Art History Exam 2

Wall with Torah Niche (7-3)

From a house-synagogue in Dura-Europos Syria 244-245 CE Tempera on plaster Early Jewish art Registers Fresco Niche framed by engaged columns to hold the torah scroll Synagogues were places Jews gathered to study the Torah, sometimes located in a private home Contradicted long held belief that Jews of this period avoided figural decoration

Arc Pacis Augustae (Altar of Augustan Peace) (6-20)

From article Rome 13-9 BCE Ritual would occur inside Monument was refurbished and set in new context by Mussolini in fascist period of Italy Lower register is filled with leaves Pilaster on corners Meander borrowed from Greek context Toga up over head - means serving as a priest Why do we suddenly have family groups? People always thought was copying the Parthenon - BUT WAIT why these groups together (what article is about) Serves as monument to Augustus peace (brought peace to Romans) Would bring sacrifice and libations to the gods Borrowing from Greek past

A Symposium Scene (5-31)

From the Tomb of the Diver c. 480 BCE Fresco on travertine slab Early Classical Depicts scene where figures are drinking and socializing together Reclining, toasting, playing games Drinking wine and water mixture from kylix - only wealthy aristocrats would have participated

Oratory of Galla Placidia, Ravenna (7-18)

One of the earliest surviving Christian structures in Ravenna (Western capital of the Roman empire after Rome lost power) Attached to the narthex of the Palace Church of St. Croce Originally dedicated to St. Lawrence but todays is named for Galla Placidia - daughter of Roman Emperor Theodosius I Building is cruciform - barrel vault at each arm, dome with continuous pendentives covers the square center Simple exterior contrasts with interior which features brilliant mosaics

Laocoön and his Sons (5-64)

Original of 1st century BCE, OR a Roman copy Face shows intense pain Trying to keep snakes off sons Hierarchic scale Another example of Roman copy of Greek statue (probably) Found in Rome during Renaissance period Hellenistic Illustrates episode from the Trojan War

Boys Climbing Rocks and Diving, Tomb of Hunting and Fishing

Highly naturalist Anecdotal Painted inside tomb Fresco

Pantheon (6-49(** on the test

Important work Rome Colonnade on front Portico Entablature above column capitals Pitched roof in pediment What's new: surprise to see circular rotunda when enter roofed by hemispherical vault (implies the dome is exactly a half circle) central plan ciruclar interior with alternation of niche and small apse-like space boxy shapes in vault are called coffers (relieve weight of the concrete structure) changed the mix in the concrete as got higher (added lightweight pumice) oculus is open to the sun (reference to Apollo)

Plan of Trajan's Forum and Market

Interested in: Column of Trajan Basilica Ulpia Markets Temple of Trajan

Aule Metele

Interesting that it is in bronze - allows the arm to be supported Talking to crowd On pedestal

Types of representations of the Buddha

**Gandhara type: Meditating Buddha (Pakistan, Kushan Dynasty, 2nd Century CE) and Standing Buddha (Kushan period, c. 2nd-3rd century ce) (10-12) long loose figure and tossing over left should signals looking at a monk Can see through the garments and see that he is a figure with presence, well-fed, strength in limbs - borrows from Greeks and Romans (probably due to cultural contact with Alexander the Great) lakshanna(Sp?) - signals specialness of the Buddha Buddha, signifier of specialness, arms extend almost all the way down to his knee (disproportionately long) Urna - dot between eyes Ushnisha - bump on head that symbolizes something about expanded consciousness - a bump on head that now looks like a bun **Mathura Type (more indigenous style yaksha (indigenous nature deities) and yakshi): Buddha seated on lion throne (10-13), from Mathura, India, Kushan Dynasty) late 1st to early 2nd century Circles on the hands represent wheel of law (dharma chakra) Again shown well-fed, very fleshy - different from more muscular/vigorous Gandhara type **Sarnath/Gupta Type: Gupta, second half of 5 cent. CE eliminates much of the detail of the mathura type and simplifies it, details are pared down, still fleshy

Alexander the Great Confronts Darius III at the Battle of Issos (5-56)

1st Century CE Roman mosaic Roman copy of a Greek painting, considered a good copy Romans were obsessed with Greeks. Floor mosaic, Pompeii Italy. Figures look rounding - mimics shading on original painting. Graded shades of tessera in mosaic. They also overlap each other, shadows are used. Reflection in the shield. The tree in the background shows depth as well and highlights strong and sturdy presence of Alexander. Follow gaze of Alexander and see Darius is scared. The horse in front of Darius is going straight into him - example of a copy of a Greek painting use of foreshortening (very impressive) Growing taste for dramatic narrative Alexander challenges Persian leader

Early Empire

27 BCE - 96 CE Roman republic ends when Octavius decides to expand republic to become and empire Octavius is changed to be called Augustus

Corinthian Order

3rd Greek Order Invention of Corinthian capital by Kallimachos, after 450 BCE Playful

Roman Republic

509 - 27 BCE Absorbs the Etruscans Romulus wins battle and establishes Rome Etruscans still exist in this time (coexist with Romans who are now ruling the region) Etruscans forcibly made into Romans

Reconstruction Drawing of the Temple of Aphaia, Aegina (5-11)

6 columns on the facades, 12 on the sides Cella - roof supported by superimposed colonnades could be entered from porches on both short sides Entasis

Etruscan Art

7th cent. BCE - end of the 3rd cent. BCE area north of Rome then expanded north and south Militaristic, fortified cities

Basilica

A lengthwise audience hall Most often an apse at the end (maybe both) Central area is the nave Flanked with aisles Gallery level

