Chapter 3 Leisure in the Roman Villa ج ل 3 أ هحش ج ل جؽ ك ٢ ك ٤ ال ج ح ٤ س ج وى س I. Introduction A villa in the country or by the sea was an ideal location for well-to-do Romans to spend their leisure. So strong was the appeal of this lifestyle that it was copied by many later societies and can still be enjoyed today, for example by visiting stately homes, designed according to villa ideals, or by staying in holiday villas in the sun. One particular reason for the enduring attraction of the villa is that its lifestyle balances elements of city life status, sophistication, competition, control with qualities traditionally linked with the countryside, such as an idea of the simple life and an enjoyment of nature. This relationship is neatly summed up by James Ackermann, a scholar who has written a history of the villa across the centuries: The villa cannot be understood apart from the city: it exists not to fulfil autonomous functions but to provide a counterbalance to urban values (Ackermann, 1990, p. 9). ك ٤ ال - ك ٢ ج ر ى أ ػ ٣ ٠ ن ج رك - ح هؼح ػح ٤ ح ؿ ٤ ىج ى ج ح و حء هص ك جؿ. ح ه ١ ؾىج ؾحيذ ٤ س ج ك ٤ حز ج ط ٢ ض ه ح هر ج ؼى ٣ ى ج ؿط ؼحش ك ٢ هص القن ٣ أ ض ج أ ٣ ط طغ ج ٤ ػ ٠ ر ٤ ج ػح نال ٣ ح ز ج ح ج له س س كوح ػ ك ٤ ال أ نال ج روحء ك ٢ ج ل ٤ الش ػط س ك ٢ ج. رد جقى ذؼ ٤ ؿ خ وجت ل ٤ ال أ ١ ج ك ٤ حز ك ٢ ض ج ػ ح ج ك ٤ حز ك ٢ ج ى ٣ س - غ ج طط ج حك س ج ٤ ط ز - غ ج لحش ج ضرطس ضو ٤ ى ٣ ح غ ج ٣ ق ػ ك ز "ج ك ٤ حز ج ر ٤ طس" ج ط طغ ج طر ٤ ؼس. ضط ه ج ؼالهس ذىهس هر ؾ ٤ أ ح ذحقع ج ١ طد ضح ٣ هح ج ل ٤ ال ػر ج ؼ : "ج ل ٤ ال ال ٣ أ ٣ ل ذؼ ٤ ىج ػ ج ى ٣ س: ح ؾ وج ػى ج كحء ظحتق طو س ط ك ٤ ج ط ج غ ج و ٤ ج ك ٣ س" II. Roman Leisure in Public and Private Activity (p. 66): This activity involves listening to the Audio CD Aetatem tibi agere. But first read the following quotation from Jerry Toner, whose book on Roman leisure raises searching questions about the political and social aspects of doing your own thing. Ideas about leisure were some of the sturdiest pillars on which Roman perceptions of society and selfhood stood Leisure was not a neutral area. Strains and conflicts existed within Roman society, between the emperor, the elite, and the masses, and these found their most telling expression in anxieties over the use and misuse of free time. (Toner, 1995, p. 8) I would like you to keep in mind Toner s points about strains, conflicts and the social hierarchy as you listen to the discussion on the Audio CD. This discussion covers a range of leisure activities popularly associated with Rome and asks what different kinds of evidence can tell us about Roman attitudes to duty, obligation and living life for oneself. Toner puts us on alert about an ideology of leisure which our conversation does touch upon here and there. But in the first part of the discussion we are mainly aiming to identify preliminary questions about Roman society and culture. You should note, but not worry about, an absence of tightly packaged answers here just try to work out for yourselves whether any further questions are prompted by the discussion. After listening to tracks 1 to 7, you should start reading the chapter in earnest its first section follows on from and fleshes out issues that the discussion has raised. Now listen to the discussion on tracks 1 7 of the Audio CD. ج ح ٤ س ضؿ ٤ ك ٢ ج هح س ج ؼح س ج ح ٠ ج ج ح ٠ ٣ ط ١ ػ ٠ جال ط حع ئ ٠ CD ج ش "Aetatem ج ط ٤ ر ٢ AGERE". أ ال ه جءز جالهطرح ج طح ٢ ؾ ١ ٤ ج كر ج ١ أغح طحذ ػ ٠ ج ط ك ٤ ج ح ٢ ٣ ػ ٤ ض حؤالش ق ج ركع ج ؿ ج د ج ٤ ح ٤ س جالؾط حػ ٤ س "ضلؼ ٢ ء ذ ل ي. ح ص جألك ح ق ج ط ك ٤ ٤ س ذؼ أ ػ غرحضح ج حت ج ط ٢ ج ط جش ج ح ٤ س ج ؿط غ أ ح ٤ س هلص - ح ص أ هحش ج ل جؽ ٣ ص طوس كح ٣ ىز. ؾ و الالش ج جػحش وجن ج ؿط غ ج ح ٢ ذ ٤ جإل ر ج ٠ ج هرس ج ؿ ح ٤ ؾىش ضؼر ٤ ح جأل ػ ضؼر ٤ ج ك ٢ ج و ن ذ أ ج طهىج ئ حءز ج طهىج هص ج ل جؽ. أ و ي أ أن ك ٢ جالػطرح وح ٠ ج كر ق الالش ج جػحش ج جالؾط حػ ٢ ح ٣ ي جال ط حع ئ ٠ حه س CD ج ش. ضط ٢ ج حه س ؿ ػس جأل طس ج ط ك ٤ ٤ س ج ضرطس ؼر ٤ ح غ ح ٣ أ ح ٢ أ جع هط لس جألو س ٣ أ ضهر ح ػ ج جهق ج ح ٤ س ك ٢ أوجء ج جؾد جؾد ج ك ٤ حز ج ؼ ٤ ٤ س ل. ج كر ٣ ؼ ح ك ٢ قح س ضأ د ق أ ٣ ى ٣ ؾ ٤ س و حء أ هحش ج ل جؽ ج ط ٢ ال قى ٣ ػ ح ض ح حى. ك ٢ ج ؿ ء جأل حه س كا ح ىف ك ٢ ج وح جأل ئ ٠ ضكى ٣ ى أ ث س أ ٤ س ق ج ؿط غ ج ح ٢ ج ػوحكس. ٣ ؿد أ القع ال ضو ن ػى ؾ و ئؾحذحش ضؼرثط ح ذاق ح " ح - ؿ و كح س ؼ ػ ٠ أل ل ح ئيج ح ص ج طح رس أ ١ أ ث س أن ػ ٣ ٠ ن ج حه س. ذؼى جال ط حع ئ ٠ ح جش 7-1 ٣ ؿد أ ضرىأ ك ٢ ه جءز ج ل ذ ؾى ١-٣ طرغ ج و جأل ػ ٠ fleshes ج و ح ٣ ح ج ط ٢ أغح ش ج وح. جال ط حع ج ٥ حه س ح جش 7-1 CD ج ش.
1 A. Types of Leisure Activities in Rome: 1. Formal and Organized: the Games in the Arena, the chariot races at the Circus Maximus, religious festivals and imperial birthday celebrations 2. Informal: going to the taverns or the public baths B. The Functions of Organised, Public Leisure Activities & the Role of the Emperor The public executions, gladiator combats to the death and slaughter of exotic beasts have made the Roman amphitheatres infamous in history. The Roman emperors used the profits of empire to invest in and to expand entertainments such as these for the people, democratising leisure if you like, but also controlling leisure activities and making leisure the social cement that kept social tensions at bay. The emperor could portray himself as the father of the people, who was above any faction and was the architect of entertainments, whether private or public, religious or triumphal, where the whole of Roman society could meet [...] in a spirit of public concord (Toner, 1995, p. 127). C. Attitude of the Upper-class Romans to Public Leisure/Entertainment Toner points out that the Roman elite was inclined to be judgemental and dismissive about the lower orders, whether they were at work or at play. On track 4 of the Audio CD Helen Lovatt suggests that highranking Romans felt obliged to be present at public entertainments like the Games. D. The Importance of Leisure Activities in the Elite's Life: Whether they attended with enthusiasm or with varying degrees of disapproval, the elite must have felt it was even more necessary to preserve time and space for the forms of leisure that distinguished them from the common people, since the style of their leisure was a keystone of their upper-class identity. For these wealthy, educated Romans the villa provided just such a place. E. The Atmosphere and Functions of the Villa 1. The villa was associated with quies (peace and quiet), and offered time for civilised intellectual exchanges and for literary pursuits. 