Ancient Greek Portrait Suclpture: Contexts, Subjects, and Styles Sheila Dillon Index More Information

Total Page:16

File Type:pdf, Size:1020Kb

Ancient Greek Portrait Suclpture: Contexts, Subjects, and Styles Sheila Dillon Index More Information Cambridge University Press 0521854989 - Ancient Greek Portrait Suclpture: Contexts, Subjects, and Styles Sheila Dillon Index More information INDEX Aeschines, 7, 44, 45, 49, 50, 61–62, 74, 90, Athens, portraits of philosophers in, 104, Body type, philosophic, 116 93, 100, 110–111 106 Body types on Classical and Hellenistic Aeschylus, 8, 11, 102, 104, 171 Athens, portraits of poets in, 102, 104, 106 gravestones, 11, 62–63, 66–67, Alcibiades, 7, 34, 40 Athens, portraiture’s development in, 11, 74–75, 77 Alcibiades-Philip Type (cat. A4), 80–81 65, 98, 100, 101–102 Bronze, 2, 6, 62 Alexandria, 39–40, 104 Athens, public honorific portraits, 102 Bust, 11, 33 Anacreon, 8, 11, 41, 49, 50, 51, 113 Athens, private votive portraits, 105–106 Antikythera “philosopher,” 67, 116 Athens, retrospective portraits, 104 Capitoline “Cynic,” 115, 116 Antisthenes, 49, 50, 51, 65, 86, 113, 116 Athens, sculpture workshops and Capitoline-Getty Old Poet with Fillet Aphrodisias, 34 portraiture, 11, 65, 100 (cat. A28), 119 Appearance and style of Greek portraits vs. Attic document reliefs, 108 Carneades, 11, 20, 29, 95–98, 106, 113, Roman portraits, 4 Attributes of portrait statues 115, 116 Appius Saufeius, friend of Cicero, 31 chlamys (military cloak), 109 Chabrias, 49, 50, 51, 102, 107 Aranjuez-Naples-Louvre Type (cat. A21), cushion, 123 Chilon, 51 118 fillet, 86–88, 123, 124 Chlamys (military cloak). See Attributes Aranjuez-Vatican Theophrastus Type (cat. helmet, 107, 109–110 Chronology, portraits and grave reliefs, 63, A26), 80 kithara or lyre, 119, 123, 124 64–65 Archelaos relief, 105 scroll, 107, 114 Chrysippus, 11, 28, 29, 40, 65, 95, 106, Archidamos III?, 44, 55, 107, 110 shield, 107, 108, 109 113–115 Archytas, 49, 51, 53 ship akrostolion, 107 Cicero as collector, 30–31, 39 Aristogeiton. See Tyrannicides spear, 107, 109 Cleon, 61 Aristotle, 2, 11, 34, 39, 40, 99, 106, 113, staff or stick, 67, 68, 70, 72, 73 Contexts of Greek portraits, Hellenistic, 115, 118 sword, 70, 107 39–40 Arm-sling statue format, 62, 74. See also Contexts of Greek portraits in Rome, Statue Format, arm-sling Bacchylides, 49, 51, 53 40–41 Arundel “Homer,” 75–76 Beard Contexts of Greek portraits, Roman villas, Astydamas (poet), 102, 123 beard of mature male, 1–10, 63, 67, 2, 4, 15, 39, 41–54 Athenian subjects represented in Roman 68–70, 72, 73, 78, 100, 106–107, Copenhagen-Capitoline Type with Toupee portrait herms, 53, 56 109, 112 (cat. A24), 118–119 Athens, portrait statues in, 11, 29, 101–106 beard of older men, 10, 63, 67–68, 70, Copenhagen-Florence-Liverpool Type Academy, 31, 104, 106 72 (cat. A6), 86 Acropolis, 8, 101, 102, 104, 105–106, long and well-kempt, 67–68, 72–73, 78, Copenhagen-Getty Poet with Fillet 109 80–86, 112, 114, 118 (cat. A27), 119 Agora, 101, 102–103, 104, 105, 106, short or stubbly (military style?), 69–70, Costume 123 72, 80–86, 194 “heroic” nudity, 109 Gymnasium of Ptolemy, 106 unkempt, 1–10, 73, 86, 114, 116 himation or Greek mantle alone, 25–36, Kerameikos, 106 beardless or clean-shaven appearance, 62, 66, 68, 70, 72, 73, 74, 75, 76, Lyceum, 31, 104, 