Propylaea on Acropolis (entrance)

Architect: Mnesicles, 437-432 BCE

20 ft rise from base to inside and limited to post and lintel system (Greek), both Doric and Ionic (invented new Ionic base)

made of marble and a dark limestone, both foot and animal traffic. Has a picture gallery 

Secular. Never finished.

Odyssey Landscape, Rome, 50 BC

From Roman House, decorated long wall, Odyssey narrative: land of Laestrygonians. Painting is set in a landscape of mountians and sea, Greek inscriptions

Panel I: Odysseus arrives, ship in harbor, Odysseus on path to meet king's daughter (walking to greet him) Panel II:Battle occurs, Laestrygonians attack Odysseus' men (run to ships), herdsmen ignores this

Sanctuary of Fortuna Primigenia, Praeneste, c. 80 BC

first built 2nd c. BC, damaged during war, repaired, dedicated to Fortune, first born, oracle (lots)

Complex starts at hills base: Basilica present, unkown if part of Sanctuary, possibly rites held here (grotto = sacred) before you proceed - unclear how

 First terrace: large stone irregular pattern purposely All very mysterious - waterfall, symmetry (axil pull), limited view on ramps (high walls), very stong directional pulls throughout

Next terrace: large area surrounded by rooms, ment for large gatherings/ceremonies (?)

above it: Theater, small only for privileged viewers, could watch rituals 

Acropolis in Athens

Destroyed by Persians 480 BC(Oath of Plantea) rebuilt by Pericles 450 - 400 B.C.E. Many buildings: Parthenon, Erachtheion, Propylaea, Temple of Athena Nike (Yearly festival honoring Athena) 

Alexander the Mosaic (close up)

Copy from 2nd/1st BC of Greek originial, 4th C.

by: Philoxenos of Eretria 

Found at Pompeii in House of the Faun

No Helmet, expressive face (but not fearful)

More personalization  

Alexander the Great Mosaic

4th c. AD (copy of Greek) 

Sober colors (yellows grays etc)

Alex fights against Darius, thrusts a spear into soldier, but stares at Darius -> who is fearful, weaponless.

Contrast: organization vs. chaos

Chariot driver saves Darius 

Altar of Zeus  at Pergamon 180-156 BC

Built under Eumenes (not finished)

Frieze scene: Zeus fighting Porphyrion/2 Giants 

Prophyrion: Missing eye (stolen/blinded by Zeus) snake legs/animal ears

Athena (daughter of Zeus) Fighting winged Alcyoneus. Mother of Alcy (Ge - Earth) trys to rescue son/plead with Athena

Very emotional piece, even anatomically incorrect (around eyes) to convey emotion. Giants are mostly human 

Aphrodite by Praxiteles 330 BC

Known by Roman Copies

Goddess is entirely nude w/ water jug: about to bath

startled expression, viewer catches goddess unaware, unusual b/c normally seeing naked gods = death

slightly masculine body b/c considered beautiful, statue ment to be seen from all angles, light/shadow make it appear live. Gods are becoming humanized

Apoxyomenos by Lysippos 360-300 BC

Roman copy of Bronze Original

Athlete cleaning/scrapping oils off of himself after excerise. Heavily muscled (like Dory, but seems taller/slimmer b/c small head). He is in a very defined/transient moment. Hair is detailed/messy like after excerise 

Apollo of Veii 510 BC. Terra Cotta statue

lifesize, figures strides forward and possibly held a bow in his left hand, painted red. Muscles shown in ridges, wears a chiton and himation, not shown realistically, late archaic period: has archaic smile 

Ara Pacis in Rome 13 - 9 BC.

Located on Roman highway, emphasis on fertility, dedicated to Augustan Peace on Livia's birthday. Commemorates Augustus' return from Spain. Contains allegorical/mythical scenes. East facade is the main side, contains entrance.  

Arch of Constantine, 312-315 AD, Rome

Triple span arch (one large, 2 small). Images from other emperors on Arch: Attic = 8 panels of war (Germany) of Marcus Aurelius cut to Constantine, also Trajan fighting dacians cut into Constantine (b/c: make him seem better, draw comparisons btwn reigns)

Free standing columns, bases = Victories. 