2. It seems, the villa was not altogether a place of total escape from city life, with its social demands and its noisy mass entertainments. After all, gladiators were a popular subject in the mosaics and wall-paintings that decorated villas (alongside other more intellectual topics), and many villas were near enough to amphitheatres in local towns to allow for visits. Perhaps viewing the Games from a safe distance reinforced the owners sense of calm and put the peace of the villa into sharper relief. أ جع جأل طس ج ط ك ٤ ٤ س ك ٢ ح:. 1 ج ٤ س ؿ ٤ ج ظ س: جأل ؼحخ ك ٢ ج حقس رحهحش ج رحش ك ٢ ٤ ى ح ٤ ج ؾح حش ج ى ٤ ٣ س جقطلحالش ػ ٤ ى ج ٤ الو جإل ر ج ٣ ٠ س. 2 ؿ ٤ ج ٤ س: ج حخ ج ٠ ج كح حش أ ج ك ح حش ج ؼح س ظحتق ج ظ س ج ؼح س ض ك ٤ و جإل ر ج ٠ ػ ٤ حش جإلػىج ج ؼح س ح ع ض حكف قط ٠ ج ش يذف ج ك ٤ ج حش ج ٣ رس ؾؼ ص ى ؾحش ج ح ٤ س ٤ ثس ج ؼس ك ٢ ج طح ٣ م. ج طهى ص جألذح ٠ ز ج ح أ ذح جإل ر ج ٣ ٠ س ال طػ ح ك ٢ ض ٤ غ ض ك ٤ ٤ س ػ ح 'ج ى ٣ و ج ٤٠ س' ج ط ك ٤ ئيج ص ض ٣ ى أ ٣ ح ج طك ك ٢ جأل طس ج ط ك ٤ ٤ س جضهحي ج ط ك ٤ جال ص جالؾط حػ ٢ ج ط ٢ أذوص ج ط ض جش جالؾط حػ ٤ س ك ٢ ج ه ٤ ؽ. جإل ر ج ٠ ٣ أ ٣ ل ذأ "أخ" ؼد ج ١ ح ك م أ ١ ك ٤ ح ى حت ج ط ك ٤ جء ح ص نح س أ ػح س أ و ٤ ٣ س أ ج ق ٤ ع '٣ أ ٣ طو ٢ ج ؿط غ ج ح ٢ ذ ج كحم ج ؼح." هق ج طروس ج ؼ ٤ ح ج ح ئ ٠ أ هحش ج ل جؽ ج ؼح س / ج ط ك ٤ ٤ ٣ ج كر ئ ٠ أ ج هرس ج ح ٤ س ح ٤ ٣ ئ ٠ أ ٣ ق ٢ جك ػ "أ ج أه " جء ح ج ك ٢ ج ؼ أ ك ٢ ج ؼد. ػ ٠ ج ط ٣ ن ج ك ٤ ف 4 ج ش ٣ ق ٢ Lovatt ٤ ٤ CD ذأ ك ٤ ؼس ج ط ج ح ؾى ل ط ج أ ٣ قح ج ك ٢ حت ج ط ك ٤ ج ؼح س ػ جأل ؼحخ. أ ٤ س ض ك ٤ ك ٢ ج ك ٤ حز ج هرس: جء ح ج ق ذك ح أ غ و ؾحش طلح ضس ج ك ٣ ؿد ػ ٠ ج هرس أ ج أ أ ػ ز كلحظ ػ ٠ ج هص ج حقس أل ح ج ط ك ٤ ج ط ٢ ض ٤ ػ ػح س ج ح أل أ خ ك جؿ ح قؿ ج ج ٣ س ك ٢ ٣ س ج طروس ج ؼ ٤ ح ج هح س ذ. جألغ ٣ حء ج طؼ ٤ ج ح ك ٤ ال ج وى س كو ١ ػ ج ج ح. ج الف ج ؿ ١ ح ك ٤ ال. 1 ح ضرطح ج ل ٤ ال غ) quies ج ال ج ى ء( ػ ص ج هص طرحوالش ج ل ٣ س ج طك ز ج القوحش جألوذ ٤ س.. ٣ 2 رى ح ك ٤ ال ٣ ص ض ح ح ح خ ج ٢ ج ك ٤ حز ك ٢ ج ى ٣ س غ طح ر ح جالؾط حػ ٤ س حت ج ط ك ٤ ط ط حنرس. ذؼى ٢ ء ح ج ح ػ ٤ ػح ؼر ٤ ح ك ٢ ج ل ٤ ل حء ج ج ؿىج ٣ س ج ط ٢ ض ٣ ك ٤ الش )ؾ رح ئ ٠ ؾ د غ ج ٤ غ أ ػ ج ل ٣ س جألن ( ح ص ج ؼى ٣ ى ج ل ٤ الش ه خ ذ ح ٣ ل ٢ ى ؾحش ك ٢ ج ى ج ك ٤ س ح ٣ ح جش. ذ ح ػ أل ؼحخ حكس آ س ضؼ ج ؼ أ كحذ ح ج ى ء غ ج ال ك ٢ ك ٤ ال ك ٢ جإلؿحغس أ ػ قح. III. Literary Pictures A. Different Styles of Villa Life 1. Nostalgically simple
2. Hedonistically luxurious 3. Well-run country estate B. The poet Horace and getting away from it all The Significance of Sabine Hills Villa for Horace: 1. After Maecenas gave him the Sabine Hills Villa, Horace had more time and a congenial locality in which to realise his creative talents and, of course, in his poetry he took the opportunity to show his gratitude towards Maecenas and to celebrate Rome s first emperor, Octavian Augustus. 2. Horace s Sabine farm was also important to him as a haven where he and his friends did not have to be on show, or to impress influential people at the centre of power. Away from the stress of the city, they could discuss all kinds of matters, from the light and frivolous to the philosophical and aesthetic. جألوذ ٤ س أ ح ٠ هط لس ك ٤ ال ج ك ٤ حز. 1 ذ ١٤ ذك ٤. 2 ج لحن زHedonistically. 3 ض ٤ ق ح-ج ط ٤ ص ج رالو ج حػ ج "ج ك ػ ٠ ذؼ ٤ ىج ػ ٢ ء" أ ٤ س حذ ٤ ٤ ك ٤ ال ج :. 1 ذؼى أ أػطص Maecenas حذ ٤ ٤ ك ٤ ال ح ج ج ٣ ى ج هص ك س الت س ك ٤ ح طكو ٤ ن ج ر جإلذىجػ ٤ س - ذطر ٤ ؼس ج كح أن ك ٢ ؼ ج ل س إلظ ح ج ط ح ك Maecenas القطلح ك ٢ ح أل ز جال ر ج ٠ أ طحك ٤ ح أ ؿ ط. ح حذ ٤ ػس 2. ج س الي ق ٤ ع أ ىهحؤ ٣ ى ٣ ي ٤ ػ ٠ ج ؼ أ إله حع أ كحخ ج ل ي ك ٢ ج طس أ ٣ ح. ذؼ ٤ ىج ػ ج ط ض ك ٢ ج ى ٣ س كا ح ٣ أ حه ؾ ٤ غ أ جع ج حت ء ضحك س ال ل ل ٤ س ج ؿ ح ٤ س. Activity (p. 69): Study the first part of Horace s Satire 2.6 (Reading 3.1), up to the line I m the champ of Roman reticence, and consider the following questions: 1. What does Horace value most about his time on the Sabine farm? 2. Why do you think the god Mercury is singled out for special thanks? 3. How does Horace convey the stress of the city? و ج س ج ؿ ء جأل ض ج 2.6 )ه جءز 3.1( ال ئ ٠ ن ١ "أ ح ذط ج ط ط ج ح ٢ " ج ظ ك ٢ ج حت ج طح ٤ س:. 1 حيج ٣ ؼ ٢ ه ٤ س ج أ ػ ػ هط ك ٢ ج ػس حذ ٤. 2 حيج ص ضؼطوى أ ن جإل ػطح و ذ ح نح. ٤ 3 ق ج و ج ١ ج ى ٣ س Discussion: 1. Horace s description suggests that his countryside farm provides a bracing and healthy environment, with none of the city s sicknesses here he cites natural phenomena and also economic and political imperatives: the disease of social climbing, for instance. His country home is on the moral as well as the physical high ground, perhaps. Because it is a working farm, Horace is not necessarily totally at leisure here, although he does have slaves as bailiffs, managers, and so on. All the same, this country retreat sounds rather modest and Horace suggests it would be foolish to ask for more. 2. Mercury, the god Horace singles out for his expressions of gratitude (I allude to this at the end of the Audio CD discussion on track 7) is probably best known as a divine messenger, the Roman equivalent of the Greek god Hermes. He was also the god of luck and gain, and so an appropriate divinity to approach, appease and thus guarantee that Horace s delightful farm is not suddenly snatched away. Mercury was also sacred to merchants (and to thieves!) a wheeler and dealer in business and commerce. To my mind Mercury makes the perfect god to straddle the poet s divided life, as Horace is suggesting that his country existence is a privilege predicated upon his service in the stressful bustle of Rome. 3. To Horace, the most attractive aspect of the country life is its blessed relief from the capital city. Indeed, his poem is partly about a polarisation between otium and negotium but perhaps not entirely. The capital city is a maelstrom of machinations, and Horace gives us a vivid picture of the ducking and diving he does, both physically and verbally, while he is about his business there. He seems to spend a great deal of his time fending off requests for favours as he walks through the main forum. You will remember from the discussion on the 2
