Edited Volumes by Aurora Raimondi Cominesi
In life, the emperor Domitian (81-96 CE) marketed himself as a god; after his assassination he wa... more In life, the emperor Domitian (81-96 CE) marketed himself as a god; after his assassination he was condemned to be forgotten. Nonetheless he oversaw a literary, cultural, and monumental revival on a scale not witnessed since Rome’s first emperor, Augustus.
In tandem with an exhibition in the Rijksmuseum van Oudheden in Leiden and the Mercati Traianei in Rome, planned for 2021-2022, this volume offers a fresh perspective on Domitian and his reign. This collection of papers, produced by a group of international scholars, gives a wholistic and interdisciplinary approach to the emperor and his works that begins with an overview of Rome and its imperial system and ends with a reappraisal of Domitian and his legacy.
The subject of memory sanctions after his death, Domitian’s reputation has suffered as a result of the negative press he received both in antiquity and thereafter. Building upon recent scholarship that has sought to re-evaluate the last of the Flavian emperors, the papers in this volume present the latest research on Domitian’s building programmes and military exploits as well as the literary sources produced during and after his reign, all of which paint a picture of an emperor who – despite being loathed by Rome’s elite – did much to shape the landscape of Rome as we know it today.
Doctoral Dissertation by Aurora Raimondi Cominesi
Doctoral Dissertation, Radboud University Nijmegen, 5 september 2019. Promotores : Hekster, O.J.,... more Doctoral Dissertation, Radboud University Nijmegen, 5 september 2019. Promotores : Hekster, O.J., Moormann, E.M. Co-promotor : Foubert, L.
Papers by Aurora Raimondi Cominesi
Domiziano Imperatore. Odio e Amore, 2023
Source material paints a conflicting picture of how Roman emperors conducted themselves in the pr... more Source material paints a conflicting picture of how Roman emperors conducted themselves in the private sphere of their homes. Typically, those emperors who are remembered as good, such as Augustus or Domitian’s father, Vespasian, acquired a reputation for living a frugal lifestyle: men who lived to serve the state and who kept their personal affairs private. In contrast, those emperors who are remembered negatively, such as Caligula, Nero, and Domitian, are portrayed as blurring the lines between the public and the private: conducting business behind closed doors or living a decadent lifestyle.
The reality, in so far as we can determine what that was, is far more nuanced. Finding a balance in negotiating the boundary between public and private life remained a challenge for all of Rome’s emperors.
It is a problem perhaps best exemplified by the double-function of the imperial residence. The emperor’s domus on the Palatine was the locus for imperial business and public banquets, but it was also the place where the emperor would eat and sleep when in Rome. Outside of the city, the imperial villas offered a retreat from the noise (and heat in summer) and an opportunity for the emperor to enjoy some leisure (otium), but here, too, emperors would conduct public business by taking the imperial court (the consilium) with them, and – in the case of Domitian – even hold court cases or public events, such as the Alban games.
Domiziano Imperatore. Odio e Amore, 2023
Nero’s example shows that a bad reputation, even a damnatio memoriae, was not necessarily followe... more Nero’s example shows that a bad reputation, even a damnatio memoriae, was not necessarily followed by obscurity. Thus, why did the name and deeds of Domitian, similarly condemned to a sanction against his memory, appear to have faded into oblivion? The exhibition God on Earth: Emperor Domitian at the National Museum of Antiquities in Leiden (17 December 2021-22 May 2022) aimed at shedding light on the complexities of memory and the controversial legacy of this emperor by looking at Domitian as a man, emperor, and (almost) god, offering a portrait in all his facets. The objective was certainly not to rehabilitate Domitian, but rather to assess his rule in the wider context of the Roman Empire before and after his reign. Moreover, the exhibition sought to clarify for a wider audience the expectations that every Roman emperor had to meet, exploring the mechanisms of the representation of power and how the post-mortem reputations of Roman rulers came to be constructed.
