Aulus Metellus, c. 80 BCE by Roman Rebublican Art

• Known from Early times as the Orator - because of his arm outstretched and slightly raised- a pose of authority and persuasiveness. The orator also wears sturdy laced leather boots and wears the toga, which is a dress characteristic of a Roman official.
• Large statuges like this were often placed atop columns as memorials.

Protrait of Pompey the Great, 30 BCE by Roman Republican Art

• Marble
• An example of Verism - extreme truth - his wrinkles, fleshy face, and warts
• Recognizeable
• Realistic-includes flaws
• wrinkles show him as a leader

Temple, Dedicated to Portunus? Forum Boarium, Late 2nd century BCE by the Roman Rebulican Art

• The temple combines the Greek idea of a colonade across the entrance with the Etruscan podium and single flight of steps leading to a front porch entrance
  
• Colonade across the entrance-like Greeks

Pont du Gard, Nîmes,France, late 1st century BCE by Roman Rebublican Art

• provided 100 gallons of water a day for every person in Nîmes
• use of concrete-disadvantage-absorbs moisture
• Veneer- marble, stone, stucco, or painted plaster
• Rounded arches

Maison Carrée C. 20 BCE by Roman Rebulican Art

• The temple summarizes the character of Roman religious architecture.
• It differs from its prototype only in its size and its use of the Corinthian order 

Denarius with Protrait of Julius Caesar, 44 BCE Roman Republic Art

• Another example of Verism - extreme truth - shows balding 

 Atrium of the House of The Vettii, Pompeii, 62 – 79 CE the early empire Romans

• The atrium was a large space with a pool for catching rainwater.

   

 Initiation Rites into the Cult of Bacchus (?), Villa of the Mysteries, Pompeii, 60 – 50 BCE by Romans

• Second style-  makes it seem as though the wall has dissolved, illusion of a 3-D world beyond.
• This room must have been a shrine or meeting place for the rites of mystery religions.

Garden Scene, dining room wall form the Villa of Livia at Primaporta, Late 1st Century BCE By Romans

• Second Style( makes it seem as though the wall has dissolved, illusion of a 3-D world beyond)
• The artist "painted away" the wall surfaces to creatre the illusion of being on a porch of pavilion looking out over a low wall into a garden. 

 Bedroom, House of Publius Fannius Synistor, Late 1st Century BCE by Romans

• Second style(makes it seem as though the wall has dissolved, illusion of a 3-D world beyond)
• Ideal city scene
• Two conventions create the illusion of space: Distant objects are rendered proportionally smaller than near objects, and the colors become slightly grayer near the horizon - an effect called atmospheric perspective.

Still Life with Peaches, from the House of the Stags, Herculaneum, before 79 CE. By Romans

• A strong, clear light floods the picture from right to left, casting shadows, picking up highlights, and enchancing the illusion of real objects in real space.

 Young Woman Writing, From Pompeii, Before 79 CE By Romans

• An example of tondo - circular painting.

Canopus, Hadrian’s Villa, Tivoli, c. 130-135 CE by High Roman Empire

•  Reconstruction of modern age
• In between each columns there were statues.

 Primaporta Augustus, Early 1st Century BCE, Marble,  originally painted by Romans

• It illustrates the use of imperial portraiture for propaganda
• Sends a strong message about his leadership
• Cupid rides a dolphin next to the emperor's right leg, a reference to the claim of the emperor's family
• His feet are bare -his elevation to divine status after death
• Realistic - recognizable
• Idealistic - always going to look like a 25 year old

 Altar of Augustan Peace, 13 – 9 BCE, Rome By Romans

• Commemorates Augustus's triumphal return to Rome after establishing Roman rule in Gaul and Hispania.
• In it's original location, it was aligned with a giant sundial that represented Augustus controlled time itself.

 Allegory of Peace (Tellus Panel), East Side, Altar of Augustan Peace 13-9 BCE By Romans

• Personification of wind
• The underlying theme of a peaceful abundant Earth is reinforced by the flowers, foilage, and domesticated animals.