106 10, 66, 73–74, 88–90, 119 95, 111–112, 113, 114, 115, 116, 124 Olympieion, 106 beard as sign of Hellenistic philosopher, himation with tunic, 25, 66, 72, 74, 75, Pompeion, 104 10, 73–74, 76, 112, 114, 115, 178 98, 110–112, 116, 119 Theater of Dionysus, 6, 8, 102, 104, 123, Bergemann, J., 10, 67, 174 military, 70, 74 124, 174 Berlin-Copenhagen-Munich Eudoxos Type cuirass (hoplite armor), 70, 107–108 Athens, portraits of generals in, 102–104 (cat. A15), 86 short tunic (chiton) and chlamys, 70, Athens, portraits of orator-politicians in, Berlin-Lateran Type (cat. A30), 86 107–108 102–104, 106 Bias, 51 Crates Type (cat. A18), 44, 45, 86, 116 215 © Cambridge University Press www.cambridge.org Cambridge University Press 0521854989 - Ancient Greek Portrait Suclpture: Contexts, Subjects, and Styles Sheila Dillon Index More information INDEX Cushion. See Attributes Habicht, C., 112 Mature male, representation of, 10, 63, 66, Cynic philosophers, iconography, 116 Hairstyles, 1–10, 63, 67, 68–69, 70, 72–73, 67–70, 72, 77–86, 95, 100, 78, 79, 80, 86, 114, 118 106–107, 109, 110, 111–112 Dating Roman versions, difficulty in, balding, bald, 10, 70, 72, 73, 80–86, Materials used for portrait copies, 25–28 48–49 114, 116, 118, 124 Menander, 2, 4, 11, 12, 16, 29, 34, 36, 49, Delphi “philosopher,” 5, 74, 112, 118 long and unkempt, 86, 88, 90, 116 54, 65, 78, 88, 102, 113, 119, 174, Demades (orator-politician), 102, 107 receding, 10, 69, 70, 72, 79, 86, 88, 118, 179 Demetrios of Phaleron, 65, 102–103, 178 Methods of reproduction, Roman copies, 104 short, close-cropped, 1–10, 63, 67, 25–28 Demochares (orator-politician), 104, 68–69, 70, 72 Metrodorus, 5, 11, 28, 113, 115 107 Hallett, C., 109 “Middling” citizen, image of, 78 Demos, representation of, 71–72 Harmodios. See Tyrannicides Moreno, P., 104 Demosthenes, 2, 5, 7, 8, 9, 11, 12, 29, 34, Herculanuem. See Villa of the Papyri Munich-Vatican Type (cat. A22), 80 36, 41–42, 45, 55, 62, 65, 75–76, Helmet. See Attributes 104, 107, 112, 113, 118, 126 Herm, 4, 30, 31–33 Named Greek portraits, list, 11, 174 Development. See Stylistic Herm, double, 33 Naples-Rome Old Man with Matted Beard Diogenes, 49, 51, 53 Hermarchus, 11, 24–25, 42, 45, 50, 51, 53, Type (cat. A19), 1, 86, 116 Diomedes (poet), 102 55, 113, 115 Naples-Rome Type (cat. A23), 86, 118 Dionysios (poet), 102 Hermarchus Type B (cat. A1), 4, 24–25, 32, New York-Rome-Caesarea Type (cat. A11), Dioskurides of Delos, 62, 74 78, 112, 118 4, 17–20, 118 Diphilos, 5 Himation or Greek mantle. See Costume negotium, 48 Diphilos Type (cat. A12), 5, 80 Hipponax, so-called, 86–88, 124 Neudecker, R., 48, 55 Display formats of Greek portraits in Homer, 2, 8, 12, 29, 40, 54, 79, 104–105, Nikokles (kitharode), 102 Roman villas, 3, 30–36 106, 113 Drilled eyes, 2, 24 Homer, Apollonius of Tyana Type, 125 Old age or old man, representation of, 10, Homer, Hellenistic Blind Type, 4, 28, 86, 63, 67–68, 70–73, 86 Ennius-Vergil New Comedy Poet Type 95, 116, 124, 174 Olympiodorus, 11, 86, 90, 100, 103–104, (cat. A10), 90, 119 Hypereides, 65, 104, 112 110, 112, 113, 125 Epicurean philosopher, iconography, 115 Hypereides Type (cat. A7), 112 Orator-politicians, honorific statues of. See Epicurean self-presentation, 114–115 Athens Epicurus, 2, 8, 11, 29, 34, 41, 42, 45, 55, Identifying Greek subjects, 3–4, 9–10, otium, 