Portrait Head of an Elder from Scoppito (6-13)

Adheres to the idea of showing truth Gives nittu gritty details of a persons anatomy Prize "being around a while" Displays the effects of age on the body A form of idealism In wealthy households there would be a space like a foyer were there were niches for portrait heads Fits with tradition of venerating ones ancestors (processing and parading with portrait heads - ritualistic)

Colossal Buddha at Bamiyan (10-18)

Afghanistan, 5th Century CE Colossal statues of Buddha deface by the Taliban in early 2000s Located on silk route Closer to the gandhara style (but not exact)

Second Style Fresco

Know for having architectural views that lead into space

Interior of Cave 19

Ajanta, India "Gupta Period"

The Akropolis, Athens (5-35)

Akropolis means city on top of a hill Reconstruction drawing c. 447 - 432 BCE High Classical Period Religious and ceremonial center of the goddess Athena Destroyed by Persians in 480 BCE Perikles convinced to rebuild Huge undertaking, imported large quantities of gold, ivory and exotic woods Would climb steep ramp to enter Pass through impressive portico and see impressive bronze of Athena

View (A) and and Plan (B) of the Parthenon (5-36)

Akropolis, Athens 447-432 BCE High Classical Period Pentelic Marble Finest marble used throughout, even on roof Planning and execution required extraordinary mathematical and mechanical skills Attention to proportions - esp. the ratio of 4:9 Conveys political and idealogical themes

The Porch of the Maidens (5-45)

Akropolis, Athens Porch c. 420-410 BCE South side of the Erechtheion temple Six stately caryatids support an Ionic entablature with bands of carved molding One engaged leg, other leg bent knee weight in ball of foot Not all on the same leg

Flavian Amphitheater (6-39)

All architectual orders on the surface Major monument showing lots of styles and technical capacity of Romans Inside is roughly oval Chambers below Seating supported using barrel vaults Decorative scheme on exterior features all three orders (lowest - Tuscan, middle - ionic, top - corinthian) columns are decorative, barrel vaulting and piers are supporting the weight built with concrete and some brick and then faced with marble (most of which has been robbed out)

Groin Vault

Allows to expand over great spaces because of the way the weight is transferred

Northern Style Temple

Always raised on a plinth to signify sacred ground Series of chambers called mandapas Main chamber called the garbhagriha (womb chamber) and there will be an image of whoever it is dedicated to in here Large symbolic mountain on top of the garbhagriha called a shikhara capped by a symbolic fruit called an amalaka Axis mundi runs through shikara Ex. Vishvanatha Temple Khajuraho, India, Chandella Dynasty ca. 1000

Mithunas

Amorous couples Used in Buddhist and Hindu context

Chaitya Hall Karle India

Andhra Dynasty ca. 100 CE Rock cut sanctuary Colonnade Back of the sanctuary has stupa Axis Mundi And canvas suggested what is beneath is venerated Carved into the bed rock

Angkor Wat (10-40)

Angkor, Cambodia 12th Century CE Elaborate temple mountains Marked political and religious center Devoted to god Vishnu rather than Shiva Faced west to the setting sun (not typical)

Vedic Period

Aryan herders from Central Asia 1st Veda written down ca. 1500 BCE gods = natural elements Indra (rains) Varuna (ocean) Surya (sun) Agni (fire)

Image of another tomb (name was cut off)

Carve in to living bedrock and take stucco and make 3d shapes on walls Would find greek vases in these Etruscan tombs

Borobudur (10-34)

Central Java

Burial Chamber, Tomb of the Reliefs (6-8)

Cerveteri, Italy 3rd Century BCE Tomb carved out of rock to resemble rooms in a house Seems to have a flat ceiling supported by posts Walls were plastered and painted and finely furnished Couches, pots, jugs, robes, axes, were all carved to simulate real objects

Nouvios Plautios The Ficoroni Cista (6-1)

Cistas are used to hold toiletries For upper class women 350-300 BCE Bronze Confers status Suggests Romans were using Etruscan styles Found and produced in Rome for a Roman, manufacture done by an Etruscan (considered advanced in the making of bronzes)

Denarius with Portrait of Julius Caesar (6-16)

Coinage is a tangible reminder of where you are and what state you belong to 44 BCE Every person has seen this face and knows him Showing himself as older

Fourth Style Roman Fresco (6-29)

Combines 1-3 Wall Painting in the "Ixion Room" House of the Vettii Pompeii, Rebuilt 62-79 CE Having this in your home would suggest you are a person of refinement and status

Stupas and Temples (Elements of Architecture p. 302)

Buddhist architecture consists mainly of stupas and temples in south Asia Structural or rock-cut Stupas derive from burial mound and contain relics Major stupa is surrounded by a railing that creates a sacred pathway Railing punctured by toranas aligned with cardinal directions On top of stupa, railing defines a square, umbrellas sit on top Hindu architecture mostly temples in south Asia Northern and Southern styles All raised on plinths and dominated by superstructure North Indian shikharas are topped with amalaka and have a series of mandapas (hallways) leading to an inner sanctuary called the garbhagriha which contains a sacred image Axis mundi

Grave Stele of Ktesilaos and Theano (5-50)

C. 400 High Classical Period Marble Commemorates the relationship between a couple Name on upper frieze resting on two Doric pilastersHusband stands casually gazing at wife who sits on a bench in gesture associated with Greek brides Presumably gravestone for joint grave Increased sense of narrative

Diptych of the Nicomachiand the Symmachi

CA 400 Late Antique period between Roman empire and early Jewish/Christian art Ivory

