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A Choice magazine Outstanding Academic Title The first such dictionary since that of Platner and Ashby in 1929, A New Topographical Dictionary of Ancient Rome defines and describes the known buildings and monuments, as well as the geographical and topographical features, of ancient Rome. It provides a concise history of each, with measurements, dates, and citations of significant ancient and modern sources.
This 1929 topographical dictionary provides a comprehensive list of the buildings, streets and geographical features in ancient Rome.
This is the fifth in a multivolume set that contains 2,300 entries on the topography of ancient Rome. The Lexicon Topographicum Urbis Romae provides an up-to-date account of current research on public and private buildings and monuments constructed within the Aurelianic walls through the early seventh century A.D. Both classical and Christian structures are discussed, whether identified through archaeological remains or known only from ancient or later sources. Each volume is heavily illustrated with drawings, photographs, floor plans, and maps.
The World of Rome is an introduction to the history and culture of Rome for students at university and at school as well as for anyone seriously interested in the ancient world. Drawing on the latest scholarship, it covers all aspects of the city - its rise to power, what made it great, and why it still engages and challenges us today. The first two chapters outline the history and changing identity of Rome from 1000 BC to AD 476. Subsequent chapters examine the mechanisms of government, the economic and social life of Rome, and Roman ways of looking at and reflecting the world. Frequent quotations from ancient writers and numerous illustrations make this a stimulating and accessible introduction to ancient Rome. The World of Rome is particularly designed to serve as a background book to Reading Latin (Cambridge University Press, 1986).
How Romans used the world of the house to interpret and interrogate the role of the emperor. The Julio-Claudian dynasty, beginning with the rise of Augustus in the late first century BCE and ending with the death of Nero in 68 CE, was the first ruling family of the Roman Empire. Elite Romans had always used domestic space to assert and promote their authority, but what was different about the emperor's house? In The Ruler's House, Harriet Fertik considers how the emperor's household and the space he called home shaped Roman conceptions of power and one-man rule. While previous studies of power and privacy in Julio-Claudian Rome have emphasized the emperor's intrusions into the private lives of his fellow elites, this book focuses on Roman ideas of the ruler's lack of privacy. Fertik argues that houses were spaces that Romans used to contest power and to confront the contingency of their own and others' claims to rule. Describing how the Julio-Claudian period provoked anxieties not only about the ruler's power but also about his vulnerability, she reveals that the ruler's house offered a point of entry for reflecting on the interdependence and intimacy of ruler and ruled. Fertik explores the world of the Roman house, from family bonds and elite self-display to bodily functions and relations between masters and slaves. She draws on a wide range of sources, including epic and tragedy, historiography and philosophy, and art and architecture, and she investigates shared conceptions of power in elite literature and everyday life in Roman Pompeii. Examining political culture and thought in early imperial Rome, The Ruler's House confronts the fragility of one-man rule.
Rome was the largest city in the ancient world. As the capital of the Roman Empire, it was clearly an exceptional city in terms of size, diversity and complexity. While the Colosseum, imperial palaces and Pantheon are among its most famous features, this volume explores Rome primarily as a city in which many thousands of men and women were born, lived and died. The thirty-one chapters by leading historians, classicists and archaeologists discuss issues ranging from the monuments and the games to the food and water supply, from policing and riots to domestic housing, from death and disease to pagan cults and the impact of Christianity. Richly illustrated, the volume introduces groundbreaking new research against the background of current debates and is designed as a readable survey accessible in particular to undergraduates and non-specialists.
This guide brings the work of one of the best known scholars of Roman archeology and art to an English-language audience. Conveniently organized by walking tours and illustrated throughout with clear maps, drawings, and plans, it covers all of the city's ancient sites (including the Capitoline, the Forum, the Palatine Hill, the Valley of the Colosseum, the Esquiline, the Caelian, the Quirinal, and the Campus Martius), and, unlike most other guides, now includes the major monuments in a large area outside Rome proper but within easy reach, such as Ostia Antica, Palestrina, Tivoli, and the many areas of interest along the ancient Roman roads. An essential resource for tourists interested in a deeper understanding of Rome's classical remains, it is also the ideal book for students and scholars approaching the ancient history of one of the world's most fascinating cities.--From publisher description.
A herculean effort to identify the hands of individual wall painters who worked in Pompeii and the surrounding area. How did figure painting fit into the economic and artistic life of Pompeii? Did the best painters work in conjunction with one another? Did they paint only the important pictures in the best rooms and, if so, who painted the rest? Were the best houses the showplaces for these painters' work? If not, what was the function of these decorations in Pompeian life? L. Richardson, jr, has had a long and distinguished career writing about Roman art and architecture, particularly that of the companion town of Pompeii and its environs. In this newest work, he attributes many of the surviving wall decorations to particular painters. It is a catalog in the true sense, grouping the pictures by style and then by painter. Richardson describes the salient characteristics of a painter's work, and then inventories the pictures he attributes to that painter, together with cross-references to other catalogs and sources of good reproductions. The book will serve as a valuable resource for specialists in classics and art history, as well as a unique guide for intellectually adventurous tourists visiting the Museo Nazionale at Naples and the sites of Pompeii, Herculaneum, and Stabiae.