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Building the Classical World
Building
the Classical World
Bauforschung as a Contemporary Approach
Edited by
D O R IA N B O R B O N U S
AND
E L I SHA A N N DUM SE R
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.
ISBN 978–0–19–069052–6
DOI: 10.1093/oso/9780190690526.001.0001
1 3 5 7 9 8 6 4 2
Printed by Integrated Books International, United States of America
Contents
Index 271
List of Figures
To locate the full citation for a publication, please refer to the bibliography of the chapter
in which the illustration appears.
Cover: Baalbek, Temple of Jupiter, view from the south. Photograph by Daniel Lohmann.
Figure 0.1 Athens, Acropolis, Erechtheion as drawn by Stuart and Revett. From Stuart
and Revett 1787, pl. 21. 4
Figure 0.2 Athens, Acropolis, Erechtheion as drawn by Stuart and Revett. From Stuart
and Revett 1787, pl. 18. 5
Figure 0.3 Edfoù (Apollinopolis Magna). From Description de l’Egypte 1821, I. pl. 48. 6
Figure 0.4 Babylon, “The Trench West of the South Citadel under Excavation.” From
Koldewey 1913, 132 fig. 83. 8
Figure 1.1 Rome, Upper Subura with Clivus Suburanus. a: Porticus Liviae, b: Sanctuary
of Juno Lucina, c: Anio Vetus, d: Porta Esquilina, e: Lacus Orphei, f: Shrine
of Mercury. Drawing by author. 26
Figure 1.2 Rome, Porta Esquilina, west face. Photograph by author. 32
Figure 1.3 Rome, Shrine of Mercury, state plan. Drawing by author. 33
Figure 1.4 Rome, Shrine of Mercury, hypothetical reconstruction of the Republican
shrine. Drawing by author. 34
Figure 1.5 The three known inscriptions belonging to Augustan New Year’s
dedications. Drawing by author. 35
Figure 1.6 Detail of statue base with unfinished mortise on upper face.
Photograph by author. 36
Figure 1.7 Rome, Shrine of Mercury, reconstruction drawing of the Augustan shrine
with game boards visible on the precinct floor adjacent to the statue base.
Drawing by author. 37
Figure 2.1 Minturnae, aerial photograph taken after the main excavation in 1932.
Courtesy of the Penn Museum, image #3671. 44
Figure 2.2 Minturnae, façade of the area sacra as seen from the Via Appia in the 2nd
century ce. Author’s reconstruction drawn by V. Hinz and S. Franz. 44
Figure 2.3 Sketch of the aqueduct at Minturnae by J. W. von Goethe in 1787 (inv. no.
GGz/0346, Bestand Museen, Klassik Stiftung Weimar). Courtesy of the
Klassik Stiftung Weimar, Bestand Museen, Inv-Nr.: GGz/0346. 45
Figure 2.4 Minturnae, castellum aquae above the city gate. Author’s reconstruction
drawn by V. Hinz and S. Franz. 46
Figure 2.5 Minturnae, aqueduct piers with brick markers indicated by an arrow.
Illustration by T. Strellen. 47
viii List of Figures
Figure 6.7 Athens, Tower of the Winds, general scheme of the roof which had an
octagonal pyramid on the exterior and a dome-like cone on the interior.
Drawing by author. 113
Figure 6.8 Athens, Tower of the Winds, upper zone of the chamber with an interior
epistyle as shown in a physical model of the tower. Drawing by author. 114
Figure 6.9 Athens, Tower of the Winds, diagram showing both the distinct joints of
final slab (no. 24) as well as its divergence from the center point of the roof.
Drawing by author. 115
Figure 7.1 Rome, Pantheon, section of entry hall drawn by Palladio. From Palladio
1570, 77. 119
Figure 7.2 Rome, Pantheon, longitudinal section of the entry hall drawn by Palladio.
