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VESPASIAN. AD 68, Though Not a Particularly Constructive Year For
138 VESPASIAN. AD 68, though not a particularly constructive year for Nero, was to prove fertile ground for senators lion the make". Not that they were to have the time to build anything much other than to carve out a niche for themselves in the annals of history. It was not until the dust finally settled, leaving Vespasian as the last contender standing, that any major building projects were to be initiated under Imperial auspices. However, that does not mean that there is nothing in this period that is of interest to this study. Though Galba, Otho and Vitellius may have had little opportunity to indulge in any significant building activity, and probably given the length and nature of their reigns even less opportunity to consider the possibility of building for their future glory, they did however at the very least use the existing imperial buildings to their own ends, in their own ways continuing what were by now the deeply rooted traditions of the principate. Galba installed himself in what Suetonius terms the palatium (Suet. Galba. 18), which may not necessarily have been the Golden House of Nero, but was part at least of the by now agglomerated sprawl of Imperial residences in Rome that stretched from the summit of the Palatine hill across the valley where now stands the Colosseum to the slopes of the Oppian, and included the Golden House. Vitellius too is said to have used the palatium as his base in Rome (Suet. Vito 16), 139 and is shown by Suetonius to have actively allied himself with Nero's obviously still popular memory (Suet. -
ANALES De Arqueología Cordobesa
21/22 ANALES de Arqueología Cordobesa 2010 - 2011 21/22 de Arqueología Cordobesa de ANALES Gerencia Municipal de Urbanismo Área de Arqueología 2010 Grupo de investiGación sísifo 2011 Área de arqueoloGía. facultad de filosofía y letras. universidad de córdoba ANALES DE ARQUEOLOGÍA CORDOBESA núm. 21-22 (2010-2011) GRUpO de iNvEStiGACióN SÍSifO ÁREA de Arqueología. FacultAD de filosofÍA y LEtras. UNiversidad de Córdoba M.ª Teresa Amaré Tafalla In memoriam comité de redacción ANALES Director: DE ARQUEOLOGÍA Desiderio VAQUERIZO GIL Catedrático de Arqueología. Universidad de Córdoba CORDOBESA núm. 21-22 (2010-2011) Secretarios: José Antonio GARRIGUET Mata Universidad de Córdoba Alberto LEón MUñOZ Universidad de Córdoba Revista de periodicidad Vocales: anual, publicada por el Lorenzo ABAD CASAL Universidad de Alicante Grupo de Investigación Sí- Carmen ARAnEGUI GASCó Universidad de Valencia sifo (HUM-236, Plan An- Manuel BEnDALA GALÁn Universidad Autónoma de Madrid daluz de Investigación), Juan M. CAMPOS CARRASCO Universidad de Huelva de la Universidad de Cór- José L. JIMÉnEZ SALVADOR Universidad de Valencia doba, en el marco de su Pilar LEón-CASTRO ALOnSO Universidad de Sevilla convenio de colaboración Jesús LIZ GUIRAL Universidad de Salamanca con la Gerencia Municipal José María LUZón nOGUÉ de Urbanismo del Ayunta- Universidad Complutense de Madrid miento de la ciudad. Carlos MÁRQUEZ MOREnO Universidad de Córdoba Manuel A. MARTÍn BUEnO Universidad de Zaragoza Juan Fco. MURILLO REDOnDO Gerencia Municipal de Urbanismo. Ayto. de Córdoba Mercedes -
The Eternal Fire of Vesta
