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The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the D
The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marion Woodrow Kruse, III Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Anthony Kaldellis, Advisor; Benjamin Acosta-Hughes; Nathan Rosenstein Copyright by Marion Woodrow Kruse, III 2015 ABSTRACT This dissertation explores the use of Roman historical memory from the late fifth century through the middle of the sixth century AD. The collapse of Roman government in the western Roman empire in the late fifth century inspired a crisis of identity and political messaging in the eastern Roman empire of the same period. I argue that the Romans of the eastern empire, in particular those who lived in Constantinople and worked in or around the imperial administration, responded to the challenge posed by the loss of Rome by rewriting the history of the Roman empire. The new historical narratives that arose during this period were initially concerned with Roman identity and fixated on urban space (in particular the cities of Rome and Constantinople) and Roman mythistory. By the sixth century, however, the debate over Roman history had begun to infuse all levels of Roman political discourse and became a major component of the emperor Justinian’s imperial messaging and propaganda, especially in his Novels. The imperial history proposed by the Novels was aggressivley challenged by other writers of the period, creating a clear historical and political conflict over the role and import of Roman history as a model or justification for Roman politics in the sixth century. -
Journeys to Byzantium? Roman Senators Between Rome and Constantinople
Journeys to Byzantium? Roman Senators Between Rome and Constantinople Master’s Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Michael Anthony Carrozzo, B.A Graduate Program in History The Ohio State University 2010 Thesis Committee: Kristina Sessa, Advisor Timothy Gregory Anthony Kaldellis Copyright by Michael Anthony Carrozzo 2010 Abstract For over a thousand years, the members of the Roman senatorial aristocracy played a pivotal role in the political and social life of the Roman state. Despite being eclipsed by the power of the emperors in the first century BC, the men who made up this order continued to act as the keepers of Roman civilization for the next four hundred years, maintaining their traditions even beyond the disappearance of an emperor in the West. Despite their longevity, the members of the senatorial aristocracy faced an existential crisis following the Ostrogothic conquest of the Italian peninsula, when the forces of the Byzantine emperor Justinian I invaded their homeland to contest its ownership. Considering the role they played in the later Roman Empire, the disappearance of the Roman senatorial aristocracy following this conflict is a seminal event in the history of Italy and Western Europe, as well as Late Antiquity. Two explanations have been offered to explain the subsequent disappearance of the Roman senatorial aristocracy. The first involves a series of migrations, beginning before the Gothic War, from Italy to Constantinople, in which members of this body abandoned their homes and settled in the eastern capital. -
Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676. -
The Neonian Baptistery in Ravenna 359
Ritual and ReconstructedMeaning: The Neonian Baptisteryin Ravenna Annabel Jane Wharton The pre-modern work of art, which gained authority through its extension in ritual action, could function as a social integrator. This essay investigates the figural decoration of the Orthodox Baptistery in Ravenna, in an effort to explain certain features of the mosaic program. If the initiation ritual is reenacted and the civic centrality of the rite and its executant, the bishop, is restored, the apparent "icon- ographic mistakes" in the mosaics reveal themselves as signs of the mimetic re- sponsiveness of the icon. By acknowledging their unmediated character, it may be possible to re-empower both pre-modern images and our own interpretative strategy. The Neonian (or "Orthodox") Baptistery in Ravenna is the preciated, despite the sizable secondary literature generated most impressive baptistery to survive from the Early Chris- by the monument. Because the artistic achievement of the tian period (Figs. 1-5).1 It is a construction of the late fourth Neonian Baptistery lies in its eloquent embodiment of a or early fifth century, set to the north of the basilican ca- new participatory functioning of art, a deeper comprehen- thedral of Bishop Ursus (3897-96?) (Fig. 1).2 The whole of sion of the monument is possible only through a more thor- the ecclesiastical complex, including both the five-aisled ba- ough understanding of its liturgical and social context. The silica and the niched, octagonal baptistery, appears to have first section of this essay therefore attempts to reconstruct been modeled after a similar complex built in the late fourth the baptismal liturgy as it may have taken place in the century in Milan.3 Within two or three generations of its Neonian Baptistery. -
