA: If you have dyslexia or any other disability, please discuss with your lecturers whether there is any way in which they can help you. Students with dyslexia should indicate it on each coursework cover sheet.

COURSEWORK LATE SUBMISSION: Late submission will be penalized in accordance with current UCL regulations, unless formal permission for late submission has been granted. Please note that these regulations have changed for the 2016-17 session. The UCL penalties are as follows:  The marks for coursework received up to two working days after the published date and time will incur a 10 percentage point deduction in marks (but no lower than the pass mark).  The marks for coursework received more than two working days and up to five working days after the published date and time will receive no more than the pass mark (40% for UG modules, 50% for PGT modules).  Work submitted more than five working days after the published date and time, but before the second week of the third term will receive a mark of zero but will be considered complete.

GRANTING OF EXTENSIONS: Please note that there are strict UCL-wide regulations with regard to the granting of extensions for coursework. You are reminded that Module Coordinators are not permitted to grant extensions. All requests for extensions must be submitted on a the appropriate UCL form, together with supporting documentation, via Judy Medrington’s office and will then be referred on for consideration. Please be aware that the grounds that are acceptable are limited. Those with long-term difficulties should contact UCL Student Disability Services to make special arrangements. Please see the IoA website for further information. Additional information is given here http://www.ucl.ac.uk/srs/academic-manual/c4/extenuating-circumstances/

RETURN OF COURSEWORK AND RESUBMISSION: You should receive your marked coursework within one month of the submission deadline. If you do not receive your work within this period, or a written explanation, notify the Academic Administrator. When your marked essay is returned to you, return it to the Module Co-ordinator within two weeks. You must retain a copy of all coursework submitted.

CITING OF SOURCES and AVOIDING PLAGIARISM: Coursework must be expressed in your own words, citing the exact source (author, date and page number; website address if applicable) of any ideas, information, diagrams, etc., that are taken from the work of others. This applies to all media (books, articles, websites, images, figures, etc.). Any direct

30 quotations from the work of others must be indicated as such by being placed between quotation marks. Plagiarism is a very serious irregularity, which can carry heavy penalties. It is your responsibility to abide by requirements for presentation, referencing and avoidance of plagiarism. Make sure you understand definitions of plagiarism and the procedures and penalties as detailed in UCL regulations: http://www.ucl.ac.uk/current- students/guidelines/plagiarism

RESOURCES MOODLE: Please ensure you are signed up to the module on Moodle. For help with Moodle, please contact Charlotte Frearson ([email protected]).