3. Goals
• Understand the great innovations of Roman architecture and how
these innovations contributed to the expanse of the Roman
Empire.
• Explore Pompeii for its information about Roman art and
architecture.
• Examine the types, methods, and subject matter of Roman wall
painting.
• Understand what Roman portraiture says about Roman society.
• Understand the political nature of Roman art and architecture,
especially as it communicates ideas of power for the emperor and
empire.
• Examine changes in Roman art and architecture as a result of
expansion of the Roman Empire and the incorporation of the
conquered cultures.
3
4. THE MIGHTY EMPIRE OF ROME
At its greatest extent, the Roman Empire stretched from Mesopotamia in the east to
Spain in the west, and from North Africa in the south to Britain in the north. The Roman
Empire was a "multicultural" entity.
Roman Art and the Modern World: Roman art and architecture has influenced the
Modern World. A major Roman building innovation was concrete construction.
From Village to World Capital: The village founded by Romulus on April 21, 753 B.C.
grew over a period of 900 years to become the capital of the greatest empire the world had
ever known.
4
5. 10.1 The Republic (509-27 B.C.)
• Understand the great innovations of Roman architecture and
how these innovations contributed to the expanse of the
Roman Empire.
• Discuss Roman architectural contributions, particularly
concrete and the rounded arch.
• Examine the ways in which Roman art is different from the
classical art of the Greeks.
5
6. The Republic
Kings, Senators, and Consuls: A Republic was established following the
expulsion of the Etruscan kings in 509 B.C. Power was vested mainly in a senate
and in two elected consuls.
The Craze for Greek Art: During the Republic, the Romans developed a special
interest in and taste for Greek art.
6
7. Roman Architectural Innovations
• Examine the contributions of the Romans in architecture.
Consider structural elements as well as materials.
7
8. Roman Architecture
A Harbor God's Eclectic Temple: Roman Temple architecture shows a blending of Etruscan and Greek features,
and emphasizes the front of the building.
10-1 Temple of "Fortuna Virilis" (Temple of Portunus), Rome, Italy, ca. 75 B.C.
Title: Forum Boarium - Temple of Fortuna Virilis (Portunus)
Description: flank, cella wall with five engaged columns
8
9. Temple of “the Sibyl”
A Round Temple on a Cliff: The form of the Temple of "the Sibyl" is derived from the
Greek round or tholos temple type.
10-2 Temple of "the Sibyl" or of "Vesta," Tivoli, Italy, early first century B.C.
9
10. Sanctuary of Fortuna Primigenia
Concrete Transforms a Hillside: The Sanctuary of Fortuna Primigenia at Palestrina is an impressive example of
concrete construction on a massive scale.
10-3 Reconstruction drawing of the Sanctuary of Fortuna Primigenia, Palestrina, Italy, late second
centuryB.C.
Sanctuary of Fortuna Primigenia at Praeneste Praeneste. Base of Temple of Fortuna 1
by Erik Olson (model)
10
11. Sculpture and Republican Verism
• Examine the early funerary sculpture of the Roman culture.
• Understand the form and purpose of Roman portraiture.
11
12. Sculpture
The Social Context of Portraits: Roman Republican sculpture is noted for its patrician
portraits employing a verism derived from the patrician cult of ancestors and the practice
of making likenesses of the deceased from wax death-masks. In the funerary relief,
figures are shown bust-length (cut off at the base of the chest) in the Etruscan tradition.
Figure 10-4 Reconstruction drawing of the
Sanctuary of Fortuna Primigenia, Palestrina,
Italy, late second century BCE.
10-4 Funerary relief with portraits of the Gessii, from Rome (?),
Italy, ca. 30 B.C. Marble, approx. 2' 11/2" high Courtesy of
Museum of Fine Arts, Boston, Archibald Cary Coolidge Fund.
12
13. Funerary Procession
10-5 Relief with funerary procession, from Amiternum, Italy, second half of first century B.C. Limestone, approx.
2' 2" high. Museo Nazionale d'Abruzzo, L'Aquila.
13
14. Head of a Roman patrician
10-6 Head of a Roman patrician, from Otricoli, Italy, ca. 75–50 B.C. Marble, approx. 14" high.
Museo Torlonia, Rome.
14
15. Portrait of a Roman general
An Old Man's Head on a Young Man's Body: It was also the practice in sculpture during the
Republican period to place portrait heads on youthful, heroic bodies.
10-7 Portrait of a Roman general, from the Sanctuary of Hercules, Tivoli, Italy, ca. 75–50 B.C.
Marble, approx. 6' 2" high. Museo Nazionale Romano-Palazzo Massimo alle Terme, Rome.
The surviving portraits of prominent Roman Republican figures appear to be literal reproductions of individual
faces. Although their style derives to some degree form Hellenistic and Etruscan, and perhaps even Ptolemaic
Egyptian, portraits, Republican portraits are one way the patrician class celebrated its elevated position in society.
