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Stories of Ancient Rome Unit 4 Reader Skills Strand Grade 3
Grade 3 Core Knowledge Language Arts® • Skills Strand Ancient Rome Ancient Stories of of Stories Unit 4 Reader 4 Unit Stories of Ancient Rome Unit 4 Reader Skills Strand GraDE 3 Core Knowledge Language Arts® Creative Commons Licensing This work is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation made available through licensing under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial — You may not use this work for commercial purposes. Share Alike — If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page: http://creativecommons.org/licenses/by-nc-sa/3.0/ Copyright © 2013 Core Knowledge Foundation www.coreknowledge.org All Rights Reserved. Core Knowledge Language Arts, Listening & Learning, and Tell It Again! are trademarks of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. -
Introduction
INTRODUCTION Background The present study concerns materials used for Pompeian wall paintings.1 In focus are plasters of the early period, related to the Samnite period and the so called First style. My earlier experiences the field of ancient materials were studies of Roman plasters at the Villa of Livia at Prima Porta and fragments of wall decorations from the demolished buildings underneath the church San Lorenzo in Lucina in Rome. These studies led to the hypothesis that technology reflects not only the natural (geographical) resources available but also the ambitions within a society, a moment in time, and the economic potential of the commissioner.2 Later, during two years within the Swedish archaeological project at Pompeii, it was my task to study the plasters used in one of the houses of insula V 1, an experience that led to the perception that specific characteristics are linked to plasters used over time. In the period 2003-2005, funding by the Swedish Research Council made possible to test the hypotheses. The present method was developed at insula I 9 and the Forum of Pompeii with the approval of the Soprintendenza archeological di Pompei and in collaboration with the directors of two international archaeological teams.3 It became evident that plaster’s composition changes over time, and eight groups of chronologically pertinent plasters were identified and defined A-H. Based on these results, I assume there is a connection between the typology and the relative chronology in which the plasters appear on the walls. I also believe these factors are related not only in single buildings or quarters but over the site and that, hypothetically, the variations observed are related to technology, craftsmanship and fashion. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
Continuity of Culture: Romans in Pompeii Lesson Overview
Continuity of Culture: Romans in Pompeii Lesson Overview Unit: Lessons: 1. Grades 3 – 6 Continuity of Culture: Lesson One: Map study of 2. 5 -7 Class Periods Romans in Pompeii Italy. 3. Authors: Lori Howell, Lesson Two: History of Melody Nishinaga, Sarah Pompeii. Poku & Warren Soper Lesson Three: Pliny the 4. Social Sciences, Younger. English and History Lesson Four: Comparison of “Then and Now.” Lesson Five: Literature review. Lesson Six: Graphic Organizes. Lesson Seven: Writing Overview “A typical day in this town means going shopping, stopping by the laundry, catching a sporting event at the amphitheater, or maybe taking in a play – and that was 2000 years ago. “Can you guess where this is? Not where you might expect: You’re in ancient Pompeii, an Italian village where life came to a fiery halt when Mt. Vesuvius erupted in AD 79. “ -Discover Kids Pompeii Magazine 1 | Page The eruption of Vesuvius on August 24, 79 A.D. froze a moment in time under thick layers of ash and molten mud. It preserved elements of Roman culture that demonstrate the remarkable continuity of human life and history, proving that life in the past, even the far distant past, was remarkably similar to our own. In this lesson, by taking a closer look at the remains of Pompeii, students will gain a broad appreciation of people in the past. They will study Roman culture by locating Pompeii on a map, identifying important elements of its geography, and examining the remains of Pompeii to explain how the Ancient Romans in Pompeii are similar to people today. -
