Books by Georgia Aristodemou
Scholarly discussions and relevant publications include -among others- the large scale water stru... more Scholarly discussions and relevant publications include -among others- the large scale water structures such as aqueducts and their complex systems, or monumental fountains, such as Nymphaea, and expand throughout the Mediterranean region.
Regarding the Eastern part of the Roman Empire however, modern research seems to focus more on the Asia Minor, the Levantine and the North African Provinces than the Greek provinces.
this multiple-author volume that I propose aims not only to fill an essential scientific gap but also aims to bring together a wide body of knowledge from the newly emerged and expanding field of water management in roman Greece. The main goal that this multiple-author volume attempts to succeed is to show that large scale water works
• were a striking novelty in the Greek Provinces, both in form and function
• drastically changed the architectural landscape
• introduced the concept of luxury in the urban landscape, and
• formed the link between utility, design, politics, and local development
Available at http://www.archaeopress.com/ArchaeopressShop/Public/displayProductDetail.asp?id={C3B83EAF-8B75-4D1B-BFC1-15B54A9D451B}
Monumental fountain structures, built by emperors and wealthy patrons in cities throughout the Ro... more Monumental fountain structures, built by emperors and wealthy patrons in cities throughout the Roman Empire, have always been striking features of roman architecture. This book’s purpose was to approach some issues, such as the definition of the term fountain figure, its position and function in the monument, the selection and in some cases the interpretation of sculptural display programs.
Conference Presentations by Georgia Aristodemou
Paper presentation at CIAC XX, PARIS 2024: ARCHAEOLOGY OF LIVED SPACES,
Panel 20: Water Use in t... more Paper presentation at CIAC XX, PARIS 2024: ARCHAEOLOGY OF LIVED SPACES,
Panel 20: Water Use in the Private and Public Spaces of the Ancient city. New Methodologies and Results from Interdisciplinary Research (org. M. Monteleone, H. Dessales, E. Sánchez-López)
PAPER PRESENTED AT: 18th International Colloquium on Roman Provincial Art. BORDERS IN PROVINCES –... more PAPER PRESENTED AT: 18th International Colloquium on Roman Provincial Art. BORDERS IN PROVINCES – CULTURAL BORDERS, Belgrade - Viminacium 20-25 May 2024
In: G.Cremmer, Ed. Pollhammer, J. Kopf, Fr. Beutler (Eds.), ZEIT(EN) DES UMBRUCHS: Akten des 17. Internationalen Kolloquiums zum provinzialrömischen Kunstschaffen Wien-Carnuntum, 16.–21. Mai 2022, SoSchrÖAI 64 (Vienna 2024), 2024
This paper discusses a headless male statue holding a wineskin, from the area of Knossos, today a... more This paper discusses a headless male statue holding a wineskin, from the area of Knossos, today at the Archaeological Museum of Heraklion, in Crete (inv. Γ46). It has visible water outlets in order to function as a spout, and possibly decorated a fountain at a private villa of the area. Until today it has been considered to represent a figure of a Satyr.
The main goal of this paper is to discuss the possibility that this statue may once belonged to a sculptural group of the Blinding of Polyphemus. To this end, we highlight its similarities with figures carrying a wineskin from the other known Polyphemus groups (e.g. Sperlonga, Baia, Domus Aurea, Castelgandolfo, Ephesos) of the Late Republican and Early
Imperial period, that adorned natural or artificial grottoes mostly in Imperial grounds. If this argument stands, it will provide us with another Polyphemus group, and will again prove the cultural connectivity between the centre and the peripheries of the Roman Empire on grounds of artistic production.
ABSTRACT:Macedonia is a region reach in natural water sources. The ability to control, manage and... more ABSTRACT:Macedonia is a region reach in natural water sources. The ability to control, manage and distribute water to facilitate the needs of the Macedonian communities is an eloquent expression of technological expertise.
To this account, this paper evolves around the remains of bath complexes from important Macedonian cities during the roman period, e.g. Beroia, Thessaloniki, Philippi, and Dion. Excavations have brought to light both public and private baths, distributed throughout the province, but with a definite concentration in central Macedonia, where the major urban centres were developed right before and after the Roman conquest.
Apart from the basic architectural features of the structures, other issues discussed in this paper will regard the development of the Greek Bath-Gymnasium into the roman Bath-Thermae complexes with the heated bath areas next to fitness areas, and its re-introduction to Greece under the roman rule, and the innovative technologies applied-on the basis of a recent and highly important find from Macedonia, the bath hypocaust excavated at Pella in 2007, that resets the discussion on the origin of the hypocaust heating system (ὑπόκαυστον). The cultural - social aspect of baths will also be highlighted since public baths contributed greatly not only to public hygiene but also to the quality of life.
this paper attempts to approach the process of Romanisation in the provinces under new perceptions. It acknowledges Macedonia as an important piece of the vast mosaic of the Roman Empire, showing that it participated in every aspect of the roman way of life.
On the other hand, based on the development and use of bath complexes in Macedonia during the Roman period, it comprehends that technology, culture, urbanism, were not imposed on the provinces by Rome in a one-directional cultural process and novelties were not just transferred to the provinces from Rome but also from the provinces to Rome.
This study points out that the region of Macedonia being a crossroad between the western Europe, the Balkans and the Anatolian lands, has a lot to offer regarding the development of water use throughout Antiquity.
In preparation: REUSING AND RECYCLING SCULPTED STONES IN LATE ANTIQUE MACEDONIA. THE ANCIENT THEA... more In preparation: REUSING AND RECYCLING SCULPTED STONES IN LATE ANTIQUE MACEDONIA. THE ANCIENT THEATRE OF PHILIPPI.
The practices of reuse and recycling of sculpture and architectural material have been greatly accelerated and diffused towards the end of Antiquity. Such practices provided modern scholarship with a better understanding of this Empire-wide phenomenon, that quite probably reflects a transformation of attitudes towards the monumental heritage of the past, it reveals a major shift in the economy, an involvement of the local and senatorial elite in the building industry, as well as a change in the mentality regarding the cityscape in Late Antiquity.
