Taking public space as her starting point, Amy Russell offers a fresh analysis of the ever-fluid public/private divide in Republican Rome. Built on the 'spatial turn' in Roman studies and incorporating textual and archaeological evidence, this book uncovers a rich variety of urban spaces. No space in Rome was solely or fully public. Some spaces were public but also political, sacred, or foreign; many apparently public spaces were saturated by the private, leaving grey areas and room for manipulation. Women, slaves, and non-citizens were broadly excluded from politics: how did they experience and help to shape its spaces? How did the building projects of Republican dynasts relate to the communal realm? From the Forum to the victory temples of the Campus Martius, culminating in Pompey's great theatre-portico-temple-garden-house complex, The Politics of Public Space in Republican Rome explores how space was marked, experienced, and defined by multiple actors and audiences.

Images relating to imperial power were produced all over the Roman Empire at every social level, and even images created at the centre were constantly remade as they were reproduced, reappropriated, and reinterpreted across the empire. This book employs the language of social dynamics, drawn from economics, sociology, and psychology, to investigate how imperial imagery was embedded in local contexts. Patrons and artists often made use of the universal visual language of empire to navigate their own local hierarchies and relationships, rather than as part of direct communication with the central authorities, and these local interactions were vital in reinforcing this language. The chapters range from large-scale monuments adorned with sculpture and epigraphy to quotidian oil lamps and lead tokens and cover the entire empire from Hispania to Egypt, and from Augustus to the third century CE.

Images relating to imperial power were produced all over the Roman Empire at every social level, and even images created at the centre were constantly remade as they were reproduced, reappropriated, and reinterpreted across the empire. This book employs the language of social dynamics, drawn from economics, sociology, and psychology, to investigate how imperial imagery was embedded in local contexts. Patrons and artists often made use of the universal visual language of empire to navigate their own local hierarchies and relationships, rather than as part of direct communication with the central authorities, and these local interactions were vital in reinforcing this language. The chapters range from large-scale monuments adorned with sculpture and epigraphy to quotidian oil lamps and lead tokens and cover the entire empire from Hispania to Egypt, and from Augustus to the third century CE.