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Visualizing the Aeneid in Decor

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Visualizing the Aeneid in Decor Visualizing the Aeneid in Roman Décor By Sarah Legendre A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirements of the degree of MASTER OF ARTS Department of Classics University of Manitoba Winnipeg Copyright © 2019 by Sarah Legendre i Abstract This thesis investigates visual imagery inspired by the Aeneid in Roman décor, grouping the evidence diachronically. The ancient and modern theory of mimesis provides a framework to interpret how the imagery evokes the text; the imagery was not intended as an illustration. I discuss regional patterns and variations in relation to diachronic patterns. Artisans used Aeneid imagery which matched with Roman tastes for mythological imagery in art, such as scenes of couples and heroes. In Late Antiquity, patrons in the eastern empire preferred more general scenes, while patrons in the western empire chose to portray narrative episodes. Artisans and patrons used copybooks to transmit imagery during the imperial period, but in Late Antiquity imagery was inspired by theatrical performances, copybooks, or other popular imagery. Despite the Aeneid’s popularity as a text, the evidence herein confirms earlier suggestions that the visual and textual trajectories of the Aeneid were separate. ii Acknowledgements I owe my deepest gratitude to Dr. Lea Stirling, my supervisor and mentor, for the past two years of tireless mentorship, guidance, and patience she has extended to me. I am grateful that she provided me with the opportunity to study at the University of Manitoba and under her tutelage. I could not have asked for a better supervisor and mentor. My thanks to Dr. Mark Lawall and Dr. Roisin Cossar for their invaluable contributions, comments, and encouragement as they served on my thesis committee. I also thank Dr. Filomena Limão for her kind and thoughtful insights into the world of Portuguese mosaics. This thesis has been made possible through generous funding provided in the form of a stipend by the University of Manitoba Graduate Fellowship initially, and later the Manitoba Graduate Scholarship. Generous additional funding via the Clarence Bogardus Sharpe Memorial Scholarship and the Lyla May Guest-Hugill Scholarship in Classics afforded me the opportunity to learn German for research purposes and visit museums across Europe in preparation for my thesis. Finally, I am grateful to my extensive support network of family, friends, and academic colleagues across the world. To my family, my sincerest thanks and love for your unending support from afar for all these many years. To Danielle and Tyler, thank you for being constants in my life through encouragement and enthusiasm. To Allison and Jim, thank you for encouraging me and helping me to attend graduate school. To Chris, Abby, and Kayla, thank you for being constructive in your critiques, open in listening to my ideas, and patient while I rambled my way to a conclusion. You all are the world to me, and ‘thank you’ seems inadequate. iii Table of Contents Abstract ........................................................................................................................................... ii Acknowledgements ........................................................................................................................ iii List of Figures ................................................................................................................................ vi Chapter 1: Introduction ................................................................................................................... 1 Statement of the Problem ............................................................................................................ 1 Situating research in existing studies .......................................................................................... 5 Importance of study in Roman art ............................................................................................... 9 Evidence .................................................................................................................................... 11 Final Thoughts........................................................................................................................... 13 Chapter 2: Pompeii and the first century CE ................................................................................ 15 Introduction ............................................................................................................................... 15 Thematic approaches to imagery inspired by the Aeneid .......................................................... 16 Imagery of the Aeneid triad ....................................................................................................... 17 Imagery inspired by the Aeneid: Warrior type .......................................................................... 20 Imagery inspired by the Aeneid: Lover type ............................................................................. 23 Textual interactions in Pompeii through Aeneid graffiti – methods ......................................... 26 Textual interactions in Pompeii through Aeneid graffiti – results ............................................ 28 Conclusions ............................................................................................................................... 30 Chapter 3: Imagery from the Aeneid in the second and early third centuries CE - to the provinces ....................................................................................................................................................... 32 Introduction ............................................................................................................................... 32 Evidence from Gallia Narbonensis – Description ..................................................................... 33 Evidence from Gallia Narbonensis – Discussion ...................................................................... 36 Evidence from Britannia ........................................................................................................... 42 Evidence from Achaea .............................................................................................................. 45 Comparandum from North Africa ............................................................................................. 46 Conclusion ................................................................................................................................. 47 Chapter 4: Aeneid in imagery - diversity in Late Antiquity ......................................................... 50 Introduction ............................................................................................................................... 50 Evidence from the Roman West: Britannia............................................................................... 51 Evidence from the Roman West: Lusitania............................................................................... 54 Evidence from the Roman East: Halicarnassos......................................................................... 57 iv Evidence from the Roman East: Syria ...................................................................................... 59 Comparandum in Silver ............................................................................................................ 61 Sources of Imagery.................................................................................................................... 62 Conclusion ................................................................................................................................. 65 Chapter 5: Conclusion and Synthesis ........................................................................................... 68 Introduction ............................................................................................................................... 68 Imagery inspired from the Aeneid within Roman mythological art .......................................... 68 Chronological and geographic patterns – the West ................................................................... 71 Chronological and geographic patterns – the East .................................................................... 73 Transmission of imagery from other sources ............................................................................ 76 Conclusions ............................................................................................................................... 78 Works Cited............................................................................................................................... 81 Appendix of Figures .................................................................................................................. 94 v List of Figures Fig. 1.1. Map with locations of evidence in thesis. Sarah Legendre………...……………….94 Fig. 2.1. Map with locations of cities with evidence from chapter 2. Sarah Legendre………94 Fig. 2.2. Wall painting of Iapyx attempting to heal Aeneas’ arrow wound from Pompeii. Naples, Museo Archeologico Nazionale di Napoli (inv. no. 9009; image © Bridgeman Images).........................................................................................................................95 Fig. 2.3. Dido Abandoned, by unknown artist, 62-79, 1st Century A.D., ripped fresco, 108 x 128 cm. Naples, Museo Archaeologico
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