Arch of Titus, at Roman Forum AD 81 - 96 by Domitian

Erected over sacred way after death of Titus; commemorates Titus' victory over Jews. Top of Arch: Triumph of Titus in a Chariot (procession of soldiers after victory into Rome), allegorical figures mixed with real figures. Titus: crowned by Victory.

Spoils of Jeruselum soldiers march thru arch in relief

Apotheosis of Titus: Center of celieng is Titus on eagle's back; believed he became a God after death 

Athena Fighting, Altar of Zeus

She is fighting Alcyoneus, she is identified by her Aegis. Snake (attriubte of Athena) bites Alcy --> believe his power came from the Earth, that's why she lifts him up by the hair. He has pained expression; wide eyes (anatomically incorrect) his mother: Ge (ie. Earth) tries to rescue son, looks pleadingly at Athena. Nike flies in to crown Athena. Athena -> unruffled.

Aulus Metellus, 1st century BC, Hellenistic Etruscan

The orator: Found near Perugia. Between Roman/Etruscan Art. Figure: wears toga (upper class, b/c can't do manual labor w/ toga) Also has a tunic and boots (symbol status = magistrats). Etruscan inscription (Etruscan artist), Roman name. Figure shows signs of age - Roman attribute.

Basilica of Maxentius and Constantine, Rome 310-315 AD. Started by Maxentius, finished by Constantine

Located on Sacred Way, same architecture as Baths of Caracalla (apply same archs to dif. buildings)

Small platform outside of Basilica: Max & Con. could use it to adress the people. Con: added an aspe for statue 

Baths of Caracalla, Rome, AD 211-217

Bathing - important in Rome, social function. Built near water, bath's completely enclosed. Mosaics are used as decoration

Baths are circulated 

Brutus, Bronze Bust, 2nd century BC

Eyes: inlaid, piercing. Brutus: bearded face, standardized image of a man. Emphasis on firmness, symmetry of the face -> ideal image of a ruler, stern tough gaze also representation of age.

Colossal Head of Constantine, AD 315, in Basilica

Head: 8ft tall - ment to overwhelm the viewer, Augustan classicism: completely smooth skin, parted lips, neat hair. Constantine looks upward toward sky. Conventional eyes, maintains constantine's large nose. Mix of convential and individualize.  

Sacrophagus of the Married Couple, Cerveteri, 510 BC

Couple reclining on marriage bed, shown in life dining together, typical Etruscan (not at all Greek), made from clay, has 4 parts. Couple: high status b/c pointed hats (tutulus). Greek style: Archaic smile, almond eyes, rope ike hair, bearded man 

Doryphoros (spear bearer), 450 BC, Polykleitos

Known from Roman copies (Greek, bronze original) man: ideal image, not individual. ambigious posture, balance is important, weight is right leg (in front) musculature accurately affected by pose. Statue: doesn't occupy much space. Poly established canon w/ the dory: head is 1/7 of the body, the summation of Greek beauty. Neutral expression, striaght, neat.

Dying Gaul (a trumpeter)

known from Roman copy. part of Attalos I Victory Monument - defeat of the Gauls. The trumpeter: announces victory (irony). Blood drips from wound, mouth open, forehead frown lines. Ethnic traits: necklace (high status; torque), Moustache, no beard, leathery skin. Dramatic and emotional expression, also specific enemy depicted.