These patricians did not ask sculptors to make them appear nobler than they were. Instead, they requested brutally
realistic images of distinctive features.
15
16. Denarius with portrait of Julius Caesar
Julius Caesar Breaks the Rules:
The portrait of Julius Caesar appears on a silver denarius
Inscribed with his newly acquired title, dictator perpetuus.
10-8 Denarius with portrait of Julius Caesar,
44 B.C. Silver, diameter approx. 3/4".
American Numismatic Society, New York.
16
17. 10.2 The Early Empire (27 B.C. – 98 A.D.)
• Explore Pompeii for its information about Roman art and
architecture.
• Understand the role of the Colosseum and amphitheater in
Roman life.
• Understand the concepts, methods and materials of Roman
house construction and why it is significant.
• Examine the types, methods, and subject matter of Roman
wall painting.
• Understand the development of Roman art and architecture
as the empire expands and develops.
17
18. POMPEII AND THE CITIES OF VESUVIUS
POMPEII AND THE CITIES OF VESUVIUS
Buried by a Volcano: Pompeii was destroyed in the eruption of Vesuvius in A.D. 79.
Oscans, Samnites, and Romans: Pompeii was first settled by the Oscans and later by the Samnites.
Sulla founded a new Roman colony on the site in 80 B.C.
An Archeological Park: So much of the city has been preserved that it has been called a "living city
Of the dead."
18
19. Roman Architecture in Pompeii
• Understand the role of the Colosseum and amphitheater in
Roman life.
• Understand the concepts, methods and materials of Roman
house construction and why it is significant.
19
20. POMPEII AND THE CITIES OF VESUVIUS
Buried by a Volcano:
Pompeii was destroyed in the sudden eruption of Vesuvius in 79 CE. Many prosperous towns were buried in a
single day. When researchers first explored the buried cities in the 18t city, the ruins had been undisturbed for
nearly 1,700 years.
Oscans, Samnites, and Romans:
Pompeii was first settled by the Oscans and later by the Samnites. Sulla founded a new Roman colony on the
site in 80 BCE.
An archeological park:
So much of the city has been preserved that it has been called a "living city of the dead."
Architecture
The Heart of Pompeii:
The typical Roman town was planned originally with a centrally located public square or civic center (forum)
located at the intersection of the main north-south street, the cardo, and the main east-west street, the
decumanus.
20
21. Architecture
The Heart of Pompeii: The typical Roman town was planned originally with a centrally located public square or
civic center (forum) located at the intersection of the main north-south street, the cardo, and the main east-west
street, the decumanus.
10-9 Aerial view of the forum, Pompeii, Italy, second century B.C. and later.
21
22. Plan of the forum of Pompeii
10-10 Plan of the forum of Pompeii,
Italy, second century B.C. and later.
22
23. Aerial View of the amphitheater in Pompeii
Gladiators and wild animals:
Shortly after the Roman's took control of Pompeii, two of the towns wealthiest officials used their own funds to
erect a large ampitheater at the southeastern end of town. It is the earliest such structure known and could easily
seat 20,000 spectators.
A painting on the wall of a Pompeian house records a brawl between the Pompeians and their neighbors, the
Nucerians, during a gladiator contest. The fighting left many seriously wounded and led to the closing of the
amphitheater for a decade.
10-11: Aerial view of the amphitheater, Pompeii, Italy, ca. 70 BCE.
23
24. Atrium of the House of the Vettii
For Patricians and Ex-Slaves: A domus, or single-family house, had a plain exterior; the focus was
on the interior spaces. The parts of the house are fauces, atrium, impluvium, cubicula, tablinum,
triclinium, and peristyle. The House of the Vetti had a large peristyle, but no tablinum.
10-13 Atrium of the House of the Vettii, Pompeii, Italy, rebuilt A.D. 62–79
24
25. Roman Wall Painting
• Examine and compare the four styles of Roman wall
painting.
25
26. Painting
Painted Walls Everywhere: A large number of paintings decorating interior walls indicate both the
prosperity and the tastes of the inhabitants of Pompeii. Many paintings have been removed from walls
and placed in the Naples Archeological Museum
The First Style and Greek Mural Painting: The First Style imitates marble panels using painted
stucco relief. The wall is divided into three parts, with a dado at the bottom, a middle section (with the
large, imitation marble panels), and an upper part of the wall with a cornice, a frieze, and another
cornice. Each panel is outlined with stucco. The cornices are also modeled in stucco.
26
27. Brawl in the Pompeii amphitheater
10-12 Brawl in the Pompeii amphitheater, wall painting from House I,3,23, Pompeii, Italy, ca.
A.D. 60–79. Approx. 5' 7" X 6' 1". Museo Nazionale, Naples.
27
28. First Style wall painting in the fauces of the Samnite House
The First Style and Greek Mural Painting: The First Style imitates marble panels using painted
stucco relief. The wall is divided into three parts, with a dado at the bottom, a middle section (with the
large, imitation marble panels), and an upper part of the wall with a cornice, a frieze, and another
cornice. Each panel is outlined with stucco. The cornices are also modeled in stucco.
