N 2008, DOCUMENTARY filmmakers Ted and Mike O'Neill began a project to reinvestigate Rome's aqued... more N 2008, DOCUMENTARY filmmakers Ted and Mike O'Neill began a project to reinvestigate Rome's aqued ucts. The O'Neills started to review the existing scholarship on the aqueducts and their sources. To these self-described "archive rats," the results weren't at all satisfying. Scholars had repeatedly ignored or misinterpreted valuable evidence from descriptive documents dating from the seventeenth t hrough nineteenth centuriesfor example, Carlo Fea's History of the \%ters of Rome of 1832. Soon, the Aqua 'fraiana became the focus of their research, since they knew it had enjoyed an extensive revival centuries after its construction. During the Middle Ages, the aqueduct had fallen into ruin. In the early 1600s, Pope Paul Van ambitious builder much like Trajan some 1,500 years before him-undertook constructio n of a massive new aqueduct. At that time, some standing remains of the Aqua 11-aiana were probably still visible here and there in the countrys ide. Many of the original springs were st ill flowing. And it may have been possible to locate buried sections of the aqueduct by following its path underground. The pope tasked his engineers with locating the still-flowing springs, buying the land on MANZfA NA ,I A team, including (from left to right), filmmakers Ted and Mike O'Neill , and archaeologists Rabun Taylor and Katherine Rinne, is trying to pinpoint the Aqua Traiana's source. The emperor Trajan issued a bronze sestertius with his likeness (ob verse} to celebrate the aqueduct 's comp letion. The reclining god (re verse} represent s the aqueduct , and the arch suggests the grotto s at its sources. aqueduct. These ancient remains were built in a style characteristic of the second century A.D., with concrete walls faced with either brickwork or opus reticu!atum-stone squares set in a precise diagonal grid. Both above-and belowground, t he water channel was vaulted with plain concrete and lined below the vault with opus signinum, a cement that
This long-awaited volume is the only published collection on the Pantheon covering the building's... more This long-awaited volume is the only published collection on the Pantheon covering the building's history from Agrippa to the present. Considerations of the AJA's readership lead me to focus on the first six of 12 essays, those covering the building in antiquity. The second six, by Thunø (the medieval Pantheon), Nesselrath (Renaissance), Marder (17th century), Pasquali (1700-1820), Williams (19th century), and Etlin (the modern age) are outstanding in their own right but have been adequately treated by other reviewers. Perhaps by design, the chapters on antiquity present a united front on certain scholarly developments. This
In response to high-profile attacks that exploit hash function collisions, software vendors have ... more In response to high-profile attacks that exploit hash function collisions, software vendors have started to phase out the use of MD5 and SHA-1 in third-party digital signature applications such as X.509 certificates. However, weak hash constructions continue to be used in various cryptographic constructions within mainstream protocols such as TLS, IKE, and SSH, because practitioners argue that their use in these protocols relies only on second preimage resistance, and hence is unaffected by collisions. This paper systematically investigates and debunks this argument. We identify a new class of transcript collision attacks on key exchange protocols that rely on efficient collisionfinding algorithms on the underlying hash constructions. We implement and demonstrate concrete credentialforwarding attacks on TLS 1.2 client authentication, TLS 1.3 server authentication, and TLS channel bindings. We describe almost-practical impersonation and downgrade attacks in TLS 1.1, IKEv2 and SSH-2. As far as we know, these are the first collision-based attacks on the cryptographic constructions used in these popular protocols. Our practical attacks on TLS were responsibly disclosed (under the name SLOTH) and have resulted in security updates to several TLS libraries. Our analysis demonstrates the urgent need for disabling all uses of weak hash functions in mainstream protocols, and our recommendations have been incorporated in the upcoming Token Binding and TLS 1.3 protocols. Permission to freely reproduce all or part of this paper for noncommercial purposes is granted provided that copies bear this notice and the full citation on the first page. Reproduction for commercial purposes is strictly prohibited without the prior written consent of the Internet Society, the first-named author (for reproduction of an entire paper only), and the author's employer if the paper was prepared within the scope of employment.