Garden Vista, Villa of Livia at Primaporta (6-32)

Livia is the wife of Augustus An entertaining room Pure landscape

Arch of Titus (6-36)

Architectural form the Roman invent and use over and over again Gets quoted and reconfigured over and over throughout history Rome after 81 CE concrete and white marble "Triumphal Arch" set out all over the empire Free standing gateway for state parades

The Mosaic Floor of the Beth Alpha Synagogue (p. 219) Ritual Objects, Celestial Diagram, and Sacrifice of Isaac

Beth Alpha - a basilica synagogue modeled after ancient Roman basilica Floor mosaic in regional synagogue Men and women would practice separately Rare example of rustic style of figuration Disk in the middle is the zodiac - an anomaly to have this included in the synagogue context (relates more to Roman state religion not Judaism) Beth Alpha Synagogue Galilee region, Israel 6th century CE Early Jewish art growling lions depicted to protect the torah lion and ox shown peacefully together

Shivas as Mahadeva (Eternal Shiva) (10-22)

Cave 1, Elephanta, ca 550-575 Shiva can appear as male or female, different manifestations are called avatars Female = creator Male = destroyer Lingham - falic symbol sometimes associated with female representation of genetalia too Rock cut temple two axis, oriented toward the cosmic order main god dedicated to is Shiva Displays the Gupta style

First Style Fresco

Made to look like inlaid stone Style borrowed from the Greeks

Basilica of Maxentius and Constantine (6-67)

Constantine is the first emperor to accept Christians and Jews - said all religions are ok Longitudinal plan Groin vaults Rome 306-313 CE Apse coffers

Initiation Rite (?) of the Cult of Baccus (?), Villa of the Mysteries (6-30)

Figures interacting with figures around the corner

Third Style Fresco

More elegant and dainty Things are much smaller with large sections of solid color

Arch of Constantine (6-65)

Rome 312-315 CE Massive, triple-arched monument to Emperor Constantine's victory over Maxentius A wonder of recycled sculpture - attic relief panels are taken from monument celebrating the victory of Marcus Aurelius over the Germans, panels on piers from Trajan's victory over the Dacians, pair of large tondi taken from a monument to Hadrian, rest of the decoration early 4th century

Portrait Bust of a Young Flavian Woman (6-40)

Rome 90 CE Marble Young Youth Extreme attention to style of the time (hair style) Harkening back to Athens

Main hall, "Trajan's Market" (6-46)

Rome Brick work - Romans likes to leave expose and make patterns 100 -112 CE Vault - an arch that extends into space

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STUDY ARCHITECTURE

Nike (Victory) of Samothrace (5-65)

Sanctuary of the Great Gods, Samothrace Hellenistic Period ca. 190 BCE marble, 8' 1" (huge) Would have had water feature and lots of drama Hellenistic period prized the drama Winged figure of victory Even more theatrical than Laocoön Forward momentum of body balanced by backward thrust of wings

Aphrodite of Knidos (5-53)

Composite of two similar Roman copies after the original marble c. 350 BCE Marble 17th and 18th century restorers added: nose, neck, right forearm, hand, most of the left arm, feet, parts of the legs First statue by a well-known Greek sculptor to depict a fully nude woman, set a new standard, nudity among young athletic men was admired, for women it was a sign of low character, began to accept nudity of Aphrodite Preparing to take a bath with water jug and clothing discarded Hand caught in a gesture of modesty Pose emphasizes swelling thighs and abdomen Knidians so proud of their Aphrodite they placed it in an open shrine Many Hellenistic and Roman copies were made, 50 copies still exist today

Audience Hall of Constantius Chlorus (6-63)

Constantius Chlorus' son was Constantine (now know as the basilica) In Germany (then an outpost of Rome) apse, nave Arch suggests Arch of Titus

Torso from Harappa, Indus Valley Civilization

Curvaceous body suggests sculptors had good sense of naturalism (not on test)

Metropolitan Kouros (5-18)

Dated about 600 BCE Recalls pose and proportions of Egyptian sculpture Young Greek stands rigidly upright with arms at his sides, fists clenched one leg slightly in front of the other Cut away all stone from around the body to make free-standing Archaic kouroi less lifelike than similar Egyptian figures Head is schematized, hair wig-like and mouth forms an archaic smile Nude form is unusual in ancient Mediterranean cultures but is accepted and valued with young men (not with women)

"Peplos" Kore (5-21)

Dated about the same time as Anavysos Kouros but is a votive not funerary statue Rounded body form Clothed Motionless vertical pose of Berlin Kore but bare arms and head convey sense of soft flesh and bone structure and smile and hair are less stylized Once wore a metal crown and jewelry Originally named for garment worn (thought to be of young girl) now considered was actually probably a representation of a goddess

Ruins of Pompeii

Destroyed 79 CE Prior to 79 CE, evidence of earthquakes, area prone to geologic activity Pompeii preserved in state of when it was destroyed Allows to learn about rural setting, commoners living in Rome were in apartment blocks

Athena Attacking the Giants (5-63)

Detail from the frieze at Pergamon c. 175 - 150 BCE Marble Greek gods fight giants AND monsters Goddess Athena has grabbed hair of winged male monster and forced him to his knees A winged Nike rushes to crown Athena as victorious Theatrical and complex nature considered typical of Hellenistic

Imperial Procession Ara Pacis (6-22)

