While Greek statuary was created to represent idealized human forms of athletes and gods, Ancient Roman sculpture represented real, ordinary people with their natural beauty and imperfections. The main purpose of the statuary was to immortalize, though many Greek and Roman statues were originally painted with bright colors which over the centuries lost the pigment. Greek sculptors derived the facial features from the idealized inner and intellectual characteristics, whereas the Romans inferred the personality from the physical features. As a very representative example, I suggest observing any bust of Vespasian, Roman Emperor depicted with each feature without any glorification. When comparing the statuary of the two great civilizations we can notice another significant difference. The traditions of the Roman Republic equate the nudity represented by the Greek sculpture as a dishonorable impudicity, more in favor of an iconography that represents the republican values of the citizenship.
While Greek statuary was created to represent idealized human forms of athletes and gods, Ancient Roman sculpture represented real, ordinary people with their natural beauty and imperfections. The main purpose of the statuary was to immortalize, though many Greek and Roman statues were originally painted with bright colors which over the centuries lost the pigment. Greek sculptors derived the facial features from the idealized inner and intellectual characteristics, whereas the Romans inferred the personality from the physical features. As a very representative example, I suggest observing any bust of Vespasian, Roman Emperor depicted with each feature without any glorification. When comparing the statuary of the two great civilizations we can notice another significant difference. The traditions of the Roman Republic equate the nudity represented by the Greek sculpture as a dishonorable impudicity, more in favor of an iconography that represents the republican values of the citizenship.
Evolution and Development of Arts & Architecture (as one of the intrinsic parts of Civilization)in Europe mainly in Greece and Rome occupy a significant position in the history of Human Civilization.
The culture of Art & Architecture was started in Greece in 450 B.C. In case of Romanian Arts and Architecture it was around 1st century BC the same was got developed and mostly inspired by Greek civilization.
The Art & Architecture in ancient Greece all shared the same general form: Rows of columns supporting a horizontal entablature ( a kind of decorative molding) and a triangular roof. At each end of the roof, the above entablature, was a triangle space known as the pediment, into which sculptors squeezed elaborate scenes. In case of Rome, the Art & Architecture includes painting, sculptures, mosaic works etc. Sculpture was perhaps considered as the highest form of art in Rome.
Evolution and Development of Arts & Architecture (as one of the intrinsic parts of Civilization)in Europe mainly in Greece and Rome occupy a significant position in the history of Human Civilization.
The culture of Art & Architecture was started in Greece in 450 B.C. In case of Romanian Arts and Architecture it was around 1st century BC the same was got developed and mostly inspired by Greek civilization.
The Art & Architecture in ancient Greece all shared the same general form: Rows of columns supporting a horizontal entablature ( a kind of decorative molding) and a triangular roof. At each end of the roof, the above entablature, was a triangle space known as the pediment, into which sculptors squeezed elaborate scenes. In case of Rome, the Art & Architecture includes painting, sculptures, mosaic works etc. Sculpture was perhaps considered as the highest form of art in Rome.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Digital Tools and AI for Teaching Learning and Research
Week6 roman middleages_part2
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5. Corinthian pilasters on a Buddhist stupa of green schist at Mingora, in the Upper Swat Valley, Pakistan. 2 nd Century CE Gandhara Buddha. 1st-2nd century CE. Herculean depiction of Vajrapani (right), as the protector of the Buddha, 2nd century CE Gandhara, British Museum.
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7. Three goddesses (Hestia, Dione, and Aphrodite?), from the east pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438–432 BCE. Marble, greatest height approx. 4’ 5”. British Museum, London.
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11. Dying Gaul. Roman marble copy after a bronze original from Pergamon, Turkey, ca. 230–220 BCE, approx. 3’ 1/2” high. Museo Capitolino, Rome.
21. ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, life-size. Galleria Borghese, Rome.
22. Bronze statuette of a veiled and masked dancer , Greek, 3 rd -2 nd Century BC From Alexandria, Egypt
23. Auguste Rodin, 1902 “The Boxer,” Roman bronze copy of Greek sculpture by Apollonius the Athenian, 1st century BCE
24. Altar to Zeus in the Pergamon Museum, Berlin. – 2 nd Century BCE
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29. The Nazi-era architect Albert Speer used the Pergamon Altar as the model for the Zeppelintribüne, 1934-37
30. Laocoön and his sons, from Rome, Italy, early first century CE Marble, approx. 7’ 10 1/2” high. Vatican Museums, Rome.
