Roman Art and ArchaeologySpring 2022
Dr. Rogers
Paper Assignment: Sarcophagus Analysis
In this class, so far, we have explored the commemoration of the dead in a number of ways.
Now, I want you to imagine yourself as an elite individual in the late second century or early
third century—and how you would memorialize yourself with your own funerary monument.
To do so, you will find examples of six different sarcophagi that can be found in the
Metropolitan Museum of Art (New York) or the British Museum (London) below. Sarcophagi
were often mass produced in antiquity—but there was choice behind how an individual would
purchase a particular design—perhaps to reflect their own identity or conception of
themselves. Explore these examples closely—and find one that speaks to you (as your imagined
ancient Roman). In your paper, address the following, however you see fit:
1. Describe who you are as an individual from the ancient Roman world, using discussions
and materials we have covered in class. Think about how that might inform your choice
of your sarcophagus.
2. Identify and discuss the object you have chosen using the methods of analysis that we
have been using in class. Give a thick description of the composition on the
sarcophagus. What do you see? How are the figures arranged? Is there indication of
space or landscape?
3. Discuss how the sarcophagus relates to our class thus far. Is it similar to other funerary
monuments and objects we have examined? (Cite specific examples!) Is it drastically
different? What styles is it influenced by?
4. Think about why you (that is, the patron and deceased) would want to be
commemorated through this object and its decoration. What does the sarcophagus say
about you?
Other considerations that you need to follow:
• Each paper must be between 4-5 pages in length
• Each paper must be typed (12 point font) and double spaced, with one inch margins
• Each paper must have numbered pages
• Each paper must be pledged and signed
• Each paper must include a title page, naming the essay under discussion as a title, your
name, the date, the name of this class and its number, and my name (Dr. Rogers). The
title page does not count towards the 4-5 pages of your paper.
*The goal of this paper is for you to look closely at an object and to analyze its composition that
we will not discuss in class in-depth.
1
*Each paper will be graded for its organization, content, and clarity of thought, grammatical
correctness, and overall presentation. Please make every effort, therefore, to eliminate all
misspelled words and minor errors. Because you are thinking about an imagined persona—
feel free to use the first person—and make this as personal as you wish—while still grounding
your discussion in topics and resources we have covered in this course thus far.
*No additional research is required for this paper. If you need extra inspiration, you are very
welcome to read the description that the museum provides about the object and look up the
mythological subjects on the internet, in case you are unfamiliar with them. You are welcome
to cite lecture/discussion section (e.g., Lecture 4/5/2021) or your textbook (e.g., Fullerton
89/fig. 3.4).
*Your papers must be submitted by midnight on 14 April through Gradescope, where you will
be able to upload a PDF copy of your paper.
List of sarcophagi to choose from:
Dionysus Sarcophagus (Metropolitan Museum of Art)
https://www.metmuseum.org/art/collection/search/254819?&searchField=All&deptids=13&w
hen=A.D.+1-500&high=on&ft=*&offset=0&rpp=80&pos=19
British Museum objects: If the links provided do not work, please go to the British Museum
website, and then click on ‘Research’ at the top header, then ‘Collection’, where there is a
search feature to enter the inventory numbers. I have also had easier luck Googling ‘British
Museum’, then using the first hit on the results page—there is a search box, ‘Results from
britishmuseum.org—and the inventory numbers seem to work every time there.
Achilles Sarcophagus
Inv. No.: 1861,0220.1
https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?ass
etId=393040001&objectId=459810&partId=1
Battle Sarcophagus
Inv. No.: 1846,0831.1
https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?obj
ectId=3102284&partId=1&searchText=Funerary+portraits&page=1
Endymion Sarcophagus
Inv. No.: 1947,0714.8
https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?obj
ectId=459806&partId=1&object=21803&sortBy=imageName&page=17
Greeks and Amazon, Ienos Sarcophagus
Inv. No.: 1947,0714.7
2
https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?obj
ectId=459815&partId=1&searchText=roman+sarcophagus&images=true&page=4
Child’s Sarcophagus
Inv. No.: 1805,0703.132
https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?obj
ectId=459993&partId=1
** Please note that the museums provide either zoomable images or multiple images (on the
British Museum, make sure to click “More Views”)—so that you can get a thorough look at
the objects.
3
1/25
Topographical Map
What can you tell about the Italian peninsula from this map?
● There is a mountain coming down to the peninsula
● There is a river valley in the top for transport and agriculture.
Italian Geography:
● Mountain
– Alps
– Apennines
– Vesuvius,Etna
● Rivers
– TIber
– Po
● Bay of Naples
Chronologies:
– Stone Age (prehistoric)
– Bronze Age (prehistoric)
– Iron Age
Villanovan pozzo burial, 9th cent, Fig.1.2
– Pozzo: Italian word for ditch.
– Made out of birt
– Shape of a helmet
– Male individual
8th century BCE terracotta hut urn
Slide identification
– Name
– Date/period/dynasty
– Material
– Form
– Function
– Significance
– Location
Etruscans
– Etruscans are famous for their orthodontics.
– Role of women
– They have a writing system (estruscan language and script)
– Dead language
– Haruspicy
Etrusco – Italic Art
● Interaction with other peoples
– Acculturation: Active reception of material culture (not blind limitation)
– Reappropriation of themes,myths,forms
● Death & Commemoration
– Scenes of the underworld
– Funerary culture and rituals: banqueting games
– Creation of registers to depict various scenes, etc.
