1. High Empire Part 2

2. 90% of Rome’s Population lived In apartments Like this…. Glass Windows
Shared Latrines
Small Courtyards
The brick-faced
Concrete deterred
Fires from spreading
Figure Model of an insula, Ostia, Italy, second century CE. Museo della Civiltà Romana, Rome.

3. Figure Ceiling and wall paintings in Room IV of the Insula of the Painted Vaults, Ostia, Italy, early third century CE.

4. Intricate surface decoration Instead of illusion…..
Figure Neptune and creatures of the sea, floor mosaic in the Baths of Neptune, Ostia, Italy, ca. 140 CE.

5. Working class memorials: your identity
Was your profession….conceptual view
Figure Funerary reliefs of a vegetable vendor (left) and a midwife (right), from Ostia, Italy, second half of second century CE. Painted terracotta, approx. 1’ 5” and 11” high, respectively. Museo Ostiense, Ostia.
These will influence medieval illustrations

6. Classical characteristics: Single ground line Personifications
Female personification (Tellus?), panel
from the east facade of the Ara Pacis
Augustae, Rome,
Classical characteristics:
Single ground line
Personifications
Proportionate figures
Not Classical:
The fusion of time
Figure Apotheosis of Antoninus Pius and Faustina, pedestal of the Column of Antoninus Pius, Rome, Italy, ca. 161 CE. Marble, approx. 8’ 1 1/2” high. Vatican Museums, Rome.

7. Conventions of lower class art being used!
Figure Decursio, pedestal of the Column of Antoninus Pius, Rome, Italy, ca. 161 CE. Marble, approx. 8’ 1 1/2” high. Vatican Museums, Rome.
Conventions of lower class art being used!

8. A power symbol: these were Often placed in central locations
To proclaim Imperial power
This will become a universal
Power symbol in the middle ages
Here-the emperor is much larger
Than the horse…
Figure Equestrian statue of Marcus Aurelius, from Rome, Italy, ca. 175 CE. Bronze, approx. 11’ 6” high. Musei Capitolini, Rome.

9. Psychology in the Face-the inner Individual revealed
Figure Portrait of Marcus Aurelius, detail of a relief from a lost arch, Rome, Italy, ca. 175–180 CE. Marble, approx. life-size. Palazzo dei Conservatori, Rome.

10. Commodus as Hercules

11. Paradigm shift: Belief in burial practices changes
Figure Sarcophagus with the myth of Orestes, ca. 140–150 CE. Marble, 2’ 7 1/2” high. Cleveland Museum of Art, Cleveland.
Paradigm shift: Belief in burial practices changes
as a result of different religions’ influences….
Regional differences manifest in the trends of this
Industry that sees early use of “pattern books”
Figure Asiatic sarcophagus with kline portrait of a woman, from Rapolla, near Melfi, Italy, ca. 165–170 CE. Marble, approx. 5’ 7” high. Museo Nazionale Archeologico del Melfese, Melfi.

12. To commemorate the dead-illusionism:
These were often painted while the
Subject was still alive….
Figure Mummy portrait of a man, from Faiyum, Egypt, ca. 160–170 CE. Encaustic on wood, approx. 1’ 2” high. Albright-Knox Art Gallery, Buffalo.