Mark Heerink - Esther Meijer (eds.), Flavian Responses to Nero's Rome, Amsterdam University Press, 2022
This paper analyses the use made by Flavian emperors, especially Domitian,
of the Palatine Hill a... more This paper analyses the use made by Flavian emperors, especially Domitian,
of the Palatine Hill and surrounding area. The area where Nero’s
Domus Aurea had once stood was used by the Flavians as a vehicle to bring
back Augustus’ memory while erasing Nero’s. A careful examination shows,
however, that the boundaries between Augustus, Nero, and the Flavians
on the Palatine may not have been so clear-cut. Reuse and repurposing
coexisted with more public displays of condemnation, serving a different
ideology each time. The result was a new house, the Domus Flavia, that
would stand the test of time and become the ‘imperial palace’ we now
see standing.
P. Gardelli, M. Wolf, A. Butyagin, A. Raimondi Cominesi, Analysis and Multi-Spectral Imaging of Wall Paintings at Villa Arianna, in P. Giulierini, A. Coralini, V. Sampaolo Fragmenta (eds.), La pittura vesuviana: una rilettura, Silvana Editoriale 2020, 429-437. Pompei e la regione vesuviana sono ancora, a quasi tre secoli dall'inizio della loro riscoperta, ... more Pompei e la regione vesuviana sono ancora, a quasi tre secoli dall'inizio della loro riscoperta, il più grande archivio della pittura antica, anche se in questa seconda vita non tutto quello che era stato riportato alla luce ha superato la prova del tempo: molte decorazioni, ben leggibili e ricche di colore al momento del rinvenimento, oggi sono scomparse. Per assicurare a chi verrà la conoscenza di questo eccezionale patrimonio, tanto prezioso quanto fragile, due sono le vie principali da percorrere: la conservazione della materia e il restauro della memoria. Solo attraverso azioni sistematiche di manutenzione i picta fragmenta dell'area vesuviana, così come quelli di tutti i siti archeologici che hanno restituito tracce delle pareti dipinte del mondo antico, possono resistere all'usura del tempo; e altrettanto importante è il lavoro di chi cerca di ricondurre i frammenti alla loro situazione originaria, ricomponendo disegni e restituendo colori, con un restauro che può essere reale e materico, ma anche virtuale. Alla base di questo intento conservativo sta l'indispensabile miniera di informazioni che generazioni di ricercatori (archeologi, storici dell'arte, archeometri) e di artisti (fotografi, disegnatori, pittori) hanno contribuito a formare. Dalla sinergia di competenze e di indirizzi nasce quindi quell'approccio globale e olistico allo studio della pittura antica che la comunità scientifica indica come necessario: per meglio conoscere, e far conoscere, le pareti antiche, sia in sé, quali prodotto di un'arte applicata, sia nei loro contesti. Pompei e i siti vesuviani sono, anche in questo, uno straordinario osservatorio-laboratorio: rileggere, con occhi nuovi e nuove domande, quello che delle loro pareti dipinte è arrivato sino a noi è l'intento di questo libro. Alla ricerca, a partire dai picta fragmenta, delle picturae antiche: una realtà al plurale, da indagare con un approccio al plurale.
PICTORES PER PROVINCIAS II – STATUS QUAESTIONIS – Antiqua 55, 2018
This paper aims at integrating previous interpretations of the iconographic content of two fragme... more This paper aims at integrating previous interpretations of the iconographic content of two fragments of a frieze currently preserved in the Archaeological Museum of Naples (MANN 8909; 8913). The frieze, originally situated in the nymphaeum of the Domus Transitoria (formerly known as ‹Baths of Livia›) on the Palatine Hill, displayed a celebration of Nero’s Aurea Aetas through the parade of Dionysiac elements, Muses, Seasons, and, I would suggest, the Greek Aion Ploutonios/Roman Saeculum Frugiferum. Some iconographic elements are presented here for the first time (e.g. a feather headdress for the Muses) and a preliminary attempt is made to place them in context with coeval artistic trends.
