Rome's Holy Mountain: the Capitoline Hill in Late Antiquity
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Chapter 5 Art Offers a Glimpse at a Different World Than That Which The
chapter 5 Art Art offers a glimpse at a different world than that which the written narratives of early Rome provide. Although the producers (or rather, the patrons) of both types of work may fall into the same class, the educated elite, the audience of the two is not the same. Written histories and antiquarian works were pro- duced for the consumption of the educated; monuments, provided that they were public, were to be viewed by all. The narrative changes required by dyadic rivalry are rarely depicted through visual language.1 This absence suggests that the visual narratives had a different purpose than written accounts. To avoid confusion between dyadic rivals and other types of doubles, I con- fine myself to depictions of known stories, which in practice limits my inves- tigation to Romulus and Remus.2 Most artistic material depicting the twins comes from the Augustan era, and is more complimentary than the literary narratives. In this chapter, I examine mainly public imagery, commissioned by the same elite who read the histories of the city. As a result, there can be no question of ignorance of this narrative trope; however, Roman monuments are aimed at a different and wider audience. They stress the miraculous salvation of the twins, rather than their later adventures. The pictorial language of the Republic was more interested in the promo- tion of the city and its elite members than problematizing their competition. The differentiation between artistic versions produced for an external audi- ence and the written narratives for an internal audience is similar to the dis- tinction made in Propertius between the inhabitants’ knowledge of the Parilia and the archaizing gloss shown to visitors. -
The Ides of March
P19 www.aseasonofhappiness.com The Ides of March Hey Jules, don’t be afraid... Attributed to the Bard William Shakespeare, the time of year in this spotlight was destined to become a precursor of foreboding: “Beware the Ides of March,” a soothsayer said to Julius Caesar in the play. From another source the famous historical exchange went like this: Caesar (jokingly): The Ides of March are come. Seer: Aye, Caesar, but not gone. Picture the scene: the well-to-do swanning around in togas, slaves in tow; chariots running over plebs at random in the streets; centurians rolling dice; senators whispering and plotting overthrows behind closed doors while sharpening their daggers – this was ancient Rome on the 15th March 44 B.C. Jolly Julius was sauntering on his merry way to the Theatre of Pompey, blissfully unaware that he was soon to be the star of the show as he was stabbed by no less than 60 conspirators; including his former mate Brutus to whom he commented with his dying breath: “Et tu, Brute?” And so, the Ides, for Caesar at least, turned out to be the last and worst day of his life. Maybe as well as the bucket, he also kicked off a new trend, because it wasn’t always like that. Prior to Jules messing with it, the ancient Roman calendar was complicated. Rather than numbering days of the month from the first to the last, some bright spark decided it was better to count backwards. He was probably trying to prove he was smarter than the average Roman; seeing as he understood his own calculations, whereas it was doubtful many others could. -
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. -
Roman Entertainment
Roman Entertainment The Emergence of Permanent Entertainment Buildings and its use as Propaganda David van Alten (3374912) [email protected] Bachelor thesis (Research seminar III ‘Urbs Roma’) 13-04-2012 Supervisor: Dr. S.L.M. Stevens Contents Introduction ................................................................................................................................ 3 1: The development of permanent entertainment buildings in Rome ...................................... 9 1.1 Ludi circenses and the circus ............................................................................................ 9 1.2 Ludi scaenici and the theatre ......................................................................................... 11 1.3 Munus gladiatorum and the amphitheatre ................................................................... 16 1.4 Conclusion ...................................................................................................................... 19 2: The uncompleted permanent theatres in Rome during the second century BC ................. 22 2.0 Context ........................................................................................................................... 22 2.1 First attempts in the second century BC ........................................................................ 22 2.2 Resistance to permanent theatres ................................................................................ 24 2.3 Conclusion ..................................................................................................................... -
Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C. Seth G. Bernard University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Bernard, Seth G., "Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C." (2012). Publicly Accessible Penn Dissertations. 492. https://repository.upenn.edu/edissertations/492 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/492 For more information, please contact [email protected]. Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C. Abstract MEN AT WORK: PUBLIC CONSTRUCTION, LABOR, AND SOCIETY AT MID-REPUBLICAN ROME, 390-168 B.C. Seth G. Bernard C. Brian Rose, Supervisor of Dissertation This dissertation investigates how Rome organized and paid for the considerable amount of labor that went into the physical transformation of the Middle Republican city. In particular, it considers the role played by the cost of public construction in the socioeconomic history of the period, here defined as 390 to 168 B.C. During the Middle Republic period, Rome expanded its dominion first over Italy and then over the Mediterranean. As it developed into the political and economic capital of its world, the city itself went through transformative change, recognizable in a great deal of new public infrastructure. -
