Re-viewing Rome (LANS summer study tour 2017)

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Arch of Titus, Forum Romanum (4/7/2017)

Liberal Arts and Natural Sciences Rome study tour: 3rd-8th July 2017

One of the pleasures of being Dean is that I have twice had the opportunity to spend a summer week learning with and from a cross-section of our LANS students, while also talking to them about my own area of research expertise, the turbulent years of the late Roman Republic (the first century BCE) and the impact of that revolutionary era on how modern citizenship continues to be defined and contextualised. I blogged that first trip, and will try not to replicate too much of what I recounted there, here 🙂

With University of Birmingham doctoral candidate Miriam Bay, and guided by the wonderful Agnes Crawford, we worked our way through Rome and its environs with thirteen LANS students, moving from radical urbanism in classical antiquity to the modern city’s shifting acknowledgement of the importance and perils of embracing change.

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Streets in Rome’s Ghetto amply evidence the ‘layered’ quality of the cityscape (4/7/2017)

Rome, for me, is the ultimate laboratory city. Perhaps it’s my research focus talking, but in articulating my vision of what the tour would deliver (when describing it, back in January, to an interested but uncertain group of potential student travellers) I saw the sparks of questions, challenges, ideas, and responses flicker across their faces; to reappear over the ‘welcome’ dinner we hosted (at L’Isola della Pizza) for the whole group on 3rd July 2017, and as we made our first foray into the Forum Romanum early morning on 4th July.

Day 2 (4 July 2017)

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Spoliation, repurposing, but also the lure of genius loci are all on display for scrutiny (4/7/2017)

As Agnes emphasised, that calendar serendipity gave bite to our consideration of the complex forces that cause a people to turn upon themselves in civil war and in the process, to scrutinise and find wanting a myriad previously unquestioned myths of self-determination. These were the years when autochthony and (in a phrase Agnes used as a motif for the week’s study) genius loci (spirit of place) crystallised within Roman identify-formation. By the second century BCE Rome controlled a growing Mediterranean empire; no longer a city-state confined by peninsular Italy, yet still uneasily related to the peoples and cultures of its nearest neighbours.

This was an era when land use and land rights, not to mention rural to urban migration, linguistic change, and a reverse cultural imperialism (speaking to and striking back at Rome) from the literate Hellenic kingdoms that had previously dominated the western world, were all troubling the growing and increasingly urban political elites. It was also an era in which centuries of oligarchic politics (res publica or ‘public affairs’) were foundering as charismatic individuals (reformers, agitators, cynics, soldiers, demagogues…) began to see ways to game the system and wrest control from the few — by promising to transfer it to the many.

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The Temple of the Dioscuri — where we thought about how/why new gods get assimilated (4/7/2017)

Strolling through the Forum we considered how that genius loci paradoxically became a force for political and religious conservatism (‘we have always done x in y manner in z place, we always will; it’s who we are’) and also radical revisionism (‘by doing x in y place we validate transforming how, why, when, by whom it is done in z manner’). Thus, the Curia (a chamber used for meetings of the Senate, traditionally Rome’s conciliar body) which occupies a site by the Arch of Septimius Severus both is and is not the Curia constructed over two millennia before, by the Dictator (at that time still a regular office within consensus politics) ‘Lucky’ Sulla. And it also does and does not recall Mussolini’s early twentieth-century programme of laying bare, often with brutality to the urban fabric of the intervening centuries, what might be recalled to life as ancient proof of Rome’s destined imperial greatness.

As we discussed how the forces of history act not only on the fabric but also the context of how buildings function, we stopped at two evocative death zones. The mysterious Lapis Niger or ‘Black Stone’ (in one legend, the site of the burial of Rome’s founding father Romulus back in the eighth century BCE) is a waymarker for two other key funereal moments in the Forum: the riots, fires, and destruction that followed the deaths of Publius Clodius Pulcher (arch-nemesis of the orator and statesman Cicero) and, not long after, of Julius Caesar.

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The Deified Julius’ temple abuts the former home of the Pontifex Maximus and the commercial and civic centre known as the Basilica Aemilia-Paulli which went through significant changes in form and use (4/7/2017).