2016 Ian McElroy All Rights Reserved THE ETERNAL FIRE OF VESTA Roman Cultural Identity and the Legitimacy of Augustus By Ian McElroy A thesis submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Classics Written under the direction of Dr. Serena Connolly And approved by ___________________________________________ ___________________________________________ ___________________________________________ New Brunswick, New Jersey October 2016 ABSTRACT OF THE THESIS The Eternal Fire of Vesta: Roman Cultural Identity and the Legitimacy of Augustus By Ian McElroy Thesis Director: Dr. Serena Connolly Vesta and the Vestal Virgins represented the very core of Roman cultural identity, and Augustus positioned his public image beside them to augment his political legitimacy. Through analysis of material culture, historiography, and poetry that originated during the principate of Augustus, it becomes clear that each of these sources of evidence contributes to the public image projected by the leader whom Ronald Syme considered to be the first Roman emperor. The Ara Pacis Augustae and the Res Gestae Divi Augustae embody the legacy the Emperor wished to establish, and each of these cultural works contain significant references to the Vestal Virgins. The study of history Livy undertook also emphasized the pathetic plight of Rhea Silvia as she was compelled to become a Vestal. Livy and his contemporary Dionysius of Halicarnassus explored the foundation of the Vestal Order and each writer had his own explanation about how Numa founded it. The Roman poets Virgil, Horace, Ovid, and Tibullus incorporated Vesta and the Vestals into their work in a way that offers further proof of the way Augustus insinuated himself into the fabric of Roman cultural identity by associating his public image with these honored priestesses. -
The Imperial Cult and the Individual
THE IMPERIAL CULT AND THE INDIVIDUAL: THE NEGOTIATION OF AUGUSTUS' PRIVATE WORSHIP DURING HIS LIFETIME AT ROME _______________________________________ A Dissertation presented to the Faculty of the Department of Ancient Mediterranean Studies at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by CLAIRE McGRAW Dr. Dennis Trout, Dissertation Supervisor MAY 2019 The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled THE IMPERIAL CULT AND THE INDIVIDUAL: THE NEGOTIATION OF AUGUSTUS' PRIVATE WORSHIP DURING HIS LIFETIME AT ROME presented by Claire McGraw, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. _______________________________________________ Professor Dennis Trout _______________________________________________ Professor Anatole Mori _______________________________________________ Professor Raymond Marks _______________________________________________ Professor Marcello Mogetta _______________________________________________ Professor Sean Gurd DEDICATION There are many people who deserve to be mentioned here, and I hope I have not forgotten anyone. I must begin with my family, Tom, Michael, Lisa, and Mom. Their love and support throughout this entire process have meant so much to me. I dedicate this project to my Mom especially; I must acknowledge that nearly every good thing I know and good decision I’ve made is because of her. She has (literally and figuratively) pushed me to achieve this dream. Mom has been my rock, my wall to lean upon, every single day. I love you, Mom. Tom, Michael, and Lisa have been the best siblings and sister-in-law. Tom thinks what I do is cool, and that means the world to a little sister. -
Roman Architecture with Professor Diana EE Kleiner Lecture 13
HSAR 252 - Roman Architecture with Professor Diana E. E. Kleiner Lecture 13 – The Prince and the Palace: Human Made Divine on the Palatine Hill 1. Title page with course logo. 2. Domus Aurea, Rome, sketch plan of park. Reproduced from Roman Imperial Architecture by John B. Ward-Perkins (1981), fig. 26. Courtesy of Yale University Press. 3. Portrait of Titus, from Herculaneum, now Naples, Archaeological Museum. Reproduced from Roman Sculpture by Diana E. E. Kleiner (1992), fig. 141. Portrait of Vespasian, Copenhagen. Reproduced from A History of Roman Art by Fred S. Kleiner (2007), fig. 9-4. 4. Roman Forum and Palatine Hill, aerial view. Credit: Google Earth. 5. Via Sacra, Rome. Image Credit: Diana E. E. Kleiner. Arch of Titus, Rome, Via Sacra. Reproduced from Rome of the Caesars by Leonardo B. Dal Maso (1977), p. 45. 