From Palladio 1570, 76. 120
Figure 7.3 Rome, Pantheon, detail of entry hall truss as drawn by Palladio. From
Palladio 1570, 77. 121
Figure 7.4 Kibyra, Odeion, demolition material of the truss. Photograph by author. 122
Figure 7.5 Kibyra, Odeion. Drawing by author based on documentation by Burdur
University. 122
Figure 7.6 Kibyra, Odeion, roof covering. Photograph by author. 123
Figure 7.7 Kibyra, Odeion, large iron belt. Photograph by author. 124
Figure 7.8 Kibyra, Odeion, large iron belt. Drawing by author. 125
Figure 7.9 Kibyra, Odeion, function of the large iron belt. Drawing by author. 125
Figure 7.10 Kibyra, Odeion, smaller iron belt. Photograph by author. 126
Figure 7.11 Kibyra, Odeion, function of the small iron belt. Drawing by author. 127
Figure 7.12 Kibyra, Odeion, fragments of a U-shaped iron belt. Photograph by author. 127
Figure 7.13 Kibyra, Odeion, reconstruction of a U-shaped iron belt. Drawing by author. 128
Figure 7.14 Kibyra, Odeion, fragments of bands and fittings. Photograph by author. 128
Figure 7.15 Athens, Odeion of Herodes Atticus, reconstruction of the main roof
construction. Courtesy of the Technische Universität Braunschweig. 129
Figure 7.16 Rome, Temple of Mars Ultor drawn by Palladio. From Palladio 1570, 19. 130
Figure 7.17 Rome, Pantheon, entry hall truss as drawn by Angiolo Pasinelli. From
Pasinelli 1747, pl. II–III. 131
Figure 8.1 Drawings of the two vaulting systems discussed. A: nozzle-type vaulting
tubes. B: ribs of armchair voussoirs spanned by tiles. Drawing by author. 135
Figure 8.2 Map showing distribution of vaulting tubes and vaulting pots in kilns. Map
by author. 135
Figure 8.3 Plans of bath buildings mentioned in the text (drawn to the same scale). a:
Fregellae. b: Morgantina. c: Cabrera de Mar. d: Baetulo. e: Olbia. f: Gaujac.
Drawing by author, based on (a) Tsiolis 2013, fig. 2; (b) Lucore 2013, fig. 6;
(c) Martín 2000, fig. 1; (d) Guitart Durán 1976; (e) Bouet 2006, fig. 2; and (f)
Charmasson 2003, fig. 6 and Bouet 2003, fig. 78. 136
Figure 8.4 Chart showing development of vaulting tube typology and vaulting pots.
Place names underlined indicate Christian contexts. Illustration by author. 137
List of Figures xi
Figure 8.5 Map showing distribution of armchair voussoirs. Map by author. 138
Figure 8.6 Vault made of terracotta bars with detail of bars found at the Republican
baths at Fregellae, Italy (3rd–2nd century bce) and a similar type bar found
at a workshop in Massa (late 2nd–mid 1st century bce). All measurements
indicated in meters. Drawing by author, based on Tsiolis 2001; Tsiolis 2006;
details of Massa bar provided by E. J. Shepherd. 139
Figure 8.7 Cabrera de Mar, Bath, author’s reconstruction of the caldarium ceiling of
vaulting tubes (mid-2nd century bce). Rendering by author. 141
Figure 8.8 Baetulo, Baths, reconstruction of terracotta ceiling of the caldarium (first
half of 1st century bce). All measurements indicated in meters. Drawing
by author, based on Guitart Durán 1976, fig. 9; photographs by author, with
permission of Museum of Badalona, Badalona, Spain. 142
Figure 8.9 Baetulo, Baths, details of the ribs formed of terracotta tiles from the
caldarium ceiling (first half of 1st century bce), showing alterations to
notches in the H-shaped rib tiles required by the inappropriate angle of
the voussoirs (top left). Drawing by author; photographs by author, with
permission of Museum of Badalona, Badalona, Spain. 143
Figure 8.10 Early examples of armchair voussoirs. A: Terracotta workshop at Vingone,
Italy. B: Bath B at Gaujac, France. C: North Baths at Olbia. Drawing by
author, based on (A) Shepherd 2008, fig. 182; (B) Bouet 1999, fig. 50d; and
(C) Bouet 1999, fig. 54c. 144
Figure 9.1 Side, Temple of Dionysus, west side of the podium seen from the northwest.
