Maxentius Ruler of Rome
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WHY JULIAN BELIEVED CORRECT WORSHIP of the GODS COULD SAVE the ROMAN EMPIRE from CHAOS a Thesis Presented to the Faculty Of
WHY JULIAN BELIEVED CORRECT WORSHIP OF THE GODS COULD SAVE THE ROMAN EMPIRE FROM CHAOS A Thesis Presented to the faculty of the Department of Humanities and Religious Studies California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in Humanities by Alejandra Meléndez-Silva SPRING 2020 WHY JULIAN BELIEVED CORRECT WORSHIP OF THE GODS COULD SAVE THE ROMAN EMPIRE FROM CHAOS A Thesis by Alejandra Meléndez-Silva Approved by: _________________________________, Committee Chair Dr. Jeffrey Brodd _________________________________, Second Reader Dr. Bradley Nystrom __________________ Date ii Student: Alejandra Meléndez-Silva I certify that this student has met the requirements for format contained in the University format manual, and this thesis is suitable for electronic submission to the library and credit is to be awarded for the thesis. ___________________________, Graduate Coordinator _____________________ Dr. Harvey Stark Date Department of Humanities and Religious Studies iii Abstract of WHY JULIAN BELIEVED CORRECT WORSHIP OF THE GODS COULD SAVE THE ROMAN EMPIRE FROM CHAOS by Alejandra Meléndez-Silva The Roman emperor Julian is famously remembered for being Rome’s last pagan emperor and he has been vilified for his dislike of Christianity. Sufficient analysis of Julian’s own perspective reveals a complex individual who does not conform with the simplified caricature of Julian “the Apostate” who was focused on assailing Christianity. His aversion to the Christians was mainly motivated by the fact that they refused to participate in the state cult. This thesis will explore the relationship between properly honoring the gods and state health, its origins, and why it was essential to sacrifice to the gods. -
RICE, CARL ROSS. Diocletian's “Great
ABSTRACT RICE, CARL ROSS. Diocletian’s “Great Persecutions”: Minority Religions and the Roman Tetrarchy. (Under the direction of Prof. S. Thomas Parker) In the year 303, the Roman Emperor Diocletian and the other members of the Tetrarchy launched a series of persecutions against Christians that is remembered as the most severe, widespread, and systematic persecution in the Church’s history. Around that time, the Tetrarchy also issued a rescript to the Pronconsul of Africa ordering similar persecutory actions against a religious group known as the Manichaeans. At first glance, the Tetrarchy’s actions appear to be the result of tensions between traditional classical paganism and religious groups that were not part of that system. However, when the status of Jewish populations in the Empire is examined, it becomes apparent that the Tetrarchy only persecuted Christians and Manichaeans. This thesis explores the relationship between the Tetrarchy and each of these three minority groups as it attempts to understand the Tetrarchy’s policies towards minority religions. In doing so, this thesis will discuss the relationship between the Roman state and minority religious groups in the era just before the Empire’s formal conversion to Christianity. It is only around certain moments in the various religions’ relationships with the state that the Tetrarchs order violence. Consequently, I argue that violence towards minority religions was a means by which the Roman state policed boundaries around its conceptions of Roman identity. © Copyright 2016 Carl Ross Rice All Rights Reserved Diocletian’s “Great Persecutions”: Minority Religions and the Roman Tetrarchy by Carl Ross Rice A thesis submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the degree of Master of Arts History Raleigh, North Carolina 2016 APPROVED BY: ______________________________ _______________________________ S. -
Ancient Rome
