By Michæl Koortbojian
Michael Koortbojian brings a singular method of his research of the position of Greek mythology in Roman funerary artwork. He seems to be at myths Aphrodite and Adonis and Selene and Endymionnot in simple terms with admire to their visual appeal on Roman sarcophagi, but in addition with reference to the myths' importance within the higher textile of Roman existence. relocating past the exam of those sarcophagi as creative achievements, he units them of their broader old and social contexts. Remembrance was once a tremendous think about historical social lifestyles and fueled the necessity for memorials. In assisting us to appreciate the strong allusions that Greek myths awarded for the Romans, and the function of these allusions in protecting the reminiscence of the lifeless, Koortbojian successfully widens our imaginative and prescient of the historic global.
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Additional resources for Myth, Meaning, and Memory on Roman Sarcophagi
Theseus sarcophagus. Cliveden. DAIR neg. no. Dionysus and Ariadne sarcophagus. Louvre, Paris. Photo courtesy of Foto Marburg, no. Mars and Rhea Silvia / Endymion and Selene sarcophagus. Museo Lateranense, Vatican. DAIR neg. no. Grave altar of L. Aufidius Aprilis. Museo Nazionale Romano, Rome. Lid of sarcophagus of Andia Melissa. Anonymous drawing. Biblioteca Comunale, Fermo. Euripides' Madness of Herakles. Drawing after a lost wall painting from the Casa del Centenario, Pompeii (IX, 8, 3 and 6).
Panofsky, Tomb Sculpture: Its Changing Aspects from Ancient Egypt to Bernini (London, 1964), pp. 3038. 37. For an opinion about great expense, see, for example, G. Rodenwalt, "Römische Reliefs: Vorstufen zur Spätantike," JdI 55 (1940): 12 (cited by Koch and Sichtermann, Römische Sarkophage, p. 22). Cf. Ward-Perkins, "Workshops and Clients," pp. 209211, on the presumably high cost of importing a sarcophagus of Thasian marble. 38. K. Fittschen, Der Meleager Sarkophag (Frankfurt am Main, 1975), pp.
Liebeschuetz, Continuity and Change in Roman Religion (Oxford, 1979), chapter 4, although his work bears only indirectly on the issues raised here. 36. J. A. North, "These He Cannot Take," JRS 73 (1983): 169; E. Panofsky, Tomb Sculpture: Its Changing Aspects from Ancient Egypt to Bernini (London, 1964), pp. 3038. 37. For an opinion about great expense, see, for example, G. Rodenwalt, "Römische Reliefs: Vorstufen zur Spätantike," JdI 55 (1940): 12 (cited by Koch and Sichtermann, Römische Sarkophage, p.