3 Audio CD that both business and politicking went on in the leisure places of the city, especially the public baths and in this case the public thoroughfares too. Horace rather disingenuously insists that the topics of his conversations with Maecenas in the city consist of sport (the prospects of a gladiator from Thrace known as the Thracian Cock) and the weather (the health hazards of morning frosts). Horace protests that he is not a trusted confidant of Maecenas and that they keep off the subject of politics and current affairs when they talk fancy footwork from Horace, I would say; he is clearly stressed by the fact that so many people want a piece of him when he is in Rome. ق ج ض ٤ ئ ٠ أ ػس ج ٣ ق ٣ ك ج ر ٤ ثس ض طؼى ك ٤ س غ أ ١ جأل ج ك ٢ ج ى ٣ س - ح ٣ ط ى ج ظ ج ج طر ٤ ؼ ٤ س أ ٣ ح ج جش جالهط حو ٣ س ج ٤ ح ٤ س: ج ط ن جالؾط حػ ٢ ػ ٠ ر ٤ ج ػح. ج رالو ػ ٠ أناله ٤ س ك ال ػ أ ضلؼس ج حو ٣ س ذ ح. أل ح ػس ػح ج ٤ ص ذح ز ك ٢ ج هص ج ح د ض ح ح ح ػ ٠ ج ؿ ج ال ض ؾى ى ٣ ح ج ؼر ٤ ى ح ج ك ٣ ج ى ٣ ٣ ؾ ج. ل ج ج ط جؾغ ج رالو ٣ رى ط ج ؼح ػح ح ٤ ٣ ئ ٠ ج أ ٤ ج ك حهس أ أ ٠ د أ ػ. ج ترن ج ل و ١ ئ ج ج طؼر ٤ ػ جال ط ح I) ٣ ف ج ٠ ج ك ٢ ح ٣ س ج حه س CD ج ش ػ ٠ ج ط ٣ ن ج ك ٤ ف 7( ذ ح ٣ أك ج ؼ كس ذح جإل ٢ أ ١ ح ٣ ؼحو ج ح ٢ إل ج ٤ ح ٢ ٤ ٤. ح أ ٣ ح ئ ج كع ج ذف ي ي ػ ٠ جأل ٤ س ج ح رس وط خ ج ط حء ذح طح ٢ ح أ ػس ٣ ج ال ج ط ع كؿأز ذؼ ٤ ىج. ح ج ترن أ ٣ ح ج وى طؿح ) ج!( ػ ٠ "ػؿالش ضحؾ " ك ٢ ؿح جألػ ح ج طؿح ز. ك ٢ أ ٢٣ ٣ ؿؼ ػطح و ئ ج ػح ٢ ط طى ق ٤ حز ج حػ و س ج ح ٣ ى ػ ٠ أ ؾ و ذالو ج ط ٤ ح ر ٤ س ػ ٠ نى ط ك ٢ هد ج ؿ ىز ح. ج كا ج ؿح د جأل ػ ؾحيذ ٤ س ك ٢ ق ٤ حز ج ر ى جإلؿحغس ج رح س ح ج ؼح س. ك ٢ ج جهغ ه ٤ ىض ٢ ؾ ت ٤ ح ػ جال طوطحخ ذ ٤ ٤ ؿ ٤ ض ٤ ح OTIUM - ذ ح ٤ ض ح ح. ج ؼح س ٢ و ج س ج حتى ج ٣ ؼط ٤ ح ز ق ٤ س ضط ج ٣ لؼ ػ ٠ قى جء ؾ ى ٣ ح لظ ٤ ح ذ ٤ ح ق ػ حى. ٣ رى أ ض لن هى ج ر ٤ ج هط ضكح ضؿ د ٠ رحش ضل ح ج ٢ ٣ نال ج طى ج ت ٢ ٤. ؼ ض حه س CD ج ش أ ؾح جألػ ح ج ط ٤٤ ٠ ك ٢ جأل ح 'ج ط ك ٤ ٤ س' ج ى ٣ س نح س ك ٢ ج ك ح حش ج ؼح س ك ٢ ج كح س ج ط م ج ؼح س أ ٣ ح. ج ض ذىال ذ أ ج ػحش ق ج جض غ Maecenas ك ٢ ج ى ٣ س ضط ج ٣ ح س )آكحم ح ع ض جه ٤ ح ج ؼ كس ذح ج ط جه ٢ ج ى ٣ ي( ج طو )ج هح ٠ ج ك ٤ س ال و ٤ غ ج رح(. ج ضكطؽ ػ ٠ أ ٤ ج و ذ ٤ ج غ م Maecenas أ ح ضرو ٢ نح ؼ ع ج ٤ ح س ج إ ج ؿح ٣ س ػ ى ح ٣ طكىغ - ج ؼد ٣ ط ج أ و أ أه. ح ىو ذ نال قو ٤ وس أ ج ػ ٤ ج ح ٣ ٣ ى هطؼس ػ ى ح ح ك ٢ ح. -------------------------------------------- 3. Away from it all at the villa Activity (p. 70): Study the second part of Horace s Satire 2.6 (Reading 3.1), from I squander time like this to the end. As you read, consider the following questions: 1.How does Horace justify relaxing with his friends? 2.Does the fable clarify or complicate the relationship that educated Romans had with the countryside? ذؼ ٤ ىج ػ ي ي ك ٢ ج ل ٤ ال ج ح ٠ و ج س ج ؿ ء ج ػح ٢ ض ج ٤ ق ج ضر ٣ جال ط نحء غ أ ىهحت ض ف ق ح ٣ س أ ضؼو ٤ ى ج ؼالهس ج ط ٢ ج طؼ ٤ ج ح ح غ ج ٣ ق 2.6 )ه جءز 3.1( I' ئ ىج ج هص ػ ج' قط ٠ ج ح ٣ س. ح ضو أ ج ظ ك ٢ ج حت ج طح ٤ س: Discussion: Horace s very first statement suggests that the hasty and hectoring exchanges he endures in the city waste his time. In contrast, the topics of conversation at the Sabine farm, far from being trivial or focused on material concerns, are often weighty and philosophical, even though the dinner party itself is portrayed as a place to be frivolous and self-indulgent. So the reader might expect the entertaining little fable that follows to have hidden depths. The moral of the fable seems to reinforce the positive view of the countryside as a safe haven and to promote the benefits of a simple life far away from the pretensions, the pressures and the real dangers of the city. The town mouse encourages his country friend to become parasitic at the tables of the rich (remember Helen Lovatt s reference in the Audio CD to such opportunistic characters). There may also be an allusion here to the sometimes humiliating position of a client, which in the Roman system of patronage meant relying upon a wealthier acquaintance, who might hope for a slap-up meal but then have the tables turned upon him (and even the dogs set on him) if he were to fall from favour. The country mouse is soon to learn that the high life is indeed precarious at the banquets of the rich and that he is far better off in his modest woodland hole where he owes no one a living. On the other hand, the town mouse, fussy and urbane little creature that he is, talks in the rather lofty language of an educated and literary Roman (perhaps more in tune with Horace and his guests?). He persuades the peasant mouse to sample the delights of a city banquet in a rhetorical speech. The tone of the Latin here is rather pompous: the language of high epic poetry ends in a flourish, with the exhortation carpe viam, or come along
4 with me (literally translated as seize the road ). The Latin sounds remarkably like the phrase carpe diem, or seize the day (or live for the moment ), which Horace himself later coined in one of his Odes. This passage could demonstrate that the poet is having a little bit of fun at the expense of his educated guests and perhaps laughing at his own philosophy of life. On the surface, Cervius fable can be seen as celebrating the simple life somewhere as far away from the city as possible, and as a compliment to Horace and his country hospitality. Horace s estate, with its range of produce and array of wines, is a far cry from the rough rural fare on offer in the country mouse s woodland hole, but Horace would not have said that he lived in the lap of luxury. Even when they were sending it up in a comic vignette, Roman writers still liked to conjure with the part-legendary, part-historical image of their origins as a hardy and rustic race. To delve a little deeper, the fable ties in neatly with the tensions Horace felt in dividing his life between his work commitments in the city of Rome and his time away on his Sabine farm. Perhaps, too, Horace is here indicating the compromises he himself has to make in order to live the good life, as he is in some ways a client of Maecenas even though he classes himself as a friend. Self-irony and the recognition of necessity underlie the fable that Horace puts into the mouth of Cervius and, after all, the poem in which it is told is a satire and Horace himself contributed significantly to the development of the Roman satiric genre. Poetry was the usual medium for this genre, and Roman satirists ranged in their literary personae from the amused observer (like Horace in this poem) to vituperative commentators on every aspect of Roman society. ٤ ٣ ج ر ٤ ح جأل ؾىج ج ج ج طرحوالش ط ػس ج ط س هح ج ذحم ك ٢ ى ٣ س ض ى هط. ك ٢ ج وحذ كا ػحش كحوغس ك ٢ ج ػس حذ ٤ ذؼ ٤ ىج ػ ح ضحك س أ ض ػ ٠ جال ط ح حش ج حو ٣ س ؿح رح ح