GkP.II Hellenistic/Roman 2014-15
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UCL INSTITUTE OF ARCHAEOLOGY
ARCL3084
FROM ALEXANDRIA TO POMPEII: REPRESENTING
HUMANS AND THE WORLD OF NATURE IN
HELLENISTIC AND ROMAN PAINTING
2014-15
Wednesdays 11-1, Room 412 IoA, Term I only.
Coordinator: Dr. Jeremy Tanner
Office: IoA 105; Office hours: Tuesday 11-12, Wednesday 3-4 or by appointment
Email: [email protected]; phone: 7679 1525
2nd/3rd year course
Turnitin Class ID: 783255
Turnitin Password IoA1415
Please see the last page of this document for important information about
submission and marking procedures, or links to the relevant webpages.
1. OVERVIEW
Course contents: This course explores the extraordinary transformation in the
contexts, contents and practices of ancient painting which took place in the Hellenistic
and early imperial Roman worlds: these include the invention of major genres in
Western painting such as landscape and still-life, as well as new modes of portraiture
and interior decoration associated with the Hellenistic kings and the Roman elites who
emulated them. Materials covered will include the tomb-paintings and mummyportraits of Greco-Roman Egypt, and the wall-paintings of Pompeii and Herculaneum,
ranging from bourgeois dining rooms to the erotic imagery of suburban bath-houses.
Summary weekly schedule: (Term I only)
1/10/14
1. Introduction to the Course: Sources and Methods in the Study of
Greek and Roman Painting
8/10/14
2. Hellenistic Figure Painting: Representing Rulership and Beyond.
15/10/14
3. Painting and Private Patronage in the Hellenistic World: Domestic
and Funerary Contexts
22/10/14
4. From Greece to Rome: Alexandria and the Second Style in
Pompeian Painting2
29/10/14
5. Still-life and Xenia
[5/11/14
Reading Week]
12/11/14
6. Landscape Depiction, from Hellenistic Greece to the Early Roman
Empire
19/11/14
7. Villas and the art of landscape: villa painting, garden painting and
the experience of space in Roman elite leisure culture
GkP.II Hellenistic/Roman 2014-15
26/11/14
3/12/14
10/12/14
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8. Erotic Art and Pornographia.
9. Roman Portrait Painting
10. The Invention of Art History: Collecting, Connoisseurship and
Copying in the Hellenistic-Roman world
Assessment: This course is assessed by means of: a) one standard essay (60%); one
practical essay with powerpoint presentation (40%).
Teaching methods: Teaching will combine lectures, student presentations and in
class discussions based on prepared readings.
Workload: Class attendance: 20 hours; general reading: 90 hours; preparation and
writing of essay 20 hours; Preparation of powerpoint presentation and accompanying
short essay 20 hours. (Total 150 hours).
Prerequisites: Students should normally have taken ARCL2007 Greek Art and
Architecture or ARCL2008 Roman Art and Architecture
2A. AIMS, OBJECTIVES
Aims:
1) to develop students’ awareness of the complexities of understanding the history of
the art of a complex society rich in textual, visual and archaeological evidence
2) to promote a theoretically informed understanding of the history and sociology of
visual representation in the Hellenistic Greek and the early imperial Roman worlds.
3) to equip students with a knowledge of the main archaeological, artistic and textual
sources for the history of painting in the Hellenistic and early imperial Roman worlds,
and of their respective possibilities and limitations
Objectives:
By the end of the course, students should be able to demonstrate:
1) an understanding of core theories and methods appropriate to the interpretation and
explanation of practices of pictorial representation.
2) an ability to apply such approaches creatively and sensitively to the changing
character and historical circumstance of Hellenistic Greek and early imperial Roman
painting
3) a good knowledge of the development of Greek and Roman painting and its
distinctive features in the Hellenistic and early Imperial periods
Outcomes:
On successful completion of the course students should have developed the ability to:
1) marshal and critically appraise other people’s arguments,
2) produce logical and structured arguments supported by relevant evidence,
3) make critical issue of visual evidence in developing arguments
4) make oral presentation supported with visual media through the use of powerpoint
2B: ASSESSMENT AND PRESENTATIONS
Students are required to submit two pieces of work for this class:
1) A standard essay, 2850-3150 words in length.
2) A shorter practical essay focused on a particular painting or set of paintings, and
accompanied by a powerpoint presentation, 1900-2100 words in length.
GkP.II Hellenistic/Roman 2014-15
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Word-length
The following should not be included in the word-count: bibliography,
appendices, and tables, graphs and illustrations and their captions. (For this course
students should feel free, within reason, to write detailed captions (not more than 100
words or so) pointing up specific features of images that play a role in the argument of
their essay: such caption writing, focussing on the specifics of images, is a useful skill
for an art historian, and allows a little wiggle room around the word limit.)
Penalties will only be imposed if you exceed the upper figure in the range.
There is no penalty for using fewer words than the lower figure in the range: the lower
figure is simply for your guidance to indicate the sort of length that is expected.
The choices for both types of assessment are listed below lecture by lecture,
with the appropriate bibliography. The bibliography for the presentations is listed at
the end of each topic.
Short Practical Essays: Normally students’ practical essay will develop the topic
which they are assigned for their class presentation, though if, after having done their
class presentation, students wish to choose one of the other topics for their practical
essay, they may do so providing they discuss this with the instructor beforehand.
The short practical essay should be accompanied by a powerpoint presentation.
The practical essay will normally be written after the in-class presentation, and the
accompanying powerpoint presentation may accordingly be revised to fit the essay.
Images in the essay may be presented either in the normal way as inserts in the text, or
the powerpoint slides may be printed out to accompany the essay.
Presentations: The class presentation should be designed to introduce fellow students
to the key features and key interpretive issues raised by the materials in question.
Keep it clear and simple, bearing in mind that your colleagues will know as little
about the material as you did before you started preparing the presentation.
Presentations should be no shorter than 8 minutes and no longer than 12 minutes.
Failure to make the required in class power-point presentation in class, without
adequate reason and documentation (for example medical) will result in a 10%
reduction from the students overall mark for the course.
A basic selection of digital images for each student’s presentation will be
available from the instructor one week before the presentation.
Submission Deadlines:
Every student must submit their first piece of written work (whether standard essay or
short practical essay) by the last Wednesday of Term 1 (10th December). The essay
should be handed in class. The second piece of work must be submitted by 5pm
Friday of the second week of Term 2 (23rd January). Dates for handback sessions will
be announced.
If students are unclear about the nature of an assignment, they should discuss this with
the Course Co-ordinator. Students are not permitted to re-write and re-submit essays
in order to try to improve their marks. The Course Co-ordinator is willing to discuss
an outline (maximum 1 page) of the student's approach to the assignment, provided
this is planned suitably in advance of the submission date.
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4. ONLINE RESOURCES
The full UCL Institute of Archaeology coursework guidelines are given here:
http://www.ucl.ac.uk/archaeology/handbook/common/marking.htm.
The full text of this handbook is available here (includes clickable links to Moodle
and online reading lists if applicable) http://www.ucl.ac.uk/silva/archaeology/courseinfo/.
5. ADDITIONAL INFORMATION
Libraries and other resources
In addition to the Library of the Institute of Archaeology, other libraries in UCL with
holdings of particular relevance to this degree are the Classics and Ancient History
sections of the main UCL library.
Institute of archaeology coursework procedures
General policies and procedures concerning courses and coursework, including
submission procedures, assessment criteria, and general resources, are available in
your Degree Handbook and on the following website:
http://wiki.ucl.ac.uk/display/archadmin
It is essential that you read and comply with these. Note that some of the policies and
procedures will be different depending on your status (e.g. undergraduate,
postgraduate taught, affiliate, graduate diploma, intercollegiate, interdepartmental). If
in doubt, please consult your course co-ordinator.
Information for intercollegiate and interdepartmental students
Students enrolled in Departments outside the Institute should obtain the Institute’s
coursework guidelines from Judy Medrington (email [email protected]), which
will also be available on the IoA website.
.
Dyslexia
If you have dyslexia or any other disability, please make your lecturers aware of this.
Please discuss with your lecturers whether there is any way in which they can help
you. Students with dyslexia are reminded to indicate this on each piece of
coursework.
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FULL SYLLABUS AND READING LIST
The following is an outline for the course as a whole, and identifies
essential and supplementary readings relevant to each session. Information is
provided as to where in the UCL library system individual readings are available;
their location and Teaching Collection (TC) number, and status (whether out on loan)
can also be accessed on the eUCLid computer catalogue system.
Readings marked with an * are considered essential to keep up with the
topics covered in the course, and will form the basis of in class discussions. Copies of
individual articles and chapters identified as essential reading are in the Teaching
Collection in the Institute Library (where permitted by copyright).
The essay topics are keyed to the lectures, each listing essential reading.
While each essay focuses on a particular class, it will be difficult to assess the
evidence and arguments in particular classes without a good basic knowledge of the
materials covered in essential readings for other classes. In short, to write good
essays, you will need to have read at least the essential (*) readings from the whole
range of topics.
ARCL3084 FROM ALEXANDRIA TO POMPEII: REPRESENTING
HUMANS AND THE NATURAL WORLD IN HELLENISTIC AND ROMAN
PAINTING
Summary weekly schedule: (Term I only)
1/10/14
1. Introduction to the Course: Sources and Methods in the Study of
Greek and Roman Painting
8/10/14
2. Hellenistic Figure Painting: Representing Rulership and Beyond.
15/10/14
3. Painting and Private Patronage in the Hellenistic World: Domestic
and Funerary Contexts
22/10/14
4. From Greece to Rome: Alexandria and the Second Style in
Pompeian Painting2
29/10/14
5. Still-life and Xenia
[5/11/14
Reading Week]
12/11/14
6. Landscape Depiction, from Hellenistic Greece to the Early Roman
Empire
19/11/14
7. Villas and the art of landscape: villa painting, garden painting and
the experience of space in Roman elite leisure culture
26/11/14
8. Erotic Art and Pornographia.
3/12/14
9. Roman Portrait Painting
10/12/14
10. The Invention of Art History: Collecting, Connoisseurship and
Copying in the Hellenistic-Roman world
GkP.II Hellenistic/Roman 2014-15
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1. Introductory.
1A. Introduction to the course: Hellenistic Greek and Roman Painting
Outline: Introduction to course; course aims; outcomes; assessment. A brief outline of
Greek painting, to the end of the classical period (essential background); introduction
to Hellenistic and Roman painting.
1B: Sources and methods in the Study of Greek and Roman Painting
Outline: Key concepts: formal analysis (Riegl, Wolfflin); semiotic analysis (Hodge
and Kress); Contextual analysis (Thompson); Source materials: texts; images; Roman
copies. Key sources: textual, archaeological etc.
Basic Readings on Hellenistic and Roman Painting
Beard, Mary and Henderson, John. 2001. Classical Art from Greece to Rome.
(Oxford), pp. 11-64 “Painting antiquity” (YATES A5 BEA; ART F5 BEA)
Havelock, Christine. 1971. Hellenistic Art. 221-224 “Painting”.
