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Not Even Past

Piecing Together the Past: How Renaissance Scholars Reconstructed Ancient Athenian Law

Banner for Piecing Together the Past: How Renaissance Scholars Reconstructed Ancient Athenian Law

When most of us think of the Renaissance, we usually imagine the rebirth of classical culture, bringing to images of spectacular paintings, life-like sculptures, and breathtaking architecture. We seldom reflect on the painstaking and often very dusty work required to bring ancient culture to life. In sixteenth-century Europe, gaining access to the cultural treasures of ancient Greece and Rome demanded effort and skill. There was no modern archaeology. Inscriptions and physical relics of the ancient world (especially those from Greece, which was occupied by the Ottoman Empire) were largely unavailable. And even the manuscripts of ancient authors were rarely ancient themselves; they were often produced centuries after classical authors like Herodotus or Thucydides originally penned their works.

As a result, recovering the culture of Greece and Rome took a lot of work. One of the most impressive projects of this recovery – and one that has received almost no attention from modern scholars – was a century-long project of reconstructing the ancient Athenian legal system. From 1546 to about 1640, nearly twenty lengthy books appeared on the subject. During that century, Greek law attracted the attention of nearly every eminent Greek scholar in Europe, including Philip Melanchthon (1497-1560), Julius Justus Scaliger (1540-1609), and Claudius Salmasius (1588-1653). Even the famous Paris printer Henricus Stephanus (1528-1598) intended to write a book on the subject, although he never followed through on his plans. Stephanus was such a crucial figure in Renaissance Greek scholarship that his system of citing Plato’s works is still used today, four centuries after his death. Virtually every important figure in Greek studies wanted to try their hand at piecing together the Athenian law.

Image of manuscript by Samuel Petit in Piecing Together the Past
Philip Melanchthon, Collatio actionum forensium Atticarum et Romanarum praecipuarum (A Comparison of the Chief Attic and Roman Legal Actions). Original 1546. (Wittenberg, 1554).
Image of manuscript by Philip Melanchthon in Piecing Together the Past

Samuel Petit, Leges Atticae (The Attic Laws). (Paris, 1635).

What made the study of Greek law such an intellectual challenge? Couldn’t these scholars just look at ancient Athenian lawbooks, do a bit of rearranging, and produce a fancy new edition of the Attic laws? Not exactly. Scholars were able to do this sort of thing with Roman law, which had survived antiquity in four massive volumes compiled under the emperor Justinian (r.527-565 CE) in the late sixth century. Renaissance Roman lawyers faced their own unique challenges like restoring corrupted text and interpreting archaic Latin terms. For example, one of the first and most important tasks of jurists such as François Hotman (1524-1590) was detecting the ways in which Justinian’s editors had changed the original Roman text and restoring the Roman laws to their original wording. Work of this sort abounded, but Roman lawyers held a critical advantage: they possessed four imposing volumes of Justinianic laws, providing a clear foundation for studying their subject.

Athenian law, on the other hand, was a blank spot on the map. No compilations of ancient Athenian law survived from antiquity. As far as we know, the Athenians themselves never created systematic legal texts to organize their own laws. If you asked even the most educated European scholar in 1500 what the contents of Athenian law were, they might be able to vaguely point to a legal citation from Demosthenes or another Greek orator. But there was no comprehensive body of knowledge about the content or procedure of Greek law. In a culture that was obsessed with recovering ancient culture, this was a massive gap in knowledge.

As a result, reconstructing Athenian law was a project with no obvious starting point. There was no central text to work from; hints and clues about the laws of Athens were scattered across ancient literature. For this reason, piecing together Greek laws required sustained detective work. Take, for example, Philip Melanchthon, the German Lutheran reformer and the first scholar to attempt to reconstruct them. By 1546, when Melanchthon published his work entitled “A Comparison of the Chief Attic and Roman Legal Actions”, Melanchthon had taught Greek literature at the university of Wittenberg for nearly two decades. He had translated, lectured on, or written commentaries on nearly every imaginable Greek author, including famous writers like Homer and Euripides as well as lesser-known figures like Theognis. This broad experience allowed Melanchthon to draw from an encyclopedic knowledge of Greek literature as he embarked on the first  attempt to reconstruct the various trials and procedures of the Attic legal system.