1 Classics 270 Economic Life of Pompeii
CLASSICS 270 ECONOMIC LIFE OF POMPEII AND HERCULANEUM FALL, 2014 SOME USEFUL PUBLICATIONS Annuals: Cronache Pompeiane (1975-1979; volumes 1-5) (Gardner: volumes 1-5 DG70.P7 C7) Rivista di Studi Pompeiani (1987-present; volumes 1-23 [2012]) (Gardner: volumes 1-3 DG70.P7 R585; CTP vols. 6-23 DG70.P7 R58) Cronache Ercolanesi: (1971-present; volumes 1-43 [2013]) (Gardner: volumes 1-19 PA3317 .C7) Vesuviana: An International Journal of Archaeological and Historical Studies on Pompeii and Herculaneum (2009 volume 1; others late) (Gardner: DG70.P7 V47 2009 V. 1) Notizie degli Scavi dell’Antichità (Gardner: beginning 1903, mostly in NRLF; viewable on line back to 1876 at: http://catalog.hathitrust.org/Record/000503523) Series: Quaderni di Studi Pompeiani (2007-present; volumes 1-6 [2013]) (Gardner: volumes 1, 5) Studi della Soprintendenza archeologica di Pompei (2001-present; volumes 1-32 [2012]) (Gardner: volumes 1-32 (2012)] Bibliography: García y García, Laurentino. 1998. Nova Bibliotheca Pompeiana. Soprintendenza Archeologica di Pompei Monografie 14, 2 vol. (Rome). García y García, Laurentino. 2012. Nova Bibliotheca Pompeiana. Supplemento 1o (1999-2011) (Rome: Arbor Sapientiae). McIlwaine, I. 1988. Herculaneum: A guide to Printed Sources. (Naples: Bibliopolis). McIlwaine, I. 2009. Herculaneum: A guide to Sources, 1980-2007. (Naples: Bibliopolis). 1 Early documentation: Fiorelli, G. 1861-1865. Giornale degli scavi. 31 vols. Hathi Trust Digital Library: http://catalog.hathitrust.org/Record/009049482 Fiorelli, G. ed. 1860-1864. Pompeianarum antiquitatum historia. 3 vols. (Naples: Editore Prid. Non. Martias). Laidlaw, A. 2007. “Mining the early published sources: problems and pitfalls.” In Dobbins and Foss eds. pp. 620-636. Epigraphy: Corpus Inscriptionum Latinarum 4 (instrumentum domesticum from Vesuvian sites), 10 (inscriptions from various regions, including Campania). -
The Burial of the Urban Poor in Italy in the Late Republic and Early Empire
Death, disposal and the destitute: The burial of the urban poor in Italy in the late Republic and early Empire Emma-Jayne Graham Thesis submitted for the degree of Doctor of Philosophy Department of Archaeology University of Sheffield December 2004 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ www.bl.uk The following have been excluded from this digital copy at the request of the university: Fig 12 on page 24 Fig 16 on page 61 Fig 24 on page 162 Fig 25 on page 163 Fig 26 on page 164 Fig 28 on page 168 Fig 30on page 170 Fig 31 on page 173 Abstract Recent studies of Roman funerary practices have demonstrated that these activities were a vital component of urban social and religious processes. These investigations have, however, largely privileged the importance of these activities to the upper levels of society. Attempts to examine the responses of the lower classes to death, and its consequent demands for disposal and commemoration, have focused on the activities of freedmen and slaves anxious to establish or maintain their social position. The free poor, living on the edge of subsistence, are often disregarded and believed to have been unceremoniously discarded within anonymous mass graves (puticuli) such as those discovered at Rome by Lanciani in the late nineteenth century. This thesis re-examines the archaeological and historical evidence for the funerary practices of the urban poor in Italy within their appropriate social, legal and religious context. The thesis attempts to demonstrate that the desire for commemoration and the need to provide legitimate burial were strong at all social levels and linked to several factors common to all social strata. -
Discussion and Conclusions
