Here I have chosen to include more information in the printed text, which has resulted in a rather voluminous catalogue. In the dissertation only a minimum of information about the individual bases went on paper, while the bulk was stored on a CD-ROM. The catalogue has been updated to include the bases mentioned in Supplementum Epigraphicum Graecum 2000 and L’Année épigraphique 2001. On the other hand, more material has been published in the intervening period. In addition, a number of inscriptions that seemed too uncertain to include have also been removed. A number of inscriptions included in the dissertation, as pointed out by the assessment committee, demonstrably did not belong to statue bases, and have consequently been excluded. Secondly, the catalogue of statue bases has been revised and updated. This meant that a good number of cross-references had to be sorted out and text supplied where necessary. Stuart have been published elsewhere, and are therefore not included here (see bibliography). A Reassessment of The Portraiture of Claudius by M.
Aelius Caesar, Imperial Visits as Occasion for the Erection of Portrait Statues?, and The Statue Bases of Claudius. First of all, the three separate papers that formed part of the dissertation: The Epigraphic Evidence Concerning Portrait Statues of Hadrian’s Heir L. Over the summer and during a stay in Rome in the autumn, the tedious task of checking the entries in the catalogue and editing the text was carried out. Earlier this year it would remain hidden no longer. Due to other obligations and a certain fatigue and nausea at the thought of taking another swing at the large corpora (they do tend to have a rather musty odour), the manuscript was put in the drawer. This book is an altered and revised version of my PhD dissertation defended at the University of Aarhus in May 2001. Typeset with Trajan (cover) and Mignon (body) Statue bases on a podium in the sacellum. Roman Imperial Statue Bases © Jakob Munk Højte and Aarhus University Press 2005 Cover: Lotte Bruun Rasmussen Photo: Jakob Munk Højte, Caserna dei Vigili, Ostia,
The objective of the series is to advance the interdisciplinary study of Antiquity by publishing articles, e.g., conference papers, or independent monographs, which among other things reflect the current activities of the centre. The Centre is a network of cooperating departments: Greek and Latin, Classical Archaeology, History, and the Faculty of Theology. The wall crests and the roof tiles have been replicated and the new tiles were imported from Guatemala.VII ASMA is a series which will be published approximately once a year by The Centre for the Study of Antiquity, University of Aarhus, Denmark. Casablanca Café has kept the feel of the original house by incorporating the original working fireplace, wooden ceiling beams, spiral staircase and terrazzo floors. The owner’s desire was to preserve the beautiful structure in its original architectural style. Details include flat roofs, arched openings supported by square columns, stucco exterior walls, massive offset chimney stacks, double-hung windows, ceramic tile decorations and round towers with conical roofs.Ī renovation of the home started in July of 1993 and took almost two years to complete. Jova House is one of only a few remaining examples of his work in Fort Lauderdale.ĭesigned in Mediterranean Revival architecture, the house is an eclectic blend of architectural elements of Spanish and Middle Eastern origins. He designed numerous commercial and public structures in both Florida and Sea Island, Georgia. He set up his architectural practice in Fort Lauderdale in 1924.During the late 1920’s, Abreu became one of the area’s most sought-after architects. Abreu, the son of Spanish and American parents, grew up in Cuba and graduated from Cornell University.