The temple to the God Caesar, dedicated shortly after his assassination in March 44 BCE, brings that strand in urban morphology full-circle. Like charismatic leader Romulus (in one version of the legend), Caesar was killed by his colleagues — a rebel conservative group within the political elite. Also like Romulus, he gained permanence within the built environment of the Forum. As Agnes reminded us, the extraordinary thing for contemporary Romans to get their heads around must have been that while humans in myth did indeed cross over into divinity, this was the first time a man with whom one might have had lunch made such a transformation.

The Forum was the heart of the Republican-era city, and while it had few permanent inhabitants (exceptions: the Pontifex Maximus, or Chief Priest, plus the college of female priests called the Vestal Virgins, a powerful cadre of professionally unmarried women) it was the hub for the courts and legal activity, for religious practice, political deliberation, for marking the triumphant return of successful military commanders. It had shops, monuments, arcades within which to stroll, and before the construction of permanent theatres or amphitheatres, it was a space for staging public entertainments. Setting the new God Caesar in this context, in a brand new marble temple, sent a powerful political and cultural message to upholders of the previous status quo.

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Pausing in the portico garden of the House of the Vestals gave us a chance to gaze up towards the Palatine Hill, and think about why statues are most vulnerable at their necks… (4/7/2017)

We spent the rest of the morning exploring the Palatine Hill, the zone towards which power began to shift under the next phase in Rome’s political development: the era of the Principate, ushered in by Caesar’s heir who took the honorific name Augustus.

Rome’s Seven Hills are famous (even if no-one in antiquity exactly agreed which of the many more than seven were the Seven), and the Palatine gave us the chance to talk through the rapidity with which political power shifts can become inscribed on physical topography, and in turn shift cultural expectations. Elevated on a hill, Augustus’ (relatively) modest house was gradually added to, first by him (the construction of a temple complex to the god who helped him come to power, Apollo) then by subsequent ‘emperors’ (a term which in antiquity meant someone with officially sanctioned power, but without the autocratic connotations we now attach to it).

The vestigial remains of one part of that eventually imperial residential complex developed by the emperor Domitian (51-96 CE) showcased the superfluity and conspicuous consumption that characterised the powerful architectural and visual rhetoric of Roman ‘palace’ complexes (‘palace’ from…Palatine!). We would see aspects of this visual rhetoric (opus sectile, scale, complex geometric built form, rich materials) in the static experience and staged movement through space at the Pantheon (that afternoon), St. Peter’s and EUR (6 July), and Hadrian’s Villa (7 July).

After lunch we worked our way through the city zone that was in antiquity the Campus Martius (Field of Mars). Once outside the city limits, it was incorporated, shifting during the late Republic from a green-belt military exercise ground to an entertainment zone hosting the city’s first stone theatres, an amphitheatre, a grand public baths and gymnasium, gardens, galleries, and places of religious worship (including temples of some of the new gods Rome was so good at assimilating, for instance Egyptian Isis; but also giving us a chance to discuss a characteristically Egyptian power-icon, the obelisk, imported into Rome’s urban visual vocabulary).

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S. Maria in Trastevere (4/7/2017)

We though about urban segregation: by ethnicity/religion (within the confines of the Jewish Ghetto), by risk (on Tiber Island, a place of isolation and healing of the sick since classical antiquity), and by choice (the changed urban dynamic reflected in Papal realignment of power at Rome centred on the north-west bank of the river, some distance from the historic centre).

At Santa Maria in Trastevere we concluded the day, thinking about ‘left bank’ politics, spoliation and continuity with classical antiquity, and how radical was the iconographic shift from medieval to renaissance rhetorics of power.

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This charming fountain just outside the Ghetto belies the troubled history of Rome’s relationship with its Jewish population, and the wider challenges of how urban morphology aids/hinders integration (4/7/2017)

All these changes had deeply personal effects on individual lives, but also created seismic shifts in the economic, infrastructural, and political life of the city and its topography.

Day 3 (5 July 2017)

LANS students impressed us all with their ability to get up early and be on time for morning meet ups that were typically 0730! Students were staying in apartments on either side of the Tiber, and had to make their way independently every morning to the designated site — what stars they all were! Wednesday we were on a train to Ostia Antica by 0800 (some of us had postponed breakfast till the caffe at Porta San Paolo station…).

