Twenty years on : the cycle of Julio-Claudian portrait statues from Melite in their historical context (original) (raw)
Related papers
The physical domus represented the status of imperial women and their position in society. Just like the male residence, the female residence was a lieu de me´moire. Activities taking place within the house were often evaluated along the lines of the ideal of female conduct. Livia’s actions on the Palatine Hill show that she was well aware of the symbolic power of her residence and of the importance of presenting herself as being in agreement with the traditional standards for female behaviour. The celebration of Diva Augusta on the Palatine and the preservation of (a part of) the Domus Augusti, first as the living space of the matres familias of the Julio-Claudian dynasty and later as an object of veneration, shows that the Palatine structure should not only be seen as the living space of emperors. The female component was just as present and played a role in the creation of lieux de me´moire.
Portraits, power, and patronage in the late Roman Republic
The Journal of Roman Studies, 2000
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
The Roman house and social identity
2003
Introduction 1 part one. the houses of rome in ancient literature 1 The Ideal Home 11 2 The House and the Construction of Memory 40 3 The Imperial Palace 61 part two. pompeii-the living house 4 Finding a Way into the Pompeian House 97 5 The Art of Impression in the Houses of Pompeii 135 part three. the roman house on the periphery of empire
Reading the Roman House: The Social Interpretation of Spatial Order
Theoretical Roman Archaeology Journal
Ifwe wish to study the Roman house, how should we go about it? If we were to follow the tradition within which most of the literature on Roman houses has been produced, our concerns would be "painstaking recording and analysis of the minutiae" (Ling 1993, 331). The persistent aim of such art historically driven research has been to create ever more refined chronologies and typologies of the architecture of the house itself (e.g. Richardson 1988) and of the decoration and objects found within it This has had the unfortunate effect of fragmenting the archaeological evidence, causing it to become divorced from both its physical and social contexts (Wallace-HadrilI1988, 48). More recently, however, some have voiced criticisms. Andrew Wallace-Hadrill (1988, 1994) has perhaps been the most notable. He has argued that the quality and quantity of decoration within the Roman house was closely linked to social standing. The nature of aristocratic competition and the role of patronage in Roman political relations re
1. Introduction: diachronic and synchronic approachesl During the last two decades a spate of publications forcefully brought to our attention the importance of the Roman house in the socio-political life of the élite in the late Republic and early Imperial period, both in Rome and in "provincial" towns like Pompeii, the rnetropolitan center of power setting the pattems for the lifestyle of local grandees.2 The focus is on the rôle of architecture in shaping the spatial, and thereby social, articulation of the domus. Literary sources concerning Roman domestic life and known for a long time3 are scrutinized for the light they might shed on the archaeological evidence, especially on the functions of rooms and other parts of the house.a Roman wall-painting also attracts fresh attention in this context. The main focus in recent studies is on its synchronic formal variety, allowing painters, or perhaps rather t Frequently cited abbreviations: Bastet F. L. Bastet and M. de Vos, Proposta per una classificøzione del terzo stile pompeiano (The Ehrhardt W. Ehrhardt, Stilgeschichtliche Untersuchungen an römischen Wandmalereien oon der späten Republik bis zur Zeit Neros (Mainz 1987) FunctionøI and spatial anøIysis E. M. Moormann (ed.), Functional ønd spøtial analysis of wall painting (Leiden 1993) PPP I. Baldassarre et aI. (edd.), Pompei. Pitture e paaimenti I-IX (Rome L990-99) Tybout R. A. Tybout, Aedificionrm figurøe. Untersuchrmgen zu den Archítekturdarstellungen des ftühen zweiten Súils (Amsterdam 1989) Wallace-Hadrill A. Wallace-Hadrill, Houses ønd society in Pompeíi ønd Heratløneum (Pincetan1994) z 