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UCL - INSTITUTE OF ARCHAEOLOGY

ARCL0018 AND ARCHITECTURE

2019-2020

15 credits 2nd/3rd Year Module, BA

Co-ordinator: Dr. Eva Mol- [email protected] IoA Room 105 Office hours: by appointment TA: Anouk Everts (MPhil) – [email protected]

Essay submission: Essay must be handed Monday 23th March 11.59 on Moodle and TUE 24th March 9AM in Class Hard Copy Contents

1. OVERVIEW OF COURSE 2. TUTORIALS AND ASSESSMENT 3. LECTURE SUMMARIES AND READINGS 4. ESSAY TOPICS 5. TUTORIAL PRESENTATION TOPICS AND BIBLIOGRAPHY

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1. OVERVIEW OF COURSE This module provides an introduction to Roman art from about 600 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, cultural influences in the formation of Roman art, Roman art and imperial power, the Roman architectural revolution, the rise of and the significance of Roman art in contemporary society. The module will include visits to the .

COURSE SCHEDULE

14/1/20 Session 1- Introduction to Roman art and Architecture 1. Introduction to the Module 2. What is Roman art, how do we study it and why does it matter?

Session 2 - The idea of : Roman myth in Art 21/1/20 3. Myth and material in the making: from to Latium 4. Local myths and material culture

THU23/1/20 1st British Museum Tutorial: Rome’s mythical foundations

Session 3 – Early Rome between Etruria and Greece 28/1/20 5. Etruscan and Italic Art and Architecture 6. Rome and the Heritage of Greece: Conquest, Appropriation, Display

Session 4 - Building an Empire: from Bricks to Marble 4/2/20 7. The power of images in the Age of 8. The Buildings and the Builders: , ‘Arte Plebea’ and Non‐elite Roman Art

THU6/2/20 2nd British Museum Tutorial: Augustan Art

Session 5 - Enjoying Imperial Art: Aesthetics, pleasure, and politics 11/2/20 9. Marvelling marbles: from ’s palace to the 10. A sensory experience in the Roman bath house

[18/2/20 Reading Week]

Session 6 – Roman art and identity in the Empire: East 25/2/20 11. : of the desert 12.

FRI 28/2/20 3rd British Museum Tutorial: Roman Palmyra and Egypt

Session 7- Roman art and identity in the Empire- West 3/3/20 13. Art in Roman Britain: 14. The art of Migration in the

THU5/3/20 4th British Museum Tutorial: Roman art and identity in Britain

Session 8 - Roman art in the private sphere 10/3/20 15. The Roman house and decoration 16. Roman art and gender

Session 9- Roman art and 17/3/20 17. Course Assessment, Funerary until 18. and sarcophagi in early and the of St. Peter

THU19/3/20 5th British Museum Tutorial: Funerary and Early Christian Art

Session 10- Late antiquity and Early Christian Art 24/3/20 19. The of Constantine 20. Assessment, discussion, exam training, handing in Essay

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TEACHING SCHEDULE

Lectures will be held on Tuesdays 9-11am, IoA Room 209 Tutorials will be held on Thursdays and once on Friday in the British Museum – as scheduled – 12-3pm British Museum Tutorials will be held at the British Museum on Thursdays as specified on the module schedule, and one time on Friday. There will be up to three groups, starting at 12, 1 and 2 pm respectively.

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 and image studies 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 5 hours of tutorial sessions 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.

AIMS This module provides an introduction to Roman art – , , architecture, and other objects – from c. 600 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.

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 6th century BC to the 4th century AD  Understand the principles of the major methodologies of art analysis  Be familiar with the major iconographic themes of Roman art and able to analyse the major styles of Roman art, and date objects by style  know the importance and power of visual culture in the lived experiences of individuals from a wide spectrum of ancient Roman society  understand the consequences of Roman imperialism on those individuals, and how these consequences were reflected or constructed by art

OUTCOMES On successful completion of this module students should have developed:  Oral presentation skills  Skills for the critical analysis and interpretation of visual representations  engagement with both ancient Roman art and, more broadly, the power of art and issues in ancient and contemporary society  Ability to find, organize, evaluate and communicate evidence and theories in relationship to specific research questions

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2. TUTORIALS AND ASSESSMENT

Tutorials in the British Museum will take place on Thursdays. Students will be divided into two 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, section 5 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 can be found in section 4 this module handbook, a bibliography will be posted on moodle. If you want to write about a different topic, this is possible after consulting with the Module Co-ordinator through 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 for 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.

Coursework submission procedures  All coursework must normally be submitted both as hard copy and electronically.  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)  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.

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 . 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

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/.

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 and sections of the main UCL library.

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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.

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3. LECTURE SUMMARIES AND READINGS

HOW TO PREPARE FOR CLASS Preparing for classes is important, readings and thinking about the session topics before class will improve the participation and preparing for the exam. For this class, preparation is done in three different ways:

1. Do the weekly assigned required readings 2. Study the images that are posted on Moodle for each week and will be treated during class 3. Prepare for a small in-class discussion related to the session topic or the readings

Most of the readings are online available, otherwise a UCL library code is provided. The bibliography for each lecture or class is listed under two headings, "required" and "Further reading". Required is necessary for the exam and for class. Asterisked (*) readings represent the necessary reading for each lecture in order to prepare for the in-class discussion and follow the lecture and is essential preparation. Sessions sometimes also have discussion topics, related to the session topics or readings which have to be prepared for class. This means that while reading, you have to keep in mind the discussion topic and be able to answer questions about in class.

BASIC REFERENCES: The two main text books book used in the course are: Blackwell Companion to Roman Art, edited by Barbara Borg (2015) Blackwell Companion to Roman Architecture, edited by Roger Ulrich and Caroline Quenemoen (2014),

Other useful handbooks Alcock, S.E. and R. Osborne, eds. 2007. Classical Archaeology. London Anderson, J.C., Jr. 1997. Roman Architecture and Society. Baltimore and London 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) Ramage, N., and A. Ramage, 2000, Roman art : to Constantine London, Laurence King: 3rd Archaeology YATES A 40 RAM Clarke, John R. Art in the Lives of Ordinary Romans: Visual Representation and Non-Elite Viewers in , 100 B.C-A.D. 315. Los Angeles: University of California Press, 2003. Kleiner, Fred S. A History of Roman Art. Belmont: Thomson Wadsworth, 2007. Stewart, Peter. The Social History of Roman Art. New York: Cambridge University Press, 2008. Stewart, P., 2004, Roman Art, Oxford University Press: 2004: Archaeology YATES A 40 STE Ling, R. 1991. Roman Painting (YATES Qto P140 LIN) Jensen, R.M., and M. D. Ellison, 2018 The Routledge Handbook of Early Christian Art (online)

Useful documentaries and podcasts (for background) Meet the Romans with 2012, 3 episodes, BBC podcast (Art Institute Chicago) BBC Radio 4; In Our Time: https://player.fm/series/in-our-time-history The : https://player.fm/series/in-our-time-history

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

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LECTURE SUMMARIES, DISCUSSION TOPICS, AND READINGS

Session 1: Introduction to Roman art and Architecture The Romans originated in central Italy, influenced by other local Italian cultures, notably those of Etruria, but from the 5th century they came into contact with the and from then onwards, the absorbed many aspects of first Classical and then Hellenistic art. However it never lost its distinctive character, especially notable in such fields as architecture, portraiture, and historical . From about the BC, the rapid expansion of the Roman Empire brought Greco- Roman art to many parts of Europe, North Africa and nearer Asia allowing the development of myriad provincial arts, ranging eventually from Northern Britain to the Sahara and from Spain to Arabia. In the first session we will try to define Roman art, and discuss how we can study it from an art historical perspective. Discussion: what is Roman art, why is it important, and how do we study it?