48 106, 113–115 51 Oxford-Florence-Vatican Type (cat. A16), Eponymous Heroes Ilissos Stele, 72 80 Agora monument, 71–72, 77 Inscribed names, 3–4, 29, 54–55, 56 Parthenon Frieze, 71–72 Inset bust format, 36 Pandermalis, D., 48 Esquiline Hill, portraits from, 41 Intellectual as “good citizen,” 61–62, 86, Panyassis, 41, 44, 45, 55, 113 Ethical qualities of physical appearance, 100, 113, 115, 126, 198 Parmenides, 28, 30 61–62 Interpretive aims and methods, 5, 62 “Pastoret” head, identified as the general Eupolis, 206 n.156 Invented portraits, 30 Konon, 109 Euripides, 6, 8, 11, 29, 99, 102, 104, 113, Iphikrates, 102, 105 Pausanias (Spartan general), 5 124, 125 Isocrates, 11, 106 Peisistratos, 50, 51, 53 Euripides, Rieti-Type (cat. A5), 86 Pergamon, Greek portraits in library, 40 Kallias, 104 Periander, 51 Figure types, gravestones, 66–67 Kallias of Sphettos, 104 Pericles, 11, 50, 51, 53, 55, 109, 177 Fillet. See Attributes Kallisthenes (historian), 40 Peripatetic philosopher, iconography, Fittschen, K., 5, 36, 75–76, 88–90, 102 Kallithea Monument, Piraeus Museum, 62, 118 Footed herm bases, 53 67 Phaidros, herm portrait of, 31 Footwear, 70, 72 Keesling, C., 102, 105 Pheidias, 28, 30, 50, 51, 53, 54, 55 Format of Roman copies, full-length statue, Kephisodotos and Timarchos (sculptors), Philippides (poet), 104, 119 34 102 Philitas of Kos (poet), 93, 105 Frattochie, herm from Roman villa, 55 Kithara or lyre. See Attributes Philosopher iconography, 1, 25–36, 74, Funerary portraiture, 62, 63, 64, 78–79, 98 Kleoboulos, 51 112, 113, 115–116 Kolotes-Lycurgus Type (cat. A3), 78, Philosophers, honorific statues of. See 112 Athens Galleria Colonna-Vatican Type (cat. A25), Konon and Evagoras, statues in Agora, Phocion, 102–103 80 101, 102, 105 Pindar, 5, 34, 51, 53, 55, 113, 123, 125, General or military leader, iconography of, Konon and Timotheos, statues on 173, 178 81–86 Acropolis, 105 Pittacus, 50, 51, 55 Gesture, 61, 75–76 Kos “Hippokrates,” 5, 62, 74, 95–98, 112, Plato, 7, 11, 39, 50, 51, 55, 69, 79, 99, 106, Getty-Woburn Abbey Type (cat. A29), 118 113, 115 20–24, 86 Kosmetai, 4, 31 Pliny, 6 (HN, 35.153), 8 (HN, 35.153), 16 Gorgias, 67, 106 Krumeich, R., 109 (HN, 35.155), 30 (HN, 35.9), 138 Gravestones, as important source of (HN, 35.12), 39 (HN, 35.9–11), 40 evidence, 4, 6, 8, 10, 11, 29, 62 Literary evidence for portraits, importance (HN, 34.92), 41 (HN, 35.4–5), 80 Gravestones, age categories, 67, 68–73 of, 2, 5 (HN, 7.8), 61 (HN, 7.8), 31 (HN, Gravestones, costumes on, 62, 70, 74 Lucullus, Greek statues in his villa, 41 33.83), 32 (HN, 34.74), 36 (HN, civic costume, 111 Lycurgus, 6, 50, 51, 53, 78, 102, 112 35.106) military costume, 107–109 Lykon (philosopher), 106 Poets, cult of, 105 Gravestones, head types on, 6, 10, 66, Lysistratos (sculptor), 5–6, 8 Poetic “enthusiasmos,” expression of, 124 67–73, 77, 86, 88, 194, 196 Poet iconography, 25, 81, 86–88, 90, 123, Gravestones, Classical, 65–66 Marble, 2, 62 124 Gravestones, Hellenistic, 66 Mattusch, C., 6, 64, 77 Poets, retrospective portraits of, 104–105 Gravestones, statue formats on, 66–67 216 © Cambridge University Press www.cambridge.org Cambridge University Press 0521854989 - Ancient Greek Portrait Suclpture: Contexts, Subjects, and Styles Sheila Dillon Index More information INDEX Poets, statues in Athens of victorious.