Robertson, M. 1975. “Hellenistic art: Painting and mosaic”, 565-590 in A History of
Greek Art. Cambridge. (YATES QUARTOS A20 ROB)
Charboneaux, J. et al Hellenistic Art 330-50 B.C. London. “Part II. Painting”, pp. 97198 (YATES QUARTOS A 27 CHA)
Hanfmann, G. 1963. “Hellenistic art”, Dumbarton Oaks Papers 17: 79-94 (JSTOR)
Pollitt, J.J. 1986. Art in the Hellenistic Age. 185-209 “Pictorial illusion and narration”,
210-229 “Hellenistic mosaics”. (YATES QUARTOS A27 POL; ART F20
POL)
Liversidge, Joan. 1983. “Wall painting and stucco”, in Martin Henig ed. A Handbook
of Roman Art, pp, 97-115 (YATES A40 HEN; ISSUE DESK IOA HEN 6)
Pratt, Pamela. 1976. “Wall painting”, in Donald Strong ed. Roman Crafts. 223-30
(INST ARCH K STR; ISSUE DESK IOA STR 8)
Basic Bibliography on approaches to analysis of visual art
Basic Bibliography on approaches to analysis of visual art
*Hodge, Robert and Kress, Gunther. 1988. Social Semiotics. Cambridge, Polity. Pp.
52-59 “Ideology and bodies in space”. {On Order IOA; Xerox available
JJT}
*Thompson, J.B. 1990. “Analysing mass-communication: the tripartite approach”,
303-310 in idem Ideology and Modern Culture. Cambridge.
(ANTHROPOLOGY D70 THO)
*Wolfflin, Heinrich. 1915. Principles of Art History, extract in Eric Fernie ed. Art
History and its Methods: a Critical Anthology, (London, 1995), 127-151
(ART A8 FER)
*Baxandall, Michael. 1985. Patterns of Intention: on the Historical Explanation of
Pictures. Yale. 1-11. “Introduction: language and explanation”. [Particularly
helpful and important for when you are preparing your presentations and
short essays] (ART C10 BAX) Xerox available from JJT and to be on
teaching collection
*Mulvey, Laura. 1989. “Visual pleasure and narrative cinema”, in idem Visual and
Other Pleasures. (ART BG MUL; TC MAIN 3494)
Mattick, P. Jr. 2003. “Context”, in R.S. nelson and R. Shiff eds. Critical Terms for Art
History. Pp. 110-127
GkP.II Hellenistic/Roman 2014-15
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2. Hellenistic Figure Painting: Representing Rulership and Beyond
Topic outline: Roman copies and Hellenistic painting – representing rulership in
Hellenistic painting – Spear Won Land at Boscoreale – the Great Frieze of the Villa
of the Mysteries – the Aldobrandini Wedding – the Wedding of Alexander and
Roxane – Telephos and Pergamum (and Herculaneum); Hellenistic baroque figure
painting – Herakles and Omphale; Achilles on Skyros – Theon of Samos and
phantasia, optical themes in Theon’s ‘Thetis in Hephaistos workshop’, mirrors and
light..
Presentations: a) Boscoreale figure paintings; b) Villa of the Mysteries: Great Frieze.
Essay question:
To what extent can we recover and explain the characteristics of large scale
Hellenistic figure painting?
Short essays linked to presentations:
a) Boscoreale ruler paintings. With what degree of confidence can we reconstruct
Hellenistic Greek prototypes for the Boscoreale paintings, and their cultural
significance?
b) Villa of the Mysteries: Great Frieze. What is the proper context in which to
interpret the paintings of the great hall of the Villa of the Mysteries?
Required reading:
General
Stewart, Andrew. 1993. Faces of Power: Alexander’s Image and Hellenistic Politics,
181-190 “Make war not love” (interesting marriage painting from Pompeii),
(ANCIENT HISTORY P16 STE)
*Zanker, G. 2004. Modes of Viewing in Hellenistic Poetry and Art. Madison, Illinois:
U Wisconsin. Esp. chapter 2 on enargeia, interest in images and light in
hellenistic art and literature, cf with contemporary catoptrics etc; = pp. 55-65
(YATES A 60 ZAN)
Von Blanckenhagen, P.H. and Green, B. 1975. “The Aldobrandini wedding
reconsidered”, Rom. Mitt. 82: 83-98 {But cf. Miller 1994} (IOA PERS)
Phinney, E. 1967. “Hellenistic painting and the poetic style of Apollonius”, Classical
Journal 62: 145-49 (JSTOR)
Hannah, R. 1986. ‘Et in Arcadia ego? The finding of Telephos’, Antichthon 20: 86104 (NOT IN UCL – JJT FOR XEROX)
*Ling, Roger. 1991. Roman Painting. 101-7 (Villa of Mysteries, Boscoreale)
(YATES QUARTOS P140 LIN; ART FB 10 LIN)
[Nb also relevant parts of Charbonneax, Robertson in Week 1/Preliminary Reading]
Boscoreale:
Robertson, C.M. 1955. “The Boscoreale figure paintings”, Journal of Roman Studies
45: 58-67. (JSTOR)
_____. 1975. History of Greek Art, Cambridge. 571-575. (YATES QUARTOS A20
ROB)
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*Smith, R.R.R. 1994. “Spear-won land at Boscoreale. On the royal paintings of a
Roman villa”, Journal of Roman Archaeology 7: 100-28 (IoA Periodicals)
Torelli, M. 2003. “The frescoes of the Great Hall of the villa at Boscoreale:
iconography and politics”, in David Braund and Christopher Gill eds. Myth,
History and Culture in Republican Rome. Studies in Honour of T.P. Wiseman.
217-256 (ANCIENT HISTORY R6 BRA)
Robertson, M. 1975. A History of Greek Art. Cambridge. 571-8
Billows, R.A. 1995. Kings and Colonists: Aspects of Macedonian Imperialism.
Leiden. 45-55 on Boscoreale paintings. (ANCHIST P16 BIL)
Villa of the Mysteries:
Longfellow, Brenda. 2000. “A gendered space? Location and function of room 5 in
the villa of the mysteries“, in Elaine K Gazda ed. The Villa of the Mysteries in
Pompeii: Ancient Ritual Modern Muse. University of Michigan. 24-37
(YATES QUARTOS K73 GAZ)
®Henderson, J. 1996. “Footnote: representation in the Villa of the Mysteries”, in Art
and Text in Roman Culture, ed. J. Elsner, 234-76. Cambridge. (YATES A40
ELS; xerox from JJT)
*Davis, Jessica M. 2000. “The search for the origins of the Villa of the Mysteries
Frieze”, in Elaine K Gazda ed. The Villa of the Mysteries in Pompeii: Ancient
Ritual Modern Muse. University of Michigan. 83-97 (YATES QUARTOS
K73 GAZ)
Kirk, Shoshanna S. 2000. “Nuptial imagery in the Villa of the Mysteries frieze: South
Italian and Sicilian precedents”, in in Elaine K Gazda ed. The Villa of the
Mysteries in Pompeii: Ancient Ritual Modern Muse. University of Michigan.
98-115
Clarke, Houses of Roman Italy 94-111
Supplementary reading:
Schefold, K. 1985. ‘Die Stilgeschichte der Monumentalmalerei in der Zeit Alexanders
des Grossen’, in Actes du XII Congrès internationale d’Archéologie classique,
Athènes1983. Athens (I 1985, II-IV 1988): I: 23-36.
Miller, F.G.J.M. 1994. The Aldobrandini Wedding.
Kuttner, A. 1999. “Hellenistic images of spectacle, from Alexander to Augustus”, in
The Art of Ancient Spectacle ed. B. Bergmann and C. Kondoleon. 97-123.
Studies in the History of Art 56, Washington DC.
Andersen, F.G. 1993. “Roman figural painting in the Hellenistic age”, in Aspects of
Hellenism in Italy: towards a Cultural Unity? , ed. P.G. Bilde, I. Nielsen, M.
Nielsen. 179-50. Acta Hyperborea 5. Copenhagen
Seaford, R. 1981. “The mysteries of Dionysos at Pompeii”, in Pegasus: Classical
Essays from the University of Exeter ed. H.W. Stubbs. 52-68
Brendel. O.J. 1980. “”The Great frieze in the Villa od the Mysteries”, in The Visible
Idea: Interpretations of Classical Art, ed. O.J. Brendel. 90-138. Washington
DC.
Lehmann, K. 1962. “Ignorance and search in the Villa of the Mysteries”, Journal of
Roman Studies 52: 62-68
Sauron, G.M. 1984. “Nature et signification de la mégalographie dionysiaque de
Pompéi”, CRAI 198: 151-76.
_____. 1998. La grande fresque de la Villa des Mystères à Pompei: Mémoires d’une
dévote de Dionysos. Paris.
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Wooton, William. 2002. “Another Alexander mosaic: reconstructing the hunt mosaic
from Palermo”, Journal of Roman Archaeology 15: 265-274. (JSTOR)
Walter-Karydi, E. 2001. “Alexander as lover and other images from his lifetime” In
S. Buzzi ed. Zona Archeologica: Festschrift fur Han Peter Isler zum 60
Geburtstag Bonn 467-80. (Not in UCL – ask JJT)
Polychrome Vases from Centuripe:
Deussen, P. 1973. “The nuptial theme of Centuripe vases”, Opuscula Romana 9: 12533
Richter, G.M. 1930. “Polychrome vases from Centuripe in the Metropolitan
Museum”, Metropolitan Museum Studies 2: 187-205 (JSTOR)
_____. 1932. “A polychrome vase from Centuripe”, Metropolitan Museum Studies 4:
45-54 (JSTOR)
Wintermeyer, U. 1975. “Die polychrome Reliefkeramik aus Centuripe”, JdI 90: 136241
Reading for presentations:
Boscoreale: as required above, plus Torelli, Billows
Villa of the Mysteries: as above – Longfellow, Davis, Kirk, Ling
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3. Painting and private patronage in the Hellenistic world: domestic and
funerary contexts
Class outline: This class looks at the evidence for the development of painting, and
of mosaics emulating painting, in the Hellenistic world, focussing in particular on
funerary painting and domestic mosaics. In addition to looking at depictive techniques
in the two media, and their interrelationships, we shall also think about the social and
cultural factors shaping developments, ranging from shifts in the character of
patronage and art consumption, to notions of a Hellenistic koine in Mediterranean art.
Funerary contexts – the stelai of Demetrias Pagasai (von Graeve, scientific
approaches to painting reconstruction) – the Tomb of Lyson and Kallikles
(presentation) – Hellenisation and transformations in Mediterranean painting: the
tomb paintings of Paestum and Southern Italy, esp. the Spinazzo Necropolis
paintings; Naples – Ipogeo di Via Cristallini. Domestic Contexts: Hellenistic pictorial
mosaics (presentation), Dioskourides of Samos, the Menander mosaics, mosaics and
the transformation of the house in early Hellenistic period; Delian painting – the
loaded brush technique; {Tarquinia Sarcophagus; Polychrome ceramics; Aghios
Athanasios?}
Presentations:
a) Tomb of Lyson and Kallikles
b) Hellenistic pictorial mosaic, in the Greek world. (Concentrate on a few examples,
which can illustrate key points, characteristics of manufacture and use: e.g.
Dioskourides mosaics, one or two pictorial mosaics from Delos.)
[c) Mosaics of the House of the Faun, Pompeii]
Essay question:
How helpful is the concept of a Hellenistic koine in explaining the character of
pictorial decoration in domestic and funerary contexts from the death of Alexander to
the end of the second century BC?
Short essays linked to presentations:
Tomb of Lyson and Kallikles: What role is played by illusionism in the paintings of
the tomb of Lyson and Kallikles and how should we understand their place in the
history of Mediterrenean painting?
