engleski

Paideia vs. Politeia: how Political Development in the Fourth Century Changed Roman Art

The classical ideal of a responsible citizen, the driving force behind the polis-centered society, included both the aspect of education and culture (paideia) and the active participation in political life (politeia). By the time of Late Antiquity, the Paideia ideal was very much alive: Henri-Irénée Marrou drew a vivid picture of the man of culture (Mousikos aner) – the embodiment of virtue considered imperative for all who pretended to belong to pars melior generis humani, as Symmachus put it. There is a wide range of images in late Roman art which testify to the importance of this aristocratic ideal, including mythological narratives and various allegorical representations of the aurea aetas. Unlike Symmachus, however, who continued to battle politically for his (lost) cause, most of his fellow aristocrats withdrew to their country estates, away from the usual business in town and its political and social responsibilities. During the 4th century, we witness the end of active participation of the senatorial class in everyday political life and especially in the military corps. Ammianus Marcellinus, the soldier-historian, could not fail to be displeased with what he saw in Rome when visiting the members of Roman high society. As the emperor increasingly absorbed all the relevant political roles in the state, the old ideal of politeia slowly disappeared and so did the traditional iconography of Roman ambition and lust for glory, the cupido gloriae.

Late Antiquity; Roman Art; silver plate

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