29 Dougga: hypothetical string layout scheme for the Baths of Licinius 30 Rome, Via Appia: ideal ... more 29 Dougga: hypothetical string layout scheme for the Baths of Licinius 30 Rome, Via Appia: ideal and actual plans of mausoleum at Villa of Maxentius 31 Rome: Baths of Caracalla, perspective plan of frigidarium and natatio with adjusted column positions 32 Rome: elevation of natatio facade of Baths of Caracalla 33 Bologna: analytical illustration of the juncture of two segments of the Roman aqueduct 34 Wooden shuttering for central-Italian Roman foundation construction 35 Rome: Palace of Domitian, visible concrete foundations 36 Rome: hydraulic and service armature of Baths of Caracalla, including downspouts and known drains 37 Pozzuoli: partial plan of Flavian amphitheater with drainage system 38 Pozzuoli: section of Flavian amphitheater with drainage system 39 Analytical cutaway view of a hypocaust system 40 Carthage: Antonine Baths, general view of subterranean corridors 41 Trier: reconstructed cutaway view of imperial baths 42 Boscoreale: Villa Rustica, furnace and boiler serving kitchen and baths 43 Trier: section through caldarium and external corridor of imperial baths 44 Rome: Baths of Caracalla, reconstructed cutaway view 45 Rome: Baths of Caracalla, plan of central block ILLUSTRATIONS x 46 Rome: concrete-and-brick construction method of the imperial period Roman scaffolding with continuous putlogs 48 Rome: Baths of Caracalla, modern restoration of a cross section of a spur wall with visible bonding courses 49 Rome: Baths of Caracalla, niche in west oval room containing bowed arch 50 Baiae: reconstructed interior view of annex of "Temple of Venus" 51 Rome: perspective view of natatio, Baths of Diocletian 52 Stabiae: construction fresco from Villa S. Marco 53 Column drum with lifting bosses 54 Capua: funerary relief depicting treadmill crane lifting column shaft 55 Rome: reconstructed view of frigidarium, Baths of Caracalla 56 Hypothetical tilting mechanism for large column shafts 57 Baalbek: flank of Temple of Dionysus before archaeological intervention 58 Baalbek: reconstructed view of same part of the temple 59 Baalbek: analytical view of roof construction method, Temple of Dionysus 60 Baalbek: facade of Temple of Jupiter with estimated weights of elements 61 Baalbek: corner block of pediment, Temple of Jupiter 62 Rome: perspective plan of frigidarium of Baths of Caracalla with breaks of continuity in masonry 63 Baalbek: contact surfaces of monumental column base and shaft 64 Rome: Baths of Caracalla frigidarium, socket left by robbed entablature block 65 Rome: Basilica of Maxentius, southeast wall exterior 66 Rome: Pantheon, view of facade 67 Rome: Pantheon, elevations as intended and as built 68 Rome: plan of Pantheon porch with three hypothetical phases of column positions 69 Rome: Colosseum, aerial view 70 Rome: analytical cutaway view of Colosseum 71 Rome: Colosseum, axonometric plan depicting raft foundation and radii of curvature 72 Rome: Colosseum, analytical model of infrastructure, Museo della Civiltà Romana 73 Rome: Colosseum, section view after Cozzo ILLUSTRATIONS xi 74 Rome: Colosseum, section elevation with author's numbering system Rome: Colosseum, podium of Level 3a and remains of supporting structure seen from inside 76 Rome: Colosseum, Cozzo's proposed construction scheme for upper levels Rome: Colosseum, view of the crowning arches and infill of Piers 3-6 at Level 2 78 Rome: Colosseum, configuration of blocks between Piers 3 and 6 79 Segovia: aqueduct design with cross-braced arches 80 Rome: Colosseum, exploded view of the travertine courses forming piers 81 Analytical illustration of lewises and two-piece forceps with a hypothetical reconstruction of their use on the tomb of Caecilia Metella near Rome
Memoirs of the American Academy in Rome. Supplementary Volumes, 2003
The link provides access to the website (created with Adam Rabainowitz) that publishes the strati... more The link provides access to the website (created with Adam Rabainowitz) that publishes the stratigraphy: much of the book is available on Google Books.
