THE ROMAN EMPIRE GARDNER CHAPTER 10-7 PP. 280-286

DIOCLETIAN AND THE TETRARCHY Emperor Diocletian (r. 283-305) -> in 293 he decides to share power w/ his rivals -> established the TETRARCHY rule by four Divides the empire into eastern and western spheres -> results in the Latin West and Byzantine East in the Middle Ages

TETRARCHIC PORTRAITURE Idealism, naturalism, individuality, and personality are now in the past Portrait of the four tetrarchs, from Constantinople, 305 CE Diocletian established the tetrarchy to bring order to the Roman world Made of porphyry/purple marble -> four emperors depicted as identical partners in power, not as distinct individuals Large cubical heads on squat bodies -> drapery is schematic, bodies are shapeless, faces are emotionless masks

PALACE OF DIOCLETIAN Diocletian abdicates in 305 CE -> retires to Dalmatia -> builds a palace Split on the Croatian coast Well-fortified suburban palace -> fortress walls, watch towers and gates Two avenues intersect at the forum-like colonnaded courtyard leading to the emperor’s residential quarters

CONSTANTINE Portrait of Constantine, from the Basilica Nova, Rome, Italy, ca. 315- 330, 8’6” high -> whole statue must have been over 30’ seated Part of an enormous figure that sat as the focal point of the Basilica Nova in Rome Parts of the body that show were done in marble -> lost now are the wooden elements that represented the torso, perhaps covered in bronze Colossal size and seated pose likens him to Jupiter Idealized portrait, timelessness -> image of eternal authority

FLASHCARD Arch of Constantine, Rome, Italy, 312-315 CE Great triple passageway arch sited next to the Colosseum Much of the sculptural decoration comes from monuments of Trajan, Hadrian, and Marcus Aurelius Sculptors recut the heads of the earlier emperors with Constantine’s features Reuse of sculptures = decline in creativity and technical skill in the waning years of the pagan Roman Empire (2-additional) ARCH OF CONSTANTINE Late Roman Empire Rome, Italy 312-315 C.E.

CONSTANTINIAN FRIEZE A decline in form? Distribution of largesse, detail of the north frieze of the Arch of Constantine, Rome Constantine is frontal and majestic on a throne as grateful recipients approach from left and right Figures do not move according to any Classical principles of naturalistic movements -> mechanical and repeated stances and gestures of puppets Not narrative action, but actors frozen in time -> rigid formality reflects new values A decline in form?

COLOSSUS OF CONSTATINE

Constantine becomes emperor in 312 CE Edict of Milan -> ends persecution of Christians Constantinople -> city of Constantine founded at Byzantium Council of Nicea 325 CE -> Christianity becomes the de facto official religion of the Roman Empire Paganism declines rapidly Transfer of power from Rome to Constantinople and the recognition of Christianity mark the end of antiquity and beginning of the Middle Ages

Restored cutaway view of the Basilica Nova, Rome. Italy, ca Restored cutaway view of the Basilica Nova, Rome. Italy, ca. 306- 312 CE From the apse the seated colossus of Constantine dominated the interior of the basilica Coffered barrel vaults in the aisles Groin vaults over the nave Fenestration of the concrete groin vaults provided lighting BASILICA NOVA, ROME

AULA PALATINA, TRIER Aula Palatina, Trier, Germany, early 4th century CE Basilica like audience hall Austere brick exterior is typical of later Roman architecture Two stories of lead framed panes of glass take up most of the surface area

AULA PALATINA – INTERIOR Flat, wooden, coffered ceiling Interior has no aisles Semicircular apse at one end Interior is quite severe -> has close parallels in many early Christian churches AULA PALATINA – INTERIOR