6. Arch of Titus, Rome, from side facing Roman Forum [online image]. Wikimedia Commons. http://commons.wikimedia.org/wiki/File:RomeArchofTitus02.jpg (Accessed February 24, 2009). 7. Arch of Titus, Rome, 18th-century painting [online image]. Wikimedia Commons. http://commons.wikimedia.org/wiki/File:7_Rome_View_of_the_Arch_of_Titus.jpg (Accessed February 24, 2009). Arch of Titus, Rome, from side facing Colosseum. Image Credit: Diana E. E. Kleiner. 8. Arch of Titus, Rome, attic inscription and triumphal frieze. Image Credit: Diana E. E. Kleiner. 9. Arch of Titus, Rome, triumphal frieze, victory spandrels, and keystone. Image Credit: Diana E. E. Kleiner. 10. Arch of Titus, Rome, composite capital. Image Credit: Diana E. E. Kleiner. 11. Arch of Titus, Rome, triumph panel. Image Credit: Diana E. E. -
HSAR 252 - Roman Architecture with Professor Diana E
HSAR 252 - Roman Architecture with Professor Diana E. E. Kleiner Lecture 6 – Habitats at Herculaneum and Early Roman Interior Decoration 1. Title page with course logo. 2. Map of Italy in Roman times. Credit: Yale University. 3. Herculaneum, aerial view of ancient remains. Credit: Google Earth. 4. Herculaneum, view of ancient remains with modern apartment houses. Image Credit: Diana E. E. Kleiner. 5. Herculaneum, view of ancient remains. Image Credit: Diana E. E. Kleiner. 6. Casa a Graticcio, Herculaneum, general view. Image Credit: Diana E. E. Kleiner. Wooden partition, Herculaneum [online image]. Wikimedia Commons. http://commons.wikimedia.org/wiki/File:Herculaneum_Casa_del_Tramezzo_di_Legno_-8.jpg (Accessed January 29, 2009). Bed, Herculaneum [online image]. Wikimedia Commons. http://commons.wikimedia.org/wiki/File:Herculaneum_Casa_del_Tramezzo_di_Legno_Letto.jpg (Accessed January 29, 2009). 7. Skeletons, Herculaneum. Reproduced from National Geographic vol. 165, no. 5, May 1984, p. 556. Photograph by O. Louis Mazzatenta. Skeletons, Herculaneum. Reproduced from National Geographic vol. 165, no. 5, May 1984, p. 562. Photograph by O. Louis Mazzatenta. 8. Rings, Herculaneum. Reproduced from National Geographic vol. 165, no. 5, May 1984, p. 560 (bottom). Photograph by O. Louis Mazzatenta. Bracelets, Herculaneum. Reproduced from National Geographic vol. 165, no. 5, May 1984, p. 561. Photograph by O. Louis Mazzatenta. Skeleton of woman, Herculaneum. Reproduced from National Geographic vol. 165, no. 5, May 1984, p. 560 top. Photograph by O. Louis Mazzatenta. 9. Skeleton of pregnant woman with fetus, Herculaneum. Reproduced from National Geographic vol. 165, no. 5, May 1984, p. 564. Photograph by O. Louis Mazzatenta. 10. Crib with skeletal remains of an infant, Herculaneum. -
The Platform of the Temple of Venus and Rome
Proceedings of the Third International Congress on Construction History, Cottbus, May 2009 The Platform of the Temple of Venus and Rome C. González-Longo Architect, Edinburgh, UK D. Theodossopoulos University of Edinburgh, Edinburgh, UK ABSTRACT: The Temple of Venus and Rome at the Roman Forum was allegedly designed by the emperor Ha- drian himself and was inaugurated in 135 AD. Its construction upon the Velia hill and precedent structures re- quired an exceptional design and execution, including the provision of a massive 167x 100 m artificial plat- form. Distinct historical developments on the site like the Vestibule of Nero’s Golden House and the later construction of the medieval church and monastery of Santa Maria Nova as well as the Mussolinian operations of Sventramenti in the first half of the 20th century, have influenced the construction and altered the presenta- tion of the platform. This paper intends to discuss the strategy, design, construction and current condition of this example of a lesser-known field of Roman structural technology. Foundations and platforms of this kind can offer invaluable information on the function of a temple, its history and structural performance, but theirs study is often neglected. INTRODUCTION The exceptional complex that includes the Temple of Venus and Rome and the Monastery of Santa Francesca Romana has not been studied previously as a single site and the various stages and interventions in its history have always been viewed with partial reference to specific areas. The authors have tried in the recent years to link such stages to a more global architectural understanding and conservation approach to the entire site. -