Photograph by author. 153
Figure 9.2 Map of Side indicating the position of the Temple of Dionysus between
the theater in the southeast, the colonnaded street in the west, and the
monumental arch in the northeast. Drawing by author, based on Mansel
1963 and Mansel 1978. 153
Figure 9.3 Side, Temple of Dionysus, schematic plan of the architectural finds with
the four main phases: (1) initial Late Hellenistic temple in dark gray;
(2) extension of the podium to the north due to the construction of the
theater in the first half of the 2nd century ce in medium gray; (3) Late
Roman flight of stairs in the north in light gray; and (4) Early Byzantine
installations in very light gray. Plan by author. 155
Figure 9.4 Side, Temple of Dionysus, schematic site plan illustrating how the temple
was affected by the construction of the theater. Left: Late Hellenistic temple
mapped onto the theater’s substructures. Right: possible rebuilding in the
2nd century ce. Drawing by author, based on Büyükkolancı 2008, fig. 1. 156
Figure 9.5 Side, Temple of Dionysus, trench 1/10 at the east side of the podium.
The white arrow indicates a mark on the theater’s substructure left by the
podium’s foot profile. Photograph by author. 157
Figure 9.6 Side, Temple of Dionysus, well-crafted antique repairs of the podium.
Left: A broken podium panel was fixed with an extra set of clamps; the white
arrows indicate additional clamp holes. Right: Two blocks of the euthynteria
that have apparently been replaced by new ones. Photographs by author. 158
xii List of Figures
Figure 9.7 Side, Temple of Dionysus, extension of the podium to the north. Left: trench
2/11. A white arrow highlights where the initial eastern corner panel of the
podium has an anathyrosis where the initial northern panel was attached
to it. Right: Two podium panels of the extension with deep primary and
shallow secondary clamp holes. Photographs by author. 159
Figure 9.8 Side, Temple of Dionysus, hypothetical reconstruction of the rebuilding in
the first half of the 2nd century ce. Plan by author. 160
Figure 9.9 Side, Temple of Dionysus, trench 1/12. Photograph by author. 162
Figure 10.1 Baalbek, Temple of Jupiter, view from the south. Photograph by Daniel
Lohmann. 171
Figure 10.2 Baalbek, Sheikh Abdallah quarry. During a recent joint excavation project
between the German Archaeological Institute and Lebanese University
underneath the “Hajjar el-Hibla” megalith, another megalith weighing
c. 1,600 tons was discovered. Photograph by J. Abdul Massih. 173
Figure 10.3 Baalbek, Sanctuary of Jupiter, architectural development. Phase I: time of
Herod; Phase II: early imperial; Phase III: 2nd century ce; Phase IV: late
2nd–3rd century ce. After Lohmann 2014b, figs. 163, 171, 178 and 188. 174
Figure 10.4 Baalbek, Temple of Jupiter, building elements with their weights in tons.
After Wiegand 1921, pl. 22. 176
Figure 10.5 Baalbek, Temple of Bacchus, doorway with 120-ton lateral lintel blocks.
After Wiegand 1923, 19 fig. 35k. 178
Figure 10.6 Baalbek, map of quarries with proposed transportation route for the huge
megaliths. Photograph by author, after de Jong 2014, 47 fig. 53. 179
Figure 10.7 Baalbek, Sheikh Abdallah quarry, second megalith. Photograph by author. 179
Figure 10.8 Baalbek, map of Sheikh Abdallah quarry with the hypothetical
relocation of large blocks from the Temple of Jupiter. Map from Abdul
Massih 2014, 55 fig. 67. 180
Figure 10.9 Ragette’s proposed machinery to lower the blocks at the building site with
lewises, pulleys, and capstans. Drawing from Ragette 1980, 118–19. 181
Figure 10.10 Hypothetical reconstruction of a mechanism to lower blocks at the building
site using sandbags. a: Block arriving at building site on sledges and rollers.
Preparing of rectangular peg holes. b: Transferring the load of the blocks
by ropes and beams to lateral sand baskets. Smoothing of the lower surface
after sledges and rollers were removed. c: Lowering the blocks by carefully
opening the sand baskets. Drawing by author. 182
Figure 11.1 Early plans. The Toumba building is highlighted and labeled “Lefkandi.”
Drawing by authors. 191
Figure 11.2 Doric temple plans. The temple at Corfu is highlighted and labeled
“Kerkyra, Artemis.” Drawing by authors. 192
Figure 11.3 Lefkandi, Toumba building, plan, projection, and section.
After J.J. Coulton, in Popham et al. 1993, Pl. 28, fig. 1, with the plan as
presented in Herdt 2015, fig. 2. 193
Figure 11.4 Lefkandi, Toumba building, sections (a) after Coulton and (b) authors’
alternative proposal. Drawing by G. Herdt. 194
List of Figures xiii
Figure 11.5 Greek architectural models. From Wilson Jones 2014a, fig. 2.9. 196
Figure 11.6 Lefkandi, Toumba building, 3D reconstruction.