ض يجش ج ل ل ٢ ػ ٠ ج ؿ أ ػ حء ج ك خ ل ٣ ح ط ضحك س ك ٢ ج جش. ذح طح ٢ كا ج وح ب هى ٣ ط هغ ق ح ٣ س ٤ ز ٤ س ج ١ ٣ طرغ ى ٣ ي جألػ حم ج هل ٤ س. ٣ رى أ ج ج ك ح ٣ س طؼ ٣ ج ظ ز جإل ٣ ؿحذ ٤ س ٣ ق الي آ ضؼ ٣ ك جتى ق ٤ حز ذ ٤ طس ذؼ ٤ ىج ػ ج جتغ ج ٠ ج هح ٠ ج كو ٤ و ٤ س ى ٣ س. ج ح ذ ىز ٣ ؿغ ى ٣ ن ذالو ط رف ٠ ل ٤ ٤ س ك ٢ ج ؿىج جألؿ ٤ حء )ض ئ ح ز Lovatt ٤ ٤ ك ٢ CD ج ش ػ ج ه ٤ حش جال ط ح ٣ س(. هى ٣ حى أ ٣ ح ئ ح ز ح ئ ٠ هق أق ٤ ح ح ج ؼ ٤ ح ٣ ؼ ٢ ك ٢ ج ظح ج ح ٢ ػح ٣ س جالػط حو ػ ٠ ج طؼح ف غ جء ج ٣ هى أ ط ح ؾرس لؼس ج طحذؼس ذؼى ي ي ضك ص ج ؿىج هللا ػ ٤ ) قط ٠ ج الخ ضؼ ٤٤ ػ ٠ ( ح ٤ و ١ ح ف. ج ح ج رالو ه ٣ رح ؼ كس أ ج ك ٤ حز ػح ٤ س ك ٢ ج جهغ ؿ ٤ طو ز ك ٢ ج الت ألؿ ٤ حء أ أك قحال ذ ػ ٤ ك ٢ ؾك ج ج ٠ ج حذحش ط ج غ ق ٤ ع ٣ ى ٣ أقىج و س ج ؼ ٤. حق ٤ س أن كا ج ح ج ى ٣ س ٤ ن ج خ ج ه م ج ٤ ج ١ كحوغحش ك ٢ ج س ج ح ٤ س ذىال ج ح ٢ ج طؼ ٤ جألوذ ٢ ) ذ ح أ ػ ج ؿح ح غ ج ٤ ك (. ج ٣ و غ ج ح ج لالق ٤ ألن ػ ٤ حش ج جش أوذس ى ٣ س ك ٢ نطحخ ذالؿ ٢. ؿس ج الض ٤ ٤ س ح ٢ أذ ٠ ئ ٠ قى ح: س ػح ٤ س ج ؼ ج ك ٢ ض ط ٢ ك ٢ ج و ح غ ػظ " ح خ كثح ' أ ' ضأض ٢ ؾ رح ئ ٠ ؾ د غ ٢ ')ضط ؾ ق ك ٤ ح خ" جال ط ٤ الء ػ ٠ ج ط ٣ ن'(. ٣ رى ج الض ٤ ٤ س ذ ك ظ ػ ػرح ز "ج ٤ ٤ س ح خ ' أ ' جؿط ح ج ٤ " )أ "ج ؼ ٤ كظس '( ج ١ حؽ ج ل ك ٢ هص القن ك ٢ جقىز ه حتى. ج ج وطغ ٣ أ ضػرص أ ج حػ ؾ و ه ٤ ال ج ػ ٠ ق حخ ٤ ك ج طؼ ٤ ذ ح ٣ كي ػ ٠ ك لط ج هح س ك ٤ حز. ػ ٠ ج طف ٣ ؤ ٣ س أ ط ز' Cervius ح ضكطل ق ٤ حز ذ ٤ طس ك ٢ ح ح ذؼ ٤ ىج ػ ج ى ٣ س هص ذحػطرح ال ج ج ٤ حكس ذالو. ج ؼوح جش ج غ ؿ ػط ح ج طؿحش ؿ ػس ج ر ٤ ذؼ ٤ ى ج رؼى ػ أؾ ز ج ٣ ل ٤ س ج ػ ز ػ ٠ ج ؼ ك ٢ قل ز ج حذحش ج ح ج رالو ال ج هى هح أ ػح ك ٢ ق ج ط ف. قط ٠ ػ ى ح ح ج ٣ ػ ك ٢ ج وح س ج و ٤ ز ج ز ج طحخ ج ح ٤ س ال ٣ ج ٣ كد أ ٣ طك غ ؾ ء جأل ط ١ -ج ؿ ء ج طح ٣ ه ٢ ز ػ أ ؿ ح و ١ ٣ ل ٢. ج طؼ ن ه ٤ ال ج ؼالهحش ن جكس ك ٢ ذؼ ح ٣ س غ ج ط ض جش ؼ ش ج ك ٢ ضو ٤ ق ٤ حض ذ ٤ جال ط ج حش ػ ك ٢ ى ٣ س ح هط ذؼ ٤ ىج ػ ػس حذ ٤. ذ ح أ ٣ ح ج ح ض ٤ ئ ٠ ض ح الش ل أ ضؿؼ أؾ أ ٣ ؼ ٤ ق ٤ حز ؾ ٤ ىز ح ك ٢ ذؼ ج ط م ػ ٤ Maecenas قط ٠ ػ ٠ ج ؿ ج ج طروحش ل ى ٣ ن. -ج ه ٣ س ج جش جالػط جف ج ز ض جء أ ط ز أ ج ٣ غ ك ٢ ك - Cervius ذؼى ٢ ء ج و ٤ ىز ج ط ٢ ٣ وح ج ح ٢ ؿحء ج ل ح ص ذ ر ٤ ك ٢ ضط ٣ ج ج ع ج حن ج ح ٢. ح ج ؼ ج ط ١ ج ؼطحو ج ج ع ض ج قص ؿحء ج ح ٤ س ك ٢ أ هح ح جألوذ ٢ ج جهد ٤ ح ) ػ ج ك ٢ ج و ٤ ىز( ٢ ج ؼ و ٤ ػ ٠ ؾح د ؾ ج د ج ؿط غ ج ح ٢. ---------------------------------------------------------------------------------- Activity (p. 71): In the remaining part of the discussion on the Audio CD we elaborate a little more on the notion of leisure and its link to study and intellectual pursuits for educated Romans. When you have listened to the rest of the discussion, think back to the introduction to this book. In your opinion, do our general conclusions about leisure and our final definition confirm or challenge these earlier sections? Listen now to the tracks 8 10 on the Audio CD. ك ٢ ج ؿ ء ج طرو ٢ حه س CD ج ش ك غ أ ػ ي ي ذو ٤ ػ ٠ ل ج ط ك ٤ ط ى ج س ج القوحش ج ل ٣ س ال ح ج طؼ ٤. ػ ى ح ض ط غ ئ ٠ ذو ٤ س ج حه س ذ ج ض ٢ ئ ٠ وى س ج ج طحخ. ك ٢ أ ٣ ي ى ٣ ح ج ط طحؾحش ػح س ق ج ط ك ٤ ضأ ٤ ى ى ٣ ح ضؼ ٣ ق ج حت ٢ أ ضكى ١ جألؾ جء ج حذوس ج ط غ ج ٥ ئ ٠ ح جش 10-8 ػ ٠ CD ج ش. C. Statius and taking refuge in the villa from politics? 1. Statius's Silvae poems: A book of literary vignettes produced to entertain his aristocratic patrons in their sumptuous villas. 2. Villa as a Means to Escape from the City and Court The subtext to Statius celebration of a life of conspicuous consumption is that the Roman elite who occupied these villas formed a guarded and claustrophobic circle who found it necessary to stay away from Rome in a kind
of voluntary exile. The reason for removing themselves from the seat of power was that Domitian (the emperor 81 96 CE) did not disguise the autocratic nature of his rule by a deferential and tactful treatment of the wealthy elite. This elite could feel very nervous about putting a foot wrong when they were close to the court. It was wiser to exhibit their status at a safe distance. In Statius time, then, the villa was not just a place of leisure but also a relatively safe retreat from the ruling regime. Domitian jealously guarded his monopoly of status and power, so it was in any case unwise to keep sumptuous town houses in the imperial capital. طحض ٤ ؿأ ك ٢ ج ل ٤ ال ج ٤ ح س. 1 طحض ٤ ك ٢ Silvae ج و حتى: طحخ ج وحالش ج و ٤ ز جألوذ ٤ س ض طؽ ط ك ٤ ػحض جأل طو ج ٤٠ س ك ٢ ك ٤ الض ج له س.. 2 ك ٤ ال ٤ س خ ج ى ٣ س ج ك س ٢ ئ ٠ جالقطلح طحض ٤ " ق ٤ حز جال ط الى ج ف أ ج هرس ج ح ٤ س ج ٣ جقط ج ج ل ٤ الش ص وجت ز ق ج س نح ن ج ٣ ؾى ج أ ج ١ جالذطؼحو ػ ح ك ٢ ع ج ل ٠ جالنط ٤ ح ١. ح ج رد إل ج س أ ل و ج و ز ج ط ٢ و ٤ ط ٤ ح ض ٣ ج طر ٤ ؼس جال طرىجو ٣ س ك هر ج ؼالؼ جقط ج ح ذوح ج هرس ج ػ ٣ س. ج هرس ٣ أ ٣ ؼ ج ؼ ر ٢ ؾىج ق غ نح ٠ ة ج وى ػ ى ح ح ج ػ ٠ و ذس ج ك س. ح أ ػ ق س ؼ ؼ ػ ٠ حكس آ س. ك ٢ ج هص طحض ٤ " غ ح ك ٤ ال ٣ ص ؿ و ح و حء أ هحش ج ل جؽ أ ٣ ح ض جؾؼح آ س ر ٤ ح ج ظح ج كح. و ٤ ط ٤ ح ذ ٤ ز حقد جقط ح ح س ه ز ي ح ػ ٠ أ ١ قح ؿ ٤ ق ٤ س كلحظ ػ ٠ ح ج ر ىز ذحيل ك ٢ ج ؼح س جال ر ج ٣ ٠ س. D. Focusing on Pliny s Villas Pliny the Younger was a very privileged man. He left a fascinating record of his life and times as his correspondence covers a wide range of topics: personal, political, social and cultural. He took pains to polish his letters for publication; for this reason the historian has to keep in mind that even messages to family and friends have been (re)crafted to showcase Pliny as an intellectual and artistic force of his times. Pliny clearly valued the time he spent at his villas in Tuscany and at Laurentum near Ostia (see Figure 3.2). In his letters he describes his country estates with great pride and affection. Like Horace nearly two centuries earlier, Pliny felt a great sense of relief when he was away from the demands of Rome and had time to concentrate on intellectual pursuits. The educated classes continued to promote the idea of otium as productive leisure in intellectual terms and something that distinguished them from the common herd. aa Pliny even characterised his villas at Lake Como in literary terms. In one letter he writes: One is built on the rocks with a view over the lake, like the houses at Baiae, the other stands on the very edge of the water in an equally Baian style, and so I have named one Tragedy, because it seems to be raised on actors boots, and the other Comedy, because it wears low shoes. (Pliny the Younger, Letter 9.7, in Radice, 1969, p. 237) Here Pliny is making an elegant joke about the look and locality of his villas, but he is also