 Imperial Procession, South Side of the Altar of Augustan Peace 13-9 BCE Rome By Romans

• Recognizeable people are waiting for other ceremonies to begin.  At the head of the line is Augustus and behind is his family.

 Arch of Titus, Rome c. 81 CE by the Flavians

• celebrates a victory from triumphs
• constructed of concrete and faced with marble and covered by barrel vault - extended rounded ceiling

 Spoils from the Temple of Solomon, Arch of Titus Rome c. 81 CE By the Flavians

• Historical event
• extreme high relief gives high energy.

 Triumphal Procession, Titus in Chariot, Arch of Titus Rome, 81 CE By the Flavians

• Allegory which alives the dead

 Colosseum, Rome, 70 – 80 CE By the Flavians

• Two theatres pushed together
• Largest arenas ever built in the Roman empire
• Events were free, crowded 50,000 spectators
• made of stone veneers

 A Young Flavian Woman, c. 90 CE by the Flavians

• exemplifies the current Roman ideal
• perfect example of spectacular protraits.
• The overall effect, from a distance, seems very lifelike

 Middle-Aged Flavian Woman, Late 1st Century CE By the Flavians

• Very realistic, example of Verism

 Basilica Ulpia, Apollodorus of Damascus, c. 112 CE Rome 

• Used for the court system.
• The two apse at the end of each building provided imposing settings for judges when the court was in session.

Markets of Trajan, Apollodorus of Damascus, 100-12 CE

• The market had more than 150 individual shops on several levels and included a large groin vaulted main hall.

 Column of Trajan, Rome, 113 – 117 CE By Romans

• The column is a continuous pictorial narrative -most have to do with soldiers

 Pantheon, Rome, c. 118 – 128 CE by Hadrian

• Rededicated as a church to Mary of the Martyrs, which ensured its survival through th e Middle ages.

Battle of the Centaurs and Wild Beasts, from Hadrian’s Villa, c. 118 – 28 CE By Romans

• It is a mosaic was created with Tesserae - small stones or glasses
• Emblemata - would not have been made at the villa, has to be worked at home in the workshop.

The Unswept Floor, 2nd Century CE, mosaic By Sosos of Pergamon

• In the dining room painting
• Conspicuous consumtpion - to show guests will have the ability to eat.

 Hadrian Hunting Boar and Sacrificing to Apollo, c. 130 – 38 CE  By Romans

(now on the Arch of Constantine)

• designed to affirm his imperial stature and right to rule.
• strength on one side and devoted on the other

Equestrian Statue of Marcus Aurelius, c. 176 CE BRONZE By Romans

• sense of ease - controlling a massive horse while speaking to the crowd
• Saved because of mistaken identity.

 Commodus of Hercules, c. 191 – 92 CE

• Looks la lot like his father
• looks like greeks because of the apples in his hand
• The protrait conveys the illusion of life and movement, but it also captures its subject's weakness. - The foolishness of the man comes through in his pretentious assumption of the attributes of Hercules.

Steptimius Severus And Family, c. 200 CE Painted wood By Romans

• The little boy favors the mummy little boy from Egypt
• Shows the wealth of the family
• Iconooclasm - destroying an image (Caracalla erased his brothers image)

 Caracalla, Early 3rd Century CE By Romans

• carved deeply
• projects an image of power
• The contrast between this style and that of the protraits of Augustus is telling reflection of the changing character of imperial rule. Augustus presented himself as the first among equals: Caracalla revealed himelf as a no-nonsense ruler of iron-fisted determination.

 Baths of Caracalla, Rome, c. 211 – 17 CE By Caracalla

• 50 acres- enormous
• lots of barel vaulting
• 1600 bathers would use it together.

 Baths of Diocletian, c. 298 – 306(Now Church of Santa Maria Degli Angeli) made by Romans.

• Vaults have lost their decoration.
• MArble veneers and huge Corinthian columns and pilasters disguise the structural concrete of the building.