Martial and the City of Rome*
Martial and the City of Rome* LUKE ROMAN ABSTRACT This essay examines the representation of the city of Rome in Martial’s Epigrams, and specifi cally, his references to urban topography. The city is an insistent and vivid presence in Martial’s Epigrams to a degree unparalleled in Roman poetry. He fashions a Rome that is more relentlessly sordid, irregular and jagged in texture, and overtly dissonant in its juxtapositions than the literary cities of his poetic predecessors. This new urban emphasis is not only a game of literary one-upmanship. Martial’s urban poetics takes shape in the context of renewed attention to the city and monumental building under the Flavians. ‘… et ad cubile est Roma’ (‘… and at my bedside is — Rome’, Martial, Epigrams 12.57.27) The prime setting for Martial’s Epigrams is Rome, and the life of the city is his main subject. Traditionally, Martial has been mined as a source for aspects of daily urban life: the presumption is that his realist orientation and focus on low-life scenarios bring us closer to the sordid everyday realities of urban existence omitted in other authors. Current scholarship, however, is increasingly impatient of the use of poets as transparent windows onto quotidian reality,1 and tends to stress their literary motives for constructing realist scenes in a certain form. While it would be reductive to insist that Roman literature does not provide insight, in a complex way, into Roman life, more recent work rightly observes that realist writers, who offer up images of Roman social life — Martial, Pliny the Younger, Juvenal — are also likely to be creating a reality that sets up central aspects of their self-representation.2 Accepting their picture of Rome as a descriptive impression of their surroundings is tantamount to perpetuating a rhetorical emphasis that is inevitably contestable and interested. -
Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th. -
Cambridge University Press 978-1-107-10357-3 — the Architecture of the Roman Triumph Maggie L
Cambridge University Press 978-1-107-10357-3 — The Architecture of the Roman Triumph Maggie L. Popkin Index More Information INDEX Aachen, Germany, 138 Apollo Caelispex, statue of, 193 Abu Simbel, Egypt, 184–6 Aqua Claudia, 159 Acilius Glabrio, M., 192 Ara Maxima Herculis, 193 Acropolis, Athenian, 184 Ara Pacis, 95 Actian Arch of Augustus, 103–4 Arch of Claudius, 95–6 aedes Aemiliana (Herculis), 69, 101, 193 Arch of Constantine, 141–2, 159, 184, 216 Aemilius Lepidus, M., 52–8, 77, 126, 187, 189–90, Arch of Germanicus, 99 214 Arch of Marcus Aurelius, 141–2, 216 Aemilius Paullus, L., 21, 86, 98–9, 193, 223 Arch of Septimius Severus, 5, 23, 30–1, 33–4, 142, funeral of, 199 144–51, 161–2, 173–9, 181, 184, 216 triumph of, 21, 28–30, 86–7, 199, 202, 212 Arch of the Argentarii, 180–1 Aemilius Paullus, M., 58, 62–3, 77 Arch of Tiberius, 33–4, 101, 105–6, 175–6, 209 Aemilius Regillus, L., 52–8, 76–7, 187 Arch of Titus in the Circus Maximus (in Circo), Aemilius Scaurus, M., 126 110–11, 115, 174 Aeneid (Virgil), 81 Arch of Titus on the Sacra Via, 6, 30, 36, 62, 103, Affordable Care Act, 138 105–6, 141–2, 147, 150, 197 Africa. See also North Africa Arch of Trajan Roman conquest of, 80 at Benevento, 19, 147, 149, 197 Septimius Severus and, 137, 163, 179–80 on Capitoline Hill, 107–8 Agora, Athenian, 184 arches. See also specific arches Alban Mount, 1, 19, 30–1, 93–4 quadrigas and, 93–4, 101, 103, 129 Alcock, Susan, 75–6, 90–1, 119, 177 as triumphal monument, 61–2, 204 Alexander Severus, 132–3, 163–4, 167 visual novelty of, 61–2 Alexander the Great voussoir, 62 Granikos monument of, 77, 143–4 Arches of Augustus, 150 processions of, and of his successors, 183 Actian Arch, 103–4 Alexandria Naulochan Arch, 103–4 Grand Procession of Ptolemy Philadelphus in, Parthian Arch, 33–4, 93–4, 103–4, 174, 179 183 Arches of Stertinius. -