Recommended publications
  • 1 ANNEX 1 Guidelines for the Preparation of Reports by Member
    ANNEX 1 Guidelines for the preparation of reports by Member States on the application of the 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property As far as practicable, it is recommended that Member States follow all of the points contained in this draft. In its contribution, however, the State may disregard any aspects on which no information is available. Lastly, even though some points are framed as questions, the document must be regarded more as a guide than as a questionnaire. I. Information on the implementation of the UNESCO Convention of 1970 (with reference to its provisions) 1. Ratification of the Convention (a) Has this Convention already been ratified? Italy ratified the UNESCO Convention by Act N. 873 of 30 October 1975. In addition, the UNESCO Convention is mentioned in Legislative Decree No. 42 of 22 January 2004 (Art. 87 bis), that is the special law regarding the protection and enhancement of cultural heritage (“Code of the Cultural Heritage and Landscape”, hereafter “Code”), 2. Implementation in the national legal system and in the organization of services (a) Give the references of the principal national regulations adopted in order to implement the 1970 Convention? The principal national regulation in order to implement the 1970 Convention are Act N. 875 of 30 October 1975 and “Code” Law 42/2004 and its amendments. In particular the “Code” has been amended by Legislative Decree N. 62 of 26 March 2008 that introduced the article 87bis specifically concerning the application of the UNESCO Convention.
    [Show full text]
  • Locus Bonus : the Relationship of the Roman Villa to Its Environment in the Vicinity of Rome
    LOCUS BONUS THE RELATIONSHIP OF THE ROMAN VILLA TO ITS ENVIRONMENT IN THE VICINITY OF ROME EEVA-MARIA VIITANEN ACADEMIC DISSERTATION TO BE PUBLICLY DISCUSSED, BY DUE PERMISSION OF THE FACULTY OF ARTS AT THE UNIVERSITY OF HELSINKI IN AUDITORIUM XV, ON THE 2ND OF OCTOBER, 2010 AT 10 O’CLOCK HELSINKI 2010 © Eeva-Maria Viitanen ISBN 978-952-92-7923-4 (nid.) ISBN 978-952-10-6450-0 (PDF) PDF version available at: http://ethesis.helsinki.fi/ Helsinki University Print Helsinki, 2010 Cover: photo by Eeva-Maria Viitanen, illustration Jaana Mellanen CONTENTS ABSTRACT iii ACKNOWLEDGEMENTS v LIST OF FIGURES, TABLES AND PLATES vii 1 STUDYING THE ROMAN VILLA AND ITS ENVIRONMENT 1 1.1 INTRODUCTION 1 1.2 DEFINING THE VILLA 3 1.3 THE ROMAN VILLA IN CLASSICAL STUDIES 6 Origin and Development of the Villa 6 Villa Typologies 8 Role of the Villa in the Historical Studies 10 1.4 THEORETICAL AND METHODOLOGICAL CONSIDERATIONS 11 2 ARCHAEOLOGICAL MATERIAL AND WRITTEN SOURCES 15 2.1 RESEARCH HISTORY OF THE ROMAN CAMPAGNA 15 2.2 FIELDWORK METHODOLOGY 18 Excavation 18 Survey 19 2.3 ARCHAEOLOGICAL MATERIAL 21 Settlement Sites from Surveys and Excavations 21 The Sites Reclassified 25 Chronological Considerations 28 2.4 WRITTEN SOURCES 33 Ancient Literature 33 Inscriptions 35 2.5 CONCLUSIONS 37 3 GEOLOGY AND ROMAN VILLAS 38 3.1 BACKGROUND 38 3.2 GEOLOGY OF THE ROMAN CAMPAGNA 40 3.3 THE CHANGING LANDSCAPE OF THE ROMAN CAMPAGNA 42 3.4 WRITTEN SOURCES FOR THE USE OF GEOLOGICAL RESOURCES 44 3.5 ARCHAEOLOGY OF BUILDING MATERIALS 47 3.6 INTEGRATING THE EVIDENCE 50 Avoiding
    [Show full text]
  • Map 43 Latium Vetus Compiled by L
