lecture7: hellenistic art - republic romen

69-79 BCE portrait time: 75BCE/70-79 BCE 1. the 1st of teh Flavian emperor. After the civil war that followed Nero's death, his fiscal reforms财政改革 and consolidation巩固 of the empire generated political stability and a vast Roman building program. 2. believed by contemporaries that Vespasian had prevented the dissolution of the empire by putting an end to civil war, and it was fitting that pax ( civil peace ) should be a principle motif on his coinage. 3. The loss of the nose is characteristic of the damage often suffered by ancient statues, either through deliberate mutilation or through falling or being toppled from their base.

"Flavians Dynasty" **6th: Vespasian

reign: 117 - 138 AD marble Rome - adopted by Trajan 1. was the first Roman emperor to wear a full beard. This element is new to Roman emperors. - showing his love & admirer to greek culture. 2. Hadrian would rather focus on his empire. He traveled throughout nearly all the provinces to understand them more fully, and utilize funds wherever needed. 3. He is wearing the oak crown (awarded for saving a compatriot in battle); ironically, he never actually went into battle and spent all his time keeping the empire

**10th: portrait of Hardian "the traveller"

time: 20BC material: painted Carrara marble location: vatican city梵蒂冈 1. is the 1st emperor of the Roman empire. 2. the portrait shows himself as a great military victor and a supporter of Roman religion, it also predicted the 200 year period of peace that Augustus initiated - called Pax Romana罗马和平. 3. the composition of the portrait similar to ''Doryphoros" - a classical greek sculpture of the 5th BCE: both have a similar contrapposto stance and idealized, that means they are portrayed as youthful and perfect individuals. (Romans often modeled Greek art), he connected himself to the Golden Age of the previous civilization. 4. the breastplate: gods surrounding the central part, refers to the Pax Romana - the messages is that the sun is going to shine all regions of the emperor, bringing peace to all citizens. Augustus is the one who is responsible for this.

**1st: Augustus of Prima Porta - this portrait not simply a portrait of the emperor , expressed his connection to the past, his role as a military victor, his connection to the gods, and his role as bringer of the Roman Peace. - is one of teh ways that the ancients used art for propagandistic purposes.

AD40/ 1st AD marble 1. was Rome's most tyrannical emperor, his reign from 34-41 is filled with murder and debauchery. 2. one of Caligula's egregious acts was in declaring that he was a living god, he ordered the construction of a bridge between his palace and the temple of Jupiter.

**3rd emperor: Caligula 37-41 BCE adopted son of Tiberius "crazy Caligula"

54-68AD marble Munich 1. adopted by Claudius, his mother was Caligula's sister. 2. the last Roman eperor of the Julio-Claudian dynasty. 2. Nero was more like a artist rather than a ruler, his coins and imperial inscriptions are among the finest ever produced in Rome. 3. Nero antagonized the upper class, confiscating large private estates in Italy and putting many leading figures to death. His tendency toward depotism and the failture to keep teh loyalty of the Roman legions, led to the opposition to his reign.

**5th emperor: Portrait of Nero

reign: 79-81 BCE 1. The famous Arch of Titus on the Via Sacra in Rome was erected in his honor to commemorate his victory over the Jews. 2. before becoming emperor, Titus gained renown as a military commander, serving under his father in Judea during teh 1st Jweish- Roman War. 3. as emperor, Titus is best known for completeing the Colosseum and for his generosity in relieving the suffering casued by 2 disasters.

**7th: Titus as Magistrate - Vespasian's elder son

reign: 81 -96 BCE sculpure time: 90 BCE 1. He was an active builder, maintained strict order and was determined to follow the footstep of Augustus. however due to lack of money, made him greddy and cruel. 2. He demanded absolute authoirty, and considered himself divine神圣的. He was adressed as "lord and god". 3. it was his self-aggrandizement and authoritarianism that not only earned him as reputation for greed and cruely, but also led ultimately to his death at the hands of his own country.