ANALES Incomplete Senate Building of DE ARQUEOLOGÍA Domitian? CORDOBESA El Complejo Constructivo Imperial De Núm
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositorio Institucional de la Universidad de Córdoba iSSN: 1130-9741 ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 57 THe IMperIaL buildinG CoMpLeX oF s. MarIa anTIqUa In roMe – an ANALES InCoMpLeTe senaTe buildinG oF DE ARQUEOLOGÍA DoMITIan? CORDOBESA eL CoMpLejo ConsTructivo IMperIaL De núm. 21-22 (2010-2011) sTa. María anTIqUa en roMa ¿Un edificio InCoMpLeTo DeL senaDo De Domiciano? MiChAEL hEiNzelmann UnIVersITäT ZU KöLn ✉: [email protected] Fecha de recepción: 14 / 09 / 2010 / Fecha de aceptación: 18 / 11 / 2010 abstract: Behind the temple of the Dioscuri lies the extensive imperial building complex of S. Maria Antiqua, which was initiated by Do- mitian but never completed. Until today it has only been partially investigated and convincing explanations for its orginal intended function are missing. By analyzing its structural characteristics and spatial relationships with the Palatine and the Forum Roma- num a new interpretation of the building complex as a new Curia of the Roman Senate attached to the imperial palaces is proposed. Keywords: S. Maria Antiqua, imperial building complex, Do- mitian, Curia, Roman Senate. resUmen: Detrás del templo de los Dioscuros se sitúa el gran complejo arquitectónico de Santa María Antiqua, iniciado por Domiciano pero nunca completado. Hasta la fecha sólo ha sido investigado parcialmente y carecemos de explicaciones convincentes acerca de la función para la que se diseñó. Mediante el análisis de sus características estructurales y relaciones espaciales con el Palati- no y el Foro Romano se propone una novedosa interpretación del complejo como la nueva Curia del Senado Romano anexa a los palacios imperiales. -
Social Science
Myth at the heart of the Roman Empire The House of Augustus Rome Map: house of Augustus Augustus was an emperor: Caesar Augustus, one of the emperors of Rome. Augusto era imperatore: Caesar Augusto, era uno degli imperatori di Roma. He was the first emperor. As a child he was also seen as the future saviour of Rome. E' stato il primo imperatore che e' stato visto anche come il bambino che avrebbe salvato Roma. The house of Augustus is right next to the entrance to the Roman Forum. C'e' la casa di Augusto proprio nell'entrata del Foro Romano. Chris Smith: So this is the House of Augustus. It's an incredibly exciting site, because what we get to see here is the choices that an emperor has made about where he wants to live. Chris Smith: Through to the green that you can see underneath the archway here is effectively the end of the palatine, edge of the palatine. That leads you down into this incredibly rich sacral landscape. Which ultimately leads to the Tiber. And of course the Lupercal. The Lupercal, the place where Romulus and Remus wound up after they'd been put into a little boat and sent off to die. That's where they were suckled by a wolf, taken in by a shepherd and so forth, so there's a direct story of Romulus and Remus at the Lupercal there. Chris Smith: At the same time, if we look down this line here, what we're effectively seeing is a row of temples, and there's another behind us over there, which contextualise this house in a highly religious topography from the middle republic to contemporary with Augustus.