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Describe monuments
Research on monuments
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Part One: Notes on “The Public Life of Monuments: The Summi Viri of the Forum of Augustus”
Introduction: “Monuments and Memory”
• Simple definition for monument: “a structure created to commemorate a person or event.” Monuments are used to recreate/reconstruct the past, providing a simplified meaning to complex events. “Highly selective” nature of society’s collective memory. Monuments preserve the past, making one particular historical interpretation or meaning of past events fixed or concrete. This creates the illusion of one shared belief within a society.
• However, the meaning of monuments evolve with the viewer. The authority of monuments derived from “their public’s willingness to make their monuments and the essential illusions that they express their own”
• Focus: summi viri within the Forum of Augustus
• Aims of the article: “understanding the role of memory in different eras of the Roman empire,” Evolution of commemoration over time, relationship between Romans and their monuments. Explore the effects of monuments on public memory and visitor perception. Explore how a collection was “lived and experienced”
• Main Questions: “How did the collection of images and inscriptions shape public memory (and forgetting)? How did visitors perceive it? How did they appropriate it, and to what historical conclusions, what understanding of the Roman empire, might its viewers have been moved?”
“The Summi Viri as a Monument”
• summi viri a work of Augustan ideology and a reflection of historical memory. Represents an effort to restore the past, to establish “historical continuity.” Statues of Roman/Republican heroes within the Forum. Constructed representation of Rome’s past within a public destination
• Focus: “What does it ...
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...of the Empire.” Through commemorative sculpture, the local community is permitted to mix and interact directly with Rome’s foundation, heroes, and nobility.
Throughout this survey, we have seen the intense appeal of Roman culture and heritages which sparked a desire to emulate and appropriate. Roman art and architecture was open to incoming embassies, and “it is against the backdrop of elite ambassadors, administrators, and Roman writers that we should view the Marble Forum.” All copies look to Rome as a place of origin. Reproductions sought to emulate the monumentality of the originals, as most citizen, including those of Augusta Emerita, were unable to visit Rome in person. While each monument adopts a local meaning, both original and copy come to embody the collective cultural heritage of Rome, defining the relationship between the capital and its provinces.
Monuments and museums are arenas of public history and for the formation and articulation of identities and narratives.[1] Decisions taken as to the formation of museums and the selection, display and organisation of exhibits are influenced by criteria which are not necessarily politically neutral; these may especially involve devices of political elites to emphasise aspects of communal togetherness and thus exert control over communities.[2] Memory and commemoration of past events and generations is by its nature a political and contested act, especially in sharply divided societies.[3] It is no surprise that recently established governments and states should particularly concern themselves with the production of such forms of festivities, commemorations, and monuments.[4] As rulers of a sharply divided society, unionist elites in Northern Ireland in the aftermath of its eventful creation in 1920-1 had particular reasons to concern themselves, and did concern themselves, with such strategies of power.[5] The integration of the province's Catholic minority may have been, or may have been felt to be, beyond the rulers of Northern Ireland;[6] but this very fact heightened the importance of preserving the highest possible degree of political unity under unionist hegemony among the Protestant majority.[7]
The Res Gestae Divi Augustus (‘The Deeds of the Divine Augustus’), also known simply as the Res Gestae was a catalogue of the achievements Augustus had made during his life, specifically those that had an obvious positive impact on the Roman people. It was written in 13-14AD (E.S. Ramage, 1987) and presented to the Vestal Virgins alongside Augustus’ will upon his death in 14AD (M.C. Howatson, 1937). The biography, which was carved into bronze pillars outside of Augustus’ mausoleum (M.C. Howatson, 1937), is split into 35 sections; each recognizing a separate part of Augustus’ excellence. The fifteenth, which will be discussed in this commentary, describes the notable largesses donated to the Roman people by Augustus throughout his
History has a strange way of coming back around when it comes to human civilization. It has been said repeatedly that those who do not know history are doomed to repeat it. However, just because there is a potential for danger in the future, this does not mean that humanity must ignore what once was. History is normally remembered through what is known as a memorial. When a memorial is put into a physical representation, it is then known as a monument.The need to memorialize events or people is complex; in some cases, monuments honor moments of great achievement, while in other cases, monuments pay homage to deep sacrifice. A monument's size, location, and materials are all considerations in planning and creating a memorial to the past. Examples of such feats are the Washington Monument, Lincoln Memorial, and even Mount Rushmore. For the latter of the
A memorable monument is a historical structure that represents a significant person or event. They are designed to show the importance of either the person or event. Monuments are intended to last forever so the subject will never be forgotten to society. The factors that should be considered when creating a memorable monument are that the subject must be powerful and meaningful to society and the design should resemble the significance of the subject. These factors help communicate the magnitude of the individual or group’s sacrifice, as well as honor moments of great achievement in history.