Book Reviews 284 begin, D. argues that the slave stands outside the Greek category of the person ... more Book Reviews 284 begin, D. argues that the slave stands outside the Greek category of the person in most philosophical writings and can only be understood in relation to the master. Such texts concern not slavery but the importance of the master and the "absolute naturalness of slavery itself " (p. 205). Aristotle's slave, like those found in tragic and comic drama, delimits or rather reinforces the identity of the free citizen. An intervening chapter considers the fabulist Aesop and the connection between slavery and storytelling. As early as Herodotus, the tradition identifies the fabulist as a slave. His status has prompted some scholars to argue that because ancient fables were rooted in popular culture, they have a subversive potential. D. argues just the opposite: the fables convey an antidemocratic, elite strain that often poses as populism, "a sort of cynical, playful recognition of the inevitabilities of social hierarchy, injustice and hypocrisy" (p. 177). The animals, like people in a class-bound society, cannot escape their essential nature. Instead of subverting the social order, the fables reinforce difference and naturalize hierarchies: species do not mix but remain distinct. Slaves and Other Objects is not the first book to consider the troubling presence of slavery in ancient Greece-M. I. Finley's Ancient Slavery and Modern Ideology (New York, 1980) remains the standard-nor does it attempt to have the last word. Rather, it aims to overcome a posture of disregard, on the part both of the ancient Greeks and of modern scholars. Our collective blind spot when it comes to slavery in ancient Greece may well be the combined product of derealization, as D. suggests at the outset, or it may simply reflect our lack of first-hand testimonia along with the fragmentary nature of our sources. Whatever the case, Slaves and Other Objects compels us to stop and meditate on the figures in the shadows. It will be hard to ignore them once you have read this book.
What is an oscillum? As it is used today, the term oscillum (oscilla in the plural) refers to two... more What is an oscillum? As it is used today, the term oscillum (oscilla in the plural) refers to two distinct but related things in the Roman world: in one case an artifact, in the other a historical construct. According to standard modern usage it was an object of marble worked in relief on both sides, probably painted, and suspended by a hook from the architrave or ceiling of a colonnaded portico.1 It tends to take one of three forms: tondo (a thin disk), pinax (a framed rectangle), or pelta (a broad, lunate shield). Small marble theater masks, usually hollowed out in the back, have sometimes been found in the company of conventional oscilla, most famously at the House of the Golden Cupids at Pompeii (fig. 1). All these objects are frequently depicted hanging from fictive colonnades or garlands in Pompeian frescoes. The reliefs appearing on oscilla are mostly typical Roman genre scenes dominated by Dionysiac and theatrical themes; occasionally a mythological vignette will appear in highly abbreviated form. Marble oscilla of the Roman west (a few have also been found in Athens) came into vogue only in the first century ce. and declined in popularity after the mid second century. Clearly their various forms were deemed interchangeable by the time they began to appear in permanent materials. But their eclecticism is not meaningless. Indeed, we should see their popularity in domestic contexts as a commodif?cation of a variety of ritual traditions on the Italian peninsula which extended back for centuries, and which shared one common feature: their meaning was defined or enhanced by the act of suspension. Although the scholarship on oscilla is not robust, a number of article-length studies, a dissertation, and a short monograph have appeared on the topic.2 These have been concerned not only with the oscillum as a material artifact, but with the Latin word oscillum from which the modern term is derived?a word so obscure that literary commentators in late antiquity could only speculate about it. To distinguish between the archaeological artifact, which is never directly referenced in any ancient text, and the lexicographic one, I will designate each by typeface: the former in roman, the latter in italic. My intention is not to establish an absolute distinction, but merely to place emphasis on one designation or the other. Since the nineteenth century, there has been a strange gulf between art historians, who tend to sidestep the literary construct too quickly, and the students of religion such as Franz Altheim and Jean-Louis Voisin, who deal at length with the literary sources and the various claims to ritual origins for oscilla but hardly acknowledge the existence of a physical corpus of suspended objects, let alone the extant representations of them in a variety of media.3 The question of origins This article investigates a range of possible primary functions?most of them ritual in nature?that underlie the more overtly semantic and aesthetic secondary 1. Marble plaques are not the only class of objects called oscilla. Railler lays out the problem of definition succinctly: "l'emploi indiscrimin? de ce terme comporte quelques inconv?nients, quand le m?me mot en vient ? d?signer des bas-reliefs de marbre du 1er s. ap. J.-C, des masques ou poup?es suspendus aux arbres dans de vieux cultes italiques, de petits m?daillons de terre cuite du IVe s. av. J.-C.