1. Introduction to the Module Required for class Read the Handbook Read: https://smarthistory.org/introduction-to-ancient-roman-art/

2. Roman art and how to look at it Required for class No readings necessary

Required for exam *Blackwell art: chapter 1 Defining Roman Art -Christopher H. Hallett *Blackwell art: chapter 2 Roman Historical Representations-Tonio Hölscher

Further reading Blackwell art: chapter 23. Ideological Applications: Roman Architecture and Fascist Romanità Genevieve S. Gessert Gazda, E.K. (ed.) (2004) The Ancient Art of Emulation: Studies in Artistic Originality and Tradition from the Present to . University of Michigan Press, Ann Arbor, MI Hallett, C.H. (2005b) The Roman Nude. Oxford University Press, Oxford Perry, E. (2005) The Aesthetics of Emulation in the Visual Arts of . Cambridge University Press, Cambridge Strong, D. (1994) Roman Museums: Selected Papers on Roman Art and Architecture. Pindar Press, London Hölscher, T. (2004) The Language of Images in Roman Art. Cambridge University Press, Cambridge

Session 2: The idea of Rome: Roman myth in Art In this session we will start not with the actual remains of Rome, but with how Rome believed it started and how this affected the city and its art. Myths -foundational tales or origin stories- play a fundamental role in societies. For Rome, developing between Italic, Etruscan and Greek cultural forces, it means it has a fascinating mix of local and Mediterranean myths to explain its origins. In this session, we will focus on how the Roman connected themselves to the Trojan myth, as well as how they incorporated their own local myths into a larger narrative that became the (hi)story of Rome. We will discuss how figures- from Helen and , to Romulus, Remus, the Horatii and Curatii- found their ways into history and into the art of Rome. Discussion topic: How important is the Trojan myth for the and why?

3. From Troy to Latium Required: *Blackwell art: chapter 28 Roman Art and Myth - Francesco de Angelis *Cornell, T.J., chapter 3: The Origins of Rome, in The beginnings of Rome, Italy and Rome from the to the Punic Wars ANCIENT HISTORY R 11 COR

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*Squire, M. (2013). Epic visions on the Tabulae Iliacae. In H. Lovatt & C. Vout (Eds.), Epic Visions: Visuality in Greek and Epic and its Reception (pp. 248-282). Cambridge: Cambridge University Press. doi:10.1017/CBO9781139600262.012 *Galinsky, K., (1974), The tomb of Aeneas in Lavinium, Vergilius, No. 20 (1974), pp. 2-11

Podcast The History of Rome: In the Beginning https://player.fm/series/the-history-of-rome-79091/001-in-the-beginning

Further reading von Blanckenhagen, P. H. 1963. "The Frieze." Römische Mitteilungen 70, 100-146. Squire, M. (2010). Texts on the tables: The Tabulae Iliacae in their Hellenistic literary context. The Journal of Hellenic Studies, 130, 67-96. doi:10.1017/S0075426910000741 Leach, E.W. (2002) Imitation or reconstruction: How did Roman viewers experience mythological painting? In Schrempp, G., and Hansen, W. (eds.) Myth: A New Symposium. Indiana University Press, Bloomington, IN, pp. 183–202 Newby, Z. (2011b) Displaying Myth for Roman Eyes. In: Dowden, K. and N. Livingstone (eds.) A Companion to . Wiley-Blackwell, Chichester; Malden, MA, pp. 265–281

4. Local myths and material culture Required Bremmer, Jan, ‘Three Roman aetiological myths’, in: James Richardson (ed.), The Roman historical tradition: regal and republican Rome (Oxford, 2014), 147-164 *Were Historical Figures? By: Slayman, Andrew, Archaeology, 00038113, July/August 2007, Vol. 60, Issue 4

Is this the real cave of Romulus and Remus? https://www.theguardian.com/artanddesign/jonathanjonesblog/2007/nov/21/isthisthecaveofromulusan and https://www.nytimes.com/2007/11/21/world/europe/21rome.html

Further reading Elsner, J. (2007) Viewing Ariadne: From ekphrasis to wall painting in the Roman world. Classical Philology 102, 20–44 Rissanen, Mika. "The Lupa Romana in the Roman Provinces." Acta Archaeologica Academiae Scientiarum Hungaricae 65.2 (2014): 335-60 Newby, Z. (2016). Greek Myths in Roman Art and Culture: Imagery, Values and Identity in Italy, 50 BC–AD 250 (Greek Culture in the Roman World). Cambridge: Cambridge University Press. doi:10.1017/CBO9781139680387 Bremmer, N. and N.M. Horsfall Jan N. Bremmer Nicholas Horsfall Roman myth and mythography / by London : University of London Institute of Classical Studies: 1987 Rea, Jennifer A. (2007), Legendary Rome, London: Bloomsbury Publishing Plc: 2007 Wiseman, T., (1995), Remus: a Roman myth / T.P. Wiseman, Cambridge : Cambridge University Press

Session 3: Early Rome between the Etruscans and the Greeks From the previous session we have learned that the idea of Rome’s earliest history is closely connected to other people on the Italian peninsula and in the wider Mediterranean. In this session, we will look at the actual remains to regard how in reality, the foundation of Rome and their later success was for a large part based on the incorporation of foreign influences, most importantly those of the Etruscans and the Greeks. We will look at the construction of the earliest temple in Rome, the Temple of , to the art and architecture of the eponymous kings of Rome, and the veristic of the early republic to see how Rome grew from a minor town in Latium to a considerable power in the . Discussion topic: How does Etruscan religious architecture differ from Greek architecture? Where do these differences derive from?

5. Etruscan and Italic Art and Architecture Required: *Blackwell Arch: chapter 1: Italic Architecture of the Earlier First Millennium BCE 6 Jeffrey A. Becker

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*Tuck, S., 2015, chapter 2: Regal Period 753-509 BC, The Etruscans and the Question of Etruscan dominance, in A history of Roman Art, YATES A 40 TUC Pappini, M. 2015. “Republican Rome and Italic art”, in B. Borg ed. A Companion to Roman Art. Oxford: Wiley-Blackwell. 95-113 [Online] Rasmussen, T. 1983. "Early Roman Art", pp. 13-25 in M. Henig ed. Tanner, J. 2000. “Portraits, power and patronage in the late Roman Republic”, Journal of Roman Studies XC, 18-50.

