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Rhetoric used to be primary to schooling and to cultural aspiration within the Greek and Roman worlds. It was once one of many key facets of antiquity that slipped less than the road among the traditional international and Christianity erected through the early Church in past due antiquity. old rhetorical idea 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 give an internalist version for a few features of the way the Romans understood, made and preferred their paintings. the certainty 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 children's dolls, is vastly enriched through being put in proper rhetorical contexts created through the Roman international.

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2–3) and then in the story of the artist Zeuxis selecting the most appropriate parts from a 71 72 73 74 75 For the place of images in and as rhetorical education in the Roman empire, see Rousselle 2001. For an excellent introduction to rhetoric in Rome, founded on Quintilian, see Reinhardt and Winterbottom 2006: xxiii–l. For some aspects of this, see Russell 1979. Zēlos is an interesting literary-critical term since it derives from ‘jealousy’ and conveys a sense of the urge or spirit for emulation.

See Theon, Progymnasmata 9 (109). g. Heath, 2004: 3, 295–6). 9, 1367bÀ1368a; [Aristotle], Rhetoric for Alexander 3, 1425bÀ1426b; Hermogenes, Progymnasmata 7 (14–15); Aphthonius, Progymnasmata 8 (21–2 Rabe); Nicolaus, Progymnasmata 8 (47–53). For enkōmium in antiquity in general, the key study remains Pernot 1993. 372. 15 16 Jaś Elsner these descriptions, taken directly from a rhetorical treatise, while hardly normal in the current art-historical language used by classical archaeologists, constitute rather a good account of what is going on in the Arch of Titus.

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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