Discussion and Conclusions It is clear that the plasters investigated fall into very distinct groups. The vast majority of samples are clearly distinctive, and there is generally no problem in placing them into specific groups, determined by macroscopical observations. These groups of plasters are always found in the same sequence, wherever a sequence of plasters is visible. Eight different groups of plasters have been identified and are listed in chronological order from A to H. The earliest plaster type is not necessarily the same in all buildings, though this was sometimes the case. Not all phases are represented in every house, probably because the owner did not need or have any wish to redecorate. Plasters in group C, for example, were used for 2nd style decorations in three houses in insula I 9. At the Forum, such a plaster was found only in the cella of the Temple of Jupiter. On the other hand, plasters in group E, connected with the 3rd style, were found in all houses in the insula and was common also at the Forum, used in all buildings except for the Basilica, where only earlier plasters were found, and the Macellum, which had only later decorations. The chronological order of groups and phases is clear, but what do we know about the correlation between plasters and styles? This is more problematic, not least of all since there is no unconditional agreement on their dating. When discussing with myself, I think of plasters in terms of “1st style”, “2nd” and so on, since the typologies are clear and I know this kind of definition is not explicit. -
Narcissus the Hunter in the Mosaics of Antioch
Narcissus the Hunter in the Mosaics of Antioch Elizabeth M. Molacek Among the hundreds of mosaic pavements discovered at as the capital of the Hellenistic Seleucid kingdom in 300 BCE Antioch-on-the-Orontes, a total of five represent Narcissus, and remained a thriving city until the Romans took power in the beautiful youth doomed to fall in love with his own 64 BCE. Antioch became the capital of the Roman province reflection. The predominance of this subject is not entirely of Syria; however, it was captured by the Arabs in 637 CE, surprising since it is one of the most popular subjects in bringing an end to almost a thousand years of occupation.2 Roman visual culture. In his catalogue of the mosaics of While its political history is simple to trace from the Hellenis- ancient Antioch, Doro Levi suggests that Narcissus’ frequent tic founding to the Arab sacking, Antioch’s cultural identity appearance should be attributed to his watery reflection due is less transparent. The city was part of the Roman Empire to the fact that Antioch was a “town so proud of its wealth for over five hundred years, but the inhabitants of Antioch of waters, springs, and baths.”1 The youth’s association with did not immediately consider themselves Roman, identifying water may account for his repeated appearance, but the instead with their Hellenistic heritage. As was standard in the present assessment recognizes a Narcissus that is unique to Greek East, the spoken language remained Greek even after Antioch. In art of the Latin West from the first century BCE Rome established control, and many traditions and social onwards, Narcissus has a highly standardized iconography norms were deeply rooted in the Hellenistic culture.3 Antioch that emphasizes his youthful appearance, the act of seeing was a hybrid of both eastern and western influences due to his reflection, and his fate for eternity. -
Greek Sculpture and the Four Elements Art
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level. -
The Sepulchral Symbolism and Workshop Comparison of the Raptus of the Sabines Sarcophagus and the Metilia Acte Sarcophagus
International Journal of Archaeology 2015; 3(1): 1-7 Published online February 5, 2015 (http://www.sciencepublishinggroup.com/j/ija) doi: 10.11648/j.ija.20150301.11 ISSN: 2330-7587 (Print); ISSN: 2330-7595 (Online) The Sepulchral Symbolism and Workshop Comparison of the Raptus of the Sabines Sarcophagus and the Metilia Acte Sarcophagus Fred A. White 1, 2 1Curator-in-Charge of the Archaeological Collections, Florida Archaeological Survey, Gainesville, FL, USA 2Advisory Council and Collections, Appleton Museum of Art, College of Central Florida, Ocala, FL, USA Email address: [email protected] To cite this article: Fred A. White. The Sepulchral Symbolism and Workshop Comparison of the Raptus of the Sabines Sarcophagus and the Metilia Acte Sarcophagus. International Journal of Archaeology. Vol. 3, No. 1, 2015, pp. 1-7. doi: 10.11648/j.ija.20150301.11 Abstract: The sarcophagus illustrating the story of the