The Portonaccio Sarcophagus' Roman Cavalry Charge: New Insights
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Analecta Romana Instituti Danici Xxxv/Xxxvi
ANALECTA ROMANA INSTITUTI DANICI XXXV/XXXVI ANALECTA ROMANA INSTITUTI DANICI XXXV/XXXVI 2010/11 ROMAE MMX-MMXI ANALECTA ROMANA INSTITUTI DANICI XXXV-XXXVI © 2011 Accademia di Danimarca ISSN 2035-2506 Published with the support of a grant from: Det Frie Forskningsråd / Kultur og Kommunikation SCIENTIFIC BOARD Ove Hornby (Bestyrelsesformand, Det Danske Institut i Rom) Jesper Carlsen (Syddansk Universitet) Astrid Elbek (Det Jyske Musikkonservatorium) Karsten Friis-Jensen (Københavns Universitet) Helge Gamrath (Aalborg Universitet) Maria Fabricius Hansen (Ny Carlsbergfondet) Michael Herslund (Copenhagen Business School) Hannemarie Ragn Jensen (Københavns Universitet) Kurt Villads Jensen (Syddansk Universitet) Mogens Nykjær (Aarhus Universitet) Gunnar Ortmann (Det Danske Ambassade i Rom) Bodil Bundgaard Rasmussen (Nationalmuseet, København) Birger Riis-Jørgensen (Det Danske Ambassade i Rom) Lene Schøsler (Københavns Universitet) Poul Schülein (Arkitema, København) Anne Sejten (Roskilde Universitet) EDITORIAL BOARD Marianne Pade (Chair of Editorial Board, Det Danske Institut i Rom) Erik Bach (Det Danske Institut i Rom) Patrick Kragelund (Danmarks Kunstbibliotek) Gitte Lønstrup Dal Santo (Det Danske Institut i Rom) Gert Sørensen (Københavns Universitet) Birgit Tang (Det Danske Institut i Rom) Maria Adelaide Zocchi (Det Danske Institut i Rom) Analecta Romana Instituti Danici. — Vol. I (1960) — . Copenhagen: Munksgaard. From 1985: Rome, «L’ERMA» di Bretschneider. From 2007 (online): Accademia di Danimarca ANALECTA ROMANA INSTITUTI DANICI encourages scholarly contributions within the Academy’s research fields. All contributions will be peer reviewed. Manuscripts to be considered for publication should be sent to: [email protected]. Authors are requested to consult the journal’s guidelines at www.acdan.it. Contents STINE BIRK Third-Century Sarcophagi from the City of Rome: A Chronological Reappraisal 7 URSULA LEHMANN-BROCKHAUS Asger Jorn: Il grande rilievo nell’Aarhus Statgymnasium 31 METTE MIDTGÅRD MADSEN: Sonne’s Frieze versus Salto’s Reconstruction. -
Of the Roman Empire
EDITIONLAUSANNE Limited to one tbousand registered sets N0.4'7 THE DECLINEAND FALL OF THE ROMAN EMPIRE VOL. I1 THE HISTORY OF THE DECLINE AND FALL OF THE ROMAN EMPIRE BY EDWARD GIBBON EDITED BY J. B. BURY, M.A. WITH AN INTRODUCTION BY THE RT. HON. W. E. H. LECKY VOL. I1 NEW YORK FRED DE FAU & COMPANY PUBLISHERS COPYRIGHT,I+, FRED DE FAU & COMPANY. CONTENTS OF THE SECOND VOLUME PACE... LIST OF ILLUSTRATIONS......... xu1 CHAPTER X The Emperors Decks. Gallus. Amilianus. Valerian. and Galliersur - The General Irruption of the Barbarians - The Thirty Tyrads A.D. 248-268 The Nature of the Subject .......i The Emperor Philip .........a 249 Services.Revolt. Victory. and Reign of the Emperor Decius . a 250 He marchesagainst the Goths ......3 Origin of the Goths from Scandinavia .....4 Religion of the Goths ........5 Institutions and Death of Odin .......6 Agreeable. but uncertainHypothesis concerning Odin . 6 Emigration of the Goths fromScandinavia into Prussia . 7 -from Prussia to theUkraine ...... 8 The Gothic Nation increases in its March .... 9 Distinction of the Germans and Sarmatians ....10 Description ofUkraine the ......10 The Goths invade the Roman Provinces .....11 250 Various Events of the Gothic War ... ..12 251 Decius revives the ofice of Censor in the Person of Valerian . 14 The Design Impracticable. and without Effect ....15 Defeat and Death of Decius and his Son .....16 251 Election of Gallus .........IS 252 Retreat of the Goths ....... 18 gallus purchases Peace by the Payment of an annual Tnbut; 18 Popular Discontent .........19 253 Victory and Revolt of Ahilianus ......20 Gallus abandoned and slain .......20 Valerian revenges the Death of Gallus .....21 Is acknowledged Emperor ........21 'i Character of Valerian .... -
Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th. -
Cambridge University Press 978-1-107-12012-9 — the Cambridge World History of Violence Edited by Garrett G
Cambridge University Press 978-1-107-12012-9 — The Cambridge World History of Violence Edited by Garrett G. Fagan , Linda Fibiger , Mark Hudson , Matthew Trundle Index More Information Index Abbink, Jon 608 Aijmer, Göran 608 Abner, and Joab 619–20 Akhenaton, pharaoh 188, 191 ‘abomination’, biblical notion of 615–16 Akhtoy III, pharaoh 345 Abram (Abraham) 611 Akkad, kingdom of 221, 228 sacrifice of son 617 culture 460 Abu-Lughod, Lila 395 fall of 230 Abydos, Egypt, First Dynasty burials 464 Alcibiades 542 acephalous society warfare see hunter- treatment of wife and dog 392–4 gatherers; raiding Alesia, battle of (52 BCE) 154 Achaemenides, son of Amestris 370 Alexander the Great 29, 235, 552 Acts of Ptolemy and Lucius 583, 584 Alexander Severus, emperor 254 Acy-Romance, France, Iron Age human Alexandria, destruction of the Serapeion (391 sacrifice 453 CE) 513, 515, 520–2 Adrianople, battle of (378 CE) 264, 268 Alken Enge, Jutland, Iron Age massacre adultery deposit 448 biblical punishment of women 616 Allan, William 540 punishment by male members of Allen, Danielle 383 household 385 Alvarado, Pedro de 214 by women in Greece 384, 390 Amarna Letters, between Babylon and Aegospotami, battle of (405 BCE) 538 Egypt 234 Aeneas 550 Amenemhet II, pharaoh 346 and Anchises 676, 681 Amenhotep II, pharaoh 183, 186 Africa Americas Homo erectus 58 evidence of violence in Paleoamericans Homo sapiens in 58 23, 54 Later Stone Age 99–104, 104 initial colonisation 199 see also hunter-gatherers; Kalahari ritualised violence 7 Agathonike, martyr 583 skeletal evidence -
Foust Handout Images.Pdf
Figure 2. Roman coin from 56 BCE under Pompey. The three trophies represent his three Figure 1. Trajan’s Column, open battle genre Triumphs.ii Scene (XXIV) i Figure 3: Dionysiac Cult Celebration, mid to late Figure 2: Scythian Funerary Sceneiv fifth century BCE.iii Figure 3: Portonaccio Sarcophagus, 190-200 CE, National Museum of Rome, for a general of Marcus Aurelius, showing battle with the Sarmatians. The trophy on the right shows a face mask used in battle. Another relief on the column of M. Aurelius shows a trophy with this type of mask.v Figure 5: Reliefs of the Temple of Hadrian, held at the National Archaeology Museum of Naples.vi Figure 6: Victory carrying the standard of military success from Hadrian’s temple on the Campus Martius, 145 CE, the location where the Roman Triumphs began.vii i From http://arts.st-andrews.ac.uk/trajans-column/the-project/numbering-conventions-and-site-guide/, Univ. of Saint Andrews, [accessed 6 July 2017]. ii Image from ancient Coin Search Engine; a similar coin also appears in Beard, The Roman Triumph, 20. iii https://www.britannica.com/topic/mystery-religion, Louvre, Paris. iv https://www.thecultureconcept.com/scythians-warriors-of-ancient-siberia-british-museum-show. v Open source image from https://en.wikipedia.org/wiki/Portonaccio_sarcophagus. vi http://ancientrome.ru/art/artworken/img.htm?id=7303 From the Temple of Hadrian on the Campus Martius, dates to 145 CE. (Museo archeologico nazionale di Napoli). This represents another image of a trophy. vii From http://ancientrome.ru/art/artworken/img.htm?id=7300 from http://ancientrome.ru/art/artworken/art-search-e.htm. -
The Persistence of Relief: Relief Sculpture in Contemporary Art
