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graffiti  

Jacqueline DiBiasie-Sammons

Graffiti are informal, unofficial writings or drawings on surfaces not first produced for writing purposes, such as walls, pavement stones, rocks, and ceramics. Graffiti elucidate a great deal about life in the ancient world including topics such as social history, literacy, linguistic variation, sexuality, religious practices, and the use of space in ancient cities. These texts were composed in a variety of media: typically, they were scratched into the physical support, but paint, charcoal, and chalk were used as well. Graffiti have been found in many cities of the Greco-Roman world and in a variety of spaces including houses, tombs, religious spaces, and public areas. Since the texts were often inscribed or written on delicate surfaces such as wall plaster, only a small portion of the thousands that were once inscribed survive to the present.Graffiti (singular graffito) are informal, unofficial writings or drawings on surfaces not first produced for writing purposes, such as walls, pavement stones, rocks, and ceramics. A narrow definition of the word from its Italian root meaning “to scratch” only includes texts or drawings scratched into a hard surface such as plaster, stone, or marble. Because informal writings made with materials such as charcoal and chalk served the same purposes and were written in the same locations, and, in some instances, by the same authors as their inscribed counterparts, they are also included in the genre. The term graffiti, now used in English for writing of this sort from any era, was coined by .

Article

Greco-Roman architecture, reception of  

Elizabeth R. Macaulay

Since antiquity Greek and Roman architecture has been subject to diverse and complex receptions. Architectural forms have experienced different and wide-scale transformations across space and time, both in antiquity and in postantique contexts. These adapted forms have emerged because of the complex interactions between building traditions and contemporary needs.

At a fundamental level, architecture must be functional. It must work for the purpose for which it was designed, be it a temple, law court, or residence. Vitruvius endorses this view in De Architectura (I.2.5), the only surviving architectural treatise from Greco-Roman antiquity. At the same time, architecture has a unique ability to concretise ideas. Not only were there political, religious, economic, social, and ideological concepts associated with specific types of ancient buildings, but the architectural forms of the classical world have had a powerful range of resonances that postantique architects, patrons, and regimes have been only too keen to exploit. Classical architectural forms come with a lot of baggage.

Article

Column of Trajan, reception of  

Elizabeth R. Macaulay

Since Late Antiquity, architects, leaders, and nations have emulated, adapted, and reinterpreted the Column of Trajan. Its appeal has been due to its height, ability to dominate the surrounding landscape, and complex spiral reliefs detailing the emperor Trajan’s annexation of Dacia as a Roman province. Its form has inspired countless honorific, triumphal, and commemorative monuments in the post-antique era.

Honorary columns were erected in Rome, possibly as early as 439bce; they were certainly known by 318bce. Rostral columns—columns with the beaks of captured warships attached—were erected in 260 and 255bce to celebrate Roman victories over the Carthaginians. None were so important in the tradition of erecting monumental, honorific, columns as the Column of Trajan (figure 1). Erected by the Senate in the Forum of Trajan in honour of Trajan’s two successful campaigns in Dacia (101–102ce; 105–106ce), it stood between the forum’s two libraries and the Basilica Ulpia. The Column (38 m tall and 3.7 m in diameter) was topped by a bronze statue (4.7 m) of Trajan in military attire. The column is hollow and contains a spiral staircase to the platform at the top of the column’s capital. The Column is famous for the finely carved helical sculptural relief program that depicted the Dacian wars. If rolled out, this frieze would be approximately 200 m long. There are 155 scenes with more than 2,600 figures, each at about two-thirds life size. The height of the frieze increases, as it spirals up the Column, from 0.89 m to 1.25 m.

Article

Pantheon, reception of  

Elizabeth R. Macaulay

The Pantheon, considered to be one of the greatest Roman buildings ever, was an architectural palimpsest that ancient and post-antique architects have reinterpreted, especially the combination of the dome and temple façade.The Pantheon is considered one of the greatest Roman buildings ever erected (figure 1). Its soaring dome, remarkable interior, and porch with a double pediment have resulted in wide-ranging receptions of its architecture. While scholars debate the origin and meaning of the double pediment and the date of the Pantheon, such academic debates were not a primary consideration for later architects, who viewed the Pantheon as an architectural palimpsest. The Pantheon’s unique soaring dome and oculus created a remarkable architectural interior, and the monumental porch served as an impressive and imposing entrance. The combination of a dome and porch would be replicated in countless buildings. Due to its conversion into a church in 609 or 610 .

Article

triumphal arches, reception of  

Kimberly Cassibry

Triumphal arches originated in the Roman Empire and have been constructed for over two thousand years. These free-standing portals are more accurately known as arch monuments, commemorative arches, or honorific arches due to their diverse functions. Arcuated shapes allow these monuments to span significant roads; multiple façades create space for dedicatory inscriptions, relief sculptures, and statues. Varied reception of this fundamental design concept—a free-standing portal with words and images—is evident in each commemorative arch. Reception of individual arch monuments can be traced through descriptions, representations, and interventions.

The Roman arches dedicated to the emperors Titus (c. 81 ce), Septimius Severus and his sons (c. 203 ce), and Constantine I (315 ce) have strongly influenced the monument’s modern reception, even though they do not represent the monument’s full range of ancient designs and functions. In major European revivals since antiquity, ephemeral arches have adorned political processions, and permanent monuments have commemorated imperial military victories. In the 20th century, arch monuments arose in cities around the globe, often amid debates about national identity.

