The Procession and Placement of Imperial Cult Images in the Colosseum

Elkins, Nathan T.

doi:10.1017/s0068246214000051

Cited by 3 publications

(2 citation statements)

References 12 publications

(6 reference statements)

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“…52 Fishwick (1965) 155-167, (1987Deininger (1965) 28-31. 53 Scott (1936Taeger (1960) 334, 338-354;Friesen (1993); Elkins (2014); Laird (2015) 147-165;Tuck (2016) 118-123. 54 In this regard, there may be a potential connection between Domitian's Templum Gentis Flaviae, which was built on the Quirinal on the former site of his father's house (Suet.…”

Section: Divus Claudius and The Imperial Cultmentioning

confidence: 99%

Flavian Responses to Nero's Rome

2022

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This chapter considers the issue of continuity and rupture between Neronian and Flavian policies in light of Vespasian's efforts to revive official cult honours for the deified Claudius. Re-examination of the evidence for the status of Divus Claudius during the reign of Nero suggests that the most salient feature of Claudius' divinity was the glory it conferred upon his successor's patriline. Accounts that stress the Flavians' rejection of Neronian precedents thus fail to offer adequate justification for the renewed emphasis that Claudius' cult received under Vespasian. A better explanation can be found in the ideological importance of the imperial cult itself, as the new dynasty sought to build on the example of Divus Claudius as a precedent for its own claims to charismatic authority.

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Section: Divus Claudius and The Imperial Cultmentioning

confidence: 99%

Flavian Responses to Nero's Rome

2022

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“…A continuación, se realizaban las ofrendas necesarias para garantizar el buen funcionamiento de los juegos, y se colocaban las imágenes de los dioses traídas del templo en un lugar privilegiado, desde donde pudieran observar el espectáculo a la vez que ser observadas por los espectadores (Elkins, 2014). Con este ritual, los juegos quedaban oficialmente inaugurados y la pompa podía disolverse.…”

Section: El Sacellumunclassified

Reconstrucción virtual del anfiteatro de Tarragona a través de la procesión inaugural

Codina-Peñarroja

2020

Virtual archaeol. rev.

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This paper is focused on a three-dimensional (3D) reconstruction of Tarragona’s amphitheatre. The intention is to improve the current museography of the monument, which poorly performs its main purpose: cultural heritage dissemination. Firstly, most of the grandstands and the main entrance are the results of a partial restoration carried out during the 1960s, based more on pragmatic rather than scientific criteria, and with many historical inaccuracies. Secondly, the worship complex, consisting of a sanctuary on the arena and another one down of, goes unnoticed by most visitors. Finally, the only area where the grandstands remain, and the only one where someone can understand the vaulted construction technique, it is not available for public entrance.Facing this situation, the present reconstruction proposal provides people with a useful tool to comprehend the Roman building, especially where the remains are poorly preserved or inaccurately restored. In this regard, a set of rendered images has been created and, by such means, people can compare the reconstruction of the Roman building with its current remains. For this purpose, scientific methods have been employed, as well as 3D modelling technologies. First and foremost, all publications relating to Tarraco’s amphitheater have been thoroughly reviewed. Then, the archaeological remains have been redrawn using CAD tools. Henceforth, the plans and sections have been reconstructed, 3D modelled and rendered.While the reconstruction was being developed, Roman ludic processions were found to be an interesting topic that could serve as a common thread. This way, the sectors to be reconstructed were sequenced as follows. First, the eastern entrance or Porta Triumphalis, which led the entourage to the arena. Second, the upper sacellum, where the priests conducted the liturgies to inaugurate the games. Third, the southern area, through which the gladiators and the authorities left the arena to their positions (for the first group, the service's rooms located in the underground, while for the second one, the authorities stand). Last but not least, the sanctuary under the arena, where the gladiators could perform their last prayers before the combat began.Along with the text below, images of the reconstruction can be found next to photographs of the state of preservation, following the aforementioned sequence. Therefore, Figures 2, 3 and 4 explain the image and functioning of the main entrance (Porta Triumphalis): while Figures 2 and 4 show virtual restorations from the inside and the outside, Figure 3 presents the development of the corridor in section and plan. Figures 6 and 7 display how the upper sanctuary had looked like from the arena and once inside respectively. Figures 9 and 10 are a 2D restoration of the southern area, where its role as a hub can be understood. Figure 11 shows the southern sector from the outside, where the double entrance can be appreciated, as well as the outside stairs used by the authorities to climb to the first level and one of the multiple configurations that the façade could have taken. Figure 12 reproduces the authorities stand as the Roman spectators would have seen it. Finally, Figures 13 and 14 are images of the lower sacellum, as seen by the gladiators down the arena and in axonometry together with the upper sanctuary.In summary, this work aims to improve the museography of Tarragona’s amphitheatre. An immediate application would be including the images in the signposting. Furthermore, they can be used as a basis to undertake a bigger project to adapt the whole museography to be better understood by society.Highlights:<ul><li>Reconstrucción del anfiteatro de Tarragona presentada a través de un catálogo de imágenes realizadas mediante software de tratamiento 3D.</li><li>Propuesta para la divulgación del patrimonio arqueológico a través de una reconstrucción virtual didáctica e históricamente rigurosa.</li><li>Interpretación de los restos arqueológicos del anfiteatro de Tarraco desde una nueva óptica: las ceremonias de inauguración de los juegos.</li></ul>

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Iudaea Capta vs. Mother Zion: The Flavian Discourse on Judaeans and Its Delegitimation in 4 Ezra

Keddie

2018

J. Study Jud.

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This study proposes that the empire-wide Iudaea capta discourse should be viewed as a motivating pressure on the author of 4 Ezra. The discourse focused on Iudaea capta, Judaea captured, was pervasive across the Roman empire following the First Revolt. Though initiated by the Flavians, it became misrecognized across the Mediterranean and was expressed in a range of media. In this article, I examine the diverse evidence for this discourse and demonstrate that it not only cast Judaeans as barbaric enemies of Rome using a common set of symbols, but also attributed responsibility for a minor provincial revolt to a transregional ethnos/gens. One of the most distinctive symbols of this discourse was a personification of Judaea as a mourning woman. I argue that 4 Ezra delegitimates this Iudaea capta discourse, with its mourning woman, through the counter-image of a Mother Zion figure who transforms into the eschatological city.

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The Procession and Placement of Imperial Cult Images in the Colosseum

Cited by 3 publications

References 12 publications

Flavian Responses to Nero's Rome

Flavian Responses to Nero's Rome

Reconstrucción virtual del anfiteatro de Tarragona a través de la procesión inaugural

Iudaea Capta vs. Mother Zion: The Flavian Discourse on Judaeans and Its Delegitimation in 4 Ezra

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