The iconiCITY of ancient Rome

Abstract

Urban icons were common in the Roman world, with monuments, cityscapes and personifications all used as metonyms. Yet an icon for the most important city of all is not easily identified. Rome was always sui generis, too large to be easily captured visually. Filled with innumerable wonders, no single structure or artwork stood for the whole. Representing the collective, as well as the great extent of the empire, the city could not be encapsulated in a single image.

A Digital 4D Information System on the World Scale: Research Challenges, Approaches, and Preliminary Results

“…Depending on the user group, there are different requirements; e.g., history research requires the comparability and contextualization of sources [40][41][42][43]. Furthermore, a transparent relationship between source and representation is essential [44,45]. Finally, visualization should ideally allow the identification of abstract characteristics such as ideas and systems, breaks, or deviations [46,47].…”

“…The main positions include visual styling-to achieve realistic visualizations that are easy to understand and impressive for viewers-or schematic depictions showing hypotheses and schemes [210,214,215]. Visual style is frequently discussed regarding its fit to scholarly recommendations and as a potential distraction for viewers [44]. Since the majority of 3D/4D reconstructions still are aimed to be highly immersive and realistic visualizations [216], the full scope comprises a large variety of photorealistic and non-photorealistic styles [217][218][219].…”

Columna Traiani. Traianssäule - Siegesmonument und Kriegsbericht in Bildern

“…Nowhere on the column do similar interior timber features appear on Roman fortifications, despite the implied inclusion of these features (in the form of roundels) on the exteriors. 23 For the inclusion of architectural depictions in triumphs and triumphal painting, see Torelli (1982) 119-125;Coulston (1988) 165;Hölscher (1991b) 293-294; (2006) 37, 39;Holliday (1997) 129-130, 134-137;La Rocca (2000) 63; 75-77;Favro (2006) 25-26;Lusnia (2006) 286;Wolfram Thill (2011) 309. For the influence of triumphal paintings on the Column of Trajan in particular, see Lehmann-Hartleben (1926) 2, 29;Torelli (1982) 119-125;Coulston (1988) 124, 131-132; (1990b) 295; (2003) 420-421;Settis (1988) 94-96;Hölscher (1991b) 293-294; Koeppel (2002) 248;Beckmann (2003) 111-113;Wolfram Thill (2011) 309.…”

Digital 3D Technologies for Humanities Research and Education: An Overview

“…Computer-based 3D modelling: Computer-based, i.e., digital, 3D technologies have become increasingly important for sustaining conservation, research, and broad accessibility of cultural heritage as knowledge carriers, research tools, learning materials, and means of representation over the last three decades (c.f. [142][143][144]). Theoretical foundations and epistemological recommendations of 3D modelling of cultural heritage have been studied for a long time, e.g., within various EU projects [6,145]; on a national level in Germany by the task group for 3D reconstruction of the DHd association [146], the Digital Art History workgroup [147], and the DFG Network for 3D reconstruction of architectural history [148], and by a large number of publications (most recently: [149][150][151]).…”

“…Visual style is often discussed in terms of fit to scholarly recommendations and distraction of viewers (e.g., [144]). Since early 3D/4D reconstructions strived for more immersive and realistic visualization [516], a current scope comprises a large variety of photorealistic and non-photorealistic styles [525][526][527].…”