Litography with multiple images comemorating the 400th anniversary of Philipp Melanchton
Zur Erinnerung an den 400 jährigen Geburtstag, Philipp Melanchthon’s (In commemoration of Philip Melanchthon’s 400th Birthday)
Source: Library of Congress

Greek orators like Demosthenes were particularly important for this project of reconstruction. Since most surviving Greek speeches are actually legal speeches which were given at trial, they contained a wealth of information about law, including details about legal procedures and the roles of witnesses and judges. When scholars like Melanchthon got especially fortunate, they could even find quotations of entire laws buried within the speeches. Similarly, historians like Xenophon and geographers like Pausanias often contained offhanded remarks mentioning specific laws. Drama, too, was an important source, since Greek plays often included characters getting into various kinds of legal trouble. It is worth highlighting how advanced these Renaissance scholars were in their method. Twenty-first century scholars of Attic law draw from these same basic sources, although they now incorporate evidence from newly discovered inscriptions and a much deeper knowledge of the ancient Greek world. The Renaissance approach prefigured the one that is still used in universities today.

The haphazard and scattered nature of these sources underscores that this recovery of Athenian law was a magnificent achievement of Renaissance intellectual life. After the publication of Melanchthon’s text, a stream of works appeared that deepened the European understanding of the ancient Greek law. In 1559, the French lawyer Pardoux Duprat published a work reconstructing the laws of the ancient Athenian legislators Solon and Draco. In 1593, the Danish historian Niels Krag even expanded the scope of inquiry beyond Athens and uncovered the laws of ancient Sparta in his De republica Lacedaemoniorum (On the Spartan Republic). In 1635, the English jurist Samuel Petit produced the capstone of Athenian legal history in the form of his monumental Leges Atticae (The Attic Laws), which was still cited well into the nineteenth century.

Xenophon bust
Xenophon. Source: Wikimedia Commons
Pausanias bust
Pausanias in the Capitoline Museums, Rome. Source: Wikimedia Commons

But what, exactly, was the point of all this? Were these scholars just aloof antiquarians? The surprising but critical fact is that Greek law actually came to feature in some of the most contentious intellectual debates of the day. Attic law became an important way to think about the relationship between law and religion. For example, Melanchthon had arranged the Attic legal actions in parallel with the Roman ones and then organized them under the headings of the Ten Commandments. Under the commandment “Thou shalt not kill”, Melanchthon included all the Attic and Roman actions against assault and murder. As the introduction to the clearly indicates, Melanchthon saw the Attic law as proof that God’s law – the Ten Commandments – had been valid even for the ancient pagan nations. For Melanchthon, Greek law confirmed the universality of biblical morals.

Scholars drew upon Greek law for a variety of other uses. In his 1564 work, De Republica Atheniensium (On the Athenian Republic), the Italian historian Carlo Sigonio illustrated how law fit into the broader context of ancient Athens, providing one of the first holistic accounts of ancient Athenian society. The Danish historian Niels Krag held up the Spartan laws as a rebuke to European customs. In particular, he used Spartan laws about crime and punishment to highlight the barbarity of the European practice of displaying the bodies of those who were publicly executed. Greek law also became a part of contentious political and economic debates. The recovery of the ancient commercial laws of the Greek city-state of Rhodes set off a series of controversies about maritime law and free trade, something I write about at length in my upcoming monograph project. And in the 1640s, Athenian laws about monetary loans took center stage in important debates between French scholars Claudius Salmasius and Desiderius Herauldus over whether Christians could charge interest. Significantly, the seventeenth-century debates which overturned the medieval consensus against interest contained heated arguments about Attic law.

Recovering Greek law was a tremendous accomplishment. But it was also emblematic of a new way of doing history. The majority of Renaissance readers perused ancient texts for lessons about morality or models for eloquence and poetics. The scholars discussed above did not do that. They looked to ancient texts for submerged knowledge about the ancient world. They read orators like Demosthenes not for lessons on style and persuasion, but for information about how the ancient Greeks handled their differences in court. These scholars looked at ancient literature as a mass of clues about the ancient world, and they approached it as detectives. Perhaps more accurately, they approached it as modern historians. In other words, the recovery of Greek law was one of the first major accomplishments of modern history writing.

Alexander Batson received his PhD in History from Yale University in 2024. He is an intellectual and legal historian of early modern Europe. His work has appeared or is forthcoming in the Journal of the History of International Law, Reformation & Renaissance Review, Grotiana, and the Journal of the History of Ideas. Alexander is a postdoc at the School of Civic Leadership at UT Austin.

The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.


Banner picture: Photo by Josiah Lewis: https://www.pexels.com/photo/stonewall-palace-772689/

New Digital Technologies Bring Ancient Roman Villas to Life

By John R. Clarke

If Poppaea, the purported owner of the grand Roman villa that has come to light near Pompeii, were to walk into her slaves’ quarters today, she would think the gods had enchanted it. What are these banks of red flashing lights and strangely-dressed men and women manipulating words and pictures on magical tablets? It’s the Oplontis Project team, using digital technology to reanimate her Villa, which was buried in ash on August 24, AD 79, when the Mount Vesuvius volcano erupted near Pompeii.