N 2008, DOCUMENTARY filmmakers Ted and Mike O'Neill began a project to reinvestigate Rome's aqued... more N 2008, DOCUMENTARY filmmakers Ted and Mike O'Neill began a project to reinvestigate Rome's aqued ucts. The O'Neills started to review the existing scholarship on the aqueducts and their sources. To these self-described "archive rats," the results weren't at all satisfying. Scholars had repeatedly ignored or misinterpreted valuable evidence from descriptive documents dating from the seventeenth t hrough nineteenth centuriesfor example, Carlo Fea's History of the \%ters of Rome of 1832. Soon, the Aqua 'fraiana became the focus of their research, since they knew it had enjoyed an extensive revival centuries after its construction. During the Middle Ages, the aqueduct had fallen into ruin. In the early 1600s, Pope Paul Van ambitious builder much like Trajan some 1,500 years before him-undertook constructio n of a massive new aqueduct. At that time, some standing remains of the Aqua 11-aiana were probably still visible here and there in the countrys ide. Many of the original springs were st ill flowing. And it may have been possible to locate buried sections of the aqueduct by following its path underground. The pope tasked his engineers with locating the still-flowing springs, buying the land on MANZfA NA ,I A team, including (from left to right), filmmakers Ted and Mike O'Neill , and archaeologists Rabun Taylor and Katherine Rinne, is trying to pinpoint the Aqua Traiana's source. The emperor Trajan issued a bronze sestertius with his likeness (ob verse} to celebrate the aqueduct 's comp letion. The reclining god (re verse} represent s the aqueduct , and the arch suggests the grotto s at its sources. aqueduct. These ancient remains were built in a style characteristic of the second century A.D., with concrete walls faced with either brickwork or opus reticu!atum-stone squares set in a precise diagonal grid. Both above-and belowground, t he water channel was vaulted with plain concrete and lined below the vault with opus signinum, a cement that
This long-awaited volume is the only published collection on the Pantheon covering the building's... more This long-awaited volume is the only published collection on the Pantheon covering the building's history from Agrippa to the present. Considerations of the AJA's readership lead me to focus on the first six of 12 essays, those covering the building in antiquity. The second six, by Thunø (the medieval Pantheon), Nesselrath (Renaissance), Marder (17th century), Pasquali (1700-1820), Williams (19th century), and Etlin (the modern age) are outstanding in their own right but have been adequately treated by other reviewers. Perhaps by design, the chapters on antiquity present a united front on certain scholarly developments. This
In response to high-profile attacks that exploit hash function collisions, software vendors have ... more In response to high-profile attacks that exploit hash function collisions, software vendors have started to phase out the use of MD5 and SHA-1 in third-party digital signature applications such as X.509 certificates. However, weak hash constructions continue to be used in various cryptographic constructions within mainstream protocols such as TLS, IKE, and SSH, because practitioners argue that their use in these protocols relies only on second preimage resistance, and hence is unaffected by collisions. This paper systematically investigates and debunks this argument. We identify a new class of transcript collision attacks on key exchange protocols that rely on efficient collisionfinding algorithms on the underlying hash constructions. We implement and demonstrate concrete credentialforwarding attacks on TLS 1.2 client authentication, TLS 1.3 server authentication, and TLS channel bindings. We describe almost-practical impersonation and downgrade attacks in TLS 1.1, IKEv2 and SSH-2. As far as we know, these are the first collision-based attacks on the cryptographic constructions used in these popular protocols. Our practical attacks on TLS were responsibly disclosed (under the name SLOTH) and have resulted in security updates to several TLS libraries. Our analysis demonstrates the urgent need for disabling all uses of weak hash functions in mainstream protocols, and our recommendations have been incorporated in the upcoming Token Binding and TLS 1.3 protocols. Permission to freely reproduce all or part of this paper for noncommercial purposes is granted provided that copies bear this notice and the full citation on the first page. Reproduction for commercial purposes is strictly prohibited without the prior written consent of the Internet Society, the first-named author (for reproduction of an entire paper only), and the author's employer if the paper was prepared within the scope of employment.