De Souza, M. et Devillers, O., éd. (2019) : Neronia X. Le Palatin, émergence de la colline du pouvoir à Rome, de la mort d’Auguste au règne de Vespasien, 14-79 p.C. , Ausonius Mémoires 55, Bordeaux., 2019
Latomus, 2018
Cet article examine les choix architecturaux et décoratifs d’Octavien pour sa demeure privée sur ... more Cet article examine les choix architecturaux et décoratifs d’Octavien pour sa demeure privée sur le Palatin, avant qu’il n’accepte le nom d’Auguste en 28/27 av. J.-C. Les aménagements qui y furent effectués éclairent la manière dont la résidence du nouvel homme fort a pu être conçue pour différents publics: conforme à l’idéologie traditionnelle à l’extérieur et de plus en plus innovante à l’intérieur, elle se plaçait entre une «simple» résidence aristocratique romaine et un palais d’inspiration hellénistique. Les choix décoratifs et architecturaux allaient de pair, à la fois, avec l’exploitation de la zone sud-ouest du Palatin, où le complexe était situé en tant que «lieu de mémoire» républicain rappelant les habitations «modestes» de Romulus et Évandre, et avec sa transformation, par l’ajout de nouveaux bâtiments religieux comme le temple d’Apollon, en une citadelle dynastique à laquelle répondait la conception de la domus elle-même.
A. Raimondi Cominesi, N. de Haan, E.M. Moormann, C. Stocks (eds.), "God on Earth: Emperor Domitian. The re-invention of Rome at the end of the 1st century AD", 2021
Scienze dell'Antichità, 2019
Il sito archeologico di Marina di San Nicola, situato a circa 30 km a nord di Roma, è noto sin da... more Il sito archeologico di Marina di San Nicola, situato a circa 30 km a nord di Roma, è noto sin dal XVII secolo e fu progressivamente identificato con i resti di una villa di età romana grazie alla ricca documentazione musiva rinvenuta in situ. Databile nella sua prima fase di vita alla I metà
del I sec. d.C., la villa dovette far parte del demanio imperiale almeno a partire dal III sec. d.C. Una serie di interventi di scavo furono condotti a partire dagli anni ’70 dalla Soprintendenza per i Beni Archeologici dell’Etruria Meridionale, affiancata in seguito dall’École française di Roma e dall’Università di Strasburgo, sotto la guida di X. Lafon. I lavori, grazie anche allo scavo approfondito di alcuni settori, hanno permesso di precisare il piano generale della villa, che appare composta
da diversi corpi di fabbrica. In particolar modo, gli scavi francesi si sono concentrati, a partire dalla fine degli anni ’80, nel settore orientale della villa, caratterizzato da un portico, culminante a nord in una torre panoramica. La torre ha restituito una ricca documentazione
pittorica: in questa sede saranno presentati i risultati relativi allo studio del soffitto, in stile lineare, rinvenuto in stato di crollo nella latrina 10, oggetto di una campagna di studi a cavallo degli anni 2015-2016.
Posters by Aurora Raimondi Cominesi
Villa Arianna a Stabiae: scavo, restauro, valorizzazione (2010-2016) 1. Villa Arianna. Planimetri... more Villa Arianna a Stabiae: scavo, restauro, valorizzazione (2010-2016) 1. Villa Arianna. Planimetria aggiornata, al termine degli scavi. 2. Vestibolo 46, parete NE. 3. A destra, il vano di ingresso al corridoio 88; al centro, la nicchia 90; a sinistra, il vano di accesso al corridoio 87. 4. L'ambiente porticato 86. 5. Dettagli delle decorazioni parietali della parete SO del peristilio 91 (a), della parete SE della nicchia 90 (b) e dell'ambiente colonnato 86 (c).