Fig. 2

Oplontis Villa A, north façade and garden after replanting in 2010. Photo by John Clarke. ©The Oplontis Project

Italian excavations between 1964 and 1984 uncovered 99 of the villa’s spaces, including over forty exquisitely-decorated rooms, four large gardens, and a 61-meter swimming pool. After a hiatus of more than 20 years and on the invitation of the Italian Ministry of Culture, I assembled a team of experts to excavate, study, and publish Poppaea’s Villa (officially known as Villa A at Oplontis, Torre Annunziata, Italy), a UNESCO World Heritage site. The high-speed internet and multiple computers that would astonish Poppaea are only a small part of the arsenal of digital technologies that are bringing her villa to life.

Fig. 1

Aerial view of site with superimposed plan of actual and hypothetical remains. Drawing Timothy Liddell. ©The Oplontis Project

Given the many unanswered questions about what had been excavated, the Oplontis Project chose not to attempt to bring to light the estimated forty rooms that still remain under a nearby military complex, but rather to study fully what was there. This meant conducting the first excavations beneath the AD 79 level to learn about earlier phases of the villa and to carry out geological surveys to understand its relation to the surrounding land- and sea-scape. It also meant dealing with thousands of orphaned fragments, combing archives to track the procedures used to recreate the villa, and analyzing the chemistry of everything from ancient carbonized wood, to the pigments used in the frescoes, to the marble used throughout the Villa.

To address these challenges in the most efficient way, we adopted three digital strategies: the born-digital e-book for publication; a flexible database to collect and share resources; and a navigable 3D model to record the actual and reconstructed states of the Villa.

In light of the limitations of print publication, we chose the most successful scholarly publisher of digital e-books, the American Council of Learned Societies Humanities E-book series. Their ambitious e-books typically have excellent finding tools and hyperlinks to a myriad of electronic media, including archive repositories, databases, and films. Our book, Oplontis: Villa A (“Of Poppaea”) at Torre Annunziata, Italy is now available for free on-line.

The Oplontis Project database developed parallel to the ACLS e-book; indeed some of the contributors to the e-book began work on their chapters by building their part of the database. For this reason it includes all of the categories of research we are doing, including the decoration of all surfaces, the architecture, excavations, archival materials, and photographs. In this sample page from category 1, Wall and Ceiling Decorations, we see the east wall of the atrium, the top part of the catalogue description, written by Regina Gee, and a thumbnail image of the wall.

Clarke 3

Clicking on the thumbnail we get a screen showing the actual-state photograph taken by project photographer Paul Bardagjy in 2009. From here we can link to scores of archival photographs of this wall, including details of the wall when it was in better shape.

Fig. 4

Oplontis, atrium 5, east wall. Photo Paul Bardagjy. ©The Oplontis Project

One of the archival photos linked to this wall recently came into our hands from a private collector in the town of Torre Annunziata. It shows what the atrium looked like when Princess Margaret of England visited the Villa in 1973—years before it was open to the public.

Fig. 5 cropped

Oplontis, atrium 5. Visit of Princess Margaret and entourage 14 August 1973. Courtesy the Vincenzo Marasco Archive. ©The Oplontis Project

Notice that the Princess is shooting photos—and also notice the leftover fragments lying on the floor. A yet earlier photograph, from the Wilhelmina Jashemski Archive, shows what the wall behind the royal group looked like at the time of excavation, around 1968: it was in a state of collapse. The wall paintings a tourist sees today were literally salvaged from the debris, consolidated with reinforced concrete backings, and re-hung on a wall made from modern materials.

Fig. 6

Oplontis, atrium 5, east wall. Photo the Wilhelmina Jashemski Archive, 1968_45_24. © The University of Maryland

As this historical photo shows, when excavations began on the west wall of the atrium in 1966, it was miraculously standing to the level of the architrave (Fig. 7).

Fig. 7

Oplontis, atrium 5, west wall, at beginning of excavations. Photo courtesy the Soprintendenza Archaeologica di Pompei, De Francisis Archive, dia 9.392

After reconstruction, it was clear that the top part of this wall had succumbed to the blast of the pyoclastic flow, displacing fragments of its upper zone. When we located the fragments piled on the floors of several storage areas (transformed today into our laboratories), we had the basis for reconstructing an Ionic second story, which you can see below.

Fig. 8

Oplontis, atrium 5, west wall. Reconstruction by Martin Blazeby, King’s Vizualisation Lab. © King’s College London

As one sees it today, the modern roof is some three meters too low. The 3D model allows us to reconstruct the interior of this and all the other spaces of the Villa, finding homes for the many fragments of painted and stucco decoration (over 3,000 in all) that were left over when funds ran out.