    Map 43 Latium Vetus Compiled by L. Quilici and S. Quilici Gigli, 1995 Introduction The environs of Rome have undergone enormous changes from antiquity onwards, caused more by human intervention than by natural phenomena. Changes were already occurring in the archaic period as the region's population increased; these earliest phases of urbanization have been considerably illuminated by recent research. The changes intensified in Late Republican and imperial times, when urbanization reached a level unique for antiquity. Building activity connected with the city extended far enough into the countryside to link with construction centered upon surroundings towns. Thus the towns on the Tiburtine, Praenestine and Alban hills, as well as Ostia and Antium on the coast, were considered suburbs of the metropolis. After antiquity, by contrast, the region was almost deserted except in the hills. In the Late Middle Ages and subsequently, the spread of malaria and the extension of a pastoral economy reduced it to little more than a wilderness littered with the ruins remaining from an earlier era. By definition, there is some difficulty about showing settlements of different periods on a single map. We have marked those that can be located with either certainty or a fair degree of probability. At this scale no attempt is made to include every small settlement, let alone the whole complex infrastructure of the area. But we do mark cultural features notable for their size, state of preservation, or historical significance. These include large Late Republican and imperial villas, and the greatest monumental tombs. Inevitably, many estates, villas and tombs (some of them far from negligible) have had to be omitted.
    [Show full text]
  • From the Villa of the Quintilii to the Museum of Lucrezia Romana
    From the Villa of the Quintilii to the Museum of Lucrezia Romana Park of the Aqueduts / Via Appia Antica This itinerary, which mostly crosses built-up areas of the city, leads to the Museum of Lucrezia Romana, a small museum in the outskirts displaying, in just a few rooms, some exceptional archaeological finds belonging to the suburban settlements that thrived in this south-eastern district of Rome from Prehistory to the Middle Ages. Along the way modern buildings, such as the National Fire Academy (Scuola Centrale Antincendi) and the Capannelle Racecourse, intersperse with some impressive POI Distance archaeological remains, like the arches of the Aqua Claudio and of another aqueduct that 10 4.64 Km branched off here to supply water to the nearby Villa of the Sette Bassi. Visitors are cautioned to pay attention to traffic on this itinerary because stretches of the road Poi lack a pedestrian pavement and cross private farmland. Please keep to the signposted paths to avoid damage or disturbance. 1 Villa of the Quintili - Santa Maria Nova 2 The temple-shaped tomb of via Bisignano 3 Capannelle Racecourse 4 Training School for Firefighters Scan the QrCode to access the navigable 5 Chapel of S. Antonio da mobile version of the Padova itinerary 6 Fosso dell'Acqua Mariana (Capannelle) 7 Aqua Claudia - Anio Novus 8 Aqueduct of the Sette Bassi 9 Archaeological area at the Museum of Lucrezia Romana 10 The Lucrezia Romana Museum Poi 1 Villa of the Quintili - Santa Maria Nova Roma / Place to visit - Roman Villas This villa, which once belonged to the brothers Sextus Quintilius Condianus and Sextus Quintilius Valerius Maximus, members of a senatorial family who lived in the 2nd century AD, is the largest residential complex on the outskirts of Rome.