Reconstruction by G. Herdt and J. Tredinnick. 197
Figure 11.7 Nikoleika, apsidal building. Drawing by Kolia 2011, fig. 46; used with
permission. 198
Figure 11.8 Corfu, Temple of Artemis, octastyle front with 15 triglyphs as restored by
Hans Schleif. From Schleif 1940, Taf. 26. 200
Figure 11.9 Corfu, Temple of Artemis, octastyle front with 15 triglyphs as restored by
Hans Schleif, with surviving elements shaded in blue. Drawing by G. Herdt
after Schleif 1940, Taf. 26. 201
Figure 11.10 Corfu, Temple of Artemis, excavation documentation: section and state
plan. From Schleif 1940, section from Abb. 6 and plan from Taf. 22. 201
Figure 11.11 Corfu, Temple of Artemis, plan as restored by Schleif. From Schleif 1940,
Abb. 39. 202
Figure 11.12 Corfu, Temple of Artemis, sections through pediment and roof:
(a) according to Schleif; (b) extrapolated from Schleif in another part
of the pediment; (c) alternative reconstruction proposed by the authors.
(a) From Schleif 1940, Abb. 92; (b) and (c) drawings by G. Herdt. 202
Figure 11.13 Corfu, Temple of Artemis, section through krepis and pteron:
(top) according to Schleif; (bottom) alternative proposed by the authors.
(Top) from Schleif 1940: Abb. 12; (bottom) drawing by G. Herdt. 204
Figure 11.14 Corfu, Temple of Artemis, detail of the krepis, with corner and part
of the middle shown in plan and in elevation. Plan from Schleif 1940,
detail of Taf. 22; and elevation by G. Herdt. 205
Figure 11.15 Corfu, Temple of Artemis, possible front elevations with narrower width
than supposed by Schleif: (a) option with eight columns and 13 triglyphs;
(b) option with six columns; and (c) option with seven columns. Drawings
by G. Herdt. 206
Figure 11.16 Early Doric temples with triglyphs not aligning over columns:
(a) Temple of Apollo at Syracuse; (b) old Tholos at Delphi; and
(c) Monopteros at Delphi revised to show likely relationship between
the epistyle blocks and column axes. (a) and (b) Drawings by G. Herdt;
(c) drawing by M. Wilson Jones. 208
Figure 11.17 Corfu, Temple of Artemis, comparative plans, all drawn at the same
scale: (a) plan with eight-column front and central nave after Schleif;
(b) plan with seven-column front and central nave; (c) plan with seven-
column front and double nave; (d) Temple of Hera I at Paestum. (a) Plan
from Schleif 1940, Abb. 39; (b), (c) and (d) plans by authors. 209
Figure 11.18 Votive columns and temple fronts compared. Drawing by G. Herdt. 211
Figure 12.1 Babylon, reconstructions of the so-called Gewölbebau as a hanging
garden. (a) From Robert Koldewey 1931, Taf. 7; and (b) from Fritz
Krischen 1956, Taf. 8. 219
xiv List of Figures
Figure 12.2 Nineveh, North Palace of Assurbanipal, Assyrian wall relief showing part
of the royal garden. Drawing by Terry Ball, © Stephanie Dalley, used with
permission. 220
Figure 12.3 Maarten van Heemskerck, “Babylonis Muri,” 1572, with the
“hanging gardens” on the right (NGA 2011.139.92).
Courtesy of the National Gallery of Art, Washington. 221
Figure 12.4 Rome, Palatine, view of the so-called Domus Severiana.
Photograph by author. 222
Figure 12.5 Pompeii, Villa of Diomedes, reconstruction of the ‘sunken garden.’
From Maiuri and Pane 1947, Taf. 9. 223
Figure 12.6 Rome, Domus Aurea, hypothetical reconstruction.
Drawing by J. Denkinger, Architekturreferat DAI Berlin. 225
Figure 12.7 Rome, Palatine, hypothetical reconstruction of the Flavian phase.
Rendering by Lengyel Toulouse Architects, Berlin,
www.lengyeltoulouse.com. 226
Figure 12.8 Rome, Palatine, hypothetical reconstruction of the Flavian phase.