The Persistence of Relief: Relief Sculpture in Contemporary Art Author Reynolds, Bruce Published 2018-09 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/1491 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/382698 Griffith Research Online https://research-repository.griffith.edu.au The Persistence of Relief Relief Sculpture in Contemporary Art Bruce Reynolds September 2018 Candidate for a Doctorate of Visual Art Queensland College of Art, AEL, Griffith University Supervised by Dr Julie Fragar and Dr Rosemary Hawker All photographs by the author unless otherwise noted. ! ! Submitted in Partial fulfilment of the requirements of the degree of Doctor of Visual Arts. This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. 11th September, 2018 ! ! Acknowledgements Thank you to my supervisors, Dr. Julie Fragar and Dr. Rosemary Hawker who generously enabled me to benefit from their invaluable experience. Thank you to Isabella Reynolds and Genevieve Reynolds and Marian Drew for their patience and support. Thank you to all of the artists and students of art who continue to inspire and to The British School at Rome. ! III! Abstract Relief sculpture can be understood as a form in two and a half dimensions, between drawing or painting and sculpture. Relief is also a renewed area of artistic practice, long in decline and marginalized in the 20th Century. -
Art and Rhetoric in Roman Culture Edited by Jaś Elsner , Michel Meyer Frontmatter More Information
Cambridge University Press 978-1-107-00071-1 — Art and Rhetoric in Roman Culture Edited by Jaś Elsner , Michel Meyer Frontmatter More Information Art and Rhetoric in Roman Culture Rhetoric was fundamental to education and to cultural aspiration in the Greek and Roman worlds. It was one of the key aspects of antiquity that slipped under the line between the ancient world and Christianity erected by the early Church in late antiquity. Ancient rhetorical theory is obsessed with examples and discussions drawn from visual material. This book mines this rich seam of theoretical analysis from within Roman culture to present an internalist model for some aspects of how the Romans understood, made and appreci- ated their art. The understanding of public monuments like the Arch of Titus or Trajan’s Column or of imperial statuary, domestic wall painting, funerary altars and sarcophagi, as well as of intimate items like children’s dolls, is greatly enriched by being placed in relevant rhetorical contexts created by the Roman world. jas´ elsner is Humfry Payne Senior Research Fellow at Corpus Christi College, Oxford, Visiting Professor of Art History at the University of Chicago and Senior Research Keeper at the British Museum. His publications include numerous articles and books, among them Imperial Rome and Christian Triumph: The Art of the Roman Empire ad 100–450 (1998) and Roman Eyes: Visuality and Subjectivity in Art and Text (2007). michel meyer is Professor of Rhetoric, Philosophy and Aesthet- ics at the Université Libre de Bruxelles. He has published many works of philosophy, covering literary criticism, rhetoric, the passions, art, theatre and Roman art. -
Eusebius on Constantine: Truth and Hagiography at the Milvian Bridge
JETS 55/4 (2012) 773–92 EUSEBIUS ON CONSTANTINE: TRUTH AND HAGIOGRAPHY AT THE MILVIAN BRIDGE * BRYAN M. LITFIN Few figures from the Late Antique pEriod haVE rEcEiVEd as much scholarlY scrutiny as Constantine the Great. Who might rival him? In the field of earlY Chris- tian studiEs, St. Augustine certainly has recEiVEd amplE treatmEnt, and thE bibliog- raphy on him is enormous. Yet those who study the bishop of Hippo do so primar- ily from one angle: the power of his ideas, whEthEr philosophical or thEological. To be sure, he is “set against his background,” yet it is not mainly Roman historians but patristic scholars who find AugustinE interesting. Constantine, on the othEr hand, did not just live within history; hE madE it. MorE