    [Show full text]
  • The Sixth Mile of the Via Appia from Santa Maria Nova - Villa of the Quintilii to the Via Di Casal Rotondo
    The sixth mile of the Via Appia from Santa Maria Nova - Villa of the Quintilii to the via di Casal Rotondo Via Appia Antica This itinerary crosses one of the most evocative sections of the Appian Way, featuring a succession of impressive and smaller, yet equally interesting monuments. Beginning at the Santa Maria Nova farmhouse, which has become part of the archaeological area of the Villa of the Quintilii, to which the monumental nymphaeum facing the Via Appia Antica also belonged, and which, in the Middle Ages, was converted into a fortress. On the opposite side of the road is the so-called Curiatii Mound, which, together with another mound named for the Horatii slightly further south, brings to the mind episodes from Rome’s earliest history. These are followed by a succession of tombs and funerary inscriptions commemorating various characters given the POI Distance honour of being buried along the Queen of Roads. The itinerary ends at the enormous Mausoleum of Casal Rotondo, a 8 1.48 Km Roman tomb surmounted, in the Middle Ages, by a watchtower, which was later incorporated into a farmhouse, and which effectively exemplifies how these ancient buildings have been reused, for different purposes, over the centuries. Poi 1 Via Appia Antica - Santa Maria Nova 2 The Pyramid Tomb 3 The mounds of the Horatii Scan the QrCode to access the navigable 4 Villa of the Quintili's nymphaeum mobile version of the itinerary 5 Tomb with a spiral staircase 6 Tomb of the Gens Supsifana 7 Mausoleum of Casal Rotondo 8 Via Appia Antica - Casal Rotondo (South) Poi 1 Via Appia Antica - Santa Maria Nova Roma / Place to visit - Casali The archaeological area of Santa Maria Nova has recently been attached to that of the Villa of the Quintilii, the largest private residence in the suburbs of Rome.
    [Show full text]
  • ARTH 311 Urbanism and Architecture in the Roman Empire: Rome, Ostia and Pompeii
    ARTH 311 Urbanism and Architecture in the Roman Empire: Rome, Ostia and Pompeii Professor Christopher Gregg Office: Robinson B 373 A Email: [email protected] Office Hour: Mondays 12:15-1:15 pm or by appointment. Description: Spanning the Mediterranean basin and extending into Europe and North Africa, the Roman Empire included a wide variety of urban spaces. In this course, we will examine three cities on the Italian peninsula—Rome, Ostia, and Pompeii—which offer examples of traditional architectural form and urban development. Rome, as capital of the empire, establishes prototypical monuments which are exported outward. Ostia, port city of Rome, reflects the developments in architecture and design in the capital but as a working-class city offers insight into different strata of Roman society. Finally, Pompeii reflects the wealth of an elite resort community embedded in a small-scale urban environment. By examining the individual architectural elements and organization of these three ancient cities, we will observe the standard forms of urban Romanitas (“Roman-ness”) and its significant variations. Please note that this course will focus on architecture and architectural decoration as well as concepts of urban planning and design. The course is not intended as a broad survey of Roman art. Also be aware that as a 300 level course, we will move at a fast pace and focus on precise, detailed readings of the material: exams will require a thorough understanding of specific information rather than “general” impressions. Objectives: Gain an understanding of the Roman concept of urban space Learn the major building types common to Roman cities Examine the physical components of Roman architecture and building design Integrate elements such as fresco painting and sculpture into the physical fabric of architecture and urban space Understand the importance of architecture and cityscapes as both a reflection and a formative influence on a society Texts and Resources: Amanda Claridge, Rome: An Oxford Archaeological Guide (Oxford Archaeological Guides).
    [Show full text]
  • Ashmolean Non-Monumental Latin Inscriptions
    30-Apr-19 Ashmolean Non-Monumental Latin Inscriptions BRICKSTAMPS AshLI 178 TN1864 Brickstamp Description A large complete rectangular brick, with a stamp in hollowed retrograde letters on two lines. Dimensions • Letters: line 1, h., 0.027; line 2, h., 0.025 • Brick: h., 0.223; w., 0.233; d., 0.038 Text VIN PAN SVL/ PI Vin(ici) Pan(tagathi) Sul(picianum)/Pi(---) Translation ‘Sulpician product of Vinicius Pantagathus. Pi(---)’ Photograph • ASHLI Apparatus Date • AD c.120 (Steinby 1974-75: p.91) Collection history This stamp has a temporary accession number (and object barcode ODS9-3396), and is found in storage box CDS9-345. No further information about its provenance is available. Historical notes This stamp belongs to the same series as CIL XV 565, stamps from the figlianae Sulpicianae. In other examples, the second line of the stamp contains the initials of one of his workmen: PI is otherwise unknown. Bibliography Editions Unpublished. Works cited • Steinby, M. (1974-75) ‘La cronologia delle figlinae doliari urbane’, Bullettino della commissione archeologica comunale di Roma 84: 25-132 1 30-Apr-19 AshLI 179 1872.1482(1) (no.364) Brickstamp, Portus Description A circular, orbicular stamp, slightly damaged, with a large orbiculus extending into the central section of the stamp. There is one line of text around the edge of the stamp, and in the centre is a canine animal (interpreted by Dressel 1891 as a wolf, whilst Lanciani 1868: p.174 considered it to be a dog), walking to the right, with one front paw raised. It seems likely that it should be viewed as a wolf (lupus), punning upon the name of its producer (Bodel 2005).