10-14 First Style wall painting
in the fauces of the Samnite House,
Herculaneum, Italy, late second century B.C.
28
29. Dionysiac Mystery Frieze, Second Style
The Second Style and the Triumph of Illusionism: The Second Style shows imaginary three
dimensional worlds. The illusion is that the wall surface has receded.
Dionysiac Mysteries at a Pompeian Villa: An example of Second Style painting is found in the
Villa of the Mysteries, where rites associated with the Dionysiac Mysteries are celebrated in a
continuous frieze running round all four walls of the room. The life-size figures appear as if on a
shallow ledge against a backdrop of painted panels.
10-15 Dionysiac mystery frieze, Second Style wall
paintings in Room 5 of the Villa of the Mysteries,
Pompeii, Italy, ca. 60–50 B.C. Frieze approx. 5' 4" high.
29
30. Second Style wall paintings
Perspective Painting in Antiquity: The Second Style painting in Cubiculum M of the Villa of
Publius Fannius Synistor shows "picture-window" vistas with illusionistic architecture on side and
back walls. Sacred precincts with images of Diana-Lucina (goddess of the moon) and Hecate (ruler of
the night), each flanked by picturesque architectural vistas, appear near the room's entrance. The
buildings are piled one above the other and painted in pastel colors. The vistas of colonnades and
temples appear on the rear wall.
10-16 Second Style wall paintings
(general view and detail of tholos)
in Cubiculum M of the Villa of
Publius Fannius Synistor,
Boscoreale, Italy, ca. 50–40 B.C.
Approx. 8' 9" high.
Metropolitan Museum of Art, New York.
30
31. Gardenscape
An Empress's Painted Garden: The Second Style wall painting from the Villa of Livia, Primaporta,
shows a continuous illusionistic gardenscape on all four walls.
10-17 Gardenscape, Second Style wall painting
from the Villa of Livia, Primaporta, Italy,
ca. 30–20 B.C. Approx. 6' 7" high.
Museo Nazionale Romano, Rome.
31
32. Third Style wall painting
The Third Style: Elegance and Fantasy: The Third Style shows delicate linear fantasies against
monochrome backgrounds. Cubiculum 15 of the Villa of Agrippa Postumus is decorated with
elegantly attenuated architectural forms that frame small, floating landscapes. The painting from the
Vatican Virgil shows framed panels with atmospheric landscapes.
10-18 Detail of a Third Style wall painting
from Cubiculum 15 of the Villa of Agrippa Postumus,
Boscotrecase, Italy, ca. 10 B.C. Approx. 7' 8" high.
Metropolitan Museum of Art, New York.
32
33. The old farmer of Corycus
10-19 The old farmer of Corycus, folio 7 verso from the Vatican Vergil, ca. A.D. 400–420.
Tempera on parchment, approx. 121/2" X 12". Biblioteca Apostolica Vaticana, Rome.
33
34. Fourth Style
Nero and the Fourth Style: The Fourth Style includes illusionistic elements and framed panels
against a monochrome (white) background. The paintings in the Domus Aurea, supervised by the
court painter Fabullus, show thin, delicate architectural frameworks in the upper section of the wall.
The daintiness of the design is emphasized by the creamy white background. These paintings became
the source for the "grotesque" style that emerged in the Renaissance
10-20 Fourth Style wall paintings
in the Domus Aurea of Nero,
Rome, Italy, A.D. 64–68.
34
35. Fourth Style wall paintings in the Ixion Room
On the Eve of the Eruption: In Fourth Style wall paintings, the lower zone (dado) has geometric
panels. The middle section has larger panels with architectural views in perspective. Monochrome
panels are decorated with delicate floral borders with figures of maenads and satyrs floating in the
center. Figurative panels with mythological scenes, and elaborate architectural scenes in
perspective appear at frieze level.
10-21 Fourth Style wall paintings in the Ixion Room
(Triclinium P) of the House of the Vettii,
Pompeii, Italy ca. A.D. 70–79.
35
36. Neptune and Amphitrite Wall Mosaic
Greek Myths on Roman Walls: The panel of Neptune and Amphitrite is framed by a scalloped
pattern of sea shells. Different hues of blue set the main tone. The figures of Neptune and
Amphitrite stand in a pentagonal panel of gold tesserae under a shell-like canopy. Neptune stands
with a blue cloak draped over his left shoulder and right arm holding a golden trident; he has a
tanned and youthful body but white hair and beard. His pose is inspired by Greek statues of
Poseidon. Amphitrite, his consort, leans on a pillar. She raises her blue cloak with her right hand
while holding a scepter in her left hand. Her pose imitates a Greek statue of Venus.
10-22 Neptune and Amphitrite,
wall mosaic in the summer
triclinium of the House of Neptune
and Amphitrite, Herculaneum,
Italy, ca. A.D. 62–79.
