1. Roman Art

2. Capitoline Brutus, ca. 300 BC (or later), Etruscan bronze portrait, Conservatori Mus, Rome

4. Severe, unwavering, resolute

5. Knowledgeable, respected

6. Romans felt the head was a good enough representation of a person

7. Traditional family values

8. Influenced by Hellenistic Greek art

9. Shows the virtues of old age

10. Was old age enhanced on the figure?Rome, c. 80 B.C.

11. Roman Patrician with 2 Heads, c. 15 CE

12. Temple of Fortuna Virilis (Portunas) Late 2nd BCE

14. Etruscan influence in the elevation of the temple on a pedestal

15. One main entrance in the front

16. Wide flight of stairs

17. Ionic columns

18. Roman desire for big interiors pushes the walls out to meet the columns

23. Roman Emperors Ceasar Augustus Tiberius Nero Vespasian Titus Trajan Hadrian Marcus Aurelius Diocletian Constantine 27 BC – 14AD 14 – 37 54-68 69 – 79 79 – 81 98 – 117 117 -138 161 – 180 284 – 305 306 - 337

24. Head of Emperor Augustus First half of the 1st century A.D.; Roman; Marble; 48.3 cm (19 in.); Gift of Mr. and Mrs. James S. Holden; 24.101 This portrait of Rome's first emperor is an idealized, youthful image, which harks back to the representation of athletes and heroes of 5th-century B.C. Greece. It follows the portrait well known from a marble statue of Augustus, discovered in the villa of Augustus's wife Livia outside of Rome. That handsome likeness was the source of inspiration for hundreds of portraits of the emperor all over the expanding Roman Empire. The statue may have served as the cult figure in a temple to the deified emperor, or stood in a public or private place of honor.

26. No personal idiosyncrasies

27. Contrapposto

28. Suggests a god and a man

29. Bare feet gives him heroic stature

30. Sharp eyebrow edges

31. Oratorical pose

32. On military breastplate, the return of a Roman standard from Parthia

33. Back not carved, placed in a niche

34. Cupid riding on a dolphin is a reference to Venus, Augustus’ great ancestor

35. He was 76 when it was carvedRome, c.15 CE

36. L'Arringatore, bronze portrait of orator, from Lake Trasimene , 1 st c. BC

38. Gemma Augusta

40. Delicately carved acanthus leaf patterns on the exterior

41. Altar connected with Augustus’ homecoming after a long absence

42. Romans appear as a ruling class, not as gods

43. Actual identifiable Romans depicted

44. Children are depicted as children, not shown as small adults

45. Crowding of figures in processional, not classically dispersed

47. Personifications of earth, wind, fire and water rest at peace around her

49. Roman High Imperial Art Column of Trajan Ashes of Trajan placed at base Stood in Trajan’s Forum, surrounded by buildings so that the reliefs could be read Low relief, no shadows to enhance visibility Originally painted Continuous narrative around column 2,500 figures in all, 150 separate episodes Depicts the war against the Dacians

50. Roman Architecture Pantheon, Rome Dedicated to all the gods Porch has 16 columns Influenced by the Parthenon Corinthian capitals Two pediments Dome made of concrete, at base 20 feet thick Interior height equals width A hemisphere shape Coffers relieve concrete stress on dome: each contains four recesses except the top contains three Ancient metal roof almost gone Repetition of square and circle

51. Roman Architecture Pantheon, Rome (continued) Original dome decorated with stucco and painting Original marble walls survive Floor has drainage system Oculus allows light and air in Light from oculus symbolizes sun’s movement through the sky Base of building made of concrete

54. Roman Late Imperial Art Head of Constantine 8 ½ foot head Part of a seated statue that must have been 30 feet Enthroned in the Basilica of Constantine Metal crown was attached to brow Enlarged and detailed carving of eyes Lack of individuality

57. Barrel vaults, north exedra, Basilica of Maxentius and Constantine, Roman Forum

58. Roman Late Imperial Art The Tetrarchs Depicts four emperors who ruled at once Figures are cylinders, lack body articulation Same gestures, a Roman salute Done in porphyry, a purple stone symbolizing royalty Stubby proportions Squat bodies No emotion on faces Deeply furrowed lines on foreheads

59. Roman Architecture: Colosseum Colosseum, Rome Real name, Flavian Ampitheatre Accommodates 50,000 spectators Miles of vaulted spaces Barrel vaults, groin vaults Concrete Elliptical form 80 entrances 1st floor: Tuscan, considered the heaviest 2nd Floor: Doric, considered lighter 3rd floor: Ionic, fancier Top floor flat columns in Corinthian style, most decorative Imperial box opposite gladiator entrance Small rectangular windows on fourth floor let in light into upper corridors Façade of travertine blocks Flagstaffs balanced on marble buttresses visible on fourth floor held up a sunshield for the spectators Used for gladiator combat, naval battles

60. Forum at Pompeii c. 79 AD

62. Pompeii Explosion by Mount Vesuvius in 79 AD buried Pompeii Forum Large rectangular public square in center of town Surrounded by a colonnade Temple of Jupiter focus of forum Surrounding the forum are the buildings that housed the business, government and religious activities of Pompeii

63. Atrium, House of the Silver wedding

64. Pompeii Roman Houses Faced inward Interiors lit from atrium, few windows on exterior Atrium formed the opening for rainwater to fall in the impluvium Columns surround impluvium Interiors of rooms are painted; open up interior space Shops are outside the house facing the street Windows are small and limited in number

66. Foreshortening

67. Ixion murdered his father-in-law and planned to seduce Hera

68. Zeus struck him with a thunderbolt and ordered him to be tied to a wheel in hell

69. Scheme of red and white fields

70. On bottom painted to resemble marble slabs

71. On top, architectural vistas that do not align to a single viewpoint

74. 2nd Pompeian Style painting

75. Large figures in a frieze-like format

76. Initiation rites into the female cult of Dionysos

77. Figures act out mystery rites

78. Painted marble panels at bottom, from the First Pompeian style of painting

79. Bright Pompeian red background pushes figures forward

80. No linear perspective, but three dimensional illusionism

81. Figures interact with each other on adjacent wall spacesVilla of the Mysteries

84. Multiple architectural orders – mainly Greek and Egyptian

86. Equestrian statue of Marcus Aureliusca. 175 AD

87. Commodus as Hercules c. 191 – 92 CE

88. Philip the Arab c. 246 CE

89. Mummy portrait of a manca. 160-170 AD