Art1204 power to the people the art of ancient romeProfWillAdams
The document discusses the art and architecture of ancient Rome from the Republican Period through the Late Empire. It describes how the Romans adopted elements of Etruscan, Greek, and other cultures and blended them into their own style. Key Roman innovations included the true arch, which allowed for grander structures than Greek temples, and the widespread use of concrete for construction. The art shifted from idealized Greek gods to realistic portraits honoring Roman rulers and military victories.
The document provides background information on ancient Rome, beginning with the Etruscan kingdom from 750-510 BCE that influenced early Rome. It then discusses the Roman Republic from 509-27 BCE and key rulers like Julius Caesar. Images and descriptions of art and architecture from the republic period are presented, including the Apollo of Veii statue, sarcophagi, temples, and coins. The document then covers the Early Roman Empire beginning with Augustus, the first emperor, and art like the Primaporta statue that established imperial propaganda. Engineering achievements like the Pont du Gard aqueduct and structures like the Ara Pacis altar and Flavian Amphitheater are also summarized.
Roman portraiture originated in the Republican period and focused on realistic, unembellished depictions that conveyed virtues like experience, duty, and sobriety. These portraits, especially busts, aimed to capture distinguishing facial features. The tradition continued under the Empire, though styles became more standardized and elaborate. Portraiture expanded beyond patricians to include freedmen, women, and eventually common people in funerary art. Panel paintings and mummy portraits also depicted the faces of Romans and Egyptians living under imperial rule.
Roman sculpture began as imitations of Greek styles but developed into distinctive portrait busts that realistically depicted prominent Romans. These portraits emphasized stern, authoritative personalities over emotion. Under the Empire, sculptures took on more idealized forms, portraying emperors as divine rulers. Narrative reliefs commemorated imperial achievements and events. While retaining some Greek influences, Roman sculpture prioritized realistic details, spatial depth, and documenting history over uniqueness. By the 4th century AD, as Christianity rose, portraiture became more symbolic and relief sculpture less naturalistic.
The document discusses a Roman senator who is worried about the growing power of military generals in Rome's government. Some senators want to use violence against generals to prevent them from gaining power in the senate, fearing the generals could become dictators. The revised scenario asks you to write a few sentences with your thoughts on whether using violence against generals would be acceptable to save the Roman Republic.
The document discusses the rise and fall of Ancient Rome over several centuries. It begins with Rome celebrating conquering the last Greek city-state in 146 BC. Over time, Greek culture came to heavily influence and form the base of Roman culture and society. The document then outlines the growth of Rome from a small city into a vast empire through military conquests and the lasting legacies Rome left across Europe, Africa, and the Middle East. It concludes by discussing the decline of Rome through political instability and economic problems following the rule of various emperors in the late Roman period.
The document discusses Augustus, the first emperor of Rome. It describes how Augustus skillfully transitioned Rome from a republic to an empire while maintaining the illusion of the republican system. Under his rule, Rome experienced Pax Romana, a period of unprecedented peace and prosperity. Augustus commissioned many works that portrayed him as youthful and divine to represent his legitimacy and idealized rule. One such work was the Prima Porta statue that drew on Greek ideals while communicating Augustus' military accomplishments.
The document describes a scenario where a Roman senator is worried about generals in Rome gaining too much power and potentially becoming dictators. Some senators want to take violent action against the generals to prevent this, but it is unclear if using violence against them to save the Republic would be justified.
Art1204 power to the people the art of ancient romeProfWillAdams
The document discusses the art and architecture of ancient Rome from the Republican Period through the Late Empire. It describes how the Romans adopted elements of Etruscan, Greek, and other cultures and blended them into their own style. Key Roman innovations included the true arch, which allowed for grander structures than Greek temples, and the widespread use of concrete for construction. The art shifted from idealized Greek gods to realistic portraits honoring Roman rulers and military victories.
The document provides background information on ancient Rome, beginning with the Etruscan kingdom from 750-510 BCE that influenced early Rome. It then discusses the Roman Republic from 509-27 BCE and key rulers like Julius Caesar. Images and descriptions of art and architecture from the republic period are presented, including the Apollo of Veii statue, sarcophagi, temples, and coins. The document then covers the Early Roman Empire beginning with Augustus, the first emperor, and art like the Primaporta statue that established imperial propaganda. Engineering achievements like the Pont du Gard aqueduct and structures like the Ara Pacis altar and Flavian Amphitheater are also summarized.
Roman portraiture originated in the Republican period and focused on realistic, unembellished depictions that conveyed virtues like experience, duty, and sobriety. These portraits, especially busts, aimed to capture distinguishing facial features. The tradition continued under the Empire, though styles became more standardized and elaborate. Portraiture expanded beyond patricians to include freedmen, women, and eventually common people in funerary art. Panel paintings and mummy portraits also depicted the faces of Romans and Egyptians living under imperial rule.
Roman sculpture began as imitations of Greek styles but developed into distinctive portrait busts that realistically depicted prominent Romans. These portraits emphasized stern, authoritative personalities over emotion. Under the Empire, sculptures took on more idealized forms, portraying emperors as divine rulers. Narrative reliefs commemorated imperial achievements and events. While retaining some Greek influences, Roman sculpture prioritized realistic details, spatial depth, and documenting history over uniqueness. By the 4th century AD, as Christianity rose, portraiture became more symbolic and relief sculpture less naturalistic.
The document discusses a Roman senator who is worried about the growing power of military generals in Rome's government. Some senators want to use violence against generals to prevent them from gaining power in the senate, fearing the generals could become dictators. The revised scenario asks you to write a few sentences with your thoughts on whether using violence against generals would be acceptable to save the Roman Republic.
The document discusses the rise and fall of Ancient Rome over several centuries. It begins with Rome celebrating conquering the last Greek city-state in 146 BC. Over time, Greek culture came to heavily influence and form the base of Roman culture and society. The document then outlines the growth of Rome from a small city into a vast empire through military conquests and the lasting legacies Rome left across Europe, Africa, and the Middle East. It concludes by discussing the decline of Rome through political instability and economic problems following the rule of various emperors in the late Roman period.
The document discusses Augustus, the first emperor of Rome. It describes how Augustus skillfully transitioned Rome from a republic to an empire while maintaining the illusion of the republican system. Under his rule, Rome experienced Pax Romana, a period of unprecedented peace and prosperity. Augustus commissioned many works that portrayed him as youthful and divine to represent his legitimacy and idealized rule. One such work was the Prima Porta statue that drew on Greek ideals while communicating Augustus' military accomplishments.