Agnes gave students a clear sense of how visiting Ostia not only presents the skeleton of an ancient city laid bare, but also tells a story of how geographic and environmental change have a radical impact on urban and economic life. This was a port city which lost its connection to the sea, and with its waterway gone, was abandoned to time. Commerce and economic life moved with the changes in the river’s course and the coastline. This vital impact of the river at the heart of Rome’s success was embedded by Agnes in discussions all week. As she reminded students, Rome itself may have been founded where it was not because of a legend of abandoned twins washed up on its banks (Romulus and Remus) but pragmatically because the salt route, moving inland from the coastal salt-flats, found a fordable point there on the Tiber. Commerce and politics then grew up around that site.

For lunch that day we ate at Flavio al Velavevodetto, a wonderful restaurant built into the base of Monte Testaccio, a hill composed artificially in antiquity as a terraced rubbish dump for broken potsherds, detritus of the city port on the Tiber from whence cargo from Ostia was unloaded and ported onwards (over land or using smaller boats).

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‘…along the banks of the sacred river, as far as the Tyrrhenian shores’ (EUR, 6/7/2017)

Similarly, on Thursday evening, at our visit to EUR we saw the famous inscriptions emphasising the River Tiber as a vital artery connecting Italy with its renewed twentieth-century status as a Mediterranean superpower, and characterising Italians as navigators, a nod to the importance of proximity to the sea by way of that watery road.

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Getting a straight line-up together in the cortile at the Palazzo Orsini-Taverna proved harder than one might think… (5/7/2017)

Wednesday evening was the first of our formal lectures, a tour-de-force exposition of what the terminology of the ‘palimpsest’ means when thinking syn- and diachronically about cities, delivered by Prof. Davide Vitale of the University of Arkansas Rome Center (based at the beautiful and evocative Palazzo Orsini-Taverna). I heard students dropping the term blithely into conversation over the following days, and am in awe of how well Davide managed to capture them with this new earworm at the end of another long hot Roman day!

The temperatures were in the mid- to high 30sC all week, so alongside breaks where possible during the early afternoon, we reconvened when it was cooler for evening activities.

After our lecture on the politics of architectural history we thus strolled briskly to the Ara Pacis Museum to look at a very old object (the Altar of Peace, commissioned for Augustus by a grateful Senate to celebrate peace in the empire and at Rome; dedicated in 9 BCE), significantly restored and reconstructed in a new location, excavated using cutting-edge technology, contextualised by a Piazza proud with fascist-era sloganeering and bombast, contained within a new museum (one of the only new buildings permitted to be built in the city’s historic heart) an external wall of which bears the autobiographically styled account by Augustus of his array of ‘things achieved’ (Res Gestae Diui Augusti).

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Do private finance and corporate investment represent a new dawn for the restoration and upkeep of cultural heritage? Are there dangers? (Colosseum, 4/7/2017)

Phew. Not to mention that like the Colosseum (where we ended up on Tuesday lunchtime), the Mausoleum of Augustus (the centrepiece of the Piazza) too will be subject to a restoration enabled by a public-private partnership, bankrolled by Italian commercial and telecoms giants. This, we decided, bore thinking about.

Day 4 (6 July 2017)

Thursday 6 July was another very early start: 0730 at a caffe near St. Peter’s Basilica. St. Peter’s gave us a chance to think about how this part of the city had been re-zoned by the collapse of the Roman Empire in the West, the rise of the Papacy, and the seismic shift operated by the fall of Constantinople leading in large part to what would become known as the Renaissance (with all the architectural, political, economic, artistic, and religious shifts that entailed).

The world really was changed as humanocentric theories of the cosmos were challenged (and eventually overturned) and the Catholic Church began the counterattack against ‘protesting’ voices unhappy with the style, ethos, and manner of central religious government.

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St. Ignazio, where a trompe l’oeil ceiling (and dizzyingly fake dome) helped students think about how the counter-reformation Catholic Church fought back… (4/7/2017)

From the church of St. Ignazio with its emphasis on the unknowability of the logic and language of the divine (unless mediated by the Church for its flock) to St. Peter’s (with its massive evocation of classical forms to lend authority, scale, and wow-factor, while reminding pilgrims that Catholicism remained Peter’s foundation and an earthly manifestation hinting at ineffable heavenly glory), we saw again and again how the urban vocabulary of classical antiquity and ancient Roman innovation formed vital motifs in successive negotiations of civic power and authority.

The Vatican also, of course, recalls the Lateran Treaty (1929) and the rapprochement between Church and State that saw the papacy make peace with Mussolini in exchange (among other things) for territorial rights. We saw flickers of this as we studied the iconography and design of the buildings left representing what was to be a showpiece of Mussolini’s fascist (from the Latin term fasces, the name for the symbols of office associated with the magistrates of the Res Publica) vision.