than any of the Church fa- thers (as influEntial as they oftEn werE), the “first Christian emperor” was in a posi- tion to change the course of human affairs. As such, he has been the object of in- tense scholarly investigation, not only by theologians, but also classicists, numisma- tists, and historians of antiquity, art, and warfarE—pEoplE who usuallY carE vErY little about the differencE bEtween a Homoousian and a Homoiousian. Perhaps no moment in Constantine’s life is morE deeply Etched in modern consciousness than the Battle of the Milvian Bridge in AD 312.1 There are many reasons for this, most of which stem from the impact it had on the Christian church. YEt those who lived in the fourth cEntury saw the battle as just one in a list of imperial victories—and not nEcEssarilY thE most significant of thEm. -
A Tour Through France and Italy 1739 to 1741 By
NOTES ON A TOUR THROUGH FRANCE AND ITALY UNDERTAKEN IN THE YEARS 1739 TO 1741 BY THOMAS GRAY transcribed and edited by W.G.Roberts Northern Academic Press Penrith 2011 Cover Picture: The Tribuna of the Uffizi, by Zoffany, The Royal Collection © 2003, Her Majesty Queen Elizabeth II Introduction and supporting notes © with W.G.Roberts, 2011 Originally printed in Carlisle 2003 Revised for the internet in 2011 2 Stages of the Tour Introduction. 6 1. Rheims [June-September 1739]. 9 Cathedral of Notre Dame Ch. of S. Remi Ch. of S. Nicaise Ch. of Pierre aux Dames Triumphal Arch 2. Rheims to Dijon [September 1739]. 11 Chalons: Cathedral & Ch. of Notre Dame Dijon: Palais des Etats, Palais du Roi, Abbey of S. Benigne Lyons: Hotel de Ville, Eglise des Carmelites 3. Lyons [September 1739] to Geneva [October 1739]. 15 The Grande Chartreuse 4. Turin [November 1739]. 17 Pal. Reale Pal. Ducale 5. Genoa [November 1739]. 22 Il Gesu Duomo/ Ch. of S. Lorenzo Ch. of Ste Maria in Carignano Ch. of the Annonciata Ch. of S. Francesco Pal. Durazzo Pal. Balbi Pal. Brignole 6. Parma [November 1739]. 30 Duomo Ch. of S. Giovanni de Monte Ch. of S. Antonio Abbate Ch. of Madonna della Steccata Teatro Farnese Villa Ducale 7. Modena [November 1739]. 35 Pal. Ducale 8. Bologna [December 1739]. 40 3 Pal Ranuzzi Pal. Sampieri Pal. Zambeccari Ch. dei Mendicanti Ch. of S. Domenico Monache di Sta Agnese Pal. Magnani Ch. of Corpus Domini Pal. Publico Ch. of S. Giorgio Ch. of S. Gregorio Pal.Tanari Pal. Andravandi Ch. -
DEATH and the AFTERLIFE: HIGH and LATE ROMAN ART (Funerary Roman Art) ROMAN FUNERARY ART
DEATH and the AFTERLIFE: HIGH and LATE ROMAN ART (Funerary Roman Art) ROMAN FUNERARY ART Online Links: Roman Funerary Art - Metropolitan Museum of Art Funeral Portrait of a Woman from Faiyum Cleveland Museum of Art - Roman Sarcophagus depicting Orestes and the Furies Funerary Art – Wikipedia Ludovisi Battle Sarcophagus – Smarthistory Sarcophagus of Junius Bassus – Smarthistory Petra - Smarthistory Roman artwork from the 1st century BCE imitating the Greek classical style of the 5th century BCE, Rhodes, marble This stele depicts a warrior with a cuirass and helmet leaning on his spear in front of a funerary stele; the snake symbolizes the soul of the dead. The original Roman custom was cremation, after which the burnt remains were kept in a pot, ash- chest or urn, often in a columbarium; pre-Roman burials around Rome often used hut-urns—little pottery houses. From about the 2nd century CE, inhumation (burial of unburnt remains) in sarcophagi, often elaborately carved, became more fashionable for those who could afford it. Greek-style medallion portrait sculptures on a stela, or small mausoleum for the rich, housing either an urn or sarcophagus, were often placed in a location such as a roadside, where it would be very visible to the living and perpetuate the memory of the dead. In later periods, life-size sculptures of the deceased reclining as though at a meal or social gathering are found, a common Etruscan style. Family tombs for the grandest late Roman families, like the Tomb of the Scipios (seen here), were large mausoleums with facilities for visits by the living, including kitchens and bedrooms. -