29 Dougga: hypothetical string layout scheme for the Baths of Licinius 30 Rome, Via Appia: ideal ... more 29 Dougga: hypothetical string layout scheme for the Baths of Licinius 30 Rome, Via Appia: ideal and actual plans of mausoleum at Villa of Maxentius 31 Rome: Baths of Caracalla, perspective plan of frigidarium and natatio with adjusted column positions 32 Rome: elevation of natatio facade of Baths of Caracalla 33 Bologna: analytical illustration of the juncture of two segments of the Roman aqueduct 34 Wooden shuttering for central-Italian Roman foundation construction 35 Rome: Palace of Domitian, visible concrete foundations 36 Rome: hydraulic and service armature of Baths of Caracalla, including downspouts and known drains 37 Pozzuoli: partial plan of Flavian amphitheater with drainage system 38 Pozzuoli: section of Flavian amphitheater with drainage system 39 Analytical cutaway view of a hypocaust system 40 Carthage: Antonine Baths, general view of subterranean corridors 41 Trier: reconstructed cutaway view of imperial baths 42 Boscoreale: Villa Rustica, furnace and boiler serving kitchen and baths 43 Trier: section through caldarium and external corridor of imperial baths 44 Rome: Baths of Caracalla, reconstructed cutaway view 45 Rome: Baths of Caracalla, plan of central block ILLUSTRATIONS x 46 Rome: concrete-and-brick construction method of the imperial period Roman scaffolding with continuous putlogs 48 Rome: Baths of Caracalla, modern restoration of a cross section of a spur wall with visible bonding courses 49 Rome: Baths of Caracalla, niche in west oval room containing bowed arch 50 Baiae: reconstructed interior view of annex of "Temple of Venus" 51 Rome: perspective view of natatio, Baths of Diocletian 52 Stabiae: construction fresco from Villa S. Marco 53 Column drum with lifting bosses 54 Capua: funerary relief depicting treadmill crane lifting column shaft 55 Rome: reconstructed view of frigidarium, Baths of Caracalla 56 Hypothetical tilting mechanism for large column shafts 57 Baalbek: flank of Temple of Dionysus before archaeological intervention 58 Baalbek: reconstructed view of same part of the temple 59 Baalbek: analytical view of roof construction method, Temple of Dionysus 60 Baalbek: facade of Temple of Jupiter with estimated weights of elements 61 Baalbek: corner block of pediment, Temple of Jupiter 62 Rome: perspective plan of frigidarium of Baths of Caracalla with breaks of continuity in masonry 63 Baalbek: contact surfaces of monumental column base and shaft 64 Rome: Baths of Caracalla frigidarium, socket left by robbed entablature block 65 Rome: Basilica of Maxentius, southeast wall exterior 66 Rome: Pantheon, view of facade 67 Rome: Pantheon, elevations as intended and as built 68 Rome: plan of Pantheon porch with three hypothetical phases of column positions 69 Rome: Colosseum, aerial view 70 Rome: analytical cutaway view of Colosseum 71 Rome: Colosseum, axonometric plan depicting raft foundation and radii of curvature 72 Rome: Colosseum, analytical model of infrastructure, Museo della Civiltà Romana 73 Rome: Colosseum, section