The document describes a scenario where a Roman senator is worried about generals in Rome gaining too much power and potentially becoming dictators. Some senators want to take violent action against the generals to prevent this, but it is unclear if using violence against them to save the Republic would be justified.
The document provides an overview of the rise and fall of the Roman Empire from 1000 BCE to 500 CE. It summarizes the transition from Roman Republic to Empire under Julius Caesar and Augustus, the expansion of Roman rule across Europe and North Africa, and some of the key architectural and artistic achievements during the Empire's peak. It also briefly outlines some of the major Roman emperors and attributes the decline of the Empire to factors like the difficulties of governance over a vast territory, barbarian attacks, and economic challenges.
Before Rome, Italy was inhabited by various tribal groups, most prominently the Etruscans. The Romans and Etruscans vied for power in the region around Rome. In 509 BCE, the last Etruscan king was overthrown and the Roman Republic was established, which expanded significantly over centuries and established Rome as a major power. The Republic ended in 27 BCE, transitioning to the Roman Empire under Augustus, which at its height spanned most of Europe, North Africa, and the Middle East.
This document compares and contrasts Greek and Roman art and architecture. Some key differences include:
- Greek structures preferred temples to glorify gods, while Roman civic buildings honored the empire.
- Greek columns were typically Doric or Ionic, while Romans also used Corinthian columns.
- Greek art depicted idealized gods and goddesses, while Roman art showed realistic humans and idealized officials.
- Major Roman structures like the Pantheon and Colosseum built on Greek forms but used innovative materials like concrete and rounded arches.
Roman sculpture evolved over time from the Republican to Imperial eras. Republican busts were highly realistic portraits meant to convey virtues like wisdom. Early Imperial sculptures idealized emperors and referenced classical Greek styles. Notable works include the Augustus of Primaporta statue and reliefs on Trajan's Column commemorating military victories. Roman sculpture was used both for portraiture and propagandistic and commemorative monuments, conveying Roman cultural values of leadership, heritage, and military success.
The document summarizes key artworks from ancient Rome including:
- The Ara Pacis altar which depicted actual individuals and combined portraiture and allegory.
- The Pantheon with its dome structure and oculus that gives a sense of rising up.
- The Colosseum which could hold 55,000 spectators and used different architectural orders on each level.
- Trajan's Column with its continuous narrative of Trajan's Dacian campaign shown through small figures.
The toga was the standard garment worn by male citizens in ancient Rome, though it became less common over time due to inconvenience, eventually being replaced as everyday wear by tunics and cloaks; women typically wore a long tunic called a stola along with a shawl-like mantle when going out. Undergarments were minimal, consisting solely of a knee-length undertunic for men and ankle-length one for women and girls.
During ancient Greece's Golden Age in the 5th century BCE, Athens emerged as the dominant city-state after defeating the Persians. Athens used its wealth and power to fund the arts and culture, leading to advances in architecture, sculpture, and pottery. Greek art and architecture aimed for realistic yet idealized representations of the human form and natural world. This set the standard for Western civilization. The Roman Empire later built upon Greek influences, combining functionalism with elegance. They innovated concrete and architectural forms like arches, vaults, and domes. The Byzantine Empire that emerged adopted Greek artistic motifs but imbued them with Christian symbolism, fusing secular and religious influences in lavish mosaics and
The document provides an overview of Rome during the Golden Age known as the Pax Romana. Key points include:
1) The period from Augustus to Marcus Aurelius (1st-2nd century CE) saw peace and prosperity in the Roman Empire under strong emperors.
2) Architecture such as the Pantheon and Colosseum were used for propaganda and entertainment. Public baths and aqueducts improved infrastructure.
3) Religions like the cult of the emperor, mystery cults, and early Christianity grew alongside traditional Roman and foreign gods. Judaism had a large minority but faced persecution after rebellions.
This document summarizes the history of southern Europe from early civilizations to the modern era. It describes how the ancient Greeks and Romans established the foundations of European civilization through developments in philosophy, science, architecture, democracy, and more. Major events and time periods covered include the rise and fall of classical empires and kingdoms, the Middle Ages, Renaissance, world wars, and formation of the European Union.
This document provides information about Roman art and architecture. It begins with an overview of Roman culture's influence from Greek culture during the Hellenistic period. Key figures and periods of Roman history are then outlined, from the Roman Republic to the Late Roman Empire. Details are given about specific works of Roman sculpture, painting, mosaics, and architecture. Roman artistic styles and techniques are discussed, including realistic portraiture, fresco painting, concrete construction, and the innovative use of rounded arches, domes, and large civic structures for grandeur and propaganda. Overall, the document examines the development of Roman visual culture and its enduring influences.
While Greek statuary was created to represent idealized human forms of athletes and gods, Ancient Roman sculpture represented real, ordinary people with their natural beauty and imperfections. The main purpose of the statuary was to immortalize, though many Greek and Roman statues were originally painted with bright colors which over the centuries lost the pigment. Greek sculptors derived the facial features from the idealized inner and intellectual characteristics, whereas the Romans inferred the personality from the physical features. As a very representative example, I suggest observing any bust of Vespasian, Roman Emperor depicted with each feature without any glorification. When comparing the statuary of the two great civilizations we can notice another significant difference. The traditions of the Roman Republic equate the nudity represented by the Greek sculpture as a dishonorable impudicity, more in favor of an iconography that represents the republican values of the citizenship.
After the era of the "good emperors", the Roman Empire began to decline in the 2nd century CE under Emperor Marcus Aurelius. The empire had overextended itself and struggled to defend its borders from invaders. Emperors like Hadrian and Marcus Aurelius spent much of their reigns on the frontier trying to protect Rome. Constantine converted to Christianity in the 4th century CE and made it the official religion of the empire, marking a shift from pagan Roman rule, though he and subsequent emperors continued to portray themselves as divine rulers.
This document provides an overview of art from prehistory through the ancient and medieval periods. It discusses the earliest known representational imagery from 35,000 BCE. During the Neolithic Revolution beginning around 11,500 BCE, art became bigger and pottery was used to store food. Ancient cultures like Mesopotamia, Egypt, and Greece developed distinctive artistic styles in architecture, sculpture, and painting. In the Middle Ages, the capital of the Roman Empire moved to Constantinople and Christianity became the official religion, influencing art with illuminated manuscripts and mosaics. Carolingian art revived classical styles during Charlemagne's rule, while Ottonian art featured dedication portraits in manuscripts.