Within this framework, this study focuses on the ancient theatre of Philippi in the period after its decline and abandonment, when its porticus post scaenam was transformed so as to house a cluster of workshops. During this process, major architectonic sculpture and statuary from the scaenae frons as well as relief panels from the porticus post scaenam, were reused as building material in the new structures. To this extent, in the Philippi theatre too, one may observe the practice of reusing and recycling of round, relief and architectural sculpture in the same way that it can be seen in major late antique cities (Aphrodisias, Leptis Magna, etc) across the Empire.
7th International Congress οn Black Sea Antiquities. The Black Sea: Hub of Peoples and Cultures (8th c. BC – 5th/6th c. AD), International Hellenic University, Thessaloniki, 26-30 Sept. 2022, 2022
This study evolves around water cults in the regions of Macedonia and Thrace. Particularly, it ex... more This study evolves around water cults in the regions of Macedonia and Thrace. Particularly, it examines the presence and significance of River Gods in these regions during the roman period as detected through archaeological material and art representations.The worship of river deities reflects the important role of water for the provincial towns of roman Macedonia and Thrace, and the need of the local communities to address those deities who supported their life sustainability. Water is comprehended not only as a natural element defining human space and activities, but also as a carrier of a wide range of connotations and symbolisms and as a highly influential factor shaping environments, common identities and human behaviour.
In: Κ. Χιόνης (επιμ.), Πρακτικά Η’ Συμποσίου Θασιακών Μελετών. Η Θάσος διά μέσου των αιώνων: Ιστορία-Τέχνη-Πολιτισμός. Αφιέρωμα στον Σιδέρη Απ. Ζαρκάδα (Σεπτέμβριος, 2019). ΘΑΣΙΑΚΑ 21: 44-69. Θασιακή Ένωση Καβάλας/Περιφέρεια Α.Μ.Θ./Περιφερειακή Ενότητα Καβάλας, Καβάλα., Dec 18, 2021
Η λατρεία των ποταμίων θεοτήτων, οι οποίες ήταν οι προσωποποιήσεις των τοπικών ποταμών, ήταν διαδ... more Η λατρεία των ποταμίων θεοτήτων, οι οποίες ήταν οι προσωποποιήσεις των τοπικών ποταμών, ήταν διαδεδομένη στον αρχαίο ελληνικό κόσμο. Οι θεότητες αυτές συνδέονταν κάθε φορά με συγκεκριμένο τόπο, όπου, ενίοτε, υπήρχε ένα τέμενος, ή ναός προς τιμήν ους και η λατρεία τους συμπληρωνόταν με τελετουργικές θυσίες. Η Μακεδονία είναι ένας τόπος που διαθέτει πολλά και σημαντικά ποτάμια, τα οποία έχουν συμβάλει καθοριστικά στη διαμόρφωση του χώρου και της ζωής των ανθρώπων. Οι αρχαίες γραπτές πηγές προσφέρουν πληροφορίες είτε για τη γενεαλογία των ποταμών, είτε, λιγότερο, για τη λατρεία τους. Εντούτοις, αυτό δεν αντανακλάται τόσο στην τέχνη με την έννοια ότι με εξαίρεση τη νομισματοκοπεία, δεν βρίσκουμε τόσες απεικονίσεις ποτάμιων θεών, όσες θα περιμέναμε. Μια τέτοια έλλειψη στοιχείων είναι δυνατόν να είναι τυχαία, να οφείλεται στην αποσπασματική έρευνα, ή στην έως τώρα έλλειψη ενδιαφέροντος για το θέμα. Στο παρόν κείμενο, θα εστιάσουμε στην ύπαρξη ενός κρηναίου γλυπτού από τη Θάσο, που έχει ταυτιστεί με ποτάμια μορφή και θα προσπαθήσουμε να αντιληφθούμε την θέση του στο νησί, αλλά και την θέση του στην εικονογραφία των ποτάμιων μορφών στην περιοχή της Ρωμαϊκής Ανατολής.
Women, wealth, and power in the Roman Republic - Online (Zoom), 24-25-26/05/2021, Conference organised by Prof. Catherine Steel (University of Glasgow); Dr Lewis Webb , 2021
Based on published material, this paper focuses on the role of women in the region of Macedonia u... more Based on published material, this paper focuses on the role of women in the region of Macedonia under the Roman rule. Since the Roman conquest of Macedonia, the female role evolved significantly in fields such as business, religion, benefactions, or patronage. Female participation in public events becomes evident through inscriptions from which we learn that women too held important offices within the civic and religious sphere. The image that we have so far from the province of Macedonia is that women are visible and active in their religious and civic roles, as members of associations and as euergetai during the early years or the roman presence, but it is only from the 2nd century AD onwards that they are recorded also as patrons. Further research is needed so as to shed more light on this phaenomenon, so as to clarify the activities and the social status of women in Macedonia under the Romans.
This discussion deals with yet another aspect of the process of Romanization in the provinces, aiming to highlight the role of women in the province of Macedonia during the Roman period, thus acknowledging Macedonia as an important piece of the vast mosaic of the Roman Empire and showing that it participated in every aspect of the roman way of life.
G. R. Tsetskhladze, A. Avram and J. Hargrave (eds) 2021. The Greeks and Romans in the Black Sea and the Importance of the Pontic Region for the Graeco-Roman World. Costanza, 18-22 Sept.2017. Oxford: Archaeopress., 2021
This paper discusses how edifices of private and public use (secular and/or religious) are reflec... more This paper discusses how edifices of private and public use (secular and/or religious) are reflected in minor art. The discussion relies mainly on examination of the narrative frieze on Trajan’s Column and focuses on the comparison between the purely Roman and the local architecture depicted on it.
The abundance and variety of architectural forms depicted on the reliefs provides us with useful knowledge of both the central (Roman) and provincial (Black Sea) building traditions. Taking into account issues of realism and faithfulness of the represented architecture, an attempt is made to reconstruct city landscapes by placing
the monument within the urban net and to discuss its function and/or symbolism.
