Wearing Roman clothing

Debated whether this piece is Roman or Etruscan

He has an Etruscan name and Etruscan writing on his drapery

About produced during the time that the Romans were gaining hegemony over the Etruscans

Represented subjects as older and therefore wiser in Roman eyes

Such portraits could be exaggerated

The face is in the style of the Republic (old) and the body is Greek and idealized

Reminds of the culture of Greece of which the Romans were obsessed

This is the first time that a live Roman put his image on a coin

Conforms to the Republican conventions of old age = wisdom

Coins from hence forward were used as propaganda

Slaves and former slaves could not poses family portraits – many freed slaves ordered funeral portraits

Shown in the typical republic fashion

Included their former master in the work indicated their gratitude toward him for their freedom

Depicts the living and the dead side-by-side

Semi-rarely is the narrative tomb relief

The dead man props himself up as if he was still alive

Ground lines are floating

Avoided overlapping with little regard for the classical rules of art

Follows an Etruscan pattern

The columns are Ionic

Combines Etruscan and Greek elements to create a Roman design

Greek inspired temple – common for shrines of Vesta

Axial alignment

Makes use of the material concrete; which is a new innovation

The use of concrete made this temple possible (barrel vaults)

At the peck of an ascending triangle – get the temple closer to the goddess it is worshiping

Romans transformed the entire hillside, subjecting nature to their human will and love of rational order

Emblem of the growing dominance of Rome

Exemplifies the conservative Neo-Classical Augustan architectural style

Corinthian pseudoperiteral temple

6 columns across the front

Survived remarkably well because it was rededicated a Christian Church

Idealized Augustan statue modeled on Classical Greek works

Incorporates complex iconography through the breast plate and the baby Cupid

Depicts Augustus as a general, standing in the pose of the Doryphoros (the spear bearer)

Her hair is done in the popular Roman style, but her idealized facial features recall Classical Greek goddesses

She never gets any older, but her hair changes with the time

She represents the epitome of beauty

Portrayed ever young and god like

Shows him as the recipient of the civic crown for saving the lives of fellow citizens

Used for political gain

Celebrates the emperors most important achievement – bringing peace to Rome

The Children in the procession on the long walls act like children – this has a political motive telling the upper class to have some more of the little suckers

There are connections between Augustus and Aeneas and an unknown goddess

Relief from the Ara Pacis

Could be Tellus

The emperor has super-human grandeur and is to large in proportion to the horse

He has a sense of worry about him and he shows mercy to his enemies

He is depicted throughout his lifetime

This statue was saved because invaders thought it was of Constantine

Relief from the Ara Pacis

Procession of the Imperial Family

(long side of the building)

Provided 100 gallons of water a day from 30 miles away to Nimes

Created without the use of mortar

Harmonious proportional relationship btw the larger and smaller arches – the roman engineer had an eye for aesthetics as well as practicality.

Example of the Roman rusticated (rough) masonry style

Shows the reverence the Romans had for aqueducts as it is at the point where two of Rome’s water lines converge

This is a move away from the Classical Greek and Augustan idealized work

Thought of walls not as limiting the space, but shaping it

Used concrete as a way to create innovative forms

Earliest known concrete groin vaults

Unpretentious army officer who distanced himself from Nero’s extravagant rule – exemplified in his art

Return to the Republican ideal of representing leaders as old and wise

This makes a political statement as well

Change from the republican era when only elders were deemed worthy of depiction

Represents idealized beauty

Virtuoso way in which the sculptor depicted the change in texture from skin to hair, and the increasing use of the drill in Roman sculpture

Façade is divided into four bands (three with arches) with different columns on each (Tuscan, Ionic, Corinthian) Tuscan was thought to be able to support the heaviest load

Built on the land that formerly housed the Domus Aurea changing Nero’s selfishness into a place of entertainment for the masses

The illusion of movement on the reliefs is convincing

The relief is extremely deep – which produces strong shadows

This is the first known instance of divine beings interacting with humans on an official relief

Center of civic life and located at the geographic center of most Roman towns

This Roman forum was created after the Romans took over the city – not before

At the head of the forum is the temple or capitolium

This is the earliest amphitheater known

Required building of an artificial mountain

Was donated by Quinctius Valgus and Marcus Porcius; who would have enjoyed choice seating

Use conceptual accuracy when representing the staircase and the inside of the ampitheater

There is a lot of action

There is not a lot of detail (e.g. the use of stick figures) this is a historical narrative not meant to be pretty)

The Roman house played a large role in social affairs

Inward looking in nature – block out the loud street and the dust

Atrium was the center of residence; brightly lit though the open sky in the center

Shows the open sky and the impluvium

First style is also called the masonry style because it tries to imitate costly marble panels with paint

