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Negotiating Julio-Claudian Memory: the Vespasianic Building Program and the Representation of Imperial Power in Ancient Rome Joseph V
Macalester College DigitalCommons@Macalester College Classics Honors Projects Classics Department Spring 5-2-2014 Negotiating Julio-Claudian Memory: The Vespasianic Building Program and the Representation of Imperial Power in Ancient Rome Joseph V. Frankl Macalester College, [email protected] Follow this and additional works at: http://digitalcommons.macalester.edu/classics_honors Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Classics Commons Recommended Citation Frankl, Joseph V., "Negotiating Julio-Claudian Memory: The eV spasianic Building Program and the Representation of Imperial Power in Ancient Rome" (2014). Classics Honors Projects. Paper 19. http://digitalcommons.macalester.edu/classics_honors/19 This Honors Project is brought to you for free and open access by the Classics Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Classics Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Negotiating Julio-Claudian Memory: The Vespasianic Building Program and the Representation of Imperial Power in Ancient Rome By Joseph Frankl Advised by Professor Beth Severy-Hoven Macalester College Classics Department Submitted May 2, 2014 INTRODUCTION In 68 C.E., the Roman Emperor Nero died, marking the end of the Julio-Claudian imperial dynasty established by Augustus in 27 B.C.E (Suetonius, Nero 57.1). A year-long civil war ensued, concluding with the general Titus Flavius Vespasianus seizing power. Upon his succession, Vespasian faced several challenges to his legitimacy as emperor. Most importantly, Vespasian was not a member of the Julio-Claudian family, nor any noble Roman gens (Suetonius, Vespasian 1.1). -
The Quietest Painting in the Room
The Quietest Painting in the Room cardus.ca/comment/article/the-quietest-painting-in-the-room/ I hate that line in Good Will Hunting when the counselor (Robin Williams) says to the genius janitor (Matt Damon): So if I asked you about art, you'd probably give me the skinny on every art book ever written. Michelangelo, you know a lot about him. Life's work, political aspirations, him and the pope, sexual orientations, the whole works, right? But I'll bet you can't tell me what it smells like in the Sistine Chapel. I hate it not because it seems to me a kind of bullying, like age condescending to youth and inexperience (though that's true), but because the Sistine Chapel doesn't have any particular smell. The Domus Aurea, sure: a bit mossy and dank, but cool, and with imaginary lavender. The Palatine smells vaguely of cats and burning wheat. Even Saint Peter's, just a stone's throw from Capella Sistina, has a scent: clay, and neoprene rope, and tourists. But the Sistine Chapel hasn't even an olfactory trace of incense, or oil paints, or sweating sixteenth century architects lying on their backs. It may have had all those things when, in 1598, another painter named Michelangelo (Merisi da Caravaggio), from a town by whose name he was eventually known, made the first of his many visits there to see the great painting that his namesake had called forth from the abyss. We think of the Sistine ceiling as heavenly and eternal, but it helps to remember it was new once, shocking, and influential in a different sense than we mean it now. -
VESPASIAN. AD 68, Though Not a Particularly Constructive Year For
138 VESPASIAN. AD 68, though not a particularly constructive year for Nero, was to prove fertile ground for senators lion the make". Not that they were to have the time to build anything much other than to carve out a niche for themselves in the annals of history. It was not until the dust finally settled, leaving Vespasian as the last contender standing, that any major building projects were to be initiated under Imperial auspices. However, that does not mean that there is nothing in this period that is of interest to this study. Though Galba, Otho and Vitellius may have had little opportunity to indulge in any significant building activity, and probably given the length and nature of their reigns even less opportunity to consider the possibility of building for their future glory, they did however at the very least use the existing imperial buildings to their own ends, in their own ways continuing what were by now the deeply rooted traditions of the principate. Galba installed himself in what Suetonius terms the palatium (Suet. Galba. 18), which may not necessarily have been the Golden House of Nero, but was part at least of the by now agglomerated sprawl of Imperial residences in Rome that stretched from the summit of the Palatine hill across the valley where now stands the Colosseum to the slopes of the Oppian, and included the Golden House. Vitellius too is said to have used the palatium as his base in Rome (Suet. Vito 16), 139 and is shown by Suetonius to have actively allied himself with Nero's obviously still popular memory (Suet. -