36
37. Pretentious Private Portraits
Pretentious Private Portraits: The house in which the portrait of a husband and wife was
found was first thought to have been owned by Paquius Proculus, a baker. Later (in 1926) the
owner was identified as Terentius Neus, a lawyer.
10-23 Portrait of a husband and wife,
wall painting from House VII,2,6,
Pompeii, Italy, ca.
A.D. 70–79. Approx. 23" X 201/2".
Museo Nazionale, Naples.
37
38. Painting the Inanimate
Painting the Inanimate: Still life with peaches shows illusionistic effects of light and shadow.
10-24 Still life with peaches,
detail of a Fourth Style wall painting from Herculaneum,
Italy, ca. A.D. 62–79. Approx. 14" X 131/2".
Museo Nazionale, Naples.
38
39. Pax Romana and Augustus
• Understand the nature of sculpture in the Roman Empire
under Augustus.
39
40. THE EARLY EMPIRE
Antony and Cleopatra Vanquished: In 31 B.C., Octavian defeated Mark Antony in the Battle of
Actium and became the undisputed master of the Roman world as the emperor Augustus. The battle
signaled the end of the absorption of the Hellenistic kingdoms into the Roman empire. The old
Roman Republic ended in 27 B.C. when the Senate conferred on Octavian the title of Augustus.
The Pax Romana: The peace and prosperity Augustus brought to the Mediterranean world and
which prevailed for two centuries is known as the Pax Romana. During this time a number of public
works were commissioned throughout the empire. Augustus and the Julio-Claudians (27 B.C.–A.D.
68).
40
41. Portrait of Augustus as general
The Son of a God Rules Rome: The youthful portrait of Augustus is idealized in the Greek
manner.
10-25 Portrait of Augustus as general,
from Primaporta, Italy,
copy of a bronze original of ca.
20 B.C. Marble, 6' 8" high.
Vatican Museums, Rome.
41
42. Portrait bust of Livia
A Never-Aging Empress: The idealized portrait of Livia is derived from images of Classical Greek
goddesses.
10-26 Portrait bust of Livia, from Faiyum, Egypt,
early first century A.D. Marble, approx. 131/2" high.
Ny Carlsberg Glyptotek, Copenhagen.
42
43. Ara Pacis Augustae
The Augustan Peace Commemorated: The Ara Pacis Augustae celebrates the establishment of
Peace by Augustus. The processions carved in relief on the north and south sides depict a specific
event.
10-27 Ara Pacis Augustae, Rome, Italy, 13–9 B.C. (view from the southwest).
43
44. Female personification
10-28 Female personification (Tellus?), panel from the east façade of the Ara Pacis,
Rome, Italy,13–9 B.C. Marble, approx. 5' 3" high.
44
45. Procession of the imperial family
10-29 Procession of the imperial family, detail of the south frieze of the Ara Pacis,
Rome, Italy, 13–9 B.C. Marble, approx. 5' 3" high.
45
46. Maison Carrée
Rome Transformed into a Marble City: Augustus boasted that he had found Rome a city of brick
and transformed it into a city of marble.
An Augustan Temple Inspires Thomas Jefferson: The classicizing style of the so-called Maison
Carrée was admired by Thomas Jefferson, who used it as the model for his design of the State Capitol
in Richmond, Virginia.
10-30 Maison Carrée, Nîmes, France, ca. A.D. 1–10.
46
47. Pont-du-Gard
The Fruits of the Pax Romana: The three-story aqueduct-bridge known today as the Pont-du
Gard demonstrates the skill of Rome's engineers.
10-31 Pont-du-Gard, Nîmes, France, ca. 16 B.C.
47
48. Porta Maggiore
Claudian Rustication: Constructed at a point where two of Rome's water lines and two major roads
converged, the Porta Maggiore is an outstanding example of the Roman rusticated masonry style.
10-32 Porta Maggiore, Rome, Italy, ca. A.D. 50.
48
49. Nero's Architectural Revolution: Nero's
Domus Aurea was richly decorated
with marble paneling, painted and
gilded stucco, and frescoes. The design
of the octagonal hall shows an
inventive new approach to concrete
architecture.
Figure 10-33 SEVERUS and CELER, plan (above) and
section (below) of the octagonal hall of the Domus
Aurea (Golden House) of Nero, Rome, Italy, 64–68 CE.
49
50. The Flavians (A.D. 69-96)
The suicide of Nero in A.D. 68 brought an end to the Julio-Claudian dynasty. Following a period of
civil strife, Vespasian emerged as the new emperor. Vespasian, whose family name was Flavius, was
succeeded by his Titus. After Titus's death in A.D. 81, Vespasian's second son, Domitian, became
emperor.
