Art and Rhetoric in Roman Culture

Rhetoric was once primary to schooling and to cultural aspiration within the Greek and Roman worlds. It used to be one of many key elements of antiquity that slipped below the road among the traditional global and Christianity erected via the early Church in overdue antiquity. historical rhetorical idea is enthusiastic about examples and discussions drawn from visible fabric. This booklet mines this wealthy seam of theoretical research from inside of Roman tradition to give an internalist version for a few points of the way the Romans understood, made and favored their paintings. the knowledge of public monuments just like the Arch of Titus or Trajan's Column or of imperial statuary, household wall portray, funerary altars and sarcophagi, in addition to of intimate goods like children's dolls, is tremendously enriched by way of being positioned in suitable rhetorical contexts created via the Roman global.

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112 Within the bigger frame of a rhetorical culture, some of the puzzles of iconographic and thematic choices in Roman art become at least grounded in parallels outside the world of images. 113 Precisely the same pattern of emphasizing topics, set 109 110 111 112 113 See the outstanding discussion of Morales 1996. g. 38; Quintilian, Inst. or. 12–16. See Philostratus, Gymnasticus 1 with discussion by König 2009: 260–1. Note also a parallel account in Philostratus’ Dialexis 2 with translation and discussion by Swain 2009: 33–46.

The Arch of Titus displays the triumphal glory in life and the divine apotheosis in death of the emperor. The combination of the inscription, the great sculpted relief panels depicting the emperor in his chariot and the triumphal procession with implements from the Temple in the central 26 See Beard and Henderson 1998: 209–11; Beard 2007: 237–8; generally on the topic see Zanker 2000a and Arce 2010. 4 Arch of Titus, the vault of the passageway. 5 The Apotheosis of Titus, showing the emperor astride an eagle, from the vault of the arch’s passageway.

414). One might remark that 35 37 38 39 36 See the discussion of Elsner 2000a: 158–61, 163–5, 173–5. g. Varner 2004: 223. 11, 418–22. For basilikos logos in action, see Dio Chrysostom, Orationes 1–4 (with Whitmarsh 2001: 181–246), the younger Pliny’s panegyricus (of Trajan) and the corpus of Latin panegyrics, translated by Nixon and Rogers 1994. For discussion of sarcophagi in relation to consolatory eulogy, see Müller 1994: 139–70. See Theon, Progymnasmata 9 (109). g. Heath, 2004: 3, 295–6). 9, 1367bÀ1368a; [Aristotle], Rhetoric for Alexander 3, 1425bÀ1426b; Hermogenes, Progymnasmata 7 (14–15); Aphthonius, Progymnasmata 8 (21–2 Rabe); Nicolaus, Progymnasmata 8 (47–53).

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