Representations of the Antonine Empresses on the Nymphaeum in Olympia

Meyers, Rachel

doi:10.5617/acta.5754

Cited by 2 publications

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“…Cf. Bol (1984) and Meyers (2009). 82 This is especially true in this situation, as the inscription was only in Latin, and much of the local populace probably did not read Latin at this time.…”

Section: Interpreting the Iconographical Programmentioning

confidence: 98%

A New Examination of the Arch of Marcus Aurelius and Lucius Verus at Oea

Meyers

2017

Journal of Ancient History

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The arch dedicated to Marcus Aurelius and Lucius Verus at Oea was an important component in that town’s building activity. By situating the arch within its socio-historical context and acknowledging the political identity of Oea and nearby towns, this article shows that the arch at Oea far surpassed nearby contemporary arches in style, material, and execution. Further, this article demonstrates that the arch was a key element in Oea’s Roman identity. Finally, the article bridges disciplinary boundaries by bringing together art historical analysis with the concepts of euergetism, Roman civic status, and inter-city rivalry in the Roman Empire.

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Section: Interpreting the Iconographical Programmentioning

confidence: 98%

A New Examination of the Arch of Marcus Aurelius and Lucius Verus at Oea

Meyers

2017

Journal of Ancient History

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“…44–47; K. Fittschen, in Fittschen e Zanker 1983, 24–25, n. 24, tav. 33; Meyers 2009, 41, 49, fig. 2.…”

Section: Notementioning

confidence: 99%

“…; Fejfer 2008, 335 ss. ; Meyers 2009, 43–48; L. Musso, in L'Età dell'equilibrio 2012, 298–99, n. II.10; Trimble 2011, passim .…”

Section: Noteunclassified

Ritratti di Leptis Magna: modelli, produzione, contesto tra la dinastia flavia e gli Antonini

Buccino

2014

Libyan Stud

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Different types of marble portraits are discussed: both official Imperial images as well as private portraits, with the intention of illustrating the relationship to Roman models and to highlight stylistic and technical characteristics belonging to local sculptors. The portraits belonged to honourific statues dedicated in Lepcis Magna in public prestigious areas (Old Forum, Theatre, Serapeum, Hadrianic Baths). In these public meeting places the Imperial government officials, civic authorities and the private evergetes had the opportunity of celebrating the central power and its representatives, from the Emperor and the members of his family to provincial functionaries; personal aspirations of Romanisation and of making a political and administrative career; one's own generosity, personal wealth, preeminent role in civic society, as well as accumulating honours, visibility and social prestige. In the case of some statues of private individuals it is uncertain whether they were intended to be honourific or funerary. The chronological span, extending from the Flavian to the end of the Antonine period, corresponds to the period of greatest social stability and economic prosperity in Tripolitania and in Lepcis Magna in particular. From the analysis carried out, certain distinctive traits of Lepcitan portraiture between the first and second century AD emerge. The influence of the Graeco-Alexandrine tradition, more or less filtered through Cyrene, which held a significant role throughout the early Imperial age, tends to weaken and, at the latest by the end of the Flavian period, to disappear altogether. Local workshops, by now well trained, and in some cases identifiable through a distinctive formal language, become strongly influenced by Rome, either directly or through Carthage, capital of the province of Africa Proconsularis. Alongside this component is the growing influence of Asia Minor, fed by the increasing importation of marble from the eastern part of the empire, which would also have a great deal of influence on architectural decoration. The presence of a masterpiece in the Asiatic style, the female portrait-statue from the Serapeum, is the most striking testimonial of this evolutionary trend.

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Representations of the Antonine Empresses on the Nymphaeum in Olympia

Cited by 2 publications

References 0 publications

A New Examination of the Arch of Marcus Aurelius and Lucius Verus at Oea

A New Examination of the Arch of Marcus Aurelius and Lucius Verus at Oea

Ritratti di Leptis Magna: modelli, produzione, contesto tra la dinastia flavia e gli Antonini

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