Call to Juno Author's Note
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Il Tempio Di Mater Matuta
Mater Matuta ... da I templi della Mater Matuta di Jos De Waele L'area della città antica, è circoscritta in un pentagono, del quale i lati nord ed est sono delimitati dal corso dell'Astura. In quello sud l'insediamento presenta un costone ripido, che a mano a mano va sparendo verso ovest, dove, non bastando più la natura, si rese necessario l'apprestamento di un aggere artificiale, che venne a completare il sistema di opere difensive dell'intero perimetro. Entro questa cinta, per una superficie di complessivi 42,5 ettari, si trovava la città, che si componeva dell'aggregarsi di alcune colline (Poggio dei Cavalieri, Santa Lucia). Nell'area urbana sono stati ritrovati numerosi avanzi antichi, che purtroppo conosciamo soltanto dai rapporti preliminari degli scavatori e da sintesi più recenti. La configurazione del suolo ha subito notevoli cambiamenti nel corso degli anni '60 per via di lavori agricoli per i quali è stata spesso adoperata la ruspa meccanica e che hanno portato a grandi livellamenti del terreno con la sparizione di molti dati utili per la ricostruzione della topografia storica dell'antica città. Nella parte est, su una collina di 10 - 15 m di altezza, era ubicata l'acropoli. Essa è stata descritta assai propriamente dal Castagnoli. Poiché questa descrizione rimane ancor oggi essenzialmente valida per la situazione topografica, la riportiamo qui di seguito. Ciò anche perché la rivista in cui fu pubblicata non si trova sempre nelle biblioteche archeologiche che non siano rigorosamente specializzate."L'acropoli" - scrive il Castagnoli - "è completamente isolata, e nei suoi fianchi appaiono, soprattutto nel lato meridionale, tagli probabilmente artificiali, fatti per aumentare la difesa (visibili anche nelle fotografie aeree): sempre sul lato sud, in direzione ortogonale, si approfondisce nella collina un taglio artificiale, completato con blocchi rozzamente squadrati (nell'angolo sud-est è scavata una camera quadrangolare, forse antica). -
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. -
Ancient Carved Ambers in the J. Paul Getty Museum
Ancient Carved Ambers in the J. Paul Getty Museum Ancient Carved Ambers in the J. Paul Getty Museum Faya Causey With technical analysis by Jeff Maish, Herant Khanjian, and Michael R. Schilling THE J. PAUL GETTY MUSEUM, LOS ANGELES This catalogue was first published in 2012 at http: Library of Congress Cataloging-in-Publication Data //museumcatalogues.getty.edu/amber. The present online version Names: Causey, Faya, author. | Maish, Jeffrey, contributor. | was migrated in 2019 to https://www.getty.edu/publications Khanjian, Herant, contributor. | Schilling, Michael (Michael Roy), /ambers; it features zoomable high-resolution photography; free contributor. | J. Paul Getty Museum, issuing body. PDF, EPUB, and MOBI downloads; and JPG downloads of the Title: Ancient carved ambers in the J. Paul Getty Museum / Faya catalogue images. Causey ; with technical analysis by Jeff Maish, Herant Khanjian, and Michael Schilling. © 2012, 2019 J. Paul Getty Trust Description: Los Angeles : The J. Paul Getty Museum, [2019] | Includes bibliographical references. | Summary: “This catalogue provides a general introduction to amber in the ancient world followed by detailed catalogue entries for fifty-six Etruscan, Except where otherwise noted, this work is licensed under a Greek, and Italic carved ambers from the J. Paul Getty Museum. Creative Commons Attribution 4.0 International License. To view a The volume concludes with technical notes about scientific copy of this license, visit http://creativecommons.org/licenses/by/4 investigations of these objects and Baltic amber”—Provided by .0/. Figures 3, 9–17, 22–24, 28, 32, 33, 36, 38, 40, 51, and 54 are publisher. reproduced with the permission of the rights holders Identifiers: LCCN 2019016671 (print) | LCCN 2019981057 (ebook) | acknowledged in captions and are expressly excluded from the CC ISBN 9781606066348 (paperback) | ISBN 9781606066355 (epub) BY license covering the rest of this publication. -
Work Notes on Bona Dea & the Goddess Uni-A Survey of Etruscan