Dreamitaly0709:Layout 1
INSIDE: The Artistic Village of Dozza 3 Private Guides in Ravenna 5 Bicycling Through Ferrara 6 Where to Stay in Bologna 8 Giorgio Benni Giorgio giasco, flickr.com giasco, Basilica di San Vitale MAMbo SPECIAL REPORT: EMILIA-ROMAGNA Bologna: dream of City of Art ith its appetite for art, Bologna’s ® Wcontributions to the good life are more than gustatory. Though known as the “Red City” for its architecture and politics, I found a brilliant palette of museums, galleries, churches and markets, with mouth-watering visuals for every taste. ITALYVolume 8, Issue 6 www.dreamofitaly.com July/August 2009 City Museums For a splash of Ravcnna’s Ravishing Mosaics 14th-century sculp- ture start at the fter 15 centuries, Ravenna’s lumi- across the region of Emilia-Romagna. Fontana del Nettuno A nous mosaics still shine with the With only a day to explore, I’m grate- in Piazza Maggiore. golden brilliance of the empires that ful that local guide Verdiana Conti Gianbologna’s endowed them. These shimmering Baioni promises to weave art and bronze god — Fontana Nettuno sacred images reveal both familiar and history into every step. locals call him “the giant” — shares the unexpected chapters in Italian history water with dolphins, mermaids and while affirming an artistic climate that We meet at San Apollinaire Nuovo on cherubs. Close by, Palazzo Comunale’s thrives today. Via di Roma. A soaring upper floors contain the Collezioni basilica, its narrow side Comunale d’Arte, which includes opu- Ravenna attracted con- aisles open to a broad lent period rooms and works from the querors from the north nave where three tiers 14th through 19th centuries. -
Santamariaprrojadobe.Pdf
From: Virtual Reality in Archaeology, British Archaeological Reports International Series S 843, ed. J. A. Barcelo, M. Forte, and D. H. Sanders (ArcheoPress, Oxford 2000) 155-162. Virtual Reality and Ancient Rome: The UCLA Cultural VR Lab's Santa Maria Maggiore Project Prof. Bernard Frischer (UCLA Department of Classics; Director, UCLA Cultural VR Lab) Prof. Diane Favro (UCLA Department of Architecture and Urban Design) Dr. Paolo Liverani (Vatican Museums, Department of Classical Antiquities) Prof. Sible De Blaauw (Istituto Olandese di Roma) Dean Abernathy, Architect and Doctoral Student (UCLA Department of Architecture and Urban Design) (1) Introduction Since the fall of 1995, professors of Classics, Architecture, Education, and Information Science at UCLA, in conjunction with colleagues in the United States, Britain, and Italy, have been developing virtual reality (VR) models of buildings and monuments in ancient Rome (cf. fig. 1). This collaborative research effort is called the Rome Reborn Project in honor of the first systematic study of Roman topography, Flavio Biondo's mid-fifteenth century Roma Instaurata (de Grummond 1996: 160-61). Since January, 1998 the project has been housed in the UCLA Cultural VR Lab, which was created with support from Intel, the Creative Kids Education Foundation, Mr. Kirk Mathews, the UCLA Division of Humanities, the UCLA Humanities Computing Facility, the UCLA Center for Digital Innovation, the UCLA Graduate Division, the UCLA Office of the Vice Chancellor for Research, and the UCLA College of Letters and Science. The Lab's mission is to provide technology support for projects like Rome Reborn that strive to recreate authenticated three-dimensional computer models of sites of great historic and cultural interest around the world. -
Periodic Report 2006
State of Conservation of World Heritage Properties in Europe SECTION II Recommendation: That this property be inscribed on the World Heritage List on the basis of criteria ITALY (i), (ii), (iii), and (iv): The complex of Early Christian religious Early Christian Monuments of monuments in Ravenna are of outstanding Ravenna Significance by virtue of the supreme artistry of the mosaic art that they contain, and also because of the crucial evidence that they provide of artistic and Brief description religious relationships and contacts at an important Ravenna was the seat of the Roman Empire in the period of European cultural history. 