Detail of relief on the south side of the Ara Pacis Shows Auguts' imperial family (men, women and most notably children stand in the foreground as August hopes for dynastic succession) Idea that Rome is now subject to imperial rule of the family of Augustus and there will be stability and prosperity because successors are already born Depiction of children and real women new for the Augustan period - thought to promote private family life and potential heirs to promote his dynasty

Young Women and Men (5-40)

Detail of the Procession, from the Ionic frieze on the east side of the Parthenon c. 447 - 432 BCE Marble High Classical Period Graceful and physically sturdy, represent ideal inhabitants of a successful city-state

Horseman (5-39)

Detail of the Procession, from the Ionic frieze on the north side of the Parthenon c. 447 - 432 BCE Marble High Classical Period Enclosed in Doric peristyle Shows skilled riders in procession celebrating a festival in Athens

Model of a Typical Etruscan temple of the 6th century BCE, as described by Vitruvius

Early Etruscan period Most didn't survive becasue made of mud and brick and didn't last long Know what they look like from descriptions, drawings and models from the time Columns only on the portico which is fairly deep Chamber has three doors (tripartite with cela showing a deity, maybe Apollo, Venus, Zeus, etc.) Etruscans were interested in Greek culture centered, front stairs only on one side, not all the way around Roof - raking eaves that meet at ridge Sculpture is on the roof not pediment Variation on Greek Acroteria NEW COLUMN TYPE: Shaft not fluted Has a base So this is the Tuscan order (because occupy what is now Tuscany)

Dying Warrior (5-15)

East pediment of the Temple of Aphaia, Aegina Similar to dying warrior figure on west pediment - Probably 10 years newer Twisted body turning in space Clearly about to collapse, balancing on his shield Emotional agony on face Vulnerability New idea that the sculptures were created concurrently 1 by a traditional work shop and 1 by a progressive workshop

Yakshi Bracket Figure (10-9)

East torana of the Great Stupa at Sanchi Forms a bracket between each capital and the lowest cross bar Some of the finest female figures in Indian art Leans daringly into space with casual abandon Supported by 1 leg Appears almost nude, emphasizing form Mango tree from which she hangs is heavy with fruit - reasserting fecundity Role of guardian or devotee

Baths of Caracalla (6-60)

Elaborate space for community to come together to exchange ideas, exercise, etc. Rome 212-216 CE Structure comprised of repeated groin vaults to extend over large area Repeated patterns in the ceiling (coffers) Composed of concrete Would have a sequence (i.e.): cold room warm room tepid room public toilets something like a gymnasium public meeting space [go to place for all entertainment] sophisticated system for heating water

Cave Temple of Shiva

Elephanta Post-Gupta period Mid 6th cent. CE pg. 309 yellow box explaining

Pergamon (5-62)

Enormous alter with steps up to sanctuary Colonnade Site for ritual practices Monument to the defeated Gauls Sculptural style pronounced and dramatic Sculptured frieze wrapping around the base of the Great Altar Original altar enclosed in single-story Ionic colonnade raised on a podium reached by monumental staircase 68 feet wide and nearly 30 feet deep Scene of Athena attacking giants in relief - high drama (battle between gods and giants) Evokes Pergamenes' victory over the Gauls 175 - 150 BCE Typical of Hellenistic Period Site is in modern day Turkey *ON THE TEST

Tuscan Order (p.161)

Etruscans and Romans adapted Greek architectural orders to own tastes Often as applied decoration on walls Etruscans developed the "Tuscan order" by modifying the Doric order (added base under the shaft and left the column unfluted) Similarly, the Romans created the Composite Order

Banditaccia necropolis

Etruscans conceived of these places a city-like Etruscan culture practiced burial and cremation (double check this) Carved out in pumice stone Subterranean and super structure Inside would have frescos and stuccoed relief sculpture

Plan (A) and Reconstruction Drawing (B) of Old St. Peter's (7-13)

Example of a longitudinal plan

The Crossing of the Red Sea (7-4)

Fits in the aesthetic of the time - Late Antique Style Scenes from Jewish history and the story of Moses Continuous visual narrative using the Roman tradition of epic historical representation A large hand of God hovers (hierarchic scale) over each scene representing God's presence in the miracle depicted

Harvesting of Grapes (7-12)

Found in ambulatory vault of the church of Santa Costanza, Rome c. 350 Mosaic Example of syncretic (union or attempted fusion of different religions, cultures, or philosophies) images in church Mosaic bust portrait of Constantina is surrounded by a tangle of grapevines filled with putti (naked cherubs from pagan art) who vie with the birds to harvest the grapes Technique and style are Roman Subject is traditional - associated with Bacchus and his cult Meaning is new in Christian context wine=eucharist

Warrior (5-29)

Found in the sea off of Italy 460-450 BCE Bronze with bone and glass eyes, silver teeth, copper lips and nipples Striking balance between idealized smoothness of perfected anatomy conforming to early classical standards and the reproduction of details observed from nature such as swelling veins in the back of the hands Controppasto further developed

Nike (Victory) Adjusting Her Sandal (5-46)

Fragment of relief decoration from the parapet (now destroyed), Temple of Athena Nike Akropolis, Athens 410-405 BCE Bends forward gracefully allowing chiton (tunic) to slip off one shoulder Large wings balance Textile is delicate and light - clings like wet silk unlike other depictions

Reconstruction of Baptistery, with Fragments of Original Fresco (7-5)

From Christian house-church Dura-Europos Before 256 Extensively decorated room with a water tank for baptism (central rite of Christian initiation) Scenes depict Christ's miracles and women visiting his tomb and discovering resurrection Above baptismal basin - lunette (semicircular wall section) featuring the good shepherd and Adam and Eve

Female Figure Holding a Fly-Whisk

From Didargani. Probably Maurya Period, ca. 250 BCE yakshi - a female earth spirit, accepted as a symbol of fertility by the Hindu, Buddhist, and Jain faiths Sensuous curvilinear - exaggerated hips Rib fat and fat on belly suggests fertility, fecundity, etc.