**8th emporer: Portrait of Domitian

time: 13AD material: phrygian marble 孔雀色大理石 location：louvre, paris 1. The region of Tiberius was damanged by treason trails, scandal, abscenc, indulgence and his personal orgies纵欲. 2. Tibertius was recognized as one of teh Rome's greatest generals, but he came to be remembered as a dark, reclusive ruler, who never really desired to be emperor. he exied流放 himself from Rome. 3. comparing Livia & Timerius' portrait: - to ensure a smooth transition once emperor, Tiberius adopted the same hairstyle with comma curls his stepfather wore. - characteristics: the row of triple locks in the centerof his forehead. this combined with his large eyes make his face seem unbalanced, that not presented in teh idealized Augustian portrait.

**portrait of Tiberius: 2nd roman emperior (14-37 BCE)

time: 90BCE marble Rome 1. this young Flavian lady with idealized skin and perfect hair, but also with distinct facial features such as deep set eyes and a heavy brow. the hair is piled high on her head in the latest fashion. 2. in portraits of the Flavian period, sculptors emphasized individuality both of external appearance and character. a tendency to strive for decorative qualities in teh contrast of light and shade in conveying the complex hairstyle.

*Flavian Femal portrait

time: late 1st BC/ 4 CE material: onyx玛瑙 location: copenhagen 1. her face with its large eyes and refined chin accorded with Roman conceptiosn of feminie beauty. 2. as the emperor Augustus' wife, she exerted enromous influence over the imperial court. 3. Her hairstyle is remain of ideal examples of Greek art - "Noudus Coiffure". began worn by upper class women, the hair is deviden on both sides & combed into a roll over the forehead.

*portrait of Livia - wife Augustus powerful woman in the Roman history

time: AD81 material: pentelic marble 1. a panel built by Domitian, commemorate his brother Titus' victory in the Jewish War. The relief shows the victory procession caryng booty from the temple of Slomon. 2. Titus riding a hour-house chariot and shows him being crowned by a personification of Victory. the goddess Roma stands in front, the 2 figures to the right are personification of the people of Rome and the Senate.

1st panel: Triumph胜利 of Titus

1. The crossing of the Roman Army over the Danube River in the first Dacian War (the large figure is a personification of the Danube多瑙河) 2.

1st: river god

80-15 BCE 2nd style: "architectural style" 1. the 2nd style was developed out of the 1st style, and incorporated elements of teh first, such as faux marble人造大理石 blocks along the base of walls. 2. the style attempts to trick viewers into believing that they were looking through a window by painting illustronic images, architectural elements drive the painting, creating fantastic images filled with collumns and buildings.

2nd Pompeian style painting

1. shown Aeneas with his son making an offering to the peanates/ household of gods, Augustus wanted to be linked to his lengerndry ancestor Aeneas - the father of the Julian family & the Roman tradition. 2.

2nd panel: Aeneas sacrificing a sow罗马创始人 west side

time: AD81 material: pentelic marble 1. the Arch of Titus Menorah Relief reveals Roman soldiers carrying the spoils of the Jewish Wars. 2. the Menorah is a symbol of Judaism, showing the siege of the Temple of Jewish. The central placement and huge size of the Menorah effectively convey both the victory of Titus & the identity of the defeated city.

2nd panel: Menorah procession

time: late 2nd BCE marble location: Louvre罗浮宫, Paris 1. this scene marks the begining of the Roman Census, the period when all Roman citizens were recorded. based on each person 's wealth, the censor determined who would sit in the assembly and who would serve in the military. 2. the 'ADA' is a series of 4 sculpted marble pieces which decorated cult statues in teh cella of the Temple of Neptune.