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35. Portrait of Homer. Marble, Roman copy after a Greek Hellenistic original, 1st to 2nd century AD. From Baiae, Campania. Dimensions H. 57.5 cm (22 ½ in.)
36. The Winged Victory of Samothrace, also called the Nike of Samothrace, is a third century B.C. marble sculpture of the Greek goddess Nike (Victory).
41. The greek god Hermes (Mercurius for the Romans) in the Pio-Clementine Museum is a 1st century Roman copy of the Greek 4th century BCE original from the Praxiteles school.
42. Venus de Milo Parian marble, h 2.02 m (6 1/2 ft) Found at Milo 130-120 BC
79. "Nothing can last forever. Once the sun has shone brightly, it sets in the ocean. The moon wanes after it is full. Thus the ferocity of love often becomes a gentle breeze." ~written in Latin verse on the wall of a house in Pompeii
80. Fayum (or Fayoum) mummy portrait of a young woman with a gilded wreath Encaustic on wood Ancient Egypt, Roman Period A.D. 120-140
84. Roman statue of Aphrodite – washed up on the coast of Israel on December 14, 2010 after a storm – dating from between 1,700 and 2,000 years ago
85. Key Terms: Icon Isometric Perspective Mosaic Illumination Basilica Cross Plan Central Plan Key Movements: Byzantine Romanesque Gothic Chapter Fifteen Christianity and Formation of Europe
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88. The Good Shepherd, the story of Jonah, and orants, painted ceiling of a cubiculum in the Catacomb of Saints Peter and Marcellinus, Rome, Italy, early fourth century.
89. Christ as Sol Invictus, detail of a vault mosaic in the Mausoleum of the Julii, Rome, Italy, late third century. Apollo / Helios, from a Roman floor mosaic. Borrowed iconography of the Greek and Roman gods Apollo and Dionysus
90. Calf Bearer (Moschophoros) , dedicated by Rhonbos on the Acropolis, Athens, ca. 560 B.C. Marble, restored height approx. 5' 5". Jesus as the Good Shepherd. Ceiling - S. Callisto catacomb. - mid 3rd century A.D.
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92. Portraits of the four tetrarchs, from Constantinople, ca. 305 CE. Porphyry, approx. 4’ 3” high. Saint Mark’s, Venice.
93. Portrait of Constantine, from the Basilica Nova, Rome, Italy, ca. 315–330 CE. Marble, approx. 8’ 6” high. Palazzo dei Conservatori, Rome. A symbol of his continuing presence in Rome after moving the administration to Constantinople His features are exaggerated, especially the geometrical eyes, and his hair is abstracted. This is a precursor to Byzantine art.
103. Restored view (a), plan (b), and section (c) of Old Saint Peter’s, Rome, Italy, begun ca. 320. (The restoration of the forecourt is conjectural.) They added a transept , an elongated rectangle, to the apse as a focal point. This constructed the cross plan Demolished in 1506
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106. Christ before Pilate, folio 8 verso of the Rossano Gospels, early sixth century. Tempera on purple vellum, approx. 11” X 10 1/4”. Diocesan Museum, Archepiscopal Palace, Rossano.
113. Plan of San Vitale, Ravenna, Italy, 526–547 .
114. Christ as the Good Shepherd, mosaic from the entrance wall of the Mausoleum of Galla Placidia, Ravenna, Italy, ca. 425.
115. Theodora and attendants, mosaic from the south wall of the apse, San Vitale, Ravenna, Italy, ca. 547.
116. Portrait of a husband and wife, wall painting from House VII,2,6, Pompeii, Italy, ca. 70–79 CE. Approx. 1’ 11” x 1’ 8 1/2”. Museo Nazionale, Naples.