A Triumph of Roman Engineering: The Colosseum was built using concrete. The oval seating area
is supported by a complex system of concrete barrel vaults. The exterior, made of travertine, is divided
into four bands. The large arched openings that pierce the lower three are framed by engaged columns
with Tuscan Doric capitals at the bottom, then Ionic capitals, and Corinthian capitals on the third
level. The huge amphitheater in Rome known as the Colosseum was begun by Vespasian and
completed by Titus in A.D. 80.
10-34 Aerial view of the Colosseum, Rome, Italy, ca. A.D. 70–80.
50
51. Portrait of Vespasian
Vespasian and the Revival of Verism: The simple tastes of Vespasian are apparent in his portrait,
which perhaps deliberately resuscitates the veristic tradition of the Republic.
10-35 Portrait of Vespasian, from Ostia, Italy, ca. A.D. 69–79.
Marble, approx. 16" high. Museo Nazionale Romano, Rome.
51
52. An Elegant Flavian Woman
An Elegant Flavian Woman: A portrait bust of a young woman is notable for its elegance and
delicacy and for the virtuoso rendering of the differing textures of hair and flesh.
10-36 Portrait bust of a Flavian woman, from Rome, Italy, ca. A.D. 90.
Marble, approx. 2' 1" high. Museo Capitolino, Rome.
52
53. Arch of Titus
A New Arch for a New God: Erected after Titus's death by Domitian, the single arched opening is
framed by engaged columns with Composite capitals. The spandrels contain reliefs of winged female
Victory figures.
10-37 Arch of Titus, Rome, Italy, after A.D. 81.
53
54. The Spoils of Jerusalem
The Spoils of Jerusalem: Two large, deeply carved relief panels on the inside of the passageway
show the triumphal parade of Titus down the Sacred Way after his return from the conquest of Judaea
at the end of the Jewish Wars in A.D. 70.
10-38 Spoils of Jerusalem, relief panel from the Arch of Titus, Rome, Italy, after A.D. 81.
Marble, approx. 7' 10" high.
54
55. Triumph of Titus
10-39 Triumph of Titus, relief panel from the Arch of Titus, Rome, Italy, after A.D. 81.
Marble, approx. 7' 10" high.
55
57. 10.3 High Empire ( 96 – 192 A.D.)
• Understand the political nature of Roman art and
architecture, especially as it communicates ideas of power for
the emperor and empire.
• Examine the architectural development of the Roman forum,
the markets, the triumphal arches and, in particular, the
Pantheon.
• Examine Roman portrait, memorial and funerary sculpture as
it developed in the high Empire in Rome and in the colonies.
• Understand the influences on Roman ‘mummy’ painting.
57
58. Art under Trajan in Spain, Africa, Italy
• Understand the political nature of Roman art and
architecture, especially as it communicates ideas of power for
the emperor and empire.
• Examine artistic development and formal changes, especially
issues of space and narration in the Column of Trajan.
58
59. Architecture of the High Empire
• Examine the architectural development of the Roman forum,
the markets, the triumphal arches and, in particular, the
Pantheon.
• Explore the luxuries of Hadrian!
59
60. High Empire
The Roman Empire at Its Peak: Under Trajan, Hadrian, and the Antonines in the second century
A.D., the Roman Empire reached its greatest geographic extent and the height of its power.
Trajan (A.D. 98–117)
The First Spanish Emperor: Under Trajan, the first non-Italian to become emperor, Rome
expanded its rule even further abroad. Trajan instituted a number of social programs to secure the
welfare of the Roman people.
A New Colony in Africa: A new colony for army veterans, founded by Trajan in A.D. 100 at Timgad
in North Africa, follows a plan that resembles a Roman military encampment.
10-40 Plan of Timgad, Thamugadi (Algeria), founded A.D. 100.
60
61. Forum of Trajan
Rome's Greatest Forum: The huge Forum of Trajan in Rome includes a triumphal arch, a
colonnaded open square, a basilica, a temple, two libraries, and a giant commemorative column with a
tomb at its base.
10-41 Apollodorus of Damascus , Forum of Trajan, Rome, Italy, dedicated A.D. 112, model.
Museo della Civiltà Romana, Rome.
61
62. Column of Trajan
The Column and Tomb of Trajan: The colossal freestanding column is decorated with a
continuous spiral narrative frieze depicting Trajan's two successful campaigns against the Dacians.
10-42 Column of Trajan, Rome, Italy, dedicated A.D. 112.
62
63. Markets of Trajan
Shopping in Imperial Rome: The Markets of Trajan, built as a multilevel complex on the slope of
the Quirinal hill, house both shops and administrative offices.
10-43 Apollodorus of Damascus , Markets of Trajan, Rome, Italy, ca. A.D. 100–112, reconstruction drawing.
63
64. Interior of the great hall of the Markets of Trajan
10-44 Interior of the great hall of the Markets of Trajan, Rome, Italy, ca. A.D. 100–112.
64
65. Arch of Trajan
The Triumphal Arch as Billboard: Relief panels illustrating Trajan's achievements cover both
façades of the Arch of Trajan at Benevento.