Kritios Boy (5-26)

From the Akropolis, Athens c. 475 BCE Early Classical Period Moved to more relaxed poses in lifelike figures (as compared to the kouroi) Softly rounded forms Broad facial features Calm expression Weight rests on an engaged leg Relaxed leg bends slightly at the knee Noticeable curve in the spine Beginnings of contrapposto Slight turn of the head

Funerary Krater (5-2)

From the Dipylon Cemetery Athens c. 750-735 BCE Ceramic Geometric period Decorated with linear motifs Used as a grave marker Provides detailed record of funerary rituals associated with the person whose death it commemorates Registers

Berlin Kore (5-19)

Funerary statue found in a cemetery at Keratea 570-560 BCE Erect, full-bodied figure Immobile pose Robe and cloak fall in regularly spaced, symmetrical pattern - like fluting on Greek column Robe masks body but mimics curves Once painted Holds pomegranite - symbol of underworld and the return of springtime

Catacombs

Halls lead to bigger rooms - cubiculae with niches were coffin would go with fresco painting True for Christian and Jewish catacombs

Reclining Couple on a Sarcophagus from Cerveteri (6-9)

Husband and wife reclining together and enjoying a meal Two pieces joined together Would have housed cremated remains of an etruscan c. 520 BCE

Hellenistic Period

Introduction of the Corinthian Order New approaches to representing the human figure (increase in emotion, decrease in idealization)

The Tetrarchs (6-62)

Late antique style (still Roman) Today Cornerstone of St. Mark's Cathedral in Venice

Married couple (Larth Tetines and Thanchvial Tarnai) Embracing

Lid of a Sarcophagus

The Good Shepherd (7-20)

Lunette opposite of St. Lawrence in the Oratory of Galla Placidia Mosaic Significant changes in content and design from 3rd and 4th century versions Jesus no longer a boy in a simple tunic but rather an adult emperor wearing purple and gold Imperial majesty (signaled by halo and long golden staff) Chose to represent in mosaic - the richest medium of wall decoration An imperial image still imbued with pagan spirit but claiming triumph of a new faith

Reconstruction Drawing of Trajan's Market (6-45)

Market halls have apsidal effect Trajan wanted to oversee commerce?

Ashoka pillar (10-1)

Maurya Dynasty - Mauya period c. 246 BCE Ashoka saw Buddhism as a way for keeping is people in line when extending borders - wanted to focus on non-violence and bring people together under same religious umbrella Erected pillars to remind people of Buddhism Axis Mundi - connects celestial with terrestrial Pillar extends into the ground several meters

Torso of a Priest King (10-4)

Mohenjo-daro Seems to be of special status because of special headdress and the fact a sculpture was made (religious? leader?) Trefoil - pattern on robe, might have had symbolic association? Eyes were likely inlaid with stone or shell Evidence of red pigment Features relatively simplified/stylized

Constantine the Great (6-68)

New Style in niche outside Basilica where he would have had an audience hall ABSOLUTELY GIGANTIC, biggest thing we;ve looked at late antique style

Pont du Gard (6-17)

Nimes, France (a Roman outpost) Late 1st Century BCE Brings water from very far away Arcade with 3 layers Piers, Voussoirs Romans are thinking big and in terms of aesthetics

Test hints

No architecture on the comparison essay Planning to do something related to sculpture for the comparison (i.e. sculpture in the round of relief sculpture - look closely at this) 4 short answer thinking a paragraph each, will guide us with specific cues, will pull one question from each of the four chapter that will be guided by the themes for the overall course ch. 6 will tie to leaders and kings (ask Emily more detail on this) ch.7 will be tied to ritual and religion ch.10 power manifested in art and architecture On architecture questions, will choose from ones we have discussed extensively in class (**The Parthenon) Ch. 7 know is it Jewish or early Christian - what is the function of imagery in each context Ch.10 recognize work of art or temple related to Buddhist or Hindu? Not asking to memorize precise titles but name approx. or identify name in multiple choice

Portrait of a Married Couple, Fourth Style wall painting from the atrium of the house (6-35)

On wall to commemorate something Woman holding a diptych - a woman of learning/education (showing status) Man holding scroll suggesting man of public sphere Enlarged eyes suggests intensity of personalities

The Good Shepherd, Orants, and the Story of Jonah (7-7)

Painted ceiling of the catacomb of SS. Peter and Marcellinus (3rd century Christians martyred for their faith) Rome Late 3rd-early 4th century This painted ceiling features a central medallion and four semicircular lunettes framed by arches The Good Shepherd is shown in the center whose pose has roots in classical sculpture Lunettes depict story of Jonah and sea monster In arches orant figure shown

Large Water Tank (Great Bath) Mohenjo-daro (10-3)

Pakistan ca. 2600 - 1900 BCE Don't know exactly what was going on at these large water sites Extremely elaborate infrastructure for bringing water in/out - way before Romans were using lead pipe channels Looking at fired brick basin (not just allowing water to dry in the sun) Major civic undertaking Components suggest some sort of ritual bathing (stairs going down into the water) Basin lined with bitumen to make it watertight

Porta, Augusta (6-2)

