By Peter Garnsey

The 1st full-length examine of famine in antiquity. The research presents specific case experiences of Athens and Rome, the easiest recognized states of antiquity, but in addition illuminates the institutional reaction to nutrition main issue within the mass of standard towns within the Mediterranean global. historic historians have usually proven no interest in investigating the cloth base of the original civilisations of the Graeco-Roman international, and feature left unexplored the function of the nutrients provide in framing the valuable associations and practices of old society.

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Over on the other side we find ourselves in the Palazzo Nuovo and ascend the stairs in front of a heroic statue of ‘Hadrian portrayed as Mars’ to a long gallery, lined with statuary. Here there are no extraordinary works, but worth noting are, on the left side, a colossal statue of ‘Hercules’, and, standing high in a niche, the almost comic statue of the ‘Roman Matron portrayed as Venus’; she was a member of the Flavian bourgeoisie (69–91), who combines a gorgeous figure with a perfect fright of a face.

39 The Forum Plenty of inflammable material was lying close at hand, as the Argiletum, the paved street leading to the right at the far end of the Basilica Aemilia, was the Paternoster Row of ancient Rome, the centre of the booksellers and copyists. It was also the haunt of a much less respectable brotherhood, the pickpockets, who must have mingled with the crowds coming from the populous Suburra, to which the street ultimately led. Crossing the Argiletum we find ourselves in a small open space; indeed it seems very small to have seen so much history, as this is the Comitium.

In the following room is displayed the ‘Laughing satyr holding up a bunch of grapes’, a copy in red marble, rosso antico, of a bronze Hellenistic original, found at Hadrian’s Villa. This is the ‘Marble Faun’ which gave its name to Hawthorne’s famous Roman romance. Also in this room, on the left, there is a seated child, with delightfully pudgy legs and feet, who plays with a mask half-draped over his head. ). It is a copy of part of a group of bronzes by Epigonos, very celebrated in antiquity, erected in 197–159 bc by two kings of Pergamon, Attalus I and Eumenes II, to celebrate their victories over the Gauls.

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