● Etruscans power and trade
– Mining and commerce of metal
– Master metalworkers
● Architecture and sculpture
– Terracotta sculpture, in tombs and on temples
– Temple form will greatly influence roman architecture
Estruscan consumer culture
– Amphora by the bearded sphinx painter vulco, 610,600 BCE, Clay, Fig1.6
– Corinthian olpe, ca, 625 BCE influenced by the east
– Aristonothos Krater, cerveteri, mid-7th cent., figs 1.8, 1.9 , Aristonothos Epoiesen
“Aristonothos made me”
– Pontic amphora by the paris painter, vulci, 540 – 530 BCE, clay , Fig 1,7
cerveteri
– Plan of banditaccia Necropolis, cerveteri
– Tumulus cerveteri fig, 1.11
– Regolini- Galassi Tomb, cerveteri, ca. 650-600 BCE Fig 1.10
– Bronz
– Gold fibula, Regolini- Galassi tomb, cerveteri 31 cm (12 in), 7th century BCE, Fig. 1.12
Etrusco-Italic Art
– Caryatid chalice, Regolini-Galassi Tomb, ca.650-600 BCE, ceramic, fig1.13
– Estruscan bucchero , black shiny glazed and it’s very common in estruscan market
Tomb of the shields and chairs, banditaccia Necropolis, cerveteri, ca.550 BCE
● Cut rock beds
● Used by families generation by generation
● Important social element to estruscan
Euphronios Krater (2009)
Tomb of the reliefs, Cerveteri, Early 3rd cent BCE
Charun cerberus
● 3 headed dog
Fresco Techniques
● Buon Fresco is often called true fresco. There is a chemical reaction that goes through
this painting. Water and lime paint then you will add the pigment to the red plaster and
once it dries the chemical reaction happens.
– Lime
●
Fresco secco
– Tempera (egg based) durable pigment system but not permanant.
Tombs of the bulls, Tarquinia, 540
● Tarquinia
● 540-520 BCE
● Material of the fresco: Lime
● Buon (‘true”) fresco
● Funerary or commemorative
● Evidence of greek on etrsucan art
Troilus achilles
– Greek method that’s now in the estruscan
Tomb of the Augurs, Tarquinia, 530 BCE
– Very large registers
– Thick thighs
– Honor the memory of the dead
– Wrestling
– Imperial-era lituus (what they hold)
Gesture & pose
– Mask with long beard
– Phersu (estruscan god)
– Roman art is very understandable based on gesture\
Tomb of hunting and fishing, Tarquinia, 530 BCE, figs, 1.16, 1.17
– Ridge pole
– Banqueting
– Circles in different colors are rits that are made of flowers
Tomb of the Leopards, Tarquinia, 480-450 BCE, Fig 1.18
– Horror vacui
Artistic convention
– Darker skin color symbolizes male person and lighter skin color is female person in
estruscan world.
–
Karaburun (lycia), Turkey, ca. 470 BCE
One thing that estruscan love to hold is egg because it represent fertility.
Francois Tomb, vulci, End of 4th century, BCE, figs. 1.19-1.22
Sacrifice of Trojan captive, with charun and vanth
– He looks like a monster and his skin is blue.
– Estruscan goddess vanth.
Battle, with etruscan names
Verism
– Vel series and arnza, wearing toga picta(painted)
Velcha Family, tomb of the shields, Tarquinia, 325 BCE
– Garment (very thin linen)
– Tenderness in the couple (embracing each other)
Estruscan Sculptures:
‘Canopic’ Urn, chiusi, 625-600 BCE, Terracotta, 18 inches, cf. Fig.1.24
– Cremation
– Vessels is in 2 parts. The top is the head
Couple sarcophagus, cerveteri, Terracotta, Late 6th cent. BCE, Villa Giulia, 5 ft long, Fig 1.25
– Lid
– Made of terracotta
– Break really easy
– inhumation
– They were put together with pieces.
– Male and female couple
– He is wearing a beard and long braids
– She also wears long braids
Sarcophagus of Ramtha visnai & Arnth tetnies, vulvi, Early 3rd cent. BCE, Nenfro stone, Figa.
