Encounters, Excavations and Argosies Essays for Richard Hodges
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The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the D
The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marion Woodrow Kruse, III Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Anthony Kaldellis, Advisor; Benjamin Acosta-Hughes; Nathan Rosenstein Copyright by Marion Woodrow Kruse, III 2015 ABSTRACT This dissertation explores the use of Roman historical memory from the late fifth century through the middle of the sixth century AD. The collapse of Roman government in the western Roman empire in the late fifth century inspired a crisis of identity and political messaging in the eastern Roman empire of the same period. I argue that the Romans of the eastern empire, in particular those who lived in Constantinople and worked in or around the imperial administration, responded to the challenge posed by the loss of Rome by rewriting the history of the Roman empire. The new historical narratives that arose during this period were initially concerned with Roman identity and fixated on urban space (in particular the cities of Rome and Constantinople) and Roman mythistory. By the sixth century, however, the debate over Roman history had begun to infuse all levels of Roman political discourse and became a major component of the emperor Justinian’s imperial messaging and propaganda, especially in his Novels. The imperial history proposed by the Novels was aggressivley challenged by other writers of the period, creating a clear historical and political conflict over the role and import of Roman history as a model or justification for Roman politics in the sixth century. -
For a History of the Use of the Antoninian Baths: Owners, Excavations and Dispossession
ArcHistoR anno VII (2020) n. 13 For a History of the Use of the Antoninian Baths: Owners, Excavations and Dispossession Isabella Salvagni For centuries, the monumental ruins of the Baths of Caracalla in Rome have attracted the attention of humanists, philologists and antique dealers, tickling their curiosity and arousing imaginative reconstructions. From the forefathers to the spokespersons of modern archaeology, it is this discipline that has mostly directed and guided the most recent studies on the complex, from the 1800s to today. However, while the ‘archaeological’ vocation constitutes the most evident and representative essence of these remains, for over a thousand years the whole area over which they lay was mainly used as agricultural land divided and passed on from hand to hand through countless owners. An attempt is made to provide a brief overview of this long and little-known history of use, covering the 300 years from the mid-16th century to the Unification of Italy. Starting from the identification of some of the many figures who have alternated over time as owners of the individual estates in different capacities, the story gives us a valuable amount of information also relating to what the owners themselves, as customers, have deliberated and conducted on the farms which they used, cultivating them, building and directing stripping, excavation, accommodation, reuse, and destruction operations, while providing us with useful data for the analysis of the transformative mechanisms of the land use of this portion of the city, to be related to the more general urban history of Rome. AHR VII (2020) n. -
San Vincenzo Al Volturno New Insights Into Ceramic Production and Distribution at an Early Medieval Monastery*
Libro1bisw2bis.qxd 17/06/2006 20.03 Pagina 249 SAN VINCENZO AL VOLTURNO NEW INSIGHTS INTO CERAMIC PRODUCTION AND DISTRIBUTION AT AN EARLY MEDIEVAL MONASTERY* Helen Patterson British School at Rome (Tavv. XIV - XV) Introduction The San Vincenzo project began in 1980, over the last twenty years this has involved excavations of the monastery itself, survey of its terra and the excava- tion of several sites in the terra1 (Fig. 1) The aims of the study of the ceramics from the monastery and its terra are to: – establish a datable type series for the early medieval period in this area which would also be an important aid to dating early medieval contexts from other sites in central southern Italy; – to shed light on the social and economic life of the monastery; – to investigate the relationship between the monastery and settlements in its terra through time; – to investigate some key questions regarding developments in central and southern Italy during the early medieval and medieval periods. Although a part of what is discussed in this paper has already been presen- ted in other publications, as the excavations progress new information continues to come to light2. Of particular importance are the well stratified groups of the late eighth and early ninth centuries from the monastery itself and twelfth cen- tury deposits from the area of the New Abbey, a preliminary synthesis of this material is presented here for the first time. * This paper is a synthesis of a more detailed article to be publisched in Archeologia Medievale. 1. See in particular San Vincenzo 1...; San Vincenzo 2 ...; San Vincenzo 3 ...; San Vincenzo al Volturno ...; San Vincenzo al Volturno: Cultura ... -