perhaps reminding the reader that these are places he associates with enjoyment of the arts and intellectual reinvigoration. ج ط ٤ ػ ٠ ك ذ ٢ ٤ ح ذ ٢ ٤ جأل ؾ ط ٤ ؾىج. ؿحو ؿ جتؼس ق ٤ حض جش ح ضط ٢ ج الض ؿ ػس ج ؼس ج ج ٤ غ: ج ه ٤ س ج ٤ ح ٤ س جالؾط حػ ٤ س ج ػوحك ٤ س. قح ؾح ىج ط ٤ غ حت. ج ج رد ج إ ل أ أن ك ٢ جالػطرح أ قط ٠ حت ئ ٠ ج ؼحت س جأل ىهحء ح ص )ئػحوز( ؼص ؼ ذ ٢ ٤ و ز ج ل ٣ س ج ل ٤ س ػ. ذ ٢ ٤ ه ٤ ط ح ذ ج لط ز ج ط ٢ ه ح ح ك ٢ ج ل ك ٢ ض ح ح ػ ٠ Laurentum ه خ أ ط ٤ ح. ك ٢ حت ٣ ق ج ج ؼوح جش ذالو غ ج له ج وز. ػ ج ك ٢ هص حذن ح ٣ و خ ه ٤ ج ح أ ذ ٢ ٤ ؼ ر ٤ جإلؿحغس ػ ى ح ح ذؼ ٤ ىج ػ طح د ح ح ج هص ط ٤ ػ ٠ ج القوحش ج ل ٣ س. ج ص ج طروحش ج طؼ س طؼ ٣ ك ز OTIUM ح ج ط ك ٤ ٤ س جإل طحؾ ٢ ق ٤ ع ج ل ٣ س ٢ ء ٤ ٣ ح ػ ج وط ٤ غ ج ط ى. أأ ذ ٢ ٤ قط ٠ ضط ٤ ج ل ك ٢ ذك ٤ ز ك ٢ ج ؿح جألوذ ٢. ك ٢ ق ف جقى ٣ طد هح : ض ذ حء جقى ػ ٠ ج ه ذ ىف ػر ج رك ٤ ز ػ ج ح كBaiae٢ ج ى ؾحش أن ػ ٠ قحكس ؾىج ج حء ذأ خ Baian ػ ٠ قى جء قط ٠ وى ج أ حز جقىز أل ٣ رى أ ضػح ػ ٠ جألق ٣ س ج ؿ حش ج لحػ س ج ٤ ى ٣ ح ج ٥ ن ٣ أل ٣ ضى ١ جألق ٣ س هل س. ح ذ ٢ ٤ ضر طس أ ٤ وس ق ج ك س ج ل ٤ الش أ ٣ ح ذ ح ط ٤ ج وح ب ذأ ٢ جأل ح ج ط ٢ ض ذ ١ غ ج ط طغ ذح ل ض ١٤ ج ل ١. Activity (p. 72): Turn to Pliny s Letter 9.36 (Reading 3.2). Does Pliny s villa lifestyle contrast with Horace s picture of time off from the duties he associated with Rome? Discussion: 5
6 Pliny s day in the country has a clear timetable and also might involve keeping open house for quasi-dependants. These large-scale villa complexes were not purely a place of escape from the responsibilities of public life. Pliny, like Horace before him, enjoys the civilised company of educated friends at his villas but civic duties, not just estate-related responsibilities, intrude into his rural retreat. Pliny complains in later books of letters that he increasingly takes work to his countryside villas in the form of court case preparations. Pliny s attitude to using his diminishing free time in an intellectually productive manner demonstrates that he is following in the footsteps of his famous uncle Pliny the Elder, a highly studious man who was an enormously productive author, writing the epic-length Natural History. The younger Pliny had been at one time rebuked by his uncle for walking when he could be carried in a sedan chair and read to on subjects of scholarly interest. Any hard-pressed student snatching a moment to study on the move might read this advice with a wry smile. And, of course, Pliny seems to be emulating his uncle when he paints the rather comical picture of himself taking his books on a boar hunt (the letter you heard on the Audio CD, track 6). أ طو ئ ٠ ح س ذ ٢ ٤ 9.36 )ه جءز 3.2(. ال ك ٤ ال ١ ج ك ٤ حز ج و ٤ ذ ٢ ٤ غ ز ج ئؾح ز جؾرحش ج ٣ ضر ١ غ ح حه س: ٣ ذ ٢ ٤ ك ٢ ج رالو ى ٣ ح ؾى ٢ ج ف ي هى ض ط ١ ػ ٠ قلع ج ر ٤ ص ج لط ر ج ؼح ٤. ح ص ج ؿ ؼحش ك ٤ ال ػ ٠ طحم ج غ ٤ ك ح خ إ ٤ حش ج ك ٤ حز ج ؼح س. ذ ٢ ٤ ػ ج هر ضط طغ ج س ج طك ز جأل ىهحء ضؼ ٤ ك ٢ ذ ى ج ل ج جؾرحش ج ى ٤ س ج إ ٤ حش يجش ج س ج ك ز ٤ كو ١ جهطكح ض جؾغ ك ٢ ج ٣ ق. ذ ٢ ٤ ٣ ك ٢ طد القوس ج حت ج ط ٢ ح ٣ أن ػ ٠ ك ط ج ٣ ى ج ؼ هلل ج ل ٤ الش ج ٣ ق ك ٢ طك جش وػ ه حت ٤ س. هق ذ ٢ ٤ ال طهىج هص ك جؿ ض حه ذط ٣ وس طؿس ك ٣ ح ٣ ف أ ٤ ٣ ػ ٠ نط ٠ ػ ج ٤ ذ ٢ ٤ جأل ر ؾ ؿط ى ح ٣ س ج ١ ح إ لح طؿس ذ ر ٤ طحذس ٠ ك س ج طح ٣ م ج طر ٤ ؼ ٢. ح ذ ٢ ٤ جأل ح ك ٢ هص جقى ذم هر ػ ٢ ػ ى ح ٣ أ ضو ػ ٠ ٤ ىج ٢ ج و جءز ق ج ػحش يجش جال ط ح ج ؼ ٤ س. أ ١ ٠ ح د ج ؼد ج ط جع- كظس ى ج س ػ ٠ ج هط ز هى ه جءز ج ٤ كس غ جذط ح س حن ز. ذطر ٤ ؼس ج كح ٣ رى ذ ٢ ٤ أ ٣ كح ٢ ػ ػ ى ح ٣ ز ٤ س ذىال ل أن طر ػ ٠ طح وز ج ه ٣ -------------------------------------------------- Activity (p.73): Turn to Pliny s Letter 2.17 (Reading 3.3). Does the layout of the villa at Laurentum reinforce the picture you already have of the man and his life as a gentleman in the country? Discussion: As he celebrates his villa s attractions during this literary tour, in which he pauses to reflect on how he has achieved the perfect design for reading, writing and studious leisure, Pliny is proud of his choice of site, its suitability as a winter villa and the fact it is in easy travelling distance from Rome. It benefits from being in the country and near the sea, away from urban sounds and smells. The exercise area, the bath suite, the ball court and the beautifully laid-out gardens and orchards all contribute to the nurturing of his mental and spiritual health. Pliny has designed his rooms so that he can view the world outside on his terms and with his choice of changing perspectives. He enjoys different aspects of the sea, and of the woods and mountains, all from windows in the same anteroom. The windows facing east and west in the small annexe to the left of the dining area have been carefully placed to give the occupant a daily display of the rising and setting sun. Pliny illustrates how the Roman elite had found a way of communing with nature while having plenty of protection against its rougher features. A similar claim, taming the landscape to maximise aesthetic pleasure, was made by Statius for his patrons villas (as you heard on the Audio CD, track 8). Pliny s extension comprises a carefully thought-out self-contained suite of rooms where he can study and write. There he is undisturbed by the voices of his slaves and he can shut out the sound of the sea and the wind. He remarks that he is very glad of this during the festival of Saturnalia in December. Slaves and masters sometimes reversed roles in true carnival tradition during this midwinter celebration, so a certain amount of controlled anarchy could take place. Pliny s arrangement means that he can escape here to carry on with his cerebral pursuits, while his household can create a carnival atmosphere with its more raucous entertainments. All the same, Pliny has to make allowances for duty to intrude upon leisure time. The Laurentine villa also has an atrium a reception hall where he can receive casual visitors and deal with complaints and requests from his tenant farmers. أ طو ئ ٠ ح س ذ ٢ ٤ 2.17 )ه جءز 3.3(. ال ضهط ١٤ ل ٤ ال ك ٢ Laurentum ضؼ ج ز ى ٣ ي ذح لؼ ج ؾ ق ٤ حض ؾ ر ٤ ك ٢ ج ر ى حه س: ذ ٤ ح ح ٣ كطل ج ؿ خ ك ٤ ط نال ج ؿ س جألوذ ٤ س ج ١ ض هق طل ٤ ك ٢ ٤ ق ج قون ض ٤ ػح ٢ و جءز ج طحذس ج ط ك ٤ جظد ذ ٢ ٤ ضله جنط ٤ ح هغ ى الء ط ح ذحػطرح ح ك ٤ ال ج طحء جهغ جأل ك ٢ حكس ج ل س ح. ٣ طل ٤ ى ك ٢ ج رالو ذح و خ ج رك ذؼ ٤ ىج ػ جأل جش ج جتف ج ك ٣ س. ج طوس ح س ؾ ح ج ك ح ج ك س ج ز ج كىجتن ج ر حض ٤ ؼص ذ ؾ ٤ ؾ ٤ غ ض ح ك ٢ ض ٣ س كط ج ؼو ٤ س ج ق ٤ س.
