art history exam #2 CHAPTER 7
Figure 7-32 Maison Carrée
Date: 1-10 CE Stylistic period: early empire location: Nîmes, France medium: marble significance: This well-preserved Corinthian pseudoperipteral temple in France, modeled on the temple in the Forum of Augustus in Rome, exemplifies the Augustan classical architectural style, stonemasons constructed it,
Figure 7-21 Detail of a Third Style wall painting
Date: 10 BCE Stylistic period: early empire location: Boscotrecase, Italy medium: fresco significance: from cubiculum 15 of the Villa of Agrippa Postumus, Roman painters decorated walls with delicate linear fantasies sketched on monochromatic backgrounds. Here, a tiny floating landscape on a black ground is the central motif.
7-46 Apollodorus of Damascus, Markets of Trajan (looking northeast
Date: 100-112 CE Stylistic period: high empire location: Rome, Italy medium: concrete significance: Apollodorus of Damascus used brick-faced concrete to transform the Quirinal Hill overlooking Trajan's forum into a vast multilevel complex of barrel-vaulted shops and administrative offices.
Figure 7-47 APOLLODORUS OF DAMASCUS, interior of the great hal
Date: 100-112 CE Stylistic period: high empire location: Rome, Italy medium: concrete significance: The great hall of Trajan's markets resembles a modern shopping mall. It housed two floors of shops, with the upper ones set back and lit by skylights. Concrete groin vaults cover the central space.
Figure 7-4 Temple of Vesta
Date: 100-80 BC Stylistic Period: Early empire Medium: travertine (high quality limestone) Location: Tivoli, Italy Significance: shrines of Vesta, Corinthian columns and a frieze carved with garlands held up by ox heads, high podium
Figure 7-45 Column of Trajan
Date: 112 CE Stylistic period: high empire location: Rome, Italy medium: marble significance: Forum of Trajan, stonemasons had to fashion enormous marble column drums, hollowed out to accommodate an internal spiral staircase running the entire length of the column shaft.
Figure 7-44 APOLLODORUS OF DAMASCUS
Date: 112 CE architect: Apollodorus of Damascus Stylistic period: high empire location: Rome, Italy medium: marble significance: Forum of Trajan, 1) Temple of Trajan, 2) Column of Trajan, 3) libraries, 4) Basilica Ulpia, 5) forum, 6) equestrian statue of Trajan., Funded by the spoils from two Dacian wars, Rome's largest forum featured a basilica with clerestory lighting, two libraries, a commemorative column
Figure 7-44B Arch of Trajan
Date: 114-118 CE Stylistic period: high empire location: Benevento, Italy medium: marble significance: Entry to Trajan's forum was through an impressive gateway resembling a triumphal arch.
Figure 7-50 Restored cutaway view (left) and lateral section (right) of the Pantheon
Date: 118-125 CE Stylistic period: high empire location: Rome Italy medium: concrete and stone significance: Hadrian's "temple of all gods" was from a columnar courtyard. Like a temple in a Roman forum (fig. 7-12), the Pantheon stood at one narrow end of the enclosure, geometric simplicity, dome with diameter and height from floor are equal
Figure 7-49 Pantheon
Date: 118-125 CE Stylistic period: high empire location: Rome, Italy medium: Trajanic bricks and concrete significance: The Pantheon's traditional facade masked its revolutionary cylindrical drum and its huge hemispherical dome. The interior symbolized both the orb of the earth and the vault of the heavens., the temple of all the gods, soon after Hadrian became emperor, wide doorways with windows above
Figure 7-51 Interior of the Pantheon
Date: 118-125 CE Stylistic period: high empire location: Rome, Italy medium: concrete significance: The coffered dome of the Pantheon is 142 feet in diameter and 142 feet high. Light entering through its oculus forms a circular beam that moves across the dome as the sun moves across the sky., handsome pattern of squares within the vast circle
Figure 7-29 Ara Pacis Augustae
Date: 13-9 BCE Stylistic period: early empire location: Rome, Italy medium: marble significance: Augustus sought to present his new order as a Golden Age equaling that of Athens under Pericles. The Ara Pacis celebrates the emperor's most important achievement, the establishment of peace. 4 panels and relief of Aeneas making a sacrifice
Figure 7-30 Female personification (Tellus?)