Further reading Ammerman, A.J. 1990. “On the Origins of the Romanum.” AJA 94:627–645. Ammerman, A.J. 1996. “The in Rome from the Beginning.” AJA 100: 121–13 Steingraber, Stephan. 1986. Etruscan Painting. 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 and the world of Etruscan Necropoleis”, Pieraccini “Etruscan wall ”, 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 ” Gunter “The Etruscans, Greek art and the Near East”

6. Rome and the Heritage of Greece: Conquest, Appropriation, Display Required *Blackwell Arch: chapter 2: Rome and Her Neighbours: Greek Building Practices in Republican Rome *Russell, A. (2015). Greek art in Roman space: Public conquest and private leisure. In The Politics of Public Space in Republican Rome: (pp. 127-152). Cambridge: Cambridge University Press. doi:10.1017/CBO9781139629041.008 (online). Blackwell Arch: chapter 11: Urban Sanctuaries: The Early Republic to Augustus, Stamper Newby, Z. (2016). Greek Myths in Roman Art and Culture: Imagery, Values and Identity in Italy, 50 BC–AD 250 (Greek Culture in the Roman World). Cambridge: Cambridge University Press. doi:10.1017/CBO9781139680387

Further reading Smith, R. R. R. 1981. "Greeks, Foreigners and Roman Republican Portraits." Journal of Roman Studies LXXI, 24-38. (UCL Electronic Periodicals) Pollitt, J. J. 1978. "The Impact of Greek Art in Rome." Transactions of the American Philological Association 108, 155-75. (Online) 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. " and the 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 ”, 17.2: 228-254 [Online] Dillon, S. 2000. “Subject selection and viewer reception of Greek portraits from Herculaneum and Tivoli”, Journal of Roman Archaeology 13: 21-40 Rutledge, S.H. (2012) Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting. Oxford University Press, Oxford Marvin, Miranda. 2008. The Language of the Muses: the Dialogue Between Roman and Greek Sculpture. Los Angeles MacMullen, R. 1991. “Hellenizing the Romans: second century BC”, Historia 40: 119-138

Session 4: Building an Empire - from Bricks to Marble “I found Rome a city of bricks and left it a city of marble” These are the famous words that the first emperor of Rome, Augustus, allegedly spoke about his legacy in Rome. Even though he definitely did not leave everything in marble, his reconstruction program and the way that he used art to legitimate is power is unique and unparalleled. Through the , the , the and the Augustus of , we will look at how Augustus utilized style, images and objects as a crafty form of propaganda that made Augustus a god and remade Rome into an empire. However, to understand how Augustus could change a city from brick to marble, we have to consider the people that build Rome as well: the enslaved, the work forces, the poor. We will discuss the labour and the material that was necessary to build an empire. 10

Discussion: How can we see Augustan ‘propaganda’ reflected in respectively the forum, obelisk, Ara pacis or the ? How do things such as viewer/style or context play a part?

9. The power of images in the Age of Augustus Required *Blackwell Roman art: chapter 10- Roman art and the State, Peter Holliday *Zanker, P. (1988), chapter 5: The Mythical Foundations of the New Rome The Power of Images in the Age of Augustus, translated by A. Shapiro. University of Michigan Press, Ann Arbor, MI (MAIN: ANCIENT HISTORY R 15 ZAN -6 copies) *Squire,M., (2013), Embodied Ambiguities on the Prima Porta Augustus Art History, April 2013, Vol.36(2), pp.242-279 (online) *Website: http://digitalaugustanrome.org/ *Podcast: http://www.ancientartpodcast.org/blog/46/

Further reading Lott, J.B. (2004) The Neighborhoods of Augustan Rome. Cambridge University Press, Cambridge Davies, P.J. (2017). A Republican dilemma: city or state. The concrete revolution revisited, Papers of the British School at Rome 85: 77-107 Pollini, J. (1995) The Augustus of Prima Porta and the transformation of the Polykleitan heroic ideal: The rhetoric of art. In Moon, W.G. (ed.) , the Doryphoros, and Tradition. University of Wisconsin Press, Madison, WI. Koortbojian, M. (2014) The Divinization of and Augustus: Precedents, Consequences, Implications.Cambridge University Press, Cambridge Varner, E.R. (2004) Mutilation and Transformation: Damnatio memoriae and Roman Imperial Portraiture. Brill, Leiden Zanker, P. (1988) The Power of Images in the Age of Augustus, translated by A. Shapiro. University of Michigan Press, Ann Arbor, MI Conlin, D. (1997) The Artists of the Ara Pacis. University of North Carolina Press, Chapel Hill, NC Hölscher, T. (2004) The Language of Images in Roman Art. Cambridge University Press, Cambridge

10. The Buildings and the Builders: Concrete, ‘Arte Plebea’ and Non‐elite Roman Art Required *Blackwell Roman art: Chapter 11 “Arte Plebea” and Non‐elite art, Lauren Hackworth Petersen *Blackwell Roman arch: chapter 9 Materials and Techniques – Lynne Lancaster and Roger Ulrich Blackwell Roman arch: chapter 10. Labor Force and Execution - Rabun Taylor

Further reading Bianchi Bandinelli, R. (1967) Arte plebea. Dialoghi di archeologia 1.1, 7–19 Mayer, E. (2012) The Ancient Middle Classes: Urban Life and Aesthetics in the Roman Empire, 100 BCE– 250 CE. Harvard University Press, Cambridge, MA Clarke, J. (2003) Art in the Lives of Ordinary Romans: Visual Representation and Non‐elite Viewers in Italy, 100 B.C.–A.D. 315. University of California Press, Berkeley, CA Petersen, L.H. (2003) The baker, his tomb, his wife, and her breadbasket: The of Eurysaces in Rome. Art Bulletin 85, 230–257. Petersen, L.H. (2006) The in Roman Art and Art History. Cambridge University Press, Cambridge D’Ambra and Metraux, (eds.) 2006, The Art of citizens, soldiers and freedmen in the Roman world / Oxford : Archaeopress: c2006: Archaeology YATES QUARTOS A 6 DAM Joshel S. and L.H. Petersen, 2014, The material life of Roman slaves, New York, NY, USA: Cambridge University Press: 2014: Main ANCIENT HISTORY R 66 JOS Joshel, S., (2010) Slavery in the Roman World , Cambridge. Cambridge University Press Van Oyen, Astrid. 2017. “Finding the ‘material’ in material culture”: form and matter in ”, 133-152 in Astrid van Oyen and Martin Pitts eds. Materialising Roman Histories. Oxbow: Oxford. [IoA DA170 OYE]

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Session 5: Enjoying Imperial Art: Aesthetics, pleasure, and politics After Augustus’ death in 14 AD, the reign of Augustus was followed by his family members, the Julio- until the emperor Nero. Expansion and colonisation went hand in hand with an increased lavishness in public and private art and in public entertainment, enjoyed by the Imperial family as well as by the common man. This session we will study the architectural forms of Roman entertainment from Nero’s megalomaniac palace the , to the colosseum in Rome (and beyond), and through bath houses that have been found from Roman Egypt to London. How can we understand Roman art from the perspective of excess or opulence?