Hellenistic Pictorial Mosaics: What changes occur in the character and use of
pictorial mosaic in the Greek world in the 3rd and 2nd centuries BC, and how can we
account for them?
{The Mosaics of the House of the Faun: What do the mosaics of the house of the
Faun tell as about the character of art production and consumption in late second
century BC Pompeii?) {Needs further biblio to be doable? Not available 2014.
Refs in Tammisto, Meyerboom, plus Westgate, Dunbabin etc}
Required reading:
Funerary Painting
*Rouveret, Agnes. 2002. “Function and uses of colour in South Italian painting of the
5th and 4th centuries BC”, in M.A. Tiverios and D.S. Tsaifakis eds. Color in
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Ancient Greece: the role of Color in Ancient Greek Art and Architecture.
Thessalonike. 191-199. [nb mainly on late 4thC, early 3rd century,
notwithstanding title; good survey of painting of Magna Graecia] (YATES
A6 TIV)
*Pontrandolfo, Angela; Rouveret, Agnes; Cipriani, Maria. 2004. The Painted Tombs
of Paestum. Chapter 7, pp. 69-77 “The tombs of Spinazzo”. Pandemos.
(YATES E 22 PAE)
Cipriani, M; Greco, E.; Longo, F.; Potrandolfo, A. 1996. The Lucanians in Paestum.
Fondazione Paestum. Chapter 4, “The Lucanians in Paestum”, 36-77 – esp
58ff on language, cults and craft traditions (still Greek) (YATES E22 PAE)
Rhomoiopoulou, K. 1973. “A new monumental chamber tomb with paintings of the
Hellenistic period near Lefkadia (West Macedonia), Athens Annals of
Archaeology. 6.1, 87-92 (plus frontispiece), tomb with coloured palmette
ceiling, (IOA PERS) (This issue available at IOA issue desk)
Tomlinson, RA. 1986. ‘The ceiling painting of the tomb of Lyson and Kallikles’,
Ancient Macedonia 4: 607-610 NOT IN UCL – JJT XEROX
*Romiopoulou, K and H. Brekoulaki. 2002. “Style and paintings techniques on the
wall-paintings of the ‘Tomb of the Palmettes’ at Lefkadia”, in M.A. Tiverios
and D.S. Tsiafakis eds. Colour in Ancient Greece: the Role of Colour in
Ancient Greek Art and Architecture. Thessaloniki. 107-116 (YATES A6 TIV)
*Makaronas, C. and Miller, S.G. 1974. “The tomb of Lyson and Kallikles: a painted
Hellenistic tomb”, Archaeology 27.4 248-59.(IOA PERS) (This issue
available at IOA Issue desk)
Miller, SG. 1993. The Tomb of Lyson and Kallikles: a Painted Macedonian Tomb.
(YATES QUARTOS K47 MIL)
Domestic art: mosaics and painting
Westgate, Ruth. 1997/8. “Greek mosaics in their architectural context”, Bulletin of the
Institute of Classical Studies 42: 93-115 (JSTOR)
®_____. 2000. “Pavimenta atque emblemata vermiculata: regional styles in
Hellenistic mosaic and the first mosaics at Pompeii”, American Journal of
Archaeology 104: 255-75 (JSTOR – UCL Electronic Journals)
*_____. 2003. “Hellenistic mosaics”, in Daniel Ogden ed. The Hellenistic World:
New Perspectives. Classical Press of Wales and Duckworth. 223-251
(ANCIENT HISTORY P 6 OGD)
Pollitt, J.J. 1986. Hellenistic Art. Chapter 10, pp. 210-229 “Hellenistic mosaics”
(YATES QUARTOS A 27 POL; ART F20 POL)
Kyle, M. 1960. “Subject matter and technique in Hellenistic-Roman mosaics: a
Ganymede mosaic from Sicily”, Art Bulletin 42: 243-62 (JSTOR)
Dunbabin, K. 1999. Mosaics of the Greek and Roman World. Cambridge. 18-37 “The
invention of tessellated mosaics: Hellenistic mosaics in the East”, 38-52
“Hellenistic mosaics in Italy”. (YATES QUARTOS P 145 DUN)
Havelock, Christine. 1971. Hellenistic Art. Pp. 244-7, 258-9, 266-7. (YATES
QUARTOS M50 HAV0
®Hannerz, Ulf. 1992. Cultural Complexity: Studies in the Social Organization of
Meaning. New York: Columbia University Press. Chapter 2 “Patterns of
process”, 40-61 (ANTHROPOLOGY D 6 HAN – 2 copies; plus copy to be
placed om IoA teaching collection)
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McKenzie, Judith. 2007. The Architecture of Alexandria and Egypt, 300 BC – AD
700. London: Yale University Press. 68-71 (mosaics from palace areas
Alexandria)
Supplementary reading:
Potrandolfo, Angela. 1998. “L’Italia meridionale e le prime esperienze della pittura
ellenistica nelle officine Pestane”, in L’Italie Méridionale et les Premières
Expériences de la Peinture Hellénistique. Actes de la table ronde organisée
par l’École française de Rome. (Rome 18 février 1994). 223-241 (esp. On the
Spinazzo Necropolis paintings, Paestum)
Csapo, Eric. 1997. “Mise en scène théâtrale, scène de théâtre artisanale: les mosaïques
de Ménandre à Mytilène, leur contexte social et leur tradition
iconographique“, in B. Le Guen ed. De la scène aux gradins. = Pallas 47
(1997) 165-82. Not in UCL; if you read French and are interested ask JT
(very interesting indeed)
Capriani, Marina; Longo, Fausto. Eds. 1996. Poseidonia e I Lucani.Electa Napoli; pp,
159-84 “Le necropoli urbane e il fenomeno delle tombe dipinte” (Potrandolfo
and Rouveret); 298-96 “Transformszioni nella societa pestana dell’ intoltrato
IV secolo” (Portrandolfo). (YATES QUARTOS E 22 PAE)
Rita, Benassai. 2001. La pittura dei Campani e dei Sanniti. Roma: L’Erma di
Bretschneider. (ICS X113D.3 BEN)
Baldassare, I. 1998. “Documenti di pittura ellenistica da Napoli”, in L’Italie
méridionale et les premières experiences de la peinture hellénistique. Actes de
la Table Ronde organisée par l’Ecole Française de Rome, 1994. (Rome 1998)
– esp. on background of second style
Nervegna, Sebastiana. 2013. Menander in Antiquity: The Contexts of
Reception. Cambridge; New York: Cambridge University Press. Ch. 3, pp.
120-200 “Menander at dinner parties”. (CLASSICS GQ 40 NER)
Demetrias- Pagasai: - Painted Grave Stele
Arvanitopoulos, AS. 1908. ‘He semasia ton grapton stelon Pagason’, Archaiologike
Ephemeris 1908: 1-60.
_____. 1909. Katalogos ton en to Athanasakeio Mouseio Volou Archaioteton. Athens:
Typogrepheion Hestia.
Arbanitopoulos, A.S. 1928. Graptai Stelai Demetriados-Pagason. Athens, Tupois
Hetaireias – P.D. Sakellarios
von Graeve, V. 1979. ‘Zum Zeugniswert der bemalten Grabstelen von Demetrias für
die griechische Malerei’, in La Thessalie. Actes de la Table-Ronde Lyon 1975,
111-138. CMO 6, Arch. 2. (x – colour pics to scan) (also for Zeuxis/Parrhasios
vs Bruno)
von Graeve, V. & F. Preusser. 1981. ‘Zur Technik griechischer Malerei auf Marmor’,
JdI 96: 120-156 (x, colour plates to scan)
Preusser, F. & V. von Graeve. 1981. ‘Malerei auf griechischen Grabsteinen’. In
Maltechnik – Restauro 1, 1ff.
Reading for presentations:
Tomb of Lyson and Kallikles:Miller 1993, Makaronas and Miller 1994, Tomlinson
Hellenistic Pictorial Mosaic: as listed above required; also Csapo if you read French
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4. From Greece to Rome: Alexandria and the Second Style in Pompeian
Painting:
Topic outline: The second style in Pompeian painting – sources and significances;
character of second style painting – Roman contexts – Wallace Hadrill and the social
contexts of second style wall painting – theatricality and Roman politics (Renaud
Robert) – Elsner on second style painting and Roman identities, reading the
Boscoreale cubiculum (presentation). Mainland Greek precedents for second style
wall-painting: Lefkadia. Alexandrian models for second style painting – Schefold,
McKenzie and Egyptian paradise – funerary painting in Alexandria – the Saqiya tomb
(presentation) – transmission of design in the Hellenistic world – Oplontis –
Alexandria and landscape (Saqiya; Praeneste mosaic) – Alexandrian funerary stele
Presentations:
The Cubiculum of the Villa of P. Fannius Synistor, Boscoreale and Second Style WallPainting
The Painted Tombs of Hellenistic Alexandria: The Shatby Tombs, Sidi Gabr, the
Tomb from the Antoniadis Gardens, The Mustapha Pasha Tombs. [Chose any
two examples for the presentation]
Essay topic:
Either: To what extant does a focus on a putative Greek background for second style
painting in Rome and Pompeii distract us from a proper understanding of its
character and significance?
Or: With what confidence can we reconstruct the character of Alexandrian painting?
(Mosaics should also be considered as part of the relevant pictorial tradition)
Short essays based on presentations:
Cubiculum: How can we best understand the character of the visual choices made in
the decoration of the cubiculum of P. Fannius Synistor?
Alexandrian funerary painting: “Discuss the roles played by illusionism and
theatricality in the painted and architectural decoration of Alexandrian tombs,
with reference to any two or three tombs of your choice”. Or: “What role is
played by illusionism in Alexandrian funerary painting?
Required reading:
*Elsner, Jas. 1995. Art and the Roman Viewer: the Transformation of Art from the
Pagan World to Christianity. Cambridge. Pp. 49-87 “Viewing and society:
images, the view and the Roman house”. (YATES A 60 ELS; ISSUE DESK
IOA ELS 20
**Ling, Roger. 1991. Roman Painting. 23-51 “The second style” (YATES
QUARTOS P140 LIN; ART FB 10 LIN)
Wallace Hadrill, Andrew. 1994. Houses and Society in Pompeii and Herculaneum.
Princeton, NJ. 3-61 “The social structure of the Roman house” (YATES K73
WAL; ISSUE DESK IOA WAL 8)
*Venit, Marjorie Susan. 2002. Monumental Tombs of Ancient Alexandria. The
Theater of the Dead. Cambridge. *Pp.37-67 “Theater of the dead: theatricality
in Alexandrian tombs”, (for essay nb also: 22-36 “The earliest Alexandrian
monumental tombs and their antecedents; 68-95 “The tombs of Pharos Island:
cultural interplay and ethnic identity”, 96-118 “The emergence of the
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individual: the Saqiya tomb and the Necropolis at Wardian). [Nb: seems like a
lot of reading, but skim through the architectural material and focus on the
discussions of painting and its role] (EGYPTOLOGY QUARTOS E 7 VEN)
**McKenzie, Judith. 2007. The Architecture of Alexandria and Egypt, 300 BCAD700. New Haven: Yale. Pp. 62-74, 80-112 (nb skim 81-96, but you need an
idea of Alexandrian capitals esp to get the point of 96ff “Reflections of
Alexandrian architecture at Petra and in second style Pompeian wall-painting”.
