480 BC Exam question: In 480 BC, the Greeks fought a major battle with the Persians. We consider this date to be the beginning of the _________ era. Hellenistic b. Archaic Good Times d. Classical e. Imperial (don’t bother to copy down wrong answers!)

SUMMARY Roman art was about POWER, PLEASURE & PRACTICALITY ARCHitecture ART: media: mosaic, fresco SCULPTURE: Realism MUSIC: not much to say

ANCIENT ROME The Spirit of Empire

map better map p. 72

Romulus & Remus capitoline wolf In the fourth century B.C., Romulus & Remus are born. Sons (by Mars) of the virgin daughter of a human king. Unwed mother. Twins left in a river, raised by a wolf and a woodpecker. After growing up, they return to kill the king, the brother of their mother, and restore their grandfather to the throne. They found the city of Rome on the site of where they were left in the river. Divisions and conflicts arise between the two brothers, and Romulus kills Remus.

Etruscan Apollo from Veii p. 71 500 b.c Life size Baked clay (terracotta) Archaic Greek influence (smile, stance) The philosopher Seneca, in the first century A.D., may have had an explanation for the Etruscans' inability to take charge of themselves and change. "This is the difference between us Romans and the Etruscans," Seneca wrote. "We believe that lightning is caused by clouds colliding, whereas they believe that clouds collide in order to create lightning. Since they attribute everything to gods, they are led to believe not that events have a meaning because they have happened, but that they happen in order to express a meaning." p. 71

3 Roman Periods Roman Republic 509 - 27 BC Early empire 27 BC - 180 AD PAX ROMANA ends with the reign of Marcus Aurelius Late empire 180 - 395 AD about 900 years

But first some connections and comparisons . . . Ancient Greek Hellenistic Age ends in 145 BC – why? ROMAN CONQUEST

Other cultures Ancient Egypt 3150 – 702 BC about 2500 years China Shang Dynasty starts 1523 BC; more-or-less continuous Chinese culture since then, about 3500 years Qin Dynasty consolidates China, 221-206 BC, about 16 years Han Dynasty 206 BC – 220 CE classical phase of Chinese civilization, about 400 years ROME – 900 years

3 timelines Roman Republic Early & Late Imperial Rome Classical Greek Hellenistic Archaic Greek HAN DYNASTY - CHINA Chin Zhou Qin 3 Kingdoms

Classical – some definitions [culturally inclusive] Definitive (defining) and enduring [narrow sense] art & architecture of Greek & Roman antiquity [another general sense] ‘art which aspires to emotional and physical equilibrium, rationally rather than intuitively constructed’

Roman contributions Literature Continuation of Greek models in art & philosophy Architecture

Post & Lintel construction GREEK LINTEL P O S T P O S T PARTHENON

Post & Lintel drawbacks thick P O S T thick narrow

Something new under the sun . . .

Roman ARCHitecture

Arches – strength through compression

Pont du Gard (in France) Inventions reached their limit a long time ago, and I see no hope for further development. Julius Frontius, 1st century AD

Archways for Aquaducts

Pantheon p. 82-83

Pantheon

Pantheon plan

Interior views Engineering marvel Concrete!

Interior more spectacular than exterior

Missing pedimental sculpture (would have been like Parthenon) Pantheon comments later used as church Tuscan order of columns (with Corinthian capitals)

POWER (POLITICS) & PLEASURE Coliseum Brings together the violence and the achievements of Roman society Home of gladiatorial contests…man vs.man, man vs. animal, animal vs. animal Seating designed for comfort with an expandable covering over the top Plumbing which could wash away the blood or create an ‘inland sea’ on which to have mock sea battles POWER (POLITICS) & PLEASURE

plan

Art as propaganda Taxi! Hail, Caesar Augustus! a.k.a. Octavian Ruled 27 BC – 14 AD PAX ROMANA MEMORIZE DATE: 0 Hailing Caesar p. 74

Altar of Augustan Peace Ara Pacis Augustae p. 75 Altar of Augustan Peace

2:1 length:height

A family affair p. 76

Column of Trajan

SCALE! p. 77

art as propaganda

Roman Realism Life as it is – fidelity to nature Portrait Sculpture Roman Realism Life as it is – fidelity to nature

Livia Augustus’ Wife Livia

Middle Aged Flavian woman Young Flavian woman

Statue of an old market woman, 1st century A.D.; Roman On the way to a rite of Dionysus? Probably intentionally damaged by Early Christians The woman wears a thin elegant dress, thong sandals, and a crown of Dionysiac ivy leaves. She may be dressed for a festival and the birds and basket of fruit she carries might be offerings. Her garment has slipped off her shoulder, a detail often seen in representations of old women that hints at the liberation of the elderly from the restrictions imposed on women of childbearing years. As in many such figures, direct observation of reality lends force to deeper religious implications. The piece may be a copy of an older, Hellenistic model or a creation of the Roman period in a tradition that was still alive. It seems to have been deliberately damaged, probably in the late antiquity, when such a pagan image would have provoked hostility. Statue of an old market woman, 1st century A.D.; Julio-Claudian Roman Pentelic marble; H. 49 5/8 in.

Emperor Caracalla

Philippus the Arab, ruled 244-249

2-D work Mosaics Wall painting - fresco MEDIA

Mosaics From Greek Hellenistic period Tessare - colored glass Ceramic pieces Narrow color range Technology and artistry improves to create what look like paintings

Trompe l’oiel “fool the eye” Unswept Floor Roman copy of Hellenistic original. p. 86

Roman Painting Fresco (buon affresco, true frecso, compared to fresco secco, dry fresco) Pigment mixed with limewater and added to wet plaster Wax added to surface after paint had dried to give a sheen to surface.

