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11Ffi ELOGIA of the AUGUSTAN FORUM
THEELOGIA OF THE AUGUSTAN FORUM 11ffi ELOGIA OF THE AUGUSTAN FORUM By BRAD JOHNSON, BA A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Brad Johnson, August 2001 MASTER OF ARTS (2001) McMaster University (Classics) Hamilton, Ontario TITLE: The Elogia of the Augustan Forum AUTHOR: Brad Johnson, B.A. (McMaster University), B.A. Honours (McMaster University) SUPERVISOR: Dr. Claude Eilers NUMBER OF PAGES: v, 122 II ABSTRACT The Augustan Forum contained the statues offamous leaders from Rome's past. Beneath each statue an inscription was appended. Many of these inscriptions, known also as elogia, have survived. They record the name, magistracies held, and a brief account of the achievements of the individual. The reasons why these inscriptions were included in the Forum is the focus of this thesis. This thesis argues, through a detailed analysis of the elogia, that Augustus employed the inscriptions to propagate an image of himself as the most distinguished, and successful, leader in the history of Rome. III ACKNOWLEDGEMENTS I would like to thank my supervisor, Dr. Claude Eilers, for not only suggesting this topic, but also for his patience, constructive criticism, sense of humour, and infinite knowledge of all things Roman. Many thanks to the members of my committee, Dr. Evan Haley and Dr. Peter Kingston, who made time in their busy schedules to be part of this process. To my parents, lowe a debt that is beyond payment. Their support, love, and encouragement throughout the years is beyond description. -
West Asian Geopolitics and the Roman Triumph A
UNIVERSITY OF CALIFORNIA RIVERSIDE Parading Persia: West Asian Geopolitics and the Roman Triumph A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Carly Maris September 2019 Dissertation Committee: Dr. Michele Salzman, Chairperson Dr. Denver Graninger Dr. Thomas Scanlon Copyright by Carly Maris 2019 The Dissertation of Carly Maris is approved: Committee Chairperson University of California, Riverside Acknowledgements Thank you so much to the following people for your continued support: Dan (my love), Mom, Dad, the Bellums, Michele, Denver, Tom, Vanessa, Elizabeth, and the rest of my friends and family. I’d also like to thank the following entities for bringing me joy during my time in grad school: The Atomic Cherry Bombs, my cats Beowulf and Oberon, all the TV shows I watched and fandoms I joined, and my Twitter community. iv ABSTRACT OF THE DISSERTATION Parading Persia: West Asian Geopolitics and The Roman Triumph by Carly Maris Doctor of Philosophy, Graduate Program in History University of California, Riverside, September 2019 Dr. Michele Salzman, Chairperson Parading Persia: West Asian Geopolitics and the Roman Triumph is an investigation into East-West tensions during the first 500 years of Roman expansion into West Asia. The dissertation is divided into three case studies that: (1) look at local inscriptions and historical accounts to explore how three individual Roman generals warring with the dominant Asian-Persian empires for control over the region negotiated -
Copyrighted Material
CHAPTER ONE i Archaeological Sources Maria Kneafsey Archaeology in the city of Rome, although complicated by the continuous occupation of the site, is blessed with a multiplicity of source material. Numerous buildings have remained above ground since antiquity, such as the Pantheon, Trajan’s Column, temples and honorific arches, while exten- sive remains below street level have been excavated and left on display. Nearly 13 miles (19 kilometers) of city wall dating to the third century CE, and the arcades of several aqueducts are also still standing. The city appears in ancient texts, in thousands of references to streets, alleys, squares, fountains, groves, temples, shrines, gates, arches, public and private monuments and buildings, and other toponyms. Visual records of the city and its archaeology can be found in fragmentary ancient, medieval, and early modern paintings, in the maps, plans, drawings, and sketches made by architects and artists from the fourteenth century onwards, and in images captured by the early photographers of Rome. Textual references to the city are collected together and commented upon in topographical dictionaries, from Henri Jordan’s Topographie der Stadt Rom in Alterthum (1871–1907) and Samuel Ball Platner and Thomas Ashby’s Topographical Dictionary of Ancient Rome (1929), to Roberto Valentini and Giuseppe Zucchetti’s Codice Topografico della Città di Roma (1940–53), the new topographical dictionary published in 1992 by Lawrence RichardsonCOPYRIGHTED Jnr and the larger,MATERIAL more comprehensive Lexicon Topographicum Urbis Romae (LTUR) (1993–2000), edited by Margareta Steinby (see also LTURS). Key topographical texts include the fourth‐century CE Regionary Catalogues (the Notitia Dignitatum and A Companion to the City of Rome, First Edition. -