Perugia, Italy 3rd - 2nd century Simple arch Not many remain from the period Keystone at top alleviates pressure This is an arch extended into space creating a barrel vault Pilaster - vertical element between roudels (looks like flat column) Roundel - decorative round forms

Plan and Reconstruction Drawing, House of the Silver Wedding (6-26)

Pompeii, 1st century CE typical Cubicula - multipurpose room (work during day, sleeping chambers at night)

Peristyle Garden, House of the Vettii (6-27)

Pompeii, Rebuolt 62-79 CE Would be really lovely and feature paintings/frescos

Anavysos Kouros (5-20)

Powerful, rounded, athletic body Approx. 530 BCE Increasing interest in more life-like rendering of the human figure Pose, wig-like hair and Archaic smile are like earlier pieces Massive torso and limbs more carefully rendered Grave monument to a fallen war hero Symbolic, not a specific individual

Dying Warrior (5-14)

Preserved fragment of the west pediment at the Temple of Aphaia, Aegina Tragic but noble figure who struggles to rise up Extracting an arrow from his chest Looks upbeat event though death is certain Would have been painted and fitted with bronze accessories

Hermes and the Infant Dionysos (5-52)

Probably a Hellenistic or Roman copy after a Late Classical 4th-Century BCE Original Marble with remnants of paint 7'1" Original would have been sculpted by Praxiteles Highlights of 4th century classical style: smaller head, more sensual and sinuous body, off-balance s-curving pose requires him to lean on a post Different textures

Male sculpture comparison

Purposeful nod to pre Augustun time (read in book about this?)

Middle-Aged Flavian Woman (6-41)

Realism - showing contemporary fashion More advanced age Extreme attention to style of the time (hair style)

Indus Civilization

Relates to the river along which cities rose up Modern northwest Indi and Pakistan aka Harappa Culture 2600 - 1500 BCE Characteristic of culture - major civic architexture Highly advanced in bronze stone and architecture

Spoils from the Temple in Jerusalem (6-37)

Relief in the passageway of the Arch of Titus Marble Rome c. 81 Titus captured Jerusalem ending a revolt by the Jews in Palestine Next the Romans sacked and destroyed the temple in Jerusalem, taking sacred treasures and displaying them in a triumphal procession in Rome (shown on relief) Sense of a boisterous, rowdy crowd passing through the arch (Different from Ara Pacis) Showed spatial relationships by varying depth (similar to procession on Ara Pacis) A menorah dominates the scene

Temple of "Fortuna Virillis" (Temple of Portunus God of Harbors) (6-18)

Remind of Etruscans Single axis stairs Portico Colonnade Different from Etruscans that columns go back "Engaged columns" - stuck to flat surface - not load bearing only meant to continue the line, a decorative feature ca. 75 BCE No sculpture in the pediment Entablature has uninterrupted band called a frieze - Greeks would use for figural representations

Aerial View of the Sanctuary of Apollo, Delphi (5-5)

Renowned as an oracle - a place where the god Apollo would communicate with humans via cryptic messages through a human intermediary Pythia

Caracala (6-59)

Responsbile for installation the bads of caricala

Woman Sacrificing at an altar (6-70) Priestess of Bacchus (?)

Right panel of the Diptych of the Nicomachi and the Symmachi Making an offering Later hold over of the classical style - very late in the Roman empire These families did not convert to Christianity Made of Ivory Imitated Augustan style for these conservative patrons Exquisite drapery and foliage reminiscent of Ara Pacis

Old Woman (5-66)

Roman 1st century CE copy of a Greek work of the 2nd century BCE Idealizing the definition of what it means to be old To be weathered is to have lived a long life 2nd century BCE Marble 49-1/2" Hellenistic Period - away from idealism in attempt to represent world as they saw it Bunched and untidy dress

Cubiculum of Leonis, Catacomb of Commodilla (7-1)

Roman catacomb (underground cemetery) St. Peter shown striking a rock and water flowing out - like Moses Early Christian Late 4th Century Christ painted on the ceiling, flanked by Alpha and Omega - Depicted as Greek philosopher (not like youthful teacher often depicted as) Halo indicates importance and divinity

The Dying Gaul (5-60)

Roman copy (found in Julius Caesar's garden in Rome) after the original bronze of c. 220 Can compare to dying warrior at the Temple of Aphaia Aegina This statue actually looks in pain and like he is dying Greater naturalism of the body and body Slow demise of a wounded Celtic soldier-trumpeter Greeks labeled as Barbarian (a term they used for all foreigners) Features of Celtic: lime-spiked hair, mustach, torc necklace Depicts his dignity and heroism in defeat inspiring pity and admiration (down cast eyes, bent right arm, struggling to stand) Expressionism- deliberate attempt to elicit a specific emotional response, became known as a characteristic of Hellenistic art

Man Scraping Himself (5-54)

Roman copy after the original bronze c. 350-325 BCE Marble Copy of a work by Lysippos Typical classic subject - nude male athlete Depicting after work out methodically removing oil and dirt Legs in wider stance to counterbalance the arms Different canon of proportions than Polykleitos Arms extend out into space

Barrel Vault

Romans would cross barrel vaults to make groin vaults (Romans borrowed this from Etruscans)

Reconstruction Drawing of the Interior of Old St. Peter's, Rome (7-9)

Rome 320-327 Constantine ordered construction of large basilican church to mark the place where Christians believed St. Peter was buried Destroyed and replaced by a new building in the 16th century Knowledge known from written descriptions and drawings made before dismantled Architectural elements arranged in a way that characterized Christian basilican churches ever since An atrium or courtyard in front, a narthex across its width in the entrance end Columns supporting an entablature lined the nave Wooden rafters supported the roofs of the aisles and naves Sarcophagi and tombs lined the aisles Graves dug under the floor Transept - perpendicular hall crossing in front of the apse, provided additional space for the clergy and accommodated pilgrims visiting the tomb of St. Peter Could hold at least 14,000 worshipers Largest church until 11th century