At the same time, observation of the depicted scheme provides us with a closer look at the architectural armature of Black Sea cities under Roman rule, and evidently, as can
be deduced from the edifices illustrated, with a closer look at the religious, social and political life of the region’s inhabitants.
Π. Τριανταφυλλίδης (επιμ.)«Ιερά και Λατρείες στο Αιγαίο από τους Πρώιμους Ιστορικούς Χρόνους έως και την Ύστερη Αρχαιότητα», Λήμνος, 11-15/9/2019, 2019
Η μελέτη των μνημειακών νυμφαίων και κρηνών σε δημόσιους χώρους των πόλεων των ρωμαϊκών επαρχιών ... more Η μελέτη των μνημειακών νυμφαίων και κρηνών σε δημόσιους χώρους των πόλεων των ρωμαϊκών επαρχιών έχει προχωρήσει αρκετά τα τελευταία δέκα χρόνια. Μελέτες για την αρχιτεκτονική, το γλυπτό διάκοσμο, τη θέση τους στον αστικό ιστό, ή την κουλτούρα του νερού, έχουν συμβάλει στην εμβάθυνση της γνώσης μας για τα μνημεία αυτά. Με αυτό το άρθρο επιστρέφουμε πίσω, στην αρχική σημασία του όρου “νυμφαίον”, ως χώρο λατρείας των Νυμφών, και αναζητούμε ίχνη (ανάγλυφα, αρχιτεκτονικά κατάλοιπα, επιγραφές) της ύπαρξης αυτών των χώρων, στο βόρειο Αιγαίο γενικότερα και στη γη της Μακεδονίας ειδικότερα κατά την ρωμαΐκή περίοδο – θέτοντας παράλληλα το ερώτημα εάν αυτοί οι χώροι, αποτέλεσαν τους προδρόμους των μνημειακών νυμφαίων και κρηνών στον βόρειο ελλαδικό χώρο.
In M. Manoledakis (Ed) The Black Sea in the Light of New Archaeological Data and Theoretical Approaches.Proceedings of the 2nd International Workshop on the Black Sea in Antiquity held in Thessaloniki, 18-20 September 2015, Archaeopress Archaeology (2017), Jun 10, 2017
Starting as an abstract sense of the righteous anger, Nemesis soon developed to a powerful deity ... more Starting as an abstract sense of the righteous anger, Nemesis soon developed to a powerful deity of the Graeco-Roman pantheon, while her cult gained a significant popularity during the roman period and late antiquity; one of the most characteristic Nemesis features during the Imperial period is her intense presence in spectacle monuments throughout the Empire. Archaeology provides us with strong testimonies on the connection between Nemesis, spectacle monuments and the gladiatorial combats and beast-hunts held there. This paper is dealing with the presence of Nemesis’s cult in theatres and amphitheaters from the roman provinces of the Black Sea region, especially those from the western coast (Dacia, Thracia). It discusses the connection between the arena monuments (theatres, amphitheaters) as the symbol of Roman presence and power in the provinces, the Emperor as the image of the Imperium Romanum, and Nemesis, as an imperial ally that confirms, enforces and supports the imperial propaganda of the 2nd c. AD at the provinces.
Programme and Abstracts. International Symposium on the Occasion of the 40th Anniversary of the F... more Programme and Abstracts. International Symposium on the Occasion of the 40th Anniversary of the Frontinus‐Society: Water Management during the Time of Frontinus Buildings - Technique - Culture. Trier (Thermen am Viehmarkt), May 25 ‐ 29, 2016.
This paper discusses the Trajan’s Column in Rome as a witness of how local architectural features... more This paper discusses the Trajan’s Column in Rome as a witness of how local architectural features of the Black Sea region, specifically of Dacian architecture, are presented in a triumphal Roman monument which was designed and constructed by Apollodorus of Damaskus, a famous architect of his time.
Apart from the historical facts that lead to the erection of the Column, this paper will present a comparison between the purely Roman architecture and the contemporary local architecture of the Province of Dacia as depicted in the column. This comparison would provide us with interesting knowledge regarding the architectural expression of the Dacian population during the Roman period, and will also point out the essential differentiations between Romans and Dacians on account of their public and private edifices.
The depicted structures form an architectural database of both Roman and Dacian architecture. The abundance and range of architectural forms depicted in the relief freeze of the column exceeds the knowledge of a usual sculptor and reveals the presence of a coordinating architect with a strong knowledge of both the central and the provincial building tradition.
In: P. Karanastasi - Th. Stefanidou-Tiveriou - D. Damaskos (eds.) Έργα Πλαστικής στη Ρωμαϊκή Ελλάδα: Καλλιτεχνικά Προϊόντα, Κοινωνικές Προβολές, Διεθνές Συνέδριο, Ρέθυμνο, 26-28 Σεπτεμβρίου 2014, 351-366. Thessaloniki, University Studio Press 2018., Nov 2018
ABSTRACT
The study of fountain sculptures, that is sculptures with a visible water outlet ascert... more ABSTRACT
The study of fountain sculptures, that is sculptures with a visible water outlet ascertaining a spouting function or sculptures that regardless their function derive from a nymphaeum or an elaborated fountain, have only the past few years attracted the scholars' attention. These sculptures adorned the monumental facades of roman nymphaea and deployed according to pre-scheduled iconographical programs, which differed among regions and among monuments. Different decorative programs reflected different purposes. Since monumental nymphaea were financed by emperors and wealthy patrons, financing the construction of a nymphaeum and (or) its decoration consists a politically motivated action. As an imperial benefaction, nymphaea proclaim the imperial power, virtue and culture. As objects of private patronage they signaled the donor’s wealth, power and connection to the imperial regime.
