ART221 - Test 2

Porta Maggiore, Rome, ca. 50 CE

(gate), attic (area that expands above), rustication of stones, pediments and entablatures used decoratively, small temple front flush with rounded archway, adaptive elements redesign in a modern/inventive way

(Roman) First-style wall painting, Herculaneum, late 2nd century BCE

First style is often plain, panels, fictional but to look like marble (more luxurious), created illusionistic paintings on panels to appear more luxurious

Roman Empire, "Tellus" relief, from Ara Pacis Augustae, Rome, 13 BCE

"Allegory of Peace" relief, located on the back of the altar, classicizing (looking back to 5th century classical art)-wet drapery, classical profile; woman holding two babies (showing bounty under Augustus, encouraged people to procreate/have children), billowing drapery by two women on the sides (earth and sea), cattle reference the bounty, all that Augustus brought to Rome

Roman Empire, Pantheon, Rome, 118-25 CE

143ft across, use concrete as material, lower walls of round bottom rotunda were 20 ft thick to support weight above, dome is pushing outward/buttress helps support/drum lightens the weight, coffered ceiling, insert an oculus to relieve weight, perfect geometric units/perfection with the gods/honoring the gods Light through oculus moves/recording movement of the heavens and gods, used to have rosettes to act as stars (removed now), statues of gods in niches

Pont du Gard, Nîmes, France, ca. 16 BCE

Aqueduct, delivered water into the city, improved the lives of citizens, Romans created/designed solutions (roman engineering), introduction of the arch (barrel vault), stones precisely cut/depending on gravity, top held a trough where the water would run down, dwarves human scale, feat of architecture and grace/beauty

(Roman) Second-style wall painting, Cubiculum from house, Boscoreale, ca.50-40 BCE

Architectural landscape painting

(Roman republican) Aule Metele, early 1st century

Border has Etruscan script but Roman characteristics, particularized boday/face, middle aged, heavy drapery, not nude, relaxed, gesture of address (Roman orator/advocutio)

Roman Empire, Equestrian Statue of Marcus Aurelius, ca. 175 CE (bronze)

Bronze sculptures common in Rome, only remaining one from Roman empire/most were melted and repurposed/mistake of identity allowed it to survive, horse is pulling back (wrinkles in the neck), maniupulates proportions to show power (Marcus is larger than life/propaganda), willpower that controls the horse by hand gestures, Marcus has curly hair/roman preference for historical specificity

(Roman) Peristyle Garden, House of the Vettii, 62 CE

Columns create courtyard, refuge from urban city, paintings on the walls

Roman Empire, Canopus (and Serapaeum/"pumpkin" dome), Hadrian's Villa, Tivoli, ca. 125-28 CE

Commemoration of a trip to Egypt that Hadrian took, Corinthian columns with entablature connected by arches/decoratively, creates a visual niche, opposite end is the Serapaeum/shaped like a pumpkin with sections, grotto/shelter

(Roman republican) Temple of Vesta, early 1st century

Corinthian, cow head frieze (typical Roman decoration/bounty of nature/bounty under their rule)

Roman Empire, Augustus Primaporta, 20 BCE

Could be modeled after Doryphoros, contrapposto, youthful body/idealized body of Augustus, armor to particularize, reveals a blend of idealism along with realism, orators gesture (gesture of address), addressing his troops, historical specificity (roman characteristic), armor is displaying a historical event/restoration of peace/two soldiers commemorating historical event/people around them/top figure represents sky god/down below is earth goddess/allegories and personifications of god/historical events, ears are mismatched which showed a distinctive characteristic to identify him Cupid riding a porpoise (son of Venus), reminder that Augustus was related to the gods

Sarcophagus with myth of Orestes, from Rome, ca. 140-150 CE

Decorated coffin, preference for Greek focus on anatomy and proportions, replicating nature/human figure, depict difficult poses in a proportional way

Early Christian, Sarcophagus of Junius Bassus, ca. 359

Depicts multiple Biblical stories - Adam and Eve, Jesus entry into Jerusalem on donkey, Daniel and the lions, etc Center top scene - usually the most important, central seated figure surrounded by two standing, sky god to represent the heavens on the bottom, Christ giving a key to Peter (who forms the church) and scroll to Paul