(EGYPTOLOGY QUARTOS K5 MACK; ARCHITECTURE B3 MCK;
ISSUE DESK ARCHITECTURE MACK – BARTLETT)
*Clarke, John R. 1991. The Houses of Roman Italy, 100 BC-AD250. Ritual, Space
and Decoration. Berkeley: University of California Press. *Pp. 31- 49 on first
and second style decorative schemes and their background; (also
recommended: 1-20 “Space and ritual in domus, villa and insula, 100 BCAD250”, 78-124 “Decorative ensembles of the Late Republic, 100-30 BC”)
(YATES K73 CLA; ISSUE DESK IOA CLA 19)
Bruno, V.J. 1993. “The Mariemont fragments from Boscoreale in color”, in Eric
Moormann ed. Functional and Spatial Analysis of Wall-Painting, 223-33 and
272-5 (plates) (YATES QUARTOS P106 MOO)
Brown, Blanch R. 1957. Ptolemaic Paintings and Mosaics and the Alexandrian Style.
esp. pp. 1-12 “Introduction”, 52-60 “Richer tombs”, 83ff. “What is the
Alexandrian style?” (YATES QUARTOS P120 BRO)
_____. 1970. “An Alexandrian tomb and the Pompeian second style”, American
Journal Of Archaeology 74: p. 189. (JSTOR)
Bruno, V.J. 1969. “Antecedents of the Pompeian first style”, American Journal Of
Archaeology 73: 305-17 (JSTOR)
Lehmann, P. W. 1979. “Lefkadia and the second style”, in Studies in Classical Art
and Archaeology: a Tribute to P. Heinrich von Blanckenhagen. Locust Valley,
New York. 225-29. (YATES QUARTOS A6 BLA)
_____. 1953. Roman Wall-Paintings from Boscoreale in the Metropolitan Museum of
Art. Cambridge, Mass: Archaeological Institute of America. (YATES
QUARTOS P 142 LEH), esp. pp. 82-131 “The cubiculum”
Beyen, H.G. 1957. “The wall decoration of the Villa of P. Fannius Synistor near
Boscoreale in its relations to ancient stage painting”, Mnemosyne 10: 147-53
(JSTOR)
Leach, Eleanor Winsor. 2004. The Social Life of Painting in Ancient Rome and on the
Bay of Naples. Cambridge. 93-114 “The model of the scaenae frons” (YATES
QUARTOS M140 LEA)
Meyboom, P. 1995. The Nile Mosaic of Palestrina. Early Evidence of Egyptian
Religion in Italy. Leiden. Esp. Ch VI “The workshop”, ch VII “The cultural
background”. (YATES P145 MEY)
Kuttner, A. 1998. “Prosperity of patronage: realism and Romanitas in the architectural
vistas of the second style”, in A. Frazer ed. The Roman Villa: Villa Urbana.
First Williams Symposium on Classical Architecture at the University of
Pennsylvania, April 21-22, 1990. Philadelphia PA. (YATES QUARTOS K73
FRA)
®Leach, Eleanor Winsor. 1982. “Patrons, painters and patterns: the anonymity of
Romano-Campanian painting and the transition from the second to the third
style”, Barbara K. Gold ed. Literary and Artistic Patronage in Ancient Rome.
135-73 (CLASSICS LA 60 GOL; INST ARCH Teaching Collection 835)
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®Baxandall. Michael. 1985. Patterns of Intention: On the Historical Explanation of
Pictures. 58-62 “Excursus against influence”. (ART C10 BAX; xerox on
teaching collection)
®Bryson, Norman,. 1992. “Art in context”, in R. Cohen ed. Studies in Historical
Change. Chlarotteville VA. Pp. 18-42 (Not in UCL: JJT xerox)
Supplementary reading
Baldassare, I. 1998. “Documenti di pittura ellenistica da Napoli”, in L’Italie
méridionale et les premières experiences de la peinture hellénistique. Actes de
la Table Ronde organisée par l’Ecole Française de Rome, 1994. (Rome 1998)
– esp. on background of second style
Borbein, A.H. 1975. “Zur Deutung von Schwerwand und Durckblick auf den
Wandgemälden des Zweiten pompejanischen Stils”, in Neue Forschungen in
Pompeji, 61-70. Recklinghausen; B. Andreae, H. Kyrieleis eds. (Epicurean
viewing theory – Lucretius)
Robert, R. 1993. “Des oiseaux dans les architectures”, 168-73 in AIPMA V.
(Functional and Spatial Analysis of Wall-Painting. Atti del V Convegno
Internazionale sulla Pittura Parietale antica. Amsterdam 1992. E.M. Moorman
ed. BABesch Suppl. 3. Leiden.
Rouveret, A. 1984. “Peinture et theatre dans les fresques de ‘second style’: à propos
de Vitruve de Arch. VII. Pref 11” in F. Vian ed. Texte et Image (no cross ref!
Rouveret p. 522), 151-65
_____. 1998. “Un example de diffusion des techniques de la peinture hellénistique:
les steles Alexandrines du muse du Louvre”, in in L’Italie méridionale et les
premières experiences de la peinture hellénistique. Actes de la Table Ronde
organisée par l’Ecole Française de Rome, 1994. (Rome 1998) 175-190
Tammisto, Antero. 1997. Birds in Mosaics: A Study on the Representation of Birds in
Hellenistic and Romano-Campanian Tesselated Mosaics to the Early
Augustan Age. Rome: Institutum Romanum Finlandiae, 162-178 on possibility
of Alexandrian team in Pompeii then Ampurias.
Thiersch, H. 1904. Zwei antike Grabanlagen bei Alexandria. Berlin: Georg Reimer.
{Pagenstecher, R. 1919. Nekropolis: Untersuchungen über Gestalt und Entwicklung
der alexandrinischen Grabanlagen und ihrer Malereien. Leipzig: Giesecke &
Devrient. (WARBURG KKN 140)}
Empereur, J-Y. And M.-D. Nenna. 2001. Nécropolis I. Études Alexandrines 5. Cairo:
Institut français d’archéologie orientale. (EGYPTOLOGY QUARTOS E 100
EMP)
_____. (2002). Nécropolis II. (EGYPTOLOGY QUARTOS E 100 EMP)
Knauer, E.R. 1990. “Wind towers in Roman wall paintings”, Metropolitan Museum
Journal 25: 5-20. (Boscoreale and Alexandria?) (JSTOR)
Schefold, K. 1975. “Der zweite Stil als Zeugnis alexandrinischer Architektur”, in B.
Andreae and H. Recklinghausen eds. Neue Forschungen in Pompeji
(Recklinghausen) 53-9
Fittschen, K. 1976. “Zur Herkunft und Entstehung des 2. Stils“, in P. Zanker ed.
Hellenismus in Mittelitalien (comparison with Hellenistic palace architecture)
Readings for the presentations:
Cubiculum of P. Fannius Synistor: Primary for presentation: Lehmann 1953; Beyen
1957; Leach 1982; (Elsner, Ling, Wallace-Hadrill, Clarke, Kuttner, McKenzie
supplementary and for essay)
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Alexandrian Tomb Paintings:: Primary: Venit, McKenzie; Supplementary: Brown.
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5. a) Still-life and Xenia
Class outline: 1. Examples – concept in the modern west – anachronistic for
antiquity? - 2. Origins of xenia – Greek? – question of the xenia concept - Classical
background – Pausias; Hellenistic, Pergamon, Unswept Floor; 3. Contexts: Roman
contexts, in wall-painting programmes, House of the Stags, Herculaneum; 4. Cultural
frames for the interpretation of ancient still life, texts and images; Zeuxian thematics –
poems of the Palatine Anthology; Philostratos. Concept of nature.
Presentations:
a) ‘Still-life’ in context: the framing of still life in 2nd, 3rd and fourth style Pompeian
schemes. (Choose one example from each style)
b) ‘Still-life’ and texts: Philostratos Imagines on xenia; Martial.
Essay: Is “still-life” a helpful category in understanding ancient painting?
Shorter essays based on presentations:
a) What does the way in which the different Pompeian styles present ‘still-life’
paintings tell us about the significance attributed to such images by their ancient
viewers?
b) How helpful is the evidence of literary texts in helping us to read and understand
the significance of ‘still-life’ representation in Pompeii?
Required reading:
Naumann-Steckner, F. 1991. “Depictions of glass in Roman wall-paintings”, in M.
Newby and K. Painter (eds.) Roman Glass: Two Centuries of Art and
Invention. London. 86-98. (INST ARCH KL NEW)
*Sterling, Ch, 1981. Still Life Painting: from Antiquity to the Twentieth Century.
Trans J. Emmons. London. 25-33 “Antiquity” (ART BC 40 STE)
Tammisto, Antero. 1997. Birds in Mosaics: A Study on the Representation of Birds in
Hellenistic and Romano-Campanian Tesselated Mosaics to the Early
Augustan Age. Rome: Institutum Romanum Finlandiae. (Skim)
®Bryson, Norman. 1990. Looking at the Overlooked. Four Essays on Still Life
Painting. London.7-15 “Foreword”, 16-59 “Xenia” (ART BC40 BRY – 2
copies, one reference; IoA Teaching Collection: INST ARCH 879)
Taylor, P. 1992. “Looking and overlooking”, Art History 15.1: 107-111 (review of
Bryson) (JSTOR)
*Maiuri, Amadeo. 1953. Roman Painting. Pp. 133-138 “Still life” (YATES
QUARTOS P140 MAI; ART FB 10 MAI).
®Ling, Roger. 1991. Roman Painting. Pp. 153-156 “Still life” (YATES QUARTOS
P140 LIN; ART FB10 LIN)
*Gombrich, E.H. 1963. “Tradition and expression in Western still life”, in
Meditations on a Hobby Horse and other Essays on the Theory of Art.(ART
BA GOM)
De Caro, Stefano.. 1999. Still Lifes from Pompeii. Transl. F. Poole, Naples. (On
order)
*De Caro, Stefano. 2001. La natura morta nelle pitture e nei mosaici delle città
vesuviane. Naples. {nb for pics, even if you do not read Italian} (YATES
P140 DEC)
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Culpepper Stroup, S. 2006. “Invaluable collections: the illusion of poetic presence in
Martial’s xenia and Apophoreta”, in R.R. Nauta, H.-J. van Dam and J.J.L.
Smolenaars. Eds. Flavian Poetry. 299-313. Leiden. (CLASSICS LC20 NAU)
{with further bibliography to follow up}
Martial Epigrams XIII.
Philostratos, Imagines I.31, II.26;
Anth. Pal. VI.22, VI.232. VI.300
®Squires, Michael. 2009. “The art of nature and the nature of art: visual verbal
interactions in the consumption of Roman ‘still-life’ paintings”, in idem Image
and Text in Graeco-Roman Antiquity. Cambridge. 357-428 (YATES A99
SQU; plus xerox for teaching collection)
Clarke, John. R. 1991. The Houses of Roman Italy 100 BC-AD 250. 243-50 (House of
the Stags)
Supplementary reading:
Rouveret, A. 1987. “Remarques su les peintures des nature mortes antiques”, Bulletin
de la Société des Amis du Musée de Beaux Arts de Rennes no 5: 11-25 = X. de
Villeneuve ed. La Nature Morte.
Salzmann, D. 1995. “Zu den Mosaiken in den Palästen IV und V von Pergamon”,
Studien zum antiken Kleinasien III. Asia Minor Studien 16, Bonn, 101-12.
