Ergastines, also known as slaves who worked in the ergastulum, were a group of people who were subjected to forced labor in ancient Rome. The term "ergastulum" refers to a type of penal labor institution, which was essentially a prison or workshop where slaves were forced to work.
The concept of using slaves as a source of labor was not unique to ancient Rome, but the Romans took it to an extreme level. Slaves were an integral part of Roman society and were used for a variety of purposes, including as agricultural workers, household servants, and even as soldiers. However, the slaves who worked in the ergastulum were used for more specialized tasks, such as construction, mining, or manufacturing.
The conditions in the ergastulum were harsh, and slaves were often subjected to physical abuse and long hours of hard labor. They were given very little in the way of food, shelter, or medical care, and were frequently whipped or beaten as a means of punishment. In addition, slaves in the ergastulum were often separated from their families and had no hope of ever gaining their freedom.
Despite the harsh conditions, slaves in the ergastulum were considered to be more fortunate than those who were used for other types of labor. For example, agricultural slaves were often subjected to even worse treatment and had to endure long hours in the fields, often under the hot sun. Additionally, agricultural slaves were often separated from their families and had no hope of ever gaining their freedom.
The use of slaves as a source of labor was eventually abolished in ancient Rome, but the concept of forced labor has persisted throughout history. In more recent times, the use of prisoners as a source of labor has become more common, with prisoners being used in a variety of industries, including agriculture, manufacturing, and even in service industries. While the use of prisoners as a source of labor may be less extreme than the use of slaves in the ergastulum, it still raises ethical concerns about the treatment of individuals who are being held against their will.
Plaque of the Ergastines Flashcards
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In their recycling of materials, the Athenians saved time and expense, perhaps as much as one-quarter of the cost of construction. They had to consider not only how to commemorate the destruction they had suffered, but also how to celebrate, through the rebuilding, their eventual victory in the Persian Wars. And this piece is a phenomenal example of the idealization of the male body. It portrays the solemn procession of Ergastines as they approach the statue of Athena, welcomed by two priests. Possibly depicting other parts of the Panthanetic Festival. Their goal was to pull the monument, anchored in the canonical past, toward the contemporary.
Plaque des Ergastines (Louvre museum)
On the site of the great marble temple burned by the Persians, they constructed a new one: the Parthenon we know today. Remains of materials from the temples destroyed during the Persian sack of the Acropolis, such as column-drums shown here and a triglyph-metope frieze, were incorporated into the North Wall photo: The Athenians found no immediate solution to their challenge. The Parthenon was altered by a series of aspiring monarchs, both Hellenistic and Roman. They set it on the footprint of the earlier building, with only a few alterations; they also re-used in its construction every block from the Older Parthenon that had not been damaged by fire. This cold cast resin plaque is hand painted with a white marble finish, giving it an antiqued look. If the file has been modified from its original state, some details such as the timestamp may not fully reflect those of the original file. The Athenian sculptor Phidias was appointed to oversee its construction and decoration; the project employed a huge number of artists from Athens and elsewhere, from 447— 432 BC.
ergastines : definition of ergastines and synonyms of ergastines (Indonesian)
When contrasting its present-day state with the first photographs taken in the mid-nineteenth century, we can see how much has been intentionally removed: a Frankish tower by the entrance to the Acropolis, an Ottoman dome, mundane habitations. Iktinos and Kallikrates, Parthenon, Acropolis, Athens, 447—432 B. « Nous-mêmes », lui répondit celui-ci. The metopes did not, however, depict this battle as one of effortless victory. The reclining male figure has been identified as either Dionysus the wine god or the hero Heracles Hercules. They also created a new, more level surface on the Acropolis through terracing; in this fill, they buried all the sculptures damaged in the Persian sack.
Panathenaic Procession. Ergastines. Frieze of Parthenon. The Eastern face. Paris, Louvre Museum.
A frieze is a a sculpted or painted band that goes all the way around a building. As he sought to conquer the Achaemenid Empire—alleging, as one casus belli, the Persian destruction of Greek sanctuaries one hundred and fifty years earlier—Alexander made good propagandistic use of the Parthenon. By contrast, the frieze hidden between the exterior and interior colonnades was left almost entirely intact, as were the high-up pediments. Reviewing the Hellenistic and Roman adaptations of the Parthenon, it is easy to see them purely as desecrations: appropriations of a religious monument for political and propagandistic purposes. Art historians debate if the figure is reclining with a glass of wine on a panther skin, which would mean he is Dionysus; or if he is reclining on a lion skin, which means he is Hercules. It was a deliberate and very public erasure of the controversial ruler from the historical record. Il en va de même pour la Vénus de Milo.
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