Roman culture and society from 27 BCE to 225 CE is characterized by developments in architecture, art, literature, family structures, slavery, and religion. Romans expanded on Greek architectural styles using arches, vaults, and domes to construct large buildings. Their art began by reproducing Greek statues but evolved to depict realistic figures. Christianity gradually spread throughout the Roman Empire despite periods of persecution, eventually becoming the dominant religion under Emperor Constantine in the 4th century CE.
This document provides an overview of Roman art and architecture from the founding of Rome to the Early Empire period. It discusses Roman foundation myths, the origins of Rome along the Tiber River in the 8th century BCE, and the establishment of the Roman Republic in 509 BCE. Key developments included the republican period, the expansion of Roman territory through military conquests, and the transition to a Roman Empire under Augustus in 27 BCE. The document also outlines Roman artistic patronage, innovations in architecture like concrete, vaults and domes, and examples of portrait sculpture and wall paintings found in Pompeii.
The document summarizes the Roman legend of Romulus and Remus, the twin founders of Rome. According to the legend, their grandfather Numitor was overthrown and their mother was made a Vestal Virgin. Mars fell in love with their mother and she gave birth to the twins. Their uncle Amulius feared they would overthrow him, so he had them placed in a trough on the Tiber River. They were rescued and raised by a she-wolf and later adopted by a shepherd. As adults, they killed Amulius and restored their grandfather to the throne, founding the city of Rome.
Roman culture and society from 27 BCE to 225 CE is summarized as follows:
Romans followed Greek architectural styles but expanded on them by using arches, vaults, and domes. They also advanced engineering to build infrastructure like aqueducts and roads. Roman art reproduced Greek styles but also featured realistic statues and mosaics decorated homes. Literature flourished during the Augustan Age with poets like Virgil and Horace. Roman families were patriarchal and fathers had authority over wives, children, and slaves. Slavery was widespread and provided labor but also led to rebellions. Entertainment like gladiator fights and chariot races distracted the masses. Christianity eventually became the dominant religion despite periods of persecution.
The document provides information about the origins and spread of Christianity in the Roman Empire. It discusses how Christianity began as a sect of Judaism and was spread by apostles like Peter and Paul. Although early Christians faced persecution from Roman authorities who saw them as disloyal, the Edict of Milan in 313 CE legalized Christianity. Over time, Christianity became the dominant and official religion of the Roman Empire.
The document compares and contrasts ancient Greek and Roman art and architecture. Greek art emphasized temples to glorify gods, while Roman civic buildings honored the empire. The Greeks favored post-and-lintel construction and columns, while the Romans innovated with arches and concrete. Early Roman art emulated Greek ideals, but Republican portraits depicted realistic individuals. Under emperors, art promoted imperial personalities and ideology through works like the Ara Pacis and Augustus of Primaporta. Wall paintings transformed rooms through illusionistic techniques.
The document outlines the history of Roman art from the Republican to Late Empire periods, noting their adoption and adaptation of Greek styles in sculpture, architecture, and other mediums. Major Roman innovations included concrete construction, which allowed for large structures like the Colosseum and Pantheon, as well as triumphal arches and aqueducts. As the empire declined, art took on new Christian influences and a return to archaic styles under Emperor Constantine.
The document provides an overview of the rise and fall of the Roman Empire from 1000 BCE to 500 CE. It summarizes the transition from Roman Republic to Empire under Julius Caesar and Augustus, the expansion of Roman rule across Europe and North Africa, and some of the key architectural and artistic achievements during the Empire's peak. It also briefly outlines some of the major Roman emperors and attributes the decline of the Empire to factors like the difficulties of governance over a vast territory, barbarian attacks, and economic challenges.
Before Rome, Italy was inhabited by various tribal groups, most prominently the Etruscans. The Romans and Etruscans vied for power in the region around Rome. In 509 BCE, the last Etruscan king was overthrown and the Roman Republic was established, which expanded significantly over centuries and established Rome as a major power. The Republic ended in 27 BCE, transitioning to the Roman Empire under Augustus, which at its height spanned most of Europe, North Africa, and the Middle East.
This document compares and contrasts Greek and Roman art and architecture. Some key differences include:
- Greek structures preferred temples to glorify gods, while Roman civic buildings honored the empire.
- Greek columns were typically Doric or Ionic, while Romans also used Corinthian columns.
- Greek art depicted idealized gods and goddesses, while Roman art showed realistic humans and idealized officials.
- Major Roman structures like the Pantheon and Colosseum built on Greek forms but used innovative materials like concrete and rounded arches.
Roman sculpture evolved over time from the Republican to Imperial eras. Republican busts were highly realistic portraits meant to convey virtues like wisdom. Early Imperial sculptures idealized emperors and referenced classical Greek styles. Notable works include the Augustus of Primaporta statue and reliefs on Trajan's Column commemorating military victories. Roman sculpture was used both for portraiture and propagandistic and commemorative monuments, conveying Roman cultural values of leadership, heritage, and military success.
The document summarizes key artworks from ancient Rome including:
- The Ara Pacis altar which depicted actual individuals and combined portraiture and allegory.
- The Pantheon with its dome structure and oculus that gives a sense of rising up.
- The Colosseum which could hold 55,000 spectators and used different architectural orders on each level.
- Trajan's Column with its continuous narrative of Trajan's Dacian campaign shown through small figures.
The toga was the standard garment worn by male citizens in ancient Rome, though it became less common over time due to inconvenience, eventually being replaced as everyday wear by tunics and cloaks; women typically wore a long tunic called a stola along with a shawl-like mantle when going out. Undergarments were minimal, consisting solely of a knee-length undertunic for men and ankle-length one for women and girls.
During ancient Greece's Golden Age in the 5th century BCE, Athens emerged as the dominant city-state after defeating the Persians. Athens used its wealth and power to fund the arts and culture, leading to advances in architecture, sculpture, and pottery. Greek art and architecture aimed for realistic yet idealized representations of the human form and natural world. This set the standard for Western civilization. The Roman Empire later built upon Greek influences, combining functionalism with elegance. They innovated concrete and architectural forms like arches, vaults, and domes. The Byzantine Empire that emerged adopted Greek artistic motifs but imbued them with Christian symbolism, fusing secular and religious influences in lavish mosaics and
The document provides an overview of Rome during the Golden Age known as the Pax Romana. Key points include:
1) The period from Augustus to Marcus Aurelius (1st-2nd century CE) saw peace and prosperity in the Roman Empire under strong emperors.