Livy’s The Rise of Rome serves as the ultimate catalogue of Roman history, elaborating on the accomplishments of each king and set of consuls through the ages of its vast empire. In the first five books, Livy lays the groundwork for the history of Rome and sets forth a model for all of Rome to follow. For him, the “special and salutary benefit of the study of history is to behold evidence of every sort of behaviour set forth as on a splendid memorial; from it you may select for yourself and for your country what to emulate, from it what to avoid, whether basely begun or basely concluded.” (Livy 4). Livy, however, denies the general populace the right to make the same sort of conclusions that he made in constructing his histories. His biased representation of Romulus and Tarquin Superbus, two icons of Roman history, give the readers a definite model of what a Roman should be, instead of allowing them to come to their own conclusion.
The Ara Pacis (“Altar of Augustan Peace” in Latin) is one of the most representative works of Augustan art. The monument was dedicated on 4 July 13 B.C to honor the return of Augustus after three years in Spain and Gaul, which were his last military operations, and commemorate military victories. The altar was an impressive example of the culture of Rome in general and illustration of prosperous Rome. The monument is a visual medium to represent that peace is the result of military victories and his proconsular power on the land and sea. Karl Galinsky, a Professor of Classics at the University of Texas at Austin says that the Ara Pacis is linked with the concept that pace is the result of military victories. According to him, Augustus mentioned the importance of the Ara Pacis in Res Gestae by saying, “On my return from Spain and Gaul in the consulship of Tiberius Nero and Publius Quintilius, after I had successfully arranged affairs in those provinces, the senate decreed that an altar of the Augustan Peace should be consecrated next to the Campus Martius in honor of my return, and ordered that the magistrates and priests and the Vestal Virgins perform an annual sacrifice there” (Karl Galinsky, 1996). He avoided building an altar in the senate chamber to honor his return. Instead, he ordered to build an altar to Pax Agusta in which one mile away from the sacred boundary of the city. It means that the altar was meant not only to be a monument of military achievement, but also a vision of the Roman religion. This research aims on function, structure of the altar, and reliefs on each side of the precinct wall.
The need to memorialize events or people can be a complicated task. It is nearly impossible for one person capture all that that event or person meant to the world.In order for a person to be honored with a statue of museum to memorialize them, they must have really made an impact on the world. More often than not, people forget the grave sacrifices that were made by the many people who came before so that we can live how we do today. Three factors that a group or agency should consider when memorializing an event or person and in creating a monument are, respect, sacrifice, and size and location.
Today, memorials are built with the purpose of remembering and connecting with the past. Although memorials and monuments are unique landscapes, it must be noted that memorials are often dedicated to those who have been victimized, while monuments offer a celebration or remembrance of a specific person or event. However, both do not fail in shaping the world as it is today. People remember, people learn, and people move on. In memorializing an event and in creating a monument, one should consider its location, cost, and meaning. Failing to do so might provoke controversy among those who are innocent and those who are against it.
Marcel Le Glay, Jean-Louis Voisin, Yann Le Bohec. A History of Rome. West Sussex, UK: Wiley-Blackwell, 2009.
Scott, Foreman and Company, 1903. Kohne, Eckhart and Cornelia Ewigleben, eds., pp. 113-117. Gladiators and Caesars: The Power of Spectacle in Ancient Rome. Berkeley: University of California Press, 2000. Meijer, Fik (Liz Waters, trans.).
American politician, Henry Waxman once said, “Memorials become relics if they do not stir our modern conscience.” Americans take great pride in winning intense battles and celebrate these victories in several different ways. Sometimes Americans show pride and gratitude is creating large statues dedicated to important figures or events in history. These statutes and or museums take a lot of dedication and effort to look well established and portray an heroic message. While a group or agency is considering creating a memorial or monument for an event or person, they should remember to consider who this memorial or monument effects, what it represents, and if it is a good task to start in the first place.
Hopkins, K. (2011, March 22). The Colosseum: Emblem of Rome. BBC News. Retrieved April 28, 2014, from http://www.bbc.co.uk/history/ancient/romans/colosseum_01.shtml
"National Roman Museum - Palazzo Massimo Alle Terme." Soprintendenza Speciale per I Beni Archeologici Di Roma. N.p., n.d. Web. 05 Mar. 2014.
Since 2009 the Binchester excavation project has been digging an 1,800-year-old site in County Durham. These ruins, that the Romans’ knew as “Vinovia” are being compared to the ruins of Pompeii because of the phenomenalism of their preservation. Evan Andrews, in his article, “Roman Ruins in Britain Hailed as ‘Pompeii of The North,’” does not exaggerate the British ruins in comparison to Pompeii because the structures are remarkably intact, the ruins proved Pre-Constantinian Christianity, and these ruins are uncovering more information of Roman culture.
Monuments are a symbol of a significant time in history. Monuments represent life, death, success, and struggle just to name a few. They have become as important to society as the events they represent. They bring history alive to new generations and memories to those who experience them firsthand. Monuments create a bridge between generations. Many parents feel a certain indescribable joyfulness when they see the look in their child’s eyes they had went they viewed the same monument.