Drawing by J. Denkinger, Architekturreferat DAI Berlin. 227
Figure 12.9 Rome, Palatine, Domus Augustana, hypothetical reconstruction of a
Flavian peristyle with a huge water basin. Rendering by Lengyel Toulouse
Architects, Berlin, www.lengyeltoulouse.com. 227
Figure 12.10 Rome, Palatine, hypothetical reconstruction of the Flavian garden in the
Vigna Barberini. Rendering by A. Müller, Architekturreferat DAI Berlin. 228
Figure 12.11 Rome, Palatine, Domus Severiana (Flavian), hypothetical
reconstruction of a water basin. Rendering by Lengyel Toulouse
Architects, Berlin, www.lengyeltoulouse.com. 229
Figure 12.12 Rome, Palatine, “Garden Stadium,” hypothetical reconstruction of the
Flavian phase. Drawing by J. Denkinger, Architekturreferat DAI Berlin. 230
Figure 13.1 Rome, Trajan’s Column (113 ce). © Matthias Kabel /Wikimedia
Commons /CC-BY-SA 3.0. 238
Figure 13.2 Luigi Valadier, “Replica of Trajan’s Column. Detail of gilded relief band,”
1774–1780 (Kat. 1221, Residenz München, Schatzkammer). © Bayerische
Schlösserverwaltung, Christian Quaeitzsch, München. 239
Figure 13.3 Louis Noguet, “Forum d’Auguste et temple de Mars vengeur.
Restauration, façade principale,” 1868 (inv. no. ENV60-05, École
nationale supérieure des Beaux-Arts, Paris). © bpk /RMN -Grand
Palais/image Beaux-arts de Paris. 242
Figure 13.4 Romolo Augusto Staccioli, “The Temple of Mars Ultor, Rome” with
reconstruction drawing superimposed on a photograph of the ruin
(Staccioli 2001, p. 53). Reconstruction © Vision s.r.l. 243
Figure 13.5 Studio Inklink, “Reconstruction of the Forum of Augustus with the
Temple of Mars Ultor, Rome,” 2007. From Meneghini and Santangeli
Valenzani 2007, fig. 36. 243
List of Figures xv
Figure 13.6 Rome, Forum of Augustus, “Aula del Colosso,” original painted marble
fragment (108 x 83 x 12cm; Ungaro 2004, fig. 387). Courtesy of the
Sovrintendenza Capitolina Beni Culturali—Museo dei Fori Imperiali—
Archivio Fotografico. 244
Figure 13.7 Studio Inklink, “Reconstruction of the ‘Aula del Colosso’ in the Forum
of Augustus, Rome,” 2007 (Ungaro 2007, fig. 188). Courtesy of the
Sovrintendenza Capitolina Beni Culturali—Museo dei Fori Imperiali—
Archivio Fotografico; autori: Studio InkLink, Lucrezia Ungaro. 245
Figure 13.8 Josef Bühlmann and Friedrich von Thiersch, “Daily life on the Forum
Romanum at the beginning of the third century,” 1901. © akg-images. 246
Figure 13.9 “Digitales Forum Romanum” Project, “The Forum Romanum at
the time of Septimius Severus (c. 210 ce), View from the East,” 2014.
© digitales forum romanum: Susanne Muth, Armin Müller (2014). 246
Figure 13.10 Gilbert Gorski and James Packer, “The Forum Romanum at the time
of Septimius Severus (c. 210 ce),” 2015. From Gorski and Packer 2015,
fig. 21.23, with permission. 247
Figure 13.11 Gilbert Gorski, “Hypothetical color renderings of the southeast corner of
the Arch of Septimius Severus,” 2015. Proposal 1 (left) has discrete coloring,
and Proposal 2 (right) features full-fledged coloring. From Gorski and
Packer 2015, figs. 7.12 and 7.13, with permission. 248
Figure 13.12 Fausto Niccolini and Felice Niccolini, “Casa della Reg. VIII, Isola 2,
Pompeii,” 1896. From Niccolini and Niccolini vol. IV, 1896, Tav. V,
courtesy of the Universitätsbibliothek Heidelberg. 249
Figure 13.13 Fausto Niccolini and Felice Niccolini, “Temple of Venus, Pompeii,” 1896.