The Conservation Works the Hall of Masks in the Domus Aurea Conservation Studies Held in the 80'S Conservation Works of the H
The conservation works the Hall of Masks in the Domus Aurea Donatella Cavezzali1, Annamaria Giovagnoli, Elisabetta Giani, Bruno Mazzone, Carlo Cacace, Fabio Aramini 1 Istituto Superiore per la Conservazione ed il Restauro (ISCR), Rome, Italy Since 2004 the Istituto Superiore per la Conservazione ed il Restauro (ISCR) of Rome has begun to study the conservation conditions of the Hall of Masks in the Domus Aurea (64-68 AD), the palace of Emperor Nero whose decorations have inspired artist such as Rafael, Giovanni da Udine and Vasari becoming reference model for all the Renaissance. Conservation studies and restoration works have been focused in particular on two rooms of the great hypogeal palace, the Hall of Masks (room n. 114) and the nearby Corridor (room n. 131), whose frescoes are among the most famous and better preserved of all the site. In the last twenty years the rooms have been experimentally confined with airtight doors (1986) to test the microclimatic conditions in absence of light and thermo-hygrometric exchanges. After this long period of experimentation ISCR has lead a pilot conservation project to deal with the conservation and musealization of the Hall of Masks and Corridor n. 131. Conservation studies held in the 80’s Since 1969 the Central Institute of Restoration (now ISCR) began to study the preservation of the Domus Aurea, in particular focusing on the frescoes of the Golden Vault. Later (1986) began the studies in The Hall of Masks and the Corridor n. 131, focused on the stabilization of the microclimate as preventive conservation of the paintings. The two connected rooms were confined with airtight doors and restoration tests of frescoes were held to experiment maintenance in time. -
Domitian's Arae Incendii Neroniani in New Flavian Rome
Rising from the Ashes: Domitian’s Arae Incendii Neroniani in New Flavian Rome Lea K. Cline In the August 1888 edition of the Notizie degli Scavi, profes- on a base of two steps; it is a long, solid rectangle, 6.25 m sors Guliermo Gatti and Rodolfo Lanciani announced the deep, 3.25 m wide, and 1.26 m high (lacking its crown). rediscovery of a Domitianic altar on the Quirinal hill during These dimensions make it the second largest public altar to the construction of the Casa Reale (Figures 1 and 2).1 This survive in the ancient capital. Built of travertine and revet- altar, found in situ on the southeast side of the Alta Semita ted in marble, this altar lacks sculptural decoration. Only its (an important northern thoroughfare) adjacent to the church inscription identifies it as an Ara Incendii Neroniani, an altar of San Andrea al Quirinale, was not unknown to scholars.2 erected in fulfillment of a vow made after the great fire of The site was discovered, but not excavated, in 1644 when Nero (A.D. 64).7 Pope Urban VIII (Maffeo Barberini) and Gianlorenzo Bernini Archaeological evidence attests to two other altars, laid the foundations of San Andrea al Quirinale; at that time, bearing identical inscriptions, excavated in the sixteenth the inscription was removed to the Vatican, and then the and seventeenth centuries; the Ara Incendii Neroniani found altar was essentially forgotten.3 Lanciani’s notes from May on the Quirinal was the last of the three to be discovered.8 22, 1889, describe a fairly intact structure—a travertine block Little is known of the two other altars; one, presumably altar with remnants of a marble base molding on two sides.4 found on the Vatican plain, was reportedly used as building Although the altar’s inscription was not in situ, Lanciani refers material for the basilica of St. -
Rodolfo Lanciani, the Ruins and Excavations of Ancient Rome, 1897, P
