Cover; Half-title; Title page; Copyright information; Table of contents; List of figures; Contributors; Preface; Introduction; PartI Architecture and Public Space; 1 On the Sublime in architecture; 2 Sublime histories, exceptional viewers: Trajan's Column and its visibility; 3 Corpore enormi: The Rhetoric of Physical Appearance in Suetonius and Imperial Portrait Statuary; Lenin''s corpse, Caligula''s body; Suetonius'' descriptions of the ruler''s appearance; The rhetoric of appearance in imperial portrait statuary; Ēthos; Pathos; Logos; Suetonius and portrait statuary., 4 Beauty and the Roman female portraitPart II The Domestic Realm; 5 The Casa del Menandro in Pompeii: Rhetoric and the Topology of Roman Wall Painting; Introduction; Rhetoric and Roman wall painting; The Casa del Menandro (Regio I 10.4); Layers of paint; Ala (4); Room (11); Room (15); Room (19); Mythological connections: from topography to topology; Wall painting and rhetoric: a topology; 6 Agamemnon''s grief: On the Limits of Expression in Roman Rhetoric and Painting; Zeuxis'' Helen and the ethics of invention; Painting as practice: medium, ornament and technique., Timanthes'' sacrifice of Iphigenia 1: style and decorTimanthes'' sacrifice of Iphigenia 2: the limits of expression; Part III The Funerary; 7 Rhetoric and art in third-century ad Rome; Sarcophagi; Persephone sarcophagi; Endymion and Selene; Amazonomachy; Changing message, changing rhetoric; Ekphrasis; Conclusion; 8 Poems in Stone: Reading Mythological Sarcophagi through Statius' Consolations; Grief and commemoration in Statius'' Silvae; Statius'' uses of myth; Simile; Exemplification; Mourning and tragic death on Roman mythological sarcophagi; Projections into the mythological realm., Conclusions9 The funerary altar of Pedana and the rhetoric of unreachability; Show and not tell; The power of empty rhetoric; Falling on deaf ears; Memories are made of this; 10 Rational, passionate and appetitive: The Psychology of Rhetoric and the Transformation of Visual Culture from non-Christian to Christian Sarcophagi in the Roman World; Sarcophagi: panegyrical and appetitive; Christian sarcophagi: changes in rhetorical argument; Conclusions; Part IV Rhetoric and the Visual; 11 The ordo of rhetoric and the rhetoric of order; Beginning: understanding the ''order of Homer'', and Middle: knowing epic backwards?End: the orderings of memory; 12 Coda: The Rhetoric of Roman Painting within the History of Culture: A Global Interpretation; What is the significance of Roman painting for the history of Western art?; The contrasting roles of theatre in Greece and in Rome: the mixture of differences and their tragic or comic effect as a spectacle of society; The historicity of artistic forms; The descriptive account of the so-called four styles of Roman painting and the questions it raises; What is the rhetoric of art?; The place of painting in the structural table of arts.
Summary
Demonstrates the central significance of rhetoric in ancient responses to and receptions of Roman art.