Extraordinary Jubilee of Mercy 2015-2016
EEXXTTRRAAOORRDDIINNAARRYY JJUUBBIILLEEEE ooff MMEERRCCYY The Extraordinary Jubilee of Mercy 2015-2016 Pope Francis, who is moved by the human, social and cultural issues of our times, wished to give the City of Rome and the Universal Church a special and extraordinary Holy Year of Grace, Mercy and Peace. The “Misericordiae VulTus” Bull of indicTion The Apostolic Exhortation Evangelii Gaudium, which continues to be the programmatic outline for the pontificate of Pope Francis, offers a meaningful expression of the very essence of the Extraordinary Jubilee which was announced on 11 April 2015: “The Church has an endless desire to show mercy, the fruit of its own experience of the power of the Father’s infinite mercy” (EG 24). It is with this desire in mind that we should re-read the Bull of Indiction of the Jubilee, Misericordiae Vultus, in which Pope Fran- cis details the aims of the Holy Year. As we know, the two dates already marked out are 8 December 2015, the Solemnity of the Immaculate Conception, the day of the opening of the Holy Door of St. Peter’s Basilica, and 20 November 2016, the Solemnity of Our Lord Jesus Christ, King of the Universe, which will conclude the Holy Year. Between these two dates a calendar of celebrations will see many different events take place. The Pope wants this Jubilee to be experienced in Rome as well as in local Churches; this brings partic- ular attention to the life of the individual Churches and their needs, so that initiatives are not just additions to the calendar but rather complementary. -
3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome
Anna Bortolozzi 3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome Rome fut tout le monde, & tout le monde est Rome1 Drawing in the past, drawing in the present: Two attitudes towards the study of Roman antiquity In the early 1530s, the Sienese architect Baldassare Peruzzi drew a section along the principal axis of the Pantheon on a sheet now preserved in the municipal library in Ferrara (Fig. 3.1).2 In the sixteenth century, the Pantheon was generally considered the most notable example of ancient architecture in Rome, and the drawing is among the finest of Peruzzi’s surviving architectural drawings after the antique. The section is shown in orthogonal projection, complemented by detailed mea- surements in Florentine braccia, subdivided into minuti, and by a number of expla- natory notes on the construction elements and building materials. By choosing this particular drawing convention, Peruzzi avoided the use of foreshortening and per- spective, allowing measurements to be taken from the drawing. Though no scale is indicated, the representation of the building and its main elements are perfectly to scale. Peruzzi’s analytical representation of the Pantheon served as the model for several later authors – Serlio’s illustrations of the section of the portico (Fig. 3.2)3 and the roof girders (Fig. 3.3) in his Il Terzo Libro (1540) were very probably derived from the Ferrara drawing.4 In an article from 1966, Howard Burns analysed Peruzzi’s drawing in detail, and suggested that the architect and antiquarian Pirro Ligorio took the sheet to Ferrara in 1569. -
Chapter 3 Who Built the Pantheon? Agrippa, Apollodorus, Hadrian And
Despite so much that is known about Roman buildings, Chapter 3 there is relatively little to say about the individuals involved in the ferment of their creation. We can reconstruct Who Built the Pantheon? confidently the original appearance of many a monument, but not much about their designers. This is not for want of Agrippa, Apollodorus, information; it is just not quite of the right kind. All around the Mediterranean survive ample ruins, including some Hadrian and Trajan strikingly well-preserved buildings, of which the Pantheon is the prime example. This physical evidence is illuminated by literary sources, inscriptions and brickstamps, and on Mark Wilson Jones occasion by maps and drawings inscribed in stone. Notwithstanding some long-running disputes, we can often be sure of the identity and date of individual monuments in major cities. We also possess quite a populous roster of architects’ names, thanks to numbers of their tombstones, along with the occasional textual mention of a few of the men at the top of their profession. Some buildings bear discreet architects’ inscriptions, yet these are nothing like as numerous and prominent as those of their patrons; it is they who take the credit. In short, it is normally impossible to join up specific surviving buildings with specific architects about whom we know any more than the name. In this the Roman period fares worse than the Greek, when architects were frequently tied to particular projects by specifications, contracts and accounts recorded on stone, while the names of famous protagonists can be found in the treatises of Roman writers, most notably Vitruvius and Pliny.1 By such means we know of no fewer than three individuals who had responsibility for the design of the Parthenon in one role or other, Ictinus, Kallikrates and Karpion, while a fourth, Phidias, the creator of Athena Parthenos, may also have had some architectural input. -