This paper discusses the presence and function of sculptures within the fountain structures and their use by the patrons of the monuments in order to project specific messages. In order to do so, this paper will examine the sculptural assemblages of fountain structures in some of the major provincial cities of Greece (Argos, Athens, Nikopolis, Olympia, Corinth, Gortyn). It will discuss the identity of their donors and will attempt to reconstruct the social, political as well as cultural role that each statuary group held in its given context.
I. K. Kalavrouziotis and A. N. Angelakis (Eds), Wastewater and Environment: Traditions and Culture, 1st IWA Regional Symposium on Water 22-24 March 2014, Hellenic Open University, Patras, Greece, ISBN:978-960-538-921-5 (e-proceedings, wwetc2014.env.uwg.gr).
"The term nymphaeum is conventionally used by archaeologists for monumental fountain structures, ... more "The term nymphaeum is conventionally used by archaeologists for monumental fountain structures, of different architectural forms. Their common features are their monumentality and their exceptional architectural aesthetics, as well as their function as urban landmarks. They were public buildings, included in the city’s urban context, sometimes located just at the city´s outskirts, however always connected with a major aqueduct - either at its end, or along the route of the central water supplying system.
Monumental nymphaea are centrally located in major cities of the roman East and are usually financed by the Emperor, the city, or local wealthy patrons. These imposing monuments stood one to three stories high and were embellished with sculptural display programs that often interacted with flowing water to create innovative kinetic displays, carefully arranged to reflect the city’s image, to project its prosperity and to display the authority and majesty of the benefactor or/and the local community. Their study tries to reconstruct the role they held in the urban design, as well as in the social and political life of the cities of the Graeco-Roman East. "
This paper focuses on three votive reliefs sculpted on the pillasters of the western parodos of t... more This paper focuses on three votive reliefs sculpted on the pillasters of the western parodos of the ancient theatre of Philippi (Kavala region). The dedicatory inscription names a certain M. Velleius Zosimos, the priest of Nemesis and sponsor of the reliefs. These reliefs depict the figures of the triumphant triad of Mars Victor, Victoria and Nemesis Invicta, the latter being identified in two more reliefs in the same theatre. These reliefs were carved after the entrance arch had been constructed and they relate to a later phase of the theatre when - during the 2nd c AD- the orchestra received transformations in order to house gladiatorial games and varius ludi scaenici. The goddess Nemesis, along with Mars, is also present at the theatre of Thasos, depicted in reliefs dated at the same period. Their presence not only reveals their connection to gladiatorial games, but it reflects the existence of their cults in the region of Kavala and Thasos and the role they held in the area during the 2nd c AD.
"This study focuses on the resemblance between the theatre facades and the facades of monumental
... more "This study focuses on the resemblance between the theatre facades and the facades of monumental
nymphaea. The discussion concerns mainly the so called façade nymphaea, which are directly
compared with the scaenae frons of a roman theatre. Research is based on four parameters: a. the
form and the structure, that is the comparison of specific architectural features that are common to
both kinds of monuments, b. the function and the use of these public monuments within the city
landscape, and in conjunction with the social, political and cultural life of the citizens. c. the
Iconography. The study of the sculptured decoration which deploys on the monumental facades both
of theatres and nymphaea has revealed that both these monuments include similar sculptural display
programs. These programs follow certain display rules, intending to project certain messages. d. the
sacral symbolism conferred to both theatres and nymphaea. Both the decoration and the location of
the monument consist of two major factors that provide theatres and nymphaea with sacrality. A large
number of theatres and nymphaea are built within or close to sanctuaries, while many theatres host
nymphaea within their grounds. On the other hand, nymphaea are considered sacral through their
connection with water."
This paper aims to contribute to an on-going discussion concerning meals in the graeco-roman worl... more This paper aims to contribute to an on-going discussion concerning meals in the graeco-roman world. As the modern research tends to regard meals as a window into social and religious life in the Graeco-Roman antiquity, with this essay we will try to demonstrate how the banquet form and ideology contributed to the formation of the social identity in the Graeco-Roman world. The banquet is an institution whose influence can be detected in many areas of ancient Greek and Roman life, from politics and warfare, to painted pottery, painting, sculpture, literature and poetry, to sexual attitudes and conceptions of pleasure. Furthermore, the act of dining together creates a bond between the diners.
Archaeological evidence, written sources, literary descriptions, provide us with numerous details concerning the dining rooms, the banquet protocol as well as the dishes served during the meals. In this paper we shall focus on a well known category of marble funerary relief monuments depicting banquet scenes. The basic banquet scene iconography consists of a male figure reclining on a couch, accompanied by a female figure seated on a chair.The scene is usually supplemented by small scaled figures, probably servants, and various culinary equipments, such large wine vessels. The observation of these “banquet reliefs” will help us form an idea not only of the people taking part in these meals, but also of the food and the drink that they enjoy. Banquet reliefs are important because they are an illustration of both the domestic settings and the traditions of the ritual funerary meal of the Graeco-Roman world.
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Books by Georgia Aristodemou
Regarding the Eastern part of the Roman Empire however, modern research seems to focus more on the Asia Minor, the Levantine and the North African Provinces than the Greek provinces.
this multiple-author volume that I propose aims not only to fill an essential scientific gap but also aims to bring together a wide body of knowledge from the newly emerged and expanding field of water management in roman Greece. The main goal that this multiple-author volume attempts to succeed is to show that large scale water works
• were a striking novelty in the Greek Provinces, both in form and function
• drastically changed the architectural landscape
• introduced the concept of luxury in the urban landscape, and
• formed the link between utility, design, politics, and local development
Available at http://www.archaeopress.com/ArchaeopressShop/Public/displayProductDetail.asp?id={C3B83EAF-8B75-4D1B-BFC1-15B54A9D451B}
Conference Presentations by Georgia Aristodemou
Panel 20: Water Use in the Private and Public Spaces of the Ancient city. New Methodologies and Results from Interdisciplinary Research (org. M. Monteleone, H. Dessales, E. Sánchez-López)
The main goal of this paper is to discuss the possibility that this statue may once belonged to a sculptural group of the Blinding of Polyphemus. To this end, we highlight its similarities with figures carrying a wineskin from the other known Polyphemus groups (e.g. Sperlonga, Baia, Domus Aurea, Castelgandolfo, Ephesos) of the Late Republican and Early
Imperial period, that adorned natural or artificial grottoes mostly in Imperial grounds. If this argument stands, it will provide us with another Polyphemus group, and will again prove the cultural connectivity between the centre and the peripheries of the Roman Empire on grounds of artistic production.