See St. Peter's dome rising, right below the Colosseum and just a swerve from the Pantheon!

Antiquity, Christianity, and politics jostle in this unusual frieze (EUR, 6/7/2017)

Concretised in a grand exhibition (Esposizione Universale di Roma, EUR) in 1942, this vision was to illuminate the modern capital city and (not long ago unified) nation as a ‘Third Rome’ (after the Emperors and the Popes). It would have stressed both the continuity and majestic progress embodied in Italy’s new and improved redevelopment of imperial status.

We had an unexpected transport strike to deal with that day, so Agnes’ ability to hire us a minibus (blessedly, with air conditioning — by 1600 when we were leaving for EUR the heat was intense) last minute was totally miraculous!

Our minibus moved us in style between key sites at EUR (sadly, the Museo della Civilta Romana is still closed), then returned us to the city centre where we variously went for a quick drink and/or a gelato before reconvening for our second evening lecture of the week: Miriam’s introduction to the ideological design linking botany, art, architecture, religion, history, and politics at the Villa d’Este, where we would conclude our visits the following day.

Day 5 (7 July 2017)

Friday morning saw many bleary faces. My impression is that the LANS students made a night of it and fully enjoyed Rome’s summer party atmosphere. I, by contrast, had embraced an early night. We set out for Tivoli in our mini-bus at 0830, and after a pity-pit-stop for coffee / cold drinks / cake at the nearby bar we tackled the archaeological site of the country estate said to have been designed by the Emperor Hadrian. Agnes had designed a route to give maximum thematic value and access to key zones while also keeping us moving between water fountains and patches of shade.

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Orientation: Villa Adriana (7/7/2017)

Crucial discussions picked up on the power of scale and decor, and the relationship of designed space to movement patterns and ideology. In a site as big as this one, with so many unique and complex architectural forms to get to grips with, the most important thing for LANS students was to understand the complex interrelationship between such disparate areas of expertise and authority, and the significance of buying in (or knowing how to source) expertise when novel problems appear.

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Hadrian, an emperor famed for forcing his ‘court’ to join him at his out-of-town villa (or on-tour across the empire), dabbled in architecture and philosophy, and wrote poetry (as well as governing most of the known world). After lunch at the hill town of Tivoli we finished our week’s work with the water-fantasia that is the Villa d’Este.

This sixteenth-century palazzo and garden complex, designed for Cardinal Ippolito II d’Este by architect and antiquarian Pirro Ligorio (just as Ligorio was excavating the nearby site of Hadrian’s villa, for his patron the Cardinal — see a googlebooks preview of David R. Coffin’s 2004 study of Ligorio here), is now a UNESCO World Heritage site, but sadly diminished in terms of the working hydraulics as originally envisaged.

We were lucky to have Miriam as our guide for the gardens because her research is breaking new ground in explaining how the somatic, architectonic, natural, economic, hydraulic, political, religious, and personal all coalesce in a stroll through the water-feature filled terraces. I’m not going to give away Miriam’s original analysis in this blog! Lucky students got a sneak preview, everyone else reading this will have to wait for the completed thesis.

Suffice to say that the stimulating and cooling properties of the Villa d’Este made for a perfectly judged end to a memorable trip, which concluded that night with a very convivial dinner at Trattoria Polese.

There was genuine emotion on display as our meal ended, coffees were drunk, and Miriam and I made a closing address to sum up some of what we hope and believe the week achieved. It’s been a real privilege to share this intensive learning experience with such a great group!

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LANS trip to the Colour and Vision exhibition, October 2016

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A number of Liberal Arts and Sciences students attended the Colour and Vision exhibition at the Natural History Museum, as part of our cultural programme during October 2016.  A few of them gave their review of the exhibition below.