A History of Knowledge Oldest Knowledge What the Jews knew What the Sumerians knew What the Christians knew What the Babylonians knew Tang & Sung China What the Hittites knew What the Japanese knew What the Persians knew What the Muslims knew What the Egyptians knew The Middle Ages What the Indians knew Ming & Manchu China What the Chinese knew The Renaissance What the Greeks knew The Industrial Age What the Phoenicians knew The Victorian Age What the Romans knew The Modern World What the Barbarians knew 1 What the Romans knew Piero Scaruffi 2004 "We declare, proclaim and define that subjection to the Roman authority is absolutely necessary for the salvation of every human creature" (Pope Boniface, 1302) 2 What the Romans knew • Bibliography – Henri Sierlin: The Roman Empire (2002 – David Abulafia: The Mediterranean in History (2003) – Duby & Perrot: A History of Women in the West vol 1 (1992) – John Norwich: A short history of Byzantium (1995) – Kevin Butcher: Roman Syria (2003) – Tomlinson: Greek And Roman Architecture (1995) – Giovanni Becatti: The Art of Ancient Greece and Rome (1968) – Marvin Tameanko: Monumental Coins (1999) – Will Durant: Caesar and Christ (1944) 3 The Villanovans • 1000 BC: Iron civilization lives in northern Italy, probably not Indo-European • Cremation of the dead, and urns for ashes • 1000 BC: Indo-Europeans invade northern Italy 4 The Etruscans • 850 BC: Middle-eastern people (Villanovans?) settle inTuscany • 750 BC: first Etruscan inscriptions • Only one manuscript survives • Not Indo-European • Confederation -
Tetrarch Pdf, Epub, Ebook
TETRARCH PDF, EPUB, EBOOK Ian Irvine | 704 pages | 05 Feb 2004 | Little, Brown Book Group | 9781841491998 | English | London, United Kingdom Tetrarch PDF Book Chapter Master Aetheon of the 19th Chapter of the Ultramarines Legion was rumoured to be Guilliman's choice to take up the role of the newest Prince of Ultramar. Eleventh Captain of the Ultramarines Chapter. After linking up with the 8th Parachute Battalion in Bois de Bavent, they proceeded to assist with the British advance on Normandy, providing reconnaissance for the troops. Maxentius rival Caesar , 28 October ; Augustus , c. Year of the 6 Emperors Gordian dynasty — Illyrian emperors — Gallic emperors — Britannic emperors — Cookie Policy. Keep scrolling for more. Luke Now in the fifteenth year of the reign of Tiberius Cesar, Pontius Pilate being governor of Judea, and Herod being tetrarch of Galilee, and his brother In the summer of , Tetrarch got their first taste at extensive touring by doing a day east coast tour in support of the EP. D, Projector and Managing Editor. See idem. Galerius and Maxentius as Augusti of East and West. The four tetrarchs based themselves not at Rome but in other cities closer to the frontiers, mainly intended as headquarters for the defence of the empire against bordering rivals notably Sassanian Persia and barbarians mainly Germanic, and an unending sequence of nomadic or displaced tribes from the eastern steppes at the Rhine and Danube. This category only includes cookies that ensures basic functionalities and security features of the website. Primarch of the Ultramarines Legion. The armor thickness was increased to a maximum of 16mm using riveted plating, and the Henry Meadows Ltd. -
Lesson Two--Rep To
Lesson Two: Rome’s Shift From a Republic to an Empire (Important Note: This lesson might work better being taught in 2 days. Review the lesson carefully before teaching. Perhaps the Republic to Caesar to Empire Reading and Word Wall could be made longer with a longer discussion and then the primary source and monument analyses can be accomplished the next day.) Lesson overview: Briefly remind students of yesterday’s lesson, emphasizing the process of reviewing each of Rome’s historical paradigms through analyzing primary sources and monuments and symbols. Once again review the essential question and remind students of the upcoming final assessment project. Then briefly overview the activities for today’s lesson. Students will then complete a KWL chart on the Roman Republic and Roman Empire. They will then read and report to each other on the “Rome to Caesar to Empire” reading in groups. After this, students will stay in groups and analyze the primary sources and monuments reflecting the Roman Republic and Roman Empire. Finally, the lesson will close with students completing a word wall using the “Rome to Caesar to Empire” reading and their primary source readings. This lesson satisfies the following Common Core and Career Readiness Standards for grades 6-12: CCSS.ELA-LITERACY.RH.6-8.3 Identify key steps in a text's description of a process related to history/ social studies (e.g., how a bill becomes law, how interest rates are raised or lowered). CCSS.ELA-LITERACY.RH.6-8.6 Identify aspects of a text that reveal an author's point of view or purpose (e.g., loaded language, inclusion or avoidance of particular facts). -