10-45 Arch of Trajan, Benevento, Italy, ca. A.D. 114–118.
65
66. Funerary relief of a circus official
Races in the Circus Maximus: Employing the technique of continuous narration, a relief shows chariot
racing in the refurbished Circus Maximus in Rome.
10-46 Funerary relief of a circus official, from Ostia, Italy, ca. A.D. 110–130. Marble, approx. 1' 8" high.
Vatican Museums, Rome.
66
67. Hadrian (A.D. 117–138)
A Greek Beard for a Roman Emperor: An idealized portrait of a bearded Hadrian was modeled on
statues of mature Greek men.
10-47 Portrait bust of Hadrian as general, from Tel Shalem, Israel, ca. A.D. 130–138. Bronze,
approx. 2' 11" high. Israel Museum, Jerusalem.
10-47 Portrait bust of Hadrian as general, from Tel Shalem, Israel, ca. A.D. 130–138. Bronze, approx. 2' 11" high.
Israel Museum, Jerusalem.
67
68. The Pantheon, Temple for All Gods: The Pantheon, a huge temple dedicated to all the gods, is one
of the best-preserved buildings of antiquity. The cylindrical drum enclosing the interior space is
topped by a concrete hemispherical dome pierced in the center by an oculus.
10-48 Pantheon, exterior view, Rome, Italy, A.D. 118–125.
68
70. Interior of the Pantheon
10-50 Interior of the Pantheon, Rome, Italy, A.D. 118–125.
70
71. Hadrian's Villa
A Well-Traveled Emperor's Retreat: Hadrian's villa at Tivoli includes a pool and an artificial grotto,
called the Canopus and Serapeum, which commemorated the emperor's trip to Egypt. The Canopus,
however, is lined with marble copies of Greek statues and has an arcuated Corinthian colonnade at
one end.
10-51 Canopus and Serapeum, Hadrian's Villa, Tivoli, Italy, ca. A.D. 130–138.
71
72. Treasury
A Baroque Tomb in a Jordanian Mountain: The so-called "Treasury" at Petra is cut into the living
rock face of the cliff. The design of the two-story façade utilizes a Greek architectural vocabulary, but
the elements have been articulated in a "baroque" manner that ignores Classical rules.
10-52 Al-Khazneh ("Treasury"), Petra, Jordan, second century A.D.
72
73. Ostia
The Crowded Life of the City: Insulae are multi-story apartment blocks with exposed brick façades
in which shops occupied the ground floor and families lived in apartments on the upper floors.
10-53 Model of an insula, Ostia, Italy, second century A.D. Museo della Civiltà Romana, Rome.
73
74. Insula of the Painted Vaults
Painted Vaults and Mosaic Pavements: Some of the finer apartments had mosaic floors and
painted walls and ceilings.
10-54 Ceiling and wall paintings in Room IV of the Insula of the Painted Vaults, Ostia, Italy,
Early third century A.D.
74
75. Neptune and creatures of the sea
10-55 Neptune and creatures of the sea, floor mosaic in the Baths of Neptune, Ostia, Italy, ca. A.D. 140.
75
76. Funerary reliefs
Tombs of Working Men and Women: Communal tombs at Ostia in the second century A.D. were
usually constructed of brick-faced concrete with façades that resembled those of the insulae. Many
were adorned with small, painted terracotta plaques that recorded the activities of middle-class
merchants and professional people.
10-56 Funerary reliefs of a vegetable vendor (left) and a midwife (right), from Ostia, Italy,
second half of second century A.D. Painted terracotta, approx. 1' 5" and 11" high respectively.
Museo Ostiense, Ostia.
76
77. The Antonines (A.D. 138–192)
Succession by Adoption: In A.D. 138, Hadrian adopted Antoninus Pius, whom he required at the
same time to adopt Marcus Aurelius and Lucius Verus. On Hadrian's death, Antoninus Pius became
emperor. When he died 23 years later, Marcus Aurelius and Lucius Verus became Rome's first co
emperors.
Classical and Non-Classical Art in Antonine Rome: On one side of the pedestal of the column of
Antoninus Pius is a Classical relief illustrating the apotheosis of Antoninus and his wife Faustina the
Elder. On two other sides are identical representations of the decursio, in which the stocky figures
signal a break with Classical convention.
10-57 Apotheosis of Antoninus Pius and Faustina, pedestal of the Column of Antoninus Pius, Rome,
Italy, ca. A.D. 161. Marble, approx. 8' 11/2" high. Vatican Museums, Rome.
77
78. Column of Antoninus Pius
10-58 Decursio, pedestal of the Column of Antoninus Pius, Rome, Italy, ca. A.D. 161.
Marble, approx. 8' 11/2" high. Vatican Museums, Rome.
78
79. Equestrian statue of Marcus Aurelius
Disquieting Antonine Portraits: The larger-than-life-size, gilded-bronze equestrian statue of Marcus
Aurelius shows the emperor weary and thoughtful.