‘Visually spectacular and informative with interesting interactive activities, would have liked it to be longer’ — Emily

‘I really enjoyed the whole thing, especially the model of evolution of the eye and seeing how on the way some organisms got themselves freakiest sets of those light sensors. And the colour symbolism wall was really interesting as well – I myself was surprised by my answers. ‘–Ada

‘I thought that there were some amazing parts- the eyeballs of different animals and the bit when you could see what colours other animals see. It was visually so stunning and there was lots to look at. For me it was a little short – I felt like I was just getting into it and all of a sudden it was over which was a shame, but there were some unique parts to the exhibition, like at the end when you were asked to associate certain colours to certain concepts like Femininity, Power and Danger.’ —Cassidy

‘I was slightly intimidated by the large collection of animal specimens. Nevertheless I enjoyed looking at things that were very strange to me— spiny shapes and beautiful burgundy shells. The exhibition tried but did not succeed in linking more to humanity, which I would have enjoyed more than biology. There was an interactive wall of colour cards that you could correspond to different humanity concepts, such as deceit and attraction. But instead of expanding on that, it cut short and ended with a beautifully-shot and colourful video.’ —Jennifer Z

Talking In Our Time

What academics mostly do is spin yarns. Sometimes these develop into technical tapestries, as hard to unpick as the punchline is (we hope) world-shaking. Much of the time, we are chipping away at the knowledge edifice, trying to make a difference. We receive no training in communicating research intelligibly outside the academy, yet making our research into stories that resonate as widely and powerfully as possible is as central to modern universities as it is to their faculty and students. Despite the rhetorics of ivory-towers and ivied quads, our world is no more (nor less) exclusive than any comparable trade. Ideas are our currency, and this means that we tend to speak to whoever will listen.

Some academics (micro-)blog, many of us teach and write books and papers, explain what we do to diverse audiences (including friends, or people at bus-stops…) and like everyone, we try to adapt our discourse appropriately to match the context. Many of us also travel nationally and internationally to explore how we fit into and can make a difference to new and bigger conversations. But these activities are all within our comfort-zones.

Donkey: legs talked right off!

Donkey: legs talked right off!

The crunch comes when, as it did for me this summer, someone wants to change the medium and for instance, put academics together for live broadcast debate to an unseen audience. In my case, this was to be on the radio. You’d think that a person well-used to standing up in front of large audiences, and delighted to talk the hind legs off herds of donkeys, would still find this uncomplicatedly delightful. In fact, it quite daunted me in ways I hadn’t expected.

The “call” was in fact an email. Would I be interested in talking about reception of Alexander the Great with some fellow academics as part of an episode of the BBC Radio 4 programme “In Our Time”. Of course I was interested! But the dynamics of this kind of “conversation” are inevitably very different to a chat between colleagues, or to a typical academic lecture, workshop, or seminar. This was brought home to me vividly when I had my first conversation with the production team, charming folk who quizzed me in detail (as they worked out how the episode might develop) about all sorts of aspects of Alexander’s story that I’d not considered for some time.

The Roman Alexander: Reading a Cultural Myth

The Roman Alexander: Reading a Cultural Myth

This build-up was exciting and perturbing in almost equal measures. Answering questions about Alexander’s extraordinary career, and reimagining my own analyses in the light of thirteen years (since first publishing a book about Roman reception of Alexander), was all rather exhilarating. But stories started to drift in from friends and colleagues about the terrible “freeze” that can overcome the most fluent of speakers when in the studio, about the unintentional gaffes that “live” recording can crystallise, and by the time I’d been warned about not “tapping on the table”, or “rustling”, or making repetitive noises, I was beginning to imagine myself as the unfortunate Lina with her pearls, in “Singing in the Rain”.

One question I asked in the build-up was “why Alexander, now?” While the BBC programme team had no particular agenda for the timing of this episode (and perhaps the “In Our Time” shtick requires a sense of timelessness in scheduling topics), nevertheless the turmoil in the contemporary Middle East and North Africa, new urgency to questions of ethnicity and its relationship to selfhood, nationality, and to geopolitical ideals and realities, all seem to echo some of the radical population shifts and the fallout from grand ideological schemes that were an inevitable consequence of Alexander’s campaigns. Not to mention the vexed question of Alexander as poster-boy for a new brand of charisma-driven personality politics.

The trip to Broadcasting House was set for the Thursday of Freshers’ Week, so I hustled from the mock “graduation” ceremony and prize-giving that we staged for Birmingham’s Liberal Arts and Sciences first years (celebrating their successful completion of the four-year degree in two packed days…), through Birmingham’s brand newly (re-)opened Grand Central/New Street Station, and onto the fast train to London.

