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The massive quasi-commentary of James Henry tapers off just as Virgil announces his maius opus. School editions of the Aeneid even to the present day regularly favor the first half of the epic at the expense of Virgil’s song of the rebirth of the wrath of Achilles in Latium.

This paper shows how in the course of the seventeenth century the character and role of the Virgilian commentary changed radically. It begins by offering a discussion of the prime characteristics of the Aeneid commentaries of Juan Luis de La Cerda (1612 and 1617), Thomas Farnaby (1634) and Charles de la Rue (1675). In my discussion, I will approach these works from the viewpoint of the management of knowledge (Blair 2010, Moss 1996, Grafton & Jardine 1986) and with the help of Foucault’s concept of knowledge archives (Foucault 1969).

The Iliad is filled with compelling public scenes, such as assemblies, battles, and funerals. While these scenes contribute to the epic’s overall progression and drama, private scenes provide a more intimate glimpse into the lives and emotions of characters. Private scenes also reveal much about cultural practices, attitudes, and traditions of the time. To illustrate what these private scenes reveal, this study organizes these intimate settings into two categories: Trojan domestic scenes and the Achaean shelters.

At the conclusion of Terence’s Hecyra, the marriage of Pamphilus and Philumena survives when Philumena’s mother Myrrhina and Pamphilus’s former girlfriend Bacchis agree never to disclose the distressing origin of the couple’s child, who was begotten by rape before the marriage was arranged.

Theodor Mommsen (1817-1903) was one of the greatest classical scholars of 19^th-century Germany. He set a new standard for the systematic study of history with his three-volume Römische Geschichte (Roman History), winning the Nobel Prize for the work in 1902. The history is compelling not only as a monument of ancient scholarship, but also as a window into aspects of historical writing and classical reception in Mommsen’s own age.

This paper was written to tie together three issues: modern masonry, Roman construction, and the reliefs on Trajan’s Column. More specifically, I have focused on the stone walls shown on these reliefs, ancient and secondary sources, and modern cinder block walls. Construction, and masonry, in the Roman Empire appear to be similar to my own experience. Materials have changed, standardization has increased, but the basic structure, or make-up of the walls has changed very little over time.

In recent years, scholarship on Silius has emphasized the Punica’s position within Flavian Rome as the new national epic replacing the Aeneo-centric prototype by looking at the challenging heyday of the Roman republic during the Second Punic War. This paper sheds light on three episodes of cremation and burial in the poem with the goal to re-examine the Flavian poet’s relationship with his historiographical models, especially Polybius and Livy.

This paper will argue that Caesar was evidently familiar with Sisenna’s work.

Caesar’s Commentarii have hardly been studied with regard to antecedent Roman historians, probably because of their generic difference from historia and, more generally, alleged overall sparseness (Cic. Brut. 262). Even though the question is compounded by the fragmentary state of early republican historiography, this paper will argue that there is ample evidence of Caesar’s familiarity with, and even imitation of, the Historiae by Lucius Cornelius Sisenna.

Recent scholarship on Lucian has revisited his reception of Thucydides and Homer with particular emphasis on his treatment of history and fiction (Ligota 2007, Kim 2010). Contributing to this discussion, this paper examines Lucian's discourse on the function of epainos in poetry, rhetoric, and historiography with the intention of shedding new light on his multifaceted appreciation of archaic and classical Greek literature.