Fig. 9

Oplontis, atrium 5, west wall. Screenshot from 3D model with modern roof. ©The Oplontis Project

Not only have we been able to put fresco fragments into their context through digital means, we have also reconstructed whole rooms. A case in point is the transformation of a seemingly featureless space into the most lavishly decorated reception room in the Villa.

Fig. 11

Oplontis, diaeta 78, actual state. Screenshot from 3D model. ©The Oplontis Project

The process of reconstructing room 78 started with my discovery of a cryptic note in the excavation daybooks for 1974 mentioning that excavators had found a series of impressions of wood panels in the hardened volcanic ash. This is a kind of wall revetment never before attested in antiquity. What of the floors and wainscoting, stripped of their marble in antiquity? Simon Barker closely studied tiny fragments of marble residue, identifying the range of expensive marbles used in that one space and reconstructing the patterns on the floor and walls. Architect Timothy Liddell put all of this data into a 3D environment to provide a stunning—and unprecedented—visualization of this opulent room, a unique testimony to the tastes of super-wealthy patrons like Poppaea.

FINAL RENDER - EDIT 1

Oplontis, diaeta 78. Digital reconstruction. Timothy Liddell and Simon Barker. ©The Oplontis Project

All of these room reconstructions are in the process of being integrated into a 3D model of the whole site. In its current beta version, the 3D model gives a user unlimited access to the entire 100 x 200 meter site, the same access available to the Oplontis Project team under the terms of its collaboration with the Archaeological Superintendency of Pompeii.

Finally, exciting new geological research has revealed the ancient setting of the Villa. There was one clue, partially explored in the Oplontis Project’s first excavation: a stairway descending from the slaves’ quarters to a tunnel, filled with hardened volcanic ash. Using Ground-Penetrating-Radar, we found anomalies on the south of the Sarno Canal suggesting that the tunnel ended in a stairway leading down some 9 meters. But it was not until geologist Giovanni Di Maio sunk a series of cores between 15 and 30 meters below the modern surface, that we knew that the Villa stood perched on a 14-meter cliff above its own private harbor. In the section, we see that the volcanic material to the north of the Villa, beneath the modern town, also accumulated over the parts pushed over the cliff by the force of the pyroclastic flows.

Fig. 14

Oplontis, Villa A. North-south section showing Villa on cliff above sea. Digital rendering. ©Giovanni Di Maio

The remains of other Roman villas that Di Maio has documented remind us of Strabo’s description of the villas and cultivated estates that stretched along the entire rim of the Bay of Naples like one continuous city.

Several features distinguish our 3D model from other similar archaeological initiatives. Since it is based on a first-person shooter gaming engine, Unity©, the user can navigate every space at will—unlike the determined paths of most models. The user can also toggle between actual and restored states, change the lighting systems, and meet other avatars. Most important for its use as a scholarly resource is the fact that by pressing the “Query” button, a researcher can directly access the database for the feature on the screen—whether a wall painting, or the finds in one of our 20 trenches, or the results of isotopic analysis of the marble of one of the 19 sculptures found in the gardens.

Fig. 13

Oplontis, view southeast corner of pool and diaeta 78, with several sculptures reset in place. Photo Stanley Jashemski 1978_2_27. ©The Wilhelmina Jashemski Archive, The University of Maryland

The original excavations of Villa A at Torre Annunziata aimed to make it into a living museum that the public could visit. This meant creating a new building that looked ancient. Walls had to be rebuilt and colonnades had to be reconstructed to support modern concrete beams, new tile roofs, and reconsolidated fresco fragments. In the process of building this living museum, the pieces of the puzzle that didn’t fit were simply ignored. Today, with digital means, we have put many of those puzzle-pieces back into the Villa.

The 3D model, linked with the database will allow us, and future generations, to find material easily by clicking on find-spots; scholars will be able to share in our work and even add to the information in our database. The model complements the e- book and because the ACLS has graciously offered to make the Oplontis Project publications open access, scholars and laypersons worldwide can benefit from the work of our 42 contributors, coming from wide range of scientific and humanistic disciplines.

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A longer version of this article was originally published in Apollo: The International Art Magazine (February 2014), 48-53.

The Oplontis Project

John R. Clarke and Nayla K. Muntasser, Oplontis: Villa A (“Of Poppaea”) at Torre Annunziata, Italy (e-book)

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Top image: Oplontis, oecus 15, reconstruction of west wall from fragments, overlay on portion of east wall. Reconstruction by Timothy Liddell. ©The Oplontis Project

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