Use of the first style is an example of the Hellenization of Roman architecture

This style would have had an actual texture as it was stucco

The second style is the antithesis of the first style

Wanted to dissolve the room’s confining walls and replace them with a 3-D setting that extends beyond the wall

Use of the linear perspective

Mastered atmospheric perspective

Only architectural element is the flimsy fence

Juxtaposed wild nature with a cultivated garden

Many scholars believe that this room was used to celebrate rites to the God Dionysus

Some of the figures interact across corners of the room

Does have imitation marble, but there is more depth

Reasserted the primacy of the wall surface

Delicate linear fantasy sketched on predominantly monochromatic backgrounds

This is a sharp contrast with Livia though both incorpertate nature.  Agrippa has a tiny floating landscape while Livia has a garden that takes up a room

Almost a conglomeration of all the previous styles

Big fields of color

The viewer can see through fake windows to the fake outdoors

True Fresco

Conglomeration of all the previous styles

Crowded and confused composition and garish color

Rome still has a fascination with the Greeks as the third and fourth style walls are based on lost Greek panels

Roman painters sought to create illusionistic effects when depicting objects

Representation of shadows and highlights on the fruit

Can also see the textures and shadows

The writing instruments suggest an education (though they may have been illiterate)

This is different in that it is a study of the individual faces of the subjects

May have been a wedding portrait

Most mosaics graced the floor, but this one created a beautiful wall adornment

This is of a mythological theme which was common in those days

It is very colorful and the characters are depicted nude or partially nude as is fitting for the divine

Resembled a Roman military encampment (castrum)

Divided into a grid like pattern with two main streets forming the ‘grid’ the cardo and the decumanus

When the city expanded the grid pattern was abandoned and a haphazard organization took hold

Glorified Trajan’s victories (therefore it becomes a political enterprise)

A huge basilica dominates the square (rather than a temple)

The temple (dedicated to Trajan) was set behind the basilica

Built to house shops and administrative offices

The basic unit was the taberna, a single-room shop covered by a barrel vault

The shops were set back on each side and lit by a skylight

The shaft is covered by a continuous spiral narrative; this is the first time this is seen

The story unfolds in more than 150 episodes on which over 2,500 figures appear

Though it is now crowned with a statue of St. Peter, Trajan formally graced the top of the column

Depicted as a mature adult (he never ages past the point in which he became emperor)

Hadrian wore a beard and longer hair (like a Greek) this became the norm after him

Took after the Classical style

Temple to all the gods

Reveals the full potential of concrete for the shaping of space

For the dome the architect used heavier stone on the bottom, getting lighter as he reached the top (tufa)

The grotto at the end of the pool is made of concrete and has a odd pumpkin shape

Greek columns and copied Greek statues lines the pool

The colonnade  has arcuated lintels rather than traditional Greek horizontal lintels

Shops occupied the bottom floor

Rather than looking inward like a villa; insula had windows facing the street

Had brick façades which were not concealed by stucco or marble

Black and white mosaic

Black silhouettes with enlivening white lines

Was in the baths which is what made any city Roman

Aquatic scene

Immortalized the activities of the vegetable vendor

The table is tilted forward so the viewer can see the wears that are for sale

He is not idealized as the wealthier class is many times

Illustrates the apotheosis or the ascent into heaven of Antonius and his wife (also the decusio)

Antonius and his wife are depicted going together though they died 20 years apart ( shows faithfulness)

On the apotheosis side the figures are elegant and graceful on the decusio the figures are stockier

the decusio

from the column base of Antoninus Pius

His style is close to that of a Roman during the Antoine time

Used play of light and texture

Calm demeanor

Septimius portrayed himself with Antoine features

Geta’s face was erased by his brother Caracalla when he became emperor (he also had his image damned)

Semtimius’ hair is tinged with gray showing advanced age

Deftly portrays the texture of his short cropped hair and beard in comparison to his face

Moving characterization of Caracalla’s suspicious nature (looking over his shoulder)

His eyes and pupils are carved ( a trend that Hadrian started)

No sense of rushing motion – there is a stately stillness

There is no strict ground line

The figures are stockier

Design was symmetrical along a central axis

Had lecture hall, gardens, libraries, exercise rooms, and swimming pools

Covers about 50 acres

Now the nave of the church of Santa Maria degli Angeli

Rich wall treatments, colossal columns, immense groin vaults, clerestory lighting