    [Show full text]
  • Area of the Seven Aqueducts a Feast for the Eyes That Should Not Be Missed
    Area of the Seven Aqueducts A Feast for the Eyes That Should Not Be Missed By bike On foot Bounded by the Cinecittà and Quarto Miglio (Fourth Mile) neighborhoods, the Via Appia Nuova, and the Via Tuscolana, and crossed by the path of the ancient Latin Way, the area of the aqueducts represents the vestiges of a section of the Roman countryside that originally connected the Alban Hills to the gates of the city. A literal crossroads of the Roman water supply system, the area takes its name precisely from the massive ruins of the network of ancient aqueducts that made Rome famous. Six of the eleven aqueducts pass through this area, with a combined flow equivalent to 13 m3 (3434 US gallons) of water per second in the age of the city’s greatest splendor. To this can be added the Felice Aqueduct, built under papal authority during the Renaissance and still used today for irrigation. Like roads and sewers, the aqueducts were civil engineering projects on which the Romans showered particular attention, in order both to meet the hygienic needs of the inhabitants of the empire’s major cities and to assert their own culture: in fact, they had to fulfill the requirements of firmitas, venustas, and utilitas (“solidity, beauty, and utility”). Much of the channels are not visible, in part because they travel mostly underground, and in part because some of the more recent aqueducts have been built onto the surface structures of the ancient ones, such as the Felice Aqueduct which follows the route of the ancient Marcian Aqueduct.
    [Show full text]
  • RAG Vol 9 Issue 2
    Roman Archaeology Group Inc Volume 9, Issue 2 November, 2014 The RAG A Walk Down the Appian Way IN THIS ISSUE Guy de la Bédoyère The Appian Way 1 Guy de la Bédoyère Augustan Altar at Lugdunum 8 The author in August 1982, photographed close to the Nymphaeum of the Villa of the Quintilii on the Appian Way and frustrated by the lack of John McDonald access. He would have to wait almost 32 years! It was the summer of 1982 when I, aged 24, first made my way down the Appian Way with my wife Rosemary. It was baking hot and the grass was burned yellow. We made it all the way to the imposing ruins of the Villa of the Quintilii where I posed for a photograph in front of the Nymphaeum which faced on to the ancient Roman road. Back then the Villa was not open to the public. A vast complex, the main villa structures shimmered in the heat several hundred metres to ... in Istanbul 9 the east. It was tantalizing and I always planned to try and see it properly Norah Cooper one day. I had to wait almost 32 years until February 2014 when on one of our many visits to Rome we set out once more down the Via Appia. It’s not for the faint-hearted. To get there one of the best ways is to catch bus no. 118 from the Via delle Terme di Caracalla, just near Circo Massimo metro station on Linea B. The bus shudders and jolts down the ancient Via Appia exiting Rome at the Porta San Sebastiano by the so-called Arch of Drusus.