8.g., F. Coarelli, "Architettura sacra e architettura privata nella tarda Repubblica," in Architecture et société de I'archaibme grec à la fin de Iø république romain (Rome 1983) 191-217; id. "La casa dell'aristocrazia romana secondo Vitruvio," in H. Geertman and |. J. de Jong (edd.), Munus non ingrøhtm (Leiden 1989) 178-187. R. P. Saller, "Familia, domus, and the Roman conception of the family," Phoenix 38 (1984) 336-55; T. P. Wiseman, "Conspiuri postes tectøque digna deo," in L'llrbs (CollEFR 98, 1987) 393-413. Wallace-Hadrill, esp. 1-61; Clarke; E. Dwyer, "The Roman atrium house in theory and in practice," in E. K. Gazda (ed.), Romøn art in the priaate sphere (Ann Arbor 199L) 25-48; R. Laurence, Roman Pompeii (London 1994) esp. 122-32; M. Grahame, "Public and private in the Roman house: the spatial order of l}:te Cøsa del Fauno," in R. Laurence and A. Wallace-Hadrill (edd.), Domestic space in the Roman world (lRA Suppl. 22, 1997) 137-64. See also the studies adduced below in nn. 4 and 6. For similar phenomena outside Italy, see Y. Thébert, "Vie privée et architecture domestique en Afrique romaine," in ' P. Veyne (ed.), Histoire de lø uie priaée (Paús) esp.343-75. 3 Still indispensable are J. Marquardt, Das Priuatleben der Römer (2nd edn., Leipzig 1886) esp. I,'J,35-340, and L. Friedländer, Darstellungen (10th edn., Leipziglg22) esp.l,240-66,II, 330-60 and III, 1-1.18. ¿ Wallace-Hadrill passim; X. Lafon, "Dehors ou dedans? Le uestibulum dans les domus aistocratiques à la fin de la République et au début de l'Empire," KIio77 (1995) 405-23; E. W. Leach, "The entrance room in the House of Iulius Polybius and the nature of the Roman vestibulum," in Functional and spatiøl analysis 23-28; ead., "Oecus on Ibycus: investigating the vocabulary of the Roman house," in S. E. Bon and R. Jones (edd.), Sequence and space in Pompeü (Oxford 1997) 50-72; A. M. Riggsby, "'Public' and 'private' in Roman culture: the case of thre uùiculum," IRA L0 (1997) 36-56;L. Nevett, "Perceptions of domestic space in Roman Italy," in B. Rawson and P. Weaver (edd.), The Roman famity in ltøly (Oxfoñ t997) 281-98; M. George, "Repopulating the Roman house," ibíd.299-3'1,9. Literaryevidence is also lmply used by K. M. D. Dunbabin, "Convivial spaces: dining and entertainment in the Roman villa,,, ]RA 1l (1998) 82-100; M. George, "Elements of the peristyle in Campanian øtria," IRA g (1996) 66-80; S.
This paper explores the ways in which the relationship between emperor and senators was visualized in the urban space of late-antique Rome. I argue that the fourth century did not witness a private take-over of public space by the aristocracy, but on the contrary the establishment of a new topography of control. The placement of statuary in the Forum of Trajan and the Forum Romanum both celebrated the supremacy of the monarch over the imperial aristocracy and contributed to maintain that supremacy.
In 341 A.D., the brothers Sextus Cluvius Martinus and Marcus Caesolius Saturninus, important members of the Curia of Ocriculum, dedicated the works carried out in the old city baths, paid for with their own funds. We know of these works because they were recorded in an inscription set up in the newly refurbished thermae hiemales, in which they claimed to have acted "out of love of their town (pro civica adfectione)" 1 . According to our inscription, the brothers had occupied all civic magistracies before these works were carried out 2 . As a reward for their generosity, Martinus and Saturninus were honoured with one statue each, dedicated in those very baths. The statues do not survive, but the bases on which they once stood are now in the Galleria Lapidaria, in the Vatican Museums. The inscriptions on these bases are identical, except for the ordering of the brothers' names:
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.
Related papers
Socii monumenti in Roman Cilicia
Tzamtzis, I. E., Antonopoulos, P. & Chr. Stavrakos (eds) Areten ten kallisten. Melanges en l'honneur de Kalliope (Kelly) A. Bourdara, pp. 79-124, Athenes, 2021
BAR –S2581. SOMA 2012 Identity and Connectivity: Proceedings of the 16th Symposium on Mediterranean Archaeology, Florence, Italy, 1–3 March 2012 edited by Luca Bombardieri, Anacleto D’Agostino, Guido Guarducci, Valentina Orsi, and Stefano Valentini, Oxford, Archaeopress., 2013