10-59 Equestrian statue of Marcus Aurelius, from Rome, Italy, ca. A.D. 175. Bronze,
approx. 11' 6" high. Campidoglio, Rome.
79
80. Portrait of Marcus Aurelius
10-60 Portrait of Marcus Aurelius, detail of a relief from a lost arch, Rome, Italy, ca. A.D. 175–180.
Marble, approx. life size. Palazzo dei Conservatori, Rome.
80
81. Cremation Gives Way to Burial: In the second century A.D., Romans began to favor burial over
cremation, which in turn led to a demand for sarcophagi.
Orestes on Roman Sarcophagi: The story of the Greek tragic hero Orestes carved in relief in a
continuous-narrative composition decorates one side of a Western type sarcophagus.
10-61 Sarcophagus with the myth of Orestes, from Rome, Italy, ca. A.D. 140–150. Marble, 2' 71/2" high.
Cleveland Museum of Art, Cleveland.
81
82. Asiatic sarcophagus with kline portrait of a woman
A Mortal Venus's Coffin: All four sides of an Eastern type sarcophagus are carved with images of
Greek gods and heroes in architectural frames, while on the lid is carved a portrait of the deceased
woman reclined on a bed in the tradition of Etruscan sarcophagi.
10-62 Asiatic sarcophagus with kline portrait of a woman, from Melfi, Italy, ca. A.D. 165–170.
Marble, approx. 5' 7" high. Museo Nazionale del Melfese, Melfi.
10-62 Asiatic sarcophagus with kline portrait of a woman, from Melfi, Italy, ca. A.D. 165–170.
Marble, approx. 5' 7" high. Museo Nazionale del Melfese, Melfi.
82
83. Mummy portrait of a man
Mummy Portraits in Roman Egypt: In Roman Egypt the traditional stylized portrait mask buried
with the dead in mummy cases was replaced with realistic portraits painted in encaustic on wood.
10-63 Mummy portrait of a man, from Faiyum, Italy, ca. A.D. 160–170. Encaustic on wood,
approx. 14" high. Albright-Knox Art Gallery, Buffalo, Charles Clifton Fund.
83
84. Late Roman Sculpture and Painting
• Examine Roman portrait, memorial and funerary sculpture as
it developed in the High Empire in Rome and in the
colonies.
• Understand the influences on Roman ‘mummy’ painting.
84
85. 10.4 Late Empire (192-337 A.D.)
• Understand the cultural influences that bring about changes
in Roman art and architecture in the Late Empire period.
• Relate aspects of Roman culture and their influence in
today's life.
• Understand how power, order and lost individuality are
expressed in the art of the Late Empire.
• Examine the changes brought about in the art and
architecture in the time of Constantine.
• Consider the Roman Empire as a bridge between the ancient
and medieval and modern worlds.
85
86. THE LATE EMPIRE
A Civilization in Transition: At the end of the 2nd century A.D. the power of Rome was beginning
to decline.
The Severans (A.D. 193–235)
An African Rules the Empire: The African-born emperor Septimius Severus, his wife, Julia Domna,
and their two sons, Caracalla and Geta, appear in a tondo portrait from Egypt painted in tempera. The
head of Geta was later erased by Caracalla.
10-64 Painted portrait of Septimius Severus and his family, from Egypt, ca. A.D. 200. Tempera on wood,
approx. 14" diameter. Staatliche Museen, Berlin.
86
87. A Portrait
A Portrait of a Ruthless Emperor: A marble head shows the ruthless character and suspicious
nature of Caracalla.
10-65 Portrait of Caracalla, ca. A.D. 211–217. Marble, approx. 14" high. Metropolitan Museum of Art, New York.
87
88. Chariot procession of Septimius Severus
The NonClassical Style Takes Root: A relief from the Arch of Septimius Severus in Lepcis Magna
shows non-Classical elements such as front-facing and floating figures.
10-66 Chariot procession of Septimius Severus, relief from the Arch of Septimius Severus,
Lepcis Magna, Libya, A.D. 203. Marble, approx. 5' 6" high. Castle museum, Tripoli.
88
89. Plan of the central section of the Baths of Caracalla
A Gigantic Roman Health Spa: The huge Baths of Caracalla in Rome were built with brick-faced
concrete. The symmetrical design includes a circular domed caldarium, a groin-vaulted frigidarium, and a
tepidarium. Also part of the complex were lecture halls, libraries, colonnaded exercise courts, and a
large swimming pool.
3-D Model of Caracalla
10-67 Plan of the central section of the Baths of Caracalla, Rome, Italy, A.D. 212–216. The
bathing, swimming, and exercise areas were surrounded by landscaped gardens, lecture halls,
and other rooms, all enclosed within a great concrete perimeter wall.
89
90. The Soldier Emperors (A.D. 235–284):
Murder and Civil War: During the turbulent third century A.D., many emperors ruled only briefly
before being murdered.