2nd piece: census-taking relief 'paris reliefs'

1. Here, Trajan is addressing troops, he is elevated on a stand (in contrast to Augustus who called himself "first among all equals" and was usually put on same level 2. Representation of putting Trajan on a pedestal, diff from Greek world Employs two different perspectives(viewing angles)

2nd: Trajan addressing troops/army

1. it depicted the ceremony of the lustrum人口普查, which legitimated the census. 2. at right, 3 victims are led up, the bull, sheep and the pig which were to be scarificed in honour of teh god in order to secure good fortune for the depature of the army.祭品给神为了给军队带来好运

3rd piece:

1. using the flat surface of the wall through the use of broad, monochromatic planes of color (black/ dark red) 2. the 3rd style incorprated fantastic and stylized columns and pediments that could only exist in the imagined space. 3. it obeyed strict rules of symmetry dicated by the central elements, dividing the wall into 3 hroizontal & vertial zones. 4. "black room" at the imperal villa, 10 BCE

3rd style: 'Ornate style'

1. often before starting a war or as offering to god 2. You can see that the column reliefs and narratives don't really revolve around fighting, but rather other activities. Fighting is only a small part of the story(stories behind fighting)

3rd: Trajan pouring libation by the Danube

1. "Lxion room" , house of the Vetii, 1st BCE 2. the style was more compex than previous styles, also incorprate central ppanel pics, in a larger scale and wider range of themes: mythological, landscape and still life images. 3. the overall feeling of the walls typically formed a mosaic马赛克 of framed pics that took up entire walls. panels were also used with floral designs on the walls.

4th style: intricate style "Lxion room" , house of the Vetii, 1st BCE

41-54 BCE marble Vatican museum "Claudius as Jupiter " 1. uncle of Caligula, he was not chosen to succeed Caligula because of a deformity from his youth and had no political experience. He proved to be a stong adminastor and builder of public works. He expand the Rmpire. 2. "Claudius as Jupiter" - over life size. the combination od an old head with a young body was common under the Republic. Augustus set a pattern of portraiture in the style of classic greek art. They are portrayed as ever youthful, more ideal than ral and do not age.

4th: Claudius /

reign: 98 - 117AD 1. In Rome, Trajan was proved to be a very strong administrator, and he won the favor of the Senate and the upper class citizens. 2. begins the reign of teh Nerva-Antoine dynasty. Instead of depicting himself as an aging older man, Trajan is idealized an dageless (same as Julio- Claudius style). it is a delibrate attempt to try and assoicate himself with Augustus instead of the Flavians. 3. hairstyle: hair is arranged in long strands that come straight down his forehead with a slight separation in the center.

9th: Trajan (want to connect with Augustus, insead of Flavians) - Was remembered as a successful solider-emperor in Roman history.

30 BCE marble 1. are 4 sculptural groups that were found at the villa of Sperlonga: the treasure found in the grotto(dining hall) 2. the scultpral groups showed incident from the story of the Homeric hero Odysseus and are in Hellenistic style.

Adventures of Odysseus, Sperlonga 奥德修斯， 指挥batle of Troy

time: late 2nd BC marble frieze location: Munich 1. reliefs depicted teh marriage procession of Neptune to Amphitrite. 2. rather than an altr decoration, these reliefs probably belonged to the base of the statuary group set up

Altar of Domitius Ahenobarbus 1st piece: "Paris/Munich Reliefs浮雕"

After deification, Antinous was associated with and depicted as the Ancient Egyptian God Osiris, associated with the rebirth of the Nile (Antinous drowned in a river).

Antinous as Osiris (found at Hadrian's villa )

reign: 138-161 AD 140-150 AD marble Rome 1. 1st emperor from Gaul, a solid administrator, therefore he was chosen by the Emperor Hadrian to succeed him. 2. He worked in harmony with the Senate, brought many reforms, and strengthened the borders of the empire. His integrity正直, gentile spirit, and dedication earned him the nickname "pius" which was given to him by the senate.

Antoninus Pius庇护 "the dutiful"

time: 125-75 BC materia:marble location: paris 1. due to her nudity and the sinuous shape of her body, the figure is widely believed to be Venus , the goddess of love. 2. in the late Hellenistic period, the demand for Greek art in the the growing Roman Repulic was tremendous, artists offered a varit=ety of subjects including new and popular theme of eroticism色情 and female beauty, images of the goddess Aprodite are everywhere.