7. Marvelling marbles: from Nero’s palace to the colosseum Required *Companion to the Neronian Age: chapter 19 Buildings of an Emperor – How Nero Transformed Rome, Heinz-Jurgen Beste and Henner von Hesberg *Blackwell Roman arch- Building for an Audience: The Architecture of Roman Spectacle 281 Hazel Dodge (online) *Blackwell Roman art: chapter 27: Roman Art and Spectacle, Zahra Newby Companion to the Neronian Age, Chapter 20, Portraits of an Emperor – Nero, the Sun, and Roman Otium Marianne Bergmann (online) Blackwell arch: chapter 3- Creating Imperial Architecture Inge Nielsen

Further reading Blackwell art: chapter 27- Roman Art and Spectacle Zahra Newby Blackwell arch: chapter 4: Columns and Concrete: Architecture from Nero to , Caroline K. Quenemoen Blackwell arch.: chapter 15. Building for an Audience: The Architecture of Roman Spectacle, Hazel Dodge Ball, L.F. 2003. The Domus Aurea and the Roman Architectural Revolution. Cambridge: Cambridge University Press. Welch, K.E., (2007). The from its Origins to the Colosseum. Cambridge Beacham, R.C. (1991) The Roman and Its Audience. Routledge, London Bergmann, B. (2008) Pictorial narratives of the . In Nelis‐ Clément, J., and Roddaz, J.‐M. (eds.) Le cirque romain et son image. , Bordeaux, pp. 361–391 Christesen, P., and Kyle, D.G. (eds.) (2014) A Companion to Sport and Spectacle in Greek and Roman Antiquity. Wiley‐Blackwell, Oxford Hopkins, K., and Beard, M. (2005) The Colosseum. Profile Books, London 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 Further reading, esp. ch VI)

8. A sensory experience in the Roman bathhouse Required *Blackwell Roman arch: chapter 16- Roman Imperial Baths and - Fikret Yegül *Yegül, F.K. 2013. “Development of Baths and during the Roman Republic.” In Evans, ed., 15–32

Further reading DeLaine, Janet, and David E. Johnston, 1999, Roman baths and bathing: proceedings of the First International Conference on Roman Baths held at Bath, England, 30 March-4 April 1992 / edited by J. DeLaine and D. E. Johnston. Portsmouth, R.I. Journal of Roman Archaeology: 1999: Archaeology (YATES QUARTOS K 65 DEL) Fagan, G.G. 1999. Bathing in Public in the Roman World. Ann Arbor Manderscheid, H. 2004. Ancient Baths and Bathing: A Bibliography for the Years 1988–2001. JRA Suppl. 55. Portsmouth, RI Nielsen, I. 1993. Thermae et Balnea. The Architecture and Cultural History of Roman Public Baths. Aarhus Yegül, F.K. 1992. Baths and Bathing in Classical Antiquity. Repr. 1995. New York and Cambridge, MA Yegül, F.K. 2010. Bathing in the Roman World. New York Yegül, F.K. 2013. “Development of Baths and Public Bathing during the Roman Republic.” In Evans, ed., 15–32 Ward, R.B. 1992. “Women in Roman Baths.” HThR 85.2: 125–147 12

Session 6: Roman art and identity in the Empire: East Even though Rome is the political and cultural capital of the Empire, the centre of ‘Roman art’ is not just Rome and the provinces were not just grateful recipients of Roman civilisation. Every province and region possessed own traditions and styles that influenced Rome and that made Roman art into how we know it today. Tensions, appropriations, and cultural interplay between these different forces that we see reflected in art can tell us many important things about cultural and social identities and the Roman Empire. This session is about the Eastern part of the Empire, in particular Roman Palmyra and Roman Egypt. Discussion: what is Romanisation in art and how do we see this reflected in Palmyra and Egypt? In what way can changes in art and material culture help us understand social and political identity in the past and how do you think that compares to how art and material culture shape our identities in the present? Is there an (art) object that you consider your identity (social, national, familial) closely tied to?

11. Roman Syria: Palmyra, Venice of the Sands Required *Schmidt‐Colinet, A. (1997) Aspects of Romanization: The tomb architecture at Palmyra and its decoration. In Alcock, S.E. (ed.) The Early Roman Empire in the East. Oxbow, Oxford, pp. 1 57–177 *Heyn, M.K. 2010. Gesture and identity of the of Palmyra. American Journal of Archaeology, October 2010, Vol.114(4) https://www.jstor.org/stable/25763805

Further reading Colledge, M.A.R. (1976) The Art of Palmyra. Thames and Hudson, London Mitchell, S. (1993) : Land, Men, and Gods in Asia Minor. Clarendon Press, Oxford Woolf, G. (1994) Becoming Roman, staying Greek: Culture, identity and the civilizing process in the Roman East. Proceedings of the Cambridge Philological Society 40, 116–143 Krag, S. (2019) Funerary representations of Palmyrene women: from the first century BC to the third century AD / by Signe Krag. Brepols, Turnhout, Belgium Edwell, P.M. (2008) Between Rome and Persia : the middle Euphrates, Mesopotamia, and Palmyra under Roman control. London, Routledge. Nevvet, L. (2011) Household, Ancient History and Archaeology: A Case Study From Roman Egypt, in: Rawson, B., Blackwell Companions to the Ancient World, A Companion to Families in the Greek and Roman Worlds, Houses and Households. Oxford, UK: Wiley-Blackwell, Chapter 1, p.13-31. Bagnall, 2006, Hellenistic and Roman Egypt : sources and approaches / Roger S. Bagnall. Aldershot : Ashgate Whitehouse, H. (2010) and Paintings in Graeco-Roman Egypt, in: Lloyd, A.B., Blackwell, Companions to the Ancient World, A Companion to , The Visual Arts. Oxford, UK: Wiley-Blackwell. Chapter 44, p.1008-1031.