Roman Empire, Colosseum, Rome, ca. 70-80 CE

Double theater, oval, gift from Vespasian, (on the site of lake), animals/people died for amusement/games, designed for easy entrance and exit, exterior uses Roman arch/engaged columns/three architectural orders (Doric on the bottom holding up levels above it, second is ionic, Corinthian on top for most decorative) uses Greek elements decoratively, Colosseum is nickname because of the colossus statue that used to stand, wooden poles where sailors would stand to roll out cover on top/vallarium, engineering is totally dependent on the arch, groin vault (two barrel vaults that intersect at 90 degrees), archways were numbered, seating by class, interior core - radiating and concentric (oval shape) barrel vaults

Byzantine, Rebecca at the Well, Vienna Genesis, early sixth century

Earliest painted manuscript, colored velum (purple - royalty) text written in silver, represents a scene from Genesis 24, Rebecca exiting city with vessel on her shoulder, peristyle columns very small to not interfere with appearance of Rebecca, then seen in foreground repeated giving water, other figure is a personification of the spring that feeds the well

Byzantine, San Vitale, Choir and Apse mosaics, ca.547

Embodies all devices to create the spiritual idea, Christ in a medallion at the top to heavenly to earthly leading to the alter, iconography of Christian spaces, focused around the altar Vault at the center - a sheep that has a golden halo (agnus dei = lamb of God), articulates complex ideas of Christianity, highly symbolic

Byzantine, St Apollinaris amid sheep, Apse Mosaic from Sant' Apollinare in Classe, ca. 533-549

Exterior is plain brick, basilican plan church, extraordinary apse, plain walls surrounding the apse is the triumphant arch, hierachal arrangement of images (heavenly to earthly level/altar) vertical alignment, strided clouds/paradise, top depicts Christ holding the Bible flanked by symbols, symbols of the Evangelists (John - eagle, Matthew- winged man, Luke - winged ox, Mark - ), palm trees are indication of paradise, sheep issuing forth from doorways (12 evangelists), vertical alignment with Christ to the cross to St Apollinares, hand just above bejeweled Christ which symbolized the hand of God, St Apollinares is flat/outlined, jeweled cross with Christ in the center, two flanked figures around (Moses and Elijah and on the grass is three sheep) represents is the transfiguration (episode in Christs life when he took 3 disciples up to top of mtn and began to see Christ floating in splendorous garment speaking to Moses and Elijah) first public display of his role and religion, uses symbols and different way of thinking to tell this story, to understand the significance of the story by use of symbols and flatness

Byzantine, San Vitale, Ravenna, Italy, 526-547

Exterior is plain to symbolize the human form, interior to symbolize Christian soul, dome over centralized place/octagonal dome, inner creates a foliate design, complex interior typical of Byzantine, to disorient visitors to show they are in a spiritual place, narthex walks into a wall forcing people to enter right or left/off axis which is on purpose, women had to go above to the gallery/not welcome on the nave

Byzantine, Christ Between Angels and Saints, St. Vitalis, and Bishop Ecclesius (The Second Coming), San Vitale

Figures are seen on gold ground which is very common in Byzantine, flattens, dematerializing figures, clouds above Christ is symbolic of paradise/Christ seated in paradise, blue ball is orb of the earth, four rivers of paradise at his feet, byzantine imperial drapery, nimbus halos, in right hand holding crown to St Vitalis and angel introduces him to Christ, to the left another angel to introduce bishop Ecclesius holding a model of the church of San Vitale; apse mosiac

Christ as the Good Shepherd, ca.300-350

Follows nature, in a Christian home it would be symbolized as Christ but to others it would not

Neptune and Amphitrite, mosaic, Herculaneum, ca. 62-79 CE Roman

Found on a wall (normally under foot), small pieces of stone class or marble, extremely skilled, decorative architectural, highly stylized, transition between dark and light on figures to look 3d, study of nature

(Roman) Fourth-style wall painting, "Ixion Room," House of the Vetii, Pompeii, ca.70-79 CE

Fourth style is all of the other styles combined (ornate/illusionistic/panels/intricate), delicate detail, framed easel painting portraits