East Pediment of Parthenon - Birth of Athena

Shows Athena's birth from the head of Zeus (who had a terrible headache). Reclining figures of Aphrodite (sensual, unnatural bunching of thin cloth) Demeter, and Phersphone. Artemis running to tell them the news. She is shown as running by folds in dress  - however, lunging posture

Erechtheion on Acropolis, begun 421 BC finished 408

Erectheus: Early King of Athens. Building housed many cults: Athena, Poseidon, Cecrops also on uneven ground. Ionic order used - 4 steps, ornate columns, delicacy/livliness of building. unknown continuous frieze: predominately women/children. S. Side: porch of Maidens. Pediments: show contest (who has better invention) between Athena and Poseidon for patronage of the city (Athena wins - olive tree)

Villa of Mysteries, Home, Pompeii, ca 50 BC

built in 150 BC - remolded. Contains statue of Livia

Olive press (make money) back room depicts woman's initiation into the mysteries of Dionysus (who is shown reclining on the back wall). Colors in this room are very rich - a sign of wealth. Paintings on all four walls. Depict woman's marriage and initiation rites. Picture of a boy (nude, only human male b/c only for women) -- reading rites. Shows woman possibly in a hallucinatory state.

Villa of Mysteries Frieze 50 BC

Dionysus is reclining, playing a lyre, depict woman going through initiation rights into the cult. (Mysteries of Dionysus), hallucinatory scene: one male god (Pan) plays pipes, frightening, female god (pan) suckling goat = fertility. Next scene: woman (initiate) reacting to some unseen figure, watched by satyr, another satyr looks into a vessel (divining). Depicts rituals of the cult and marriage rites.

Gaul and Wife, known from Roman copy

part of victory dedications after defeat of Gauls

Statue of a Gaul and wife, Gaul commiting suicide, already killed his wife (hangs limply, supported by Gaul) she has short, messy hair (unlike neat/elaborate Greek style), short gallic dress, shawl. Male: gaul is moving w/i the space, highly muscled, mouth open in fear, knife to neck. Ment to inspire pride in Pergamene citizens. Hellenistic interaction w/ statue

Hermes by Praxiteles, 330 BC temple of Hera, Olympia

possibly original. Hermes taking baby Dionysus away, tall, youthful, fully human, only known by description. He is slim, no identifying Hermes features, looks at baby w/ benign/pleasent expression. Holding grapes in front of baby (wine god). Dionysus is son of Zeus and mortal woman (killed by jealous Hera) 

Tomb of Hunting and Fishing, Tarquinia, 510 BC

Two rooms in tomb. Outer one: scence of a hunt. Inner room: hunting/fishing. Pediment in inner room: banquet scene with reclining man/wife. Etruscan (unknown conception of afterlife) Possible connection between sea and afterlife (?) 

Laocoon, Rome, around 140 BC - 1st c. CE

Made of Marble, shows Laocoon and two sons being killed by snakes. story: Laocoon (priest) predicted the Greek victory with horse, Gods punished him b/c they wanted Greeks to win, his death convinced Trojans he was wrong. Laocoon: in agony, older son might survive, intense emotion, unnatural expression: forehead, eyebrow. Hellenistic style, centered on the people not on the Gods.  

Tomb of Lionesses, Tarquinia, 520 - 510 BC

Single room, with niche in back wall (offerings), apotropaic lionesses painting. Lower wall has picture of the sea and dolphins-> view from Tarquinia OR sea of death, dolphins = souls. 

Back Wall - crater to hold wine for funeral banquet.

Dancing woman (high status, pointy hat), 2nd dancing woman, servant. Red, white gender conventions. Lots of wine in tomb, little food: an egg - symbol of life and death. 

Nike by Paionios, Olympia, 424 BC

Moment when Nike lands on a cloud, highly sensual: sheer cloth, exposed breast. Leaning (not flying), lands on left leg. Cloth blown against her, sheer on right leg, however not possible because cloth is heavy. Nike in rapid motion (conveyed by clothing). Date on shield mocks Spartans who had a shield dedicate at Olympia in 457 BC. 

Nike of Samothrace, Samothrace (island), 210-190 BC Sanctuary of the Great Gods in Samothrace, sailors worshipped

Winged Nike landing on ship's prow, possibly commemorates naval vicotry, dramatic landing, heightened drama: spread wings, swirling garments, wind blown and frames legs (sensation of fast motion), more curves/countercurves than Paionios 

Temple of Athena Nike, Acropolis, 450 BC, Callicrates, appointed priest(ess) - high status and lucrative, Ionic temple w/o pronaos or opishtodomos (limited space)

4 steps, naos, columns w/ bases, 3 part architrave

Assembly of deities and 3 battles: Greeks (nude) vs. Perisans (clothed). Greeks (nude) vs. Greeks (clothed) mocking "traitor" greeks. Balances Parthenon, Greeks are heroes. 