Podcast Funerary Sculpture in Ancient Palmyra: https://blogs.getty.edu/iris/audio-palmyra-loss-and- remembrance/

12. Roman Egypt Required *Riggs, C. (2005) The Beautiful in Roman Egypt: Art, Identity, and Funerary Religion. Oxford University Press, Oxford, Chapter 1, (1-40) EGYPTOLOGY R 5 RIG *Villing, A., Naukratis, Egypt and the Mediterranean world: a port and trading city, British Museum, Naukratis, (online) *Sandri, S., (2012), , in Riggs, C.,The Oxford handbook of Roman Egypt. Oxford: Oxford University Press: 2012: Archaeology (Online)

Further reading Riggs, C. (2005) The Beautiful Burial in Roman Egypt: Art, Identity, and Funerary Religion. Oxford University Press, Oxford Venit, M.S., (2016) Visualizing the in the tombs of Graeco-Roman Egypt New York, NY : Cambridge University Press: 2016: Archaeology EGYPTOLOGY QUARTOS E 7 VEN Corbelli, J.A., 2006, The art of death in Graeco-Roman Egypt, Princes Risborough : Shire: 2006: 13

Archaeology EGYPTOLOGY M 5 COR Roberts, P. (2008), portraits from Roman Egypt. London : British Museum Press: 2008: Archaeology EGYPTOLOGY M 20 ROB

NOTE ON FRIDAY!! 3rd BM Tutorial: Roman Egypt and Palmyra

Session 7: Roman art and identity in the Empire: West This session is about how Roman art took shape like in the Western part of the Empire, focusing in particular on art in Roman Britain and partly on . Often, these are not part of art courses as the material culture is considered too ‘primitive’ to be regarded as art, they are ‘archaeology’ instead. However, like the East, we can learn from regarding these as such and look at how style and iconography tell us things about cultural identity and cultural interaction between different cultures in the Roman Empire. This session we will also discuss migration as part of that cultural identity. Discussion: How does Roman migration compare to the migration issues in our current society and can we learn from the past? What role did the Mediterranean Sea play in both the past and the present?

13. Art in Roman Britain: Romanization Required *Millett, M., Revell, L., Moore, A., & Croxford, B. (2016). Chapter 33: Art in Roman Britain. In The Oxford Handbook of Roman Britain: Oxford University Press (online) *Aldhouse-Green, M. J. (2003). ‘Alternative : Metaphors of Resistance in Romano- British Cult-Imagery’, in P. Noelke, F. Naumann-Steckner, and B. Schneider (eds), Romanisation und Resistenz in Plastik, Architektur und Inschriften der Provinzen des Romanum: Neue Funde und Forschungen. Mainz: Zabern, 39–48 *Johns, C. (2003). “Art, Romanisation and competence”, 9-23 in S. Scott and J. Webster eds. Roman Imperialism and Provincial Art. Croxford, B. (2003). ‘Iconoclasm in Roman Britain?’, Britannia, 34: 81–95 Stewart, P. (2000). ‘How Romulus came to Bisley: Sculpture in Roman Britain’, , 461: 15–19

Podcast In Our Time- Roman Britain (with Greg Woolf and Mary Beard): https://player.fm/series/in-our-time-history/roman-britain (30 mins).

Further reading Aldhouse-Green, M. J. (2004). An Archaeology of Images: Iconology and Cosmology in Iron Age and Roman Europe. London: Routledge. Booth, P. (2013). ‘Roman Britain in 2012: 7. Greater London’, Britannia, 44: 324–333 Clarke, G. (1982). ‘The at Woodchester’, Britannia, 13: 197–228 Hayward, K. M. J. (2006b). ‘A Geological Link between the Facilis Monument at Colchester and First Century Army Tombstones from the Rhineland Frontier’, Britannia, 37: 359–363 Henig, M. (1995). The Art of Roman Britain. London: Batsford Henig, M. (2012). ‘Workshops, Artists and Patrons in Roman Britain’, in T. Myrup Kristensen and B. Poulson (eds), Ateliers and Artisans in Roman Archaeology. Journal of Roman Archaeology Supplementary Series, 92: 113–128. Johns, C. (2003a). ‘Romano-British Sculpture: Intention and Execution’, in P. Noelke, F. Naumann- Steckner, and B. Schneider (eds), Romanisation und Resistenz in Plastik, Architektur und Inschriften der Provinzen des Imperium Romanum. Neue Funde und Forschungen. Mainz: Zabern, 27–38 Millett, M. (1990). The Romanization of Britain: An Essay in Archaeological Interpretation. Cambridge: Cambridge University Press. Toynbee, J. M. C. (1986). The Roman Art Treasures from the Temple of Mithras. London and Middlesex Archaeological Society, Special Paper 7. London: London and Middlesex Archaeological Society

14. The art of Migration in the Roman Empire Required *Tacoma, L., 2016, Ch. The Roman Migration Regime in Moving Romans: Migration to Rome in the (online) *Heather, P., 2017, Refugees and the Roman Empire, Peter J. Heather Journal of Refugee Studies, Volume 30, Issue 2, June 2017, Pages 220–242 (online) 14

*Video Mary Beard: What can ancient Rome teach us about the migrant crisis? Mary Beard – Newsnight https://www.youtube.com/watch?v=0IzTpzpayy4 https://doi.org/10.1093/jrs/few020 https://www.rsc.ox.ac.uk/news/refugees-and-the-roman-empire https://theconversation.com/immigration-how-ancient-rome-dealt-with-the-barbarians-at-the-gate- 109933 https://www.theguardian.com/books/2015/oct/02/mary-beard-why-ancient-rome-matters https://www.theguardian.com/commentisfree/2011/jun/24/roman-refugees-battle-adrianople

Further reading Woolf, G., 1998, Becoming Roman: The Origins of Provincial Civilization in Gaul. Cambridge. Cambridge University Press Woolf, G., 2010, Tales of the Barbarians: Ethnography and Empire in the Roman West, Blackwell Johnston, A. (2017). Selves. In The Sons of Remus: Identity in Roman Gaul and Spain (pp. 10-66). Cambridge, Massachusetts; London, England: Harvard University Press. Retrieved from www.jstor.org/stable/j.ctt1q31sj9.4

Session 8: Roman art in the private sphere We have already touched upon the art in the life of ordinary Romans, but this session will explore further the art in Roman homes and how this can help us learn about gender and family relationships. We will dedicate attention to Roman houses, their construction, development and decoration. Considerable focus will be on the wall paintings that were preserved in the Vesuvian area of and Herculaneum. Discussion: in what way can Roman art teach us about gender relationships or status in the Roman world? What is different about Roman housing as a social concept in relation to your own cultural background?

15. The Roman house and decoration Required *Blackwell arch: chapter 18. Domus/Single Family House John R. Clarke *Blackwell art: chapter 13 Wall Painting; Katharina Lorenz *Roman wall painting styles short overview: https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/wall-painting/a/roman-wall- painting-styles Blackwell art: chapter 19; Art in Roman Town Houses

Further reading Clarke, J.R. (2003) Art in the Lives of Ordinary Romans: Visual Representation and Non‐elite Viewers Allison, P. 2004. Pompeian Households: An Analysis of Material Culture. Los Angeles Clarke, J.R. (1991) The Houses of Roman Italy, 100 B.C.–A.D. 250: Ritual, Space, and Decoration. University of California Press, Berkeley, CA 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) Gazda, E. (1991) Roman Art in the Private Sphere. University of Michigan Press, Ann Arbor, MI Lorenz,K. (2008). Bilder machen Raume: Mythenbilder in pompeianischen Hausern, Berlin and New York: de Gruyter Newby, Z. 2016, 4 - Mythological Wall-paintings in the Roman House, in Greek Myths in Roman Art and Culture Imagery, Values and Identity in Italy, 50 BC–AD 250, Cambridge University Press (online) Hales, S., (2003).The Roman House and Social Identity, Cambridge: Cambridge University Press 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" 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) Dawson, C. M. 1964. Romano-Campanian Mythological Painting. Yale Classical Studies 17. 15

Ling ch 4, pp. 52-70 "The Third Style"; ch 7, pp. 142-167 "Other paintings" (, Gardens, Still, Life, Portraits, Genre Scenes, Burlesque).