(still life, imitation picture galleries)
Scheibler, I. 1998. “Zu den Bildinhalten der Klapptürbilder römischer
Wanddekorationen”, MDAI-R 105: 1-20
Sgatti, G. 1957. “Caratteri della ‘Natura Morta’ pompeiana. L’interpretazione della
Spazio”, Arch. Class. 9.2: 174-92. (esp. on hellenistic background)
Singer, C. 1927. “The herbal in antiquity and its transmission to later ages”, Journal
of Hellenic Studies 47: 1-52
Wesenberg, B. 1993. “Zum integrierten Stilleben in der Wanddekoration des zweiten
pompejanischen Stils”, in E.M. Moorman ed. Functional and Spatial
Analaysis of Wall-Painting. 160-167.
Guimier-Sorbets, A.-M. 1990. “Note sur les motifs de xenia dans les mosaïques
d’époque hellénistique”, in C. Balmelle and J.-P. Darmon ed. Xenia.
Reccherches franco-tunisiennes sur les mosaïques de l’Afrique antique, I.
Paris. 66-71.
Balmelle, C. 1990. “Quelques images de mosaϊques à xenia hors de Tunisie”, inC.
Balmelle and J.-P. Darmon ed. Xenia. Reccherches franco-tunisiennes sur les
mosaïques de l’Afrique antique, I. Paris. (esp. on Hellenistic background)
Smith, Pamela. 2008. “Artisanal knowledge and the representation of nature in
sixteenth century Germany” in Theresa O’Malley and Amy Meyers eds. The
Art and History of Botanical and Natural History Treatises. Washington DC:
National Gallery Center for the Advanced Study of the Visual Arts. 14-31
Reading for presentations:
a) Squire, Bryson, (Wesenberg and Scheibler if you read German)
b) Still-life and texts: Martial, Philostratos, Anth.Pal.; Squire; Bryson; Culpepper.
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6. Landscape depiction, from Hellenistic Greece to the Early Roman Empire
Topic outline:
Concept of landscape – classical background – Roman sacral-idyllic landscape, the
issues – Boscortrecase and Sacral Idyllic landscape - introductioin– The Esquiline
Odyssey landscapes (presentation) – Hellenistic landscape – Praeneste Mosaic and
topographia (presentation) – Saqiya necropolis and Alexandrian landscape painting –
Villa of Livia – Roman landscape painting and its contexts – Sacral Landscape and
the Temple of Isis, Pompeii.
Presentations: The Nilotic Mosaic from Praeneste; the Esquline Odyssey landscape;
Sacral Idyllic Paintings of Boscotrecase
Essays linked to Presentations:
a) Praeneste: What are the main characteristics of landscape depiction in the
Praeneste Nilotic mosaic, and how can they be located in the history of
landscape depiction in the classical world?
b) Odyssey: What are the main characteristics of landscape depiction in the Esquiline
Odyssey Frieze and how should the frieze be located in the history of
landscape depiction in the classical world?
c) Boscotrecase Sacral Idyllic: Analyse the sacral-idyllic landscape paintings of the
Augustan villa at Boscotrecase, paying special attention to their artistic style
and cultural programme.
Essay question:
What do you regard as the most important factors influencing the development of
landscape painting in the Greco-Roman world, and determining its specific
characteristics?
Required reading:
Hurwit, J.M.. 1991. “The representation of nature in early Greek art”, in New
Perspectives in Early Greek Art¸ed. Diana Buitron-Olivier. Washington DC:
National Gallery of Art. 33-61 (YATES QUARTOS A6 BUI)
Leach, Eleanor Winsor. 1992. “Polyphemus in a landscape: traditions of pastoral
courtship”, in John Dixon Hunt ed. The Pastoral Landscape. National Gallery
of Art Washington, Studies in the History of Art 36. 63-87 (good on
hellenistic background) (ART BC 40 HUN)
*Ling, R. 1977. ‘Studius and the beginnings of landscape painting’, Journal of Roman
Studies 67: 1ff. (JSTOR)
Ling, R. 1991. Roman Painting. Pp. 142-7 Landscapes
*Schefold, K. 1960. “Origin of Roman landscape painting”, Art Bulletin 42: 87-96
(JSTOR)
Von Blanckenhagen, P. and C. Alexander. 1990. The Augustan Villa at Boscotrecase.
Pp. 10-27 “The bucolic landscapes”. (YATES QUARTOS P142 BLA)
*Von Blanckenhagen, PH. 1963. ‘The Odyssey frieze’, Rom. Mitt. 70: 100ff. (IoA
Teaching Collection 822)
Meyboom, P. 1995. The Nile Mosaic of Palestrina. Leiden. (YATES P145 MEY)
GkP.II Hellenistic/Roman 2014-15
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Versluys, M.J. 2002. Aegyptiaca Romana. Nilotics Scenes and the Roman Views of
Egypt. Leiden. 285ff on hellenistic background to Roman landscapes –
topography etc (YATES A60 VER)
Gombrich, E.H. 1966. (ov.1953). “The Renaissance theory of art and the rise of
landscape”, in Norm and Form: Studies in the Art of the Renaissance. London.
107-121 (ART KI 7 GOM; BARTLETT B 6:27 GOM)
®Mitchell, W.J.T. 1995. “Gombrich and the rise of landscape”, 103-120 in Ann
Bermingham and John Brewer eds. The Consumption of Culture 1600-1800.
London, Routledge. (ART K5 BER; HISTORY 82 c 2 BER; JJT to xerox for
IoA teaching collection)
*Bergmann, B..1992. “Exploring the grove: pastoral space on Roman walls”, in John
Dixon Hunt ed. The Pastoral Landscape. National Gallery of Art Washington,
Studies in the History of Art 36. 21-46 (ART BC 40 HUN)
Venit, Marjorie S. 2002. Monumental Tombs of Ancient Alexandria. The Theatre of
the Dead. Cambridge. Pp. 96-118 “The emergence of the individual: the
Saqiya tomb and the necropolis at Waedian” (EGYPTOLOGY QUARTOS E7
VEN)
Silberberg-Peirce, Susan. 1980. “Politics and private imagery: the sacral-idyllic
landscapes in Augustan art”, Art History 3.3: 241-251 (JSTOR)
®Villard in idem et al Hellenistic Art 167-85 on Hellenistic landscape. (YATES
QUARTOS A27 CHA)
Clarke, John R. 1991. The Houses of Roman Italy, 100 BC- AD 250: Ritual, Space
and Decoration, pp. 19-25, “View villas and seaside villas” (YATES K73
CLA; ISSUE DESK IOA CLA 19)
Supplementary Reading:
Andrews, Malcolm. 1999. Landscape and Western Art. Oxford History of Art.
Orians, G.H. and J.H. Heerwagen. 1992. “Evolved responses to landscapes”, pp. 555579 in J.H. Barkow et. al eds. The Adapted Mind. (Oxford: Oxford University
Press). (ANTHROPOLOGY B 36 BAR; PSYCHOLOGY D10 BAR)
Coarelli, Filippo. 1998. “The Odyssey Frieze of the Via Graziosa: a proposed
context”, Proceedings of the British School at Rome 53: 21-38 (Classics Pers)
Ferrari 1999. “The geography of time: the Nile Mosaic and the Library at Praeneste”,
Ostraka 8: 359-86
Goodchaux 2001 “Nilotic mosaic of Palestrina”, in S. Walker and P. Higgs eds.
Cleopatra of Egypt: from History to Myth. London: British Museum Press.
332-334
Hedreen, G. 2002. Capturing Troy: the Narrative Functions of Landscape in Archaic
and Early Classical Greek Art. Ann Arbor: University of Michigan,
Hay, John. 1985. "Surface and the Chinese painter: the discovery of surface".
Archives of Asian Art XXXVIII: 95-123. (Cf. Also for gardens topic –
excellent spatial analysis.)
Halle, David. 1993. Inside Culture: Art and Class in the American Home. Chapter 2
“Empty terrain: the vision of landscape in the residences of contemporary
Americans”, 59-86
Hughes, J.D. 1974. Pan’s Travail. (attitudes to ecology – and landscape concepts)
Hurwit, J.M. 1982. “Palm trees and the pathetic fallacy in archaic Greek poetry and
art”, CJ 77: 193-99. (1983 Madden, J. “The palms do not weep” CJ 79: 193-9;
“Professor Hurwit replies”, CJ 78: 200-1)
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Morris, S.P. ed. 2007. 'Epos: Reconsidering Greek Epic.' Aegaeum 29. NB articles on
narrative and landscape, going back to early bronze age
Nelson, LG. 1980. The Rendering of Landscape in Greek and South Italian Vase
Painting.
La Rocca, Eugenio. 2008. Lo Spazio negato. La Pittura di paesaggio nella cultura
Greco romano.
Leach. Eleanor Windsor. 1988. The Rhetoric of Space: Literary and Artistic
Representation in Republican and Augustan Rome. Princeton.
Whitehouse, H. 1976. The Dal Pozzo Copies of the Palestrina Mosaic. BAR
Supplementary Series 12
Clarke, J.R. 1996. “Landscape paintings in the Villa of Oplontis”, Journal of Roman
Archaeology 9: 81-107
Dawson, Ch. M. 1944. Romano-Campanian Mythological Landscape Painting. Yale
Classical Studies 9.
Kotsidu, Haritini. 2007. Landschaft im Bild: Naturprojektion in der antiken Kunst.
Ling, Roger. 1993. “The paintings of the Columbarium of the Villa Doria Pamphili in
Rome”, 127ff in Eric M. Moormann ed. Functional and Spatial Analysis of
Wall Painting. Proceedings of the Fifth International Congress on Ancient Wall
Painting.
Moffitt, J.F. 1997. “The Palestrina Mosaic with a Nile scene: Philostratus and
ekphrasis: Ptolemy and Chorographia”, Zeitschrift für Kunstgeschichte 60 Bd.
H. 2: 227-47
O’Sullivan, 2007. “Walking with Odysseus: the portico frame of the Odyssey
landscapes”, American Journal of Philology 128: 497-532
Readings for presentations:
a) Praeneste Mosaic:Meyboom, Versluys (check in index for refs)
b) Odyssey landscape: von Blanckenhagen, Coarelli,
c) Boscoreale sacral-idyllic: von Blanckenhagen and Alexander, Silberberg-Peirce,
Bergmann
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7. Villas and the art of landscape: villa-painting, garden painting and the
experience of space in Roman elite leisure culture
Presentations: {a Villascapes}; Villa of Livia at Prima Porta – Garden Paintings; {c)
Mythological landscapes from Boscotrecase}
Topic outline: Villas and landscape – gardens and internal views – landscapes and
vistas – views within the house/villa – villa-paintings and their consumption – garden
paintings – Livia’s garden room – Auditorium of Maecenas - House of the Marine
Venus – Oplontis – Casa del Bracciale di Oro – House of the Fruit Orchard – House
of the Mosaic of Neptune and Amphitrite – hunt scenes and Paradeisos concept –
possible Alexandrian background –manipulation of special perception and experience
- interrelationship between garden paintings at Oplontis and actual gardens –
Hellenistic vs roman origins, social vs symbolic significance
Essay: How did the villa as an institution shape Roman experience of and
representation of the natural environment in depictions of gardens and architectural
landscapes?
Presentation essays:
a) How representative is the Garden Room at Prima Porta of the character and
significance of Roman garden painting more generally?