To this account, this paper evolves around the remains of bath complexes from important Macedonian cities during the roman period, e.g. Beroia, Thessaloniki, Philippi, and Dion. Excavations have brought to light both public and private baths, distributed throughout the province, but with a definite concentration in central Macedonia, where the major urban centres were developed right before and after the Roman conquest.
Apart from the basic architectural features of the structures, other issues discussed in this paper will regard the development of the Greek Bath-Gymnasium into the roman Bath-Thermae complexes with the heated bath areas next to fitness areas, and its re-introduction to Greece under the roman rule, and the innovative technologies applied-on the basis of a recent and highly important find from Macedonia, the bath hypocaust excavated at Pella in 2007, that resets the discussion on the origin of the hypocaust heating system (ὑπόκαυστον). The cultural - social aspect of baths will also be highlighted since public baths contributed greatly not only to public hygiene but also to the quality of life.
this paper attempts to approach the process of Romanisation in the provinces under new perceptions. It acknowledges Macedonia as an important piece of the vast mosaic of the Roman Empire, showing that it participated in every aspect of the roman way of life.
On the other hand, based on the development and use of bath complexes in Macedonia during the Roman period, it comprehends that technology, culture, urbanism, were not imposed on the provinces by Rome in a one-directional cultural process and novelties were not just transferred to the provinces from Rome but also from the provinces to Rome.
This study points out that the region of Macedonia being a crossroad between the western Europe, the Balkans and the Anatolian lands, has a lot to offer regarding the development of water use throughout Antiquity.
The practices of reuse and recycling of sculpture and architectural material have been greatly accelerated and diffused towards the end of Antiquity. Such practices provided modern scholarship with a better understanding of this Empire-wide phenomenon, that quite probably reflects a transformation of attitudes towards the monumental heritage of the past, it reveals a major shift in the economy, an involvement of the local and senatorial elite in the building industry, as well as a change in the mentality regarding the cityscape in Late Antiquity.
Within this framework, this study focuses on the ancient theatre of Philippi in the period after its decline and abandonment, when its porticus post scaenam was transformed so as to house a cluster of workshops. During this process, major architectonic sculpture and statuary from the scaenae frons as well as relief panels from the porticus post scaenam, were reused as building material in the new structures. To this extent, in the Philippi theatre too, one may observe the practice of reusing and recycling of round, relief and architectural sculpture in the same way that it can be seen in major late antique cities (Aphrodisias, Leptis Magna, etc) across the Empire.
This discussion deals with yet another aspect of the process of Romanization in the provinces, aiming to highlight the role of women in the province of Macedonia during the Roman period, thus acknowledging Macedonia as an important piece of the vast mosaic of the Roman Empire and showing that it participated in every aspect of the roman way of life.
The abundance and variety of architectural forms depicted on the reliefs provides us with useful knowledge of both the central (Roman) and provincial (Black Sea) building traditions. Taking into account issues of realism and faithfulness of the represented architecture, an attempt is made to reconstruct city landscapes by placing
the monument within the urban net and to discuss its function and/or symbolism.
At the same time, observation of the depicted scheme provides us with a closer look at the architectural armature of Black Sea cities under Roman rule, and evidently, as can
be deduced from the edifices illustrated, with a closer look at the religious, social and political life of the region’s inhabitants.
Apart from the historical facts that lead to the erection of the Column, this paper will present a comparison between the purely Roman architecture and the contemporary local architecture of the Province of Dacia as depicted in the column. This comparison would provide us with interesting knowledge regarding the architectural expression of the Dacian population during the Roman period, and will also point out the essential differentiations between Romans and Dacians on account of their public and private edifices.
The depicted structures form an architectural database of both Roman and Dacian architecture. The abundance and range of architectural forms depicted in the relief freeze of the column exceeds the knowledge of a usual sculptor and reveals the presence of a coordinating architect with a strong knowledge of both the central and the provincial building tradition.
The study of fountain sculptures, that is sculptures with a visible water outlet ascertaining a spouting function or sculptures that regardless their function derive from a nymphaeum or an elaborated fountain, have only the past few years attracted the scholars' attention. These sculptures adorned the monumental facades of roman nymphaea and deployed according to pre-scheduled iconographical programs, which differed among regions and among monuments. Different decorative programs reflected different purposes. Since monumental nymphaea were financed by emperors and wealthy patrons, financing the construction of a nymphaeum and (or) its decoration consists a politically motivated action. As an imperial benefaction, nymphaea proclaim the imperial power, virtue and culture. As objects of private patronage they signaled the donor’s wealth, power and connection to the imperial regime.
This paper discusses the presence and function of sculptures within the fountain structures and their use by the patrons of the monuments in order to project specific messages. In order to do so, this paper will examine the sculptural assemblages of fountain structures in some of the major provincial cities of Greece (Argos, Athens, Nikopolis, Olympia, Corinth, Gortyn). It will discuss the identity of their donors and will attempt to reconstruct the social, political as well as cultural role that each statuary group held in its given context.