1.28-29
– Married couple
– Marriage ceremony in estruscan world
clamps Right hands
– Embracing each other
– Close connection that estreucan society had
Sarcophagus with couple, Vulci, 350-300 BCE, Limestone, figs.1.26
– Amazonomachy
– More relief
– You could go underneath their arms
– Hellenizing
Sarcophagus of Lars Pulena, Tarquinia, early 2nd Cent. BCE, Nenfro, Fig.1.30
– Cursus Honorum
– Vnaths, charuns
– He’s wearing a Sigment ring
– His posture is upward
– He has double chin
– Older gentelman
Etrusco-Italic Architecture
● Tall podium
● Deep front potches
– Frontal orientation
● Wide roofs
● Small roofs
● Rooftop sculptures
Portonaccio sanctuary, veii, 510 BCE, Fig, 1.41
– Prostyle
Temple of Hera, paestum, ca. 450 BCE
Rome: 753 BC
– Famous for their tiger river
– City of 7 hills
7 hills of Rome
● Aventine
● Caelian
● Capitoline
● Esquiline
● Palatine, very important hill,
● Quirinal
● Virminal
●
Extra: Vatican, Janiculum
House Urn, 7th century BCE, Forum Romanum, Rome, terracotta
Temple of Jupiter Optimus Maximus, Rome,ca.500 BCE vulca of veii (sculptor), fig. 1.39
– Very important architecture in city of rome
– The greatest
– Podium: 13’ H 220’ x 180’
Capitoline Triad: because overtime as the romans become empire, they will imprint these form
of temples
– Jupiter
– Juno (his wife)
– Minerva (friend)
Apollo, Portonaccio sanctuary, veii, 510 BCE, painted terracotta, 5’9’, fig. 1.42
– Archaic smile
– Almond eyes
– Akroterion
– Modest (he has clothes on )
– Hellenistic
– He’s moving unlike kouros
Pediment relief, Temple A, Pyrgi, 460 BCE, 57 in
– Seven against thebes tydeus & melanippus
– Women on the left is minerva wearing Aegis Gorgoneion
– Attribute
– Etruscan antefix
Temple of zeus, Olympia, ca. 470-460 BCE
Capitoline she wolf, 5th cent. BCE or 11/12 th cent . CE bronze, 44 in W, fig 1.37
Chimera, Arezzo, 4th cent. BCE, Bronz, 32 in H
– Snake tail
– Mythological figure
– There is a inscription on it as tinscivill= gift , votive object
“Mars” of Todi, early 4th cent. BC, Bronz, 4 ft high, Fig. 1.34
– Votive given by Ahal trutitis (description on him)
– Looks very realistic
– Oftentimes lips is painted
– He is wearing a military garments
– Mimeris (naturalism of face, details, hairs)
– Cuirass
– He’s feet is flat on the ground (the heel supposed to be up but it is flat)
“Brutus” bust, bronze, ca. 300 BCE, 12.5 in tall, Fig. 1.35
– Portrait (bust)
– Aged man or older gentleman ( wrinkle and beard)
– Aquiline nose (idea from eagle)
Aulus Metellus (Arringatore), Early 1st cent. BCE, cortona, 5’11, fig 1.43
– Gesture ad locutio
– Toga
– Description of the etruscans on his toga
Ficoroni Cista, 350-330 BCE, praeneste, bronze, 2,5 ft. H, Figs 1.32-33
– Inscription: Novios plautios (artist), made me in Rome/ Dindia macolnia gave me to her
daughter
– Continuous narrative ( follows a story in time)
– Incision
– Argonauts, king Amycus
Bronze mirror, with chalcas, Early 4th cent. BCE, vulci
– Etruscans love mirror
Roman History…
● Aeneas of troy: lands in latium (aeneid)
– important element of how romans think of themselves
– Escaped from Trojans
– His mother is venus (goddess of beauty)
Regal period (7 kings): 753-509 BCE
● Romulus
● Numa pompilius
● Tullus Hostilius
● Ancus marcius
● Lucius tarquinius priscus Etruscans
Poussin, Intervention of the Sabine Women, 1799
– Women stop the war
Reconstruction of wattle and daub hut, 8th cent. BCE, rome
– Post holes, palatine hill
Hercules and Athena, painted terracotta, akroterion
– Very recognizable attribute
– Archaic smile
Apollo, veii, 510 BCE
Temple of Fortuna, Sant’omobono sanctuary, 570-540 BCE, Fig.1.40
– Archaic temple
Roman Republic: 509- 27 BCE
Artemisia Gentileschi, the rape of lucretia, 1600s.
● Fall of Tarquinius Superbus
– Rape of Lucretia by sextus Tarquinius
– Role of Lucius Juniud brutus
● Establishment of the republic
● Stratified society
Roman social Hierarchy pyramid
Paterfamilias patria potestas
– Rights Of (elite) women: Types of marriage (whether under control of husband or not,,
but under a guardianship.
Toga
– Lot of fabric and the major thing is that his left arm is bound up and wrapped around in
his toga and the right arm is holding.
S curve down (very identifiable )
– Senators and emperors
– Simple toga called toga virilis
– If a woman is wearing a toga in rome that mean shes a prostitute
Lictor= bodyguard
Fasces= bundle of rods with ax
One of the major drains in the city of rome is called the
– Cloaca maxima, ca.6th cent. BCE
Vaulting, ca.2nd cent. BCE
Development of recognizable greek culture
● language
Forum (city center)
● Political blgs
● Religous blgs
● Cultural blgs
● Historical structures
● Commerce
–
Increased monumentalization over time
Lapis Niger
– Balck stone
– Writing on it with greek elements
Lagus curtius (curtian pond)
– Throw into the chasm, “that what constituted the greatest strengths of the roman
people.” livy 7.6
Roman basilica
– Forum romanum after 2nd cent. BCE
Pomerium
– religious ceremony
Cardo (N-S)
Decumanus (E-W)
– Ostia,338 BCE
Timgad, algeria
– 1st cent. CE
Cosa, 273 BCE
Capitolium, Cosa, 273 BCE.
Forum Holitorium
Forum boarium
Turning to monumental stone construction
– Tuff
– Limestone
– Pentelic Marble
Temple of portunus, Rome, 80-70 BCE, Tuff, Limestone, stucco, fig.2.98
– Covered up with stucco
Pseudoperipteral
Temple of Hercules Victor, Rome, Ca. 140 BCE, pentelic marble, fig. 2.10
– Lucius mummius
– Sack of corinth, 146 BCE
– Tholos
– Munibial building, ex manubiis
– Corinthian column
Roman concrete/opus caementicium
– Concrete drives innovation
– Pozzolana
– Chronologies: development of concrete facing
Opus incertum
– Temple of jupiter anxur
Opus reticulatum
– Hadrian’s villa, tivoli
Opus testaceum
– Ostia (ca. 2nd c. BCE)
Combination of different bricks
Republican temples, tivoli, early 1st cent. BCE, figs. 2.11
– circular
Passageway types:
Post and lintel:
– Two monoliths and a horizontal slab
Corbeled Arches
– Stacked and cantilevered masonry blocks
Arch:
– Voussoirs (secured by a keystone), distribute laterally the downward thrust
Temple of portunus, ca. 150 BCE
Gateway, arpinum, ca. 305 BCE
Roman concrete/opus caementicium
– Concrete drives innovation
– Pozzolan
Cutaway reconstruction of the porticus Aemilia, Rome, 193-174 BCE
Themes of Augustan principate
– Pietos
– virtus
– Harmony/Peace
– Divine lineage
– Family values
– Dynastic claims
Temple of Divus lulius
– 29 BCE
– Rome, figs. 4.22-23
Coin depicting the parthian Arch
– 16 BCE
– (Arch 19 BCE)
– Rome
Curia Lulia
– 29 BCE (repaired ca. 311 CE)
– Rome
– Suffers fire
Basilica Julia
– Large basilica
– Inner central area the nave
– Arceded form (arch form)
What are the differences between the two fora?