{b) What are the distinctive characteristics of Roman villa paintings, and what was
the significance of such paintings for their original viewers? – Currently Insufficient
bibl for presentation essay topic, 2014; - Van Dam, Sherwin White; texts: Pliny,
Statius?}
c) What kind of viewer are mythological landscapes designed to appeal to, and how
do they exercise that appeal? (Probably best to concentrate on Boscotrecase paintings,
though you may wish to draw on other examples in elucidating them, and insights
developed in relationship to other paintings in the readings should be relevant to
Boscoreale)
Required reading:
**Bergmann, B. 2002. “Art and nature in the villa at Oplontis”, in T. Mc Ginn et al
eds. Pompeian Brothels. Pompeii’s Ancient History, Mirrors and
Mysteries,Art and Nature at Oplontis, & the Herculaneum ‘Basilica. Journal
of Roman Archaeology, Supplementary Series Number 47: 87-120 {good
supplementary bibl on villas} (YATES QUARTOS E22 POM) Plus Xerox
for teaching collection:
Hales, S. 2003. The Roman House and Social Identity. 153-62 garden painting
(YATES K73 HAL)
**Kellum, Barbara A. 1994. “The construction of landscape in Augustan Rome: the
Garden Room in the Villa ad Galinas”, Art Bulletin 76.2: 211-24 (JSTOR)
Myers, K.S. 2005. “Docta otia: garden ownership and concepts of leisure in Statius
and Pliny the Younger”, Arethusa 38: 103-29 (JSTOR)
Gabriel, M.M. 1955, Livia’s Painted Garden Room at Prima Porta. New York.
(SENATE HOUSE VDT GAB; S block 4th floor, MX South) Not in UCL
Library – JJT will make available xerox
GkP.II Hellenistic/Roman 2014-15
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Conan, M. 1986. “Nature into art: gardens and landscapes in the everyday life of
ancient Rome”, Journal of Garden History vi.4: 348-56 (IOA Issue Desk
JOU2)
*Jashemski, Wilhelmina F. 1979. The Gardens of Pompeii. Chapter 3, pp. 55-87 “The
garden paintings”. (YATES QUARTOS E 22 POM)
Carey, S. 2003: Pliny’s Catalogue of Culture: Art and Nature in the Natural History.
Oxford. Chapter 5 “The artifice of Nature”, esp. 102-5, 111-3, 122-133.
(CLASSICS LM 68 CAR)
**Wallace-Hadrill, A. 1998. “Horti and hellenization”, 1-12 in Maddalena Cima
and Eugebio La Rocca eds. Horti Romani. Atti del Convegno Internazionale,
Roma, 4-6 Maggio 1995. L’Erma di Bretschneider. (YATES QUARTOS K73
CIM)
Rediscovering Pompeii. Exhibition by IBM-Italia, New York City, IBM Gallery of
Science and Art. Ministero per I beni culturali. 1990, pp. 226-236 on Casa del
Bracciale del Oro (YATES QUARTOS C27 POM)
*Bergmann, B. 1991. “Painted perspectives of a villa visit”, in E.K. Gazda ed. Roman
Art in the Private Sphere, 49-70. (YATES A40 GAZ)
McKay, Alexander. 1975. Houses, Villas and Palaces in the Roman World. 100-135
“Italian villas: rural, suburban and maritime”.
Add Bergman in the new Pompeii exhibition catalogue – US
Mythological Landscape
von Blanckenhagen, Peter H and Christine Alexander. 1990. The Augustan Villa at
Boscotrecase. Mainz, von Zabern. 28-40 “The Mythological landscapes”
Leach, Eleanor Winsor. 1988. The Rhetoric of Space: Literary and Artistic
Representations. 309-60 “Reading continuous narrative”, 361-408
“Mythological ensembles in painting and literature”.
_____. 1992. “Polyphemus in a landscape: traditions of pastoral courtship”, 63-87 in
John Dixon Hunt ed. The Pastoral Landscape. Washington. (ART BC 40 HUN)
Bergmann, Bettina. 1999. “Rhythms of recognition: mythological encounters in
Roman landscape painting”, 81-107 in Tonio Holscher et al Im Spiegel des
Mythos. Bilderwelt und Lebenswelt. Lo Specchio del mito. Immaginario e
realtà. DAI Rome, Palila Band 6. Reichert Verlag, Wiesbaden. (YATES
QUARTOS A 50 ANG)
Ling, Roger. 1991. Roman Painting. 112-128
Squire, Michael. 2009. Image and Text in Graeco-Roman Antiquity. 300-356
“Cyclopian iconotexts: the adventures of Polyphemus in text and image”.
Supplementary reading:
Pagan, Victoria Emma. 2006. Rome and the Literature of Gardens. Duckworth.
Rosen, Ralph M; Sluiter, Ineke. Eds. 2006. City, Countryside and Spatial
Organization of Value in Classical Antiquity. Mnemosyne Supplement. 279.
Leiden. (Spencer on Horace, gardens and utopian landscape; Skoie on sacral
idyllic)
*Settis, S. 2000. Le pareti ingannevoli. Immaginazione e spazio nella pittura romano
di giardino. (Best account, if you read Italian)
Michel, D. 1980. ‘Pompejanische Gartenmalereien’, in Tainia. Festchr. R. Hampe,
373-404
Carey, S. 2003: Pliny’s Catalogue of Culture: Art and Nature in the Natural History..
111-133 on painted gardens
GkP.II Hellenistic/Roman 2014-15
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Frazer, Alfred. 1992. “The Roman villa and the pastoral ideal”, in John Dixon Hunt
ed. The Pastoral Landscape. National Gallery of Art Washington, Studies in
the History of Art 36. 49-51
Giesecke, Annette Lucia. 2007. The Epic City: Urbanism, Utopia and the Garden in
Ancient Greece and Rome. Cambr, Mass and London.
Mielsch, H. 1985. Die römische Villa: Architektur und Lebensform. Munich
(*)_____. 1987. “Die römische als Bildungslandschaft”, Gymnasium 96: 444-456
Rostovzeff, M. 1911. “Das hellenistisch-römische architekturlandschaft“, RM 26: 1160
_____. 1904. “Pompeianische Landschaften und römische Villen”, Kaiserliche
Deutsches Archäologische Jahrbuch 19: 103-26
Lafon, X. 1991. “A propos des villas maritimes: cadre reel et cadre rêvé d’aprés les
representations figurées”, Ktema 131-45.
____. 2001. Villa Maritima. Recherches sur les villa littorales de l’Italie romaine.
(YATES QUARTOS K73 LAF)
Kolendo, J. 1982. “Le port d’Alexandrie sur une peinture de Gragnano”, Latomus 61:
305-11
Picard, C. 1959. “Pouzzuoles et le paysage portuaire”, Latomus 18: 23-51
Beagon, Mary. 1996. “Nature and views of her landscapes in Pliny the elder”, in G.
Shipley and J. Salmon eds. Human Landscapes in Classical Antiquity.
Environment and Culture. London. 284-309
Lefevre, E. 1977. “Plinius-Studien. Römische Baugesinnung in der
Landschaftsaufffassung in den Villenbriefen (2.17; 5, 6) ”, Gymnasium 84: 51941
Bütner, Nils. 2008. The History of Gardens in Painting. Abbeville Press. (ART BC 40
BUT)
Turner, Richard. 1966. The Vision of Landscape in Renaissance Italy. Ch. 10 on
country villas and landscape painting. Princeton, NJ.
Förtsch, Reinhard. 1993. Archäologischer Kommentar zu den Villenbriefen des
jüngeren Plinius. (YATES QUARTOS K73 FOR)
Friedlander, M.J. 1947. Landscape, Portrait and Still-Life: their Origin and
Development. New York.
Coffin, D. 1979. The Villa in the Life of Renaissance Rome. Princeton, NJ.
Milnor, K. 2009. “Literary literacy in Roman Pompeii”, in W.A. Johnson and H.N.
Parker eds. Ancient Literacies: the Culture of Reading in Greece and Rome.
Oxford. 288-319
Reading for presentations
a) Villa of Livia: Gabriel and Kellum for Prima Porta, with the other required
readings to place it in context for the essay (primary focus on Prima Porta for
presentation)
{b) Villa landscapes: Bergmann 1991 (plus Rostovzeff and Lafon if you have French
or German)}
c) Mythological landscape: as listed for topic
GkP.II Hellenistic/Roman 2014-15
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8. Erotic art and pornographia:
Topic outline: Category of erotic art – the Secret Sabinet and modern attitudes
towards ancient sexual representation – the late-classical transition, Parrhasios and the
rise of pornographia; Gorgias’ Helen – mythical eroticism, nymphs and centaurs,
Herakles and Omphale, Eros punished, Narcissus – Suburban Baths Pompeii
(presentation) – Lupanar and brothels – figurae veneris and erotic handbooks – erotic
painting at home, house of Vettii (presentation), House of Caecilius Jucundus – House
of the Centenary - mythical eroticism vs literal eroticism - sex in the picture gallery:
the Villa Farnsina – the larger context (phallic symbolism etc) – comparisons with
post-Renaissance traditions of pornography/erotic art
Presentations:
a) The paintings of the apodyterium in the suburban baths at Pompeii;
b) Sexual imagery in the House of the Vettii, Pompeii;
c) Mythological erotics: Narcissus in the House of Loreius Tiburtinus (= Octavius
Quartio) and beyond (House of Marcus Lucretius Fronto, Casa dell’ Ara Massima).
Essay question: ‘Erotic art’ or ‘pornography’? Which, if either, of these two
categories is most relevant to the interpretation of Hellenistic-Roman ‘erotic’
paintings?
Short essays linked to presentations:
a) How far can we understand the choices made in the decoration of the apodyterium
of the Suburban baths at Pompeii and the likely response of contemporary viewers?
b) What is the role played by sexual imagery in the decorative programme of the
house of the Vettii, and how typical is it for a domestic context?
c) What is the character of the eroticism of the myth of Narcissus and to what extent
is it brought out by the depictions of the myth in Pompeii in their larger visual
contexts?
Required reading:
*Clarke, J.R. 1998. Looking at Lovemaking. Berkeley, California. **Chapter 1 “The
cultural construction of sexuality” (7-18); (Chapter 2 Greek and Hellenistic
constructions 0f lovemanking); Chapter 4 “Representations of male to female
lovemaking” (Farnesina paintings 93-108); chapter 6 “The display of Erotica
and the erotics of display in houses” 145-194 (*169-177 House of the Vettii);
Chapter 7 “The display of erotica and the erotics of display in public
buildings” (196-206 Lupanar; *212-240 Suburban baths) (YATES A60 CLA)
_____. 2002. “Look who’s laughing at Sex. Men and women viewers in the
apodyterium of the suburban baths at Pompeii”, in David Fredrick ed. The
Roman Gaze: Vision, Power and the Body. Baltimore. 149-181.(ANCIENT
HISTORY R72 FRE)
_____. 2003. Roman Sex, 100 BC – AD 250. Abrams, New York. 11-15
“Introduction”, 19-35 “Every house must have one”, 60-75 “Sex in whore
houses, sex on the stage”, 98-112 “The opposite of sex: how to keep away
from the evil eye”, 115-134 “Laughing at taboo sex in the Suburban Baths”.