SVAKO-NEKA-VERUJE-En
1 2 Conference EVERLASTING VALUE AND PERMANENT ACTUALITY OF THE EDICT OF MILAN On the Way to the Great Jubilee in 2013 Book 1 Everyone Should Believe as His Heart Wishes Belgrade, September 2011 Under the auspices of His Holiness Mr. Irinej, the Serbian Patriarch EVERLASTING VALUE AND PERMANENT ACTUALITY OF THE EDICT OF MILAN ON THE Way TO THE Great Jubilee IN 2013 Book 1 - Everyone Should Believe as HIS Heart Wishes Publisher Association of Nongovernmental Organizations in SEE – CIVIS Dositejeva 4/IV, 11000 Belgrade, Serbia Tel: +381 11 26 21 723, Fax: +381 11 26 26 332 www.civis-see.org For publisher Mirjana Prljević Chief Editor Mirjana Prljević Editor Bojana Popović Translators Marina Djordjević Bojana Popović Translator of the text “Edict of Milan” by Nebojša Ozimić Ivana Filipović Design & Prepress Marko ZAkovskI Printed by Graphic, Novi Sad Press run: 500 pcs ISBN 978-86-908103-2-1 The publishing of this book was supported by German Foundation Renovabis Content 5 INTRODUCTION 6 CONCLUSIONS FROM THE CONFERENCE Opening speeches 7 H.E. Bishop of Bačka, Dr Irinej 9 Miloš Simonović 9 Archpriest Vitalij Tarasjev 10 H.E. Mons. Orlando Antonini 11 Dr Johann Marte 12 Mirjana Prljević 13 Božidar Đelić 15 I sesSION 17 Dr. Christian Gastgeber Constantine the Great and His Bible Order 20 Erika Juhasz Constantine the Great and his Importance: Seen by the Historiography of the 7th Century 25 Dr. Sebastiano Panteghini Constantine the Great and the Renewal of His Image (14th century, Ecclesiastical History by Nike- phoros Xanthopulos) 30 Prof. Milutin Timotijević Emperor Constantine’s Aureole 37 Prof. -
Profile of a Plant: the Olive in Early Medieval Italy, 400-900 CE By
Profile of a Plant: The Olive in Early Medieval Italy, 400-900 CE by Benjamin Jon Graham A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in the University of Michigan 2014 Doctoral Committee: Professor Paolo Squatriti, Chair Associate Professor Diane Owen Hughes Professor Richard P. Tucker Professor Raymond H. Van Dam © Benjamin J. Graham, 2014 Acknowledgements Planting an olive tree is an act of faith. A cultivator must patiently protect, water, and till the soil around the plant for fifteen years before it begins to bear fruit. Though this dissertation is not nearly as useful or palatable as the olive’s pressed fruits, its slow growth to completion resembles the tree in as much as it was the patient and diligent kindness of my friends, mentors, and family that enabled me to finish the project. Mercifully it took fewer than fifteen years. My deepest thanks go to Paolo Squatriti, who provoked and inspired me to write an unconventional dissertation. I am unable to articulate the ways he has influenced my scholarship, teaching, and life. Ray Van Dam’s clarity of thought helped to shape and rein in my run-away ideas. Diane Hughes unfailingly saw the big picture—how the story of the olive connected to different strands of history. These three people in particular made graduate school a humane and deeply edifying experience. Joining them for the dissertation defense was Richard Tucker, whose capacious understanding of the history of the environment improved this work immensely. In addition to these, I would like to thank David Akin, Hussein Fancy, Tom Green, Alison Cornish, Kathleen King, Lorna Alstetter, Diana Denney, Terre Fisher, Liz Kamali, Jon Farr, Yanay Israeli, and Noah Blan, all at the University of Michigan, for their benevolence. -
Rome: a Pilgrim’S Guide to the Eternal City James L