(Roman Empire), Apollodorus of Damascus, Forum of Trajan, Rome, dedicated 112 CE

Halls were administrative law courts, had libraries, attributed to architect Apollodorus

Hagia Sophia, Constantinople, 532-537

Holy wisdom = Hagia Sophia; rivals structures of Rome, domes, highly complex, gargantuan structure, built on scale for purpose/to show you are in a spiritual place, disorient visitors and enter another worldly space/spiritual place Fusing basilican plan with centralized plan Creation of light is for creating a spiritual worldly place totally different from outside/everyday world Mosaics on walls with clerestory lighting to make the visitor realized they are in an extraordinary spiritual world Domes on pendentives used here; triangular curved area that helps transition from round dome to square bottom to help carry the load below

Early Christian, Sarcophagus with Philosopher, orant, and Old and New Testament scenes, ca. 270

How Christians adapted human forms, Philosopher seated in center (philosopher type), not a narrative, episodes/scenes, Jonah laying/classicized/coming out of whale, the good Sheppard depiction right of philosopher, woman in orant/praying, man standing (John the Baptist) with smaller figure in water (Jesus) with animal entering scene to represent being baptized

Byzantine, Virgin and Child with Sts and Angels, painted icon panel in the monastery of St. Catherine, Mount Sinai, 6th - early 7th century

Icon panel (lost due to iconoclasim), used in a personal way, lead to fear of idolatry, Theotokos - god bearer often associated with virgin Mary, Mary seated frontal with baby Christ entirely in her possession to show she is a god bearer, Theodore and George to her left and right symbolizing triumph of the church over evil, shadowing on face, angels have foreshortening to show they are looking upward (hand of God is in very center and have been startled by him blessing the child)

Early Christian, Santa Costanza, Rome, ca. 337-351 Early Christian, Harvesting of Grapes

In the ambulatory there is a barrel vault that depicts mosaics, some are motifs from pagan world Portrait of Costanza Detail is the harvesting of grapes, dumping into trench, men stomping on grapes, lion head fountains with wine being poured out, wine making process, Eucharistic symbolism (the blood of Christ)

Byzantine, Justinian and Attendants, San Vitale, 547

Justinian and Attendants - proclamation to ruling this part of the West, way of ratifying his right the western empire, triumph of Justinian and orthodox faith, Justinian is centered with imperial robes/outlined halo and crown, frontal motionless, abstract, indication of drapery folds but no indication of form, to the left is representatives from his troops, to the right are political people who represent the church, figures are dematerialized, no chiaroscuro, feet show relationship of church and state and the balance, Justinian holding bread meant to be the body of Christ/intimately related to the mass and to claim politically and religiously, triumph of Justinian and orthodox faith

(Roman republican) Portrait of a Roman General, 75 BCE

Less clothed, head of an older mature man with a body of a younger man, shows the age of wisdom but the muscular structure/fit/strong/able to command Allegan/fight, idealized torso, not fully nude

Roman Empire, Imperial Procession relief, from Ara Pacis Augustae, Rome, 13 BCE

Located on the sides of the altar, children to show encouragement of procreating, depth/illusionism, real people/individuals, represents the people that were there when the altar was dedicated, typical of Roman there is historical specificity, not idealized, some figures are more carved than others creating depth (greater pictorial illusionism), referencing the Parthenon (similar to Marshals and Young Women and the Panathenaic procession/not particularized/ongoing event/figures did not depict individuals)

Roman Empire, Ara Pacis Augustae, Rome, 13-9 BCE

Marble altar, axially aligned stairs/on a platform/podium (from Etruscans), made of marble (Greek), Augustus wants to rival Perikles, placed on land with obelisk (Egyptian needle) when the fall equinox hit the shadow would cut across the altar symbolizing the conception of Augustus, inside talks about the bounty and peace that he brought, counters the Parthenon, Corinthian pilasters Figural scenes on top, vegetal designs/scenes of bottom Second style wall painting uses architectural elements to frame a scene - seen here

Early Christian, Christus-Sol, under Saint Peter's necropolis, late 3rd century

Near the burial ground of St Peter, underground, Christ sun = Christus-sol / Christ is a barrier of light, nimbus is type of halo but this one has more light, took Pagan iconography from other influences, leaves surrounding them (grapes/wine), symbolism imbedded throughout / eucharist / communion

