A Map of the Body, a Map of the Mind: Visualising Geographical Knowledge in the Roman World (Archaeopress Roman Archaeology, 115)

A Map of the Body, a Map of the Mind considers the relationship between geography and power in the ancient Roman world, and most particularly the visualisation of geographical knowledge in myriad forms of geography products, including geographical treatises, histories, poems, personifications, landscape representations, images of barbarian peoples, maps, itineraries, and imported foodstuffs. As Rome broke its political bounds and headed towards empire the whole city became the centre and the Roman worldview changed with it. The Roman state then needed to present to the Roman people an easily digestible narrative about its imperial ambition and imperial possessions, in a way that went beyond the fact that servitude, enslavement, and misery for many underpinned this expansion. There needed to be a publicly guided discourse centred around the smoothing out of difference, rather than its obliteration or elimination, and the presentation of many different life worlds in a familiar way using geographical information. This marked a way of directing how change could be managed and of reimagining how the world might be and might work at the intersection between selection, knowledge, and insight. Reflection and communication sought to create a communal sense of belonging. If not actually doors, these geographical images were at least windows onto self-identity and otherness, letting light in on a sombre struggle against accidie. Cover Title Page Copyright Page Contents Page List of Figures and Tables Figure 1. Relief depicting architrave supported by the figures of two caryatids, Pozzuoli. Early first century AD. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 2. Example of a Roman ‘geography product’. Statue personification of the River Arno. Exact provenance uncertain, probably Rome. Hadrianic. Musei Vaticani, Rome. (Photo: Author). Figure 3. Example of a Roman ‘geography product’. Nilotic scene on a terracotta Campana plaque. Mid-first century AD. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 4. Example of a Roman ‘geography product’. Sarcophagus depicting the Indian triumph of Bacchus, Ostia/Portus. Second to third century AD. Museo Archeologico Ostiense. (Photo: Author). Figure 5. The Map of Bedolina at the rock art site of Bedolina, near Capo di Ponte, Valcamonica, Lombardy. Italian Bronze Age (c. 1500-1400 BC) and Iron Age (between 600-400 BC). (Photo: Angelo Fossati). Figure 6. The Map of Bedolina at the rock art site of Bedolina, near Capo di Ponte, Valcamonica, Lombardy. Italian Bronze Age (c. 1500-1400 BC) and Iron Age (between 600-400 BC). (Photo: Angelo Fossati). Figure 7. Survey drawing of the Map of Bedolina. (Photo: Angelo Fossati/Footsteps of Man Cooperativo). Figure 8. The Liver of Piacenza. Etruscan, second century BC in Museo Civico Palazzo Farnese, Piacenza. Modern replica in Museo Etrusco Guarnacci, Volterra. (Photo: Copyright Jerónimo Roure Pérez). Figure 9. Roma/Tellus, the Ara Pacis Augustae, Rome. 13-9 BC. (Photo: Author). Figure 10. Vegetal decoration, the Ara Pacis Augustae, Rome. 13-9 BC. (Photo: Author). Figure 11. Detail, the Ara Pacis Augustae, Rome. 13-9 BC. (Photo: Author). Figure 12. The Prima Porta statue of Augustus. c. 20 BC. Musei Vaticani, Rome. (Photo: Author). Figure 13. Detail of the decorated cuirass, the Prima Porta statue of Augustus. c. 20 BC. Musei Vaticani, Rome. (Photo: Author). Figure 14. Portrait bust of Cicero. First century BC, Rome. Palazzo dei Conservatori, Rome. (Photo: Author). Figure 15. Wall painting depicting treaty negotiations between Romans and Samnites. Esquiline Hill, Rome. 300-280 BC. Musei Capitolini Centrale Montemartini, Rome. (Photo: Author). Figure 16. The bronze Capitoline Wolf, still widely considered to be of an Etruscan date, with Romulus and Remus added later. Musei Capitolini, Rome. (Photo: Author). Figure 17. A Proto-Etruscan cinerary urn in the form of a model of a contemporary hut, perhaps like the Casa Romuli. Alban Hills, Lazio. 