– Semi circular elements not straight
– Bigger
– Hemicycle or exedra
Subura
– Fire wall
Temple of mars ultor
– Forum of Augustus dedicated in 2 BCE Rome, fig. 5.18
– Vowed in 42 BCE
– He found rome a city of brick and left it a city of marble.”
– Suetonius
– Luna marble and opening of the quarries there
Summi viri: greatest men
Algeria, fig 5.19.
– Venus and cupid
– Mars
– Ceasar
– Cult statues
– Divine dont wear shoes
– You take off shoes to go to some sacred places
Caryatid porch, erechtheion, athenian acropolis, 5th c. BCE
– Remains of Attic story , fig. 5.20
What does the forum complex convey, especially thinking to the themes of the Augustan
principate?
How does a roman man, who becomes “augustus” at the age 36 depict himself?
Corona civica
Classicizing?
Idealization
Visual literacy
Primaporta augustus
From 19 BCE (marble copy), fig 5.2
– Wearing military
– His gesture
– Baer foot
– Paludamentum
– Eros (cupid) on a dolphine
Dating issues:
– Found at livia’s villa at prima porta
– Augustus shown this way in coinage after 31 BCE
– Commissioned by tiberius after 14 CE
What are the parts of the composition of the cuirass?
Identification
– Augustus aeneas
– Mars
–
Romulus
Exercitus romanus
Tiberius??
Personification
Augustus as pontifex maximus
– After 12 BCE
– Rome
– Capite velato
– Petera
03/01/2022
Arch of Augustus
– End of 1st century BCE susa, Italy, Rebellion of troops in german boarder to
Tiberius, and his son Drusus tries to talk to military., fig. 8.23
– Sculptural decoration on the frize
– Plain
– The holes where they attached bronze letter
Marcus Julius Cottius, son of king Domunus
– Frieze from the arch of augustus, susa, fig, 8.24
– suovetaurilia
Arch of Tiberius, 14-18 CE, Orange (france), fig. 8.25
– In france
– Southern france more architecture coming up
– The double adic
– Side: four columns ornate, another pediment on the side ( broken up in the middle)
– Weapons, very imperial iconography (idea of defeat and victory)
Temple of Roma and Augustus, 1st cent. CE, vienna, france, fig 8.12
– Deep porch
– Deep, high podium
– Detail of the fluting and corinthian
Maison Carree, (important)
– Nimes, France
– Dedicated ca. 4CE, Fig 8.11
– Beautiful corinthian style style extension to the frieze
– Vegetal motifs
– Engage column in the back
– Temple dedicated to lucious and gayas
Theater at Orange , fig 8.34
– France
– 1st cent . BCE
Scaenae Frons
merida, Spain
Death & Commemoration
What have we seen already?
– Sarcophagi
– urns
– cremation → inhumation
– portrait
– CV
– wealthy
Mausoleum of the Julii
– Ca. 30-20 BCE
– Saint- Rémy- de- Provence
– France
– Four sided monument
– Triangle arch
– Tholos
– Cenotaph
– battle scene
Funerary Relief from Amiternum
– 1st cent. BCE
– Fig 8.1
– Style formerly known as “plebeian art”
– This is showing a funerary procession of the deceased
Actors, whaling
– Loudest
Gladiator Relief from Amiternum
– 1st cent bce, Fig 8.2
Funerary relief with portraits of the Gessi Family, ca. 30-13 BCE Rome
– Gessia fiesta
– Gessius Primus
– Publius Gessius
Tomb of Eurysaces, ca. 30 BCE, Rome
– Travertin, Luna Marble, Figs. 8.4-6
–
Limestone
Portraits eurysaces
Under the eurysaces there is going to be an inscription
The inscription says “this is the monument of marcus Vergilius Euyasaces, baker
Continuous narrative
Cinerary urn: shape of breadbasket
Roman collegia
Livia’s family urbana
– Columbarium
– Cinerary urns
– Inscriptions
– Important to have these types of urnss
– 8 medici (physcians), chief, eyes,surgery
– Midwives
– Maker oils, perfumes
The Julio- claudian Dynasty
– Continuity= how they will style themselves similar to augustus
– Rejection
– Innovation
The julio- claudian emperors
– Augustus 27 BCE- 14 ce, defied
– Tiberius 14-37 CE ,
– Caligula 37-41 CE
– Claudius 41-54 CE, defied
– Nero
Tiberius
– After 4 BCE
– Arsinoe, Egypt, Marble
– – curviness to him
– He’s not doing a large quotation
– Similarity to Livia Agusta
Statue group of tiberius and livia, from paestum, now in Madrid
Tiberius, 1 cent . CE, Marble, fig 6.1
– Very small mouth like his mother
Coin portrait of tiberius, 14-31 CE silver, fig. 6.2
– Pointed nose
– chin
What is a villa?