Reconstruction Drawing of the Treasury of the Siphnians (5-7)

Sanctuary of Apollo, Delphi c. 530 -525 BCE Small, elegant, richly decorated Painted in strong colors - mostly dark blue, bright red and white with touches of yellow to look like gold Built by the citizens to house and protect their offerings Caryatids instead of columns on pedestals with elaborate capitals on their heads Capitals support an Ionic order entablature 3-panel architrave Continuous carved frieze

Overall View (A) and Reconstruction Drawing (B) of the Theater, Epidauros (5-59)

Second half of 4th century Use the shape of the landscape to support the seating area Theater for more than entertainment, vehicle for communal expression of religious beliefs through music, poetry and dance Peloponnese, Greece Primary use for ritual Design provided uninterrupted sight lines, good acoustics and efficient entrance and exit of 12,000 spectators No better design has been created

Equestrian statue of Marcus Aurelius (6-57)

Shown on horse as if in middle of battle Romans know for doing equestrian statues In bronze, gilded High Empire 176 CE Horse shown in extreme detail Very realistically done, still ideal because moment to be remembered is chosen

The Charioteer (5-28)

Spectacular and rare life-size bronze Approx. 470 BCE Early Classical Period documents skill of early classical bronze artists Found in the sanctuary of Apollo at Delphi Saved when was buried by an earthquake (most ancient bronzes were melted down and recycled) Celebrating win at the Pythian Games Face highly idealized Lifelike quality to the pose Folds fall naturally Feet incredibly realistic

Great Stupa, Sanchi India (10-8)

Stupa - place of worship, emerged from a tradition of burial mounds, **can't go inside a stupa - ruble core** Sanchi, India Begun in 3rd century BCE (maurya Dynasty) enlarged 150-50 BCE. Gateways added mid-1st century BCE (Early Andhra Period). Has bones of the Buddha in it Site of pilgrimage Venerate Buddha here by circumambulation (walking around) go up steps and go around again Torana - entrance gate oriented to cardinal direction As walking around would see stories of Buddha Mandala - cosmic ma, stupa conceived of as tangible map of cosmic order Domed shaped echoes the dome of the sky Axis Mundi - partially imagined Torana is the only place where see sculpture at the site Won't see the buddha because he didn't want people to worship him/ an image/an icon/ an idol Dharma Chakra - stand in for the Buddha Narratives of the past life - Jataka tales Have yakshi on torana

Verism

Suggests approaching truth Creator is still editing, the ideal is different (might prize something like wrinkles now)

Battle Between the Gods and the Giants (5-8)

Surviving section of the original frieze from the north side of the Siphnian Treasury This is a legendary scene Notable for complex representation of space Figures overlap to give 3d sense Originally painted with bright colors

Buddha not depicted early on so instead ________ would be used

Symbols of his presence (i.e. wheel of law) This loosens and representations of the Buddha emerge

Synagogue at Dura-Europos

Syria Wall-paintings of Old Testament themes not supposed to depict human figure and absolutely not supposed to depict God ever Scenes typical of early Jewish depiction

Dancers and Diners, Tomb of Triclinium

Tarquinia, Italy partiers men and women dining together Reclining on sofas

4 Noble Truths of Buddhism

They are the truth of suffering, the truth of the cause of suffering, the truth of the end of suffering, and the truth of the path that leads to the end of suffering

Plan (A) and Section (B) of the Church of Santa Costanza, Rome (7-14)

Vertical axis through the center up - an example of a central-plan building Symbolic "vault of heaven"

Oratory of Galla Placidia (7-19)

View from the entrance Barrel-vaulted arms house sarcophagi Lunette mosaic of the martyrdom of St. Lawrence Panels of veined marble sheathing below mosaics Bands of floral and geometric designs cover the arches and barrel vaults Apostles shown in orator pose Doves flank a fountain symbolizing eternal life in heaven Lunette features St. Lawrence who was martyred for his faith and for who the building was dedicated Carries cross over should and gestures to fire where he was burned to death Tall cabinet represents the faith he died for

Augustus of Primaporta (6-19)

WILL BE ON EXAM! SUGGESTIONS TO BE RESPECTED: Angel figure suggests want people to worship him Impressive to be in orator pose AND made out of marble Wearing a cuirass with a figural narrative that times him to the lineage of Aphrodite (the gods) Eyes in a deep stare, more like high and late classical Greek - placid austere expression Body is built suggesting he is a warrior and fit for leadership Shown as ideal youth Athens became know as a city to emulate under Pericles, something Augustus wanted to appropriate A form of propaganda Stance quotes classical idea of Contrapposto

Bodhisattva Padmapani (10-17)

Wall painting Contained in Buddhist monument (cave 19 at Ajanta) ca. 475 CE Depicts a spiritual assistant who has learned the way of the Buddha and attained enlightenment but is sticking around to help others this type of person is called a bodhisattva, can slip in and out of nirvana, carry on the teachings of the buddha, shown as princely figures with elaborate headdresses and jewelry, don't have lakshanas because this not the buddha

Ark of the Covenant and Menorahs (7-2)

Wall painting in a Jewish catacomb Villa Torlonia Rome 3rd Century Ark of the Covenant - box that held original 10 commandments Two menorahs flank the long lost ark of the covenant Representation of the menorah keeps jewish memories alive