2) Architecture such as the Pantheon and Colosseum were used for propaganda and entertainment. Public baths and aqueducts improved infrastructure.
3) Religions like the cult of the emperor, mystery cults, and early Christianity grew alongside traditional Roman and foreign gods. Judaism had a large minority but faced persecution after rebellions.
This document summarizes the history of southern Europe from early civilizations to the modern era. It describes how the ancient Greeks and Romans established the foundations of European civilization through developments in philosophy, science, architecture, democracy, and more. Major events and time periods covered include the rise and fall of classical empires and kingdoms, the Middle Ages, Renaissance, world wars, and formation of the European Union.
This document provides information about Roman art and architecture. It begins with an overview of Roman culture's influence from Greek culture during the Hellenistic period. Key figures and periods of Roman history are then outlined, from the Roman Republic to the Late Roman Empire. Details are given about specific works of Roman sculpture, painting, mosaics, and architecture. Roman artistic styles and techniques are discussed, including realistic portraiture, fresco painting, concrete construction, and the innovative use of rounded arches, domes, and large civic structures for grandeur and propaganda. Overall, the document examines the development of Roman visual culture and its enduring influences.
While Greek statuary was created to represent idealized human forms of athletes and gods, Ancient Roman sculpture represented real, ordinary people with their natural beauty and imperfections. The main purpose of the statuary was to immortalize, though many Greek and Roman statues were originally painted with bright colors which over the centuries lost the pigment. Greek sculptors derived the facial features from the idealized inner and intellectual characteristics, whereas the Romans inferred the personality from the physical features. As a very representative example, I suggest observing any bust of Vespasian, Roman Emperor depicted with each feature without any glorification. When comparing the statuary of the two great civilizations we can notice another significant difference. The traditions of the Roman Republic equate the nudity represented by the Greek sculpture as a dishonorable impudicity, more in favor of an iconography that represents the republican values of the citizenship.
After the era of the "good emperors", the Roman Empire began to decline in the 2nd century CE under Emperor Marcus Aurelius. The empire had overextended itself and struggled to defend its borders from invaders. Emperors like Hadrian and Marcus Aurelius spent much of their reigns on the frontier trying to protect Rome. Constantine converted to Christianity in the 4th century CE and made it the official religion of the empire, marking a shift from pagan Roman rule, though he and subsequent emperors continued to portray themselves as divine rulers.
This document provides an overview of art from prehistory through the ancient and medieval periods. It discusses the earliest known representational imagery from 35,000 BCE. During the Neolithic Revolution beginning around 11,500 BCE, art became bigger and pottery was used to store food. Ancient cultures like Mesopotamia, Egypt, and Greece developed distinctive artistic styles in architecture, sculpture, and painting. In the Middle Ages, the capital of the Roman Empire moved to Constantinople and Christianity became the official religion, influencing art with illuminated manuscripts and mosaics. Carolingian art revived classical styles during Charlemagne's rule, while Ottonian art featured dedication portraits in manuscripts.
Roman culture and society from 27 BCE to 225 CE is characterized by developments in architecture, art, literature, family structures, slavery, and religion. Romans expanded on Greek architectural styles using arches, vaults, and domes to construct large buildings. Their art began by reproducing Greek statues but evolved to depict realistic figures. Christianity gradually spread throughout the Roman Empire despite periods of persecution, eventually becoming the dominant religion under Emperor Constantine in the 4th century CE.
This document provides an overview of Roman art and architecture from the founding of Rome to the Early Empire period. It discusses Roman foundation myths, the origins of Rome along the Tiber River in the 8th century BCE, and the establishment of the Roman Republic in 509 BCE. Key developments included the republican period, the expansion of Roman territory through military conquests, and the transition to a Roman Empire under Augustus in 27 BCE. The document also outlines Roman artistic patronage, innovations in architecture like concrete, vaults and domes, and examples of portrait sculpture and wall paintings found in Pompeii.
The document summarizes the Roman legend of Romulus and Remus, the twin founders of Rome. According to the legend, their grandfather Numitor was overthrown and their mother was made a Vestal Virgin. Mars fell in love with their mother and she gave birth to the twins. Their uncle Amulius feared they would overthrow him, so he had them placed in a trough on the Tiber River. They were rescued and raised by a she-wolf and later adopted by a shepherd. As adults, they killed Amulius and restored their grandfather to the throne, founding the city of Rome.
Roman culture and society from 27 BCE to 225 CE is summarized as follows:
Romans followed Greek architectural styles but expanded on them by using arches, vaults, and domes. They also advanced engineering to build infrastructure like aqueducts and roads. Roman art reproduced Greek styles but also featured realistic statues and mosaics decorated homes. Literature flourished during the Augustan Age with poets like Virgil and Horace. Roman families were patriarchal and fathers had authority over wives, children, and slaves. Slavery was widespread and provided labor but also led to rebellions. Entertainment like gladiator fights and chariot races distracted the masses. Christianity eventually became the dominant religion despite periods of persecution.
The document provides information about the origins and spread of Christianity in the Roman Empire. It discusses how Christianity began as a sect of Judaism and was spread by apostles like Peter and Paul. Although early Christians faced persecution from Roman authorities who saw them as disloyal, the Edict of Milan in 313 CE legalized Christianity. Over time, Christianity became the dominant and official religion of the Roman Empire.
The document compares and contrasts ancient Greek and Roman art and architecture. Greek art emphasized temples to glorify gods, while Roman civic buildings honored the empire. The Greeks favored post-and-lintel construction and columns, while the Romans innovated with arches and concrete. Early Roman art emulated Greek ideals, but Republican portraits depicted realistic individuals. Under emperors, art promoted imperial personalities and ideology through works like the Ara Pacis and Augustus of Primaporta. Wall paintings transformed rooms through illusionistic techniques.
The document outlines the history of Roman art from the Republican to Late Empire periods, noting their adoption and adaptation of Greek styles in sculpture, architecture, and other mediums. Major Roman innovations included concrete construction, which allowed for large structures like the Colosseum and Pantheon, as well as triumphal arches and aqueducts. As the empire declined, art took on new Christian influences and a return to archaic styles under Emperor Constantine.
Similaire à Roman Art Part 2.pdf and a art of Roman Empire (20)
It's all about Roman empire and it's history.not only it's empire but also about its art and architecture.
After studying this, you will able to solve all questions about Roman empire.