Roman Art Kindle
ROMAN ART PDF, EPUB, EBOOK Paul Zanker | 216 pages | 10 Jan 2012 | Getty Trust Publications | 9781606061015 | English | Santa Monica CA, United States Roman Art PDF Book If you don't know about Paracas textiles Construction of the Baths of Diocletian , for instance, monopolised the entire brick industry of Rome, for several years. Roman aqueducts , also based on the arch, were commonplace in the empire and essential transporters of water to large urban areas. The Romans also made frequent use of the semicircular arch, typically without resorting to mortar: relying instead on the precision of their stonework. The heads of the Marcus Aurelius figures are larger than normal, to show off their facial expressions. However it never lost its distinctive character, especially notable in such fields as architecture, portraiture, and historical relief. This led to a popular trend among the ancient Romans of including one or more such statues in the gardens and houses of wealthier patrons. With the authenticity of the medallion more firmly established, Joseph Breck was prepared to propose a late 3rd to early 4th century date for all of the brushed technique cobalt blue-backed portrait medallions, some of which also had Greek inscriptions in the Alexandrian dialect. They also served an important unifying force. Useing vivid colours it simulates the appearance of marble. From Wikipedia, the free encyclopedia. Sculpture: Types and Characteristics. A higher relief is used, permitting greater contrast between light and shadow. Further information: Roman portraiture. As another example of the lost "Golden Age", he singled out Peiraikos , "whose artistry is surpassed by only a very few But flagship buildings with domes were far from being the only architectural masterpieces built by Ancient Rome. -
IATL Pedagogic Intervention Grant Dr. Abigail Graham
IATL Pedagogic Intervention Grant Dr. Abigail Graham Contextualising the Eternal City: an academic field trip to Rome for participants in the City of Rome module. March 20-24th 2014 _______________________________________________________________________________ The IATL Pedagogic Intervention Grant allowed the Classics department to offer a field trip component for 15 student participant and one graduate student as part of of the City of Rome (CX 303) module. When studying the history, archaeology and geography of the ancient city, there is simply no substitute for a “hands on” experience in the city and with its incredible collection of materials. Although not all students could participate (the course had 46 students), we used this opportunity, not only to only to visit sites, but to find ways to teach the whole class about the city, through powerpoints, photographs and video presentations which the students made on site in Rome and in Ostia. These video “case studies” ranged from famous buildings such as the Pantheon or the Colosseum in Rome, to market stall for fish sauce stall or a launderers at Ostia. This experience not only encouraged study and group dynamic, but allowed the students to consider and learn how to present this type of material through a visual medium. A sample video and accompanying powerpoint presentation have been provided. A selection of these are published on the City of Rome Module Website. These “case study” videos and power point presentations are currently being used by all the students in the course for exam revision. http://www2.warwick.ac.uk/fac/arts/classics/students/modules/rome/powerpoints By basing the trip at the British School At Rome, we also had a chance to introduce the students to a world reknown British institution and the resources it offers, as well as to meet the current researcher and scholars based there, as we dined with these individuals on two of the nights we were there, and the director Prof. -
Reading Death in Ancient Rome
Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus. -
L'antica Porta Appia Delle Mura Costruite Nella Seconda Metà Del III