Was remodeled by Michelangelo into a chuch

Heavy emotional content

Short cropped hair and beard – this is indicative of a solider

Figure is almost cartoonish – square head, deep set eyes, odd furrow in brow

Appears in heroic nudity with a wrestlers body of brute force

His head is too small for his body and has an expression of worry

Trying to demonstrate his physical strength

Burial of the dead was becoming more and more popular

Writhing highly emotive figures

No illusion of space behind them

Piling of figures is an extreme rejection of Classical ideals

Romans had turned to philosophy for solace

Frontal central figure with two subordinate flanking figures – this was common

The deceased assumes the role of a learned intellectual

Follows the baroque tradition and ignored almost every rule of classical design

The platform is scalloped around the cella

Five sided Corinthian capitols

Inserted an arch within a triangular pediment

Tried to represent the nature of the tetrarchy itself rather than their individual forms

Embrace each other in a display of unity

Faces are emotionless masks in great contradiction to the solider emperors’ who had preceded them

Basically a fortress; Diocletian knew that he would need protection after he retired

Very grandiose, Diocletian wanted to feel like a god coming out of his home to greet his followers

Commemorates his defeat of Maxentius

Much of the decoration was taken from earlier monuments (to Trajan, Hadrian, and Marcus Aurelius – associates Constantine with ‘good’ emperors

Figures have rather mechanical and repeated stances

One shows Constantine in his early 20’s when his position was insecure; copying the looks of the tetrarchs

The other (silver) shows him later at the confidant age of 30 much different

The silver one has Christian elements

After he defeated Maxentius C’s portraiture reverted from the tetrarchs to the Augustan

Expressionless: personality is lost in the immenseness of eternal authority

8.5 ft tall = immense!

Richly decorated and the eye is drawn to the massive statue of Constantine

The church is huge; the nave is 115 ft high with 20ft thick walls

The immensity of the church even manages to dwarf the enormous statue of Constantine

Exterior and interior are both very plain

There are no aisles; only a great, wide, open space

The two stories of windows provide light

God is only represented as a hand coming out of the top of the panal

Hierarchy of scale (Samuel is bigger than the other people)

David is wearing an imperial purple robe

Faces emotionless; there was a focus on the depiction of the event rather than optical accuracy

Churches were small and lacked grandnesss because the persecution early Christians had to deal with

The Church was a small house that worshipers prayed at

Once the worshipers left the house could be converted back into a living area

This is both the main church of Christianity and the place where many Christians were martyred

Peter was the most impetuous apostle, but his name means Rock; Jesus built his church upon him

This is today one of the most sacred places in the Christian world and is located in the Vatican 

This is where most the early Christian art is found today

Bodies were placed in loculi which are rather like shelves; mortuary chapels were also constructed

When Christianity was given official approval churches rose on top of burial sites

Built on top of what was thought to be Peter’s burial site

Built churches on the model of the Roman basilica

Pronounced longitudinal axis (unlike the pagan basilica)

The columns focus all attention on the chancel arch and the apse which frame the alter

Clerestory lighting

There were frescos on the nave and apse of the church

Central Plan church

Could have possibly been the mausoleum for Consantina ( the daughter of Constantine)

Has an ambulatory

Cruciform Chapel; but the emphasis is on the crossing tower in the center (vault resembles dome)

Mosaics cover every square inch of the interior surface

Jesus represents the good shepherd with his sheep as well as the lamb to be sacrificed

Mosaics; could be Constantina and her husband

 Stomping grapes to make wine (communion)

Largely floral on an annular vault

Vehicle for instructing the congregation about biblical stories

Lot going to the left, Abe to the right; Lot has girls, Abe a boy; Lot has beard, Abe clean-shaven symbolism

 Head cluster and figures cast shadows

No other version of the good shepherd is as regale as this one

All the forms have 3-D bulk and are still deeply rooted in the classical tradition

Sheep are foreshortened

Jesus faces directly toward the viewer

Natural sky has given way to other-worldly gold and splendor

The nimbus signifies his divinity

The oldest preserved Greek or Latin painted manuscript

Resembles Pompeian style of painting; with touches that represent atmosphere

Used to recount all of Vergil’s works in 200 pages; now only 50 pages remain

Oldest manuscript containing Biblical scenes

Presents two episodes within a single frame

Figures are presented against a blank landscape; only the city rising in the distance

There are some classical motifs hanging on

Jesus is represented as a bearded adult here (soon to become the norm)

Artist labeled Barabbas to avoid any confusion

Two levels separated by a ground line

Divided into two registers of 5 components each; which are framed by columns

Christ has the primal place in each of the scenes

All of the old testament scenes are pre-cursors to new testament stories

The story of the crucifixion is not included

Christ’s head is that of a long haired Apollo type youth

Wears Roman clothing

He is presented as a young man, but statues of Christ were rare during this time period as idol worship was prohibited

Shows that paganism remained in Rome after Constantine

Classical tradition still alive; grace and beauty emphasized

Possibly celebrating the rite of Bacchus

First known representation of the Crucifixion

Shows multiple events in one panel (the crucifixion and Judas hanging)

Shows Jesus as a beardless youth who experiences no pain