Work notes on Bona Dea & the goddess Uni — a survey of Etruscan & Latin texts relating to the Pyrgi Gold Tablets By Mel Copeland (Relating to Etruscan Phrases texts) A work in progress November 15, 2014 The Etruscan goddess, Uni, Unia, has been identified with the Roman Juno and, on pottery and mirrors she is portrayed in mythological scenes involving the Greek goddess Hera. Although the Etruscans assigned their own peculiar names to the “Greek” pantheon, such as Tini, Tinia (L. Jupiter, Gr. Zeus), Uni, Unia (L. Juno, Gr. Hera), Turan (L. Venus, Gr. Aphrodite, and Thalna (Gr. Nemisis), many of the Greek characters are recorded with similar spelling in the Etruscan texts, such as Hercle, HerKle, (Gr. Herakles), These (Gr.Theseus), Akle (Gr. Achilles), Ektor (Gr. Hector), Aifas Telmonos (Gr. Ajax Telamonos), Elenei, Elinai (Gr. Helen [of Troy], Elchintre (Alexandar, Paris), Achmemon (Gr. Agememnon) Aeitheon (Gr. Jason) Aita (Gr. Hades) and Dis (Gr. another name of Hades: Dis) and his consort Phersipnei (Gr. Persephone). Because of the imagery used on vases and mirrors and the common Greek mythological themes, we can discern the names and grammatical conventions of Etruscan mythological characters. Because we know who the characters are for the most part and the context in which the Etruscans knew them, we can further understand pure textual documents of the Etruscans, such as the Pyrgi Gold tablets, which will be discussed later in this document, as it pertains to the Roman Feast of the 1st of May called Bona Dea. Uni was identified by the Romans as the Etruscan version of Juno, the consort of their supreme god, Jupiter (Etr. -
The Dioskouroi on Four-Figure Etruscan Mirrors
THE DIOSKOUROI ON FOUR-FIGURE ETRUSCAN MIRRORS By DANIEL “WOOD D” WEBER A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2006 Copyright 2006 by DANIEL “WOOD D” WEBER Oh Muses, sing of my very own ‘divine’ twins, clear-voiced Ariel Faith and lovely-haired Gabryelle Raina, to whom I lovingly dedicate this study. TABLE OF CONTENTS page LIST OF TABLES............................................................................................................. vi LIST OF FIGURES .......................................................................................................... vii ABSTRACT....................................................................................................................... xi CHAPTER 1 INTRODUCTION ........................................................................................................1 Etruscan Bronzeworking ..............................................................................................1 The Dioskouroi/ Tinas Cliniar......................................................................................2 2 CHARACTERISTICS OF ETRUSCAN BRONZE MIRRORS..................................4 Material and Limitations...............................................................................................4 Types of Mirrors and Terminology ..............................................................................6 Inscriptions ...................................................................................................................9 -
Frances Brealey 29001509 2014
PERCEPTIONS OF DIVINITY THE CHANGING CHARACTERS OF ROMAN VENUS Frances Brealey 29001509 2014 A thesis submitted to the University of Wales Trinity Saint David in partial fulfilment of the requirements for the degree of Master of Arts Master’s Degrees by Examination and Dissertation Declaration Form. 1. This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Name: Frances Elizabeth Brealey Date: 20th March 2014 2. This dissertation is being submitted in partial fulfilment of the requirements for the degree of Master of Arts Name: Frances Elizabeth Brealey Date: 20th March 2014 3. This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Name: Frances Elizabeth Brealey Date: 20th March 2014 4. I hereby give consent for my dissertation, if accepted, to be available for photocopying, inter- library loan, and for deposit in the University’s digital repository Name: Frances Elizabeth Brealey Date: 20th March 2014 Supervisor’s Declaration. I am satisfied that this work is the result of the student’s own efforts. Signed: …………………………………………………………………………... Date: …………….......................................................................................... Contents Abstract iii Acknowledgements iv List of Figures v Introduction 1 Chapter 1 The Gods of the Romans: The Changing Paradigm 5 1.1 The Old Paradigm: Primitivism -
Print This Article