ذ ٢ ٤ هى ص ؿ ف قط ٠ ٣ ط ح ىز ج ؼح ج هح ؾ ٢ ذ ٠ غ جنط ٤ ح ؾ حش ج ظ ج ط ٤ ز. ٣ ط طغ ؾ ج د هط لس ج رك ج حذحش ج ؿرح ؾ ٤ ؼ ج جك ك ٢ ل ؿ كس ج ىن. ج جك ج ط ٢ ض جؾ ج م ج خ ك ٢ كن ٤ ػ ٠ ٣ ح طوس ط ح ج طؼح ؼص ذؼ ح ٣ س إلػطحء ج كط ػ ج ٢ ٤ ال ضلحع غ ج. ٣ ف ذ ٢ ٤ ٤ ق ج هرس ج ح ٤ س هى ؾىش ٤ س ال حؾحز غ ج طر ٤ ؼس ك ٢ ق ٤ ؾ و ج ػ ٤ ج ك ح ٣ س ى ٤ جش ػ ز ح. طح رس حغ س ض ٣ ج حظ ج طر ٤ ؼ ٤ س طكو ٤ ن أه ٠ هى ج طؼس ج ؿ ح ٤ س أو ٠ طحض ٤ ل أ ٤ حء أ ٣ ض ى ٣ ى ذ ٢ ٤ ؿ ػس ذ جض ح ى س ذؼ ح ٣ س ج ف ق ٤ ع ج ٣ و ج س ج طحذس. حى ج و ػحتن هر أ جش ػرحو ج ال ٣ ج طرؼحو ح ش ج رك ج ٣ ح. ج ٤ ٣ ج ٠ أ ؼ ٤ ى ؾىج ي نال ؾح ػ ٤ ى جإل حض ك ٢ و ٣ ر ح جال. ج ؼر ٤ ى جأل ٤ حو ػ جألو ج أق ٤ ح ح ك ٢ ج طوح ٤ ى لح قو ٤ و ٢ نال ج جالقطلح ط ق ج طحء ي ي ػ ٠ هى ؼ ٤ ج ل ٠ ض ٤ ط ػ ٤ ح ٣ أ ٣ كىظ. ض ض ٤ د ذ ٢ ٤ ٣ ؼ ٢ ج ٣ ج خ ح ػ ٠ جال ط ج ك ٢ حػ ٤ ج ى حؿ ٤ س ك ٢ ق ٤ أ ذ ٤ ط ٣ أ ضه ن أؾ جء جقطلح ٤ س غ حت ج ط ك ٤ ػ ٠ ك أ ػ حند. ل ذ ٢ ٤ أ ؾؼ ج رىالش و ٤ ح ذح جؾد ضؿح ضوك ل ح ك ٢ أ هحش ج ل جؽ. ى ٣ ك ٤ ال Laurentine أ ٣ ح جألي ٣ - هحػس جال طورح ق ٤ ع ٣ ج طورح ج ج ػح س ج طؼح غ ج ح ج ط رحش ج ج ػ ٤ ج طأؾ ٣. 7 E. Literary Pictures: Summing Up Horace utters a poignant prayer of gratitude for the gift of land and property after the loss of his family estate. Pliny unashamedly embraces his privileges and his well- furnished villas as proper payment for his commitment to civic duty. Both men negotiated a good life in spite of the constraints of public duties and the potential pitfalls of working for autocratic rulers. When they write about leisure they also provide evidence of a stratified society with distinct political and social tensions. Statius lets us in to an intimate aristocratic circle, surviving the repressive regime of a jealous emperor, but quietly affirming its status through its leisured lifestyle. Pliny s letter about his Laurentine villa, like Horace s poems about his Sabine farm, gives an illuminating if partial portrait of the man and the impression of studiousness and gentility he wished to leave to posterity. All three writers bear out Toner s observations about the importance of leisure for the Roman self-image and how it identified one s place in the social hierarchy. جألوذ ٤ س: ج ط ه ٤ ج ٣ طن الز إغ ز جال ط ح ؼ س جأل ج ٢ ج ط حش ذؼى ج ه ح ز ض ط جأل ز. ذ ٢ ٤ ضكط ذال نؿ ج ط ٤ ح جض ك ٤ الش ل س قل ج ٥ ذح ىكؼس ج ح د ال ط ج جؾد ى ٢. ال ج ؾ ٤ ج طلح ق ٤ حز ؾ ٤ ىز ػ ٠ ج ؿ ج و ٤ و ج ط ٢ ضل ح ج جؾرحش ج ؼح س ج ج ن ج كط س ؼ ػ ج ك ح ج طرى ٣. ػ ى ح أ طد ػ ج ط ك ٤ ح أ ح ض ك أو س ػ ٠ ؾ و ج ؿط غ ج طرو ٤ س غ ج ط ض جش ج ٤ ح ٤ س جالؾط حػ ٤ س ج ط ٤ ز. طحض ٤ ٣ ط ٤ ف ح ج ىن ئ ٠ وجت ز جأل طو ج ٤٠ س ج ك ٤ س ػ ٠ ه ٤ ى ج ك ٤ حز ج ظح ج و ؼ ٢ جإل ر ج ٠ ؿ ٤ ذ ى ء إ ىج ح ط ح نال أ خ ق ٤ حض ح ج ك س. ج ح س ذ ٢ ٤ ق ك ٤ طLaurentine ػ ه حتى ج ق ػس حذ ٤ ٣ ؼط ٢ ز ؾ ت ٤ س ئيج ئ وحء ج ء ػ ٠ ج ؾ جال طرحع جؾط حو ج وجػس أػ خ ػ ؿرط ك ٢ ض ى ألؾ ٤ ح ج وحو س. ؾ ٤ غ ج طحخ غالغس ضطك ج القظحش ج كر ق أ ٤ س ج ط ك ٤ ال ح ٤ س ج ز ج جض ٤ س ٤ ق أ ح قىوش ح جقى ك ٢ ج ط ج ٢ جالؾط حػ ٢. IV. Some Pictures from Art and Archaeology There are many archaeological remains of Roman villas to be studied, both in Italy and across the Roman empire. These show that some were more like working farms (where life might have had some of the simplicity advocated by Horace) but others reveal a much more sophisticated lifestyle dedicated to leisure, and we shall now concentrate on the latter. So much has failed to survive that we can only get a partial picture from archaeology. There may be many villa sites to be explored, but often little remains at them. Some (for example along the coast of the Bay of Naples) have been lost beneath later buildings, and we only know that they ever existed because of written accounts. Sometimes in such cases, evidence from literature and art can help to fill gaps in the archaeological record, as we shall see when it comes to considering villa buildings. It is also the case that archaeology, like other sources, may reveal more about some subjects than others. In the context of leisure, it tends to privilege the wealthy, whose lifestyle left more enduring traces. Although objects used in menial work (from pots to wine presses) also survive in large numbers, other aspects of the lives of the countless slaves who worked in villas are scarcely visible in archaeology. In short, more archaeological evidence survives for the few for whom the villa was a place of leisure than for the many who laboured there; like literature, it tells far more about what leisure meant for the rich and educated. ذؼ ج ل ػ ج ٥ غح حى ج ؼى ٣ ى ج روح ٣ ح جألغ ٣ س ج ل ٤ الش ج ح ٤ س ى ج ط ح ك ٢ ئ ٣ طح ٤ ح هط ق أ كحء جإل ر ج ٣ ٠ س ج ح ٤ س. ضر ٤ أ ذؼ ح ح أ ر ج ج ع ج ؼ )ق ٤ ع ج ك ٤ حز ذ ح ح ح ذؼ ج ر ح ٠ س ج ط ٢ ٣ حو ١ ذ ح ج ( ض ق ج ٥ ن ٣ ١ ق ٤ حز أ ػ ضؼو ٤ ىج ي ي ذ ػ ٤ ه س أل هحش ج ل جؽ ك ٣ ؿد أ ج ٥ ػ ٠ ج جألن ٤. هى ك ص ج ػ ٤ أؾ ج روحء ذأ ح ٣ كو ١ ج ك ػ ٠ ز ؾ ت ٤ س ػ ج ٥ غح. هى ٣ حى ج ؼى ٣ ى ج جهغ ك ٤ ال ٣ ط ل ح ال ٣ ج ك ٢ ػ ٤ جألق ٤ ح ه ٤ ال ػ ٤. ذؼ )ػ ٠ ر ٤ ج ػح ػ ٠ ٠ حق ن ٤ ؽ حذ ٢ ( هى كوىش ضكص ج رح ٢ ك ٢ هص القن ك ؼ كو ١ أ ؾىش أ ١ هص ٠ ذ رد ج ك حذحش ج ط ذس. أق ٤ ح ح ك ٢ ػ ج كحالش أو س جألوخ ج ل ٣ أ ٣ حػى ػ ٠ ى ج ػ جش ك ٢ ج ؿ ج ٥ غح ١ ح ػ ى ح ٣ طؼ ن جأل ج ظ ك ٢ ج رح ٢ ك ٤ ال. ٢ ج كح س ج ط ٢ ػ ج ٥ غح ػ حو أن هى ض ق ج ٣ ى ػ ذؼ ج جو ؿ ٤ ح أ ٣ ح. ك ٢ ٤ حم ج ط ك ٤ أ ٤ ٣ ئ ٠ ج ط ٤ ح جألغ ٣ حء ج ١ ض ى آغح ج أ ػ و ٣ س ج ك ٤ حز. ػ ٠ ج ؿ أ جأل ٤ حء ج طهى س ك ٢ أػ ح ٤ ؼس ) جأل ج ٢ ئ ٠ ج طحذغ ج ر ٤ ( ج روحء ػ ٠ ه ٤ ى ج ك ٤ حز أ ٣ ح ذأػىجو ر ٤ ز ج ؿ ج د جألن ق ٤ حز ػىو ال ٣ ك ٠ ج ؼر ٤ ى ج ٣ ٣ ؼ ك ٢
