Bronze Roman Mirror Analysis

SHELDON
NODELMAN
 from
 E.
D’Ambra,
ed.,
Roman
Art
in
Context.
NY:
Prentice
Hall.
1993
pp.
10‐20
 Like all works of art. the portrait is a system of signs; it is often an ideogram of “public’ meanings condensed into the image of a human face. Roman portrait sculpture from the Republic through the late Empire-the second century BCE. to the sixth CE -constitutes what is surely the most remarkable body of portrait art ever created. Its shifting montage of abstractions from human appearance and character forms a language in which the history of a whole society can be read. Beginning in the first century B.C., Roman artists invented a new kind of portraiture, as unlike that of the great tradition of Greek

However, Valerius, like Cato, associates women with matters that are less substantial and not entirely connected to the empire as a whole. “No offices, no priesthoods, no triumphs, no decorations, no gifts, no spoils of war can come to them; elegance of appearance, adornment, apparel-these are the woman’s badges of honor.” The apparent connection between women and appearance shows that women in Roman society were something to be looked at or shown off. Women were the prizes of men and the better they looked or the more they had been directly linked to his status in society.

Volumnia’s character in Coriolanus both supports and breaks the normal gender roles and basis of what is feminine and what is masculine. Since Coriolanus’s father is not around, Volumnia plays both parts of a mother and a father in the family. Volumnia raises her son to be masculine and to exude power despite that she is a woman. She sends him to war and does not think about the consequences or hardships he must face. Unlike a regular mother, she loves seeing Coriolanus’s wounds because they represent strength and show his manly struggles. How Volumnia raises Coriolanus is reflective of herself because she thinks that men who do not fight in the war should not be respected by their country, and furthermore, that one is not a “man” but only a boy before going to war. Like his mother, Coriolanus sees the plebeians as cowards because they have done nothing and have not fought in the war. Because of this, Coriolanus believes he is better than them and that they should respect him and not the other way around. Coriolanus’s masculinity makes him all the more powerful-- his violent and aggressive behavior gives him more power than those men who have not fought in war. Evidently, masculinity is a foundation for power and Volumnia has raised her son to adhere to masculine qualities in order for him to be more powerful. By being a man and fighting for Rome, he is to be made council, giving him power to rule over others. Furthermore, Volumnia acts more as a general to a soldier than is

Thesis: The Greek influence of outstanding culture, gods, and their beautiful art to the Romans’ they took this inspiration on to their own creation. Both ancient build devotion to their gods they would bring the most precious things to them temples, however, they would focus on making large empire to rule and to take control of their city-states.

Emperor Augustus commissioned these sculptures around 20 B.C.E. to be distributed around the Empire as propaganda. This statue communicates his ideology and power. Before Augustus came to power, Roman political culture valued older, wiser men for positions of political power. He decided the Roman empire need to return to the classical idea of an emperor who was a strong, youthful military victor. According to Fischer, “...by modeling the Primaporta statue on such an iconic Greek sculpture created during the height of Athens’ influence and power, Augustus connects himself to the Golden Age of that previous civilization.” Both Augustus of Primaporta and Leviathan Zodiac are both trying to curate an idea of power and masculinity. While Augustus of Primaporta propagandistic in nature, Wiley’s work is trying to send out an innocent but powerful message about how we perceive marginalized groups of

This essay will examine documents about the woman in Rome and their position politically, socially, and religiously. Woman began to receive more rights and are recognized as equals as time progresses in Rome.

The scope of this report is to investigate how and why the Greeks influenced Roman culture. To achieve this, I will support my discussion with a set of specific examples. Lastly, as I have a personal interest in museum studies, I will briefly answer the question: 'Was it theft? Did the Romans really loot Greek art, and what for? '.

The art I selected from the Roman Empire is the architectural structure of the Colosseum, or amphitheater. This structure reveals the importance that the Romans’ placed on entertainment, in so much that Benton and DiYanni indicate “it was official policy that the state should provide entertainment for the public” (Benton, DiYanni, p. 108). The relationship between the art and the culture is distinguished and represented by the size of the structure; it being able to accommodate such large crowds of people indicates that the Romans placed much importance in attending the entertainment provided. The Colosseum influenced the culture by providing ample space for everyone to enjoy entertainment. The culture influenced the art by supporting through attendance to the different entertainment during that time.

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

The connection between women and their appearance shows that these women were enough to be looked at and be shown off. I am not entirely sure why he supports women since he is a man with authority. In my opinion it is rare for a man with much authority to speak of women that way. Although, I did detect bias in his argument as he emphasized to the Roman how the women have strengthened the empire.

The professor against the conclusion proposed in the reading material that burning mirror was never practically used in ancient Green when being attacked by Roman Navy. She stated three corresponding reasons to oppose those reasons which were stated in the reading passage to support her own idea.

Lucretia was illustrated to be pure, faithful, and display honor to her husband, “…all impressed by Lucretia's chaste honor” (LVIII). On the other hand, Livy explained how weak and defenseless women were during ancient Rome. At the same time, the author explained how men, such as Sextus Tarquinius, could easily take advantage of women. Livy also expressed how honor was vital for women to keep and maintain. The moment that Sextus viciously destroyed Lucretia’s honor by taking her chastity, illustrated how important honor was in the Roman empire. Lucretia felt like she was in the wrong even though it was not her fault; however, the mindset that the expectation of women should show honor and be faithful was extremely important in Roman society. The overall assumption of women in Roman society to be pure, faithful, and display honor was greatly exemplified in Livy’s legend. The expectation for women to live up to their general duties during this time was a huge focus in the Roman empire. Thus, Livy presented the assumptions about women in Roman society to be weak compared to men, and should be faithful and show honor towards her

The Arch of Titus conveys to the viewer that the Romans are favored and supported by the gods. Many deities can be seen on this sculpture aiding Roman leaders, and behaving as equals to the Roman emperor Titus. Winged women, symbolizing victory fly in the spandrels, representing that the divine victory is belonging to Rome. On the north panel, divinities are again present with the personification of valor, “virtus”, leading a chariot holding

In 27 BC Augustus began his political career with a “new policy which embodied a national and Roman spirit” (Galinksy, 1996, 225) and “represented new heights in creativity and sophistication” (Galinksy, 1996, 225). Augustus created a new political propaganda campaign that used art and architecture to promote and enhance his regime. The most fundamental message can be regarded as to establish the legitimacy of his rule and to portray him as the natural successor of Rome, as this is consistently presented throughout the visual programme. Yet factors such as the restoration of the Republic, reviving the old religion, nationalism and militaristic triumph can also be seen to be communicated prominently through art and architecture.

Throughout history art has consistently reflected the cultural values and social structures of individual civilizations. Ancient art serves as a useful tool to help historians decipher some important aspects of ancient culture. From art we can determine the basic moral and philosophical beliefs of many ancient societies. The differences in arts purpose in Greece and Rome, for example, show us the fundamental differences in each culture's political and moral system. The primary objective of Greek art was to explore the order of nature and to convey philosophical thought, while Roman art was used primarily as a medium to project the authority and importance of the current ruler and the greatness of