GkP.II Hellenistic/Roman 2014-15
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(Not as much reading as it looks; mainly pictures) (YATES A 60 CLA; ISSUE
DESK IOA CLA 10)
*Clarke, J.R. 1996. “Just like us: cultural constructions of sexuality and race in
Roman art”, Art Bulletin lxviii.4: 599-603. (JSTOR)
Elsner, Jas. 2000. “Caught in the ocular: visualising Narcissus in the Roman world”,
in L. Spaas (ed.) Echoes of Narcissus 89-110. Oxford. (LITERATURE A16
NAR); also in Elsner’s Roman Eyes (YATES A60 ELS)
_____. 2007. “Viewer as image: intimations of Narcissus”, in idem Roman Eyes.
Visuality and Subjectivity in Art and Text.
Stewart, Andrew. 1996. “Reflections” in Natalie Kampen ed. Sexuality in Ancient
Art. Cambridge. 135-154 (YATES A60 KAM)
Bergmann, Bettina. 1996. “The pregnant moment: tragic wives in the Roman
interior”, in Natalie Kampen ed. Sexuality in Ancient Art. Cambridge. 199218 (YATES A60 KAM)
®Berger, John. 1972. Ways of Seeing. Essay 2 (picture essay) and 3, pp. 36-43, 45-64.
(ART BA BER; ANTHROPOLOGY E 10 BER)
®Nead, Lynda. 1998. “[Extract] from The Female Nude: Art, Obscentity and
Sexuality”, pp. 485-494 in Nicholas Mirzoeff ed. The Visual Culture Reader.
(On development of concept of pornography in 18th-19th century, formation of
“Secret Museum” at Pompeii) (ART BG MIR; plus JJT xerox for IoA
teaching collectipm)
Varone, Antonio. 2001. Eroticism in Pompeii. L’Erma di Bretschneider. Rome.
(YATES P142 VAR)
**Fredrick, D. 1995. “Beyond the Atrium to Ariadne: erotic painting and visual
pleasure in the Roman house”, Classical Antiquity 14: 266-87 (JSTOR)
Parker, Holt N. 1992. “Love’s body anatomized: the ancient erotic handbooks and the
rhetoric of sexuality”, in Amy Richlin ed. Pornography and Representation in
Greece and Rome. 90-111 (CLASSICS A6 RIC)
*Myerowitz, Molly. 1992. “The domestication of desire: Ovid’s parva tabella and the
theatre of love”, in Amy Richlin ed. Pornography and Representation in
Greece and Rome. 131-157. (CLASSICS A6 RIC)
Bartsch, Shado. 2000. “The philosopher as Narcissus: vision, sexuality and selfknowledge in antiquity”, in Robert Nelson ed. Visuality Before and Beyond
the Renaissance: Seeing as Others Saw. 70-97. (erotics of viewing) (ART BA
VIS)
*Platt, Verity. 2002. “Viewing, desiring, believing: confronting the divine in a Roman
house”, Art History 25.1: 87-112. (JSTOR)
Clarke, John. 2003. Art in the Lives of Ordinary Romans. Pp. 254-259 “Moral lessons
for children: the House of Marcus Lucretius Fronto”. (Narcissus in house of
Marcus Lucretius Fronto)
_____.
Callistratus, Descriptiones 5; Philostratos, Imagines 1.23 (Both in the Loeb edition of
Philostratus and Callistratus – descriptions of a sculpture and a painting of
Narcissus)
Supplementary reading:
De Caro, Stefano ed. 2000. Il gabinetto segreto del museo archeologico nazionale di
Napoli. Naples, Electa Napoli.
Platt, Verity. 2002. “Evasive epiphanies in ekphrastic epigram”, Ramus 31: 33-50.
(JSTOR_
GkP.II Hellenistic/Roman 2014-15
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Osborne, Robin. 2007. “Sex, agency and history: the case of Athenian painted
pottery”, in Robin Osborne and Jeremy Tanner eds. Art’s Agency and Art
History. 179-198 (much wider range than title would suggest, and esp.
interesting on concepts of erotic art and pornography)
Wallace-Hadrill, A. 1995. “Public honour and private shame: the urban texture of
Pompeii”, in T. Cornell and K. Lomas eds. Urban Society in Roman Italy.
Clarke, John. 1994. “Form, meaning and function of symplegmata in Pompeian
mosaics: the case for the ‘domestication’ of sex”, in Actes du VIIe Colloque
International pour l’Etude de la mosaique antique. Tunis 3-7 October.
Guzzo, Pietro Giovanni. 2000. Veneris Figurae: Immagini di prostituzione e
sfruttamento a Pompei. Naples, Electa Napoli. (YATES P142 GUZ) (Good
plates and plans showing placement of pictures, even if you do not read
Italian)
Leitao. D.D. 1998. “Senecan catoptrics and the passion of Hostius Quadra”, MD 41:
127-60 (sex and mirrors)
De Martino, F. 1996. “Per una storia del ‘genere’ pornografico’, 293-321 in O.
Peccere, A. Stranaglia eds. Cassino. La Letteratura di Consumo nel Mondo
Greco-Latino. Atti del Convegno internazionale, Cassino 14-17 Settembre
1994. Università degli Studi di Cassino.
Ovid, Ars Amatoria, Remedia Amoris
Jacobelli, L. 1995. Le pitture erotiche delle Terme suburbane di Pompei. Rome.
(ANTHROPOLOGY QUARTOS KJ 63 JAC)
Halperin, D. 1994. “Historicising the sexual body: sexual identities and erotic
preferences in the pseudo-Lucianic Erotes”, 19-34 in Jay Goldstein ed.
Foucault and the Writing of History. Oxford.
Goldhill, Simon. 1995. Foucault’s Virginity: Ancient Erotic Fiction and the History of
Sexuality.
Robert, Renaud. 1992. “Seduction erotique et plaisir esthetique”, MEFRA 104: 373437
Benediktson, D. Thomas. 1985. “Pictorial art and Ovid’s Amores”, Quaderni
Urbinati di Cultura Classica 20: 111-20
Elsner, J. 1993. “Seductions of art: Encolpius and Eumolpius in a Neronian picture
gallery”, PCPhS 39: 30-47
_____. 1996. “Naturalism and the erotics of the gaze: intimations of Narcissus”, in N.
Kampen ed. Sexuality in Ancient Art 247-61
{Ginzburg – Ovid and Titian in ??? }
Beard, Mary. 2012. “Dirty little secrets: changing displays of Pompeian erotica”, 6069 in Victoria C. Gardner Coates, Kenneth Lapatin, and Jon L. Seydl eds. The
Last Days of Pompeii: Decadence, Apocalypse, Resurrection. Getty.
Fisher, Kate and Langlands, Rebecca. 2011. “The censorship myth and the secret
museum”, 301-15 in Shelley Hales and Joanna Paul eds. Pompeii in the Public
Imagination from its Rediscvery to Today. (YATES E 22 POM)
Levin-Richardson, Sarah. 2011. “Modern tourists. Ancient sexualities: looking at
looking in Pompeii’s brothel and the Secret Cabinet”, 316-330 in Shelley
Hales and Joanna Paul eds. Pompeii in the Public Imagination from its
Rediscvery to Today. (YATES E 22 POM)
Lourdes, Conde Feitosa. 2013. The Archaeology of Gender, Love and Sexuality in
Pompeii. BAR international series, S2533. Oxford: Archaeopress,
GkP.II Hellenistic/Roman 2014-15
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Comparisons/frames:
Beisel, Nicola. 1993. “Morals versus art: censorship, the politics of interpretation and
the Victorian nude”, American Sociological Review 5.2: 145-62
Eck, Beth A. 2001. “Nudity and framing: classifying art, pornography, information
and ambiguity”, Sociological Forum 16.4: 603-32
_____. 2003. “Men are much harder: gendered viewing of nude images”, Gender and
Society 17.5: 691-710
Readings for presentations:
a) Suburban baths: Clarke 1998, 2002; Jacobelli if you read Italian; 2003 (Sex –
Stabian Baths)
b) House of the Vettii: Clarke 1998; also idem 1991 Houses of Roman Italy, pp. 208235 on house of the Vettii more generally; Fredrick 1995
c) Narcissus: Platt 2002 (Viewing, Desiring), Elsner 2000, Elsner 2007, Bartsch,
Clarke 2003 (Ordinary Roman Viewer)
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9. Roman Portrait Painting
Topic outline: concepts of portraiture, ancient and modern – likeness – Greek painted
portraiture – uses of painted portraiture in Greek and Roman worlds – the Fayum
portraits (presentation), forms, functions – painted portraits from Pompeii, contexts,
forms, meanings (presentation) – glass portrait from Pompeii, Severan tondo family
group
Presentations:
a) Painted portraits from Pompeii
b) Painted portraits from the Roman Fayum (Please focus on the portraits themselves
for the presentation – essay will take you into broader contexts, mummy frames etc,
but I will address that aspect in the lecture)
Essay: To what extent does the concentration in Egypt of surviving Roman painted
portraiture make it impossible for us to generalise about the character and functions of
painted portraiture in the Roman world?
Shorter essays linked to presentations:
a) How important are the choices made in their painted faces to the overall purpose
and message of the Fayum mummy portraits?
b) What role was played by painted portraits in the houses of Pompeii, and how does
that role affect the visual choices manifested in such images?
Required reading:
**Doxiadis, Euphrosyne. 1995. The Mysterious Fayum Portraits: Faces from Ancient
Egypt. London. {Wonderful colour plates}. 34-39 “The social context”, 39-46
“The religious context”, 82-93 “The pictorial tradition, from Apelles to icons”,
93-102 “Methods: scale, colours and materials”. (EGYPTOLOGY QUARTOS
M20 DOX)
**Thompson, David L. 1979. “Painted portraiture at Pompeii”, in Pompeii and the
Vesuvian Landscape. 78-92. (YATES E22 POM) JJT copy for TC
Anderson, M.L. 1987. “The portrait medallions of the imperial villa at Boscotrecase”,
American Journal of Archaeology 91: 127-135 (JSTOR)
**Riggs, Christina. 2002. “Facing the dead: recent research on the funerary art of
Ptolemaic and Roman Egypt”, American Journal of Archaeology 106: 85-101
(JSTOR)
*Clarke. John R. 2003. Art in the Lives of Ordinary Romans: Visual Representation
and Non-elite Viewers in Italy, 100 BC- AD 315. Chapter 9, pp. 246-68
“Putting your best foot forward: self-representation at home”. (YATES A50
CLA; YATES A60 CLA; ISSUE DESK IOA CLA 29)
Corcoran, Lorelei H. 1992 “A cultic function for the so-called Faiyum mummy
portraits”, 57-62 in J.H. Johnson ed. Life in a Multicultural Society: Egypt
from Cambyses to Constantine and Beyond. Chicago. (EGYPTOLOGY
QUARTOS A6 DEM)
Cormack, Robin. 1997. Painting the Soul: Icons, Death Masks and Shrouds. London,
Transaction. 64-73 on Fayum portraits as background to Christian icons, and
esp. for portraits with frames. (ART BC 10 COR)
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Maiuri, Amadeo. 1953. “The portrait”, 98-103 in idem Roman Painting. (YATES
QUARTOS P140 MAI; ART FB 1O MAI)
Ling, Roger. 1991. Roman Painting. 156-9 “Portraits”. (YATES QUARTOS P140
LIN; ART FB 10 LIN)
Walker, Susan and Bierbrier, Maurice. Eds. 1997. Ancient Faces: Mummy Portraits
from Roman Egypt. {Excellent plates; Contains some good short essays for the
exhibition, esp. Walker on the relation to Greek and Roman portraiture; plus
121-4 Some Technical aspects} (EGYPTOLOGY QUARTOS M20 WAL)
Montserrat, D. 1993. “The representation of young males in ‘Fayum portraits’”.