Parthenon South Side Metope

Battle between the Lapiths and Centaurs 

Lapith is pulling on Centaurs hair (v. staged), centaur is in pain: contorted mouth, frown, classical style of Greek art is a combination of natural and staged

heightened reality. 2nd scene Lapith pulls head of centaur - realistic postures, but not convincing fight scene 

Pantheon, Rome, 118-136 AD

Roman Campus Martius, constructed under Hadrian "all the gods" Appeared normal from front - high podium, pediment, deep porch. Majority -> concrete rotunda, with brick face, rectangular facade, circular body. Hole in ceiling: Oculus (eye), bring in light, animate building. Circular/rectangle pattern. Stone from dif. parts of the empire. housed statues of Roman deities. Dome - dome of heavens, coffers on the wall. Natural elements: v. important, sunlight, rain, snow all enter. Combination of natural (elements) and artificial (marble, brick etc). Inside not emphasized, unknown gods, Senate met inside, religions and civic functionality. 

Zeus fighting giants; Altar of Zeus, 180-156 BC

Zeus is fighting the giant Porphyrion and 2 other giants. Porphyrion has snakes for legs and animal ears. Zeus is depicted as fighting three giants as once - this displays his prowess and makes him seem more powerful. Zeus is about to throw a thunderbolt - one giant has already been struck, screams in agony. Porphyrion is missing an eye, stolen or blinded.  

Portrait of Pericles 5th c. BC

Only have Roman copy, idealized work. Pericles: soldier/general (known by helmet) no individualizing features, Greek leader: mature (conveyed by beard) and compassionate (slight tilt, soft expression) man. Pericles: started building on Acropolis, used it as a political manuever to gain power.

Porch of Maidens, Erechthium, Acropolis

Roof supported by caryatids, possible housed tomb of early king of Athens. Caryatids - reflection of Greek idea that Ionic = feminine. Caryatids function as columns, ergo must be stable (posture/drapery - wore peplos, used to make them feminine) Left leg projects through drapery. Weakest pt - neck, thus large hairdo to support. Porch faces Parthenon. Large crowns served as Capitals on the columns 

Porphyry Tetrarchs, Constantinople, ca 300 AD

stone: (porphyry) from Egypt, royal connotations, red/purple color. Statue: 4 emperors (2 Juniors, 2 Seniors) 4ft tall, b/c expensive stone. All are in military dress, wear flat caps: marker for imperial rulers. Emphasis on seperation from commoners. One senior and one junior embrace: convention for harmony. Augusti (seniors) have picked beards, ceasars have none. Purposefully look alike (more harmony symbolism). Diocletian divided empire/rule b/c empire and ruler were over extended 

Triumph of Titus in Chariot, 81-96 AD, Arch of Titus

Titus after defeating the Jews. Light and shadow are important in this piece. Horses are enlivened, lead by female figure (=Rome). Male wears Greek himations (=Roman people), a third is the Senate. Mix of allegorical, and real. Victory (allegorical) crowns Titus (real) while in the chariot -> whispering slave. Titus positioned above others - convey his importance, face painted red to show that general became like the god Jupiter. 

Roman Patrician holding busts

busts have similar expression on their faces

LOOK UP!! 

Spoils of Jeruselum, Arch of Titus, Rome, 81-96 AD

Relief, depicts part of the procession, 7 branch candlestick displayed (Menorah - Titus destroys it).Men carrying it show weight of the spoils. People moving at differing speeds

Soliders walk through the relief in the arch - precession would continue beyond what it is show in the picture 

Statue of Augustus Prima Porta, Villa of Livia at Prima Porta, Late 1c. BC or early 1c CE.

