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Triumphabant Aeternae Domus: Motifs of Arms in Roman Domestic Triumphabant Aeternae Domus: Motifs of Arms in Roman Domestic Decoration A thesis submitted in partial fulfilment of the requirements for the degree Doctor of Philosophy in Ancient History At Cardiff University 2015 Nadia Siobhan Randle Volume 1 of 2 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. DECLARATION This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed N Randle (candidate) Date 24/03/15 STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Ancient History. Signed N Randle (candidate) Date 24/03/15 STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed N Randle (candidate) Date 24/03/15 STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed N Randle (candidate) Date 24/03/15 STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed N Randle (candidate) Date 24/03/15 i Abstract Despite the wealth of research on Roman interior decoration, little has been said about the use of motifs of arms and armour in domestic contexts. Previous scholarship has generally interpreted such images as representing Roman spoils of war. This study challenges this connection with spoils, looking at a wider range of influences on the development and deployment of motifs of arms. It explores how such motifs could have been interpreted in light of their wider decorative context. Drawing on an extensive catalogue of images in painting, mosaic and stucco dating from 100 BC to 100 AD, this thesis looks at the ways real captured arms were displayed in public and private contexts to assess how closely the domestic decorations mirror these idealised practices. It also explores the influence of Greek culture on Roman decorative motifs, decorative fashions across Mau’s Four Styles, the possible influence of gladiatorial combats on the depiction of arms and begins to assess the extent to which all of these factors may have been involved in interpreting motifs of arms in the Roman home. This allows a more nuanced approach to motifs of arms in decorations, emphasising their flexibility and ambiguity. This study also begins to explore how the location of motifs of arms within the house can impact on how a Roman observer could have interpreted the images, opening up a further avenue of research on motifs of arms and understanding how they were deployed and responded to in Roman domestic contexts. ii Acknowledgements My gratitude goes to both the Soprintendenza Speciale per I Beni Archeologici di Pompei, Ercolano e Stabia for their assistance in allowing me to access many areas that were closed to the public in order to help my research. I must also thank the British School at Rome for their assistance in gaining access to many sites in Rome itself during my studies there in 2009 and the British Museum for access to photographs and records for various Roman artefacts in their collections. I am exceptionally thankful for the patience and advice of both my supervisors throughout this process. Dr Ruth Westgate and Dr Guy Bradley have provided me with consistent challenge, correction, guidance and inspiration and without them this work would not have been possible. I must also extend my thanks to all the staff of the Cardiff University Ancient History department who have all offered much needed support and advice at some point over the last few years. Thank you all. I am exceptionally grateful to my examiners, Dr Kate Gilliver and Dr Shelley Hales, for their advice and insights at my viva voce. I am grateful to Professor Andrew Wallace-Hadrill of Cambridge University for divulging details of the newly discovered frescos in the Basilica Noniana at Herculaneum in 2010 and to the Herculaneum Conservation Project for giving me permission to use these details and photographs in my research. I am indebted to Professor Bettina Bergmann of Mount Holyoke College, MA. for taking time out of a busy lecture trip to Bristol in 2012 to give me extensive advice regarding the accompanying evidence catalogue and many of the issues addressed within this thesis. I must also thank Professor Ida Östenberg of Gothenburg University for her advice, encouragement and a fascinating discussion about spoils of war over coffee in Cardiff in 2012. Finally I must thank my parents, Philip and Penelope, for their love, support and encouragement and always believing I’d get it done, even though this took a bit longer than expected. Thank you for reading multiple drafts of this work, assisting on research trips and generally being the best backup I could ask for. Last, but by no means least, I must thank my husband Nick for his unconditional love and support throughout this whole process. His patience and willingness to endure both hysterics and endless conversations about shields, as well as letting me highjack a romantic holiday to Italy and turn it into a research expedition, have made this possible. I could not have done this without him. iii Table of Contents Table of Contents ............................................................................................................................... iii List of Figures .................................................................................................................................... vii Introduction: ‘triumphabantque etiam dominis mutatis aeternae domus’ ........................................... 1 Chapter 1: Literature Review .................................................................................................................. 9 1.1: The Roman Home: Architecture, Decoration and Interpretation................................................ 9 1.2: Roman Domestic Decoration as Roman Art .............................................................................. 14 1.3: Domi Militiaque – Captured ‘Art’ and the Roman home ........................................................... 20 1.4: Wider Historical Context: The Roman Triumph ......................................................................... 26 1.5: Motifs of Arms in Public and Private Decoration ....................................................................... 28 Chapter 2: The Literary Evidence for the display of Arms and Armour in Public and Domestic Space. .............................................................................................................................................................. 34 2.1: Literary Mores: The public ‘custom’ of displaying real arms ..................................................... 34 2.2. Non- Military dedications of Arms and Armour......................................................................... 42 2.3: Domi Militiaque: The evidence for real weaponry in Roman domestic space. ......................... 47 2.3.1: Private Collecting: A Market for Arms and Armour? .......................................................... 55 2.3.2: Pliny’s Natural History, 35.2 and the Case of Clipeatae Imagines. ..................................... 57 2.3.3: A botched attempt at triumphal display? Trimalchio’s rostrum. ....................................... 59 iv 2.4: Conclusions ................................................................................................................................ 61 Chapter 3: Motifs of Arms in Public Decorations.................................................................................. 65 3.1: The Display of Weaponry in the Ancient World: A Brief Outline ............................................... 65 3.1.1: Tombs ................................................................................................................................. 67 3.1.2: Shields ................................................................................................................................. 71 3.2: Numismatic Evidence ................................................................................................................. 73 3.2.1: Republican Numismatics ..................................................................................................... 74 3.2.2: Numismatics of the Principate and Empire to 79 AD. ........................................................ 87 3.3: Sculptural Motifs of Arms .......................................................................................................... 95 3.3.1: Greco-Roman Sculptural Precedents .................................................................................. 96 3.3.2: Sculptural Motifs of Arms: The Republic .......................................................................... 101 3.3.3: Sculptural Motifs of Arms: The Principate
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