Monumental nymphaea are centrally located in major cities of the roman East and are usually financed by the Emperor, the city, or local wealthy patrons. These imposing monuments stood one to three stories high and were embellished with sculptural display programs that often interacted with flowing water to create innovative kinetic displays, carefully arranged to reflect the city’s image, to project its prosperity and to display the authority and majesty of the benefactor or/and the local community. Their study tries to reconstruct the role they held in the urban design, as well as in the social and political life of the cities of the Graeco-Roman East. "
nymphaea. The discussion concerns mainly the so called façade nymphaea, which are directly
compared with the scaenae frons of a roman theatre. Research is based on four parameters: a. the
form and the structure, that is the comparison of specific architectural features that are common to
both kinds of monuments, b. the function and the use of these public monuments within the city
landscape, and in conjunction with the social, political and cultural life of the citizens. c. the
Iconography. The study of the sculptured decoration which deploys on the monumental facades both
of theatres and nymphaea has revealed that both these monuments include similar sculptural display
programs. These programs follow certain display rules, intending to project certain messages. d. the
sacral symbolism conferred to both theatres and nymphaea. Both the decoration and the location of
the monument consist of two major factors that provide theatres and nymphaea with sacrality. A large
number of theatres and nymphaea are built within or close to sanctuaries, while many theatres host
nymphaea within their grounds. On the other hand, nymphaea are considered sacral through their
connection with water."
Archaeological evidence, written sources, literary descriptions, provide us with numerous details concerning the dining rooms, the banquet protocol as well as the dishes served during the meals. In this paper we shall focus on a well known category of marble funerary relief monuments depicting banquet scenes. The basic banquet scene iconography consists of a male figure reclining on a couch, accompanied by a female figure seated on a chair.The scene is usually supplemented by small scaled figures, probably servants, and various culinary equipments, such large wine vessels. The observation of these “banquet reliefs” will help us form an idea not only of the people taking part in these meals, but also of the food and the drink that they enjoy. Banquet reliefs are important because they are an illustration of both the domestic settings and the traditions of the ritual funerary meal of the Graeco-Roman world.
Regarding the Eastern part of the Roman Empire however, modern research seems to focus more on the Asia Minor, the Levantine and the North African Provinces than the Greek provinces.
this multiple-author volume that I propose aims not only to fill an essential scientific gap but also aims to bring together a wide body of knowledge from the newly emerged and expanding field of water management in roman Greece. The main goal that this multiple-author volume attempts to succeed is to show that large scale water works
• were a striking novelty in the Greek Provinces, both in form and function
• drastically changed the architectural landscape
• introduced the concept of luxury in the urban landscape, and
• formed the link between utility, design, politics, and local development
Available at http://www.archaeopress.com/ArchaeopressShop/Public/displayProductDetail.asp?id={C3B83EAF-8B75-4D1B-BFC1-15B54A9D451B}
Panel 20: Water Use in the Private and Public Spaces of the Ancient city. New Methodologies and Results from Interdisciplinary Research (org. M. Monteleone, H. Dessales, E. Sánchez-López)
The main goal of this paper is to discuss the possibility that this statue may once belonged to a sculptural group of the Blinding of Polyphemus. To this end, we highlight its similarities with figures carrying a wineskin from the other known Polyphemus groups (e.g. Sperlonga, Baia, Domus Aurea, Castelgandolfo, Ephesos) of the Late Republican and Early
Imperial period, that adorned natural or artificial grottoes mostly in Imperial grounds. If this argument stands, it will provide us with another Polyphemus group, and will again prove the cultural connectivity between the centre and the peripheries of the Roman Empire on grounds of artistic production.
To this account, this paper evolves around the remains of bath complexes from important Macedonian cities during the roman period, e.g. Beroia, Thessaloniki, Philippi, and Dion. Excavations have brought to light both public and private baths, distributed throughout the province, but with a definite concentration in central Macedonia, where the major urban centres were developed right before and after the Roman conquest.
Apart from the basic architectural features of the structures, other issues discussed in this paper will regard the development of the Greek Bath-Gymnasium into the roman Bath-Thermae complexes with the heated bath areas next to fitness areas, and its re-introduction to Greece under the roman rule, and the innovative technologies applied-on the basis of a recent and highly important find from Macedonia, the bath hypocaust excavated at Pella in 2007, that resets the discussion on the origin of the hypocaust heating system (ὑπόκαυστον). The cultural - social aspect of baths will also be highlighted since public baths contributed greatly not only to public hygiene but also to the quality of life.
this paper attempts to approach the process of Romanisation in the provinces under new perceptions. It acknowledges Macedonia as an important piece of the vast mosaic of the Roman Empire, showing that it participated in every aspect of the roman way of life.
On the other hand, based on the development and use of bath complexes in Macedonia during the Roman period, it comprehends that technology, culture, urbanism, were not imposed on the provinces by Rome in a one-directional cultural process and novelties were not just transferred to the provinces from Rome but also from the provinces to Rome.
This study points out that the region of Macedonia being a crossroad between the western Europe, the Balkans and the Anatolian lands, has a lot to offer regarding the development of water use throughout Antiquity.
The practices of reuse and recycling of sculpture and architectural material have been greatly accelerated and diffused towards the end of Antiquity. Such practices provided modern scholarship with a better understanding of this Empire-wide phenomenon, that quite probably reflects a transformation of attitudes towards the monumental heritage of the past, it reveals a major shift in the economy, an involvement of the local and senatorial elite in the building industry, as well as a change in the mentality regarding the cityscape in Late Antiquity.
Within this framework, this study focuses on the ancient theatre of Philippi in the period after its decline and abandonment, when its porticus post scaenam was transformed so as to house a cluster of workshops. During this process, major architectonic sculpture and statuary from the scaenae frons as well as relief panels from the porticus post scaenam, were reused as building material in the new structures. To this extent, in the Philippi theatre too, one may observe the practice of reusing and recycling of round, relief and architectural sculpture in the same way that it can be seen in major late antique cities (Aphrodisias, Leptis Magna, etc) across the Empire.
This discussion deals with yet another aspect of the process of Romanization in the provinces, aiming to highlight the role of women in the province of Macedonia during the Roman period, thus acknowledging Macedonia as an important piece of the vast mosaic of the Roman Empire and showing that it participated in every aspect of the roman way of life.
The abundance and variety of architectural forms depicted on the reliefs provides us with useful knowledge of both the central (Roman) and provincial (Black Sea) building traditions. Taking into account issues of realism and faithfulness of the represented architecture, an attempt is made to reconstruct city landscapes by placing
the monument within the urban net and to discuss its function and/or symbolism.