(Roman Empire), Apollodorus of Damascus, Column of Trajan, Rome, dedicated 112 CE

Nestled between two libraries, winding up is a band of reliefs featuring chronical of Trajan's two campaigns against the Adasians (modern day Romanians), on top was originally a nude bronze figure of Trajan (now is St peter), historical specificity, increase visibility by creating the relief low/the band gets slightly wider and the column goes up, bottom features the River they have to cross, subject matter is Trajan and soldiers solving day to day problems (cross rivers/building boats, crops/planting crops to feed troops, shows specific ships/specific turtle shell shields, don't belittle the enemy/don't put down the Dasians/just display that the Romans have better technology and systems

Roman Empire, Triumph of Titus, Arch of Titus, Rome, after 81 CE

Over right shoulder walking through, Titus in chariot with a figure with wings behind him (a winged figure of victory), below highly idealized youthful man representing honor, leading team is female figure Valor Barrel vault: coffers design, center relief (Apotheosis of Titus) Titus being taken up by eagle

Early Christian, Mausoleum of Galla Placidia, Ravenna, Italy, ca. 425

Place for burial, Galla Placidia not actually buried here, centralized plan, Greek cross (four equal arms), plain brick exterior, symbolism that human body is plain/breaks down while the interior has a radiant bright light to symbolize the Christian soul, very small intimate space Mosaics develop iconography, bottom depicts book case depicts four stories of testament (Mark/Luke/Matthew/John) with St Lawrence and the fire

Early Christian, Old St. Peter's, Rome, ca. 319

Placed on land donated by Constantine, the one before the Vatican, marking burial place of St Peter, Basilica form, tall central nave, smaller side isles, adds clerestory, forecourt, axial staircase (Roman influence), catechumens (initiates) were assembled (learning about Christians but not Baptized) in the forecourt and once baptized they could enter the rest, narthex is the porch, nave is tall central isle with side isles that permit the clerestory, also included a transept (extra isle perpendicular to nave that provides extra space), monumental scale, 5 isles, the crossing is where the nave crosses the transept

(Roman) Atrium, House of the Vettii, Pompeii, 2nd century

Rain would come through and go into the shallow pool, one of the first atriums upon entry inside a house, interior would've been covered in fresco to disguise plain materials

(Roman Empire), Apollodorus of Damascus, Markets of Trajan, Rome, ca. 100-112 CE

Removed hillside and created a multi level building with shops, (Southpoint mall), meat markets would be in one area/veggies in another to not cross contaminate, groin vault ceiling, arch with trabiated architecture to create stalls, groin vaults allow light and ventilation into the interior

Byzantine, The Transfiguration of Jesus, apse mosaic from church of monastery of St. Catherine, ca. 548-565

Represents the transfiguration of Christ but with an audience who are atuned to spirituality (monks who spend days in prayer), Christ with nimbus and white drapery surrounded by blue eggl shaped (mandorla) to give him extra emphasis and removes him from the world, gold background to remove from everyday natural world, full length standing figures who represent Moses and Elijah, three figures crouching from the light, heads around are those who came before the monks who are there now, hieratic nature,

Early Christian, Christ as the Good Shepherd, mosaic from Galla Placidia, ca.425

Roman pictorial illusionism used here, Christ turned in a three-quarter pose, garments of imperial robes, sheep are modeling in light and shade for dimensionality, return to Roman illusionism but entirely Christian content

(Roman republican) Temple of Portunus, Rome 75 BCE

Romans are practical and cheap, use less costly materials and disguise them to look like marble; no pedimental sculpture, Ionic order, capitals and base, no decoration, back columns engaged/only free standing on the porch/front, one set of axially aligned stairs, temple is on a podium/base

(Roman) Second-style wall painting, Villa of the Mysteries, near Pompeii, ca.60-50 BCE

Second style is illusionistic/architectural (frames a scene between two architectural elements), subject matter is initiation right into mystery cult, warm colors/complementary colors (red/green), pushes figures forward with warm colors