Aphrodite of Melos

reign: 81 AD material: Pentelic Marble and Travertine 1. the attic inscription records the dedication of the mounument to Titus: "the Senate and the Roman people dedicate thi sto the deified Titus." 2. the Archof Titus has long provided a source of artistic inspiration, it has inspired many modern commemorative arches.

Arch of Titus "Triumphal Arch"凯旋门

1. with the 2 children on her lap, she strongly ressembled Venus, the mother of the Julian family, 2 infants symbolize the people of Rome. 2. the figures on the left & right: air and sea, indicated that the seated figure is mother earth, the figures both sit aboe their respective icons showing roman dominance over them. 3. the scene depicted fertlity - the benefit of peace.

Augustae: 1st panel- east side "mother earth" - mythological scene

AD 216 1. The city's 2nd largest Roman public baths during the regions of emperors Septimius Severus and Caracalla. 2. The Baths of Caracalla were more than a mere bathing house; it was actually a multifunctional leisure center and also housed gymnasiums, libraries, gardens, art galleries, restaurants and even brothels. 3. public baths in Imperial Rome played an important part in Roman society. Not only did it improve the cleanliness and health of its citizens, but the thermae were also places where Romans came to socialize, gossip and relax.

Baths of Caracalla

time: 1988

City of Rome plan

time: 72 -80 BCE material: roman concrete混凝土, tufa, travertine 1. the Colosseum was the largest amphitheatre ever built at the time, it is located east of the Roman Forum. construction began under the emperor Vespasian and completed under his son - Titus. 2. the colosseum was encircled by arcades围廊 framed on the exterior by engaged columns in the Doric, Ionic and Corinthian orders - the structure's rising arrangement of columns bacame the basis of the Renaissance codification, knwn as the "assemblage of orders".

Colosseum

AD 113 Marble 1. Symbolism: Base of the Column of Trajan- military Spoils of war: as being a support = the support of the war: finical support for the society. 2. a victory monument commemorates the Emperor Trajan's victory in the Dacian war. The entire frieze is an unique account of the history of Dacia and a valuable record of Roman military tactics 军事战术& weaponry. 4. The sculptors took great care to provide settings for the scenes, including natural backgrounds, and mixed perspectival views to offer the maximum level of detail.

Column of Trajan "historical relief" - victory of monument

date: 150 - 100 BC matrial: Bronze laocation: Metropolitian Museum significants: 1. the Hellenistic period introduced teh accurate characterization of age, young children enjoyed great favor, whether in mythological form, as baby Herakles/ Eros. 2. in the Roman period, sleeping Eros atatues decorated villa gardens and fountains, their have been used as dedications within a public park or private garden in Hellenistic period

Eros Asleep

"Marcia Furnila as venus" time: late 1st century 1. elite Roman women, like their male counterparts, were commemorated in public sculptures and tomb imagery. Flavian women are among the most recognizable of these because of their distinctive tightly curled and piled-high hairstyles. 2. The women of the Flavian dynasty did not have the lack of hair problem afflicted on the men. The tight corkscrews of the late Julio-Claudian dynasty take prominence in female imperial portraiture. Curls grow in volume to create a dome-like effect on top of the head. 2. Marcia Furnila - 2nd wife of Titus

Flavian Venus Portrait

25-2 BCE Rome material: Tufa, marble columns 1. the center of the forum is the temple of Mars Ultor, and was surrounding by a portico门廊, that defines the forum space and played a key role in the visual narrative of the public art program.(Augustus used to display messages) 2. the temple ortraying the history of Rome as a divinely ordained expansion through wars toward an orderly peace, culminating达到巅峰 in the principles Augustus. 3. in the center of the courtyard stood a large sculpture of Augustus in a chariot pulled by 4 horses

Forum of Augustus: "temple of Mars Ultor" - center of the forum.

time: 2-4 AD/ 1-14AD marble location: British/ Corinth 1. he was adopted by Augustus, who named him as hi successor. he was also appointed as Prince of Youth, one of the symbolic heads of the Equestrian Order. 2. he eventually died of his wounds on his way back to Italy, his death forced Augustus to adopt Tiberius and make him his successor继承人 2.

