Notes on the Coordination of Wall, Floor, and Ceiling Decoration In the Houses of Roman Italy, 100 BCE-235 CE

2017 ◽  
pp. 1-30
Author(s):  
John R. Clarke
Keyword(s):  
Author(s):  
Edmund Thomas

The quality of "monumentality" is attributed to the buildings of few historical epochs or cultures more frequently or consistently than to those of the Roman Empire. It is this quality that has helped to make them enduring models for builders of later periods. This extensively illustrated book, the first full-length study of the concept of monumentality in Classical Antiquity, asks what it is that the notion encompasses and how significant it was for the Romans themselves in molding their individual or collective aspirations and identities. Although no single word existed in antiquity for the qualities that modern authors regard as making up that term, its Latin derivation--from monumentum, "a monument"--attests plainly to the presence of the concept in the mentalities of ancient Romans, and the development of that notion through the Roman era laid the foundation for the classical ideal of monumentality, which reached a height in early modern Europe. This book is also the first full-length study of architecture in the Antonine Age--when it is generally agreed the Roman Empire was at its height. By exploring the public architecture of Roman Italy and both Western and Eastern provinces of the Roman Empire from the point of view of the benefactors who funded such buildings, the architects who designed them, and the public who used and experienced them, Edmund Thomas analyzes the reasons why Roman builders sought to construct monumental buildings and uncovers the close link between architectural monumentality and the identity and ideology of the Roman Empire itself.


Antiquity ◽  
1978 ◽  
Vol 52 (204) ◽  
pp. 28-33 ◽  
Author(s):  
Joan M. Frayn

Dr Joan M. Frayn was formerly Head of the Classics Department at Wimbledon High School (GPDST). She is at present engaged in making a study of subsistence farming in Italy in the Roman period.


1971 ◽  
Vol 51 (2) ◽  
pp. 267-280
Author(s):  
Roger Ling
Keyword(s):  

SummaryCylindrical objects lying on their sides appear in a number of paintings and stucco reliefs in Roman Italy, and can be divided into three groups: those which serve as seats for actors in figure-scenes, those which appear amid groups of inanimate objects, and those which are provided with attachments resembling the handles of garden-rollers. (A full catalogue of known examples is given, not only in paintings and stuccoes, but also in other media.) Previous writers have tended to seek an all-embracing explanation, however fantastic, for these cylinders; but it is better to consider the groups separately. The first group are probably discarded column-drums, and the other two are probably rollers employed for preparing palaestra-surfaces (though, in origin, they too may be column-drums). The roller, unlike the simple column-drum, seems to have enjoyed only a temporary vogue as an artistic motif, and to have been confined to minor decorative work in the cities of Campania.


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