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Violence played a significant role in Roman identity, and images of war and violence were pervasive throughout the Roman world. The myths and history of Rome are filled with brutal acts of rape, fratricide and war. Scenes of violence appear in nearly every medium of representation in both public and private settings, on grand public monuments and small, personal objects. A Roman house might have images of violence on its walls and floors, with subjects ranging from mythological brutality to gladiatorial combats or military conquest. Violent myth and battle scenes adorned tombs and sarcophagi, and of course, triumphal monuments bearing scenes of victory and conquest stood in public spaces for all to admire. Although domestic, funerary and public representations of war and violence had specific functions within their contexts, they exhibit commonalities. Violent images were a means of visualising power in the Roman world. They served as reminders of Roman power structures: the power of citizens over non-citizens; the power of Roman men over women, children, slaves and clients; and the power of the emperor over his subjects as well as foreigners and anyone who threatened the welfare of Rome.
This essay examines the evidence for the Domitianic ‘Arae Incendii Neroniani’, a presumed set of monumental altars dedicated to Vulcan in fulfilment of a vow dating back to the Neronian Fire of a.d. 64. A close reading of the text of the dedicatory inscription creates a framework for exploring the larger historical and cultural context of these monuments, which offer a significant illustration of Flavian rhetoric concerning Rome's post-Neronian transformation. Reaffirming Julio-Claudian notions of civic identity, collective memory, and the ruler's privileged relationship with the gods, the Arae also constitute a conspicuous form of posthumous reproach to Nero.
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