Journal of Egyyptian Archaeology 79: 215-225. (JSTOR)
Bierbrier, M.L. ed. 1997. Portraits and Masks: Burial Customs in Roman Egypt.
London, British Museum Press. (EGYPTOLOGY QUARTOS M20 BIE)
*Walker, Susan E.C. 1997. “Mummy portraits in their Roman context”, in Bierbrier
ed. 1-6
Borg, Barbara. 1997. “The dead as a guest at table? Continuity and change in the
Egyptian cult of the dead”, in Bierbrier ed. 26-32
*Corcoran, Lorelei H. 1997. “Mysticism and the mummy portraits” in Bierbrier ed.
45-54.
Daszewski, W.A. 1997. “Mummy portraits from Northern Egypt: the necropolis in
Marina el-Alamein”, in Bierbrier ed. 59-66
Doxiadis, Euphrosyne. 1997. “From eikon to icon: continuity in technique”, in
Bierbrier ed. 78-80
Portraits theory
Brilliant, Richard. R. 1971. “On portraits”, Zeitschrift für Ästhetik und allgemeine
Kunstwissenschaft 16: 11-26.
_____. 1991. Portraiture.
Supplementary reading:
De Kind, Richard E.L.B. 1991. “Two tondo-heads in the Casa dell’Atrio a Mosaico
(IV 1-2) at Herculaneum. Some remarks on portraits in Campanian wallpaintings.” Kölner Jahrbuch für Vor- und Frühgeschichte 24: 165-169
Thompson, David L. 1978/9. “A painted triptych from Roman Egypt”, The J. Paul
Getty Museum Journal 6-7: 185-92
Faedo, Lucia. Date. “Un ritratto su vetro da Pompei”, Prospettiva 7: 42-44
Root, Margaret Cool. 1980. Faces of Immortality: Egyptian Mummy Masks, Painted
Portraits and , and Canopic Jars in the Kelsey Museum of Archaeology, Ann
Arbor. (pp. 7, 56-7 on domestic use of portraits)
Ehlich, W. 1968. “Vom hellenistischen Mumienporträt zum östlichen Heiligen Bild“,
Helikon 8: 370-9
Kitzinger, E. 1963. “Some reflections on portraiture in Byzantine art”, Recueil des
travaux de l’Institut d’Études Byzantines 8: 185-93
Nowicka, M. 1979. “La peinture dans les papyrus grecs”, Archeologia 30: 21-8
Nowicka, M. 1993. Le portrait dans le peinture antique. Warsaw.
Borg, B. 1996. Mummienporträts: Chronologie und kultureller Kontext. Mainz. 15076 gk identitities
_____. 1998. ‘Der zierlicchste Anblick der Welt’: Ägyptische Porträtmummien.
Mainz. 34-59 gk identities
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Montserrat, D. 1998. “Unidentified human remains: mummies and the erotics of
biography”, in idem ed. Changing Bodies, Changing Meanings: Studies on the
Human Body in Antiquity. London. 162-97. (reception of the portraits)
Reading for presentations:
a) Portraits at Pompeii: Thompson 1979, Clarke 2003, Ling 1991, Anderson 1987
b) Fayum portraits: Doxiadis, Walker 1997 (in Bierbrier), Montserrat 1993
GkP.II Hellenistic/Roman 2014-15
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10. The invention of art history: collecting, connoisseurship and copying in the
Hellenistic-Roman world.
Topic Outline:
Art collecting and the development of art history writing in the hellenistic world –
ekphrastic poetry and the culture of connoisseurship, the case of Medea – Pliny and
the natural history of art – Roman collecting and connoisseurship – pinacothecae –
House of the Epigrams – the paintings of the House of Propertius – copying in the
Villa Farnesina – Programs in the house of the Tragic Poet and beyond - art
collecting and social status – ancient high culture and modern high culture compared
Presentations:
Epigram room – the House of the Epigrams
Villa Farnesina – Picture Galleries (pinacothecae) nb jjt: new set of scans needed 2014
Essay question: What are the main characteristics of the elite culture of art
connoisseurship in the Hellenistic-Roman world, and how can we account for them?
Presentation essays:
House of the Epigrams: What can we learn from the House of the Epigrams about the
character of Hellenistic-Roman connoisseurship?
Villa Farnesina: How do the paintings of the pinacothecae of the Villa Farnesina
reflect the character of Roman art connoisseurship?
Required reading:
*Gutzwiller, Kathryn .J. 2004. “Seeing thought. Timomachus ‘Medea’ and ecphrastic
American Journal of Philology 125: 339-386 (JSTOR)
Van Buren, A.W. 1938. “Pinacothecae, with especial reference to Pompeii”, MAAR
15: 70-81. (JSTOR)
Bergmann, Bettina. 1994. “The Roman house as memory theatre: the house of the
tragic poet in Pompeii”, The Art Bulletin 76: 225-56 (JSTOR)
*_____. 1995. “Greek masterpieces and Roman recreative fictions”, Harvard Studies
in Classical Philology 97, 79-120. (JSTOR)
_____. 2007. “A painted garland: weaving words and images in the House of the
Epigrams in Pompeii”, in Ruth Leader and ZahraNewby eds. Art and
Inscriptions in the Ancient World. Cambridge. 60-101.
*Wyler, Stephanie. 2006. “Roman replications of Greek art at the Villa of the
Farnesina”, Art History 29.2: 213-232 (UCL – ELECTRONIC PERS)
Leach, Eleanor Windsor. 2004. The Social Life of Painting in Ancient Rome and the
Bay of Naples. Cambridge. Pp. 132-155 “Pinacothecae: representing
representation”.
*Squire, Michael. 2009. Image and Text in Graeco-Roman Antiquity. Cambridge.
176-189 “The casa degli epigrammi in Pompeii”, 239-293 “The House of
Propertius at Assisi”.
*Tanner, Jeremy. 2006. The Invention of Art History in Ancient Greece: Religion,
Society and Artistic Rationalisation. Cambridge, Chapter 5, pp. 205-276
“Reasonable ways of looking at pictures: high culture in hellenistic Greece
and the Roman empire”. (YATES A5 TAN; ART A8 TAN)
GkP.II Hellenistic/Roman 2014-15
33
_____. 2005. “Rationalists, fetishists and art lovers: action theory and the comparative
analysis of high cultural institutions”, in R.C. Fox, V.M. Lidz and H.J.
Bershady eds. After Parsons: a Theory of Action for the Twenty-First Century.
New York. 179-207 (ANTHROPOLOGY D11 FOX)
*Karp, I. 1991. “Culture and representation”, in I. Karp and S. Lavine eds. Exhibiting
Cultures: the Poetics and Politics of Museum Display. Washington. 11-24.
(INST ARCH MB 3 KAR; ISSUE DESK IOA KAR)
*Goldhill, Simon. 1994. “The naïve and the knowing eye: ecphrasis and the culture of
viewing in the Hellenistic world”, in Simon Goldhill and Robin Osborne eds.
Art and Text in Ancient Greek Culture. Cambridge. 197-223. (YATES A20
GOL)
Abrams, M.H. 1989. “Art as such: the sociology of modern aesthetics”, in idem Doing
Things with Words: Essays in Criticism and Critical Theory. Ed. M. Fischer.
New York and London. 135-158. (LITERATURE A32 ABR) JJT – TO
XEROX FOR TC
Supplementary reading:
Giangrande, Giuseppe. 1997. “The Carmina Asisiniata in the light of Hellenistic
poetry”. Myrtia XII: 9-24
Elsner, Jas. 1998. “Ancient viewing and modern art history”, 417-37 in Metis 13: 1738
Goldhill, Simon. 2007. “What is ekphrasis for?”, Classical Philology 102.1: 1-19
Gutzwiller, Kathryn. 2004. “Gender and inscribed epigram: Herennia Procula and the
Thespian Eros”, Transactions of the American Philological Association 134:
383-418
_____. 2010. “Literary criticism”, in M.P. Cuypers and James Clauss eds. Blackwell
Companion to Hellenistic Literature.
_____. 1998. Poetic Garlands: Hellenistic Epigrams in Context. Berkelely Los
Angeles and London. (227-76 on Antipater and collections of epigrams on art;
241 on House of the Epigrams)
Kosmetatou, Elizabeth. 2004. “Vision and visibility: art historical theory paints a
portrait of new leadership in Posidippus’ Adriantopoiika”, in Benjamin
d’Acosta Hughes, Manuel Baumbach and Elizabeth Kosmetatou eds. Labored
in Papyrus Leaves: Perspectives on an Epigram Collection Attributed to
Posiddipus (P. Mil. Vogl. VIII.309). Col. Hellenic Studies no 2. Washington.
187-211
Kuttner, Ann. 1999. “Culture and history at Pompey’s museum”, Transactions of the
American Philological Association 129: 343-373
Najberg, Tina. 2002. “A reconstruction and reconsideration of the so-called Basilica
at Herculaneum”, Journal of Roman Archaeology Supplementary Series 47:
122-65
Newby, Zahra. 2002. “Reading programs in Greco-Roman art: reflections on the
Spada reliefs”, in D. Fredrick ed. The Roman Gaze: Vision, Power and the
Body, Baltimore. 110-148
Prioux, Évelyne. 2007. Regards Alexandrins. Histoire et théorie des arts dans
l’epigramme hellénistique. Coll: Hellenistica Groningana, no 12. LouvainParis-Sterling (Virginia).
_____. 2007. “Medea meditans: remarques sur les décors du Forum Iulium et de la
‘Basilique’ d’Herculanum”, in Brigitte Bercoff and Florence Fix eds. Mythes
en Images: Médée, Orphée. Oedipe. Dijon. 41-59
GkP.II Hellenistic/Roman 2014-15
34
_____. 2008. Petits musées en verse: Épigramme et discours sur less collections
antiques. Paris. 29-64 “La maison des Épigrammes”, 65-122 “Les peintures de
la Maison dite de Properce”.
Skinner, Marilyn B. 2001. “Ladies’ day at the Art Institute. Theocritus, Herodas and
the gendered gaze”, in André Lardinois, Laura McClure eds. Making Silence
Speak. Princeton – Oxford. 201-222.
Scheibler, I. 1998. “Zu den Bildinhalten der Klapptürbilder römischer
Wanddekorationen”, MDAI-R 105: 1-20
Presentation readings:
House of the Epigrams: Leach 2004, Karp, Bergmann 2007, Gutzwiller 1998; Squire
2009, 176-189
Villa Farnesina: Leach 2004, Wyler 2006, Karp, Bergmann 1995 (esp. 98ff),
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29th Congress of the Rei Cretariae Romanae

/ Mutina + Patricia Urquiola

Gender and Display in Imperial Pompeii

Cultural Interaction and Economic Ambition in Roman Dalmatia

Generic and thematic variety in the epigrams of Callimachus and his

Plato`s Dithyramboi and Hellenistic Classification

Programma - Calvatone

Norme redazionali per la stesura del full paper

Rome, Naples, Pompeii

Conference Roman army in the regions of the northern Adriatic and