Journal of Ancient Egyptian Interconnections MARRIAGE AND PARENTHOOD ON CLASSICAL PERIOD BRONZE MIRRORS : T HE CASE OF LATVA AND TUNTLE Alexandra A. Carpino Northern Arizona University ABSTRACT The scenes that enhanced the reverse sides of the Etruscans’ bronze mirrors were not just a form of entertainment. Rather, mirror iconography provided elite Etruscans of both genders with a range of ideas to ponder as they fashioned their appearances daily within the domestic sphere. During the 4th century BCE, the number of depictions of parents drawn from the broad Hellenic repertoire known to the Etruscan aristocracy soars. Two individuals who stand out as particularly popular were Latva (Leda) and Tuntle (Tyndareos), who appear in the context of a specifically Etruscan narrative known as the “Delivery of Elinai’s (Helen’s) Egg.” This study focuses on the social significance of these scenes and the messages they imparted through their compositional structure and the various attributes of the characters depicted. It is suggested that they can be read as promoting positive paradigms of marriage and parenthood that served as enduring inspirations for the mirrors’ users and viewers. uring the 4th and 3rd centuries in Etruria, ponder as they fashioned and refashioned their communities in both the south and the north had to appearances on a daily basis within the private sphere of cDontend with foreign incursions, raids and the their homes. It also offers scholars today a window into consequences of conquest. Despite these challenges, this the mindsets of the artifacts’ aristocratic purchasers/ time in Etruscan history was especially prolific with owners, expressing many of the values and beliefs they respect to the creation and diversity of high quality art: and their families prized from the Archaic period onward. -
Downloaded from Brill.Com09/23/2021 03:29:23PM Via Free Access 298 Daniels
chapter 11 Sacred Exchange: The Religious Institutions of Emporia in the Mediterranean World of the Later Iron Age Megan Daniels Introduction The Mediterranean Iron Age, while it is difficult to pinpoint its exact bound- aries temporarily,1 has as one of its hallmarks the proliferation of long-distance trade networks. The development of these networks led to the movement of peoples overseas to capitalize upon trade opportunities while at the same time establishing more permanent settlements around the Mediterranean. Overall, the Iron Age, particularly between the eighth and sixth centuries bce, is seen as a time of major economic accomplishment in terms of the novel economic structures that were created, allowing for a density of intercommunications supported by regular and frequent movement of goods and people.2 I wish to focus on these novel economic structures in particular in this paper, specifi- cally the institutions that developed out of and in turn spurred such prolific movements. While difficult to reconstruct out of fragmentary evidence, insti- tutions were vital in allowing human beings the means to cooperate with one another and thus to capture the gains made by commercial activities. Corre- spondingly, an investigation of Iron Age institutions is vital for explaining rising standards of living and population growth across the Mediterranean world at this time. 1 The term “Iron Age” lacks fixed boundaries—Near Eastern and Greek archaeologists tend to see it as commencing in the twelfth and eleventh centuries bce, following the collapse of Bronze Age palatial centres and the migration of the so-called Sea Peoples. On the other hand, on Sicily, the Iron Age does not begin until the ninth century, with shifts from chiefdoms to more egalitarian communities, while in North Africa the Iron Age is seen to commence with the founding of Carthage. -
Apollo and the Mundus of Caere Naomi Laura Neufeld