– Spelonga (villa tiberio)
– Country side (agricultural production state), marathon villas (directly on the coast)
Villa jovis of Tiberius at Capri
– All about the view
– Villa is famous at the literature
– This is where tiberians go to naughty behaviors that happens to this villa
Villa of Tiberius, Sperlonga, ca. 25 CE
– Sejanus, praetorian prefect ( praetorian guard , important military group)
– Dinner parties
Natural Cave ( history or impact on tiberius lives)
– Triclinium
– interior of the cave there are few sculpture
Sculpture: Odysseus and his men , blinding polyphemus marble
– Odysseus and his men , blinding polyphemus marble: Eating men, the whole point here
is the climax of the story where they blind
– Hellenstic art (drama, climax, motion)
Lacoon
Odysseus
Another sculptural group called Skylla group
Artist signatures:
– Agesander, polydorus, & athenodorus fig 7.17
Boscoreale treasure
– Collection of objects usually luxury objects
– Silver Mirror
– Silver, gold plated,
Boscoreale cups- tiberius
– Ca. 15-20 CE
– Boscoreale
– Silver
– Scyphus
– Private objects, with imperial imagery…
Boscoreale cups– Augustus
– Ca. 15–20 CE
–
Boscoreale
Personification
Female figure
Venus, honos
Lictors
Clementia
Behind mars there are females
There so no real living people, his wife, tiberois
Gemma Augustea (gem);
– Ca. 14 CE
– Boscoreale (treasure was found)
– Sardonyx
– 7.5” x 9”
– Fig. 6.9
Augustus sign is a capricorn
– Roma is next to augustus
– They are talking
– Tiberius is the person on the left
– Behind tiberius is victoria
– On the left oceanus
– Behind oceanus is oikoumene
Lower relief
– Trophy (pull up the stone)
– Torque ( men wearing this thick necklace)
– 4 captured people
– Mens wearing trousers
– bearded , long hair
– The violence, the man is on his knees, they are typically someone whos being
supplicated
Grand camee de france
– Ca. 37 CE,
– Sardonyx
– 12.25” H , fig 6.11
– How does this compare in composition to the gemma augusta
– Littus
– Layers of people
– The main composition is 37 CE, tiberius dies, this is made after tiberius dies because the
veiled female is taken to the heaven, augustus is at the top, throne female is bare
chested, livia with his mom,, unidentified tiberius is talking with.
– Dynasty through imperial iconography
Reliefs from the villa medici, Rome, 1st cent. CE, marble, igs. 6.14-15
– Historical events
Ara pietatis/Ara Gentis Lulis?
– Coming from alters
– Priests that are coming through, priestly cap that has point to it
– Certain priests have bodyguards
Vicomagistri Altar, 1 st cent. CE, marble, 3’5 H figs. 6.16-17
– vicus( neighborhood)
– Vicomagistri (local magistrate)
– Lares ( showing how to dance, wine vessel on their hands) every household has a
depiction of lare and genius
– Genius
– They are all holding images of lares
Ravenna Relief
– 1st cent. CE, marble, 4’7’ H, fig 6.19
– We have some depictions of divine
– Depiction of augustus next to livia, hes wearing a star on his forehead,
– Idea of showing family ,
– There is a hierarchy of scale here (italic)
– Augustus
– Livia
– Divus julius? (divus star)
Caligula= little boots
Polychromy
Suetonius, twelve caesars
Caligula
– Ca. 38 CE
– Virginia museum of fine arts, richmond
Damnatio memoriae = condemnation of memory
– The behavior was bad
Agrippina the Elder
– Ca. 40-45 CE
– Coin depicting caligula’s three sisters
Claudius as jupiter, ca. 50 CE
Lanuvium (italy), fig 6.5
Divine form= power of the principate?
– Supported by his scepter
– eagle
– Trying to bring back stability
Return to republican values?
Claudius vs Zeus
– Olympia, greece
– 50s- 60s CE
– Augustan
Julio- claudian group
– Ca. 45-51 CE
– Velleria (italy
Temple of Divus Lulius
– 29 BCE
– Rome
Julius caesar assassination coin is worth a mint
Phyrigian cap
– Cap of liberty
– Brutus and cassius
Roman proscriptions: death and personal items auctioned
Julio claudian group
Ca. 45-51 CE
Young Nero
– Ca. 48-51 CE
Bulla
– Type probably created when claudius adopted him
Marriage of : claudius agrippina the younger
Germianicus?
Agrippina the elder?
Rome?
Augustus
sebastos= augustus
Sebasteion, aphrodisias (turkey), mid-1st cent. CE
Claudius conquering britain
– Conquest begun 43 CE
How can we describe claudius dress?
–
He is pushing his knees on her back.