16. Roman art and gender Required *Alexandridis, A. (2010) Neutral bodies? Female types from the late republic to the second century CE. In Hales, S., and Hodes, T. (eds.) Material Culture and Social Identities in the Ancient World. Cambridge University Press, Cambridge, pp. 252–279 *D'Ambra, E., and F.Tronchin, 2015, Gender, in The Oxford Handbook of (online) The Oxford Handbook of Roman Sculpture Levin-Richardson (2019), The Brothel of Pompeii: Sex, Class, and Gender at the Margins of Roman Society, New York: Cambridge University Press Vout, C., 2014, Gender Studies, chapter in The Oxford Handbook of Greek and Roman Art and Architecture (online)

Further reading Ashley J. Barnet (2012), Beyond Priapus: A Call for a Feminist and/or Queer Theory Archaeology of Roman Masculinity and Phallic Iconography Elsner, J. (1996) Naturalism and the erotics of the gaze: Intimations of Narcissus. In Kampen, N.B. (ed.) Sexuality in Ancient Art. Cambridge University Press, Cambridge, pp. 247–261. Kampen, N.B. (1981) Image and Status: Roman Working Women in Ostia. Mann, Berlin Kampen, N.B Social Status and Gender in Roman Art: The Case of the Saleswoman, edited by Norma Broude and Mary D. Garrard. Feminism and art history : questioning the litany, New York ; London : Harper & Row: 1st ed.: c1982: Main ART BG BRO :Stores STORE 15-0618 Alston, R. (1998) Arms and the man: Soldiers, masculinity and power in Republican and Imperial Rome. In Foxhall, L., and Salmon, J. (eds.) When Men Were Men: Masculinity, Power and Identity in Classical Antiquity. London: Routledge, pp. 205–223. D’Ambra, E. (2007) Roman Women. Cambridge University Press, Cambridge Kellum, B. (1996) The Phallus as signifier: The Forum of Augustus and rituals of masculinity. In Kampen, N.B. (ed.) Sexuality in Ancient Art. Cambridge University Press, Cambridge, pp. 170‐183 Milnor, K. (2005) Gender, Domesticity, and the Age of Augustus. Oxford University Press, New York Nevett, L. (1997) Perceptions of domestic space in Roman Italy. In B. Rawson and P. Weaver (eds.) The Roman Family in Italy: Status, Sentiment, Space. Oxford University Press, Oxford, pp. 2 81–298 Dillon, S. (2006) Women on the columns of and and the visual language of Roman victory. In Dillon S., and Welch, K. (eds.) Representations of War in Ancient Rome. Cambridge University Press, New York, pp. 244–271 Trimble, J. (2011) Women and Visual Replication in Roman Imperial Art and Culture. Cambridge University Press, Cambridge. YATES M 165

Session 9: Roman art in Death Looking at and art teaches us many things about society, as we have already seen in previous sessions, such as Palmyra, Britain and Egypt. In this session we will look at Rome again, and discuss the development of burials and funerary art. How was personal identity and status reflected, and how can we sketch a broader image on cultural values? Examples we will study are for instance the of Cestius, or the tombs at the Via Appia. This session will focus especially on burial customs and art in Early Christianity, which emerged as a distinct practice in the 1st and 2nd c. AD. Discussion: How can we identify the first Christian tombs? How convincing is the idea that the discovered beneath the St. Peter belonged to the first Bishop of Rome the apostle Peter?

17. Funerary monuments until Late Antiquity *Blackwell art: chapter 22 The Decoration of Roman Tombs, Francisca Feraudi‐Gruénais Borg,B., 2019, chapter, family matters, the long life of roman tombs, in Roman Tombs and the Art of Commemoration, Contextual Approaches to Funerary Customs in the Second Century CE, Cambridge (online) 16

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.

Further reading Borg, B., 2015, Roman sarcophagi in context ’, Journal of Roman Archaeology , 28 599 – 604 Birk ,S.. Depicting the Dead: Self- representation and Commemoration on Roman Sarcophagi with Portraits (Aarhus Studies in Mediterranean Antiquity 11) Bodel, J. (2000) Dealing with the dead: Undertakers, executioners and potter’s fields in ancient Rome. In Hope, V.A. (ed.) Death and Disease in the Ancient City. Routledge, London, pp. 128–189 D’Ambra, E., Acquiring an ancestor: The importance of funerary statuary among the non- elite orders of Rome ’, in Højte , J. M. (ed.), Images of Ancestors (Aarhus Studies in Mediterranean Antiquity 5) ( Aarhus University Press , 2002 ), 223– 46 Davies, P. (2004) Death and the Emperor: Roman Imperial Funerary Monuments from Augustus to Marcus Aurelius. University of Texas Press, Austin, TX. Hope , V. M. ‘ Constructing Roman identity: Funerary monuments and social structure in the Roman world ’, Mortality , 2 ( 1997 ), 103– 21 Carroll , M. Spirits of the Dead: Roman Funerary Commemoration in Western Europe (Oxford University Press , 2006 Johnson , M. J. Th e Roman Imperial in Late Antiquity ( Cambridge University Press , 2009 Newby, Z., 2016, From Home to Tomb: Myths in the Funerary Realm, in Greek myth in Roman art

18. Catacombs and sarcophagi in early Christianity and the tomb of St. Peter Required *Blackwell arch: chapter 23 -Catacombs and the Beginnings of Christian Tomb Decoration, Norbert Zimmermann *Holloway, R., 2004, ch. 4,The Tomb of St Peter, Constantine and Rome, Published by: Yale University Press (online) *Catacomb Painting and the Rise of Christian Iconography in Funerary Art: Norbert Zimmermann, 2018, The Routledge Handbook of Early Christian Art (online)

Further reading Koortbojian, M. (1995) Myth, Meaning, and Memory on Roman Sarcophagi. University of California Press, Berkeley, CA. Elsner, J. Art and the Roman Viewer. Cambridge, 1995 Elliott, T. C. The Christianity of . Scranton, 1996 Frazer, A. “The Iconography of the Emperor Maxentius’ Building in the Via Appia.” Art Bulletin 48 (1966): 385–92 Ward-Perkins, J. B., and J. Toynbee. The of St. Peter and the Vatican Excavations. London, 1956 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)) Morris, I. 1992. Death Ritual and Social Structure in Classical Antiquity. Pp. 1-30 "The anthropology of a dead world", 31-69 " 'Mos Romanus': and inhumation in the Roman empire". Kleiner, D.E.E. 1988. " and architecture: observations on the significance of recent studies", Journal of Roman Archaeology 1, 115-120. 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]

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Session 10: Late antiquity and Early Christian Art The last session of the module we will be continuing the discussion on Early Christian art and Late Antiquity, this time by discussing public monuments. The focus will be on the .

