Roman Flashcards
Republican, Portrait Head of an Elder, c. 80 BCE
Romans believed head alone constitutes portrait, unlike Greeks who preferred full-length figures
Romans value age- veristic portraits- records advances age and sometimes exaggerates effects of aging
Age- represents seriousness, experience, loyalty to Republic (virtues admired)
Republican, Temple of Portunus, ca. 75 BCE
Rome, Italy- “Temple of Fortuna Virilis”- dedicated to Portunus- Roman god of harbors
tufa & travertine, originally faced w/ stucco to imitate more expensive marble (revetment)
Eclectic, uniquely Roman style: Etruscan- one approach, one set of steps, one set of free standing columns+ Greek- one cella for one statue
pseudoperipteral= only free-standing columns are in front; ionic
Republican, Dionysiac Mystery Frieze, ca. 60-50 BCE (Pompeii, Italy) Second Style: 80-15 BCE- wall paintings/fresco in Villa of the Mysteries
interest in illusionism, 3-D world, monumental figures move along shallow, stage-like space, project beyond wall- interest in ideal picture window
Initiation chamber for females entering cult of Dionysos- ritualistic marriage like Ariadne (daughter of King Minos) to Dionysos
maenads- female worshippers of Dionysos, actions connected across walls, backdrop panels imitate marble
subject= Greek, design=Roman
Early Empire, Portrait of Augustus as General, ca. 20 BCE (Primaporta, Italy)- copy of bronze original, would have been polychromed, bright color- “read” from afar
grandnephew of Ceasar-Octavian-renamed Augustus
Roman eclecticism- Greek+Etruscan: Doryphoros model for idealism and contrapposto + adlocutio pose- address crowd- Etruscan precedent; also late Greek- pathos, interacts with spectator, engages us
leader not defined by age (like Greeks)- but lineage of gods- tiny cupid- divine descent- sons of Venus
cuirass- victory of Parthians- return standard to Roman soldier (Roma); celestial deity holds canopy of peace, earth holds cornucopia (prosperity that peace brings)
Early Empire, Ara Pacis Augustae, 13-9 BCE- Altar of Augustan Peace, Augustus is Princeps (1st citizen) and pontifex maximus (chief priest of state religion); originally in Campus Martinus (Field of Mars)- open to sky
massive propaganda tool- political/social agenda
sundial w/Egyptian obelisk- aligns w/doorway on Augustus’s birthday- r/o victory over Egyptians, association with sun god Apollo
on monument, relief friezes- records lineage, inaugural ceremony, fruits of Pax Augusta- all elements in balance, earth in bloom
children seen for 1st time on monument- procession of imperial family- social policy to increase noble birth
Early Empire, Colosseum (Flavian Amphitheater), ca. 70-80 BCE
Vespasian takes land from Nero’s Domus Aureus, builds colosseum for the populace (nickname from Colossus of Nero next to site)
dedicated by son Titus in 80 CE, 160’ high, 50,000 people, (>2x Pompeii), south side fell in 847 earthquake
seating by social hierarchy
1) sea battles, 2) animal hunts, 3) executions, 4) mythological/military reenactments, 5) gladiatorial combat
original- white marble revetment, covered with cloth awning (velarium), scuplture-lined
engaged columns flanked by arcuated openings- decorative- Doric on bottom-Ionic-Corinthian
Early Empire, Arch of Titus, after 81 CE (Rome, Italy)
Triumphal arch=commemorate accomplishments; Domitian commissioned for brother Titus- celebrate capture of Jerusalem in 70 AD
50’ high, concrete faced with marble, original with quadriga on top, engaged columns frame arcuated (arched) opening like Colosseum
Roman- Composite order=Ionic volutes+Corinthian acanthus leaves
Spandrels- high relief= exuberant; Spoils of Jerusalem with menorah; Triumph of Titus with allegories of Victory and Valor- 1st time mortal in narrative relief on public monument- not heresy b/c Titus is dead
High Empire, Column of Trajan, dedicated 112 CE
Trajan establishes tradition of adopting successor, 1st non-Italian ruler (born in Spain), far-reaching social, governmental, military reforms, “Optimus” by senate
128’ tall, originally topped with heroic nude, replaced by St. Peter in 16th c.
base is tomb decorated with Dacian arms/armor- ethnographic tradition- so we know who they defeated
column w/bands like scrolls, military campaigns- bands increase in size, also higher up, greater the relief
like Palette of Narmer (Egypt)- historical fiction- “stock” images
High Empire, Pantheon, 118-125 CE
commissioned by Hadrian, re-built after 80 CE fire
dedicated to 7 deities of 7 planets, interior w/ niches for gods(now saints)-shape of structure=sphere=planet
octostyle- 8 front columns, entablature, pediment like Parthenon but with Roman pseudoperipteral front
Dome supported by thick walls, basalt at base, pumice on top-oculus allows light and relieves weight- envied by architects in civilizations to follow
Unified interior, uninterrupted by supports- orb of the earth- dome is vault of the heavens
High Empire, Equestrian Statue of Marcus Aurelius, ca. 175 CE
one of the most famous equestrian statues, frequently referenced by leaders in Middle Ages/Renaissance
bronze, hollow cast, survived being melted down because mistaken for Constantine
larger than life-size bronze, too large for horse- horse=populus
greeting & offering clemency to cowering enemy
strain of warfare in face- weary, saddened, worried
beginning of end of Classical art- no more self-assured, confident leader
Late Empire, Arch of Constantine, 312-315 CE- the “Great”- “Caesar of the West”- invades Italy- attributes victory to God- makes Christianity state religion
1st monument- Roman ruler defeating another- inscription calls Maxentius “the tyrant,” thanks unnamed deity- many in Rome still polytheistic
every block reused from other famous “good” emperor sites- e.g. Marcus Aurelius, Hadrian, Trajan (spolia)
Trajan- free-standing figures of Dacian prisoners (Romanian barbarians)
panels in between Dacian- MA- high relief panels, receiving prisoners, MA sacrificing, making an address, arrival into Rome- classical style, complex poses, high naturalism, 3-D drapery
Roundels- Hadrian- hunting, making sacrifices to Apollo, Diana, etc.
Constantine- N. frieze- “Distribution of Largesse”- late Antique style- iconic, anti-naturalistic, symmetrical, hierarchy of scale, idea paramount, crowd not individuals= clarity and legibility
New set of values- rigid formality, iconic presentation, supplants Classical picture window, paves way for Middle Ages iconic art
Late Empire, Portrait of Constantine, ca. 315-330 CE
monumental- originally shown enthroned/holding orb (global power), modelled after Jupiter
brick core, wooden torso, covered with bronze, head and limbs of marble- like Athena statue in Parthenon
in face- nervousness of soldier-emperors gone, frontal mask of tetrarchic portraiture- enormous eyes, broad/simple planes of head
communicates permanence of imperial presence