10/29/2010 1 Primus Adventus ad Romam Urbem Aeternam Your First Visit to Rome The Eternal City 2 Accessimus in Urbe AeternA! • Welcome, traveler! Avoiding the travails of the road, you arrived by ship at the port of Ostia; from there, you’ve had a short journey up the Via Ostiensis into Roma herself. What do you see there? 3 Quam pulchra est urbs aeterna! • What is there to see in Rome? • What are some monuments you have heard of? • How old are the buildings in Rome? • How long would it take you to see everything important? 4 Map of Roma 5 The Roman Forum • “According to the Roman legend, Romulus and Tatius, after the mediation of the Sabine women, met on the very spot where the battle had been fought, and made peace and an alliance. The spot, a low, damp, grassy field, exposed to the floods of the river Spinon, took the name of “Comitium” from the verb coire, to assemble. It is possible that, in consequence of the alliance, a road connecting the Sabine and the Roman settlements was made across these swamps; it became afterwards the Sacra Via…. 6 The Roman Forum • “…Tullus Hostilius, the third king, built a stone inclosure on the Comitium, for the meeting of the Senators, named from him Curia Hostilia; then came the state prison built by Ancus Marcius in one of the quarries (the Tullianum). The Tarquin [kings] drained the land, gave the Forum a regular (trapezoidal) shape, divided the space around its borders into building- lots, and sold them to private speculators for shops and houses, the fronts of which were to be lined with porticoes.” --Rodolfo Lanciani, The Ruins and Excavations of Ancient Rome, 1897, p. -
A Study of the Pantheon Through Time Caitlin Williams
Union College Union | Digital Works Honors Theses Student Work 6-2018 A Study of the Pantheon Through Time Caitlin Williams Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Classical Archaeology and Art History Commons Recommended Citation Williams, Caitlin, "A Study of the Pantheon Through Time" (2018). Honors Theses. 1689. https://digitalworks.union.edu/theses/1689 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. A Study of the Pantheon Through Time By Caitlin Williams * * * * * * * Submitted in partial fulfillment of the requirements for Honors in the Department of Classics UNION COLLEGE June, 2018 ABSTRACT WILLIAMS, CAITLIN A Study of the Pantheon Through Time. Department of Classics, June, 2018. ADVISOR: Hans-Friedrich Mueller. I analyze the Pantheon, one of the most well-preserVed buildings from antiquity, through time. I start with Agrippa's Pantheon, the original Pantheon that is no longer standing, which was built in 27 or 25 BC. What did it look like originally under Augustus? Why was it built? We then shift to the Pantheon that stands today, Hadrian-Trajan's Pantheon, which was completed around AD 125-128, and represents an example of an architectural reVolution. Was it eVen a temple? We also look at the Pantheon's conversion to a church, which helps explain why it is so well preserVed. -
2 FEBBRAIO 2015 Palazzo Dell'istruzione
2 FEBBRAIO 2015 Palazzo dell’istruzione The building which hosts the head offices of the Italian Ministry of Education was designed by the architect Cesare Bazzani, well known in those days for having built also Palazzo delle Belle Arti (Palace of Fine Arts), which now hosts the National Gallery of Modern Art. The construction of the Palace, started in 1912, was completed only in 1928. The building recalls the style and the eclectic taste of the beginning of the Twentieth Century. Its monumental architectural forms, inspired by Classicism, are softened by the baroque lines which liven up the facade, enriched in the front as well as in the internal spaces by an important series of ornaments and symbolic decorations with book-shaped capitals, grotesque caryatids, battering- ram heads, flower garlands. From the monumental Hall which introduces to the Palace, you can access the Courtyard of Honour, currently used for commemorative and prize-giving ceremonies at the end of the school year. On the sides of the Hall, two Honour Staircases, made of white marble, lead to the Minister’s Offices and to the Ministry representative rooms (Ministers’ Hall, Minister’s and Head of Cabinet’s Offices) decorated by Antonino Calcagnadoro, Paolo Paschetto and Rodolfo Villani in the year 1928. The paintings, made with the cold encaustic and the casein glue poster paint, two of the oldest and most traditional techniques of Italian Art, depict some allegorical figures: Literature, Science, Wisdom, History, Genius and Art. The series, painted by Calcagnodoro for the decoration of the Ministers’ Hall, is particularly valuable. It is a sequence which illustrates Education and 1 Knowledge in the various stages of Italian history with the depiction of some of its most important representatives: Dante Alighieri, San Francesco and Santa Chiara, Leonardo da Vinci, Raffaello Sanzio, Benvenuto Cellini, Michelangelo Merisi. -
Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2013 Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Custom Citation Kinney, Dale. "Spoliation in Medieval Rome." In Perspektiven der Spolienforschung: Spoliierung und Transposition. Ed. Stefan Altekamp, Carmen Marcks-Jacobs, and Peter Seiler. Boston: De Gruyter, 2013. 261-286. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/70 For more information, please contact [email protected]. Topoi Perspektiven der Spolienforschung 1 Berlin Studies of the Ancient World Spoliierung und Transposition Edited by Excellence Cluster Topoi Volume 15 Herausgegeben von Stefan Altekamp Carmen Marcks-Jacobs Peter Seiler De Gruyter De Gruyter Dale Kinney Spoliation in Medieval Rome i% The study of spoliation, as opposed to spolia, is quite recent. Spoliation marks an endpoint, the termination of a buildlng's original form and purpose, whÿe archaeologists tradition- ally have been concerned with origins and with the reconstruction of ancient buildings in their pristine state. Afterlife was not of interest. Richard Krautheimer's pioneering chapters L.,,,, on the "inheritance" of ancient Rome in the middle ages are illustrated by nineteenth-cen- tury photographs, modem maps, and drawings from the late fifteenth through seventeenth centuries, all of which show spoliation as afalt accomplU Had he written the same work just a generation later, he might have included the brilliant graphics of Studio Inklink, which visualize spoliation not as a past event of indeterminate duration, but as a process with its own history and clearly delineated stages (Fig. -
Spolia from the Baths of Caracalla in Sta. Maria in Trastevere Dale Kinney Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 1986 Spolia from the Baths of Caracalla in Sta. Maria in Trastevere Dale Kinney Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/hart_pubs Part of the History of Art, Architecture, and Archaeology Commons Custom Citation Kinney, Dale. 1986. " Spolia from the Baths of Caracalla in Sta. Maria in Trastevere." The Art Bulletin 68.3: 379-397. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/hart_pubs/90 For more information, please contact [email protected]. Spolia from the Baths of Caracallain Sta. Maria in Trastevere Dale Kinney Eight third-century Ionic capitals with images of Isis, Serapis, and Harpocrates, now in the nave colonnades of Sta. Maria in Trastevere, were taken from one or both of the rooms currently identified as libraries in the Baths of Caracalla. The capitals were transferred around 1140, when the church was rebuilt by Pope In- nocent II. The capitals would have been acquired by confiscation, juridically the pope's prerogative as head of the papal state; the lavish display of all kinds of spolia in Sta. Maria in Trastevere is here interpreted as a self-conscious demon- stration of that prerogative. The identity of the capitals' pagan images would have been unknown to most twelfth-century observers, because the only accessible keys to the correct identifications were one sentence in Varro's De lingua latina and another in Saint Augustine's De civitate Dei. -
The Mythology of the Ara Pacis Augustae: Iconography and Symbolism of the Western Side
Acta Ant. Hung. 55, 2015, 17–43 DOI: 10.1556/068.2015.55.1–4.2 DAN-TUDOR IONESCU THE MYTHOLOGY OF THE ARA PACIS AUGUSTAE: ICONOGRAPHY AND SYMBOLISM OF THE WESTERN SIDE Summary: The guiding idea of my article is to see the mythical and political ideology conveyed by the western side of the Ara Pacis Augustae in a (hopefully) new light. The Augustan ideology of power is in the modest opinion of the author intimately intertwined with the myths and legends concerning the Pri- mordia Romae. Augustus strove very hard to be seen by his contemporaries as the Novus Romulus and as the providential leader (fatalis dux, an expression loved by Augustan poetry) under the protection of the traditional Roman gods and especially of Apollo, the Greek god who has been early on adopted (and adapted) by Roman mythology and religion. Key words: Apollo, Ara, Augustus, Pax Augusta, Roma Aeterna, Saeculum Augustum, Victoria The aim of my communication is to describe and interpret the human figures that ap- pear on the external western upper frieze (e.g., on the two sides of the staircase) of the Ara Pacis Augustae, especially from a mythological and ideological (i.e., defined in the terms of Augustan political ideology) point of view. I have deliberately chosen to omit from my presentation the procession or gathering of human figures on both the Northern and on the Southern upper frieze of the outer wall of the Ara Pacis, since their relationship with the iconography of the Western and of the Eastern outer-upper friezes of this famous monument is indirect, although essential, at least in my humble opinion. -
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.