Gaius Caesar

time:175-150 BC material: marble location Berlin 1. Gigantomachy is one of the most popular myths in Greece, is a representation of battles between the Olympian gods and Giants in antiquity.巨兽和几个神的战争 2. the battle of the gods against the Giants symbolize the Pergamese victory iver invading Galus in the late 3rd century.

Gigantomachy Frieze (east frize) Athena fighting giants

time: 175-150 BC material: marble location: Berlin 1. greek Hellenistic art was less about the harmony and serenity of classical Greek art, and more about achieving excitement, wild movment and strong feelings. 2.unlike classical greek sculpture, greek Heelenistic art was less about harmony and serenity, and more about achieving excitement, wild movement and strong feeling.

Gigantomachy Frieze (east frize): Zeus fighting Giants

117 AD 1. It is shaped by a series of interdependent and inter-locking structures, each one with its own individual purpose 2. The symmetries and the interdependence of the structures - connected one to another via guarded access points created for both the privacy and security of the Emperor, make it clear that together they composed a monumental compound that mirrored Hadrian's image as a great man. 3. to show off his tastes and inclinations, he reproduced inside this residence the places and monuments that had fascinated him during his innumerable无数 travels.

Hadrian's villa at Tivoli意大利中部城市

artist: Lysippos date: late 4th BCE material: roman marble copy of a Greek Bronze orginal significant: 1. realistic, indivilism and metal detail: the pelt of the Nemean Lion

Herakles Farnese

time: 1-14 AD marble Corinth Museum 1.

Lucius Caesar- grandson of Augustus

time: late 3rd entury marble - roman marble copy of Hellenistic Bronze original from Pergamon location: Rome 1. it is part of the great victory momunment in Ancient Pergamon that King Attalos 1st used to celebrated the victory of his army against the Guals. 2. the subject also held larger significance: the victory of civilization over barbarism.

Ludovisi Gaul: killing himself and his wife (similar to 'dying Gual')

AD 100-112 material: brick and concrete Rome 1. Around 150 shops(taberna): similar to a shopping mall 2. The market(complex) included a covered market, small shop fronts and a residential apartment blocks, built at one end of the Trajan's Forum. 3. The Markets of Trajan was the center of trade, commerce and the administrative activities of the Forum.

Market of Trajan

time: 10 BCE 1. the monument was create for teh emperor Augustus, who had in 30 BCE conquered征服埃及Egypt and had seized the monolith in Heliopolis. 2. Augustus used the oblisk in teh Field of Mars in a remarkable way - namely to cast a shadow and thus mark the length of days and nights.

Obelisk方尖塔 of the Solarium Augusti

64-68 BCE brick-faced concrete 1. after a great fire destoryed half of the Rome, he spent huge money on rebuilding the city and a new imperial palace, whose architectual forms were as innovative as they were extravagant奢华。 2. the golden house is historically important because it expressed the aethetic of mounumental architecture that was to characterize the imperial style of Roman archiecture.

Octagonal room, Golden house

52 BCE 1. it is a mounumental double archway built of white travertine石灰, built by Caludius intended to provide a decorative section of support for 2 aqueducts沟渠. 2. Claudius began improving the Roman water supply immediately upon taking power. after completing the advancement of 2 of Rome's most important aqueducts , he conctructed the Maggiore to mark the entrance of the waterways into the city.

Porta Maggiore

time: 1st century marble 1. politics and religion are interlinked, Augustus' adoption of the title 'Pontiflex Maximuns' in 12 BC embodied this notion. 2.

Portrait of Augustus as priest神父

117 - 134 AD 130 AD marble spian 1. drastically changed women's hairstyle. She completely did away with the vertically that dominated past dynasties. 2. her wavy hair is divided in the center and brushed back over the tops of her ears and fastened in a loose bun at the back of her head - this hairstyle is similar to the hairstyle worn by the greek goddesses.