view after Cozzo ILLUSTRATIONS xi 74 Rome: Colosseum, section elevation with author's numbering system Rome: Colosseum, podium of Level 3a and remains of supporting structure seen from inside 76 Rome: Colosseum, Cozzo's proposed construction scheme for upper levels Rome: Colosseum, view of the crowning arches and infill of Piers 3-6 at Level 2 78 Rome: Colosseum, configuration of blocks between Piers 3 and 6 79 Segovia: aqueduct design with cross-braced arches 80 Rome: Colosseum, exploded view of the travertine courses forming piers 81 Analytical illustration of lewises and two-piece forceps with a hypothetical reconstruction of their use on the tomb of Caecilia Metella near Rome
Memoirs of the American Academy in Rome. Supplementary Volumes, 2003
The link provides access to the website (created with Adam Rabainowitz) that publishes the strati... more The link provides access to the website (created with Adam Rabainowitz) that publishes the stratigraphy: much of the book is available on Google Books.
Book Reviews 284 begin, D. argues that the slave stands outside the Greek category of the person ... more Book Reviews 284 begin, D. argues that the slave stands outside the Greek category of the person in most philosophical writings and can only be understood in relation to the master. Such texts concern not slavery but the importance of the master and the "absolute naturalness of slavery itself " (p. 205). Aristotle's slave, like those found in tragic and comic drama, delimits or rather reinforces the identity of the free citizen. An intervening chapter considers the fabulist Aesop and the connection between slavery and storytelling. As early as Herodotus, the tradition identifies the fabulist as a slave. His status has prompted some scholars to argue that because ancient fables were rooted in popular culture, they have a subversive potential. D. argues just the opposite: the fables convey an antidemocratic, elite strain that often poses as populism, "a sort of cynical, playful recognition of the inevitabilities of social hierarchy, injustice and hypocrisy" (p. 177). The animals, like people in a class-bound society, cannot escape their essential nature. Instead of subverting the social order, the fables reinforce difference and naturalize hierarchies: species do not mix but remain distinct. Slaves and Other Objects is not the first book to consider the troubling presence of slavery in ancient Greece-M. I. Finley's Ancient Slavery and Modern Ideology (New York, 1980) remains the standard-nor does it attempt to have the last word. Rather, it aims to overcome a posture of disregard, on the part both of the ancient Greeks and of modern scholars. Our collective blind spot when it comes to slavery in ancient Greece may well be the combined product of derealization, as D. suggests at the outset, or it may simply reflect our lack of first-hand testimonia along with the fragmentary nature of our sources. Whatever the case, Slaves and Other Objects compels us to stop and meditate on the figures in the shadows. It will be hard to ignore them once you have read this book.