Villa of the Mysteries at Pompeii 65-50 b.c.

Pompeii Buried by volcanic eruption of Vesuvius 79 AD Prosperous community of 25,000

p. 87 depicts initiation Rites of the Cult of Bacchus from the Villa of Mysteries Pompeii p. 87

Characteristic red background NOT actually religious—just decorative Summer house of wine merchant, richest in town Content not currently fully explained Characteristic red background p. 87

From Pompeii, c. 62- 79 CE.   Sacral-idyllic (sacred and ideal) landscapes depict allegorical scenes in Nature. "Sacral - Idyllic Landscape"  From Pompeii, c. 62- 79 CE.   Sacral-idyllic (sacred and ideal) landscapes depict allegorical scenes in Nature. _images such as these are found in upper class and imperial homes and villas. They typically include sacred structures which you can see four of in this painting.  The central figure is the god Terminus who is associated with borders and definition. The goats make reference to Dionysus and the temple is a temple of Diana.  Landscapes such as these are rich in allegory. They not only reaffirm the Roman love of nature and country life but they also may serve to reaffirm the Augustan program of peace, abundance and upper class fecundity.  The Roman love for nature and the pastoral life is also reflected in the development of the villa or a house dedicated to suburban or country living.  In Second Style paintings the image serves as an opening, or view, into another landscape or scene, sometimes separated and/or framed by columns. Subjects may be buildings, still lifes, landscapes or figures in an architectural or landscape setting.

"Gardenscape" Villa of Livia, Primaporta (Rome), c. 30 - 20 B.C.E. "Gardenscape"  Villa of Livia, Primaporta (Rome), c. 30 - 20 B.C.E. Here in the house of Livia, Augustus' wife, the painter has done away with any framing devices, the wall opens out completely into the orchard scene. The skillful painter includes another device for suggesting three-dimensional depth, atmospheric perspective. We see this in the less detailed, more generalized forms of the further trees in the picture "Gardenscape"  Villa of Livia, Primaporta (Rome), c. 30 - 20 B.C.E.

small town near Pompeii Still Life from Herculaneum 50 a.d. small town near Pompeii Still life – a genre of painting featuring inanimate objects (usually (?) associated with material well-being)

SUMMARY Roman art was about POWER, PLEASURE & PRACTICALITY ARCHitecture ART (2-D) – media: mosaic, fresco SCULPTURE: Realism MUSIC: not much to say

KEY IMAGE WHAT: WHERE: IDEA: PANTHEON ROME INNOVATIONS -- ARCH, concrete

Taxi! KEY IMAGE WHAT (SUBJECT): CULTURE: IDEA: WHEN: CAESAR AUGUSTUS ROMAN ART AS PROPAGANDA around 0 p. 74

KEY IMAGE CULTURE: IDEA: HELLENISTIC/ROMAN MEDIUM: TECHNIQUE: REALISM, PLEASURE MOSAIC TROMPE L’OIEL p. 86

KEY IMAGE WHERE: CULTURE: IDEA: MEDIUM: p. 87 from Pompeii ROMAN PLEASURE FRESCO p. 87

Up to Dates? CAESAR AUGUSTUS IN POWER – END OF REPUBLIC, START OF EMPIRE – PAX ROMANA 480 BCE - 0 - BEGINNING OF GREEK CLASSICAL ERA/GOLDEN AGE

CONSTANTINE AND EARLY CHRISTIANITY UP NEXT ROME FALLS 410 CONSTANTINE AND EARLY CHRISTIANITY Chapter 5 ROME SACKED 410; 476 CONSTANTINE MOVES SEAT OF POWER . . . http://www.mapsofwar.com/images/EMPIRE17.swf

And then came the LATINS Earlier Periods Pre-Etruscan 1000-700 BC Ertruscan 700-509 BC - strong enough to resist Greeks And then came the LATINS

Domestic Architecture Domus = house Atrium = entrance to house Outside plain, inside elaborate. Homes were considered sanctuaries Atrium would often have sculptures of family members

Atrium

House of Vettii Garden

Large scale rural architecture Hadrian’s Villa (2nd c.) 1/2 square mile in size (c. 250 acres) 30 buildings (now in ruins) hundreds of statues (over 500) mosaic floors “Antiquarian Spirit” – Greek, Egyptian revival Hadrian's Villa (Villa Hadriana) is a large Roman villa built by the emperor Hadrian in the early second century CE. The villa was a sumptuous complex of over 30 buildings, covering an area of at least 100 hectares (c. 250 acres), maybe even 300 hectares, of which much is still unexcavated. Hadrian's Villa is a UNESCO World Heritage site. The villa was Hadrian's preferred residence when he was in Rome. His choice of an imperial palace outside Rome, instead one of the several palaces in Rome, was probably influenced by the miserable relations he had with the senate and the local Roman aristocracy. Hadrian was born in Spain, just like his predecessor Trajan, and the senate and the local aristocracy had trouble coming to terms with another provincial on the imperial throne. The way Hadrian had assumed power only reinforced their opposition to him. Trajan's adoption of Hadrian on his deathbed was immediately cast in doubt, and when four military leaders, all Roman aristocrats who had been close to Trajan and hence possible contenders for the throne, were assassinated immediately after Trajan's death, the senate immediately suspected Hadrian of having ordered the killings. Hadrian only arrived in Rome eleven months after Trajan's death, and denied any wrongdoing, but his relationship with the senate never recovered from the crisis. As a consequence Hadrian stayed very little in Rome. He travelled extensively throughout most of the empire in two prolonged periods, in 121-125 CE and in 128-134 CE, and when in Italy he preferred to stay away from Rome. A grandiose imperial palace outside Rome, but not too far away, was the perfect answer.