He is nude
Civil war & the flavians
The civil war: the year of the four emperors (69 CE)
– Galba (governor of spain)
– Otho (governor of lusitania)
– Vitellius (governor of lower germany
– Vespasian (commander of Roman legions in judea)
Sestertius with Galba
Otho
Head of vitellius
69 CE
Vespasian
– 70 CE, Marble,fig. 6.2 1
– Old person
– Verism
– receding Hairline
– Wrinkles
– He is a general and he is from the lowest classes but he was able to take the throne
– He does have some lower class background
The flavians (69-96 CE)
– Vespasian
– Titus
– domitian
Togate statue of titus
– Ca. 70-80 CE
Portraits of the deified vespasian and titus, sacellum of the Augustales, misenum (italy), H 7ft,
marble, 90-96 CE, fig 6.24
– Augustus = collegium of freedmen dedicated to the cult of augusti (imperial cult)
Domitian
ca . 88-90 CE
– Marble, compare fig. 6.22
Flavian Women
–
Janet stephens
Hairstyle archeologist
Rag curls (wet curls)
– Wreath bun (hair piece)
The artists is using the running dill to get dark curls
Arch of titus
– Victory monument
– Ca. 81 CE Rome
– Single bay
– Best preserved in the city of rome
– Very plain single bay, engaged columns, composite orders
– Triangular spot spandrel. Idea of victory
Fig 6.26-29
– Coffers
– Along the sides are on one side: Triumphal procession, menorah,
tabula ansata (they tell tell you what you are looking at), vibrant, moving in poses
On the other side is quadriga,, fasces, senate, virtus, senate, in the back are the lictors
Adventus
– Vespasian and titus going on campaign
– Vespasian coming back
– Virtus is in the back
Sculptural relief style in the 1st century: classicizing, but increased legibility and clarity, more
static
Flavian Amphitheater (colosseum), rome, travert
Annular barrel vaulting
Architectural vocabularies
– Theater of marcellus
Social hierarchies
Hypogeium
Temple pacis (forum of vespasian), Rome, dedicated 75 CE, fig 7.20
Domus Flavia
– Dominus et deus
– 1. Aula regia
– 2. Basilica
– 3. Peristyle
– 4. Triclinium
– 5. Nymphaeum
Domitian’s stadium
(piazza Navona), Rome, late 1st century, fig 7.27
Forum transitorium (forum of nerva)
– Frieze: depictions of the myth of arachne
3/24/22
Pompeii
Pyroclastic flow
– Cover the herculaneum
– Extremely difficult to excavate
Roman social rituals
– Hierarchy: patron>friend>client> slave
– Salutatio: morning
Fresco Techniques
– Buon fresco (lime based
– 0
Four pompeian styles
– First: masonry style
– Second
–
Third
Fourth
Villa of P. Fannius synistor, Boscoreale, ca. 50-40 BCE, fig. 3.18
Third style:
– Very different, you closing up the wall and as we zoom in, it is highly
decorated
– Tend to use bold colors in registers
Imperial Villa
– Perseus and andromeda
– Synoptic narrative
Villa of agrippa postumus, bosvotrcase
Fourth style
– Ixion rom, house of vetti, 62,79 CE
Trajan: Optimus Princeps
Nerva
– 97-98 CE
– Five good emperors
Nevra
Trajan
Hadrian
Antoninus Pius
Marcus Aurelius
Equestrian Statue of Nerva (Formerly Domitian)
– 81-96 CE
– Miseno (italy)
– jawline
Trajan: The Man 98-117 CE
Birth Name: Marcus Ulpius Trainus
– Born in italica (near seville), spain
– Regal name: imeprator Caesar Nerva trainus Divi Nervae Filius
Augustus
– Hairlines
Trajan: The man
– 98-117 CE
Themes:
– Adoption & creation of new life
– Connections to augustus
– Military & victory
– Domestic Programs
Trajan as Imperator
– 108 – 117 CE
– Heroic Trajan?
– Poludamentum
– Plotina 112 CE
Arch of Trajan
– 114- 117 CE
– Benevento, Italy
– Fig. 9.15-19
– Via Appia/Via Traiana
Imperator Caesar Nerva trainus Divi Nervae filling
Personifications of cities (mutal crown)
– Icogonography
– Trajan
– Alimenta relief
Submissions of the dacians
– Clementia
–
Granting clemency to people, trajans are very identifiable there taller.
Adventus of Trajan
Class Notes (03/29/22):
● Trajan: the Man (98-117 CE)
● Themes:
○ Adoption and creation of new line
○ Connection to augustus
○ Things he sponsors as emperors
● Quirinal Hill:
● Trajan’s Forum:
○ Military Victory and Architecture:
■ Dacian:
● Statue; depictions of the people he has conquered (Dacians).
● Lines the courtyard/colonnade.
● We know they are foreigners bc they wear pants and are bearded
and have shaggy hair.
● Basilica Ulpia (fig. 9.8):
○ Clerestory → allows light to come into the building; opening up of walls in order
to let light in at the top.
○ Central open space that does not have columns
○ A multi-purpose space → lot of room for people inside
○ Ulpia= one of Trajan’s family names
○ 2 structures attached to it that are libraries (likely public libraries):
■ Papyrus parchment scroll
■ codex
● Markets of Trajan (fig. 9.7):
○ Very innovative for the city of Rome
○ Vaulting, concrete
○ Carved into the Quirinal Hall; terraced site.
○ Apollodorus= architect
○ Right next to the Forum of Trajan
○ Hemicycle
○ Via biberatica→ small street lined with shops
○ Aula, Great Hall or Market Hall:
■ Over 150 shops in the complex
■ Combines groin and barrel vaults to open up the space.
■ Buttressing used to hold the thing up
■ Open-air windows at the top to let in light.
● Column of Trajan (figs. 9.10-13):
○ Dedicated 112
○ Luna marble → connects Trajan to Augustus (he opened up the quarries of luna
marble)
○ Commemoration → commemorates his Dacian campaigns
○ Funerary → weird bc the dead usually are not buried in the streets of Rome
○ Belvedere = “a beautiful view”
○ Bottom of the pedestal:
■ Door with an inscription that is held up by winged victories
● Inscription commemorates the amount of stone was carved out of
Quirinal Hill
■ Dacian armor on the sides → victory over Dacians
○ Friezes wrapping all the way around to the top; the registers are quite large
■ How does the column display Trajan’s victory?