Soul Portraits of Soldier Emperors: Portraits of the soldier emperors in the third century A.D. are
notable for their emotional content and for their technical virtuosity. The nude, larger-than-life-size
bronze portrait of the short-lived emperor Trebonianus shows him with a small head and a thick
wrestler's body.
10-69 Portrait bust of Trajan Decius, A.D. 249–251. Marble, approx. 31" high.
Museo Capitolino, Rome.
90
91. Heroic portrait of Trebonianus Gallus
10-70 Heroic portrait of Trebonianus Gallus, from Rome, Italy, A.D. 251–253. Bronze,
approx. 7' 11“ high. Metropolitan Museum of Art, New York. Rogers Fund.
91
92. Battle of Romans and barbarians
Barbarians and Philosophers: The front of the Ludovisi Battle Sarcophagus shows a chaotic battle
scene filled with writhing and highly emotive figures. The piled-up figures are spread evenly across the
entire relief with no illusion of space behind them. The sarcophagus of a philosopher shows a Roman
philosopher seated on a throne flanked by two standing women in a frontal composition.
10-71 Battle of Romans and barbarians (Ludovisi Battle Sarcophagus), from Rome, Italy, ca.
A.D. 250–260. Marble, approx. 5' high. Museo Nazionale Romano, Rome.
92
93. Sarcophagus of a philosopher
10-72 Sarcophagus of a philosopher, ca. A.D. 270-280. Marble, approx. 4' 11" high.
Vatican Museums, Rome.
93
94. Pantheon
A Critique of the Pantheon: The Temple of
Venus at Baalbek ignores Classical traditions of
design in its insertion of an arch into the
pediment of the gabled columnar façade and in
the introduction of scalloped edges around the
circular domed cella.
Figure 10-73 Plan and reconstruction drawing of the Temple of Venus,
Baalbek, Lebanon, third century CE.
94
95. Diocletian and the Tetrarchy (A.D. 284–306)
Power Shared and Order Restored: Diocletian established the tetrarchy and adopted for himself the
title of Augustus of the East. He ruled the East together with a Caesar of the East. The other two
tetrarchs ruled as the Augustus and the Caesar of the West.
Individuality Lost: The tetrarchs are shown in two pairs of porphyry portraits without any
individuality.
10-74 Portraits of the four tetrarchs, ca. A.D. 305. Porphyry, approx. 4' 3" high. Saint Mark's, Venice.
95
96. Palace of Diocletian
A Fortified Palace for a Retired Emperor: Diocletian's walled palace at Split was laid out like a Roman castrum.
A colonnaded court leads to the entrance to the imperial residence, which has a temple-like façade with an arch
inserted into the pediment.
10-75 Model of the Palace of Diocletian, Split, Croatia, ca. A.D. 300–305. Museo della Civiltà Romana, Rome.
96
97. Changes in the Late Empire
• Understand the cultural influences that bring about changes
in Roman art and architecture in the Late Empire period.
• Understand how power, order and lost individuality are
expressed in the art of the Late Empire.
97
98. From Constantine to the Modern World
• Examine the changes brought about in the art and
architecture in the time of Constantine.
• Consider the Roman Empire as a bridge between the ancient
and medieval and modern worlds.
98
99. Constantine (A.D. 306–337)
Constantine and the Rise of Christianity: Following the defeat of Maxentius at the battle at the Milvian Bridge,
Constantine ended the persecution of Christians. In 325, at the Council of Nicaea, Christianity became the official
religion of the Roman Empire.
A New Arch with Old Reliefs: The Arch of Constantine utilized refashioned reliefs from earlier monuments. The
shallow Constantinian reliefs show poorly modeled undistinguished figures that are squat in proportion and have
mechanical gestures and repeated stances.
10-76 Arch of Constantine, Rome, Italy, A.D. 312–315 (south side).
99
100. Arch of Constantine
10-77: Distribution of largess, detail of the north frieze of the Arch of Constantine, Rome, Italy,
312-31:5 CE. Marble, approx. 3' 4" high.
Late Empire
100
101. Portrait of Constantine
10-78: Portrait of Constantine, from the Basilica Nova, Rome, Italy, ca. 315-33:0 CE. Marble,
approx. 8' 6" high.
Palazzo dei Conservatori, Rome.
Late Empire
101
105. Coins with portraits of Constantine
10-82: Coins with portraits of Constantine. Nummus (left), 307 CE. Billon, diameter approx. 1".
American Numismatic Society, New York. Medallion (right), ca. 315 CE .Silver. Staatliche
Münzsammlung, Munich. Late Empire
105
106. Discussion Questions
What are some of the unique elements of Roman art and
architecture that distinguish it from Greek and other art of
the same time period?
In what ways does Roman art and architecture incorporate
the arts of conquered peoples from England to Egypt?
What does the presence of veristic portrait art of the
Romans say about Roman culture?
Why does the art under Constantine begin to move away
from the verism of the High Empire?
106