Rome: A Pilgrim’s Guide to the Eternal City James L. Papandrea, Ph.D. Checklist of Things to See at the Sites Capitoline Museums Building 1 Pieces of the Colossal Statue of Constantine Statue of Mars Bronze She-wolf with Twins Romulus and Remus Bernini’s Head of Medusa Statue of the Emperor Commodus dressed as Hercules Marcus Aurelius Equestrian Statue Statue of Hercules Foundation of the Temple of Jupiter Optimus Maximus In the Tunnel Grave Markers, Some with Christian Symbols Tabularium Balconies with View of the Forum Building 2 Hall of the Philosophers Hall of the Emperors National Museum @ Baths of Diocletian (Therme) Early Roman Empire Wall Paintings Roman Mosaic Floors Statue of Augustus as Pontifex Maximus (main floor atrium) Ancient Coins and Jewelry (in the basement) Vatican Museums Christian Sarcophagi (Early Christian Room) Painting of the Battle at the Milvian Bridge (Constantine Room) Painting of Pope Leo meeting Attila the Hun (Raphael Rooms) Raphael’s School of Athens (Raphael Rooms) The painting Fire in the Borgo, showing old St. Peter’s (Fire Room) Sistine Chapel San Clemente In the Current Church Seams in the schola cantorum Where it was Cut to Fit the Smaller Basilica The Bishop’s Chair is Made from the Tomb Marker of a Martyr Apse Mosaic with “Tree of Life” Cross In the Scavi Fourth Century Basilica with Ninth/Tenth Century Frescos Mithraeum Alleyway between Warehouse and Public Building/Roman House Santa Croce in Gerusalemme Find the Original Fourth Century Columns (look for the seams in the bases) Altar Tomb: St. Caesarius of Arles, Presider at the Council of Orange, 529 Titulus Crucis Brick, Found in 1492 In the St. -
Michelangelo's Locations
1 3 4 He also adds the central balcony and the pope’s Michelangelo modifies the facades of Palazzo dei The project was completed by Tiberio Calcagni Cupola and Basilica di San Pietro Cappella Sistina Cappella Paolina crest, surmounted by the keys and tiara, on the Conservatori by adding a portico, and Palazzo and Giacomo Della Porta. The brothers Piazza San Pietro Musei Vaticani, Città del Vaticano Musei Vaticani, Città del Vaticano facade. Michelangelo also plans a bridge across Senatorio with a staircase leading straight to the Guido Ascanio and Alessandro Sforza, who the Tiber that connects the Palace with villa Chigi first floor. He then builds Palazzo Nuovo giving commissioned the work, are buried in the two The long lasting works to build Saint Peter’s Basilica The chapel, dedicated to the Assumption, was Few steps from the Sistine Chapel, in the heart of (Farnesina). The work was never completed due a slightly trapezoidal shape to the square and big side niches of the chapel. Its elliptical-shaped as we know it today, started at the beginning of built on the upper floor of a fortified area of the Apostolic Palaces, is the Chapel of Saints Peter to the high costs, only a first part remains, known plans the marble basement in the middle of it, space with its sail vaults and its domes supported the XVI century, at the behest of Julius II, whose Vatican Apostolic Palace, under pope Sixtus and Paul also known as Pauline Chapel, which is as Arco dei Farnesi, along the beautiful Via Giulia. -
Pestilence and Prayer: Saints and the Art of The
PESTILENCE AND PRAYER: SAINTS AND THE ART OF THE PLAGUE IN ITALY FROM 1370 - 1600 by JESSICA MARIE ORTEGA A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Art History in the College of Arts and Humanities and in The Burnett Honors College at the University of Central Florida Orlando, Florida Fall Term 2012 Thesis Chair: Dr. Margaret Zaho ABSTRACT Stemming from a lack of scholarship on minor plague saints, this study focuses on the saints that were invoked against the plague but did not receive the honorary title of plague patron. Patron saints are believed to transcend geographic limitations and are charged as the sole reliever of a human aliment or worry. Modern scholarship focuses on St. Sebastian and St. Roch, the two universal plague saints, but neglects other important saints invoked during the late Medieval and early Renaissance periods. After analyzing the reasons why St. Sebastian and St. Roch became the primary plague saints I noticed that other “minor” saints fell directly in line with the particular plague associations of either Sebastian or Roch. I categorized these saints as “second-tier” saints. This categorization, however, did not cover all the saints that periodically reoccurred in plague-themed artwork, I grouped them into one more category: the “third-tier” plague saints. This tier encompasses the saints that were invoked against the plague but do not have a direct association to the arrow and healing patterns seen in Sts. Sebastian and Roch iconographies. This thesis is highly interdisciplinary; literature, art, and history accounts were all used to determine plague saint status and grouping, but art was my foundation. -
039-San Pancrazio.Pages