Date: 13-9 BCE Stylistic period: early empire location: Rome, Italy medium: marble significance: panel from the east facade of the Ara Pacis Augustae, This female personification with two babies on her lap embodies the fruits of the Pax Augusta. All around her, the bountiful earth is in bloom, and animals of different species live together peacefully. , the bountiful earth is in bloom, and animals of different species live peacefully together.
Figure 7-31 Procession of the imperial family
Date: 13-9 BCE Stylistic period: early empire location: Rome, Italy medium: marble significance: detail of the south frieze of the Ara Pacis Augustae, the Ara Pacis processions depict recognizable individuals, including children, some of whom are the sons of foreign kings.
7-47A Lion hunt and sacrifice to Diana, tondi from a lost monument
Date: 130-138 CE Stylistic period: high empire location: Rome, Italy medium: marble significance: reused on the Arch of Constantine, Hadrianic hunting tondi
Figure 7-6 Roman concrete construction
Date: 139-337 CE Artist: John Burge Stylistic Period: late second century Medium: concrete barrel vaults Location: Palestrina, Italy Significance: (a) barrel vault, (b) groin vault, (c) fenestrated sequence of groin vaults, (d) hemispherical dome with oculus
Figure 7-33 Pont-du-Gard
Date: 16 BCE Stylistic period: early empire location: Nîmes, France medium: blocks significance: Roman engineers constructed roads and bridges throughout the Empire. This aqueductbridge brought water from a distant mountain spring to Nîmes, carry water from mountain sources to their city on the Tiber River
Figure 7-58 Equestrian statue of Marcus Aurelius
Date: 175 CE Stylistic period: high empire location: Rome, Italy medium: bronze significance: In this equestrian portrait of Marcus Aurelius as omnipotent conqueror, the emperor stretches out his arm in a gesture of clemency. An enemy once cowered beneath the horse's raised foreleg.
Figure 7-27 Portrait of Augustus as general
Date: 20 BCE Stylistic period: early empire location: Primaporta, Italy medium: marble significance: early-first-century CE copy of a bronze original, The models for Augustus's idealized portraits, which depict him as a never-aging youth, presents the armor-clad emperor in his role as general. the sharp ridges of the brows, and the tight cap of layered hair. carry political messages
Figure 7-65 Plan of the Baths of Caracalla
Date: 212-216 CE Stylistic period: late empire location: Rome, Italy medium: concrete significance: 1) natatio, 2) frigidarium, 3) tepidarium, 4) caldarium, 5) palaestra., Caracalla's baths could accommodate 1,600 bathers. They resembled a modern health spa and included libraries, lecture halls, and exercise courts in addition to bathing rooms and a swimming pool.
Figure 7-69 Battle of Romans and barbarians
Date: 250-260 CE Stylistic period: late empire location: Rome, Italy medium: marble significance: (Ludovisi Battle Sarcophagus), A chaotic scene of battle between Romans and barbarians decorates the front of this sarcophagus. The sculptor piled up the writhing, emotive figures in an emphatic rejection of Classical perspective., spread the writhing and highly emotive figures evenly across the entire relief
Figure 7-17 First Style wall painting in the fauces of the Samnite House
Date: 27-96 CE Stylistic Period: late second century & early empire Medium: marble panels using painted stucco relief Location: Herculaneum, Italy Significance: walls faced with marbles imported from quarries, look and shape of genuine wood paneling
7-66 Frigidarium, Baths of Diocletian
Date: 298-306 CE Stylistic period: late empire location: Rome, Italy medium: concrete and marble significance: The groin-vaulted nave of the church of Santa Maria degli Angeli in Rome was once the frigidarium of the Baths of Diocletian. It gives an idea of the lavish adornment of imperial Roman baths., stucco-covered vaults, marble-faced walls, marble statuary, and mosaic floors
Figure 7-73 Restored view of the palace of Diocletian
Date: 298-306 CE Stylistic period: late empire location: Split, Croatia medium: concrete significance: Diocletian's palace resembled a fortified Roman city (compare fig. 7-43). Within its high walls, two avenues intersected at the forumlike colonnaded courtyard leading to the emperor's residential quarters, layout of a Roman castrum, complete with watchtowers flanking the gates