900-800 BC. British Museum, London. (Copyright Trustees of the British Museum). Figure 18. Relief depicting Aeneas at the future site of Rome. The ship of Aeneas is docked on the right. Rome. AD 140-150. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 19. The ficus ruminalis depicted on one of the Plutei of Trajan or Anaglypha Traiani. Trajanic, possibly later and Hadrianic. Curia Julia, Roman Forum. (Photo: Author). Figure 20. Bronze sestertius coin issue of Vespasian, Rome mint. AD 71. Reverse image of Roma seated on the seven hills. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 21. Face of altar to Mars and Venus, with depiction of Faustulus, Numitor, and Faustus, the She-Wolf nursing Romulus and Remus, and Tiberinus, Ostia. Trajanic or Hadrianic. Palazzo Massimo Museo Nazionale Romano, Rome. (Photo: Author). Figure 22. Detail of face of altar to Mars and Venus, with depiction of the She-Wolf nursing Romulus and Remus and Tiberinus looking on, Ostia. Trajanic or Hadrianic. Palazzo Massimo Museo Nazionale Romano, Rome. (Photo: Author). Figure 23. Apotheosis scene, with the youthful personification of the Campus Martius in attendance, on relief panel from the Arco di Portogallo, Rome. AD 136-138. Palazzo dei Conservatori, Rome. (Photo: Author). Figure 24. Wall painting of Bacchus in front of Mount Vesuvius. Lararium of the Casa del Centenario or House of the Centenary, Pompeii. AD 55-79. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 25. Detail of buildings on reliefs from the Tomb of the Haterii, Rome. Late Flavian or early Trajanic. Musei Vaticani, Rome. (Photo: Author). Figure 26. Detail from the end panel of a marble sarcophagus, showing St Peter and his jailers in the city of Rome. Rome. Fourth century AD. Musei Vaticani, Rome. (Photo: Author). Figure 27. Roman architecture on coins. Bronze sestertius of Titus, reverse the Colosseum from a bird’s-eye view, Rome mint. AD 80-81. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 28. Roman architecture on coins. Gold aureus of Nero, reverse the Temple of Vesta, Rome mint. AD 65-66. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 29. Roman architecture on coins. Gold aureus of Claudius, reverse a triumphal arch in Rome, Rome mint. AD 41-45. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 30. Relief from a sarcophagus, depicting a busy harbour scene at Portus. Rome. Mid-third century AD. Musei Vaticani, Rome. (Photo: Author). Figure 31. Marble Christian sarcophagus relief from Rome depicting ship approaching the harbour at Portus and its lighthouse. Fourth century AD. Musei Vaticani, Rome. (Photo: Author). Figure 32. Wall painting of Roma. Originally fourth century AD, San Giovanni in Laterano, Rome. Probably a heavily-overrestored Venus. Palazzo Massimo Museo Nazionale Romano, Rome. (Photo: Author). Figure 33. Face of painted altar bearing image of Roma/Tellus, Milan. Late first to early second century AD. Museo Civico Archeologico, Milan. (Photo: Author). Figure 34. Detail of the Base of Tiberius, showing one group of the fourteen Tychai of Asian cities. Pozzuoli. AD 30-31. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 35. Head of Tyche, Classe. Second century AD. Classis Ravenna Museo della Città e del Territorio, Classe. (Photo: Author). Figure 36. Tombstone of Lucius Aurelius Hermia, butcher on the Viminal Hill, Rome. First century BC. British Museum, London. ( Photo: Copyright Trustees of the British Museum). Figure 37. Massive statue of the personified Tiber (originally probably the Tigris), Campidoglio, Rome. Originally in the Baths of Constantine, Rome. Early fourth century AD. (Photo: Author). Figure 38. Massive statue of the personified Nile, probably from the Temple of Isis in the Campus Martius, Rome. Very late first century AD. Musei Vaticani, Rome. (Photo: Author). Figure 39. Massive statue of the personified Nile, Campidoglio, Rome. Originally in the Baths of Constantine, Rome. Early fourth century AD. (Photo: Author). Figure 40. Gold aureus coin issue of Hadrian, Rome mint. AD 130-138. Reverse image of the personification of the Nile. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 41. Detail of relief panel showing submission of personification of Mesopotamia to Trajan, with personifications of the rivers Euphrates and Tigris in attendance. The Arch of Trajan at Benevento. AD 114-118. (Photo: Author). Figure 42. The personified figure of the River Danube. Scene III, Trajan’s Column, Rome. AD 113 (Photo: Author). Figure 43. Bronze sestertius of Trajan, Rome mint, AD 104-111. Reverse of personification of Danuvius (River Danube) throttling and subduing the personified Dacia. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 44. Bronze sestertius of Trajan, Rome mint, AD 116-117. Reverse of emperor standing over seated personifications of the Rivers Euphrates and Tigris, with personified Armenia seated left. British Museum, London. (Photo: Copyright Trustees of the Bri Figure 45. Stone head of Rhine god Rhenus from a mausoleum, Bonn. Second century AD. Rheinisch Landesmuseum, Bonn. (Photo: Carole Raddato). Figure 46. Black and white mosaic depicting the Nile. Piazzale delle Corporazioni, Ostia. AD 150-170. (Photo: Author). Figure 47. The rain god. Scene XVI, the Column of Marcus Aurelius, Rome. AD 180-192. (Photo: Author). Figure 48. The Pesaro wind rose, Via Appia, Rome. End of second century AD. Museo Oliveriano, Pesaro. (Photo: Author). Figure 49. Roman/Campanian landscape wall painting from Pompeii. Early first century AD to AD 79. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 50. Roman/Campanian landscape wall painting from Pompeii. Early first century AD to AD 79. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 51. Roman/Campanian landscape wall painting from Pompeii. Early first century AD to AD 79. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 52. Relief depicting a sacro-idyllic landscape, Rome. First to second century AD. Palazzo Massimo Museo Nazionale Romano, Rome. (Photo: Author) Figure 53. Wall painting depicting an idealised landscape, Pompeii. Museo Archeologico Nazionale, Naples. Early first century AD to AD 79. (Photo: Author). Figure 54. Wall painting of rural estate and estate workers, Palasgarten, Trier. Second century AD. Rheinisch Landesmuseum, Trier. (Photo: Author). Figure 55. Wall painting from the garden room of the Villa of Livia at Prima Porta. Second half of the first century BC. Palazzo Massimo Museo Nazionale Romano, Rome. (Photo: Author). Figure 56. Christian sarcophagus with scene of Jesus preaching in Holy Land landscape defined by palm trees, Ravenna. Fourth century AD. Museo Nazionale Romano, Ravenna. (Photo: Author). Figure 57. Scenes I-II, Trajan’s Column, Rome. AD 113. (Photo: Author). Figure 58. Scene XX, Trajan’s Column, Rome. AD 113. (Photo: Author). Figure 59. The Praeneste/Palestrina Nile Mosaic. First quarter of the second century AD. Museo Archeologico Nazionale di Palestrina, Palestrina. (Photo: Author). Figure 60. Detail of the Praeneste/Palestrina Nile Mosaic. First quarter of the second century AD. Museo Archeologico Nazionale di Palestrina, Palestrina. (Photo: Author). Figures 61-62. Detail of the Praeneste/Palestrina Nile Mosaic. First quarter of the second century AD. Museo Archeologico Nazionale di Palestrina, Palestrina. (Photo: Author). Figures 63-65. Detail of the Praeneste/Palestrina Nile Mosaic. First quarter of the second century AD. Museo Archeologico Nazionale di Palestrina, Palestrina. (Photo: Author). Figure 66. Nilotic relief with erotic scene, Rome. Date 30 BC-AD 100. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 67. Black and white mosaic, Nilotic scene with pygmies, Rome. First to second century AD. Palazzo Massimo Museo Nazionale Romano, Rome. (Photo: Author). Figure 68. Marble statue of a black youth on a crocodile, Rome. First century BC to first century AD. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 69. Statue of the personified Nile carved in dark basanite, Rome. Flavian. Musei Vaticani, Rome. (Photo: Author). Figure 70. Statue bust of Antinous, Rome. Hadrianic. Musei Capitolini Centrale Montemartini, Rome. (Photo:Author). Figure 71. The Canopus. Hadrian’s Villa at Tivoli. AD 133-138. (Photo: Author). Figure 72. Marble ground plan of the tomb complex of Claudia Peloris and Tiberius Claudius Eutychus, Rome. Mid-first century AD. Museo Archeologico Nazionale dell’Umbria, Perugia. (Photo: Author). Figure 73. The Via Marsala mosaic map. Late second to early third century AD. Musei Capitolini Centrale Montemartini, Rome. (Photo: Professor Lynne Lancaster, by permission of the Musei Capitolini). Figure 74. Detail of the Via Marsala mosaic map. Late second to early third century AD. Musei Capitolini Centrale Montemartini, Rome. (Photo: Professor Lynne Lancaster, by permission of the Musei Capitolini). Figure 75. The Mosaic of the Islands, Haidra, Tunisia. Third or fourth century AD. Musée National du Bardo, Tunis. (Photo: Author). Figure 76. Portrait bust of Marcus Agrippa, Rome. 25-10 BC. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 77. Wall of the Templum Pacis/Temple of Peace, Rome. Now part of the Church of SS. Cosma e Damiano. (Photo: Author). Figure 78. Wall of the Templum Pacis/Temple of Peace, Rome. Now part of the Church of SS. Cosma e Damiano. (Photo: Author). Figure 79. The Via Anicia marble map fragment. Augustan or later. Musei Capitolini, Rome. (Photo: Author). Figure 80. Detail of part of the Peutinger Map. Original early second century to early fourth century AD. (Photo of 1888: downloaded from cambridge.org/us/talbert/mapb.html TP1888seg1). Figure 81. Detail of part of the Peutinger Map. Original early second century to early fourth century AD. (Photo of 1888: downloaded from cambridge.org/us/talbert/mapb.html TP1888seg2). Figure 82. The Vicarello Itinerary Cups, Vicarello. First century AD. Palazzo Massimo Museo Nazionale Romano, Rome. (Photo: Copyright Ryan Baumann). Figure 83. The Farnese Atlas, Rome. Second century AD. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 84-85. The Dying Gaul. Roman copy of a Hellenistic original. Musei Capitolini, Rome. (Photo: Author). Figure 86. Cybele/Magna Mater, Rome. AD 250-275. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 87. Artemis Ephesia, probably from Rome. Second century AD. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 88. Relief of Claudius and Britannia, from the Sebasteion at Aphrodisias. Julio-Claudian. (Photo: courtesy of New York University Excavations at Aphrodisias. Photographer G. Petruccioli). Figure 89. Relief of Nero and Armenia, from the Sebasteion at Aphrodisias. Julio-Claudian. (Photo: courtesy of New York University Excavations at Aphrodisias. Photographer G. Petruccioli). Figure 90. Relief depicting Mauretania from the Hadrianeum Rome. AD 145. Palazzo dei Conservatori, Rome. (Photo: Author). Figure 91. Relief depicting Hispania from the Hadrianeum Rome. AD 145. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 92. Relief depicting Gallia from the Hadrianeum Rome. AD 145. Palazzo dei Conservatori, Rome. (Photo: Author). Figure 93. Ivory Indian figure from the Casa dei Quattro Stili or House of the Four Styles, Pompeii. First century AD, before AD 79. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 94. Personification of India on a mosaic from Villa Casale, Piazza Armerina, Sicily. Fourth century AD. (Photo: slide collection of the former School of Continuing Studies, Birmingham University). Figure 95. Leaf from an ivory diptych (the Barberini Ivory) depicting the emperor Justinian, Constantinople. First half of the sixth century AD. Musée du Louvre (Photo: Copyright Musée du Louvre). Figure 96. Wall painting with depiction of Macedonia, Villa of P. Fannius Synistor, Boscoreale. First century AD, before AD 79. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 97. Inner relief depicting Titus’ Judaean triumph, Arch of Titus, Rome. After AD 81. (Photo: Author). Figure 98. Marble sarcophagus depicting the Indian triumph of Bacchus, Rome. AD 260-270. Metropolitan Museum, New York. (Photo: Copyright Metropolitan Museum). Figure 99. Relief depicting scenes of the Trojan War from the Iliad (one of the Tabulae Iliacae). First half of first century AD. Metropolitan Museum, New York. (Photo: Copyright Metropolitan Museum). Figure 100. Gold aureus coin of Hadrian, Rome mint, AD 130-138. Reverse of personification of Africa. One of the travel series of Hadrianic coins. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 101. Gold aureus coin of Hadrian, Rome mint, AD 130-138. Reverse of personification of Aegyptus/Egypt. One of the travel series of Hadrianic coins. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 102. Silver denarius of Hadrian, Rome mint, AD 117-138. Reverse of Hadrian raising the kneeling personification of Gallia/Gaul. One of the travel series of Hadrianic coins. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 103. Statue of the personified Nile. AD 133-138. Museo Villa Adriana, Tivoli. (Photo: Author). Figure 104. Statue of the personified Tiber. AD 133-138. Museo Villa Adriana, Tivoli. (Photo: Author). Figure 105. Statue of a Nile crocodile. AD 133-138. Museo Villa Adriana, Tivoli. (Photo: Author). Figure 106. The ship of Odysseus, massive sculpture, Villa and Grotto of Tiberius, Sperlonga. Museo Archeologico Nazionale di Sperlonga. (Photo: Author). Figures 107-108. The blinding of Polyphemus by Odysseus, Villa and Grotto of Tiberius, Sperlonga Museo Archeologico Nazionale di Sperlonga. (Photo: Author). Figures 109-110. Sarcophagus decorated with the abduction/rape of Proserpina/Persephone, Rome. Third century AD. Musei Capitolini, Rome. (Photo: Author). Figure 111. End panel of a sarcophagus, with Cupid as Charon rowing across the River Styx in the Underworld, Milan. Third century AD. Museo Civico Archeologico, Milan. (Photo: Author). Figure 112. Detail from a marble sarcophagus, showing Hercules exiting the Underworld with the dog Cerberus, Rome. Third century AD. Musei Capitolini Centrale Montemartini. (Photo: Author). Figure 113. Gold aureus of Caracalla, Rome mint, AD 214. Reverse of Serapis with the dog Cerberus seated at his feet to left. British Museum, London. (Photo: Copyright Trustees of the British Museum). Figure 114. The Bocca della Verita, Santa Maria in Cosmedin, Rome. Date uncertain, possibly as early as first century AD. (Photo: Author). Figure 115. The Velletri Sarcophagus. AD 140-150. Museo Civico Archeologico Oreste Nardini, Velletri. (Photo: slide collection of the former School of Continuing Studies, Birmingham University). Figure 116. The Rudge Cup, schematically depicting Hadrian’s Wall and naming some forts along the frontier. Second century AD. Alnwick Castle, Northumberland. (Photo: Tullie House Museum Carlisle and Professor David Breeze). Figure 117. The Pilkington Bottle, a souvenir from, and depicting, Puteoli. Third or fourth century AD. Pilkington World of Glass, St. Helens. (Photo: Pilkington Glass Collection. The World of Glass). Figure 118. Sardonyx cameo of the Tyche of Constantinople crowning the emperor Constantine with a laurel wreath: known as the Gemma Constantiniana. Probably AD 315. Rijksmuseum van Oudheden, Leiden. (Photo: Author). Figure 119. Example of a Roman ‘geography product’. The silver Parabiago plate, bearing an image of Cybele and Attis in a cosmic setting. Mythological figures present include river deities and Tellus. Fourth to fifth century AD. Museo Civico Archeologico, Figure 120. Example of a Roman ‘geography product’. Small sarcophagus decorated with images of personified river deities, probably from Rome. Second or third century AD. (Photo: Duke’s Auctions). Figure 121. Example of a Roman ‘geography product’. Small bronze figure of the Tyche of Antioch. First century AD. Metropolitan Museum, New York. (Photo: Copyright Metropolitan Museum). Figure 122. Example of a Roman ‘geography product’. Black and white mosaic of ships approaching the lighthouse at Portus, outside Tomb 43 Necropoli di Porto, Isola Sacra, Ostia. Second to third century AD. (Photo: Author). Figure 123. Example of a Roman ‘geography product’. Part of frieze depicting captured, bound barbarians, Trier. First century AD. Rheinisch Landesmuseum, Trier. (Photo: Author). Figure 124. Example of a Roman ‘geography product’. Relief from sarcophagus depicting a banquet scene and a wind god, possibly Rome. Third to fourth century AD. Rijksmuseum van Oudheden, Leiden. (Photo: Author). Figure 125. Example of a Roman ‘geography product’. Cupids carrying a crocodile, Oxyrhynchus. Fourth to fifth century AD. Rijksmuseum van Oudheden, Leiden. (Photo: Author). Figure 126. Mosaic panel bearing a personification of the Tyche of Antioch merged with a portrait of a Hellenistic ruler (Arsinoe II perhaps), Thmouis, Egypt. As early as 200 BC. Graeco-Roman Museum, Alexandria. (Photo: Copyright Centre d’Études Alexandri Figure 127. Example of a Roman ‘geography product’. Nilotic-themed wall painting, Pompeii. First century AD, before AD 79. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 128. Example of a Roman ‘geography product’. Ceramic oil lamp decorated with image of eroticised woman (caricature of Cleopatra?) on the back of a crocodile. Provenance uncertain. AD 40-80. British Museum, London. (Photo: Copyright Trustees of the Figure 129. Example of a Roman ‘geography product’. Mosaic depicting a Nilotic scene, Pompeii. First century AD, before AD 79. Museo Archeologico Nazionale, Naples. (Photo: Author). Figure 130. Example of a Roman ‘geography product’. Sarcophagus carrying image of cupids/putti operating ships in a busy harbour, with buildings behind forming an urban backdrop, Rome. Third century AD. Terme di Diocleziano Museo Nazionale Romano, Rome. ( Image Credits Acknowledgements Preface Footfalls Echo In the Memory Chapter One: Maps of the Mind Zone Interzone To the Heart of the World The Open Door Chapter Two: Strangers in a Strange Land The Ceremony of Innocence Procession An Immersive Past Another Time Chapter Three: Rome in Rome Seven Hills Mountains Water and Trees Streets and Buildings Chapter Four: A River Without End Rivers of the Windfall Light Simultaneities Rising Waters Rivers of Deceit Chapter Five: Staged Designs Short Distances and Definite Places The Inconstant Ones Chapter Six: Landscape and Desire Possession (Dis)Possession Chapter Seven: An Unseen Ruler Carving and Paring Crossing the Line Chapter Eight: Maps of the Body The Widening Gyre Threading a Dream Bodies and Metaphor A Long Way from Here Craving for Oblivion Turning and Turning The Centre Cannot Hold Chapter Nine: Moving Away from the Pulsebeat Odyshape Death’s Echo Postcards from the Edge Postcards from the Future Petrified, the Landscape Grows Chapter Ten: Slouching Towards Empire Shadowplay Unknown Pleasures Transmission Insight Opaque Manifesto Quiet Mapped Waters Appendix I Remember Bibliography A Map of the Body, a Map of the Mind is a study about the relationship between geography and power in the ancient Roman world, and most particularly about the visualisation of geographical knowledge in myriad forms of geography products, including geographical treatises, histories, poems, personifications, landscape representations, images of barbarian peoples, maps, itineraries, and imported foodstuffs. As Rome broke its political bounds and headed towards empire the whole city became the centre and the Roman world-view changed with it. The Roman state then needed to present to the Roman people an easily-digestible narrative about its imperial ambition and imperial possessions, in a way that went beyond the fact that servitude, enslavement, and misery for many underpinned this expansion. There needed to be a publicly-guided discourse centred around the smoothing out of difference, rather than its obliteration or elimination, and the presentation of many different lifeworlds in a familiar way using geographical information. This marked a way of directing how change could be managed and of reimagining how the world might be and might work at the intersection between selection, knowledge, and insight. Reflection and communication sought to create a communal sense of belonging. If not actually doors, these geographical images were at least windows onto self-identity and otherness, letting light in on a sombre struggle against accidie. Iain Ferris is an independent academic researcher and a former field archaeologist who has published three archaeological excavation monographs and ten books, the most recent of which Visions of the Roman North: Art and Identity in Northern Roman Britain was published by Archaeopress in 2021. Roman,Ancient Rome,Geography,Visualisation,Art