(39/20) San Pancrazio San Pancrazio is a 7th century minor basilica and parish and titular church, just west of Trastevere. This is in the suburb of Monteverde Vecchio, part of the Gianicolense quarter. The church is up a driveway from the road, and is surrounded by the park of the Villa Doria Pamphilj. The dedication is to St Pancras. History The basilica is on the site of the tomb of St Pancras, an early 4th century martyr. Unfortunately his legend is unreliable, but his veneration is in evidence from early times. The revised Roman martyrology carefully states in its entry for 12 May: "St Pancras, martyr and young man who by tradition died at the second milestone on the Via Aurelia". The actual location is on the present Via Vitellia, which is possibly an ancient road in its own right. The legend alleges that the body of the martyr was interred by a pious woman called Octavilla. This detail is thought to preserve the name of the proprietor of the cemetery in which the martyr was buried, which as a result is also called the Catacombe di Ottavilla. The re-laying of the church's floor in 1934 revealed some of the original surface cemetery (cimitero all'aperto), which began as a pagan burial ground in the 1st century. Three columbaria or "gardens of remembrance" for funerary ashes were found. This cemetery around the saint's tomb was extended as a Christian catacomb beginning at the start of the 4th century, with four separate identifiable foci. The earliest area seems to be contemporary with his martyrdom. -
Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676. -
Pia Casa Degli Orfani Di Santa Maria in Aquiro E Monastero Dei Santi Quattro Coronati Collegio Salviati
Istituti di Santa Maria in Accademia nazionale dei Regione Lazio – Assessorato Aquiro – Isma Lincei alla cultura ed alle politiche giovanili Pia casa degli orfani di Santa Maria in Aquiro e Monastero dei Santi Quattro Coronati Collegio Salviati Archivio storico INVENTARIO 1320 - 1893 1076 unità A cura di Alexandra Kolega Con contributi pregressi di Anna Lia Bonella, Giancarlo Ceccacci, Fiorenza Gemini Roma 2015 Sommario Cenni storici Note archivistiche Schemi delle serie Inventario della Pia casa degli orfani e Santi Quattro Coronati Parte prima Parte seconda Inventario del Collegio Salviati Note biografiche Indici Elenco tomi mancanti 2 PIA CASA DEGLI ORFANI E SANTI QUATTRO CORONATI 1529-1891 535 unità Atti fondativi 1541- 1 unità nn. 506 1699 Libri delle congregazioni 1751- 15 unità nn. 507-517 1866 Cause 1529- 2 unità nn. 518-519 1759 Miscellanea istituzionale 1529- 17 unità nn. 520-536 1867 Patrimonio 1647- 3 unità nn. 537-539 1819 Filze dei contratti 1751- 7 unità nn. 540-546 1860 Patenti e luoghi di monte 1684- 3 unità nn. 547-549 1796 Mastri 1572- 32 unità nn. 550-581 1878 Libri di entrata e uscita 1760- 12 unità nn. 582-593 dell'esattore 1877 Registri dei mandati 1810- 6 unità nn. 594-599 1849 Rincontri col Monte di 1834- 2 unità nn. 600-601 pietà 1869 Saldaconti dei debitori e 1801- 11 unità nn. 602-612 creditori 1864 Mastri delle eredità 1754- 5 unità nn. 613-617 1891 Stati attivi e passivi 1817- 10unità nn. 618-627 1836 Esercizi finanziari 1840- 18 unità nn. 628-645 1869 Filze dei mastri delle 1769- 4 unità nn. -
Rome of the Pilgrims and Pilgrimage to Rome
58 CHAPTER 2 Rome of the pilgrims and pilgrimage to Rome 2.1 Introduction As noted, the sacred topography of early Christian Rome focused on different sites: the official Constantinian foundations and the more private intra-mural churches, the tituli, often developed and enlarged under the patronage of wealthy Roman families or popes. A third, essential category is that of the extra- mural places of worship, almost always associated with catacombs or sites of martyrdom. It is these that will be examined here, with a particular attention paid to the documented interaction with Anglo-Saxon pilgrims, providing insight to their visual experience of Rome. The phenomenon of pilgrims and pilgrimage to Rome was caused and constantly influenced by the attitude of the early-Christian faithful and the Church hierarchies towards the cult of saints and martyrs. Rome became the focal point of this tendency for a number of reasons, not least of which was the actual presence of so many shrines of the Apostles and martyrs of the early Church. Also important was the architectural manipulation of these tombs, sepulchres and relics by the early popes: obviously and in the first place this was a direct consequence of the increasing number of pilgrims interested in visiting the sites, but it seems also to have been an act of intentional propaganda to focus attention on certain shrines, at least from the time of Pope Damasus (366-84).1 The topographic and architectonic centre of the mass of early Christian Rome kept shifting and moving, shaped by the needs of visitors and ‒ at the same time ‒ directing these same needs towards specific monuments; the monuments themselves were often built or renovated following a programme rich in liturgical and political sub-text.