Nonelites made their own music and were also consumers of music performed by professionals in various settings. These included not only the private parties of the lower classes but public banquets at festivals and recreation in drink shops and the like, as well as the banquets held by voluntary associations to which nonelites belonged. The recreations of the lower classes took on larger public and political significance at festivals and their associated public banquets. Wealthy people and rulers used public entertainments to curry favor with the public and promote a public image of themselves. Rulers did the same. These public entertainments included banquets in theaters and amphitheaters where food and wine were served, sometimes in a fashion that amounted to a kind of mass dinner theater. This custom began with snacks and wine being provided to theatergoers in fifth-century Athens and seems to have mushroomed into something grander by the late Hellenistic era. The style was adopted by certain emperors, and one imperial format was a public banquet held in an arena where musical entertainments were provided and the gladiatorial matches and beast fights and hunts were also accompanied by music.

Chapter 5 covers the next five hundred years of development when medieval residences and pathways filled the interstices of imperial ruins and the neighborhood’s first church, Sant’Angelo, now anchored the space.

This short chapter recapitulates the substantive advances made by the individual chapters in this volume before closing remarks on the difference between using probability to represent epistemic uncertainty and modelling variability, two exercises that are easily confused, and on the use of models to answer historical questions.

Chapter 8 delves into the creation of Rome’s Ghetto in the heart of the once center of the Circus Flaminius and the division of the Sant’Angelo rione into essentially two districts from the mid-sixteenth century until the late nineteenth century.

The introduction provides an overview of certain recurring subjects of the study, including music’s role in fostering the “good cheer” of the banquet, the power of metasympotic representations, the use of music for communication and display, the social and political aspects of self- and class-display through social music, ways in which elite music-making at archaic and classical symposia influenced customs of later periods and their interpretation, and the interconnections between dining and the festival/theater in all periods.

Chapter 10 takes the story from the 1920s to the present as the two sections became three with the creation of an archaeological park out of a medieval neighborhood and tells how the long history of the area is found in building lines and pavement markers.

“Pindar Mythologus and Theologus,” offers a methodological introduction to the central themes and approaches of the monograph. After articulating the case for recognizing theology in the victory odes and reviewing earlier approaches to immortality in the epinician corpus, it offers an orientation to the methodologies of lived religion, approaches to Pindar’s epinician myths, and an evaluation of contemporary conceptions of mortality and immortality with an emphasis on hero cult. As a contrast to the subsequent case studies of figures who blur the boundary between mortality and immortality, an analysis of Pelops in Olympian 1 establishes an example of exalted mortality in Pindar. An overview of the following case studies rounds off the chapter.

This chapter traces the history of professional poets and musicians at ancient Greek banquets from the archaic period through the Hellenistic age, including pipers, citharists, citharodes, harpists, and others. It also discusses various ways in which banquet music served self-promotion, personal and political. Elite symposia were venues for reperformances of victory odes, republishing a man’s fame with members of his class, sometimes beyond his own city and even his own generation. Philip II and Alexander used mocking poets at drinking parties to undercut and intimidate powerful members of the inner circle at a court where royal symposia had a quasi-constitutional function. They and other fourth-century rulers used professional musicians for display at banquets to enhance the royal vanity and promote their image. The chapter also discusses the extent to which social dining was a setting for professional poets and their poetry in the Hellenistic age and whether the works of academic poets such as Callimachus and Theocritus were sung.

Chapter 3 focuses on the total makeover of the Circus Flaminius by the Emperor Augustus and its impact on the uses of and movement through the space.

Chapter 3 discusses the fading of music rituals at elite symposia, which was due in large part to the diminishing cultural significance of the musical arts in defining the aristocrat (a process that was already well underway by the fourth century), an increasing preference for professional entertainments, and the evolution of the upper-class domestic symposion itself. The last of these included the abandonment of rituals marking the transition from meal to symposion, the replacement of the communal wine krater with individualized wine service, and a shift to larger social meals, which new forms of dining architecture accommodated. The group paean and scolia disappeared very quickly. Other forms of organized music-making by dining groups continued in some places during the third century but were nearly obsolete by the middle of the second. It is likely that recital of poetry became at least as common or more common than singing it. In addition to describing these developments, the chapter gives special attention to stories about occasional singing and dancing by diners who engaged in those activities as self-display, performing for others.

An intense debate has arisen among scholars concerning the financial sustainability of the grain funds that Greek and Roman cities used to cope with the instabilities of the grain market. In this paper, we apply a Monte Carlo simulation to model their financial dynamics. Due to the uncertainties pertaining to the scope of such funds (targeting urban dwellers only or including rural residents), our model takes into account two scenarios: ‘optimistic’ (urban only) and ‘pessimistic’ (both urban and rural). The analysis reaches several important findings: (1) For both scenarios, we witness a considerable rate of funds collapsing in their first 10 years of operation. After 10 years, however, the probability of failure displays very little change, as if there was a threshold over which the funds had accumulated enough capital to withstand shortages. (2) As expected, the survival rates are significantly higher for the optimistic scenario. (3) The withdrawals seem to have the most dramatic impact on the dynamic of the fund. Overall, while the grain funds do not appear to be sustainable in the urban-rural scenario, they show clear signs of sustainability in the urban-only scenario. The results invite reconsideration of the widespread view that grain funds were an inefficient and precarious response to food crisis.

Although we have made great strides in the last few years in our understanding of the size of the urban population of the Roman Empire, there is still some uncertainty about how to extrapolate from the sample of sites for which we have evidence to the total number of sites that we know existed, with obvious implications for our view of the urbanization rate. In this chapter, I investigate whether we can use probabilistic approaches not only to shed new light on the size of the urban population and urbanization rate (and how they changed over time), but also to assess our degree of confidence about them. This exercise suggests that, although the size of the urban population was reasonably large by historical standards, it grew extremely slowly in comparative terms, with a minimum doubling time of just over 600 years. This indicates a constant urbanization rate, with about a fifth of the inhabitants of the Roman Empire living in cities for most of the Imperial period.