What is an oscillum? As it is used today, the term oscillum (oscilla in the plural) refers to two... more What is an oscillum? As it is used today, the term oscillum (oscilla in the plural) refers to two distinct but related things in the Roman world: in one case an artifact, in the other a historical construct. According to standard modern usage it was an object of marble worked in relief on both sides, probably painted, and suspended by a hook from the architrave or ceiling of a colonnaded portico.1 It tends to take one of three forms: tondo (a thin disk), pinax (a framed rectangle), or pelta (a broad, lunate shield). Small marble theater masks, usually hollowed out in the back, have sometimes been found in the company of conventional oscilla, most famously at the House of the Golden Cupids at Pompeii (fig. 1). All these objects are frequently depicted hanging from fictive colonnades or garlands in Pompeian frescoes. The reliefs appearing on oscilla are mostly typical Roman genre scenes dominated by Dionysiac and theatrical themes; occasionally a mythological vignette will appear in highly abbreviated form. Marble oscilla of the Roman west (a few have also been found in Athens) came into vogue only in the first century ce. and declined in popularity after the mid second century. Clearly their various forms were deemed interchangeable by the time they began to appear in permanent materials. But their eclecticism is not meaningless. Indeed, we should see their popularity in domestic contexts as a commodif?cation of a variety of ritual traditions on the Italian peninsula which extended back for centuries, and which shared one common feature: their meaning was defined or enhanced by the act of suspension. Although the scholarship on oscilla is not robust, a number of article-length studies, a dissertation, and a short monograph have appeared on the topic.2 These have been concerned not only with the oscillum as a material artifact, but with the Latin word oscillum from which the modern term is derived?a word so obscure that literary commentators in late antiquity could only speculate about it. To distinguish between the archaeological artifact, which is never directly referenced in any ancient text, and the lexicographic one, I will designate each by typeface: the former in roman, the latter in italic. My intention is not to establish an absolute distinction, but merely to place emphasis on one designation or the other. Since the nineteenth century, there has been a strange gulf between art historians, who tend to sidestep the literary construct too quickly, and the students of religion such as Franz Altheim and Jean-Louis Voisin, who deal at length with the literary sources and the various claims to ritual origins for oscilla but hardly acknowledge the existence of a physical corpus of suspended objects, let alone the extant representations of them in a variety of media.3 The question of origins This article investigates a range of possible primary functions?most of them ritual in nature?that underlie the more overtly semantic and aesthetic secondary 1. Marble plaques are not the only class of objects called oscilla. Railler lays out the problem of definition succinctly: "l'emploi indiscrimin? de ce terme comporte quelques inconv?nients, quand le m?me mot en vient ? d?signer des bas-reliefs de marbre du 1er s. ap. J.-C, des masques ou poup?es suspendus aux arbres dans de vieux cultes italiques, de petits m?daillons de terre cuite du IVe s. av. J.-C.
Word count: 2299 words Periodically I have wished for a book that would supplant J.A. Hanson's Ro... more Word count: 2299 words Periodically I have wished for a book that would supplant J.A. Hanson's Roman Theater-Temples1 --a study that would inquire further into the nature of the drama that took place in sanctuaries around the Greco-Roman world from the Bronze Age to late antiquity. Inge Nielsen has sought to answer this need and also to examine the workings and theories of ancient Mediterranean drama. The reader will come away well informed about not only the relevant archaeological sites but also the history of Greco-Roman religious stagecraft. This book sifts and catalogs all the architectural evidence the author can find, considering important and marginal exempla alike and registering a wealth of ambiguous evidence for good measure. It includes illustrations for nearly every site it discusses and some photos as well.
Edited by Tod A. Marder and Mark Wilson Jones. Pp. xix + 471, b&w figs. 174, color figs. 18. Camb... more Edited by Tod A. Marder and Mark Wilson Jones. Pp. xix + 471, b&w figs. 174, color figs. 18. Cambridge University Press, New York 2015. $99. ISBN 978-0-521-80932-0 (cloth).
Word count: 2299 words Periodically I have wished for a book that would supplant J.A. Hanson's Ro... more Word count: 2299 words Periodically I have wished for a book that would supplant J.A. Hanson's Roman Theater-Temples1 --a study that would inquire further into the nature of the drama that took place in sanctuaries around the Greco-Roman world from the Bronze Age to late antiquity. Inge Nielsen has sought to answer this need and also to examine the workings and theories of ancient Mediterranean drama. The reader will come away well informed about not only the relevant archaeological sites but also the history of Greco-Roman religious stagecraft. This book sifts and catalogs all the architectural evidence the author can find, considering important and marginal exempla alike and registering a wealth of ambiguous evidence for good measure. It includes illustrations for nearly every site it discusses and some photos as well.
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