    [Show full text]
  • Valeria, Or, the Triumph of the Catacombs [Microform]
    CIHM ICIVIH Microfiche Collection de Series microfiches (Monographs) (monographies) Canadian Institute for Historical Microreproductions / Institut Canadian da microraproductions historiquas Technical and Bibliographic Notes / Notes techniques et bibliographiques The Institute has attempted to obtain the best original L'Institut a microfilm^ le meilleur exemplaire qu'il lui a copy available for filming. Features of this copy which 6\6 possible de se procurer. Les details de cet exem- may be bibliographically unique, which may alter any of plaire qui sont peut-dtre uniques du point de vue bibli- the images in the reproduction, or which may ographique, qui peuvent modifier une image reproduite, significantly change the usual method of filming are ou qui peuvent exiger une modification dans la m^tho- checlted below. de nonnale de filmage sont indiquds ci-dessous. Coloured covers / Coloured pages / Pages de couleur I I Couverture de couleur Pages damaged / Pages endommag6es I I Covers damaged / n Couverture endommagde Pages restored and/or laminated / D Pages restaurtes et/ou pellicul^es Covers restored and/or laminated / n Couverture restaur^ et/ou pellicula Pages discoloured, stained or / Q foxed Pages dteolor^es, tachetdes ou piques D Cover title missing / Le titre de couverture manque Pages detached / Pages d6tach6es I I D Coloured maps / Cartes g^ographiques en couleur \\/\ Showthrough / Transparence Coloured ink (i.e. other than blue or black) / Encre de couleur (i.e. autre que bieue ou noire) Quality of print varies / I I Quality in^gale
    [Show full text]
  • (The Via Latina).—Section I
    Papers of the British School at Rome http://journals.cambridge.org/ROM Additional services for Papers of the British School at Rome: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The Classical Topography of the Roman Campagna.—III. (The Via Latina).—Section I. T. Ashby Papers of the British School at Rome / Volume 4 / January 1907, pp 2 - 159 DOI: 10.1017/S0068246200005092, Published online: 09 August 2013 Link to this article: http://journals.cambridge.org/abstract_S0068246200005092 How to cite this article: T. Ashby (1907). The Classical Topography of the Roman Campagna.—III. (The Via Latina).—Section I.. Papers of the British School at Rome, 4, pp 2-159 doi:10.1017/S0068246200005092 Request Permissions : Click here Downloaded from http://journals.cambridge.org/ROM, IP address: 169.230.243.252 on 14 Mar 2015 PAPERS OF THE BRITISH SCHOOL AT ROME. VOL. IV. No. i. THE CLASSICAL TOPOGRAPHY OF THE ROMAN CAMPAGNA PART I I I SECTION I BY T. ASHBY, D.LITT., F.S.A. Director of the British School at Rome; formerly Craven Fellow in the University of Oxford ; Corresponding Member of the German Imperial Archaeological Institute. LONDON: 1907. THE VIA LATINA. INTRODUCTION. THE Via Latina forms the third portion of the description of the Classical Topography of the Roman Campagna, of which two parts have already appeared in these Papers (Via Collatina, Via Praenestina, and Via Labicana, i. 125 sqq.; Via Salaria, Via Nomentana, and Via Tiburtina, iii. 1 sqq.). The general remarks made in the introductions apply, in • the main, to the present portion also: and the preliminary matter may, therefore, be comparatively brief.
    [Show full text]
  • Apt-Ville-Ingl
    A ZIENDA DI P ROMOZIONE T URISTICA DI R OMA VILLAS OF ANCIENT ROME AZIENDA DI PROMOZIONE TURISTICA DI ROMA Via Parigi, 11 - 00185 Roma HIGH COMMISSIONER: Walter Veltroni DIRECTOR: Guido Improta An editorial realization by the Publishing Department of the APT of Rome TEXT: Romolo Augusto Staccioli TRANSLATION BY: Francesca Caruso PHOTOS: Archivio APT of Rome Archivio Vasari GRAPHICS AND COVER: Valeria Lemmi PRINTED BY: Stilgrafica srl A ZIENDA DI P ROMOZIONE T URISTICA DI R OMA VILLAS OF ANCIENT ROME CONTENTS INTRODUCTION ........................................................................................... page 3 THE SUBURBAN VILLAS .................................................................... page 5 The Villa of Livia The Villa of the Vignacce The Villa of the Quintilii The Villa of the Sette Bassi The Villa of the Gordiani The Villa of Maxentius The Villa of the Christian Flavians A SPECIAL VILLA: THE DOMUS AUREA ................................................................................. page 17 THE VILLAS OF THE CITY OUTSKIRTS .......................... page 19 The Villa of the Farnesina The Villa of the Lamia The Villa of Sallust The Villa of Maecenas The Villa of Agrippina The Villa of Domitia Lucilla The Villa of Gallienus The Villa of the Sessorium The Villas of the Pincio GLOSSARY ........................................................................................................... page 33 INFORMATION ............................................................................................... page 34 nitially, in ancient Rome, there was They were the ideal place to spend INTRODUCTION a small domestic garden called a leisure time alternating rest and recre- I“hortus”, confined in a narrow ation with intellectual activities, to space at the back of the house. Then receive friends and cultivate high rank- came the horti, the plural form indicat- ing social connections and to deal with ing a greatly extended garden in which business and political matters in a the house was only a part of an elabo- more relaxed environment.
    [Show full text]