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. -
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. -
Section of a Floor Mosaic Depicting Fall
VMFA Resources CLASSROOM ACTIVITY VIRGINIA MUSEUM OF FINE ARTS Section of a Floor Mosaic Depicting Fall Section of a Floor Mosaic Depicting Fall, 3rd–4th century AD Roman Stone and glass tesserae, 70 x 40 in. Adolph D. and Wilkins C. Williams Fund, 51.13 VMFA Resources CLASSROOM ACTIVITY VIRGINIA MUSEUM OF FINE ARTS Object Information Romans often decorated their public buildings, villas, and houses with mosaics—pictures or patterns made from small pieces of stone and glass called tesserae (tes’-er-ray). To make these mosaics, artists first created a foundation (slightly below ground level) with rocks and mortar and then poured wet cement over this mixture. Next they placed the tesserae on the cement to create a design or a picture, using different colors, materials, and sizes to achieve the effects of a painting and a more naturalistic image. Here, for instance, glass tesserae were used to add highlights and emphasize the piled-up bounty of the harvest in the basket. This mosaic panel is part of a larger continuous composition illustrating the four seasons. The seasons are personified aserotes (er-o’-tees), small boys with wings who were the mischievous companions of Eros. (Eros and his mother, Aphrodite, the Greek god and goddess of love, were known in Rome as Cupid and Venus.) Erotes were often shown in a variety of costumes; the one in this panel represents the fall season and wears a tunic with a mantle around his waist. He carries a basket of fruit on his shoulders and a pruning knife in his left hand to harvest fall fruits such as apples and grapes. -
THE PRINCIPATE – LIFEBELT, OR MILLSTONE AROUND the NECK of the EMPIRE? John Drinkwater* the Augustan Principate Was the Produc
THE PRINCIPATE – LIFEBELT, OR MILLSTONE AROUND THE NECK OF THE EMPIRE? John Drinkwater* The Augustan Principate was the product of crisis – a response to the challenges that precipitated the fall of the Republic. The Principate worked because it met the political needs of its day. There is no doubt that it saved the Roman state and the Roman Empire: it was a lifebelt. But it was not perfect. In its turn it precipitated more challenges that had to be responded to – more crises – in particular that known as the ‘third century Crisis’. In the long run it was a problem as much as a solution: a millstone as much as a lifebelt. In the end, it had to go. I will brie y deal with the Principate as a problem, and then suggest a new way of discerning the strains that brought about its demise. The Principate was created by Augustus and continued by the Julio- Claudians. However, there is a case for arguing that the Principate had still to establish itself as ‘the of\ ce of emperor’ as late as the death of Nero. The continuing challenges and responses that created and developed the Principate sometimes also broke it open to show its workings, and what contemporaries made of it. Thus Plutarch reports that in A.D. 68, Galba, on his way from Spain to take up power in Rome, entertained a group of senators in southern Gaul. Though he could have used the imperial furniture and servants sent to him by the Praetorian Prefect, Nymphidius Sabinus, initially he chose not to, which was remarked upon favourably by his guests.1 Galba’s modesty is explicable in various ways but, following Wiedemann’s appreciation of Galba’s family pride, I believe that he rejected this ‘family silver’ basically because it was the silver of an alien family.2 Galba, born in 3 B.C., had lived under all the Julio-Claudian rulers. -
Recent Discoveries in the Forum, 1898-1904