Apollo Master Sculptor Vulca

Would have appeared on ridge pole with other gods and goddesses interacting with each other From the temple of Minerva, Portonaccio, Veii Painted terra cotta Height 5'10" ( large for the day) for viewers Narrative unfolding on the roof is educational Terra cotta is heavy and a piece this big would be difficult to not explode - he is hollow Probably hand built in components

The Death of Sarpedon (p.119)

by Euphronios (painter) and Euxitheos (potter) c. 515 BCE Red-figure decoration on a calyx crater Ceramic Sleep and death are depicted on either side of the fallen warrior, Sarpedon Twisting figure given three-dimensionality through contour, distribution of folds and overlapping forms Foreshortening Bands of detailing used to highlight the contours of the krater Knowledge of anatomy shown Blood flowing out to heighten drama

Spear Bearer (5-42)

by Polykletios Roman copy of original bronze c. 450-440 BCE Marble Tree trunk and brace strut are Roman additions Polykletios was theorist on the ideals of the human figure created "The Canon" illustrated his theory with the Spear Bearer (original not found, many copies) Male athlete, perfectly balanced

Aphrodite of Melos (AKA Venus de Milo) (5-67)

c. 150-100 BCE Marble 6'8" Supposed to be sexual and giving sense of robing/disrobing Would have had arms in antiquity maybe Vainly crossing body and holding up robes Not fully embodying of Hellenistic style, more of a hybrid taking elements of older classical styles and combining them in new ways Dreamy gaze Proportions of high classical

Head of a Man (Traditionally know as Brutus) (6-12)

c. 300 BCE Bronze eyes - painted ivory Verisimilitude - approaching truth (as opposed to (changing fashion) Commissioned by Roman to be created by Etruscan Would be over life size Cast eyelashes and put into place

Church of Santa Costanza, Rome (7-15)

c. 350 View from ambulatory into rotunda Originally the Mausoleum of Constantina (daughter of Constantine) Built as her tomb just before 350 Consecrated as a church in 1256 Building is a tall rotunda with an encircling barrel-vaulted passageway called an ambulatory

Reconstruction Drawing of the Agora (marketplace), Athens (5-47)

c. 400 BCE Commercial, civil and social life revolved around the agora At the foot of the Akropolis Panathenaic Way - ceremonial road Stone drainage system City mint, military headquarters, two buildings devoted to court business

Capitoline She-Wolf

c. 500 BCE or c. 800 CE? (Boys underneath, 15th century CE.) Bronze Important story in founding of Rome There are questions around authenticity and dating New research says that this was not made in the style of 500 BCE but rather 800 CE

Temple of Aphaia, Aegina (5-10)

c. 500 or 475 BCE Column height about 17' Sleeker Doric temple Part of sanctuary dedicated to local goddess named Aphaia Sited on a hill overlooking the sea

Herakles Driving a Bull to Sacrifice (5-24)

c. 525 - 520 BCE Black-figure decoration on amphora Ceramic Sharp precision Flattened decorative richness

Herakles Driving a Bull to Sacrifice (5-25)

c. 525 - 520 BCE Red-figure decoration on an amphora Ceramic Increased fluidity Greater sense of 3d

Ajax and Achilles Playing a Game (5-1)

c. 540-530 BCE Black figure painting on ceramic amphora Done by Exekias (potter and painter, Athenian artist) More than just a storage jar - Presents a narrative from the Trojan war Masterful composition Careful contours give 3d appearance to human form Greeks had strict ideals regarding beauty and mathematical concepts of design

Aulus Metellus (The Orator) (6-15)

c. 80 Bronze Life-size bronze Aulus Metellus was a Roman official Depicts a man addressing a gathering Know from early on as "The Orator" Pose considered persuasive Wears laced leather boots and folded drapped toga - the outfit of a Roman senator

Lion capital of column erected by Ashoka at Sarnath, India (10-6)

ca. 250 BCE Polished sandstone Wheel motif relates to dharma chakra (pg. 301 of text - insert that summarizes Buddhism)

Column of Trajan (6-47)

continuous narrative going up the registers the spiral pattern is a new variation on registers (not exactly registers which are strictly horizontal) narrative gets bigger as it gets taller up story: Romans Crossing the Danube and Building a Fort Narrates the conquest of the Dacian, commemorates the victory of Trajan over the Dacian

Upanishadic Period

developed in Ganges River Valley Upanishads written ca. 800-500 BCE Core beliefs related to Samsara (endless cycle of rebirths) Karma (past actions affecting rebirth) Moksha/nirvana (liberation/cessatior)

Seal Impressions (10-2)

horned animal, buffalo, sacrificial rite to a goddess, yogi, three-headed animal 2500-1500 BCE Design pressed into the seal Feature animals and humans and sometimes a hybrid of the two Usually made of carved stone, sometimes made of stone

To study

look carefully at the pictures in the book - try to absorb so the observation has already occurred look over notes from class comparison essay will not be about architecture Look at study guide on canvas

Portrait of a Tetrarch (Galerius?) (6-61)

made of puple marble (porphyry) relatively rare, reserved for portraits of royalty Late antique style (still Roman)

View of outside arcade, Markets of Trajan

main thing: made of concrete groin vaults faced with brick

Southern style

plinth, mandapas, tower called a vimana like a stepped pyramid Ex. Rajarajeshvara Temple

Spolia

reuse of building materials i.e. arch of constantine

Study

sculptures on temple wall at Vishvanatha temple, capped with capstone