● Continuous narrative? Episodic?
● Documentary style– reality and fantasy
● Trajan the general
■ Personification of the River Danube and the pontoon bridge
■ Out of 2600 figures, only 6 allegorical figures: 2 victories, Danube, Jupiter
Tonans, 2 female personifications.
■ Preparation for battle
■ Roman soldiers constructing walls
■ Trajan: General:
● How many times do we see Trajan? A lot. He is depicted in the
friezes quite a bit. (26 times)
● Monument to his victories.
■ Continuous narrative
■ Roman military practices
■ Formidable enemies → the Romans do respect formidable enemies. The
Dacians were formidable; Dacians depicted attacking the Romans. Also
depicted is Decabalus’ capture and suicide → seen as honorable/a noble
thing to do.
○ How was the column seen/experienced by Romans?
■ Could be seens from the Basilica, but not very well.
● The death of Trajan in 117
● Empire shrinks after Trajan
● Hadrian in Trajan’s extended family. Hadrian is adopted into Trajan’s line; Hadrian is
also from Itallica like Trajan.
○ Adoption controversy:
■ Death of Trajan at Selinus on august 8th, 117 CE
■ Transfer of adoption documents; backdated?
■ Questions of whether or not Hadrian was legitimate → to fight back,
Hadrian makes coins that depict his adoption in order to quell controversy
● Hadrian the Philhellene:
○ He does not expand the boundaries of the Trajan empire like Roman does
○ Instead, he travels around the empire → good PR
○ Philhellene → he love Greece
○ Reign from 117-138 CE
○ He has a beard → different from previous emperors
○ Marble Bust of Hadrian (fig. 10.2):
■ Ca. 120 CE
■ Presented with a beard, curly hair, a mustache, and puffy cheeks.
○ Athenaeum (fig. 10.13):
■ Rome
■ A lecture hall styled in the same way that one would be in Athens
● Greek influence!
March 31, 2022
Sabina,ca
–
Hadrian’s love triangle..
Young man that hadrian needs in young travel
Traveling companion for the next 10 years
Antinous
Greek style male relationship that ancient greek practice called pederastic
Sexual element in this reletionship more about education
Companionship, education
Dies in the nile and hadrian found a city called antonopulos
He is very recognizable and looks the same in every portrait
Fleshy lips
Homosexual
Drilled pupils, iris
Antinous as apollo
– 130-138 CE
– Delphi, greece
– Marble
Antinous as egyptian pharaoh
– 130-138 CE
– Hadrian’s villa
– Tivoli, italy
– Marble
Hadrian’s wall, england
– Separate scotland and england
– To keep the barbarians scot
Hadrian as imperator
– She wolf on his cloth, minerva
– Cuirass
Second jewish- Roman War, 131-135 CE
– Known as the Bar- kokhba revolt after its leader
– Hadrian: refounded jerusalem as aelia capitolina
– Resounding defeat of Jews
– City completely refounded after the revolt
– “Freedom of jerusalem”
– Tel Shalem israel
What can we make of the composition of this scene?
Anaglypha hadriani, forum romanum
– Ca. 117-120 CE
– Marble
– 5’6 hugh
– Statue base with a seated figure , italia
– Less allegory
– Besides italia, they are known figures here,
– There is a fig tree of romulus statue of marsyas on the far right
– Basilica julia temples of satum vespasian
Temple of Venus and Roma, Rome,
– Dedicated 135 CE
– Full peristyle
– There is hemicycles spaces in the back
– 2 cella, venus and roma
– 10 columns, 10 is coming from the east
– Decastyle with lots of columns
Coffered apse
Hadrian the builder: Innovation and Tradition
What can we learn about Hadrian as an architect from cassius Dio?
–
Apollodorus of Damascus
Pantheon
– 118-125 CE
– Rome, italy
– Tradition v. Innovation
– Figs 10.7-9
Roman architectural revolution
– Inscription
– Monolithic columns
– Original bronze doors
– Oculus: 27 feet in diameter
– Imported marbles
– Drains on the floor
– Pentecost at the pantheon
– Heavy structure, as you go up the dome itself , it isn’t fully concrete, so lighter materials
as you go up
– Concrete, stepeped, cylindrical dome, there are 7 major niches
Astrological themes?
– 7 niches
– Heavenly dome
– Light
Hadrian’s villa
– Tivoli
– Ca. 118- 123 CE
– Otium negotium
– Heavily used
– Maritime theater, circular form structure that it an island surrounded by water
– Annular barrel vault, island
– Cryptoporticus: hidden portico
– serapum
–
Death and Emperor
Mausoleum of Hadrian, Rome, 134-139 CE, fig10.12
Castel Sant’Angelo
The Antonine Emperors
– Nerva: 96-98
– Trajan: 98-117
– Hadrian: 117-138
Antoninus pius: 138-161
Marcus aurelius: 161-180
‘
Succession scene, Great Antonine Altar, Ephesus, turkey, ca.169 CE, marble 6,10” tall, fig.
11.28
Antoninus Pius, 138Temple of Divus Hadrianus, 138-145 CE, campus Martius, fig. 10-29\
Dedicated by A pius
Lucius Verus
Marcus Aurelius
04/04/2022
Lucius Versus campaigns against the parthians
– Last time we saw the parthians, was during Augustus
– They are constantly in war and battle
– Chaotic scene roman battling
You never see violent imagery with Augustus. (comparison)
Equestrian statue of Marcus Aurelius, ca. 175 CE, gilded bronze, 14ft high, fig 10.24
– He offers you clemency if he can
– He is in his traveling military gear and traveling boot here
– Gilded Bronze; we still see the remain gold on the horse
– Located in Piazza del campidoglio, he used to be outside until recent memory. Michael
angelo designed this piazza del campidoglio.