Evaluating the Effects of the Geography of Italy Geography Of
Name: Date: Evaluating the Effects of the Geography of Italy Warm up writing space: Review: What are some geographical features that made settlement in ancient Greece difficult? Write as many as you can. Be able to explain why you picked them. _____________________________________________________________________________________________ _____________________________________________________________________________________________ _____________________________________________________________________________________________ _____________________________________________________________________________________________ _____________________________________________________________________________________________ Give One / Get One Directions: • You will get 1 card with important information about Rome’s or Italy’s geography. Read and understand your card. • Record what you learned as a pro or a con on your T chart. • With your card and your T chart, stand up and move around to other students. • Trade information with other students. Explain your card to them (“Give One”), and then hear what they have to say (“Get One.”) Record their new information to your T chart. • Repeat! Geography of Italy Pros J Cons L Give one / Get one cards (Teachers, preprint and cut a set of these cards for each class. If there are more than 15 students in a class, print out a few doubles. It’s okay for some children to get the same card.) The hills of Rome Fertile volcanic soil 40% Mountainous The city-state of Rome was originally Active volcanoes in Italy (ex: Mt. About 40% of the Italian peninsula is built on seven hills. Fortifications and Etna, Mt. Vesuvius) that create lava covered by mountains. important buildings were placed at and ash help to make some of the the tops of the hills. Eventually, a land on the peninsula more fertile. city-wall was built around the hills. Peninsula Mediterranean climate Tiber River Italy is a narrow peninsula—land Italy, especially the southern part of The Tiber River links Rome, which is surrounded by water on 3 sides. -
My Roman Days] Tom Tucker [P 1963]
I Miei Giorni Romani [My Roman Days] Tom Tucker [P 1963] Preface: I am writing this at the age of 73. It’s been fifty years since I returned from my studies in Rome. They were marvelous years of growth and maturity. At the same time, I often thought of some more whimsical and touching experiences that happened to me during those years. These are some of those experiences that I want to share with you. I. “I don’t even like Wine! (April 1965) It was a lovely spring day at the end of April, 1965 in Honesdale, Pennsylvania at Kilroe Seminary. We were at lunch. The provincial council was visiting and they had finished up their meetings that morning. After lunch ended, Fr. Peter Miller, scj, the Provincial Superior got up to make some announcements about some decisions the Council had made. As he finished up, he paused and almost as an afterthought he said, “oh yes, Frater Tom Tucker will begin his studies in Philosophy in Rome this coming September”...and sat down. My life had suddenly changed…and for the better as it worked out. I was in shock and all I remember saying was, “I don’t even like wine.” Never in my wildest dreams did I ever think I would be going to Rome. Other scholastics had been sent to Rome for studies over the years. But, me? I tried without success to find out how this happened and what it meant. I had not even been asked if I would like to study there. -
Reviews Summer 2020
$UFKLWHFWXUDO Marinazzo, A, et al. 2020. Reviews Summer 2020. Architectural Histories, 8(1): 11, pp. 1–13. DOI: +LVWRULHV https://doi.org/10.5334/ah.525 REVIEW Reviews Summer 2020 Adriano Marinazzo, Stefaan Vervoort, Matthew Allen, Gregorio Astengo and Julia Smyth-Pinney Marinazzo, A. A Review of William E. Wallace, Michelangelo, God’s Architect: The Story of His Final Years and Greatest Masterpiece. Princeton and Oxford: Princeton University Press, 2019. Vervoort, S. A Review of Matthew Mindrup, The Architectural Model: Histories of the Miniature and the Prototype, the Exemplar and the Muse. Cambridge, MA, and London: The MIT Press, 2019. Allen, M. A Review of Joseph Bedford, ed., Is There an Object-Oriented Architecture? Engaging Graham Harman. London and New York: Bloomsbury Academic, 2020. Astengo, G. A Review of Vaughan Hart, Christopher Wren: In Search of Eastern Antiquity. London: Yale University Press, 2020. Smyth-Pinney, J. A Review of Maria Beltramini and Cristina Conti, eds., Antonio da Sangallo il Giovane: Architettura e decorazione da Leone X a Paolo III. Milan: Officina libraria, 2018. Becoming the Architect of St. Peter’s: production of painting, sculpture and architecture and Michelangelo as a Designer, Builder and his ‘genius as entrepreneur’ (Wallace 1994). With this new Entrepreneur research, in his eighth book on the artist, Wallace mas- terfully synthesizes what aging meant for a genius like Adriano Marinazzo Michelangelo, shedding light on his incredible ability, Muscarelle Museum of Art at William and Mary, US despite (or thanks to) his old age, to deal with an intri- [email protected] cate web of relationships, intrigues, power struggles and monumental egos. -
Robert Venturi & Denise Scott Brown. Architecture As Signs and Systems