Prima di arrivare a Porta S. Sebastiano – l’antica Porta Appia delle è ora ridotta al nucleo di calcestruzzo, sul quale è stata costruita una Cento metri oltre il bivio con la via Appia Pignatelli (sistemata alla trionfale. Sulle gradinate potevano trovare posto oltre 10.000 spet- Torlonia (n. civico 240), la via corre finalmente libera e fiancheggia- Sempre sul lato destro seguono i ruderi ben conservati nella parte mura costruite nella seconda metà del III sec. d.C. dall’imperatore casetta. Presso il bivio con la via Ardeatina è la piccola chiesa del fine del secolo XVII da Papa Innocenzo XII), al numero civico 119a, tatori. Al di là del Circo sorgeva la Villa (12), che era direttamente ta da pini e cipressi con numerosi resti di tombe ora più facilmente posteriore di un sepolcro a tempietto (31), rettangolare, con alto Aureliano – esisteva (ed esiste tuttora coi nomi di via delle Terme di Quo Vadis (5) o Santa Maria in palmis rifacimento seicentesco di una è l’ingresso delle Catacombe Ebraiche di Vigna Randanini (9). collegata al palco imperiale del Circo. Sotto di essa e da quella inglo- accessibili. Oltre il cancello dell’ex Forte Appio, si susseguono, sulla podio e scalinata; la Tomba, ricostruita, dei Rabiri (32), del I seco- Caracalla e via di Porta S. Sebastiano) il tratto iniziale della strada, cappella eretta nel IX secolo sul luogo dove, secondo la tradizione, Dopo il successivo bivio con la via delle Sette Chiese s’apre uno spiaz- bata, si trova una precedente villa del II secolo, sorta a sua volta destra, l’epigrafe di un Gneo Bebio Tampilo e l’iscrizione della fami- lo d.C., con la copia del rilievo originale raffigurante i busti con le lungo quasi un miglio, che, partendo dalla Porta Capena delle mura S. -
Attraction List
ATTRACTION LIST Normal Adult FREE ENTRY WITH THE OMNIA CARD Entry Fee Sistine Chapel and Vatican Museum (skip the line) € 30.00 72-hour Hop-On Hop-Off Bus Tour € 32.00 Basilica Of St.John In The Lateran and the Cloister € 5.00 Carcer Tullianum € 10.00 Cloister of St. Paul’s Outside the Walls Basilica € 4.00 Normal Adult FREE ENTRY TO THE FIRST TWO ATTRACTIONS WITH THE ROMA PASS Entry Fee Colosseum + Roman Forum + Palatine Hill € 16.00 Castel Sant’Angelo € 15.00 Capitoline Museums € 11.50 Galleria Borghese € 13.00 FURTHER MUSEUMS / ARCHEOLOGICAL SITES ON THE ROMA PASS WITH DISCOUNTED ENTRY National Academy of Saint Luke (Free) Ancient Appian Way - Mausoleum of Cecilia Metella and the Castrum Caetani Ancient Appian Way – Baths of Caracalla Ancient Appian Way - Villa of the Quintili Rome Modern Art Gallery National Gallery of Ancient Art in Palazzo Barberini and Palazzo Corsini Spada Gallery National Gallery of Modern and Contemporary Art MACRO – Rome Contemporary Art Museum MAXXI - National Museum of 21st Century Arts Trajan’s Markets - Museum of the Imperial Forums Museums of Villa Torlonia Carlo Bilotti Orangery Museum in Villa Borghese (Free) Civic Zoology Museum Ara Pacis Museum Museum of Roman Civilization Museum of the Roman Republic and of the Garibaldian Memory (Free) Museum of the City Walls (Free) Casal de’ Pazzi Museum (Free) Rome Museum Rome Trastevere Museum Museum of Ancient Sculpture Giovanni Barracco (Free) Napoleonic Museum (Free) National Museum of Musical Instruments National Museum of Palazzo Venezia National Etruscan -
In Presentia Mei Notarii. Piante E Disegni
FERNANDO BILANCIA Il palazzo della famiglia Aquilani di Roma a piazza di Ara Coeli Il palazzo che fu degli Aquilani, sinora mai studiato benché centralis- simo, sorge a Roma a piazza d’Ara Coeli 61. Gli Aquilani di Roma appartenevano ad una nobile famiglia pisana che ebbe fra i suoi componenti diversi cavalieri dell’ordine di S. Stefano2; alcuni suoi membri si trasferirono nella capitale dello Stato Pontificio nel secolo XVI, ove ricoprirono importanti cariche pubbliche. La testimonianza più antica della presenza a Roma di un componente della famiglia si fa risalire al 1539 ed è fornita dall’iscrizione posta su una lapide incisa nel 1736 nel pavimento della chiesa di S. Maria in Vallicella: in essa, al di sotto dello stemma di famiglia quasi completamente abraso (tav. XXVII), Ludovico Aquilani3 riferisce che nel 1539 il suo antenato Ludo- vico senior, quando era ancora in vita, eresse nella chiesa un monumento funebre a sè ed ai suoi discendenti4. Ma il confronto con tutte le altre noti- zie reperite, riguardanti la vita di Ludovico senior Aquilani (in particolare la data della sua morte avvenuta nel 1594) rende piuttosto improbabile che 1 C. PIETRANGELI (Guide rionali di Roma. Rione X–Campitelli, I, Roma, Palombi editori, 1975, p. 18) si limita a definirlo correttamente “palazzetto del ’700”. 2 Sulla famiglia Aquilani cfr.: T. AMAYDEN, La storia delle famiglie romane, con note ed aggiunte di C.A. Bertini, Roma, Collegio Araldico, s. d. (rist. anast., Roma, Edizioni Romane Colosseum, 1987), I, pp. 70-72; R. MAZZEI, Pisa medicea, Firenze, Leo Olschki editore, 1991. L’Ordine militare dei Cavalieri di S.