Portrait of Sabina wife of Hadrian

time: late 2nd BCE marble location: Forum Boarium屠牛广场, Rome 1. it is the only surviving scared structured in ancient Rome that was made of Greek marble. 2. the temple is circular in layout with 20 columns orbiting a cental cylindrical圆柱形 stone block, and it is said to be the place where Hercules rested after his tenth labor.

Temple of Hercules Victor 'round temple by the Tiber流经罗马的一个河'

time: late 2nd BC material: Tufa & Travertine石灰华, both coated in stucco灰泥 location: Rome 1. function: was dedicated to Portunus, a youthful god associated with water crossings & seaports 2. the temple combines aspects typical of Etruscan temple architecture such as its floor plan, with greek architectural features such as its Ionic columns. the combonation of styles is symbolic of the Roman Republican period.

Temple of Portunus

date: C. 150 BC material: bronze locaion: Terme museum significants: 1. the figure is represented in heroic nudity and derives from the famous statue by Lysippus of Alexander the Great. 2. attempt to create a sense of individually deep set eyes, swell of brow, dramatic turn of head almost intimidating interesting way of depicting beard. most common ruler type.

Terme Ruler

time: 13-9 BC material: marble location: Rome 1. was built to celebrate the return of Augustus in 13 BCE his campaigns in Spain and Gaul. 2. senators, officals and the Imperial famliy are depicted on the wall reliefs of the mounument, in a celebratory procession to elcome the emperor's return. 3. the alta r represented Pax - peace.

The Ara Pacis Augustae 和平祭坛

time: 4th AD

The Roman Forum 罗马城市广场

40 BCE Pompeii 1. example of 2nd style because of the illustronic aspects 2. the figures are examples of 'megalopraphia'(life-size paintings), the figures are the same size as viewers entering the room, and the way the painted figures sit in front of the columns dividing the spaces, which represented that the action is taking place surrounding viewers.

Villa of the Mysteries Fresco

AD161 white italian marble varican city 1.

column of Antoninus Pius 1st: marble relief of the emperor Antoninus Pius and his wife, Faustina

time: 110 AD 1. the ceremonial military dress come in 2 parts: breastplate + cloak斗篷. includes a depiction of an Amazonbattling 2 griffins - mythical figures symbolic of Roman military battling in the east. 2. the pose of the body suggest thta the statue may have held a spear in the left hand, while the right hand is stretched out in a gesture of humanity.

comparing Trajan (victorious general) & Augustus Prima Porta

1. The posture of this statue of Apollo, as well as the structure of the face and the hair, are typical of the work of Athenian sculptors. - severe style

comparing: portrait of Antinous & "Kassel style" Apollo

date: 3 -2 BCE matrial: marble location: Munich significants: 1. Roman copy of a Hellenistic orginal 2. the work appears on the list of Hellenistic representations of personnages devoted to vices and represented in their degraded level of daily life. 3. during the Hellenistic period, artists became concerned with the accurate representation of childhhod, old age, and even physical deformity.

drunken old woman

time: late 3rd BCE material: marble locatuon: Rome 1. portrays a Gallic solider in his final moments, his face contorted in pain扭曲的痛苦 as he falled from a fatal wound to the chest. 2. function as commemorating the King Attalos 1st's victories over the Gauls in Pergamon.

dying Gual Roman marble copy of a Hellenistic bronze original

west: foundation/ narrative (male) east: allegory寓言/ personification (female)

floor plan of Augustae

AD 112 1. architect: Apoolodorus of Damascus 2.

forum of Trajan

time: 25 BC material: tufa, concrete Rome 1. the maosouleum was one of teh 1st projects initiated by Augustus in the city of Rome following his victory at the battle in 31 BC. 2. it was teh biggest tomb in thr Roman world, a record it held through the Roman period.