Augustus Equestrian statue
– He is wearing a ring, from 12 BCE
– Iconoclasm: when you break or destroy images
Marcus Aurelius Granting Clemency, relief panel from the Arch of M.A., Rome, ca. 176
CE, 10 ft high, fig 10.23
– doing imperial things
– He is surrounded by his lesisure, soldiers
– Pompeianus is very very high relief,
– Pompeianus seem close to marcus aurelius there and very identifiable, has short beard
– He has a similar nose
Marcus Aurelius sacrificing at the temple of jupiter optimus maximus fig.10.22
– Victimarius
– Pompeianus has similar nose here and very identifiable
– Camillus
– Flute player
– Flamen hat
– The guy in the middle is wearing a Flamen hat and is basically one of the high priests in
roman religion. This is the head priest of that cult.
Marcus triumphing in a quadriga, fig. 10.21
– The crowds and the creepers are missing
– The horses should be oriented in a different way or direction,
– The front or the side of the temple are not fully viewed or it looks a little off
Column of Marcus Aurelius, Rome, ca. 180-193 CE, marble, 97 ft high , figs 10.25
– High relief
– Posthumous
– It is still standing
– Has bronze figure on it
– St. peter and st, paul has been on it
– Battling the germans
– Aerial perspective
– Germans are wearing a baggy trousers, they have shaggy hair
– We can see the emotions when they are defeated
– They are executing them in the scene and shown that his chopping them off
– Village destruction scene: they are destroying the village, the horse is in front of the
village and there is a lack of depth in this image. So many drama and emotion
happening in this scene
– Storm god scene: interesting part, surviving the romans
– The important person is Marcus Aurelius. There is a depth.
Commodus ca. 175-177 CE
– Marcus aurelius’s son
– He becomes crown prince figure and becomes co-emperor in 177
Commodus ca. 180 – 185 CE, fig 10.17
– He grows up and the beard grows
– He starts to look more like his dad
– He has oval head shape type of head
– Often times he is described in his portraits as being arrogant
– He is murdered,
Commodus as Hercules, 192 CE, Marble, fig 19.18
– Marble
– 192 CE
– He present himself as a god
– He thinks he is hercules
– He had him to declare a god or declares himself god
– Full beard
– He looks down
– He is carrying his club
– There is no busts anymore
– He was murdered when he was 31
Roman daily: pompeii and rome
Hackert, The excavations at pompeii, 1799
– There is an inscription that names pompeii
– Giuseppe fiorelli manages the excavations, he organize pompeii into regions introduces
stratigraphic excavations begins
– Heinrich schliemann excavated troy (1871), he speaks 13 languages and a very
interesting man
Private Art after the Antonines
BACCHIC AND SEASONS SARCOPHAGI
By the period of the Antonines, as discussed
earlier, the use of sarcophagi to inter the deceased
had re-emerged as a funerary practice among
Romans who could afford to commission them.
During the time of the Severans, a new form
of tub-shaped, or lenos, sarcophagus became
popular. As a group, these reflect a strong interest
in various mystery cults, providing a significant
precedent for the wealthy Christians who, given
their exclusive practice of inhumation, began
to embrace the use of sarcophagi in the third
century CE.
One exquisitely carved example now in New
York [12.33] centers on the triumph of Bacchus,
returning from the east on the back of a lion. We
have seen the motif before on Hellenistic mosaics
in both Greece and Italy, and Bacchic themes,
like Bacchic cults, remained
popular throughout the
empire. The mystery cult
of Bacchus, or Dionysus,
drew on the subjects of
death and restoration to
life, the idea of which is here
reinforced by the four figures
of the Seasons who stand
also for the cyclic nature of
life, death, and rebirth. The
very deep carving, extensive
drillwork, and the distinctly
non-Classical poses and
astructural anatomical
rendering of the Seasons’ body types (that are
nonetheless Classicizing) fit well with a third-
century CE date. The physiognomy of these
androgynous male deities is strikingly reminiscent
of the female Victory figures on the arch at Leptis
Magna. It is important to note, however, that the
drapery here remains consistently Classical and
bears none of the simplification and abstraction.
noted on the Severan arches. Roman sculpture.
was, in all periods, diverse in its stylistic options.
A popular variant of the sarcophagus with
scenes of Bacchus is those that show the Seasons
alone, without any specific scene of myth. One
third-century CE example, from Rome and now in
the Capitoline Museums, employs the same basic
figural types for the personifications of the deities
[12.34]. The iconography, however, in terms of
pose, hairstyle, or attribute, is by no means fixed,
but simply follows a general but recognizable
scheme-a youthful, idealized, loosely Classically
12.33 Lenos
sarcophagus showing
the triumph of
Bacchus, 3rd
century CE. Marble.
L. 2.16 x H. 0.92 x
W. 0.86 m (7 ft 1%
M
in. x 3 ft 1/4 in. x
2 ft 97/8 in.). The god
rides on the back of
smid
a lion amid a scene
representing life,
death, and rebirth
12.34 Sarcophagus
of the Four Seasons,
Capitoline Museum,
Rome, 3rd century CE.
Marble, H. 1.04 x
W 2.39 m (3 ft 5 in.
101 1
x 7 ft 10% in.).
Putto Seasons feature
on the door to
dear to
Dute Career
a passageway to
the underworld.
CHAPTER 12: ART IN THE AGE OF THE SEVERANS 337