Figure 7-54 Model of an insula
Date: 2nd centurey CE Stylistic period: high empire location: Ostia, Italy medium: brick plasters significance: Rome and Ostia were densely populated cities, and most Romans lived in multistory brick-faced concrete insulae (apartment houses) with shops on the ground floor. Private toilet facilities were rare
Figure 7-20 Gardenscape
Date: 30-20 BCE Stylistic Period: early empire Medium: Fresco Location: Primaporta, Italy Significance: Second Style wall painting, from the Villa of Livia, atmospheric perspective, intentionally blurring the distant forms
Figure 7-72 Portraits of the four tetrarchs
Date: 305 CE Stylistic period: late empire location: Constantinople medium: Porphyry significance: Diocletian established the tetrarchy to bring order to the Roman world. In group portraits, artists always depicted the four corulers as nearly identical partners in power, not as distinct individuals, lost his identity as an individual and been absorbed into the larger entity of the tetrarchy, Each grasps a sheathed sword in his left hand. With their right arms, the corulers embrace one another in an overt display of concord
Figure 7-74 Restored cutaway view of the Basilica Nova
Date: 306-312 CE Stylistic period: late empire location: Rome, Italy medium: brick faced concrete & marble slabs significance: Roman builders applied the lessons learned constructing baths and market halls to the Basilica Nova, in which fenestrated concrete groin vaults replaced the clerestory of a stone-and-timber basilica.
Figure 7-81 Coins with portraits of Constantine
Date: 307-315 CE Stylistic period: late empire location: Rome medium: silver significance: Nummus (left), Medallion (right), These two coins underscore that portraits of Roman emperors were rarely true likenesses. On the earlier coin, Constantine appears as a bearded tetrarch. On the later coin, he appears eternally youthful.
Figure 7-76 Distribution of largess, detail of the north frieze of the Arch of Constantine
Date: 312-315 CE Stylistic period: late empire location: Rome, Italy medium: marble significance: This Constantinian frieze is less a narrative of action than a picture of actors frozen in time. The composition's rigid formality reflects the new values that would come to dominate medieval art., figures are squat in proportion, as are the tetrarchs, The relief is very shallow, the forms are not fully modeled, and the details are incised
7-75 Arch of Constantine (looking southwest
Date: 312-315 CE Stylistic period: late empire location: Rome, Italy medium: marble significance: largest erected in Rome, Much of the sculptural decoration of Constantine's arch came from monuments of Trajan, Hadrian, and Marcus Aurelius. Sculptors recut the heads of the earlier emperors to substitute Constantine's features.
Figure 7-77 Portrait of Constantine
Date: 315-330 CE Stylistic period: late empire location: Rome, Italy medium: mabrle significance: Constantine's portraits revive the Augustan image of a perpetually youthful ruler. This colossal head is one fragment of an enthroned Jupiter-like statue of the emperor holding the orb of world power., Constantine's personality is lost in this immense image of eternal authority., the eyes directed at no person or thing of this world—all combine to produce a formula of overwhelming power appropriate to Constantine's exalted position as absolute ruler.
Figure 7-8 Head of an old man
Date: 50-30BCE Stylistic Period: mid-first century Medium: marble Location: Osimo, Rome. Significance: life-size, superrealistic, every detail of priests face, distinctive features, in the tradition of the treasured household imagines
Figure 7-18 Dionysiac mystery frieze
Date: 60-50 BCE Stylistic Period: early empire Medium: Fresco Location: Pompeii, Italy Significance: Second Style wall paintings in Room 5 of the Villa of the Mysteries, Second Style painters created the illusion of an imaginary three dimensional world on the walls of Roman houses. The figures in this room are acting out the initiation rites of the Dionysian mysteries.