At the same time, observation of the depicted scheme provides us with a closer look at the architectural armature of Black Sea cities under Roman rule, and evidently, as can
be deduced from the edifices illustrated, with a closer look at the religious, social and political life of the region’s inhabitants.
Apart from the historical facts that lead to the erection of the Column, this paper will present a comparison between the purely Roman architecture and the contemporary local architecture of the Province of Dacia as depicted in the column. This comparison would provide us with interesting knowledge regarding the architectural expression of the Dacian population during the Roman period, and will also point out the essential differentiations between Romans and Dacians on account of their public and private edifices.
The depicted structures form an architectural database of both Roman and Dacian architecture. The abundance and range of architectural forms depicted in the relief freeze of the column exceeds the knowledge of a usual sculptor and reveals the presence of a coordinating architect with a strong knowledge of both the central and the provincial building tradition.
The study of fountain sculptures, that is sculptures with a visible water outlet ascertaining a spouting function or sculptures that regardless their function derive from a nymphaeum or an elaborated fountain, have only the past few years attracted the scholars' attention. These sculptures adorned the monumental facades of roman nymphaea and deployed according to pre-scheduled iconographical programs, which differed among regions and among monuments. Different decorative programs reflected different purposes. Since monumental nymphaea were financed by emperors and wealthy patrons, financing the construction of a nymphaeum and (or) its decoration consists a politically motivated action. As an imperial benefaction, nymphaea proclaim the imperial power, virtue and culture. As objects of private patronage they signaled the donor’s wealth, power and connection to the imperial regime.
This paper discusses the presence and function of sculptures within the fountain structures and their use by the patrons of the monuments in order to project specific messages. In order to do so, this paper will examine the sculptural assemblages of fountain structures in some of the major provincial cities of Greece (Argos, Athens, Nikopolis, Olympia, Corinth, Gortyn). It will discuss the identity of their donors and will attempt to reconstruct the social, political as well as cultural role that each statuary group held in its given context.
Monumental nymphaea are centrally located in major cities of the roman East and are usually financed by the Emperor, the city, or local wealthy patrons. These imposing monuments stood one to three stories high and were embellished with sculptural display programs that often interacted with flowing water to create innovative kinetic displays, carefully arranged to reflect the city’s image, to project its prosperity and to display the authority and majesty of the benefactor or/and the local community. Their study tries to reconstruct the role they held in the urban design, as well as in the social and political life of the cities of the Graeco-Roman East. "
nymphaea. The discussion concerns mainly the so called façade nymphaea, which are directly
compared with the scaenae frons of a roman theatre. Research is based on four parameters: a. the
form and the structure, that is the comparison of specific architectural features that are common to
both kinds of monuments, b. the function and the use of these public monuments within the city
landscape, and in conjunction with the social, political and cultural life of the citizens. c. the
Iconography. The study of the sculptured decoration which deploys on the monumental facades both
of theatres and nymphaea has revealed that both these monuments include similar sculptural display
programs. These programs follow certain display rules, intending to project certain messages. d. the
sacral symbolism conferred to both theatres and nymphaea. Both the decoration and the location of
the monument consist of two major factors that provide theatres and nymphaea with sacrality. A large
number of theatres and nymphaea are built within or close to sanctuaries, while many theatres host
nymphaea within their grounds. On the other hand, nymphaea are considered sacral through their
connection with water."
Archaeological evidence, written sources, literary descriptions, provide us with numerous details concerning the dining rooms, the banquet protocol as well as the dishes served during the meals. In this paper we shall focus on a well known category of marble funerary relief monuments depicting banquet scenes. The basic banquet scene iconography consists of a male figure reclining on a couch, accompanied by a female figure seated on a chair.The scene is usually supplemented by small scaled figures, probably servants, and various culinary equipments, such large wine vessels. The observation of these “banquet reliefs” will help us form an idea not only of the people taking part in these meals, but also of the food and the drink that they enjoy. Banquet reliefs are important because they are an illustration of both the domestic settings and the traditions of the ritual funerary meal of the Graeco-Roman world.
The study of fountain sculptures has only the past few years attracted the scholars' attention. This paper discusses the placement and function of sculptures within the fountain structures in relation with water (either directly, indirectly, through local myths and cults. Imperial and private portraiture underline the imperial power and the prestige of local Elite. Sculptural display programs are used either to glorify the Emperor and his family, or honoring the local gods, or in some cases, underline the dynamic local Elite. The significance of choices on a local, regional, imperial level leads us to study sculptural display programs of monumental nymphaea as a reflection of the patrons and the city’s status and power.
Monumental nymphaea are seen as products of historical and social conditions. This paper tries to reconstruct their role in the mainland and island Greece during the roman period
nymphaea, belong to a category of monumental fountain structures
of the roman period which have a ground-plan of a characteristic
semicircular form. The discussion regarding the origins of
this type is a long one and they have occasionally been attributed
to various geographical regions or architectonic types. Within this
framework, a recent find from the ancient Agora of Pella excavations
has attracted our interest. Predominately due to its architectonic
similarity to the type of semicircular nymphaea, and secondarily
due to its interesting similarities to four other pre-hadrianic
fountain structures, the Fountain at the Sanctuary of Poseidon and
Amphitrite in Tenos island (2nd c. BC), the Fountain at the South Stoa
of the Roman Agora of Athens, the Fountain at the South Stoa of
the Agora of Corinth (early 1st c. AD) and the Fountain at the Agora
of Kos Island (mid 2nd c. AD). This paper is discussing these five preroman
fountain structures on grounds of their common features as
early forms of the elaborate roman semicircular nymphaea of the
2nd c. AD in Greece, namely the Herodes Atticus Nymphaeum in the
Sanctuary of Olympia and the SE nymphaeum in the Athenian Agora,
along with their location and role within the civic landscape. At
the same time, they are viewed as examples of the introduction of
an architectural monumentality in the Greek lands following the
new roman trends on sophisticated urban aesthetics.