Possibly posthumous (?) bare feet, and idealizing. Bad rep at start of reign, wanted to portray himself as peaceful, made Caesar a god (thus son of a god)

idealized aspects: smooth skin etc, however high cheek bones, protruding ears (individualisation).

Dolphin and cupid - Signs of Venus, related to Caesar, hinting at lineage --> b/c of this, possibly posthumous (Augustus says: Not god during life)

Posture and eyes: orator/engages viewer

Possibly held a staff, Breastplate: depicts gods

statue placed against a wall (back not very finished) 

Temple of Fortuna Virilis, Rome, c. late 2nd c BC

Located on Tiber River possibly temple of portunus - god of harbors

Constantine on the Rostra, 330 AD, Arch of Con.

Depicts him after defeat of Maxentius, Con stands on traditional speakers platform (ergo legit reign) above all the other figures. Wears military dress w/ mantle, one arm raised in gesture, head carved seperately, Marcus & Hadrian sitting below; look to Con. Basilica is in the bg - for a crowd, artist uses convention

Seated deities on Parthenon, Acropolis, 448-424 BC

God's can be identified by their attributes, left to right: Posiedon, Apollo and Artemis. They converse with one another, and are present, but viewer gets the impression that they aren't actually there - they turn away from the middle scene w/ peplos presentation 

Forum of Trajan, 106-112 AD, Apollodoros of Damascus (architect)

Part of series of fora. Masive public market. Entered through triumphal arch commemorating Dacian wars, large statue of Trajan on horse - focal point. Frieze of Dacian prisoners/busts of Trajan's ancestors

Basilica Ulpia (large buidling w/ nave/aisels), held trials, freed slaves, flanked by libraries. dif from traditional forum - no temple at one end

Procession of Imperial Family, Ara Pacis, 9-13 BC

Augustus is identified by features, he wears a toga over his head (pontifex maximus, 12 BC) People have stopped around him, look back at him, focal pt, many children - repop. prog. Agrippa depicted idealized roman portrait (furrowed brow), not actually there (at war in 13, dead by 9), also family member fighting war in Germany shown - the importance of family presence. Mixture of Greek ideas to suit art/politics. Pacis - based on lit, complicated Latin, understood only by elite.

Nike fastening sandal, Temple of Athena, 410 BC

identified by wings, awkward position, Drapery -> object of fixed beauty, thin chiton/himation stablize pose, Nike is sexualized (unknown why), odd/interesting representation as part of the buidling program 

Portrait bust of Alexander the Great, 334 BC

A herm: head on rectangular base, young beardless, smooth, long sharp nose. Typical lion's mane hair (leonine qualities) dif. from usual Greek short harido. Roman copy based on Lysippos - Alex believed that only Lysippos could capture true character. Alex was creating an image of himself

East Side of Ara Pacis, Rome, 13-9 BC, Sacrifice of Aeneas

Aeneas is a bearded man w/ Greek himation (ergo in past), mix of Roman elements, Ancestor of Caesar,

Roman sacrifice attendents. Aeneas is offering a pig to 2 male household deities on temple in bg. Classical elements in Aeneas/attendents. Augustus balances myth of Romulus and Remus w/ ancestors of Julio Claudian family

Colosseum, 70 - 80 AD, Flavian Amphitheater

Flavian emperors drained lake on Nero's estate and set up an artificial lake. Propoganda move because everyone disliked Nero because they believe that he was evil (took a lot of land for himself)

Public entertainment, gladiators etc

Romans used Greek structural formation. lower capitals are plain, conservative construction

decoration of statues on the outside of the Colosseum 

Columns of Trajan, 113 AD, Rome

incredibly large spiral column which depicted the events of Trajan's life, fought in 2 wars (Dacian) and these are show in choronological order. A lot of scenes are dedicated to depicting the planning of hte war. Trajan is a prominent figure throughout the column - he can be seen by portrait features and the bg behind him is often plain. Not a single wounded Roman solider on the column - emphasis their power and strength. innaccurate architecture.