The Greeks and Romans were not shy about sex. In classical Greece, statues of erect penises served as boundary-stones and signposts. In Rome, marble satyrs and nymphs grappled in gardens. How are we t
The relationships between Roman emperors and their objects of desire, male and female, are well attested. The salacious nature of this evidence means that it is often omitted from mainstream historical inquiry. Yet that is to underestimate the importance of 'gossip' and the act of thinking about an emperor's private life. In this book Dr Vout takes the reader from Rome, and Martial's and Statius' poems about Domitian's favourite eunuch, to Antioch and dialogues in praise of Lucius Verus' mistress, to the widespread visual commemoration and cult of Hadrian's young male lover, Antinous. She explores not the relationships themselves but rather the implications of their description. Such description provides a template with which to examine the relationship between emperor and subject, gods and mortals, East and West, centre and periphery. It thus contributes to the fields of imperial representation, court society and the imperial cult.
How did the statues of ancient Greece wind up dictating art history in the West? How did the material culture of the Greeks and Romans come to be seen as "classical" and as "art"? What does "classical
Rome is 'the city of seven hills'. This book examines the need for the 'seven hills' cliché, its origins, development, impact and borrowing. It explores how the cliché relates to Rome's real volcanic terrain and how it is fundamental to how we define this. Its chronological remit is capacious: Varro, Virgil and Claudian at one end, on, through the work of Renaissance antiquarians, to embrace frescoes and nineteenth-century engravings. These artists and authors celebrated the hills and the views from these hills, in an attempt to capture Rome holistically. By studying their efforts, this book confronts the problems of encapsulating Rome and 'cityness' more broadly and indeed the artificiality of any representation, whether a painting, poem or map. In this sense, it is not a history of the city at any one moment in time, but a history of how the city has been, and has to be, perceived.
Rome is 'the city of seven hills'. This book examines the need for the 'seven hills' cliché, its origins, development, impact and borrowing. It explores how the cliché relates to Rome's real volcanic terrain and how it is fundamental to how we define this. Its chronological remit is capacious: Varro, Virgil and Claudian at one end, on, through the work of Renaissance antiquarians, to embrace frescoes and nineteenth-century engravings. These artists and authors celebrated the hills and the views from these hills, in an attempt to capture Rome holistically. By studying their efforts, this book confronts the problems of encapsulating Rome and 'cityness' more broadly and indeed the artificiality of any representation, whether a painting, poem or map. In this sense, it is not a history of the city at any one moment in time, but a history of how the city has been, and has to be, perceived.
The relationships between Roman emperors and their objects of desire, male and female, are well attested. The salacious nature of this evidence means that it is often omitted from mainstream historical inquiry. Yet that is to underestimate the importance of 'gossip' and the act of thinking about an emperor's private life. In this book Dr Vout takes the reader from Rome, and Martial's and Statius' poems about Domitian's favourite eunuch, to Antioch and dialogues in praise of Lucius Verus' mistress, to the widespread visual commemoration and cult of Hadrian's young male lover, Antinous. She explores not the relationships themselves but rather the implications of their description. Such description provides a template with which to examine the relationship between emperor and subject, gods and mortals, East and West, centre and periphery. It thus contributes to the fields of imperial representation, court society and the imperial cult.
The ancient Greeks and Romans were not shy about sex. Phallic imagery, sex scenes, and the lively activities of their promiscuous gods adorned many objects, buildings, and sculptures. Drinking cups, o