It's architecture is just wonderful.
In this all about Introduction of art , it's periods and it's historians and functions are well explained.
All lessons and details are added in this and checked by a professor.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
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2. Early Empire
• The murder of Julius Caesar on the Ides of March, 44
BCE plunged the Roman world into a bloody civil
BCE, plunged the Roman world into a bloody civil
war. The fighting lasted until 31 BCE when Octavian
crushed the naval forces of Mark Antony and Queen
y
Cleopatra of Egypt. They committed suicide in 30
BCE. Egypt once the wealthiest and most powerful
kingdom become a province of the Roman Empire.
• Roman Republic become the Roman Empire in 27
BCE h h S f d h i l f A
BCE when the Senate conferred the title of Augustus
(the Majestic) on Octavian.
H b ht d it t th
• He brought peace and prosperity to the
Mediterranean world. He was 32 years old.
3. Augustus
Augustus
• Since he was 32, Roman portraitists had to produce
images of a youthful head of the state
images of a youthful head of the state.
• The Senate had declared Caesar a god after his
death, and Augustus, widely advertised himself as the
death, and Augustus, widely advertised himself as the
son of a god. His portraits were designed to present
the image of a godlike leader who miraculously never
aged.
• Even at the end of his life show him as a handsome
youth.
4. Portrait of Augustus as general,
from Primaporta, Italy, ca. 20
B.C.E., marble, 6’8” in. high
•The portraits of Augustus depict him in his
many different roles in the Roman state but
the models of them were Classical Greek
statues
statues.,
•Idealized view of the Roman emperor
•Confusion between god and man
intentional; sense of divine self
•Standing barefoot indicates he is on
sacred ground
•On his breastplate there are a number of
gods participating in the return of Roman
gods participating in the return of Roman
standards
•Breastplate indicates he is a warrior;
judge’s robes show him as a civic rule
•Back not carved, meant to be placed on a
wall
5. Portrait of Augustus
•Pair/share: How does Augustus; portrait
remind you of Classical Greek images?
•Characteristic of Augustus, may have
carried a sword, pointing down in his left
hand right hand in Roman orator pose
hand, right hand in Roman orator pose,
Base: cupid on the back of a dolphin-
reference of Augustus’ divine descent from
Venus
•Ways this works serves as propaganda for
Augustus as effective Emperor
•Style change: From Verism to Idealism
youth
youth
•Augustus was not yet 32 when he defeated
Anthony and Cleopatra. In addition, Julius
Caesar had been made a god after his
’
death; and though Augustus didn’t even
claim to be a god himself, he did advertise
himself as the son of a god. His portraits
portrayed him as a god-like leader who
portrayed him as a god like leader who
miraculously never aged.
6. Augustus as general, from Primaporta stands like Polykleitos’ Doryphoros,
Roman marble copy from Pompeii, Italy, after a bronze original of ca. 450–440 BCE
and addressed his troops like the Etrusan orator Aule Metele from Cortona,
p
near Lake Trasimeno, Italy, early first century BCE.
He is standing like Polykleitos’s Doryphoros with his right arm raised to
address his troops in the manner like the orator Aule Metele from Etruscans
7.
8. Portrait bust of Livia (even old age)
•Livia – Augustas’ wife,
she shared the
she shared the
emperor’s eternal
youthfulness, her
blemish-free skin and
h l d fi d f t
sharply defined features
derived from images of
Classical Greek
goddesses, She
g ,
outlived Augustus by 15
years, she died at 87,
he portraits introduced
new fashion but face
new fashion but face
remained young
9. •On Livia’s birthday in 9
BCE, Augustus
dedicated the Ara Pacis
dedicated the Ara Pacis
Augustae (altar of Pax
August, the Augustan
peace) the monument
celebrating his most
significant achievement,
the establishment of
peace He sought to
peace., He sought to
present his new order as
a Golden age equal to
Athens under Pericles
7-29: Ara Pacis Augustae
Rome, Italy
ca. 13-9 B.C.E., marble
11. Female
personification
(Tellus?)
(Tellus?)
•The female personification with two babies on her lap embodies the fruits of Pax
A t All d h th b tif l th i i bl d i l f diff t i
Augusta. All around her the bountiful earth is in bloom, and animals of different species
live together peacefully
•Mother Earth breast feeds newborns; symbols of the four elements abound: bird is air;
cow and sheep are earth; dragon is fire; seawater at bottom right; fresh water in bottom
p ; g ; g ;
left; Greek classical composition and modeling of figures
•From the Ara Pacis, or Altar of Peace
•Tellus: Mother Earth breastfeeds newborns; symbols of four elements abound: bird is
air; cow and sheep are earth dragon is fire; seawater at bottom right; fresh water in a
air; cow and sheep are earth, dragon is fire; seawater at bottom right; fresh water in a
jug bottom left; Greek classical composition and modeling of figures
•Everything is bountiful and fruitful when all is at peace
12. Procession of the imperial family
Compare to
Panathenaic procession frieze
Parthenon
13. Procession of the imperial family
Compare to
Panathenaic procession frieze
Parthenon
Parthenon
Inspired by the frieze of Parthenon, Ara Pacis processions depict recognizable
individuals, including children, Augustus promoted marriage and childbearing. This is
classical along with political as well as artistic, The Ara Pacis depicts a specific event –
13 BCE, recognizable historical figures, children hadn’t appeared on Greek or Roman
state monuments before,
Altar of Peace served as a moral exemplar, The emperor used relief sculpture as well as
portraiture to further his political and social agendas
portraiture to further his political and social agendas.
Romans appear as the ruling class, not as gods, in a procession, figures have natural
gestures and relaxed poses
•Romans appear as the ruling class, not as gods, in a procession;
•figures have natural gestures and relaxed poses
•Celebrates a specific event for the inauguration of the altar; actual people depicted;
Augustus promoted marriage, and so children are prominently paced; informality
14. 7-32: Maison Caree, Nimes, France, ca. 1-10 CE
•Augustus’s most ambitious project
in the capital was the construction of
p
the new forum next to Caesar’s
forum, This is a well-perserved
Corinthian pseudoperipteral temple
in France modeled on the temple in
in France, modeled on the temple in
the Forum of Augustus in Rome,
exemplifies the conservative New-
Classical Augustan architectural
style
•Corinthian capitals
•Set on a high podium
•Front entrance emphasized
Front entrance emphasized
•Walls of cella pushed out to meet
the engage columns, interior
expanded to the maximum size
ll d b d th h
allowed beyond the porch
•Used as a model for Jefferson’s
State Capitol in Richmond, Virginia
15. Great aqueduct-bridge, In the fourth century BCE, the Romans began to build
aqueducts to carry water from mountain sources to their city on the Tiber River, As
Rome’s power spread, its engineers constructed aqueducts, roads, and bridges to serve
throughout the empire
throughout the empire.