5th century and then of Byzantine Italy until the 8th century. It has a unique collection of early Christian Committee Decision mosaics and monuments. All eight buildings – the Mausoleum of Galla Placidia, the Neonian Bureau (June 1996): The Bureau recommended the Baptistery, the Basilica of Sant'Apollinare Nuovo, Committee to inscribe the nominated property on the Arian Baptistery, the Archiepiscopal Chapel, the the basis of criteria (i), (ii), (iii) and (iv) considering Mausoleum of Theodoric, the Church of San Vitale that the site is of outstanding universal value being and the Basilica of Sant'Apollinare in Classe – were of remarkable significance by virtue of the supreme constructed in the 5th and 6th centuries. They show artistry of the mosaic art that the monuments great artistic skill, including a wonderful blend of contain, and also because of the crucial evidence Graeco-Roman tradition, Christian iconography and that they provide of artistic and religious oriental and Western styles. relationships and contacts at an important period of European cultural history. -
St. Peter's Basilica
UF “ROME PROJECT” LESSON 1 Reading and comprehension COLOSSEUM The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Anfiteatro Flavio or Colosseo), is an amphitheatre in the centre of the city of Rome. It’s the largest amphitheatre ever built in the Roman Empire. It is elliptical in plan and it’s 188 metres long. Inside the Colosseum there were about 50,000 seats for the spectators. The height of the outer wall is 48 meters. The Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions and dramas based on Classical mythology. The Colosseum is one of the symbols of Imperial Rome. ST. PETER’S BASILICA The Papal Basilica of Saint Peter is commonly known as Saint Peter's Basilica and it is a Late Renaissance church located within the Vatican City. In Roman Catholic tradition, the basilica is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus. The basilica is within a forecourt in two sections, both surrounded by tall colonnades. The basilica is cruciform in shape, with an elongated nave in the Latin cross form. The basilica contains a large number of tombs of popes considered outstanding artworks. There are also a number of sculptures in niches and chapels, including Michelangelo’s “Pieta”. The central feature is a baldachin over the Papal Altar designed by Lorenzo Bernini. The Basilica of St. Peter is one of four papal basilicas (Major Basilicas) of Rome: the other basilicas are The Basilica of St. John Lateran, Santa Maria Maggiore and St. -
The Baroque Transformation of the Salus Populi Romani Amber Mcalister Blazer
From Icon to Relic: The Baroque Transformation of the Salus Populi Romani Amber McAlister Blazer In partial response 10 the Pro1esian1 denunciation of sa of another revered icon al the Chiesa Nuova.' This con1empo cred images, the Counter-Reformation Church in Rome initi• rary project anticipates lhe formal solution employed at 1he atcd a widespread progmm 10 resanctify holy icons.' The re Pauline altar. In 1606, the Orntorian fathers of S. Mruia in newed importance or such images for the renovmio of the Vallicella commissioned a paiming from Pe1cr Paul Rubens for Church was stated emphatically by the elaborate Baroque vo tbe high altar of 1heir new church. the Chiesa Nuova.' One of cabulary employed in their re-installation. An important ex their requirements was 1ha1 it should incorporate the mirncu ample of this process is seen in the tomb chapel erected by lous image of the Madonna and Child which the fathers had Paul Vat S. Maria Maggiore and its allar that houses the icon. preserved from their old church. Rubens finished the canvas of today known as the Salus Pop11li Rom1111i (Figure I).' Because Sts. Grego,}' and Domiti/111, S11rro1111ded by Fo11r Saims !Sts. of1he long and revered his1ory of 1he icon. the papal patronage Maurus and Papianus. Nereus and Achilleus] in 1607.' Be of the si1e. and the nascent Baroque style used for 1he altar cause of the poor light in the church the painting was unread itself. the Pauline installation serves as a paradigm for the able, and 1he Church fathers asked Rubens 10 redo the work on Counter-Reformation display of icons. -
History of Architecture: Chapters I-XIX
vii TABLE OF CONTENTS. PAGE PRELIMINARY MATERIAL (separate file) LIST OF ILLUSTRATIONS (Figures 1–157) xi CHAPTER I. PRIMITIVE AND PREHISTORIC ARCHITECTURE 1 CHAPTER II. EGYPTIAN ARCHITECTURE 6 CHAPTER III. EGYPTIAN ARCHITECTURE, Continued 16 CHAPTER IV. CHALDÆAN AND ASSYRIAN ARCHITECTURE 28 CHAPTER V. PERSIAN, LYCIAN, AND JEWISH ARCHITECTURE 35 CHAPTER VI. GREEK ARCHITECTURE 43 viii CHAPTER VII. GREEK ARCHITECTURE, Continued 60 CHAPTER VIII. ROMAN ARCHITECTURE 74 CHAPTER IX. ROMAN ARCHITECTURE, Continued 88 CHAPTER X. EARLY CHRISTIAN ARCHITECTURE 110 CHAPTER XI. BYZANTINE ARCHITECTURE 120 CHAPTER XII. SASSANIAN AND MOHAMMEDAN ARCHITECTURE—ARABIAN, MORESQUE, 135 PERSIAN, INDIAN, AND TURKISH CHAPTER XIII. EARLY MEDIÆVAL ARCHITECTURE IN ITALY AND FRANCE 155 CHAPTER XIV. EARLY MEDIÆVAL ARCHITECTURE IN GERMANY, GREAT BRITAIN, AND SPAIN 172 CHAPTER XV. GOTHIC ARCHITECTURE 