19. The arch of Constantine and Early Christian art Required (not for class- only for the exam- the podcast is for class preparation) Peirce, P. 1989. "The Arch of Constantine: Propaganda and Ideology in Late Roman Art." Art History 12.4, 387-418. (MAIN TC 1022) Blackwell art: chapter 7: The Art of Late Antiquity: A Contextual Approach, Alessandra Bravi Elsner, Jas. 1998. “Berenson’s decline, or The Arch of Constantine Reconsidered”, Apollo Jul, 20-2.

Further reading Prusac, M.2016, Chapter Five Late Antiquity and the emergence of new visual expressions, in Face to Face, Recarving of Roman Portraits and the Late-Antique Portrait Arts Berenson, The Arch of Constantine: The Decline of Form (London: Chapman & Hall, 1954). Elsner, "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 (2000), pp. 149–184. Elizabeth Marlowe, “Framing the Sun: The Arch of Constantine and the Roman Cityscape,” The Art Bulletin vol. 88 no. 2 (June 2006), pp. 223-242. Wilson Jones, M. "Genesis and Mimesis: The Design of the Arch of Constantine in Rome,” The Journal of the Society of Architectural Historians 59 (March 2000), pp. 50–77 Frankfurter, D. (2017) Christianising Egypt: Syncretism and Local Worlds in Late Antiquity

*Podcast on the Arch of Constantine: https://podcasts.apple.com/us/podcast/rome-in-15-buildings-09-the-arch-of- constantine/id1435680536?i=1000420177920

Further reading 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 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

20. End of module, discussion, exam training

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4. ESSAY TOPICS

Students must write one essay in order to complete the course. The essay will count as 33% of the final mark. Bibliographical sources are listed under the appropriate lectures, both at the required and further reading. Using these sources for your essay (8-10 references), will make you pass the assignment, for a higher mark however, you are encouraged to find other peer-reviewed sources as well. It is important base your essay on case studies (objects, architecture, paintings etc.), perform visual analysis and do a contextual discussion on the effect art has on society.

1. What role does the Trojan myth play in the early history of Rome and how did this affect art? Discuss with two case studies

2. How do Romulus and Remus feature in Roman art and archaeology, and what does this teach us about Roman society? Use three examples to discuss

3. What is ‘Italic art’ and how can we see Etruscan influence reflected in Roman art/architecture? Discuss with two examples

4. In what ways did the Romans collect Greek art, and how did their purposes in collecting shape their display of Greek art?

5. How did Augustan propaganda seek to persuade and how persuasive was it? What impression would it have made in for specific viewers in specific contexts?

6.aWhat is ‘arte plebea’? How do we see freedmen and slaves represented in art versus how they engaged with their own forms of art and material culture?

6b. What is ‘arte plebea’? How does the inclusion of non-elite art change our idea of Roman Art history and how can we as art historians draw more attention to the ‘forgotten’ people? Use two case studies as an example

7. Who built the Empire? What are the material and labour forces that go behind the large public buildings that we see in the Roman Empire?

8. What factors shaped the design of Roman imperial palaces and what was Nero’s addition to the art and architecture of the Roman Empire? How can we contextualise the power and image of ‘the bad emperor’?

9. Where and how did Roman public bathing and bath houses develop? Discuss through two examples from either Republican/ Imperial, or Imperial, Late Imperial

10. Discuss the style and object, function and meaning on the Roman Egyptian funerary portraits, how do the Egyptians continue and how do they change a tradition and what does that say about a concept such as Romanisation and/or cultural identity?

11. How did the Roman emperors exercise power and propaganda through art in the Eastern part of the empire? How would the experience have differed for a viewer not from Rome? Discuss with two examples

12. Roman Britain: what do we learn about identity and cultural interaction by studying the art of Roman Britain, was there an ‘art of resistance?’

13. How useful is the concept of globalisation in explaining the cultural and material interaction and influences in the Roman Empire? Use two case studies to answer

14. What is the art of war? How important is the institution of the triumph to the development of Roman art (in the 2nd century AD)? (optional) How can we relate this to modern war iconography? Discuss with an example from Rome (Columns –Trajan or Marcus Aurelius- : )

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15. What do the wall paintings of Pompeii teach us about Roman society? Discuss with at least three examples

16. How do we see gender and gender relations reflected in Roman art? Discuss critically with two case studies

17. What can we learn about society through funerary art? Discuss with two case studies from either Republican/Imperial or Imperial/Late Antiquity

18. Did the rise of Christianity fundamentally transform the visual culture of the ancient world? How was the incorporation of ancient and Christian themes negotiated within the context of early Christian art, how are old traditions transformed into something new?

19. What does the term ‘Christian Art’ really mean, and what does it encompass? Can something be Christian art if it depicts a non-Christian theme or incorporates older visual tradition? Use funerary art and iconography as a case study

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5. 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- 15 minutes is not a very long time. 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 you 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.

TUTORIAL 1. ROME’S MYTHICAL FOUNDATIONS IN ART

1.1 Bronze Etruscan cista with Trojan myth(room 70 case 6) Lowenstam, S. 2008. As Witnessed by Images. The Trojan War Tradition in Greek and Etruscan Art. Baltimore, YATES A 50 LOW Brendel, O., Etruscan Art, YATES A 35 BRE pp. 353-359 - ch. 27 + notes 1-10 Peter Mountford (University of Melbourne)-AENEAS: AN ETRUSCAN FOUNDATION LEGEND Simon, E., 2013 Chapter 24: Greek Myth in Etruscan Culture in The Etruscan World (online) Krauskopf, I., 2015, Myth in Etruria (part 5- Hellenistic period)In A Companion to the Etruscans. Hoboken, NJ: John Wiley & Sons, Inc, pp. 388–409 (online)

1.2 Bronze Etruscan Brendel , O. 1978. Etruscan Art 359-371, notes 10-33 + bibl - nothing in English Beazley, J.D. 1949. "The world of the Etruscan ", 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.] Reevaluating Etruscan Influences on the Engravings of Praenestine Pear-shaped Mirrors and Cistae van Der Meer, L BoukeEtruscan Studies, 2016, Vol.19(1), pp.68-86 (online)

1.3 Coins of Remus and Romulus (case 7 no 6; case 2 several images) Wiseman. The myths of Rome, Exeter: University of Exeter Press: 2004: Stores Classmark:FLS N 24 WIS (FLS Office) :Main Classmark:ANCIENT HISTORY R 73 WIS Mazzoni, C., 2010, She-Wolf: The Story of a Roman Icon, United Kingdom: Cambridge University Press – Chapter She-Wolf Art in Antiquity

1.4 and (BM room 70 case 7 no 6; case 2 several portraits) Wiseman. The myths of Rome, Exeter: University of Exeter Press: 2004: Stores Classmark:FLS N 24 WIS (FLS Office) :Main Classmark:ANCIENT HISTORY R 73 WIS Stevenson, Tom, 2011, Women of Early Rome as Exempla in , , Book 1 (Thomas Reginald) Classical World, 2011, Vol.104(2), pp.175-189 Find the myth online, and try to think why we see them on roman coinage. What do we see on the coin and what is the cultural context?