Provided about 100 gallons of water a day for each inhabitant from a source 30 miles
away, The water flowed over the considerable distance by gravity alone, this required
gradual decline over the entire route from source to city. 3-story Pont-du-Gard, each
g y y
large arch spans 82 feet high, and consists of blocks weighing up to two tons each,
7-33: Pont-du-Gard, Nimes, France, ca.
16 B.C.E.
16. Pont du Gard
•Ashlar masonry
•Aqueduct meant to bring water to the
city of Nimes
H t h b tt l l
•Heavy, squat arches on bottom level;
thinner arches on second level; lighter
rhythm of smaller arches on top level,
which carries the water of the
which carries the water of the
aqueduct
18. 7-34: Porta Maggiore
Rome, Italy c.50 CE
Attic
•Demand for water in the capital required the construction of many aqueducts. The
emperor Claudious erected this gate. At the point where two of Rome’s water lines
converged Its hug attic (uppermost story) bears a lengthily inscription that concealing
converged. Its hug attic (uppermost story) bears a lengthily inscription that concealing
the stacked conduits for both aqueducts. The gate is an outstanding example of the
Roman restricted masonry style. Instead of precisely shaped block, the designed used
smooth and rusticated surface. This cave a more interesting rustic design
19. 7-34: Porta Maggiore
Rome, Italy c.50 CE
Attic
Aqueduct channels
queduct c a e s
Model of the Porta Maggiore
Rusticated Masonry
Mediaeval view on the Porta Maggiore
and dwellings (J.B. Piranesi)
Rusticated Masonry
20. •Flavians ruled Rome for more than a quarter century - The Flavian Amphitheater, was
known then, to build it was politically shrewd. Favorite pastime throughout the Roman
Empire was going to the amphitheater to see two immensely popular kinds of
spectacles: gladiatorial combats and animal hunts Gladiators were professional
spectacles: gladiatorial combats and animal hunts. Gladiators were professional
fighters, usually slaves who had been purchased to train in gladiatorial schools to hand-
to-hand combatants.
•Concrete core, brick casing, travertine facing
g g
Flavians ruled Rome for more than a quarter century - The Flavian Amphitheater, was
known then, to build it was politically shrewd. Favorite pastime throughout the Roman
Empire was going to the amphitheater to see two immensely popular kinds of
spectacles: gladiatorial combats and animal hunts Gladiators were professional
spectacles: gladiatorial combats and animal hunts. Gladiators were professional
fighters, usually slaves who had been purchased to train in gladiatorial schools to hand-
to-hand combatants.
•Concrete core, brick casing, travertine facing
7-36: Colosseum
Rome, Italy
ca. 70-80 C.E.
21. It was on a site of a artificial lake during Nero’s reign, he drained it and built the
Colosseum. This was the largest arena, hold more than 50,000 spectators, complex
system of barrel-vaulted corridors held up the enormous oval seating, there was a arena
substructure housed waiting rooms for the gladiators animal cages and machinery for
substructure, housed waiting rooms for the gladiators, animal cages, and machinery for
raising and lowering stage sets as well as animals and humans
Adobe squared windows at top level are small brackets that are meant to hold flagstaffs;
these staffs are the anchors for a retractable canvas roof used to protect the crowd on
p
hot days
Much of the marble was pulled off in the Middle Ages
The exterior shell is 160 feet high, the height of a modern 16-story building, 76
numbered gateways provided efficient entrance and exit paths leading to and from the
numbered gateways provided efficient entrance and exit paths leading to and from the
cavea (seating), where the spectators sat according to their place in the social hierarchy
Façade into four bands with large arched openings, Ornamental Greek orders frame the
arches in the standard Roman sequence for multistoried buildings: ground up Tuscan,
Ionic, and then Corinthian,
Interplay of barrel vaults, groin vaults,
arches
7-36: Colosseum
Rome, Italy
ca. 70-80 C.E.
24. Changed from the youthful god in
the Augustus tradition back to the
i ti t diti f th R bli
veristic tradition of the Republic,
real likeness with receding
hairline and again, leathery skin,
Veristic Roman Busts
e st c o a usts
•Realism of the portrayal shows
influence of Greek Hellenistic art;
late Etruscan art
Extremely realistic face called a
Verism
•Extremely realistic face, called a
veristic portrait
•Bulldog-like tenacity of features;
overhanging flesh; deep crevices
Vespasian
g g p
in face
•Full of experience and wisdom-
traits Roman patricians would
have desired
Vespasian have desired
•Features may have been
exaggerated by artist to enhance
adherence to Republican virtures
25. 739: Portrait bust of a Flavian woman, 2’1” marble
ca. 90 CE
Changed from the youthful god in
the Augustus tradition back to the
veristic tradition of the Republic,
l lik ith di
real likeness with receding
hairline and again, leathery skin,
Veristic Roman Busts
•Realism of the portrayal shows
p y
influence of Greek Hellenistic art;
late Etruscan art
•Extremely realistic face, called a
veristic portrait
veristic portrait
•Bulldog-like tenacity of features;
overhanging flesh; deep crevices
in face
•Full of experience and wisdom-
traits Roman patricians would
have desired
•Features may have been
Features may have been
exaggerated by artist to enhance
adherence to Republican virtues
26. reconstruction
7-40:Arch of Titus
81 CE
Triumphal arch
Composite columns
Arcuated opening -
Curved or arched
Spandrels
When Titus died in 81 CE, his
brother Domitian erected an arch in
his memory, triumphal Roman
arches celebrated military victories,
it is a typical triumphal arch in that it
only has one passageway
only has one passageway.
