1. Ancient Art History Survey, Weeks 11 and 12
Damnatio Memoriae, Commodus, Column of Trajan, Trajan, forum, basilica, apse, nave,
Dacians, Hadrian, Tivoli, Canopus, Antinoos, Narcissus, caryatids, mosaics, "Maritime
Theater," dome, Pantheon, coffers, oculus, Castel Sant’Angelo (Mausoleum of Hadrian),
Diocletian, Tetrarchy, Constantine (the Great), chi rho, The Vision of Constantine, Battle
of the Milvian Bridge (312 AD), Edict of Milan, Arch of Constantine, spolia, orantes,
catacombs, cubiculi, loculi, typology, Abraham and the Three Men (Angels), Jonah,
basilica (church), apse, nave, transept (crossing), martyrium, baldacchino, Tetramorphs,
Santa Maria Maggiore, Triumphal Arch, cathedra, etimasia, Ravenna, (Mausoleum of)
Galla Placidia, Theodoric, Ostrogoths, Arianism, San Apollinare Nuovo, San Vitale,
Justinian, Theodora, Constantinople (Istanbul), Hagia Sophia, Anthemius of Tralles and
Isidorus of Miletus the Elder, Nike (Nika) Revolt, Isidorus of Miletus the Younger,
pendentives, icons, tempera, encaustic, Theotokos, Pantocrator, Monastery of St.
Catherine (Sinai, Egypt), Coptic, iconostasis, iconoclasm, Leo III, Second
Commandment, iconodules/iconophiles
Possible essay questions:
What was the "damnatio memoriae" and how was it used? Give some examples—who
were some of the emperor's against whom it was enacted?
How did the early Christian art (including architecture) start as an art of borrowing? How
did the early Christians consistently reinterpret and give new, Christian meanings to their
borrowed forms?
What are icons?—discuss icons and the iconoclastic controversy during the eighth
century AD. What were some arguments for and against the production of icons?
Images:
Pantheon, 118-125 AD, pp. 187, 188
Hadrian's Villa (Tivoli), c.125 AD, p. 189
Arch of Constantine, c.312 AD, p. 203
Catacomb painting, c.300 AD, p. 212
Mausoleum of Galla Placidia, c.425 AD, p. 222
Icon (Monastery of St. Catherine), c.600 AD, p. 246
"Vladimir Virgin" (icon), c.1000 AD, p. 255