Of Constantine (Panegyric VI, Lactantius' De Mortibus
A Man of Visions: A New Examination of the Vision(s) of Constantine (Panegyric VI, Lactantius’ De mortibus persecutorum, and Eusebius’ De vita Constantini) Rajiv Kumar Bhola Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Doctorate in Philosophy degree in Religious Studies Department of Classics and Religious Studies Faculty of Arts University of Ottawa © Rajiv Kumar Bhola, Ottawa, Canada, 2015 ABSTRACT Rajiv Kumar Bhola, ‘A Man of Visions: A New Examination of the Vision(s) of Constantine (Panegyric VI, Lactantius’ De mortibus persecutorum, and Eusebius’ De vita Constantini)’ Dissertation Supervisor: Pierluigi Piovanelli This study seeks to address three main questions: How do Panegyric VI, Lactantius, and Eusebius characterise and utilise their respective visions in their narratives? In what ways are they similar and/or different? Are some or all of the accounts related and, if so, how do they contribute to the Christian Vision legend? In Chapter One the vision narrative in Panegyric VI is deconstructed to show that the panegyrist describes the vision as taking place on Constantine’s return march from Massalia and that he is describing a dream-vision that took place at the sanctuary of Apollo at Grand. In Chapter Two it is argued that: Lactantius never resided in Gaul; he places the vision incorrectly in 312 because he did not know the details of the tradition and used Licinius’ dream as a template; and the Christian character of the vision is part of his interpretation. In Chapter Three Eusebius’ account is deconstructed to show that: the vision story derives from Constantine ca. -
Roman Battle Sarcophagi: an Analysis of Composition As a Reflection of Changing Imperial Styles and Production
Roman Battle Sarcophagi: An Analysis of Composition as a Reflection of Changing Imperial Styles and Production A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics of the College of Arts and Sciences by Sarah Beal B.A. The Ohio State University May 2014 Committee Chair: B. Burrell, Ph.D. Abstract Roman sarcophagi that show battle scenes were produced in Italy during the Antonine period. These scenes are completely devoid of mythological figures and likely represent real battles from Rome’s history, in which Roman soldiers fought wild barbarians. Past scholars, such as Per Gustaf Hamberg and Bernard Andreae, have studied the iconography and compositions of these battle sarcophagi; however, they have yet to be reexamined in light of recent developments in the study of sarcophagus production. This thesis seeks to examine the compositions of Roman battle sarcophagi in order to answer questions about their production. It considers the precedents for such battle scenes, from Classical grave stelai to grand imperial monuments. This study demonstrates how the battle sarcophagi expand upon trends already seen in imperial art of the Antonine period, while incorporating stylistic elements from Hellenistic sculptures. Next, the compositions of the battle scenes are examined, in which the prevalence of specific figural types and groups that are repeated on the full corpus of battle sarcophagi are noted. Many of these figural types are identical to Roman copies of the Attalid victory statues, leading to the argument that the compositions of the Roman battle sarcophagi were inspired not by a single painted prototype, as suggested by Andreae, but instead are the gathered collection of various statuary forms that were applied to a relief.