Karl Galinsky

The Cambridge companion to the age of Augustus

Part I. Political History: 1. Augustus and the power of tradition Walter Eder 2. Augustus and the making of the principate Erich Gruen Part II. Intellectual and Social Developments: 3. Mutatas formas: the Augustan transformation of Roman knowledge Andrew Wallace-Hadrill 4. Romans in the Roman world Nicholas Purcell 5. Provincial perspectives Greg Woolf 6. Women in the time of Augustus Susan Treggiari Part III. The Emperors Impact: 7. The Emperor as impresario Richard Beacham 8. Augustus and Roman religion John Scheid Part IV. Art and the City: 9. Semblance and storytelling in Augustan Rome Diana Kleiner 10. Making Rome a world city Diane Favro 11. Augustan domestic interiors John Clarke Part V. Augustan Literature: 12. Learned eyes Alessandro Barchiesi 13. Augustan poetry and Augustanism Jasper Griffin 14. Poets in the new milieu Peter White 15. Vergils Aeneid and Ovids Metamorphoses as world literature Karl Galinsky Part VI. Epilogue as Prologue: 16. Herod and the Jewish experience of Augustan rule Michael White.

Dynastic commemoration and imperial portraiture in the Julio-Claudian period

Part I: 1. The origins and significance of dynastic group monuments 2. Augustus and the establishment of the dynasty 3. Julians and Claudians during the reign of Tiberius 4. Rehabilitation and retrospection in Caligulan group monuments 5. The solidification of the Julio-Claudian dynasty under Claudius 6. Nero and the end of the Julio-Claudian dynasty 7. Conclusion Part II: 8. Portrait identification and the dissemination of models 9. Attitudes toward inscriptions, statuary types, and attributes Part III: Introduction to the Catalogue Catalogue Tables Bibliography General Index.

Augustus and the Power of Tradition

R epublican or M onarch ? When Augustus on his deathbed pointedly asked whether he had played the “farce of life” ( mimum vitae ; Suet., Aug. 99) well and asked for applause, he did not say what role he had in mind. Was it that of world ruler and imperator , who more than any Roman before him had enlarged and secured the boundaries of the Roman empire? Or did he want to be applauded as “prince of peace,” who after the turmoil of protracted civil wars brought the Romans the calm of the Pax Augusta ? Did he think of his efforts on behalf of morality and religion or of his reputation as “Father of his Country” ( pater patriae ) and his unceasing care for peace, liberty, and prosperity of his “children”? But there was one thing he surely did not mean: the role of a monarch. True, he had never restricted himself to the role of “Grey Eminence,” content with operating in the background. Rather, he always sought recognition for his accomplishments and assiduously saw to raising his and his familys profile in both Rome and the provinces through the media of architecture, literature, and art. At the same time, he had also renounced all insignia of personal power: no scepter, no diadem, nor the golden crown and purple toga of his adoptive father. He knew well that as son of the deified Caesar and as Augustus (”The Revered One”) he was endowed with a special aura and that his military, political, and financial resources elevated him beyond the reach of his fellow citizens.

Cacus and Marsyas in Etrusco-Roman legend

This book discusses how Greek and South Italian vase paintings of the musical contest between Apollo and Marsyas became the model for Etruscan representations of Cacus ambushed by the Vibennae brothers, two Etruscan heroes of the sixth century B.C. The study demonstrates that the Etruscans knowingly adapted Greek iconographic forms to represent their own legends.Originally published in 1982.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Rome : late republic and principate

The University of Chicago Readings in Western Civilization (nine volumes) makes available to students and teachers a unique selection of primary documents, many in new translations. These readings, prepared for the highly praised Western civilization sequence at the University of Chicago, were chosen by an outstanding group of scholars whose experience teaching that course spans almost four decades. Each volume includes rarely anthologized selections as well as standard, more familiar texts; a bibliography of recommended parallel readings; and introductions providing background for the selections. Beginning with Periclean Athens and concluding with twentieth-century Europe, these source materials enable teachers and students to explore a variety of critical approaches to important events and themes in Western history. Individual volumes provide essential background reading for courses covering specific eras and periods. The complete nine-volume series is ideal for general courses in history and Western civilization sequences.

The Ara Pacis Augustae and the Imagery of Abundance in Later Greek and Early Roman Imperial Art

David Castriota examines one of the most important monuments of early Roman Imperial art, the Ara Pacis Augustae, the sculptured marble altar built to celebrate the peace, prosperity, and stability initiated by the reign of Augustus in the later first century B.C. Castriota argues that the floral decoration of the altar enclosure was profoundly significant, operating as a visual counterpart to the technique of metonymy in language. It utilised an array of realistic plants and flowers as allusive elements associated with various gods and goddesses, which together symbolised the support and blessing of the Roman divinities for the Augustan regime. Supporting his argument with evidence from Greek and Roman literature and religion, Castriota shows that the planners of the Ara Pacis adapted and expanded a long tradition of symbolic floral decoration from Greek monumental arts. Throughout his work, Castriota demonstrates that the Roman absorption of Greek precedent enabled viewers to recognise the intended message of divine sponsorship. By examining the origins of the Ara Pacis within its broader historical setting, the author provides new insights into a crucial period that witnessed the emergence of a distinctly Roman Imperial art.