Architecture as Signs and Systems For a Mannerist TIme Robert Venturi & Denise Scott Brown THE BELKNAP PRESS OF HARVARD UNIVERSITY PRESS· CAMBRIDGE, MASSACHUSETTS· LONDON, ENGLAND· 2004 Art & Arch e'J' ,) re Library RV: Washington u:'li \/(H'si ty Campus Box 1·,):51 One Brookin18 Dr. st. Lg\li,s, !.:0 &:n:W-4S99 DSB: RV, DSB: Copyright e 2004 by Robert Venturi and Denise Scott Brown All rights reserved Printed in Italy Book Design by Peter Holm, Sterling Hill Productions Library of Congress Cataloging-in-Publication Data Venturi, Robert. Architecture as and systems: for a mannerist time I Robert Venturi and Denise Scott Brown. p. em. - (The William E. Massey, Sr. lectures in the history of American civilization) Includes bibliographical references and index. ISBN 0-674-01571-1 (alk. paper) 1. Symbolism in architecture. 2. Communication in architectural design. I. Scott Brown, Denise, 1931- II. Title. ill. Series. NA2500.V45 2004 nO'.I-dc22 200404{)313 ttext," for show his l them in lied "that le most of 'espitemy to be an me of our 19 studies, mth these Architecture as Sign rather than Space ecause if I New Mannerism rather than Old Expressionism 1geswon't ROBERT VENTURI ,the com :tronger ::ople who . work and lity to the _~.'n.•. ~~~,'~'"'.".'."_~ ____'_''''"'«'''.'''''',_",_.""",~",-,-" ".,-=--_""~ __ , ..... """'_.~~"',.._'''''_..._,,__ *' ...,',.,..,..... __ ,u~.,_~ ... mghai, China. 2003 -4 -and for Shanghai, the mul A New Mannerism, for Architecture as Sign . today, and tomorrow! This of LED media, juxtaposing nbolic, and graphic images at So here is complexity and contradiction as mannerism, or mannerism as ing. -
Saggio Brothers
Cammy Brothers Reconstruction as Design: Giuliano da Sangallo and the “palazo di mecenate” on the Quirinal Hill this paper I will survey information regarding both the condition and conception of the mon- ument in the fifteenth and sixteenth centuries. When Giuliano saw the temple, the only fragments left standing were a portion of the façade and parts of the massive stair structure. His seven drawings of the monument were the first attempts to reconstruct the entire building, as well as the most complex and large scale reconstructions that he ever executed. The sec- ond part of this essay will compare Giuliano’s drawings with those of Peruzzi and Palladio, with the aim of demonstrating, contrary to the theory that drawings after the antique became increasingly accurate over time, that Giuliano in fact took fewer liberties in his reconstruction than did Palladio. Aside from providing some insight into Giuliano’s working method, I hope through this comparison to suggest that fif- teenth- and sixteenth-century drawings of antiquities cannot appropriately be judged according to one standard, because each archi- 1. Antonio Tempesta, Map of Rome, Giuliano da Sangallo’s drawings have suffered tect had his own particular aims. Giuliano’s 1593, showing fragments of the temple by comparison to those of his nephew, Antonio drawings suggest that he approached recon- as they appeared in the Renaissance. da Sangallo il Giovane. Although his drawings struction not with the attitude we would expect are more beautiful, they are on the whole less of a present day archaeologist, but rather with accurate, or at least less consistent in their mode that of a designer, keen to understand the ruins of representation and their use of measure- in terms that were meaningful for his own work. -
De Ornanda Instruendaque Urbe Anne Truetzel
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2011 De Ornanda Instruendaque Urbe Anne Truetzel Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Truetzel, Anne, "De Ornanda Instruendaque Urbe" (2011). All Theses and Dissertations (ETDs). 527. https://openscholarship.wustl.edu/etd/527 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department of Classics De Ornanda Instruendaque Urbe: Julius Caesar’s Influence on the Topography of the Comitium-Rostra-Curia Complex by Anne E. Truetzel A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts August 2011 Saint Louis, Missouri ~ Acknowledgments~ I would like to take this opportunity to thank the Classics department at Washington University in St. Louis. The two years that I have spent in this program have been both challenging and rewarding. I thank both the faculty and my fellow graduate students for allowing me to be a part of this community. I now graduate feeling well- prepared for the further graduate study ahead of me. There are many people without whom this project in particular could not have been completed. First and foremost, I thank Professor Susan Rotroff for her guidance and support throughout this process; her insightful comments and suggestions, brilliant ideas and unfailing patience have been invaluable. -
Pompey and Cicero: an Alliance of Convenience
POMPEY AND CICERO: AN ALLIANCE OF CONVENIENCE THESIS Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the Degree Master of ARTS by Charles E. Williams Jr., B.A. San Marcos, Texas May 2013 POMPEY AND CICERO: AN ALLIANCE OF CONVENIENCE Committee Members Approved: ______________________________ Pierre Cagniart, Chair ______________________________ Kenneth Margerison ______________________________ Elizabeth Makowski Approved: ______________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT by Charles E. Williams Jr. 2013 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94- 553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Charles E. Williams Jr., authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS Above all I would like to thank my parents, Chuck and Kay Williams, for their continuing support, assistance, and encouragement. Their desire to see me succeed in my academic career is perhaps equal to my own. Thanks go as well to Dr Pierre Cagnart, without whom this work would not have been possible. His expertise in Roman politics and knowledge concerning the ancient sources were invaluable. I would also like to thank Dr. Kenneth Margerison and Dr. Elizabeth Makowski for critiquing this work and many other papers I have written as an undergraduate and graduate student.