Portraits, pontiffs and the Christianization of fourth-century Rome

Grig, Lucy

doi:10.1017/s0068246200002725

Cited by 12 publications

(4 citation statements)

References 14 publications

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“…Cameron (1996) 299.40 Al. Cameron (1996) 299;Grig (2004) 212.41 This conclusion is supported by Howells' analysis: Howells (2010) 76-77.42 Howells (2010) 276-77.43 Howells (2010) 277-78.44 Howells (2010) 274-75.45 275.…”

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confidence: 86%

The Cultural Lives of Domestic Objects in Late Antiquity

Stoner¹

2019

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I would like to extend thanks to The Roman Society for their generous grant via the Hugh Last Fund in support of the costs of the illustrative material reproduced in this book. Also to Lloyd Bosworth for kindly advising on the artefact drawings. My thanks also go to the anonymous peer reviewers and my examiners Professors Antony Eastmond and Catherine Richardson, for their insightful comments and recommendations for the process of turning my thesis into a coherent manuscript. Also Michael Mulryan for his editing skills, and Nikos Karydis, Gavin Osbourne, Anne Stutchbury, Joe Williams, and Faith Morgan for their comments, suggestions and support throughout the entirety of this work. In particular, I wish to sincerely thank Professor Liz James for her valuable advice ever since first introducing me to the material culture of Late Antiquity. Finally, I am deeply grateful to all my friends and family who have forced food, drink, and company upon me as and when necessary, with patience and humour-if you are reading this, you know who you are. This book is dedicated to my dad Peter.

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confidence: 86%

The Cultural Lives of Domestic Objects in Late Antiquity

Stoner¹

2019

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“…Uma das principais questões que se colocam quando analisamos os objetos em vidro dourado está pautada na intencionalidade das iconografias e epigrafias. Parte da historiografia já pontuou que muitos deles foram feitos com o intuito de retratar seus proprietários por meio de reproduções de suas imagens, enquanto que alguns outros foram forjados para celebrar algum evento (LUTRAAN, 2009;GRIG, 2004;WHITEHOUSE, 1996). No caso dos artefatos cristãos, dada a repetição e a constância com que as imagens de Pedro e Paulo aparecem, entendemos que a maior parte deles seria usada em eventos comemorativos.…”

Section: A Representação De Pedro E Paulo Nos Artefatos Em Vidro Douradounclassified

Narrativas visuais e propaganda cristã: uma análise dos artefatos em vidro dourado na Antiguidade Tardia

Campos

2021

Romanitas

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O presente artigo teve por objetivo analisar o programa propagandístico comemorativo empreendido pelos cristãos na Antiguidade Tardia. Para tanto, fizemos leituras iconográficas e epigráficas de algumas peças decorativas em vidro dourado, com destaque para as que fazem referência a Pedro e Paulo. Por meio de uma interpretação das formas de visibilidade presentes nesses artefatos, buscamos compreender as alterações político-religiosas que caracterizaram a ekklesia cristã nos séculos IV e V, com destaque para a apoteose do poder episcopal e a institucionalização eclesiástica.

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“…Third, he founded a new monastery near St Peter's and found his own final resting place near that of the apostle. The combination of a burial site and a monastery, in which intercession is provided for its founder, suggests 32 Grig (2004a) Maccarone (1991a) 261-74, Ullmann (1960. The political claim to power of the popes reached its peak at the end of the 5th century: Felix III., ep.…”

Section: Stage 2: Petrus Becomes An Anchormentioning

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The Architectural Appropriation of the Apostle Peter by the Early Christian Popes

Friedrichs¹

2020

The Early Reception and Appropriation of the Apostle Peter (60-800 CE)

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In terms of Christian values and ideals in the early centuries CE, Peter is generally regarded as one of the most important apostles, and in particular for the urban community of Rome itself. Peter was used as an icon to convey an ideology to support political goals directly or indirectly. One means for achieving this is through art and architecture. This essay explores this phenomenon by addressing two central enquiries: (i) What does the concept of architectural appropriation imply and how is it integrated in the process of anchoring innovation? How did this relationship develop between the 2nd and 6th centuries? (ii) Who are the protagonists of this development and what was their motive to use Peter as an anchor? This paper describes an approximate model of architectural appropriation deduced from the results obtained in addressing these enquiries. There are several places in the city of Rome associated with Peter: First, of course, the supposed grave site of Peter on the Vatican hill; secondly, the place where Peter and Paul lived and where their skulls, according to legend, were kept during the time of persecution, under the present Basilica of San Sebastiano. In addition to these places, no other physical sites to revere Peter were established in and around Rome, except for San Pietro in Vincoli. This article, however, focuses exclusively on the Vatican and San Sebastiano, as there are many architectural activities to retrace. Architectural appropriation in this context means the intentional use of architecture or architectural decoration in order to achieve particular political or societal goals. This observation is closely linked to the concept of anchoring innovation. In fact, architectural appropriation can be a kind of anchorage. The conceptual basis of anchoring was laid down by Sluiter in 2017; she stated that anchoring innovation is the successful implementation of something new to a defined social group by conveying that this innovation is based on something old and long known.1 The same can be said of architectural appropriation: it

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Portraits, pontiffs and the Christianization of fourth-century Rome

Cited by 12 publications

References 14 publications

The Cultural Lives of Domestic Objects in Late Antiquity

The Cultural Lives of Domestic Objects in Late Antiquity

Narrativas visuais e propaganda cristã: uma análise dos artefatos em vidro dourado na Antiguidade Tardia

The Architectural Appropriation of the Apostle Peter by the Early Christian Popes

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