From Niccolini and Niccolini vol. IV, 1896, Tav. XIII, courtesy of the
Universitätsbibliothek Heidelberg. 250
Figure 13.14 Théodore Labrouste, “Temple de Castor et Pollux à Cora. Elévation
restaurée,” 1831 (inv.no. ENV25-09, École nationale supérieure des
Beaux-Arts, Paris). © bpk /RMN -Grand Palais/Agence Bulloz. 251
Figure 13.15 Henri-Adolphe Auguste Deglane, detail of “Palais des Césars sur le
Mont Palatin,” 1887, showing the Temple of Jupiter Victor on the Palatine
(inv.no. ENV76-04, École nationale supérieure des Beaux-Arts, Paris).
© bpk /RMN -Grand Palais/image Beaux-arts de Paris. 252
Figure 13.16 Replica of the Late Republican Temple of Jupiter Capitolinus for the set
of HBO’s “Rome” at Cinecittà Studios, 2005–2007. Cinecittà Shows Off
© Erma Pictures. 253
Figure 13.17 Gottfried Semper, “Reconstruction of a Tuscanic (or Etruscan) temple,”
1860. From Semper 1860, Pl. XIII. 254
Figure 13.18 Adolfo Cozza, “ ‘Modello al vero’ of the late 3rd or early 2nd century bce
temple at Altari,” 1891 (Museo Nazionale Etrusco di Villa Giulia, Rome).
Photograph by author. 256
Figure 13.19 Giulio Ferrari, “Reconstruction of a canonical Etruscan temple,” 1925.
From Ferrari 1925, Pl. XVI. 257
Figure 13.20 Stefano Sarri, “Reconstruction model of the Tomba Ildebranda (first half
of 3rd century bce) at Sovana,” early 1990s. Photograph © Jim Forest. 258
xvi List of Figures
Table
The chapters in this book originated as papers delivered as invited plenary lectures at
the March 2015 symposium “Against Gravity: Building Practices in the Pre-Industrial
World.” The conference celebrated the work and achievements of Dr.-Ing. Lothar
Haselberger, the Morris Russell Williams and Josephine Chidsey Williams Professor in
Roman Architecture at the University of Pennsylvania from 1991 to 2015. This book is
dedicated to Professor Haselberger by his students and colleagues who have contributed
to its contents. It both recognizes and demonstrates the impact that he has had on the
discipline, and especially on its practice in the United States.
The volume was made possible by a generous publication subvention from the 1984
Foundation. We especially wish to acknowledge the support that we received from Mr.
Charles K. Williams II. Bob Ousterhout and John Humphrey were early supporters
of the project; without their inspiration, this volume would not have come into exist-
ence. Many committed people helped us to obtain original images and secure publi-
cation permissions; we thank especially the staff of the Fisher Fine Arts library and the
Kislak Center for Special Collections, Rare Books and Manuscripts at the University
of Pennsylvania; the Penn Museum Archives; the British School in Rome; the British
Museum; Klassik Stiftung Weimar; as well as Univ.-Prof. Dipl.-Ing. Dominik Lengyel,
Dipl.-Ing. Catherine Toulouse, Dr. Erofili Iris Kolia, and Professor Stephanie Dalley.
Last, but not least, we have benefited tremendously from the tireless efforts of the ded-
icated staff at Oxford University Press, especially Stefan Vranka and Sarah Pirovitz
Humphreville.
Contributors List
Hansgeorg Bankel was a professor of architectural history and documentation at the University
of Applied Sciences in Munich, Germany, from 1993 to 2014. He has documented and studied the
Temple of Aphaia on Aegina, resulting in the monograph Der spätarchaische Tempel der Aphaia
auf Aegina (1993). His publications extend across a broad range of other topics as well, including
the architectural refinements, metrology, polychromy of Greek temple architecture, and the
19th-century German architects Carl Haller von Hallerstein and Leo Klenze. Aside from his cur-
rent work on Minturnae, he is also carrying out architectural research at Priene and Knidos in
Western Turkey.
Dorian Borbonus is an associate professor at the University of Dayton where he teaches Greek
and Roman history. He studied classical archaeology at the Freie Universität Berlin and re-
ceived his PhD in the art and archaeology of the Mediterranean World from the University of
Pennsylvania. His research treats the funerary culture of ancient Rome and in particular the phe-
nomenon of organized collective burial. His monograph, Columbarium Tombs and Collective
Identity in Augustan Rome (2014), was published by Cambridge University Press. He was a Rome
Prize fellow in 2016–17, pursuing a project that traces the development of funerary culture in im-
perial Rome.