117. Pantokrator, Theotokos and Child, angels, and saints, apse mosaic in the cathedral at Monreale, Italy, ca. 1180–1190. Note the position and authority of the deity Pantokrator = “Ruler of All” Emphasizes the divine, awe-inspiring majesty of Christ as opposed to his gentle, approachable incarnation as Jesus seen in catacomb murals
118. Interior of Saint Mark’s (view facing east), Venice, Italy, begun 1063. By de-emphasizing the roundness and weight of the human form – artists are expressing the otherworldliness or holiness of these figures floating in a Byzantine vision of heavenly splendor
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120. Purse cover, from the Sutton Hoo ship burial in Suffolk, England, ca. 625. Gold, glass, and enamel cloisonné with garnets and emeralds, 7 1/2” long. British Museum, London. Massive influx of Germanic peoples – mosrly nomadic tribes
121. Monks copied and illuminated/decorated pages of Scripture and other writings with infinite detail. X-P page From the Lindisfarne Gospel Book
124. Equestrian portrait of Charlemagne or Charles the Bald, from Metz, France, ninth century. Bronze, originally gilt, 9 1/2” high. Louvre, Paris. Holy Roman Emperor -crowned politically as well as spiritually
125. Equestrian statue of Marcus Aurelius, from Rome, Italy, ca. 175 CE. Bronze, approx. 11’ 6” high. Musei Capitolini, Rome.
128. Battle of Hastings, detail of the Bayeux Tapestry, from Bayeux Cathedral, Bayeux, France, ca. 1070–1080. Embroidered wool on linen, 1’ 8” high (entire length of fabric 229’ 8”). Centre Guillaume le Conquérant, Bayeux. This is one of 72 episodes depicting the Norman invasion. Note the abstracted flattening and use of isometric perspective. The entire piece is like a long picture book, 20 inches high and 231 feet long, that tells the story of the conquest of England by William of Normandy in 1066.
147. Old Testament kings and queens, jamb statues, central doorway of Royal Portal, Chartres Cathedral, Chartres, France, ca. 1145–1155. Romanesque style can be seen in the elongated and flattened bodies of these figures created to embellish architecture
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150. Saints Martin, Jerome, and Gregory, jamb statues, Porch of the Confessors (right doorway), south transept, Chartres Cathedral, Chartres, France, ca. 1220–1230.
151. Visitation, jamb statues of central doorway, west facade, Reims Cathedral, Reims, France, ca. 1230. Contrapposto Drapery articulates the bodies underneath
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153. Virgin and Child and angels (Notre Dame de la Belle Verrière), window in the choir of Chartres Cathedral, Chartres, France, ca. 1170, with 13th century side panels. Stained glass, 16’ X 7’ X 8”. Like the gold of Byzantine depictions the gemlike colors of stained glass represent a medieval vision of heavenly splendor
154. Rose window and lancets, north transept, Chartres Cathedral, Chartres, France, ca. 1220. Stained glass, rose window approx. 43’ in diameter.
157. Blanche of Castile, Louis IX, and two monks, dedication page (folio 8 recto) of a moralized Bible, from Paris, France, 1226–1234. Ink, tempera, and gold leaf on vellum, 1’ 3” X 10 1/2”. Pierpont Morgan Library, New York.
158. CIMABUE, Madonna Enthroned with Angels and Prophets, ca. 1280–1290. Tempera on wood, 12’ 7” x 7’ 4”. Galleria degli Uffizi, Florence.
159. Duccio, Christ Entering Jerusalem , detail of Maesta Alter, 1308-11, Tempra on Panel, 40x21” By the early 1600’s we begin to see a break with the Middle Ages art styles in favor of: - Naturalistic spatial techniques - Realistic proportion - Depiction of movement Two artists very influential in making this transition, which is considered a precursor to the Renaissance style, are Duccio and Giotto.
160. Fresco wall painting in a cubiculum (bedroom) from the Villa of P. Fannius Synistor at Boscoreale , ca. 40–30 b.c.; Late Republican Roman
161. DUCCIO DI BUONINSEGNA, Betrayal of Jesus, detail from the back of the Maestà altarpiece, from the Siena Cathedral, Siena, Italy, 1309–1311. Tempera on wood, detail approx. 1’ 10 1/2” x 3’ 4”. Museo dell’Opera del Duomo, Siena.
162. GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305. Fresco, 6’ 6 3/4” x 6’ 3/4”.
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Editor's Notes
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
The faith of Christianity spread rapidly and transformed the Roman Empire. It was but one of many religions, but quickly became organized and popular among the wealthy and influential. The belief in the birth of Jesus Christ in Bethlehem, a district of Rome, begins the Roman Calendar as “year one,” though the actual date is disputed.