TUTORIAL 2. ROMAN ART IN THE AGE OF AUGUSTUS

2.1 Augustus and (BM room 70 – Augustus (Meroe head or the Marble portrait and Livia; you can choose one or two, but they have to fit into a 10-15 mins presentation) Opper, Thorsten. 2014. The Meroe Head of Augustus. London: British Museum Press. YATES M 226 OPP Bartman, Elizabeth. 1999. Portraits of Livia: Imaging the Imperial Woman in Augustan Rome. 21

Cambridge. [YATES QUARTOS M 229 BAR] Kleiner, D. 1992 Roman Sculpture. Pp. 61-72 "Portraiture of Augustus", 72-78 "Portraiture of Augustus family (Gaius and Lucius, Livia, Agrippa)." [YATES QUARTOS M 70 KLE - 3 copies; ISSUE DESK IOA KLE 1 – 1 copy]

2.2 and the (BM room 70; cases 17 for a reasonable selection of types of Roman glass and 12 for the Portland vase). How does the Portland vase relate to Augustus? How did the invention of glass change the Roman world? Roberts, P. 2010, Roman glass in the British Museum, London: British Museum Press: 2010: Archaeology Classmark:INST ARCH KL Qto ROB 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 Hind, J.F.G. 1979 "Greek and Roman Epic Scenes on the Portland Vase", Journal Of Hellenic Studies XCIX, 20-5

2.3 Freedmen Portraits (BM Room 70) Koortbojian, Michael. 2006. “The Freedman’s voice: the funerary monument of Aurelius Hermia and Aurelia Philematio in the British Museum”, 91-153 in Eve D’Ambra and Guy P.R. Metraux eds. The Art of Citizens, Soldiers and Freedmen in the Roman World. BAR International Series 2006. (YATES QUARTO A6 DAM) Kleiner, D.E. 1977. Roman Group Portraiture: The Funerary Reliefs of the Late Republic and Early Empire. New York: Garland Publishing. [Dissertation available Online] George, Michele. 2006. “Social identity and the dignity of work in Freedmen’s reliefs”, 19-30 in Eve D’Ambra and Guy P.R. Metraux eds. The Art of Citizens, Soldiers and Freedmen in the Roman World. BAR International Series 2006. (YATES QUARTO A6 DAM)

TUTORIAL 3: ART AND IDENTITY FROM THE EASTERN ROMAN EMPIRE 3.1 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

3.2 Painted Mummy portraits from Roman Egypt (Room 62, case 17) Shore, A.F. 1972. 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 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.

3.3 Aphrodite- case 29 no terracotta C575 GR1926.9-30.48 (in case it is absent; take the figure in the front ‘fat woman riding a pig’. Bailey, D.M. (2008). Catalogue of the Terracottas in the British Museum. Volume IV, Ptolemaic and Roman Terracottas from Egypt London: British Museum. Library Code: YATES QUARTOS M 150 BRI https://research.britishmuseum.org/pdf/Thomas_Ptolemaic_figures.pdf this one specifically mentions the Isis figurine but is good for context of these types of regardless

TUTORIAL 4: ART AND IDENTITY FROM ROMAN BRITAIN

4.1 Tombstone from south shields Regina (BM room 49) Johns, C. 2003. “Art, Romanisation and competence”, 9-23 in S. Scott and J. Webster eds. Roman Imperialism and Provincial Art. Smith, D. 'A Palmyrene sculptor at South Shields?', Arch. Ael.4 xxxvii (I959), 203-11. [IoA Peruodicals] Carroll, M. 2013 “The insignia of women. Dress, gender and identity on the Roman funerary monument of Regina from Arbeia.” The Archaeological Journal 169: 281–311 22

4.2 Romano-British religion (room 49, case 20) Compare the statue of Mercury (G49/dc20) which stood in the Uley temple with the Stone relief of three mother goddesses Woodward, A., and Leach, P. 1993: The Uley : Excavations of a Ritual Complex on West Hill, Uley, Gloucestershire: 1977–9, English Heritage Archaeological Report 17, London. Ch. 6, pp. 89-112 “Votive objects: images and inscriptions”, by Martin Heni; 320-318, in the “” chapter on history of the temple. (IoA DAA 410 Qto WOO) Aldhouse-Green, M. 2003. “Alternative iconographies: metaphors of resistance in Romano-British cult Imagery”, 39-48 in in Noelke, P. ed. Romanisation und Resistenz in Plastik, Architektur und Inschriften der Provinzen des Imperium Romanum. Mainz. (Instute of Classical Studies X 128 CON – Reference Only) Green, Miranda J. 1998. “God in Man's Image: Thoughts on the Genesis and Affiliations of Some Romano-British Cult-Imagery”,Britannia: 17-30 Hobbs, R; Jackson, R, Roman Britain Life at the Edge of Empire, London, BMP, 2010 fig.79

4.3 Mildenhall great dish and treasure Richard Hobbs – 2012, The , British museum Press (INST ARCH DAA 410 S.7 HOB) Johns, C. 2003. “Art, Romanisation and competence”, 9-23 in S. Scott and J. Webster eds. Roman Imperialism and Provincial Art. Hobbs, R., 2010, Platters in the Mildenhall Treasure, Britannia, 1 January 2010, Vol.41, pp.324-333 Brailsford, J., 1955,The Mildenhall treasure : a handbook, British Museum. Trustees. London : Trustees of the British Museum: 2nd ed.: 1955: Archaeology Classmark:INST ARCH DAA 410/S.7 BRI Hobbs, Richard, The Secret History of The Mildenhall Treasure, The Antiquaries Journal, 2008, Vol.88, pp.376-420 (online)

TUTORIAL 5. FUNERARY AND EARLY CHRISTIAN ART

5.1 Roman 3rd century (room 70) Huskinson, J., 2018, Roman Sarcophagi and Children, The Oxford Handbook of the Archaeology of Childhood (online) Huskinson, J., 1996, Roman children's sarcophagi : their decoration and its social significance, YATES QUARTOS M 127 HUS Walker, S. (1990). Catalogue of Roman Sarcophagi in the British Museum. London: British Museum Publications https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId= 421549&partId=1

5.2Lullingstone paintings (BM Room 49, PRB 1967.4.7.10) Caroline K. Mackenzie, (2010). Culture and society at Lullingstone Roman Villa,; INST ARCH DAA 410 K.2 MAC 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

5.3 Late antique and early Christian ivories (BM room 41, Case 8 ) Elsner, J. 1995. Art and the Roman Viewer. Pp. 249-61 (best starting point) 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 nos. 44-5, pp. 57-9 (with supplementary bibliography) 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)

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APPENDIX A: POLICIES AND PROCEDURES (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 quotations from the work of others must be indicated as such by being placed

24 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]).

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