Composite capitals (ionic and
Corinthian), reliefs depicting
personified victories,
The inscription sates the Senate
erected the arch to honor the god
Titus, son of the god Vespasian,
showing Titus’s ascent to heaven
Spandrels – the area between
the arch’s curve and the
faming columns and entablature
showing Titus s ascent to heaven,
The Senate normally proclaimed
Roman emperors gods after they
died
28. Arch of Titus
Spoils of Jerusalem
Commemorate the emperor's conquest of Judaea, Roman soldiers carry in triumph the
spoils taken from the Jewish temple in Jerusalem, the energy and swing of the column
of soldiers suggest a rapid march, deep carving casts strong shadows, which produced
strong shadows the play of light and shadow enhances the sense of movement
strong shadows, the play of light and shadow enhances the sense of movement
•Romans carry off splendors from the Temple of Solomon
•Repeated rhythmic movement of soldiers from left to right
29. Arch of Titus
Triumph of Titus
Victory crown Titus in his triumphal chariot, personification of honor and valor in this firs
known instance of the intermingling of human and divine figures in a Roman historical
relief
relief,
The Arch of Titus, honors the god Titus, not the living emperor, the interaction between
mortals and immortals became a staple of Roman narrative relief sculpture, even on
monuments setup while the emperor was still alive
30. Pair/Share
Pair/Share
List all the things that make this
work representative of Roman art
work representative of Roman art
and architecture
Art
1
1. _________
2. _________
3. _________
Architecture
1. _________
2. _________
3. __________
31. Roman Art And Architecture
High Empire and
L t E i
Late Empire
32. Forum of Trajan
7-44: Apollodorus of Damascus, Forum of Trajan
Rome, Italy, 112 CE
Apses
Aisles
Reconstruction –interior
Nave
Aisles
Entrance
Clerestory windows
33. Forum of Trajan
7-44: Apollodorus of Damascus, Forum of Trajan
Rome, Italy, 112 CE
Rome’s largest forum featured a basilica with clerestory lighting, two libraries, a
commemorative column and a temple of the deified Trajan, The architect was
Apollodorus of Damascus, Trajan’s chief military engineer during the Dacian wars,
completed after the emperor’s death it was dedicated to the newest god in the Roam
completed after the emperor s death, it was dedicated to the newest god in the Roam
pantheon, Trajan himself, entry to Trajan’s forum was a impressive gateway resembling
a triumphal arch, 400 feet long and 200 feet wide, light entered through clerestory
windows,
34. 7-45: Trajan’s Column.
Roman soldiers
building a
wooden palisade
p
at the siege of
Sarmizethusa,
the capital of the
Dacian chief
Decebalus
Decebalus.
Colossal freestanding column with continuous spiral
narrative frieze. 128 foot tall column once had nude
state of the emperor on the top the tall pedestal
state of the emperor on the top, the tall pedestal
served as Trajan’s tomb, 625-foot narrative cycle
wrapped around the column, telling the story of
Trajan’s defeat of Dacians
•Crowded composition
•Low relief, few shadows to cloud what must have
been a very difficult object to view in its entirety
•Column meant to be entered; visitor to wander up
Column meant to be entered; visitor to wander up
the interior spiral staircase to the viewing platform at
the top where a heroic statue of the Emperor was
placed
•View would impress visitor to Trajan’s
accomplishment, including his forum and his markets
35. 7-46 & 7-47: Markets of Trajan
Rome, Italy, ca. 100-112 CE
Overlooking the forum, to house both shops and
administrative offices, multileveled complex, The basic
unit was taberna, single-room shop covered by a barrel
vault, wide doorway, usually with a window above
through which light entered a wooden inner attic used
for storage, shop were on several levels, great
for storage, shop were on several levels, great
umbrella-like groin vaults covering the hall,
•Original market had 150 shops
•Multilevel mall
S i i l b ildi h ld l l l f h
•Semicircular building held several levels of shops
•Main space groin-vaulted; barrel-vaulted shops
36. 7-48: Portrait Busts of Hadrian
Compare to
KRESILAS, Pericles
Hadrian's Wall
Hadrian, Trajan chosen successor and fellow
Spaniard, was a connoisseur and lover of all the arts,
as well as an author, architect, and hunter, greatly
admired,, he was greatly admired, local officials set
up statues and arches everywhere in his honor, this
is why there are more portraits of Hadrian than nay
is why there are more portraits of Hadrian than nay
other emperor except Augustus, 41 years old when
he began ruling, his bust are Classical Greek
Statues of a bearded men,
37. Soon after Hadrian
became emperor, work
b th P th
began on the Pantheon,
temple of all the gods, one
of the best preserved
building of antiquity, one of
g q y,
the m ost influential design
in architectural history,
revealed the full potential
of concrete both as a
of concrete, both as a
building and means for
shaping architectural
space,
•Dedicated to all the gods
•Inscription: “Marcus
Agrippa, son of Lucius,
having been consul three
having been consul three
times, built it.”
•Corinthian capital porch in
front of building
7-49:Pantheon, Rome, Italy, ca.
118-125 C.E.
•Façade has two
pediments, one deeply
recessed behind the other
38. Pantheon exterior
Pantheon interior
•Interior contains slightly convex floor for water drainage
•Interior contains slightly convex floor for water drainage
•Coffers may have been filled with rosette designs to simulated stars
•Cupola walls are enormously thick: 20 feet at base
•Square panels in floor and in coffers contrast with roundness of walls
•Oculus 27 feet across: allows for sunlight and air; acts as a moving spotlight
Oculus 27 feet across: allows for sunlight and air; acts as a moving spotlight
across the interior
•Height of building equals its width; interior of building based on the circle, a
hemisphere
•Walls have seven niches for statues of gods
Walls have seven niches for statues of gods
•Thickness of walls thinned at top, coffers take some weight pressure off walls
•Triumph of concrete construction
•Oculus 27 feet across: allows for sunlight and air; acts as a moving spotlight
across the interior
across the interior
•Was brilliantly decorated
•Originally had a large atrium before it; originally built on a high podium; modern
Rome has risen up to it
40. Canopus and Serapeum, Hadrian’s Villa
opus
Can
•Huge complex for the delight of
Emperor Hadrian
•Highest quality workmanship
lavished on the mosaics, murals,
and architectural settings
•Canopus: colonnade with a
cornice connecting the tops of
Serapeum
cornice connecting the tops of
columns; alternating rounded
with fattened lines; sculpture
placed inside the rounded
rear of the Serapeum complex arches; framing a reflecting pool
41. 7-54: Model of an insula
90 percent of Rome’s population of close to one million lived in multistory apartment
blocks (insulae) The rents were cheap. Shops occupied the ground floors. Above were
up to four floors of apartments. Many of the apartment were large and have frescoed
walls and ceilings, they didn’t have the space of light like the houses in Pompeii, large
walls and ceilings, they didn t have the space of light like the houses in Pompeii, large
number of windows faced the busy streets, only few had bathrooms in their apartments
– most shared often on another floor, they cook food in the hallways
42. Floor Mosaic:
Neptune and
creatures of
the sea
the sea
Finer homes had mosaic floors as well as
painted walls and ceilings, the Baths of
Neptune is one of the best preserved floor
Neptune is one of the best preserved floor
mosaics,
43. Equestrian statue of Marcus Aurelius
•On parade, passing before his people
O pa ade, pass g be o e s peop e
•Gesture is benignly authoritative
•Horse is spirited, hard to control, but Marcus
has mastery over man and beast
Characteristic Roman oratorical gesture
•Characteristic Roman oratorical gesture
•Rider is larger than the horse
•May have been a figure of a defeated king
under the horse’s upraised hoof
p
•Mistaken for Constantine in Middle Ages, which
is the reason why it was not melted down
•Not in its original location
44. Asiatic sarcophagus
Compare to
Etruscan
sarcophagus
The Romans produced sarcophagi I several regions. Western Sarcophagi have
carvings on the front Eastern sarcophagi such as this one with a woman’s portrait on
carvings on the front. Eastern sarcophagi, such as this one with a woman s portrait on
the lid, feature reliefs on all four sides, the deceased woman reclines on a kline bed with
her faithful little dog.