Sabine Women at the Cornell Fine Arts Museum is believed to have been obtained in Rome between 1899 and 1904 by Alfred Emerson, Professor and Chair of Classical Archaeology at Cornell University, Fellow at John Hopkins University and the Curator of Antiquities at the Art Institute of Chicago. The Metilia Acte sarcophagus illustrating the story of Alkēstis at the Vatican in the Museo Chiaramonti was discovered in Ostia in 1826 by the architect Pietro Hall and Felice Cartoni. The Sabine sarcophagus dates to the second century A.D. and the Alkēstis sarcophagus dates by the inscription to between the years 160-170 A.D. The Sabine story is the Raptus of the Sabine Women while the Alkēstis story is according to Euripides' drama, Alkēstis. -
Sevy 1 Monique Sevy Professor Julianne Sandlin AH 205 11035 8 March 2012 the Augustus of Primaporta: a Message of Imperial Divin
Sevy 1 Monique Sevy Professor Julianne Sandlin AH 205 11035 8 March 2012 The Augustus of Primaporta: A Message of Imperial Divinity The Augustus of Primaporta is a freestanding marble sculpture in the round. The sculpture is a larger than life 6’ 8” tall and is an example of early Roman imperial portrait sculpture. This sculpture is currently displayed in the Braccio Nuovo of the Vatican Museums in Rome, Italy. This marble portrait of the first Roman emperor, Augustus, is a very naturalistic statue. Although the sculpture was carved in the early first century, at the time of the Roman empire, Augustus stands in a Classical Greek contrapposto pose. While the sculptor of this piece is unknown, we do know that he or she followed the canon of the High Classical Greek sculptor named Polykleitos in pose, idealization, and proportion (Stokstad, Cothren 174). The Augustus of Primaporta statue sends not only a message of the Emperor Augustus as an accomplished military leader, but also clearly suggests that the emperor is a divine being. The Augustus of Primaporta is a three-dimensional sculpture. The statue actually occupies space; therefore there is no need to use illusion to create suggested space. However, the statue does use space, both negative and positive, to influence the viewer. The negative space between Augustus’s calves forms an implied triangle, or arrow, directing the viewer’s gaze upward toward the center focal point of the piece, while the positive space of the emperor’s raised and pointed right arm forcefully pierces the space surrounding the piece. -
371 (Taf. CXXVIII–CXXX, Abb. 1–10) Abstract I Palazzi Di Erode Nella
S ILVIA ROZENBERG FIGURATIVE PAINTINGS IN HERODIUM: NEW DISCOVERIES (Taf. CXXVIII–CXXX, Abb. 1–10) Abstract I Palazzi di ErodeR|R= |#}R R[ da Roma#~[ - OP #[%- # }R# [R- } [|% |R=|- R [}R RR R[&pictores imaginari/- [- % a Herodium R# >>;} were embellished with frescoes, >?#=\>1, Herodium2, Masada3 and Jericho4 yielded both fresco fragments and decorated walls in situ#||> >'?# =;M?>=|>M >5. =>?[?6 allow us ???'? ?OP#- >[! 1 Netzer – Laureys-Chachy 2004, 233–280; Rozenberg 2008, 337–343. 2 Corbo 1989; Rozenberg 2008, 355–364. 3 Foerster 1995; Rozenberg 2008, 343–355. 4 Rozenberg 2008. 5 Rozenberg 2007, 193–201; Rozenberg 2008, 462–464. 6 >>?? '# 371 Silvia ROZENBERG >7. Adherence to the Western ?>? >#??} and local ??>;- >'?>'#= foreign workers is also evident in the opus reticulatum>- dens8. ??R'?9, it seems logical ? ? ????[ ?#> ???[> ?#?>> ?>&tectori/?? ?#>?- [{&pictor imaginarius/- cialized artist (pictor parietarius) who was in charge of the surrounding decoration10. [?>??#= [??>?&pictori parietari), ? > ??#=?>? [??# ='# ;??|>=|>?>> [ ?#= [ (pictores imaginari/ by A. BARBET?~11#- R>?$#12, if Herod ??? > # = [??{ [13, and not the result of the absence of a pictor imaginarius at the time. With- [;?[ claim, but lately the existence of a pictor imaginarius[ ?>?;. In 2006–2007 E. NETZER and his team ? ;R R ; ?>>&#*/14. The original tomb was built in the ;$'>?<915. In 2008 the remains of a small, royal theatre were found to the west of the mausoleum and the monumental 7 Rozenberg 1997a, 63–74; Porat – Ilani 1998; Rozenberg 2008, 273 f. 425–464; Edwards et al. 1999. 8 <^^*<^^j<9j#ª+j# 9 Allison 1989; Allison 1991; Andersen 1985. 10 Pliny, NH XXXV, 7.19. 11 Barbet 1974, 60 f. 12 Rozenberg 1997b, 283–285.