Divine Interiors: Mural Paintings in Greek and Roman by Eric M. Moormann
By Eric M. Moormann
Mighty marble facades, sculptures, and wall work performed a tremendous position within the ornament of Greek and Roman temples. whereas the reputable temples, which have been hooked up with a urban or a country, frequently had an easy yet solemn visual appeal, the extra renowned structures have been precise multi-colored expressions of religiosity. Scenes from the lifetime of the respected deity, pics of the supporters and practitioners of the cult, and renderings of vegetation and animals may possibly shipping viewers to those shrines to various worlds. The wall work displayed adjustments standard and flavor, yet they'd an identical easy glance in all places. it really is outstanding to determine the similarities among temples that have been extensively separated within the sizeable Greco-Roman world.
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Extra resources for Divine Interiors: Mural Paintings in Greek and Roman Sanctuaries
First, I will discuss the temple of Juno in Carthage as seen by Aeneas in Virgil’s Aeneid. In the second case, Silius Italicus’ Punica, the reader visits a temple in Liternum together with Hannibal. T h e T emple of J uno in C art h age In the first Book of the Aeneid the reader walks with Aeneas through Carthage, newly founded and still under construction under the aegis of Dido. 441). Aeneas’ eye falls on paintings that depict scenes from the Trojan War, in which the Trojan was personally much involved:85 namque sub ingenti lustrat dum singula templo reginam opperiens, dum quae fortuna sit urbi artificumque manus inter se operumque laborem miratur, videt Iliacas ex ordine pugnas bellaque iam fama totum uulgata per orbem, Atridas Priamumque et saeuum ambobus Achillem.
About the 2, fragment 21 Stiehle (quoted in Italian translation on p. temple that probably must be connected with that for Jupiter 159). See on this and other maps the contributions by Maria Libertas see M. Andreussi, LTUR III (1996) 144. Koortbo- Ida Patrizia Gulletta in Gallazzi and Settis 2006. On the papyrus in general Gallazzi and Kramer 1998, 199-201, fig. jian 2002 discusses the painting in greater detail. 65 Varro, ll. 57. D. Degrassi (LTUR I (1993) 21-22) supposes 2; Gallazzi and Settis 2006; Gallazzi, Kramer and Settis 2008 that the paintings had already vanished when Varro wrote his (editio princeps).
Dilke See his note 25 for other examples. Cf. Grüner 2004, 141. 1989, 148 sees the pictures as an example of “religious and On the temple Ziolkowski 1992, 155-162. For P. Semproni- propaganda impact”. Meyboom 1995, 186-190 refers to us Sophus see F. Münzer, RE 2, A-2 (1923) 1438-1439 with the map of Sardinia in his section about “Chorography and sources. Briefly mentioned by Holliday 2002, 214, who sees Topography as Pictorial Genres”. Östenberg 2009, 193 trans- T. Sempronius Gracchus as founder and follows Frontinus, lates tabula as ‘tablet’ (on terminology see also his p.