mausoleum of Augustus奥古斯都陵墓

date： 2-1 BCE material: marble location: metropolitian museum NY significants: 1. during the Hellenistic period, artists became concerned with the accurate representation of childhhod, old age, and even physical deformity. 2. the ivery wreath on her head marks her association with Dionysos, and the basket of fritu and chickens must be dedicatory gifts to the god/ simply her own provisions for a long day of celebration.

old market woman

113-125 AD material: marble, brick and concrete / columns of Egyptian granite, with bases and capitals of Pentelic marble. 1. Temple to all gods in Rome. 2. rebuilt by Hadrian - Following Hadrian's usual practice of dedicating rebuilt buildings and monuments in honour of the original dedicator, the Pantheon is dedicated to Marcus Agrippa. (Agrippa built the original Pantheon in honor of his and Augustus' military victory at the Battle of Actium in 31 B.C.E.) 3. oculus天眼: (open window) at the top of the dome(circular roof) was the interior's only source of direct light. The sunbeam streaming through the oculus traced an ever-changing daily path across the wall and floor of the rotunda圆形大厅. 4. In contrast to the plain appearance of the outside, the interior of the building is lined with coloured marble, 5. The structure has been an enduring source of inspiration to architects since the Renaissance.

pantheon of Rome - tradtional rectangular temple

AD 130-138 Marble greek 1. lover of Hadrian 2. deified after death 3.

portrait of Antinous - not a emperor

time: mid- 1st century material gree Egyptian slate with white stoen for the eyes location: Berlin 1. until Caesar's image appeared on denarii古罗马货币, Roman coins did not carry portraits of living people, his lifetime portrait revolutionised the iconography of Roman coins and the purposes for which they could be used. 2. he was a politican and general将军 of the late Roman republic, who greatly extended the Roman empire before seizing power and making himself dictator of Rome, paying teh way for the imperial system.

portrait of Julius Caesar 凯撒大帝

time: 55 BC material: marble location: Copenhagen 1. 1st century AD copy of an original from 55 BC. 2. portraits were used to show social statues & identity, but it was also used in politices to show the continuity in between 2 consecutive rulers. 3. 'Anastole' (greek 'to put back')- haristyle that locks of hair brushed back high from the hoehead.

portrait of Pompey

time: 100 -50 BC material: bronze location: Terme museum significants: 1. found with the bronze Hellenistuc ruler. 2. it has been suggested that the statue was attributed with healing powers, represented the cultural shift of the Hellenistic period.

seated boxer

time: 200 BC material: marble location Munich 1. in Greek mythology, satyr were mythical creatures, half human half beast, the best known as companions of Greek god of wine - Dionysus, and participants in his parties. 2. in Hellenistic period, increasingly focus on the personal aspects of relationships , both partners were expected to feel desire and to play active roles of sexual roles, the statue reflects the sexual mores and practices of this period.

sleeping satyr

time: 100 BC material marble location: Athens 1. the lightearted an dpicturesque theme places the composition in the so-called Hellenistic Rcoco style. 2.

slipper slapper

1. shows Augustus an dhis family, the central figure dressed in a toga. 2. the figures all properly dressed for the ceremony of the state religion, proceed in the direction of the altaritself, ready to participate in the ritual. all figures toward the west , depicted would seem to be a celebration of the peace that Augustus had restored to the Roman empire. 3.

south panel: Imperical Procession

time： Rome 1. a series of mounument fora(public square), constructed in Rome. The forms were the centre of the Roman Republic and Roman Empire.

the Imperial Fora帝国议事广场 (Forum of Augustus+ Forum of Julius Caesar)

time:55 BCE material: 1st stone theater 1. The theater was the 1st stone and concrete theater. Pompey had paid for the theater in order to gain political popularity during his 2nd conculship. It became teh principal monument of Rome. 2. to avoid censure for building a permanent theatre, he constructed a temple of VENUS at the top of the cenral part of the cavea, therefore the rows of seats might appear to be the steps leading up to the temple, dedicating the whole as a temlpe instead of a theater.

theater of Pompey