Bourbon findings, stylistic analysis PICTA FRAGMENTA 13-14-15 settembre 2018 and multi-spectral i... more Bourbon findings, stylistic analysis PICTA FRAGMENTA 13-14-15 settembre 2018 and multi-spectral imaging of pictorial surfaces in a newly discovered area at Villa Arianna, Stabiae 1. Panoramic view of the biclinium 89 (2015 © A. Lavrentyev). 88 8 6 --------' 90 8 i 2. Plan of biclinium (89) and adjacent rooms (2013 © L. Petrocelli, A. Marques Kalil, K. Aroom -University of Maryland) 3. Biclinium (89), red procoeton, Egyptianizing motif. Detached fragments retrieved in situ 4. Biclinium (89), yellow alcove, pink aedicula, 5. Pictorial surfaces of biclinium (89), each range of wavelengths recognises a different set of colours(© M. Wolf, 2017). central panel: H: 24 cm; W: 33,5 cm (2015 © A. Lavrentyev) 6. Biclinium (89), SE wall, detail of Psyche with Egyptian Blue (© M. Woll, 2017) Allroggen-Bedel A 1977, Die Wandma/ereien aus der Villa in Campo \iarano (Castellammare di Stabia), in Milleilungen des Deutschen Archaologischen lnstituts, Romische Abteilung 84, 27-89. Anguissola A. 2010, lntimita a Pompei, Berlin/New York. Chiari G. 2017, Photoluminescence of Egyptian Blue, in SAS Encyclopedia of Archaeological Sciences. Coralini A. et a/ii 2006, Demus Herculanensis Rationes (DHER). Dai rilievo archeologico al/a cu/tura dell'abitare, in Ocnus 14, 83-116. Dyer J., Verri G., Cupitt J. 2013, Multispectral Imaging in Reflectance and Photn-induced lllminescence modes: A User Manual. Version 1.0, London. Gardelli P., Butyagin A. et a/ii 2011, Relazione preliminare sul/e due campagne di scavo, restauro e rilievo 2010 e 2011 promosse dal Museo Stata/e Ermitage/Fondazione RAS presso ii sitn di Villa Arianna a Stabiae, in Rivista di Studi Pompeiani 22, 2011, 209-216. Gardelli P., Ariano C. 2015, Pavimenti inediti da Villa Arianna a Stabiae, in Alli del XX Colloquia AISCOM, Roma.
Conference Presentations by Aurora Raimondi Cominesi
Progetto PRIN_2022 nr. 202224MEMK – De Rerum Figura. Things Inside Images in pre-Roman Italy (DRF... more Progetto PRIN_2022 nr. 202224MEMK – De Rerum Figura. Things Inside Images in pre-Roman Italy (DRF) CUP F53D23007270006 Università degli studi di Pavia
Of the archaeologically evanescent reality of Nero’s Domus Transitoria on the Palatine Hill, one ... more Of the archaeologically evanescent reality of Nero’s Domus Transitoria on the Palatine Hill, one of the few existing evidences, though contested by some, is a nymphaeum known as the «Baths of Livia» . Consisting of a series of underground rooms set around an open courtyard, this specus aestivus served as banquet space as well as –possibly – performance hall. Only 40 meters away from the Temple of Apollo, the nymphaeum would have been visible from above to those strolling around it, but might have not been accessible to all. Once inside, a luxurious display of marble, water games and extravagant painted ceilings would have welcomed the imperial guests.
As for the fresco decorations, their iconographic content sheds new light on Neronian models at the beginning of the Principate, defining the innovative characters of Nero’s self-representation and its links to the past. The Ptolemaes on one side, Augustus on the other, under the unifying theme of the Aurea Aetas. By providing a revised and more punctual analysis of the yet understudied iconographic program of the nymphaeum, and by connecting it to Nero’s building policies, this paper will deal with the emperor’s inclination to exert political influence through the use of entertainment.
In Roman history, Octavian’s rise to power represents a drastic moment of innovation, one recogni... more In Roman history, Octavian’s rise to power represents a drastic moment of innovation, one recognized as such not only by modern scholarship but also by Octavian’s contemporaries. Following the efforts of Caesar's heir, a new form of government, the Principate, was established. How, however, was this change presented and received, especially when it first appeared, as Octavian had to act within a system characterized by a deep-rooted ‘disinclination to novelty’? His response was to show continuity with Rome’s traditional past.
This presentation intends to address the question of how this continuity was used by Octavian in his private dwellings, in particular his Palatine residence, as a means of propaganda. A dichotomy between public modesty and private lavishness emerges from the reading of ancient sources, as well as from the analysis of the material recovered during excavations. Special attention will be given to the painted decoration of Octavian’s house, as well as of the residences connected to his inner circle. There, it appears that a new style emerged and was disseminated, concurrently with the establishment of the new political order.
