Roman Art & Architecture Introduction

Roman Art & Architecture By the third century AD Rome stretched from Hadrian’s Wall in the far Scottish north to the Sahel region, and from the western most tip in Portugal to Mesopotamia. This was the geographical and administrative “empire”, to which we refer. This immediately brings problems for our concepts of what is “Roman” Also the time frame to which we work within. Rome’s complicated history stretches for over 1000 years. It is this monstrosity that we propose to investigate artistically and architecturally over the coming weeks

Although Greece and Rome are synonymous in modern study they are in fact quite the opposite of each other in many ways. To be sweeping with a general remark, Greeks considered life while the Roman’s acted on it. It must be understood that the Roman arts have struggled to emerge form beneath the shadow of their Greek cousin for a couple of reasons.

–Reason one: Scholars in the majority have never rated it as highly as its Greek counterpart. Reason two: The Romans themselves loved Greek art and through that love they stunted their own development. They commissioned Greek artists ahead of Roman ones and generally put the eastern works on a pedestal above their indigenous creations.

–The Greek had achieved “Perfection” in art considering his own ambitions. –However through this veil some local Roman produce did come through. –In comparison to “perfection” there could be no improvement so the Roman did what other artistic movements have done down through the ages; He moved the goal posts. –No longer would “perfection” be the ambition but rather “personality”. –Once the goalposts had been moved what then did the Roman achieve???????

Roman World/Greek World Many of the Greeks had practiced democracy for centuries. There were numerous versions of the political structure but almost all stressed community involvement. There was a shared sense of power, even if it was in the majority amongst the elite. This public sharing mimicked itself in Greek art. Public buildings were for everyone to share in. Pericles’ Acropolis constructions were high on a promontory so all of Athens could marvel at their cities achievements. Most of the decoration is on the outside of the buildings for all to see together. For example, we have metopes, pediments, cornices and the frieze on the outside of the Parthenon, “the perfect exterior” On the frieze we have the Athenian citizens as a whole taking part in a ritual procession, A Pageant.

This form of decoration in art and architecture was about to change alongside a revolution in political thought and practice. Alexander the Great had a huge impact on the Greek mind and his ideas were to spread to the rest of the Mediterranean world. No longer did we have a raggle-taggle collection of city-states governing themselves, and constantly fighting with each other. Now with the advent of Alex we see a New World forged on the concept of unity under strong rule – one man rule.

The Roman took on this ideal and rather than being an extrovert chose to be an introvert. “The Roman problem was above all to create and adorn interiors”, Wheeler p12. The virtue of gravitas permeates the Roman work. The Roman male boasted an absence of frivolity in his duty to his family and the state, while at the same time enjoying many vices and cruelty. The Roman celebrated the individual, The Emperor. Unlike Greece we don’t get artist names from Rome, only the name of the person who commissioned the work. For example: Hadrian’s Pantheon. The community is no longer important. All power is concentrated on one core, one man, The Emperor

The Pantheon shows the journey from democratic Greece to the Roman Monarchy. Externally it is a building of little note but as an interior it is exceptional. It is a globe surrounded by the seven heavenly gods created by none other than the Emperor Hadrian. There is no community involvement. It is personal. It is for the individual to go inside and privately marvel at this World, Cosmos, Globe created by their Emperor.

This love of the interior is compounded in the bath buildings we will study later. Masses of masonry on the outside, works of lavish grandeur within. Furthermore to the achievement of the lavish interior the Roman must be attributed with the continuation of the “Size Matters” fraternity in Ancient Civilisations and in Modern Day Regimes. In fact they not only continued it but perfected it within the possibilities of their building know how.

Size has always been and probably always will be a display of power. The Romans knew this and exploited it. They did it in Rome to show off the greatness of the empire to their own people and they did it in the provinces to convince the provincials that they had been routed by a far superior race.

To add to this contribution of large and daring structures the Roman also espoused three other major qualities in his Art and Architecture. 1. Civic Planning, involving shape, public buildings, and utilities. 2. Lavish ornament involving carving, mosaic and painted plaster. 3. Realistic Portraiture in the form of statues and busts.

These were the Roman achievements. This was a changing world. Gone was the exclusivity off the Greek world. The civilised Greeks on one side surrounded on all sides by nothing other than supposed barbarians. Alexander was the pioneer in this change, the Romans perfected it. Isolation is no longer something to be proud of. It is unity that brings strength and power. Politics and philosophy are of course reflected in contemporary art. As Wheeler says “Roman art and architecture are not bad Greek art and architecture; they are different in aim and achievement, based upon evolving, not merely repetitive values”.