Byzantine, Ascension of Christ, Rabbula Gospels, 586

Signed by monk who completed this with the date, different approach, inspired by mural decoration or murals in church because the entire page is used with no text, use of multi-level symbolism, mandorla supported by angels, 4 figures represent the evangelists helping Christ into the heavens, below is the virgin Mary in vertical alignment stressing her role, flanked by two angels talking to the apostles who are trying to understand what is happening, Mary also represents the church, precursor of judgment day, Mary has orans position, lower half to earthly top half heavenly

Byzantine, Archangel Michael, right leaf of a diptych, early 6th century, ivory

Standing winged figure, guards the gate of Kingdom, rethink Nike figure/ adapt to Archangel St Michael, departure from external appearance/being simplified, holding an orb - symbol of the world, above is a cross placed on orb is symbol of the Christian world, staff symbolizing his authority, departing from appearance of reality, symbol of victory of the Christian world, drapery is more patterend and doesn't reveal a 3d form beneath it/becoming linear/flattened, rejection of ancient style/world which stressed with replicating the world/symbolic representation of reality to focus on the idea of what this stands for

Early Christian, Good Shepherd, Story of Jonah, and Orants, Painted ceiling from the catacomb of Saints Peter and Marcellinus, early 4th century

Subterrainial hallways corridors rooms to place to Christian dead, underground burial place, Christ as the good shepherd, leading a flock, a good shepherd could appear elsewhere to not be recognized as Christian, lunette is half-moon shape around the center, standing figures facing outward palms forward/orants gesture/gesture of prayer, done hastily due smells and underground Lunette - Jonah and the whale story; presumed dead but prevails, prefiguration: when an old testament story tells a new testament story, prefiguration of Christ, a resurrection

Byzantine, Theodora and Attendants, San Vitale, 547

Theodora and Attendants - Justinian's bride, complex image with two male attendants and ladies in waiting, women wearing textiles produced in byzantine empire, Theodora is not centered, but abstract apse like space that calls attention to her and retains the focus, red outlined halo, figures are frontal/lineararity/flat, carries the chalice used to place the wine during communion/intimate role in celebrating the mass just like her husband, on the bottom of her robe are three figures carrying gifts (three magi) placing her in the role in making presentations to Christ, pulled curtain meant to suggest where she came from or that she is just outside the narthex since women were only allowed in certain places

(Roman) Third-style wall painting from Boscotrecase, ca. 10 BCE

Third style is often dark ground with delicate architecture/ornate detail, suggesting low wall supporting delicate columns, delicate entablature, floating in the dark ground is a small farm scene

(Roman republican) Man with portrait busts of his ancestors, mid 1st century

Togas were a sign of citizenship, sign of social class, particularized, likeness of an individual, looks middle-late aged, literal reproduction of a likeness, carved from marble also showed social class, contrapposto/drapery has gravity

Early Christian, Woman Sacrificing at an altar, right leaf of diptych, ca. 400, ivory

Two part decorative sculpture/right side, Pagan sacrifice, classicizing, Empire influence/influence by traditional Roman gods and the classical style, could've been a wedding gift

(Roman) Second-style wall painting, Gardenscape from Villa of Livia, Primaporta, ca. 30-20 BCE

Wealthy villa, two fences (wooden fence to define fence of garden), white fence furthers

Apollodorus of Damascus, Basilica Ulpia, Forum of Trajan, Rome, dedicated 112 CE

Wide central space and two side isles, trabiated architectural style (post and lintel, typical of Greeks), admiration of Greeks by architecture, columns with capitals, thousands could be inside, grand space, impressive

Roman Empire, Spoils of Jerusalem, Arch of Titus, Rome, after 81 CE

Would be over your left shoulder, allows you to participate in never ending victory of Rome, carrying in the spoils of Jerusalem (what they took out from Jerusalem and bringing it back to Rome), soldiers are marching through the arch, historical specificity (returning to Rome), pictorial illusionism and depth

Roman Empire, Arch of Titus, Rome, after 81 CE

[Titus opened up the colesseum for the first 100 days, emperor after Vespassian (his son)], entrance to Roman forum (command post of Rome, major temples, come to get anything done in Rome), stands 50ft tall, meant to be impressive, attic has inscription in Greek letters

(Roman republican) Head of an Old Man from Osimo, mid 1st century

Wrinkles, truthful/realism, Romans believed age brought wisdom, particularizing description (not idealized), venertate their elders,