Domesticity, its definition and its patterning have continually evolved and changed, to the extent that our modern perception of what constitutes a home, and our perceptions of ‘public’ and ...Show moreDomesticity, its definition and its patterning have continually evolved and changed, to the extent that our modern perception of what constitutes a home, and our perceptions of ‘public’ and ‘private’ are drastically different from what existed in ancient society. This is even more applicable for Ancient Greece and Rome, two civilizations which had a significant impact on the majority of the Old World. Despite this, few studies have undertaken an effective comparison of houses in these two civilizations, and what similarities and contrasts would have existed. This thesis will focus on this issue, specifically targeting two of the best known cities in the Hellenic and Roman periods; namely that of Pompeii and Olynthos. Architecture should, as archaeological research has shown for Greece and Rome retrospectively, reflect the values upheld in society and transmit the ethos of the wider community. For Olynthos, the idea of ‘Isonomia’ should be visible within households, the notion that all members of Greek society were of similar status and of equal importance. Conversely at Pompeii, the concept of ‘Luxuria’ – or rather social status and wealth – was important, thus a stratified system of housing disparity should be witnessed to reflect this. I will target block A vii for Olynthos and Insula of the Menander for Pompeii, two representative and well preserved areas with multiple phases of building history, to carry out this study; in this way a clusters of habitation can be compared. In doing so, this thesis will attempt to investigate the relationship between social contemporary concepts and one specific physical representation of this societies, i.e. domestic architecture.Show less
According to myth Demeter was a daughter of the Titans Kronos and Rhea. This parentage made her sister to Zeus, with whom she had a daughter known by the name of Persephone. Being part of the...Show moreAccording to myth Demeter was a daughter of the Titans Kronos and Rhea. This parentage made her sister to Zeus, with whom she had a daughter known by the name of Persephone. Being part of the Olympian deities, Demeter fulfilled a significant role within the pantheon of a great many Greek poleis. During the seventh century BC she received a cult place on the acropolis of Kórinthos, which she shared with the divinities Persephone and Dionysos, for she was associated with them in cult. Spread over three terraces, the sanctuary accommodated dining rooms, a courtyard, and a theatrical area. This place became the focus of Demeter’s Korinthian public cult. The sanctuary was visited during a variety of festivities, including agricultural festivals and initiations within a local mystery cult. Amongst these celebrations some were only to be attended by women. Venerators would grant many votives to the goddess, including, but not limited to, terracotta figurines, wine-and water utensils, and offering trays. Most of these dedications were set in the context of fertility, which was considered Demeter’s very core, and therefore the base of her elements concerning agriculture, chthonic, and female identity. Demeter was venerated in the Magna Graecia as well. During the mid-sixth century BC several sanctuaries were erected at the Sicilian Greek polis Akrágas, of which one was provided with monumentalised architecture. Sharing worship with Persephone, who was assigned primary significance within mystery cults and female identity, Demeter’s core element was limited to earthly fecundity. This is reflected by most of the votive material she received, for the objects mainly concerned eating- and drinking vessels and terracottas. Within Korinthian cult Demeter was deemed to provide earthly fertility and the knowledge of the cultivation of grain. Additionally, her association with female identity connected her to fecundity of women, which was necessary for securing the existence of the following generations. Therefore, Demeter was considered partly responsible for the very survival of the polis. However, in Akrágas she was merely honoured as an agricultural deity, for her other elements were assigned to Persephone, thus decreasing Demeter’s social significance within society.Show less
The subject of this research is a ceiling painting in a corridor of 27 meter long in the Domus Augustana on the Palatine Hill in Rome, Italy. The style of the ceiling painting is linear decoration,...Show moreThe subject of this research is a ceiling painting in a corridor of 27 meter long in the Domus Augustana on the Palatine Hill in Rome, Italy. The style of the ceiling painting is linear decoration, based on its geometrical design, colour scale, while missing the architectural elements visible in other styles. The painting has been dated to the Post Severan period (235-285 AD). This type of style is often found in minor rooms of a building. Unfortunately little research has been done on ceiling painting of the 2nd and 3rd centuries and no similar painting has been found. The walls of the corridor are decorated with marble slabs of type 1 decoration style often found in minor rooms. The date of the marble decoration is the reign of Hadrian. While the walls itself are constructed in different phases, mainly in the reign of Nero and early Flavian period. Out of the space syntax analyses with JASS and Depth Map could also be concluded that the corridor is a minor room in the Domus Augustana. The corridor gave access to a group of rooms which have a secluded character, which were probably used for small banquets and other meetings.Show less
Several scholars argue that the ‘order’ of the Vestal virgins (the Vestales) can be compared to the class of matronae, because they are presumed to wear the same clothing and their social role is...Show moreSeveral scholars argue that the ‘order’ of the Vestal virgins (the Vestales) can be compared to the class of matronae, because they are presumed to wear the same clothing and their social role is similar. In this study, the comparison between the two groups is critically examined and the exact differences and similarities are discussed. Investigating second and early third-century Vestal statues from the Atrium Vestae in the Roman Forum, comparing them to statues of matronae from the same periods but different contexts, I demonstrate that the Vestales have been perceived by the Romans as a separate group, clearly distinguishable from matronae. Differences in details such as hairstyle, standing position, facial expression, and the interaction with the viewer show that Vestales and matronae are not the same. Some Vestales are more matrona-like than others, and the expected characteristics of matronae perhaps need to be redefined. Furthermore, the four points of comparison in which the two classes of women differ are precisely those that can be used for display of self-representation. Thus, matronae are proven to be more concerned with this than Vestales. Moreover, it is argued that the scholars that made the comparison between the two female groups have been subjected to gender influence. In conclusion, the comparison an sich is perhaps less useful with respect to the fact that Vestales need to be examined in relation to their religious group, whereas matronae should be regarded as part of a secular social context.Show less
Research into the perception of monumentality in the Roman Empire has so far only concentrated on the monuments itself. The aim of this thesis is to show the necessity to shift the focus from the...Show moreResearch into the perception of monumentality in the Roman Empire has so far only concentrated on the monuments itself. The aim of this thesis is to show the necessity to shift the focus from the actual monument to its surroundings. Phenomenological research methods have been introduced in archaeology over the last couple of decades to analyse experience, but due to their imbeddedness in the post-processual theoretical framework they concentrate on the personal experience rather than on the common perception. However, other spatial analyses like those introduced by Space Syntax provide the necessary methods to analyse the general perception of space, but these analyses require detailed knowledge of the ancient urban environment which are often not preserved in the archaeological record. Therefore, other techniques have to be used to complement these analyses, like the concept of ‘armature’. In this way it seems possible to analyse the general perception of a monument based on an analysis of its relation with the surroundings.Show less
