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ISBN-10: 1139989413

ISBN-13: 9781139989411

Rhetoric used to be primary to schooling and to cultural aspiration within the Greek and Roman worlds. It was once one of many key facets of antiquity that slipped lower than the road among the traditional international and Christianity erected by means of the early Church in overdue antiquity. historic rhetorical idea is passionate about examples and discussions drawn from visible fabric. This e-book mines this wealthy seam of theoretical research from inside Roman tradition to offer an internalist version for a few points of ways the Romans understood, made and preferred their artwork. the knowledge of public monuments just like the Arch of Titus or Trajan's Column or of imperial statuary, household wall portray, funerary altars and sarcophagi, in addition to of intimate goods like children's dolls, is tremendously enriched by way of being put in proper rhetorical contexts created by means of the Roman international.

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For discussion of sarcophagi in relation to consolatory eulogy, see Müller 1994: 139–70. See Theon, Progymnasmata 9 (109). g. Heath, 2004: 3, 295–6). 9, 1367bÀ1368a; [Aristotle], Rhetoric for Alexander 3, 1425bÀ1426b; Hermogenes, Progymnasmata 7 (14–15); Aphthonius, Progymnasmata 8 (21–2 Rabe); Nicolaus, Progymnasmata 8 (47–53). For enkōmium in antiquity in general, the key study remains Pernot 1993. 372. 15 16 Jaś Elsner these descriptions, taken directly from a rhetorical treatise, while hardly normal in the current art-historical language used by classical archaeologists, constitute rather a good account of what is going on in the Arch of Titus.

32 Ēthos is embedded in the arch of Titus as the expression of the will to impress the audience by handling the question, which ramifies as the undisputed victory of Rome over Palestine, the depiction of the emperor as a true general (in defeating the rebellious Jews), and the presentation of Titus as a god. Pathos denotes not the audience as such, but the impact exerted by the monument itself on its intended audience: that is, the monument expects and circumscribes a certain kind of viewing – above all that its viewers be impressed by the laudatory achievements of imperial conquest represented.

Style of art selected (logos) and on behalf of someone who purports to express himself in an exemplary way through that work of art (ēthos). Take the triumphal arch. This is a distinctive form in Roman art, whose origins lie in a combination of entry portal and sophisticated statue base,23 but which became a self-standing monument designed to impress the populace of a city through the achievements of its rulers. The significance of the inscriptions carved on such an arch is to stress the question – the visually and architecturally posed proposition, problem, challenge or desire (the victory celebrated, for instance) – that the building is designed to resolve and whose answer is meant to impress.

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Art and Rhetoric in Roman Culture


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