APOLLO AND THE MUNDUS OF CAERE NAOMI LAURA NEUFELD APOLLO AND THE MUNDUS OF CAERE: AN INTERPRETATION OF THE PALM TREE FRESCOES OF THE HYPOGAEUM OF CLEPSINA By NAOMI LAURA NEUFELD, B.A. 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 Naomi Laura Neufeld, August 2015 DESCRIPTIVE NOTE: McMaster University MASTER OF ARTS (2015) Hamilton, Ontario (Classics) TITLE: Apollo and the Mundus of Caere: An Interpretation of the Palm Tree Frescoes of the Hypogaeum of Clepsina AUTHOR: Naomi Laura Neufeld, B.A. (McMaster University) SUPERVISORS: Dr. Spencer Pope and Dr. Fabio Colivicchi NUMBER OF PAGES: xi, 141 ii LAY ABSTRACT: The Hypogaeum of Clepsina is an underground ritual chamber in Caere, which scholars theorize to be a mundus, a liminal space where chthonic rituals were enacted in honour of the infernal gods. The mundus was tied to notions of civic foundation, which suggests that the hypogaeum’s construction (or renovation) around the year 273 BC, the time when the city of Caere was officially converted into a Roman praefectura, was a statement of Rome’s re-establishment of Caere. Thus, gaining a deeper understanding of the hypogaeum, especially the cults worshiped within it, contributes to our knowledge of the role that religion played in Roman expansion during the Republican period. The palm tree frescoes decorating the niche of the hypogaeum provide important clues as to the identity of the deity worshiped in the mundus. They are a reference to the god, Apollo Soranus, or Śuri, who was a chthonic deity fitting to preside over the mundus of Caere. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Informatioii Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE WORLD OF THE INFANT: IDEOLOGY OF THE INFA lNT CONDITION AND INFANT CARE IN ANCIENT GREECE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Judith Blackmore Dann, M.A. -
Aedes M1nervae in Foro Boario
Rev. do Museu de Arqueologia e Etnologia, S. Paulo, 3: 97-103, 1993. AEDES M1NERVAE IN FORO BOARIO R.Ross H ollow ay* HOLLOWAY, R.R. Aedes Minervae in Foro Boario. Rev. do Museu de Arqueologia e E tnologia, S. Paulo, 3: 97-103, 1993. RESUMO: Neste artigo, o Autor fornece uma nova interpretação para o templo arcaico descoberto sob os santuários gêmeos de Fortuna e de Mater Matuta no Forum Boarium, em Roma. Analisando a interpretação de Colini - o escavador do local - que assume ser este um templo de Mater Matuta, ele demonstra como esta atribuição é fundamentada em evidências esparsas e indiretas. Mesmo assim, é aceita pelos especialistas como um verdadeiro dogma. Comparando o grupo estatuário associado com a segunda fase do templo arcaico com um grupo de estátuas de terracota recentemente restaurado e proveniente do Santuário de Portonaccio, em Veio, o Autor chega a uma conclusão bastante diferente. Com efeito, ele demonstra que este templo arcaico do Forum Boarium é na verdade um “AedesMinervae” e não um templo de Mater Matuta como é, em geral, aceito. UNITERMOS: Arqueologia romana - Roma arcaica - Culto de Minerva. In 1936 Giorgio Pasquale published his fa have stood in the Forum Boarium and sometimes mous essay “La grande Roma dei Tarquini”, a title mentioned together. (Both were thought to have which has set the tone of the current view of Rome been built by King Servius Tullius, Livy V, 19,6 - in the sixth centuiy B.C.Two years later a discov Mater Matuta and Dion. Hal. IV, 27,7 - Fortuna.) ery was made which seemed to reveal regal Rome When an archaic temple was discovered beneath in all its splendor. -
Abhiyoga Jain Gods
A babylonian goddess of the moon A-a mesopotamian sun goddess A’as hittite god of wisdom Aabit egyptian goddess of song Aakuluujjusi inuit creator goddess Aasith egyptian goddess of the hunt Aataentsic iriquois goddess Aatxe basque bull god Ab Kin Xoc mayan god of war Aba Khatun Baikal siberian goddess of the sea Abaangui guarani god Abaasy yakut underworld gods Abandinus romano-celtic god Abarta irish god Abeguwo melansian rain goddess Abellio gallic tree god Abeona roman goddess of passage Abere melanisian goddess of evil Abgal arabian god Abhijit hindu goddess of fortune Abhijnaraja tibetan physician god Abhimukhi buddhist goddess Abhiyoga jain gods Abonba romano-celtic forest goddess Abonsam west african malicious god Abora polynesian supreme god Abowie west african god Abu sumerian vegetation god Abuk dinkan goddess of women and gardens Abundantia roman fertility goddess Anzu mesopotamian god of deep water Ac Yanto mayan god of white men Acacila peruvian weather god Acala buddhist goddess Acan mayan god of wine Acat mayan god of tattoo artists Acaviser etruscan goddess Acca Larentia roman mother goddess Acchupta jain goddess of learning Accasbel irish god of wine Acco greek goddess of evil Achiyalatopa zuni monster god Acolmitztli aztec god of the underworld Acolnahuacatl aztec god of the underworld Adad mesopotamian weather god Adamas gnostic christian creator god Adekagagwaa iroquois god Adeona roman goddess of passage Adhimukticarya buddhist goddess Adhimuktivasita buddhist goddess Adibuddha buddhist god Adidharma buddhist goddess