Article

zooarchaeology  

Michael MacKinnon

Zooarchaeology/archaeozoology focuses on the investigation of animals in the past through analysis of recovered faunal remains, largely teeth and bones, from archaeological sites. As such zooarchaeological analyses can disclose much about the animals themselves, the environmental and ecological parameters in which they existed, as well as the cultures that kept, herded, controlled, hunted, manipulated, killed, ate, valued, symbolized, treated, and exploited them. The historical development of zooarchaeological study within classical archaeology showcases its expansion from earlier studies (in the 1970s and 1980s) that concentrated on reconstructing the core economic and ecological roles of animals in antiquity to its current state, which emphasizes more diversified, multidimensional investigations of animals across all spectra and components of ancient life. Key topics of interest in the discipline include ancient husbandry operations; the interaction between animals and ecological settings; the input of meat and other animal foodstuffs in ancient diets; the exploitation of non-consumable animal products, such as bones, hides, and wool in antiquity; breeding regimes and their effects on animals during Greek and Roman times; and the roles and characteristics of work, pet, and sacrificial animals in the past.

Article

Circus Maximus  

Marialetizia Buonfiglio

The Circus Maximus in Rome has a history that spans more than a millennium. The complex gradually took form in what was once the Murcia Valley, a wide space that, from the regal period, was organized to house equestrian events, the ludi circensi, held during major religious festivals. The first permanent building, later reconstructed by Trajan, was established at the end of the 1st century bce and constituted the architectural model of reference for other circuses in the Empire. The Circus of Rome was a large, highly functional, multipurpose structure, able to accommodate a vast number of spectators. It not only provided a venue for the majority of popular spectacles as well as civic, ludic, and military events, but it also represented an urban area of great attraction for the daily life of the city due to the numerous commercial and entertainment spaces located in its interior.The Circus Maximus in Rome, the greatest edifice for spectacles in the classical world, is an architectural complex that occupies the Murcia Valley, a long and narrow area located between the Palatine and Aventine hills and the Tiber river (.

Article

traffic, urban  

Eric Poehler

The movement of people, animals, and vehicles through the ancient urban environment had a significant impact on the shape of ancient cities, but as an object of study, urban traffic is a relatively recent area of interest, one that has tended to focus on the Roman world. The range of methods available to consider the topic, however, are relatively many, including literary analysis, archaeological field survey, and a battery of technical methods, such as Space Syntax, Network Analysis, and Agent-Based Modeling. In all of these approaches, two models of movement—pedestrian and vehicular—remain paramount. The results of studying urban traffic have shed new light on the impact of different forms of urban design, the ways in which ancient people navigated those designs, and norms and formal systems in place in urban environments to order the movement of people and vehicles.

Whether on foot or borne by animals or vehicles, the movement of people and goods through ancient cities shaped those cities and the lives of those within them. The clustering of humble shopfronts on commercial streets and the monumental facades of processional routes alike owe their character to the passage of people moving for different purposes along their lengths. Indeed, as one of the most common elements of everyday urban life, interest in wheeled and pedestrian traffic consequently has become more defined in the classical world as greater attention is paid to non-elites and their material culture. Urban traffic is in fact another window onto everyday life, opening up opportunities to examine the reciprocal effects of city plans and their architectural elaborations on the political, economic, and social landscapes draped over them.

Article

stola  

Kelly Olson

The stola was a long, sleeveless overdress or slip-like garment suspended from shoulder straps that is claimed by literary sources to be the distinguishing garment of the Roman matrona. The stola was worn over the tunic and belted with a cord (see Figure 1). It was a sign that the wearer (perhaps freeborn) was married in a iustum matrimonium. The term is not mentioned by Terence, Cato, or Plautus, and so the garment may not have been commonplace before about 50 bce. It is by no means referred to by all authors even after this date: often the garment of the married woman is referred to in general terms as longa vestis (e.g., Ov. Fast. 4.134), which may refer to her long enveloping tunic, and not the stola at all. It is uncertain whether or not freedwomen wore the stola (see ILLRP 977; = CLE 56; Macr. Sat.

Article

ekphrasis in Latin literature  

Basil Dufallo

The imperial-age Greek Progymnasmata in which the term ekphrasis first appears show that the rhetoricians of the Greco-Roman world identified “descriptive speech” as an important component of rhetorical narrative and other elements of an oration insofar as it created “vividness” (ἐνάργεια) and “clarity” (ͅσαφήνεια) so as to bring persons, places, events, objects, etc. “before the eyes” (ὑπ’ ὅψιν) of listeners. The Roman rhetoricians draw upon Greek concepts and terminology to express the value in oratory of vividness (evidentia, illustratio, repraesentatio) imparted through description (descriptio, sub oculos subiectio, etc.). Many examples of such techniques can be found in Roman oratory as well as the Roman historians, who, like most Roman authors, share with the orators a strong familiarity with rhetoric. But if, in general, neither oratory nor historiography exhibits a high degree of self-consciousness about differences between ekphraseis/descriptiones in Greek and Latin, one type of ekphrasis—that of art objects in Roman poetry and the Roman novel—does. This constitutes one reason why it merits separate attention, in spite of the fact that the Progymnasmata suggest that in Antiquity it was viewed as a subcategory of the larger phenomenon.