45. Mummy portraits from Faiyum, Egypt
Encaustic – mixing wax with paint
Regional differences –
Even after Augusta reduced the Kingdom of the Nile,
Egyptians continued to bury their dead in mummy cases. In
Roman times, however, painted portraits on wood often
replaced traditional stylized portrait masks. Hundreds of
Roman mummy portraits have been unearthed in cemeteries
Roman mummy portraits have been unearthed in cemeteries
of the Faiyum district.
46. The Late Empire
The Late Empire
• By the time of Marcus Aurelius, two centuries
after A st s established Pa R mana
after Augustus established Pax Romana,
Roman power was beginning to erode. It was
increasingly difficult to keep order on the
increasingly difficult to keep order on the
frontiers, and many in the Empire challenged
the authority of Rome
the authority of Rome.
• The economy was in decline
• The Late Empire was a pivotal era in world
history during which the pagan ancient world
gradually gave way to the Christian Middle
Ages.
47. Baths of Caracalla
Natatio
Palaestra
Frigidarium
One of the many bathing and
recreational complexes
Caldarium
recreational complexes
constructed with imperial funds
to win the public’s favor. This
was smaller than the one in
Tepidarium
Caldarium
Ostia and Pompeii. The rooms
had thick brick-faced concret
walls up to 140 feet high
covered by enormous concrete
covered by enormous concrete
vaults.
Tepidarium: warm
Caldarium: hot
Frigidarium: cold
Natatio: swimming Pool
48. Heroic portrait of Trebonianus Gallus
Bronze, 7’11”
Over-life size heroically nude statue,
O e e s e e o ca y ude s a ue,
Trebonianus Gallus projects an image of
brute force. He has the massive physique
of a pwerful wrestler, but his face
expresses nervousness
expresses nervousness.
49. Ludovisi Battle Sarcophagus – Battle of Romans & Barbarians
•Extremely crowded surface with figures
piled up top of one another
•figures lack individuality
•Confusion of battle is echoed by
Confusion of battle is echoed by
congested composition
•Roman army trounces bearded and
defeated barbarians
50. The Four Tetrarchs
St. Mark’s, Venice
ca 305 C E porph r
ca. 305 C.E. porphyry
51 in. high
•Porphyry sculpture quarried in
•Porphyry sculpture quarried in
Egypt; purple is the royal color
•Tetrarchs illustrate a period in
which the Roman Empire was
ruled by four men, each equal,
each dividing the state; explains
the uniformity of gesture,
movement forms; a harmony
movement, forms; a harmony
among the four men is implied
even if it did not exist in practice
•Faces are types, not individuals;
ti l
Porphyry – purple
marble, Schematic
drapery
emotionless
51. •Built to commemorate Constantine’s
victory over Maxentius at the Battle of the
Milvian Bridge in 312
Friezes and sculptures taken from
•Friezes and sculptures taken from
monuments to older emperors; Trajan,
Hadrian, Marcus Aurelius; Constantine
draws a parallel between their
p
accomplishments and his
•New friezes are done in Situ
•Renunciation of the classical ideal in
contemporary sculpture; head too large for
contemporary sculpture; head too large for
their bodies; squat figures; lack of space;
large eyes; frontal stare; mechanical and
repeated stances and gestures; shallow
relief; heads not distinguished from one
another
•Place at this location so that the central
arch would at a distance frame a 100-
7-75:Arch of Constantine
Rome Italy
arch would, at a distance, frame a 100
front-tall statue of the Sun god, sol
Rome, Italy
ca. 312-315 C.E.
53. 7-77: Portrait of Constantine, from
the Basilica Nova, Rome, Italy, ca.
315-330 C.E., marble
head approximately 8 ft. 6 in. high
•Whole statue must have been over 30’
seated
•Part of an enormous figure that sat as the
focal point of the Basilica Nova in Rome
•Parts of the body that show were done in
marble; lost now are the wooden elements
marble; lost now are the wooden elements
that represented the torso-perhaps
covered in bronze
•Colossal size meant to have reference to
Jupiter
•Idealized portrait; timelessness
•Air sits on the head like a hat
55. 7-78:Basilica Nova, Italy
Ca. 306-312 CE
•Once housed giant sculpture of
Constantine
•Massive building with great window paces
g g p
for maximum light
•Large groin-vaulted main aisle; barrel-
vaulted and coffered side aisles
•Begun by Constantine’s rival Maxentius;
•Begun by Constantine s rival, Maxentius;
completed by Constantine
56. •Solid brick; plain audience hall once covered with marble on the interior
•Semicircular triumphal arch in apse
•Basilican architectural plan inspired Christian churches of the Middle Ages
Hall is heated by hypocausts space under the floor that retained heat from a furnace
•Hall is heated by hypocausts, space under the floor that retained heat from a furnace
•Exterior: buttresses arch as two-story arches embraced windows
•Large windows used lead to bind glass panes together
7-79-Aula Palatina (Basilica), Trier,
Germany, early 4th century C.E.
62. Discussion Questions
™ f f
™ What are some of the unique elements of Roman art
and architecture that distinguish it from Greek and
other art of the same time period?
p
™ What does the presence of veristic portrait art of the
Romans say about Roman culture?