ج ل ٤ الش ذح حو ت ٤ س ك ٢ ػ ج ٥ غح. ذحنط ح ج ٣ ى جألو س جألغ ٣ س ػ ٠ ه ٤ ى ج ك ٤ حز و س ج ٣ ح ك ٤ ال ح ح و حء أ هحش ج ل جؽ ال ػ ٣ ٤ ج ٣ ػ ج حى ػ جألوخ ٣ و أ ػ ذ ػ ٤ ػ ح ج ط ك ٤ ٤ س ج ه س الألؿ ٤ حء ج طؼ ٤. A. Evidence from Villa Art To answer questions about what leisure meant to wealthy villa owners, one useful (and attractive) source of evidence is the art chosen to decorate their rooms and gardens wall-paintings, mosaic pavements, sculptures. Even though relatively little survives, it can give fascinating insights into how villa owners thought about leisure and what they wanted from it. Given the traditional values attached to leisure by the educated classes (think back to the ideals of Aristotle and Epicurus you met in Chapter 1) it is not surprising to find a frequent emphasis on serious cultural pursuits and on the appreciation of natural pleasures such as gardens and sea vistas. Showing all this off also seems to have been important, to judge from much of the art. This is also unsurprising, since villas were part of the social competition that their elite residents brought with them from the city, and interior decoration played a prominent part in this. 1. Art Forms Used in the Villas a. Sculptures b. Mosaics and c. Wall-paintings 2. Two Dominant Themes a. Enjoyment of nature b. The heritage of classical learning and mythology جألو س ك ٤ ال ك جإلؾحذس ػ ٠ أ ث س ق ح ٣ ؼ ٢ ج ط ك ٤ أل كحخ ج ل ٤ ال جألغ ٣ حء جقىز ى ج ل ٤ ىج ) ؾ جذس( جألو س ك جنط ٤ ح ط ٤٣ ؿ ك ج كىجتن - ج ج ؿىج ٣ س أ ٤ حش ك ٤ ل حت ٤ س ك ضحش. ػ ٠ ج ؿ ه ٤ ى ج ك ٤ حز ث ٤ س ر ٤ ح كا ٣ ئػطحء ؤ جتؼس ك ٢ ٤ ل ٤ س ٣ ؼطوى أ كحخ ج ل ٤ ال ق ج ٢ ج ط ك ٤ ح ٣ ٣ ى. ذح ظ ئ ٠ ج و ٤ ج طو ٤ ى ٣ س ج ط ٢ ضؼ ن ػ ٠ ج ط ك ٤ هر ج طروحش ج طؼ س كا ٤ ج ط خ أ ؿى ج ط ٤ ج ط ػ ٠ ج القوحش ج ػوحك ٤ س نط ٤ ز ػ ٠ ج طوى ٣ ج طغ ج طر ٤ ؼ ٤ س ػ ج كىجتن آكحم ج رك. ػ ج ج ه ؼ أ ٣ ح ٣ رى أ هى ض أ ٤ س أ ك ج ػ ٤ ج ل. ج أ ٣ ح ٣ لحؾثح ق ٤ ع أ ج ل ٤ الش ؾ ءج ج حك س جالؾط حػ ٤ س ج ط ٢ ح ح ج هرس ؾ ر ج ؼ ج ى ٣ س ؼد ج ى ٣ ج ىجن ٢ و ج ذح ج ك ٢ ج ج ؿح.. 1 ج ل ج حيؼ ج طهى س ك ٢ ك ك ضحش ج ل ٤ ل حء ج ؿىج قحش. 2 ػ ٤ ج ٤ س ض طغ ج طر ٤ ؼس ض جظ ج طؼ ج ال ٤ ٤ س جأل ح ٤٠ B. Nature and Landscape Since Roman villas were often built in places of great natural beauty, it is not surprising to see an appreciation of nature reflected in the art that decorated them. Paintings could bring the refreshment of the garden indoors (useful when it was too hot to relax in the real garden outside). 1. Landscape Paintings Nature and buildings can be seen in another popular subject: landscape paintings of villas themselves, which often appeared as vignettes (as in Figure 3.3). As you can see from three paintings from Stabiae, a seaside town to the south of Naples (Plates 4.3.5 7), the style is often quite impressionistic, blurring distances and making natural features (such as water and trees) and architecture blend together. In this way these paintings evoke something of the seaside atmosphere, just as Pliny did by talking of the sights and smells of the sea. All is shown as calm and peaceful, and with a certain mystical quality that is also found in another type of Roman landscape painting, usually known as sacro-idyllic since it depicts shrines or landscapes in a pastoral setting (as in Plate 4.3.8). Yet despite this idealisation and hints of spirituality, there seems to me something rather selfregarding about these scenes, given their particular setting; they suggest rather an exclusive social group that enjoyed displaying paintings of desirable residences in their houses. 2. Manmade Villa Features: Garden Ornaments & Designs But its trellises, pergolas and fountains make another important point about the natural world in relation to the ideals of the villa the idea that its beauties could be enhanced even further by manmade features. 8
Garden ornaments, the design of the grounds and even the situation of the villa itself are all aspects of this intervention, which has wider significance in relation to man s control over the natural world. Figure 3.5 is a dramatic (but not unique) illustration of just how far wealthy villa owners would go in converting the natural environment to serve their leisure needs. It was not enough just to enjoy the natural view. Instead they wanted to control and improve it through manmade art which, particularly in this case, exemplified the other aspect of leisure for Roman elites: their heritage of classical culture and mythology. Guests at Sperlonga would have known that ancient traditions and literature set some of Odysseus adventures on this coast, and, surrounded by these statues, they might have felt as if they were dining in the company of true local heroes. ج طر ٤ ؼس ج حظ ج طر ٤ ؼ ٤ س ؿح رح ح ذ ٤ ص ج ل ٤ الش ج ح ٤ س ك ٢ أ ح ج ؿ ح ج طر ٤ ؼ ٢ ج جتغ كا ٤ ج ط خ أ ج طوى ٣ ج طر ٤ ؼس ٣ ؼ ك ٢ ج ل ج ١ ٣ ص. قحش ٣ أ ضؿ د ج طؼح ك ٢ ج ىجن قى ٣ وس ) ل ٤ ىز ػ ى ح ح ص حن س ؾىج ال ط نحء ك ٢ قى ٣ وس قو ٤ و ٤ س نح ؼ.(. 1 قحش ج حظ ج طر ٤ ؼ ٤ س ٣ ؤ ٣ س ج طر ٤ ؼس ج رح ٢ ك ٢ ع ؼر ٢ آن : قحش ج حظ ج طر ٤ ؼ ٤ س ج ل أ ل ج ط ٢ ؿح رح ح ذىج ج وحالش ج و ٤ ز. ح ض غالظ قحش Stabiae ٢ ذ ىز حق ٤ س ج ٠ ج ؿ خ حذ ٢ جال خ ك ٢ ػ ٤ جألق ٤ ح ج طرحػ ٢ ض ح ح ػى ج حكحش ؾؼ ج ؼح ج طر ٤ ؼ ٤ س ) ػ ج ٤ ح جأل ؿح ( ج ى س ج ؼ ح ٣ س ٣ ؽ ؼح. ذ ج ط ٣ وس ج قحش ضػ ٤ ٤ ثح ج الف ج ؿ ١ ػ ٠ ح ٠ ة ج رك ض ح ح ح كؼ ذ ٢ ٤ نال ج طكىظ ح ى ضل ح جتكس ج رك. ٣ ظ ج ى ء ح ٢ غ ؾ و ذؼ ػ ٤ س ج ك ٤ س ج ط ٢ ٣ ط ج ؼػ ػ ٤ ح أ ٣ ح ك ٢ ع آن ج ح ٤ س ج حظ ج طر ٤ ؼ ٤ س ج ١ ٣ ؼ ف ػحوز ج ؼؿ ٣ س ج ػح ٤ س أل ٣ جأل قس أ ج حظ ج طر ٤ ؼ ٤ س ك ٢ غ ج ػ ٣ س. ػ ٠ ج ؿ ج idealisation ض ٤ كحش ج قح ٤ س ال ٣ رى ٤ ثح ٢ ػ ج ح ى ظ ج ك ٤ ط ؼ ٤ ذىال ذه ج جش. ٣ وط ق ذىال ؾ حػس جؾط حػ ٤ س ج ك ٣ س ج ط ٢ ضط طغ ػ قحش " ح ؿ خ ك ٤ " ك ٢ ح..2 غ جإل ح ك ٤ ال ج ٤ جش: قىجتن ض ح ٤ ك ٢ ج طؼ ٣ حش ج ؼ ٣ س جك ٤ ضؿؼ وطس ح س أن ق ج ؼح ج طر ٤ ؼ ٤٤ ك ٢ ج ػ ج ؼ ٤ ح ل ٤ ال - ك ز أ ؾ ح ح ٣ ضؼ ٣ أذؼى ي ي ج ٤ جش غ جإل ح. قى ٣ وس ج ك ٢ ض ٤ جأل رحخ قط ٠ ج غ ج ل ٤ ال ل ح ٢ ؾ ٤ غ ؾ ج د ج ج طىن ج ١ أ ٤ س أ غ ك ٤ ح ٣ طؼ ن ذ حككس ج ؾ أ كحء ج ؼح ج طر ٤ ؼ ٢. ج 3.5 ج ط ٤ ف ج ى ج ٢ ) ٤ ك ٣ ى( أ ١ ى أ كحخ ج ل ٤ ال جألغ ٣ حء ط د ك ٢ ضك ٣ ج ر ٤ ثس ج طر ٤ ؼ ٤ س هى س ج كحؾحش ك جؿ. ٣ حك ٤ ح ؿ و ج ط طغ ذح ظ ج طر ٤ ؼ ٢. ذىال ي ي ج ٣ ٣ ى ج ٤ ط ز "ضك ٤ " نال ج ل غ جإل ح ج ١ ج ط ػ نح س ك ٢ ج كح س ج ؿح د ج ٥ ن أ هحش ج ل جؽ ال هد ج ح ٤ س: ض جغ ج ػوحكس ج ال ٤ ٤ س جأل ح ٤٠. ٤ ج ٤ ف ك ٢ ر ح ٣ ؼ ف أ ج طوح ٤ ى ج وى ٣ س جألوخ ؼص ذؼ ج ح جش أ و ٤ ٣ "ػ ٠ ج ج حق ضك ١٤ ذ ح ج ط حغ ٤ أ ح هى ؼ ش ح ح ج ض ح ج طؼح ك ٢ ج س جألذطح ج ك ٤٤ ج كو ٤ و ٤ س. C. Images from Classical Mythology and High Culture Subjects from myth many also known from famous works of classical literature were also popular in the art that adorned villas. 1. Subjects of the Mythic Images Used in Villas: a. Often these figures must have been chosen simply to illustrate familiar tales. For instance, the panel in the centre of the wall shown in Figure 3.3 depicts two famous lovers: Bacchus (the god of wine) and Ariadne (a heroine with whom he fell in love). b. But mythological subjects could also offer particular intellectual, moral or spiritual themes and they were often depicted in thematic groups for viewers to ponder. 