Art and Rhetoric in Roman Culture by Jaś Elsner, Michel Meyer

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By Jaś Elsner, Michel Meyer

Rhetoric used to be primary to schooling and to cultural aspiration within the Greek and Roman worlds. It was once one of many key features of antiquity that slipped below the road among the traditional global and Christianity erected via the early Church in overdue antiquity. old rhetorical thought is enthusiastic about examples and discussions drawn from visible fabric. This ebook mines this wealthy seam of theoretical research from inside of Roman tradition to offer an internalist version for a few elements of the way the Romans understood, made and liked their artwork. the knowledge of public monuments just like the Arch of Titus or Trajan's Column or of imperial statuary, household wall portray, funerary altars and sarcophagi, in addition to of intimate goods like kid's dolls, is enormously enriched by means of being positioned in proper rhetorical contexts created by way of the Roman international.

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Russell 1981: 99–113; Halliwell 2002: 42–8, 58–9, 61–2, 118–47 all on Plato), 152–9 and 178–93 (on Aristotle), 308–12, 316–20 (on imperial Roman developments). The text is in Aujac 1992: 26–40. 78 Most famously, the art of memory as taught by rhetorical theorists was founded on mentally visualizing an environment like ‘a house . . 81 When he wanted to make 76 77 78 79 80 81 For discussion of what are in fact much more complex passages than there is space to explore here, see Hunter 2009a: 109–20.

See the discussions by Rouveret 1989: 303–9; Bergmann 1994; Elsner 1995: 76–87; Baroin 1998. The key ancient discussions for our purposes are Quintilian, Inst. or. 19. g. Perry 2005: 151–71; Tanner 2006: 283–95; Platt 2006: 245–9. Introduction the case for the orator grasping his topic ‘not with the eye or ear or any of the senses but with the mind and the imagination’, Cicero used the example of Phidias who ‘while making the image of Jupiter or Minerva, did not look at any person whom he was using as a model, but in his own mind there dwelt a surpassing vision of beauty; at this he gazed and all intent on this he guided the artist’s hand to produce the likeness of the god’ (Or.

70 and Quintilian, Inst. or. 85 Arguably in these passages ancient ‘art history’, perceived as the movement from winter to spring,86 becomes a foundational, even a programmatic, model for rhetoric itself. 88 Just as ‘painters and engravers . . 10–15). 118. In the elegant characterization of Bryson 1984 7. 6, cf. 11; Cicero, Brutus 296 for the parallelism of relations of orators with their teachers and artists with their teachers; Dionysius of Halicarnassus, De Demosthene 50 for the parallel of long immersion by artists in the work of their canonical predecessors with that by orators in the work of earlier canonical orators; Dionysius of Halicarnassus, De Dinarcho 7 for how orators can distinguish between original works and their imitations as painters can tell the work of Apelles from his imitators, modellers the work of Polyclitus and sculptors that of Phidias.

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