Elisha Ann Dumser is an associate professor in the Myers School of Art at the University of Akron
where she teaches art history. Her research focuses on imperial architecture in late antique Rome
and on issues related to the reuse of architectural materials and building sites. Her publications
include Mapping Augustan Rome (2002, reprinted 2008), a chapter on the urban topography of
Rome for The Cambridge Companion to Ancient Rome (2013), and a chapter on visual literacy and
reuse for Reuse and Renovation in Roman Material Culture (2019). Currently, she is working on a
monograph devoted to the architectural patronage of Maxentius in Rome.
Georg Herdt received his architecture degree from the Technische Universität Carolo-
Wilhelmina zu Braunschweig and TU Munich, before taking a research position at the University
of Bath on a project investigating the development of the Ionic capital in the Archaic period. He
went on to earn a PhD at the University of Bath, with a thesis focused on Greek votive columns.
He has participated in the investigation, documentation, and reconstruction of ancient structures
on several excavations around the Eastern Mediterranean.
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koetti peittää hämmennystään.
— Voitko sinä sanoa, Elli, etten minä suo sinulle mitään iloa? Antti
katsoi vakavasti Elliä silmiin. — Sitä paitsi nuo taajat kutsut Elsan
luona eivät tunnu oikein viattomilta. Luutnantti Tauben käytös ei
miellytä minua.
Mutta samalla kuin tuo ajatus hänelle selvisi, kauhistui hän sitä.
Elliin hän oli kiinnitetty tuhansilla siteillä, sidottu tähän kotiin ja tähän
ympäristöön kiitollisuuden tunteilla ja pojan vilpittömällä rakkaudella.
Hänellä ei ollut oikeutta katkaista näitä siteitä eikä sydäntä
osoittautua kiittämättömäksi hyväntekijäänsä kohtaan. Hän koettaisi
voittaa tuon vieraan voiman, joka uhkasi tukahduttaa Ellin kuvan
hänen sydämessänsä. Ja hän karkoittaisi nuo unelmat, jotka
hurmaavina koettivat kietoa hänet pauloihinsa.
VIII.
Hertta oli niin omissa ajatuksissansa, ettei hän heti käsittänyt isän
sanoja. Ne tulivat niin äkkiä ja odottamatta. Ensi hetkessä ne
kammoksuttivat häntä, mutta jo seuraavassa ne tuntuivat
hullunkurisilta. Hertta purskahti heleään nauruun.
Hän oli etsinyt ulkoa maailmasta kelle rakkauttansa tuhlata, hän oli
valittanut ettei hänellä ollut ketään jota rakastaa ja jonka tähden
itsensä uhrata ja hän oli unohtanut että täällä, aivan hänen
rinnallansa, oli mies, joka ei muuta odottanut kuin avata sylinsä
tyttärelleen. Isä oli aina ollut hänestä niin kaukana, hän oli ollut
hänelle niin vieras ja karhea, johon hän hienoine käsineen ei ollut
uskaltanut edes koskea.
Hän oli kadehtinut aina niitä, joilla oli vanhempia veljiä. Hän kuvaili
veljen ja sisaren suhdetta niin runolliseksi, veli, joka opastaisi sisarta
opin teillä ja sisar, joka veljeä ohjaisi ymmärtämään tunteiden
moninaisia vaihteluja. Mutta Hertta, hän oli yksin, ja sentähden Antin
ystävyys oli tuntunut niin hyvältä.
He istahtivat sivuhuoneesen pöydän ääreen. Ohjelma salissa oli
loppunut, menuetti oli loistolla suoritettu ja tanssijat olivat
hurmanneet yleisöä kauneudellaan, sulavilla liikkeillään ja iloa
uhkuvilla katseillaan. Pöydät ja tuolit salissa olivat siirretyt pois ja
yleinen tanssi oli alkanut.
Hertta hymyili.
— Milloin te matkustatte?
— Saanko sanoa teille jotain, neiti Ek. Minusta tuntuu kuin te viime
aikoina olisitte muuttunut, ikäänkuin pehmennyt — —
— Neiti Elli, sanoi hän hiljaisella äänellä, — minä näen teidät nyt
viimeisen kerran. Huomenna minun täytyy lähteä. Pidennettykin
loma-aikani on loppuunkulunut.