London, and the Thames, feature emblematically on the doors to the RIBA (Portland Place)

London, and the Thames, feature emblematically on the doors to the RIBA (Portland Place)

We’re so close to London that I often wonder why I go so infrequently, and enjoying a quiet supper in a bar near my hotel there was a slightly naughty sense of being unexpectedly released temporarily into the wild.

I met up with my fellow guests at 10.00 the next morning at the iconic, Art Deco entrance to what I still think of as the authentic (i.e. ’30s) Broadcasting House, opposite John Nash’s exquisite All Souls Church, Langham Place. Classical academia is a small world, and I knew both the other guests (hello, Paul, Rachel), so the pre-mic green-room coffee stop (sadly, like every theatrical “green room” I’ve been in, it was not at all green) was a bit of a catchup session. Melvyn Bragg, our host, made his appearance once we had taken the correct seats (inevitably, I first of all sat in the wrong seat) in a large, evocatively old-school, recording studio.

The programme has a manner all its own, and each guest gets a chance to answer one or two questions first, setting the scene, before the conversation (though still fairly tightly structured) is opened out. We agreed to raise our hands if we wanted to interject, which did occasionally make me want to shout “Miss! me, Miss!” But I resisted. I think that if I get invited back (or ever take part in a comparable show) I’ll be a bit more forceful about waving that hand. The crux of Alexander the Great, an issue that the team were clearly aware of but couldn’t resolve, is that there is way, way too much juicy, salacious, intriguing, perplexing material to cover. My own area of specialisation really didn’t get much of a look-in because exploring even the big opening questions relating to what Alexander did and how we know about, or interpret it, could have filled a whole series.

At the BBC, ready to broadcast!

At the BBC, ready to broadcast!

There’s a fun bit at the end of each show where guests record some more relaxed conversation on the theme, for the podcast, and I was aching to talk about the weird seepage between art and life characterising 20thC actors role-playing Alexander (it was not long after their off-kilter Alexander pilot that William Shatner would be inspiring viewers “to boldly go”…and Adam West would be saving Gotham; while Richard Burton’s personal life resounded to the issues of sex, drink, and identity-crisis that characterise hostile Roman reception of Alexander), and Alexander’s big-screen monopolisation by actors from edges of corporate states (Burton: Wales; Sean Connery: Scotland) or with postcolonial reverb (Colin Farrell: Ireland).

I’d also hoped to be able to interject a little more on how buffeted by 20thC ideologies Alexander’s afterimage became. For instance, Hitler had a series of eight Dutch tapestries depicting great episodes in Alexander’s life, based on a sequence created by Charles le Brun for Louis XIV of France) moved from the Kunsthistorisches Museum, Vienna, to add epic grandeur to his office in the Chancellery, Berlin.

Classical motifs abound, near the BBC. Here, one might almost be stepping into a Greek temple...

Classical motifs abound, near the BBC. Here, one might almost be stepping into a Greek temple…

Alexander’s emblematic potential for modelling Aryan identity and showing how to impose radical cultural shifts across diverse populations would also reverberate contrastingly through the idea of “universal brotherhood” which he supposedly took as the ideological centrepiece for his eastern empire-building. This idea of a “brotherhood of man” started to come into focus as world power dynamics shifted through the 1930s, and was given a positive, optimistic airing by William W. Tarn, in his Raleigh Lecture on History (delivered to the British Academy in 1933, and restated in an article in the American Journal of Philology, in 1939. see Ernst Badian’s 1958 restatement of the issues, and analysis). Tarn’s Alexander, like Hitler’s, was a visionary, but for Tarn, Alexander’s political dream took on a soteriological quality that his charismatic good-looks and early death helped to shore up.

If airtime had allowed, I think I’d have liked to end with an interrogation of how that “visionary”, age-defying, charismatic man-of-the-people Alexander continued to permeate western understanding of power — imperial, intellectual, scientific, sexual — right through the 20thC. To my mind, the ubiquity of tropes relating back to Roman stories of Alexander the inquisitive, boundary-pushing hero with feet of clay can help all of us to pose questions of ourselves about how exactly we understand what identity is, whether individual, collective, or comparative, and how the assumptions we make connect us to past societies and give definition to what we consider to be characteristic of humane values and aspirations.

My London day ended with a research-related trip to the Royal Institute of British Architects (RIBA: very handy for the BBC, and like the Wellcome Collection, a wonderful resource for interdisciplinary enthusiasms), and a little Classical eye-candy appreciation (en route back to London Euston, and home).