Figure 7-16 Atrium of the House of the Vettii
Date: 62-79 CE Stylistic Period: second century & early empire Medium: stone Location: Pompeii, Italy Significance: garden framed by a peristyle, entering the faucets of the house, a visitor had a view through the atrium directly into the colonnaded garden, fountain or pool, marble statuary, mural paintings, and mosaic floors
Figure 7-26 Still life with peaches
Date: 62-79 CE Stylistic period: early empire location: Herculaneum, Italy medium: detail of a Fourth Style wall painting - Fresco significance: The Roman interest in illusionism explains the popularity of still-life paintings. This painter paid scrupulous attention to the play of light and shadow on different shapes and textures.
Figure 7-23 Neptune and Amphitrite
Date: 62-79 ce Stylistic period: early empire location: Herculaneum, Italy medium: wall Mosaics significance: , mosaics usually decorated floors, but this example adorns a wall. The sea deities Neptune and Amphitrite fittingly overlook cascading water in an elaborate private fountain. The statuesque figures of the sea god and his wife appropriately presided over the flowing water of the fountain in the courtyard in front of them, where the house's owners and guests enjoyed outdoor dining in warm weather
Figure 7-22 Fourth Style wall paintings in Ixion Room (triclinium P) House of the Vettii
Date: 70-79 CE Stylistic period: early empire location: Pompeii, Italy medium: marble significance: reintroduction of architectural vistas seen through the painted walls, irrational fantasies, costly multicolored imported marbles, despite the fact that the painter created the illusion without recourse to relief, as in the First Style
7-37 Detail of the façade of the Colosseum
Date: 70-80 CE Stylistic period: early empire location: Rome, Italy medium: concrete significance: For the facade of the Colosseum, an unknown architect mixed Roman arches and Greek columns, complex system of barrel-vaulted corridors held up the enormous oval seating area, gateways provided efficient entrance and exit paths leading to and from the cavea
Figure 7-36 Aerial view of the Colosseum
Date: 70-80 CE Stylistic period: early empire location: Rome, Italy medium: concrete significance: concrete barrel vaults once held up the seats in the world's largest amphitheater, where 50,000 spectators could watch gladiatorial combats and wild animal hunts.
7-3 Temple of Portunus (Temple of "Fortuna Virilis")
Date: 75 BCE Stylistic Period: Early Empire Medium: stone (local tufa and travertine Location: Rome, Italy Significance: Borrowed from Greek(pillars ionic) and Etruscans(one emphatic front). is a Roman temple in Rome, one of the best preserved of all Roman temples.
Figure 7-39 Portrait bust of a Flavian woman
Date: 90 CE Stylistic period: early empire location: Rome, Italy medium: marble significance: The Flavian sculptor reproduced the elaborate coiffure of this elegant woman by drilling deep holes for the corkscrew curls, and carved the rest of the hair and the face with hammer and chisel, present the sitter as beautiful
Figure 7-40 Arch of Titus
Date: after 81 CE Stylistic period: early empire location: Rome, Italy medium: marble significance: Domitian built this arch on the road leading into the Roman Forum to honor his brother, the emperor Titus, who became a god after his death. Victories fill the spandrels of the arcuated passageway, triumphal arch, combination of Ionic volutes and Corinthian acanthus leaves
Figure 7-42 Triumph of Titus
Date: after 81 CE Stylistic period: early empire location: Rome, Italy medium: marble significance: relief panel from the Arch of Titus, Victory crowns Titus in his triumphal chariot. Also present are Honor and Valor in this first known instance of the intermingling of human and divine figures in a Roman historical relief.
Figure 7-41 Spoils of Jerusalem
Date: after 81 CE Stylistic period: early empire location: Rome, Italy medium: marble significance: relief panel from the Arch of Titus, inside the bay of the Arch of Titus commemorate the emperor's conquest of Judaea. Here, Roman soldiers carry in triumph the spoils taken from the Jewish temple in Jerusalem
Figure 7-15 Restored view and plan of a typical Roman house
Date: around 30-20 BCE artist: John Burge Stylistic Period: Late Republic and Early Empire Medium: stone Location: Roman house Significance: (1) fauces, (2) atrium, (3) impluvium, (4) cubiculum, (5) ala, (6) tablinum, (7) triclinium, (8) peristyle.