182 CHAPTER XVI. GOTHIC ARCHITECTURE IN FRANCE 196 ix CHAPTER XVII. GOTHIC ARCHITECTURE IN GREAT BRITAIN 218 CHAPTER XVIII. GOTHIC ARCHITECTURE IN GERMANY, THE NETHERLANDS, AND SPAIN 237 CHAPTER XIX. GOTHIC ARCHITECTURE IN ITALY 254 RENAISSANCE AND LATER ARCHITECTURE CHAPTERS XX–XXVIII, WITH FIGURES 158–229 (separate file) APPENDIX (separate file) GLOSSARY (separate file) INDEXES (separate file) xi LIST OF ILLUSTRATIONS. A few illustrations include links to larger versions. Figure 24 has been reformatted for this e-text; it was printed vertically, with the Plan below the Section. Figure 138 is shown as printed. THE authorship of the original drawings is indicated by the initials affixed: A. = drawings by the author; B. = H. W. Buemming; Bn. = H. D. Bultman; Ch. = Château, L’Architecture en France; G. = drawings adapted from Gwilt’s Encyclopædia of Architecture; L. = Lübke’s Geschichte der Architektur; W. -
Ravenna Tourist Information 1
refinedcomposition that decorates the Neonian RAVENNA UNIQUE CITY, Baptistery is inspired by cultured Greek tradition, resumed also in the Arian Baptistery WORLD HERITAGE ; the majesty of the Basilica of Sant’Apollinare Ravenna is a showcase of art, history and culture of the Nuovo reveals its origins as a palatine church, first order. The city has ancient origins and a glorious built by Theodoric the Great, king of the Ostrogoths; past; from the 5th to the 8th centuries it was the capital more than one hundred charming little birds lead of the Western Roman Empire, of King Theodoric of the you into the intimate atmosphere of the Chapel Goths and of the Byzantine empire in Europe. of Sant’Andrea , where a triumphant Christ is A considerable patrimony has been passed down to us celebrated; the majestic Mausoleum of Theodoric from that magnificent period. Ravenna is, above all, a , with its enormous monolithic roof covering; the city of mosaics. Its ancient walls conserve mankind’s Basilica of San Vitale , the greatest treasure of the richest heritage of mosaics dating from the 5th and early Christian era, contains a portrait of the imperial 6th centuries. For this reason its early Christian and Byzantine court; outside the city the elegant Basilica Byzantine buildings have been recognised by Unesco of Sant’Apollinare in Classe exalts Christ and TUTTIFRUTTI as world heritage. Sant’Apollinare, the first bishop and church father, in The simple external shell of the Mausoleum of Galla the mosaic of the apse. RAVENNA Placidia conceals an infinite sky of stars; the WORLD HERITAGE Assessorato al Turismo Servizio Turismo e Attività Culturali Comune di Ravenna Tourist Information Office Piazza San Francesco / Piazza Caduti per la Libertà 48121 Ravenna - Italy tel. -
Notes on the Decorations of Central Vault Mosaic of Galla Placidia Chapel in Ravenna, Italy Prof
مجلة العمارة والفنون والعلوم اﻻنسانية المجلد الخامس - العدد الثاني والعشرون Notes on the decorations of central vault mosaic of Galla Placidia chapel in Ravenna, Italy Prof. Khaled Gharib Ali Ahmed Shaheen Professor and Head of Greco-Roman Archaeology Department - faculty of Archaeology, Cairo University. Assist. Prof. Dr. Mona Gabr Abd El-Naby Hussein Assistant Professor of art history - Greco-Roman Archaeology Department - faculty of Archaeology, Cairo University. Lect. Asmaa Mamdouh Abdel-Sattar Hanafi Mohammed El-Nadi Demonstrator– Greco-Roman department– faculty of Archaeology, Cairo University. [email protected] Abstract: The Galla Placidia Chapel in Ravenna, or globally known as the "Mausoleum" of Galla Placidia, has been renowned for its exceptional mosaic decorations covering the surfaces of its interior walls. The entrance of the chapel represents a dramatic transition from the humble exterior to the grandeur and majesty of the interior; the chapel has retained its entire interior decoration program, which is uncommon for buildings from that late antiquity. This cross- planned chapel still raises many issues and questions that are difficult to answer decisively, as a result of the lack of any contemporary documentation, so it remains purely hypothetical. The interpretation of central vault mosaics of the chapel is one of the most important issues that have occupied the scholars for a long time over the years, due to the ambiguity and distinctiveness of its elements with regard to the iconographic traditions of the time, as it is the predecessor of a decorative subject that will continue over time in the early Christian structures. The central vault mosaic consists of 567 golden stars arranged in concentric circles against a dark blue background, all orbiting a Latin gold cross represented at the vault apex, while floating, over the heap of the clouds, in the pendentives area, winged bust-figures represent the four living creatures around the celestial throne.