Sculptural Decoration of theatres in the Western and the Eastern part of the Roman Empire has been a long subject of study for scholars; however it usually evolves around the free standing sculpture which decorated the theatre facades of the imperial period. During the past years, the study of relief friezes decorating the roman scaenae frons seems to attract the interest of the research. Relief Friezes depicting mythological subjects and deploying across the pulpitum of the scene building are supplementing - and sometimes enhancing - the sculptural display programme of the monument. In many cases of theatrical friezes the depicted mythological subjects reflect the local myths and cults, the local beliefs and customs of each region. Furthermore, through the selection of myths one can detect the intention of the city to project its identity, in the effort to stand out in this vast mosaic of nations that constituted the Roman Empire. This study will try to present this phenomenon through examples of roman theatres from the geographical area of Greece and Asia Minor
Στην πόλη κυριαρχεί η παρουσία της Αρτέμιδος. Η πόλη διέθετε επίσης αρκετά συγκροτήματα λουτρών και γυμνασίων, με ειδικές αίθουσες για διαλέξειςς. Ένα άλλο ιδιαίτερο χαρακτηριστικό της πόλης ήταν τα πολυτελή κρηναία οικοδομήματά, μεταξύ αυτών η Κρήνη του Δομιτιανού, το Νυμφαίο του Τραϊανού και το Υδρεκδοχείο του Λαικάνιου Βάσσου.
Η αίγλη και η ευμάρεια της Εφέσου την κατέτασσαν στις μεγαλύτερες και σημαντικότερες πόλεις του Ελληνορωμαϊκού κόσμου, θέση που διατήρησε και στα Πρώιμα Βυζαντινά χρόνια, όπως φαίνεται από τη μεγαλοπρεπή βασιλική του Αγίου Ιωάννη και τις άλλες εκκλησίες
Published online by Cambridge University Press: 23 July 2021
Further info at: https://edabyt.gr/3rd-international-conference-of-ancient-greek-technology/
Thessaloniki, Greece, 26 June- 7 July 2017
Apply at: http://www.ihu.edu.gr/atvl17/
SUMMER SCHOOL 2017
26 June – 07 July 2017, International Hellenic University, Thessaloniki, Greece. Applications at: http://www.ihu.edu.gr/atvl17/
PROGRAMME SUMMARY
Progress and innovation in technology were of exceptional importance for the development of ancient societies and have been of great interest to many disciplines. This year, the International Hellenic University Summer School is focusing on Ancient Technology and the Voyage of Luxuries offering the opportunity to study how technological achievements of ancient cultures facilitate luxurious activities; luxury as a social practice is exclusive per se. Based on the processes of the integration of those who belong to a certain elite group, but also on the exclusion of those who don’t, it is actually a social identifier throughout Antiquity. Subjects such as how the diffusion of improved infrastructural, organizational and mechanical technologies facilitated the production and distribution of luxury items (e.g. faience, glassware, jewelry, ceramics, toreutics, etc) or how the invention and transfer of new technologies served the needs of the ancient societies for prosperity, hence luxury, will be discussed.
Registration is now open for the 4th Summer School in Ancient Technology and Ancient Economies, organized by the School of Humanities of the International Hellenic University, in Thessaloniki (Greece). Register at: http://www.ihu.edu.gr/atae16/
SUMMER SCHOOL IN ANCIENT TECHNOLOGY AND ANCIENT ECONOMIES, JULY 2016, THESSALONIKI, GREECE.
04 - 15 JULY 2016.
THESSALONIKI, GREECE,
SCHOOL OF HUMANITIES- INTERNATIONAL HELLENIC UNIVERSITY.
VISIT: http://www.ihu.edu.gr/atae16/
at the University campus at Thessaloniki, Greece.
All courses will be taught in the English language.
For more information on application procedures and discounts, please visit the following Website:
http://www.ihu.edu.gr/index.php/ihu-summer-school-in-ancient-technology-and-crafts-2015.html
integration of those who belong to a certain elite group, but also on the exclusion of those who don’t, it is actually a social identifier throughout Antiquity. Subjects such as how the diffusion of improved infrastructural, organizational and mechanical technologies facilitated the production and distribution of luxury items (e.g. faience, glassware, jewelry, ceramics, toreutics, etc) or how the invention and transfer of new technologies served the needs of the ancient societies for
prosperity, hence luxury, will be discussed.
In the course of the programme, the latest historical research along with state-of-the-art scientific techniques applied to the analysis of archaeological findings will be presented by senior academics and field archaeologists who are experts in their research areas.
WATER IN GRECO-ROMAN RELIGION.
Swedish Institute at Athens, 15 November 2022
In cooperation with Frontinus Gesellschaft
The material was categorised:
• Sculpture from Macedonian Sanctuaries (Cult-Votive).
• Sculpture from temples of the Imperial Cult.
• Sculpture from Public Buildings (Gymnasiums, Agoras-Fora, Palaces, Triumphal Arches, Fountains, Theaters, Odeia, etc.)
• Funerary Sculpture (Reliefs with Banquets or Horsemen, Tonda, Macedonian Altars, imported and Local Sarcophagi, etc.).
Part of the discussion regarded the influences and/or originality of the local sculptural workshops of Macedonia and their different artistic quality and expression.
More info at: https://www.scuoladiatene.it/eventi-icagenda/86-book-launch-great-waterworks-in-roman-greece.html
We would be delighted, if you could consider contributing to our e-conference and contact us with the required information below before March 1, 2022. Our e-mail addresses are: [email protected] or [email protected]
We would be thankful, if you send us your abstract and required information only in word doc. For all your queries concerning the e-conference our phone number is: +90.539.577 07 33.
We would also be grateful if the lecturers can submit their presentations as a video until April 15, 2022 so that we can make sure to have their lectures prior to the virtual conference on May 12-13.
After the conference participants will be required to submit their revised papers by October 1. Revised papers will be published in a peer-reviewed proceedings volume.
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