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Edited Volumes by Aurora Raimondi Cominesi
In tandem with an exhibition in the Rijksmuseum van Oudheden in Leiden and the Mercati Traianei in Rome, planned for 2021-2022, this volume offers a fresh perspective on Domitian and his reign. This collection of papers, produced by a group of international scholars, gives a wholistic and interdisciplinary approach to the emperor and his works that begins with an overview of Rome and its imperial system and ends with a reappraisal of Domitian and his legacy.
The subject of memory sanctions after his death, Domitian’s reputation has suffered as a result of the negative press he received both in antiquity and thereafter. Building upon recent scholarship that has sought to re-evaluate the last of the Flavian emperors, the papers in this volume present the latest research on Domitian’s building programmes and military exploits as well as the literary sources produced during and after his reign, all of which paint a picture of an emperor who – despite being loathed by Rome’s elite – did much to shape the landscape of Rome as we know it today.
Doctoral Dissertation by Aurora Raimondi Cominesi
Papers by Aurora Raimondi Cominesi
The reality, in so far as we can determine what that was, is far more nuanced. Finding a balance in negotiating the boundary between public and private life remained a challenge for all of Rome’s emperors.
It is a problem perhaps best exemplified by the double-function of the imperial residence. The emperor’s domus on the Palatine was the locus for imperial business and public banquets, but it was also the place where the emperor would eat and sleep when in Rome. Outside of the city, the imperial villas offered a retreat from the noise (and heat in summer) and an opportunity for the emperor to enjoy some leisure (otium), but here, too, emperors would conduct public business by taking the imperial court (the consilium) with them, and – in the case of Domitian – even hold court cases or public events, such as the Alban games.
of the Palatine Hill and surrounding area. The area where Nero’s
Domus Aurea had once stood was used by the Flavians as a vehicle to bring
back Augustus’ memory while erasing Nero’s. A careful examination shows,
however, that the boundaries between Augustus, Nero, and the Flavians
on the Palatine may not have been so clear-cut. Reuse and repurposing
coexisted with more public displays of condemnation, serving a different
ideology each time. The result was a new house, the Domus Flavia, that
would stand the test of time and become the ‘imperial palace’ we now
see standing.
del I sec. d.C., la villa dovette far parte del demanio imperiale almeno a partire dal III sec. d.C. Una serie di interventi di scavo furono condotti a partire dagli anni ’70 dalla Soprintendenza per i Beni Archeologici dell’Etruria Meridionale, affiancata in seguito dall’École française di Roma e dall’Università di Strasburgo, sotto la guida di X. Lafon. I lavori, grazie anche allo scavo approfondito di alcuni settori, hanno permesso di precisare il piano generale della villa, che appare composta
da diversi corpi di fabbrica. In particolar modo, gli scavi francesi si sono concentrati, a partire dalla fine degli anni ’80, nel settore orientale della villa, caratterizzato da un portico, culminante a nord in una torre panoramica. La torre ha restituito una ricca documentazione
pittorica: in questa sede saranno presentati i risultati relativi allo studio del soffitto, in stile lineare, rinvenuto in stato di crollo nella latrina 10, oggetto di una campagna di studi a cavallo degli anni 2015-2016.
Posters by Aurora Raimondi Cominesi
Conference Presentations by Aurora Raimondi Cominesi
As for the fresco decorations, their iconographic content sheds new light on Neronian models at the beginning of the Principate, defining the innovative characters of Nero’s self-representation and its links to the past. The Ptolemaes on one side, Augustus on the other, under the unifying theme of the Aurea Aetas. By providing a revised and more punctual analysis of the yet understudied iconographic program of the nymphaeum, and by connecting it to Nero’s building policies, this paper will deal with the emperor’s inclination to exert political influence through the use of entertainment.
This presentation intends to address the question of how this continuity was used by Octavian in his private dwellings, in particular his Palatine residence, as a means of propaganda. A dichotomy between public modesty and private lavishness emerges from the reading of ancient sources, as well as from the analysis of the material recovered during excavations. Special attention will be given to the painted decoration of Octavian’s house, as well as of the residences connected to his inner circle. There, it appears that a new style emerged and was disseminated, concurrently with the establishment of the new political order.