2. Types of the Mythic Art Used in Villas: Sculpture shows a similar predominance of subjects from myth or high culture, chosen particularly to decorate rooms dedicated to the more intellectual aspects of leisure, such as reading or study. Portraits of great intellectuals of the past, images of the Muses, and copies of famous artistic masterpieces were especially popular. Examples of all of these were found in the great collection of statues at the Villa of the Papyri at Herculaneum, including a bronze bust of the philosopher Epicurus (see Figure 3.6). This was particularly appropriate because the villa housed a specialist library of texts relating to Epicurean philosophy. جأل ح ٤٠ ج ال ٤ ٤ س "ج ػوحكس ج ؼح ٤ س" ؼ ف ج ؼى ٣ ى ج ج ٤ غ أ ط ز أ ٣ ح جألػ ح ج ز جألوخ ج ال ٢ ٤ - ح أ ٣ ح ؼر ٤ س ك ٢ ج ل ج ط ٢ ح ص ض ٣ ج ل.. 1 ج جو أ ط ١ ج طهى س ك ٢ ك : أ. ؿح رح ح ض جأل هح ٣ ؿد أ ٣ هى جنطح ذر ح ٠ س ط ٤ ف ق ح ٣ حش أ كس. ػ ٠ ر ٤ ج ػح قس ك ٢ ١ ج ؿىج ر ٤ ك ٢ ج ٣ 3.3 جغ ٤ ػ حم ج ٤ ز: ذحن )ئ ج ه ( أ ٣ حو )ذط س ؼ هؼص ك ٢ ج كد.( خ. ج ج ٤ غ جأل ط ٣ س ٣ أ ٣ ح أ ض ك ؼ ٤ س ج ػحش ج ل ٣ س جألناله ٤ س أ ج ق ٤ س ح ج ؿح رح ح ٣ ك ٢ ؿ ػحش ج ج ٤ ؼ ٤ س ح ى ٣ طل ٤.. 2 أ جع أ ط ١ ج ل ج طهى س ك ٢ ك : ٣ ظ ج كص ؿ رس حغ س ج ج ٤ غ جأل ط ز أ غوحكس ػح ٤ س ج ١ ض جنط ٤ ح ذ نح ط ٤٣ ؿ ف ه س ؿ ج د ج ل ٣ س ج ٣ ى هص ج ل جؽ ػ ج و جءز أ ج ى ج س. ح ص ج ػول ٤ ػظ ٤ ج ح ٢ ج ٤ ل م جتغ ج ل ٤ س ج ٤ ز ؼر ٤ س نح س. ض ج ؼػ ػ ٠ أ ػ س ك ٢ ؿ ػس ر ٤ ز ج ط حغ ٤ ك ٢ ك ٤ ال أ جم ج ر و ١ ك ٢ ٤ ال ٤ ذ ح ك ٢ ي ي ض ػح ج ر ال ل ٤ ف أذ ٤ و. ح ص ح رس ذ نح أل ك ٤ ال ٣ طرس طه س ج طؼ وس ج ل لس جألذ ٤ و ٣ س. 9
10 D. Summing Up these Themes: Brading Roman Villa Now turn to the DVD ROM Roman Villa and work through Brading Villa. Here three people, whose work involves mosaic in different ways, address some of the issues raised above. The villa at Brading, on the Isle of Wight, combined a working life, in a beautiful setting near the sea, with a demonstrable interest in the traditional values of Roman elite leisure. ض ه ٤ ج ظح Brading :ج ح ٤ س ك ٤ ال ج ٥ أ طو ئ ٠ " DVD ROM ك ٤ ال ج ح ٢ " ج ؼ نال "Brading ك ٤ ال". ح غالغس أ هح ج ط ٢ ض ط ١ ػ ٠ ك ٤ ل حء ذط م هط لس ج ؼ ضؼح ؽ ذؼ ج و ح ٣ ح ج ػح ز أػال. ك ٤ ال كBrading٢ ػ ٠ ؾ ٣ ز ج ٣ ص ج ؿ غ ذ ٤ ق ٤ حز ج ؼ ك ٢ ئ ٠ ح ؾ ٤ ذح و خ ج رك غ جال ط ح ئغرحض ك ٢ ج و ٤ ج طو ٤ ى ٣ س ال ح ٢ ج ط ك ٤ ج هرس. V. Evidence about Villa Buildings Visiting a place like Brading, with its many well-preserved mosaics, can give a real immediacy to the values that Romans attached to life at the villa. We can also get a good idea of the layout of the building and some sense of the activities (relating to both work and leisure) which it supported. A. Some Issues/Problems Concerning Excavation of Archeological Sites: 1. Unfortunately many other villa sites are far less informative, usually because they have been largely destroyed or have not been fully excavated. 2. Systematic excavation is one of the most effective means of revealing evidence for villa buildings, but even so there can be problems arising from misguided investigations in the past or limits as to what can be dug or known. It can be hard to give accurate accounts of a villa s layout or changing usage over time. 3. So to get a fuller picture of villa buildings as places for leisure we can try to supplement the archaeological information with evidence from other sources, principally art and literature. Sometimes this process can prove useful, but sometimes it can be problematic, as can be seen from the following brief review of some examples from Roman Italy which you have already met. B. Relating Evidence from Paintings and Archaeology The first of these examples involves the paintings of seaside villas in which, as we noted earlier, nature and buildings appear to blend. Here our question concerns the realism of the architecture: how far does this fit with the archaeological evidence for some contemporary buildings? Look again at the three paintings of seaside villas from Stabiae (Plates 4.3.5 7), but this time consider what are the main characteristics of the villas shown here. Perhaps the most conspicuous feature of these houses is their size: they are extensive buildings, set in a wider landscape by the sea. They have enclosed gardens or face on to private jetties (sometimes you can see figures fishing or in boats) and have large porticoes where people can take their leisure in the fresh air, but sheltered from the sun. These particular characteristics size, setting and porticoes are the kinds of tangible feature that can be checked out against the archaeological evidence. جألو س ق ج رح ٢ ك ٤ ال ٣ ح ز ح ػBrading غ ج ؼى ٣ ى ج ل ٤ ل حء ح ج كل ظس ؾ ٤ ىج ٣ أ ضؼط ٢ ج ل ٣ س ج كو ٤ و ٤ س و ٤ ج ط ٢ ج ح ضؼ ن ػ ٠ ج ك ٤ حز ك ٢ ج ل ٤ ال. ٣ ح أ ٣ ح ج ك ػ ٠ ك ز ؾ ٤ ىز طهط ١٤ ر ٠ ذؼ ج ؼ أ طس )ك ٤ ح ٣ طؼ ن ذ ج ؼ ج ط ك ٤ ( ج ط ٢ ضىػ ح. ذؼ ج و ح ٣ ح / ج ح ك ٤ ح ٣ طؼ ن ج كل ج جهغ جألغ ٣ س:. 1 ج ؼى ٣ ى ج جهغ ء ج كع ك ٤ ال أن ٢ أه ذ ػ ٤ ذح ؼ حش ػحوز أل ح هى و ش ئ ٠ قى ر ٤ أ ٣ ط قل ح ذ ح.. 2 ج كل ج ؿ ٢ جقى أ ػ ج حت كؼح ٤ س ط ق ػ أو س رح ٢ ج ل ٤ ال ػ ٠ ج ؿ ي ي ٣ أ ٣ حى ح ج حؾ س ػ ج طكو ٤ وحش ج هح ٠ ثس ك ٢ ج ح ٢ أ قى و ح ٣ قل أ ج ؼ كس. ٣ أ ٣ ج ؼد جػطحء ق حذحش وه ٤ وس طهط ١٤ ك ٤ ال أ ض ٤٤ جال طهىج غ ج هص.. 3 ي ك ػ ٠ ز أ ػ ج ط حال ج رح ٢ ك ٤ ال أ ح و حء هص ج ل جؽ ٣ ح كح س ال ط ح ج ؼ حش جألغ ٣ س غ جألو س حو أن ذ ز ت ٤ ٤ س ج ل جألوخ. أق ٤ ح ح ٣ ج ؼ ٤ س أ ض ل ٤ ىز أق ٤ ح ح ٣ أ ٣ س ح ٣ أ ٣ ظ ئ ٤ ج طؼ ج ؾ ج طح ٤ س ذؼ جأل ػ س ج ئ ٣ طح ٤ ح ج ط ٢ ص هى جؾط ؼص ذح لؼ. ك ٤ ح جألو س قحش ج ٥ غح أ جأل ػ س ٣ ط ١ ػ ٠ قحش ج ل ٤ الش ج ط س ػ ٠ ج رك ج ط ٢ ح القظ ح ك ٢ هص حذن ج طر ٤ ؼس ضظ ج رح ٢ ؼ. ح إج ح ٣ طؼ ن ج جهؼ ٤ س ج ؼ ح ز: ئ ٠ أ ١ ى ٣ ط جكن ج غ جألو س جألغ ٣ س رؼ ج رح ٢ ج ؼح ز ظ ز أن ك ٢ قحش غالغس ج ل ػ ٠ ح ٠ ة ج رك Stabiae ج ز ض ظ ح ٢ ج ه حت ج ت ٤ ٤ س ل ٤ ال ف ح. ؼ ج ٤ ز جأل ػ ج ف ج ح ٢ قؿ ح: ج رح ٢ ج ؼس ضؼ ٤٤ ك ٢ ج ى أ غ ػ ٣ ٠ ن ج رك. هى أ كوص أ ج كىجتن أ ؾ ئ ٠ جأل لس ج رك ٣ س ج هح س )ك ٢ ذؼ جألق ٤ ح ٣ ي ج ض جأل هح ج ٤ ى أ ك ٢ ه ج خ( ٣ أ هس ر ٤ ز ق ٤ ع ٣ ح أ ضأن ك جؿ ك ٢ ج جء ج ط ن ك ٤ س ج. ج ه حت ؼ ٤ س - قؿ ضكى ٣ ى أ هس - ٢ أ جع ج ٤ ز ج س ج ط ٢ ٣ كر ػ ٠ جألو س جألغ ٣ س. Activity (p. 81): Now compare these features with the building shown in the drawing in Figure 3.7. This was made for an archaeological report on the Villa San Marco at Stabiae (from where Plates 4.3.6 and 4.3.7 come). What similar features can you see?