Xil^A.: ORum 1898- 1:904 I^H^^Hyj|Oj|^yL|i|t I '^>^J:r_J~ rCimiR BADDELEY '•^V^^^' ^^^ i^. J^"A % LIBRARY RECENT DISCOVERIES IN THE FORUM Digitized by the Internet Archive in 2011 with funding from University of Toronto http://www.archive.org/details/recentdiscoverieOObadd ^%p. ji^sa&i jI Demolishing the Houses Purchased by Mp. L. Piitlltps (1899) Frontispiece RECENT DISCOVERIES IN THE FORUM 1898-1904 BY AN EYE-WITNESS S:i^ CLAIR BADDELEY BEING A HANDBOOK FOR TRAVELLERS, WITH A MAP MADE FOR THIS WORK BY ORDER OF THE DIRECTOR OF THE EXCAVATIONS AND 45 ILLUSTRATIONS LONDON GEORGE ALLEN, 156, CHARING CROSS ROAD 1904 [All rights reserved] -. s* r \ i>< ^^ARY# r^ ¥ ^ y rci/O FEB 26 'X_> Printed by BALLANTYNK, HANSON <5r» Co. At the Ballantyne Press TO LIONEL PHILLIPS, Esq, IN MEMORY OF DAYS IN THE FORUM PREFATORY NOTE 1 HAVE heard life in the Forum likened unto ' La Citta Morte/ wherein the malign influences of ancient crimes rise up from the soil and evilly affect those who live upon the site. I have also heard it declared to be a place dangerous to physical health. It is with gratifi- cation, therefore, after living therein, both beneath it and above, as few can have done, for considerable portions of the last six years, that I can bring solid evidence to belie both accusations. They indeed would prove far more applicable if levelled at certain other august centres of Rome. For I find it necessary to return thanks here for valuable assistance given to me without hesitation and at all times, not only by my personal friend Comm. -
Let's Look Let's Look Again Tapestry Showing The
TAPESTRY SHOWING THE TRIUMPH OF CONSTANTINE OVER MAXENTIUS AT THE BATTLE OF THE MILVIAN BRIDGE FROM THE SERIES KNOWN AS THE “HISTORY OF CONSTANTINE THE GREAT” This tapestry shows the dramatic conclusion of the Battle of the 1623–25 Milvian Bridge fought between two leaders of ancient Rome, Wool and silk with gold and Constantine and Maxentius, in 312 CE. As part of their strategy, silver threads 15 feet, 11 inches x 24 feet, 5 inches Maxentius’s army knocked down a stone bridge and replaced it with (485.1 x 744.2 cm) a temporary wooden one, which could be pulled down easily if they FIGURAL COMPOSITION DESIGNED IN 1622 BY needed to retreat. When Maxentius and his troops were forced back PETER PAUL RUBENS Flemish (active Italy, Antwerp, and by Constantine’s army, the bridge unexpectedly collapsed beneath England), 1577–1640 Woven at the Comans–La Planche them, sending horses and soldiers tumbling into the Tiber River tapestry factory (Paris) below. After this victory, Constantine became the sole ruler of the Western Roman Empire. LET’S LOOK Describe the action in this scene. The defeated Maxentius is pictured upside down at the bottom center What is happening? of the composition. Around him, horses and men fall in a tangled Who is winning? Who is losing? mass of arms, legs, bodies, and heads. At the edge of the bridge, How can you tell? a terrified soldier desperately attempts to prevent his horse from What details tell you about the time period when this falling. Two soldiers cling to the bridge with their fingertips, anxiously event took place? trying to hang on. -
3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome
Anna Bortolozzi 3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome Rome fut tout le monde, & tout le monde est Rome1 Drawing in the past, drawing in the present: Two attitudes towards the study of Roman antiquity In the early 1530s, the Sienese architect Baldassare Peruzzi drew a section along the principal axis of the Pantheon on a sheet now preserved in the municipal library in Ferrara (Fig. 3.1).2 In the sixteenth century, the Pantheon was generally considered the most notable example of ancient architecture in Rome, and the drawing is among the finest of Peruzzi’s surviving architectural drawings after the antique. The section is shown in orthogonal projection, complemented by detailed mea- surements in Florentine braccia, subdivided into minuti, and by a number of expla- natory notes on the construction elements and building materials. By choosing this particular drawing convention, Peruzzi avoided the use of foreshortening and per- spective, allowing measurements to be taken from the drawing. Though no scale is indicated, the representation of the building and its main elements are perfectly to scale. Peruzzi’s analytical representation of the Pantheon served as the model for several later authors – Serlio’s illustrations of the section of the portico (Fig. 3.2)3 and the roof girders (Fig. 3.3) in his Il Terzo Libro (1540) were very probably derived from the Ferrara drawing.4 In an article from 1966, Howard Burns analysed Peruzzi’s drawing in detail, and suggested that the architect and antiquarian Pirro Ligorio took the sheet to Ferrara in 1569.