In tandem with an exhibition in the Rijksmuseum van Oudheden in Leiden and the Mercati Traianei in Rome, planned for 2021-2022, this volume offers a fresh perspective on Domitian and his reign. This collection of papers, produced by a group of international scholars, gives a wholistic and interdisciplinary approach to the emperor and his works that begins with an overview of Rome and its imperial system and ends with a reappraisal of Domitian and his legacy.
The subject of memory sanctions after his death, Domitian’s reputation has suffered as a result of the negative press he received both in antiquity and thereafter. Building upon recent scholarship that has sought to re-evaluate the last of the Flavian emperors, the papers in this volume present the latest research on Domitian’s building programmes and military exploits as well as the literary sources produced during and after his reign, all of which paint a picture of an emperor who – despite being loathed by Rome’s elite – did much to shape the landscape of Rome as we know it today.
The reality, in so far as we can determine what that was, is far more nuanced. Finding a balance in negotiating the boundary between public and private life remained a challenge for all of Rome’s emperors.
It is a problem perhaps best exemplified by the double-function of the imperial residence. The emperor’s domus on the Palatine was the locus for imperial business and public banquets, but it was also the place where the emperor would eat and sleep when in Rome. Outside of the city, the imperial villas offered a retreat from the noise (and heat in summer) and an opportunity for the emperor to enjoy some leisure (otium), but here, too, emperors would conduct public business by taking the imperial court (the consilium) with them, and – in the case of Domitian – even hold court cases or public events, such as the Alban games.
of the Palatine Hill and surrounding area. The area where Nero’s
Domus Aurea had once stood was used by the Flavians as a vehicle to bring
back Augustus’ memory while erasing Nero’s. A careful examination shows,
however, that the boundaries between Augustus, Nero, and the Flavians
on the Palatine may not have been so clear-cut. Reuse and repurposing
coexisted with more public displays of condemnation, serving a different
ideology each time. The result was a new house, the Domus Flavia, that
would stand the test of time and become the ‘imperial palace’ we now
see standing.
del I sec. d.C., la villa dovette far parte del demanio imperiale almeno a partire dal III sec. d.C. Una serie di interventi di scavo furono condotti a partire dagli anni ’70 dalla Soprintendenza per i Beni Archeologici dell’Etruria Meridionale, affiancata in seguito dall’École française di Roma e dall’Università di Strasburgo, sotto la guida di X. Lafon. I lavori, grazie anche allo scavo approfondito di alcuni settori, hanno permesso di precisare il piano generale della villa, che appare composta
da diversi corpi di fabbrica. In particolar modo, gli scavi francesi si sono concentrati, a partire dalla fine degli anni ’80, nel settore orientale della villa, caratterizzato da un portico, culminante a nord in una torre panoramica. La torre ha restituito una ricca documentazione
pittorica: in questa sede saranno presentati i risultati relativi allo studio del soffitto, in stile lineare, rinvenuto in stato di crollo nella latrina 10, oggetto di una campagna di studi a cavallo degli anni 2015-2016.
As for the fresco decorations, their iconographic content sheds new light on Neronian models at the beginning of the Principate, defining the innovative characters of Nero’s self-representation and its links to the past. The Ptolemaes on one side, Augustus on the other, under the unifying theme of the Aurea Aetas. By providing a revised and more punctual analysis of the yet understudied iconographic program of the nymphaeum, and by connecting it to Nero’s building policies, this paper will deal with the emperor’s inclination to exert political influence through the use of entertainment.
This presentation intends to address the question of how this continuity was used by Octavian in his private dwellings, in particular his Palatine residence, as a means of propaganda. A dichotomy between public modesty and private lavishness emerges from the reading of ancient sources, as well as from the analysis of the material recovered during excavations. Special attention will be given to the painted decoration of Octavian’s house, as well as of the residences connected to his inner circle. There, it appears that a new style emerged and was disseminated, concurrently with the establishment of the new political order.