 Philip the Arab, 244 – 249 CE Marble Made by Romans

• The sculptor used chisel and drill to deepen shadows and heighten the effects of light.

 Battle Between the Romans and Barbarians (Ludovisi Sarcophagus), c. 250 CE By Romans

• porportions are cartoony.
• The artist squeezed his figures into the allotted space with no attempt to create a realistic environment.

The Tetrarchs, c. 300 CE Porphyry (Royal Stone - reddish/ purple) By Romans

• 4 people unity
• All look alike so all have same power
• Cartoony porportions
• propaganda - not art

Audience Hall of Constantine Chlorus (Basilica), Trier, Germany, Early 4th Century By Romans

• Now a church
• Basillica plan - Common in Rome
• Centrally heated.
• The windows of the apse create the illusion of greater distance, so that the tetrarch enthroned in the apse would appear larger than life. 

Audience Hall of Constantine Chlorus, Interior (Basilica), Trier, Germany, Early 4th Century By Romans

• Now a church
• Basillica plan - Common in Rome
• Centrally heated.
• Flat roof
• Brick walls

Colossal Statue of Constantine the Great, Rome, 325-26 CE By Romans

• Made out of white marble
• represented him whenever the conduct of business legally required his presence.
• no imperfection

Basilica of Maxentius and Constantine, Rome, 306 – 13 CE By Maxentius and Constantine

• follows basilica plan
• barrel vaulted bays and groin vault in the middle
• entrance added by constantine and apse (changes the orientation) 

Wall with Torah Niche, From a House Synagogue, Dura Europos, Syria, 244 - 245 Early Jewish Art

• All figural art is being told in the images.
• Men and women shared the hall, and residential rooms were added
• 2 architectural features distinguished teh assembly hall: a bench along its walls and a niche for the Torah scrolls

The Finding of Baby Moses, Synagogue at Dura Europos 244-45 Early Jewish Art

• Scenes from jewish history and the story of Moses unfolds in a continuous narrative.
• The frontal poses, strong outlines, and flat colors are also features of later Byzantine art

Good Shepherd, Orants and Story of Jonah, Catacomb of Peter and Marcellinus, Rome, Late 3rd – early 4th Century Early Christian Art

• Funeral rites were performed in this room
• At the center is Good Sheperd, and the semicircular compartments aare the old testament story of Jonah and the sea monster.

Christ as the Good Shepherd, Second half of the 3rd Century Early Christian Art

•  Beardless christ
• An example of Syncretism - adopting an idea and giving it a new meaning

Sarcophagus of the Church of Santa Maria Antiqua, Rome, c. 270 CE Early Christian Art

• Image is movealbe depending on Audience
• The sculpture would be appropriate for either a pagan or christian family. 

Model of walls and Baptismal Font, Christian House Church, Dura Europos, Syria c. 240 – 256 CE Early Christian Art

• These murals reminded new christians taht humanity fell from grace when the first man and woman disobeyed God and ate fruit from the tree of knowledge, but the Good Shepherd came to earth to carry his sheep to salvation and eternal life. 

Painting of the Interior of Old St. Peter’s 16th century Imperial Christian Art

• Double sided aisles, 5 doorways, had a colonnade. 

Santa Sabina, Rome, c. 422 – 32 CE Imperial Christian Architecture

• Beautifully perserved
• Basic bascilla plan
• clearstory
• Arcade arches
• Spolia- latin for spoils  

Santa Sabina, Interior Imperial Christian Architecture c. 422-32 CE

• Beautifully perserved
• Basic bascilla plan
• clearstory
• Arcade arches
• Spolia- latin for spoils  
• interior displays a wealth of marble veneer

The Parting of Lot and Abraham, Mosaic in the nave of Santa Maria Maggiore, Rome,  432 - 440 Imperial Christian Art

• Contropposto pose
• added golden tesserae- pieces of glass
• The space between them in the center of the composition emphasizes their irreversible decision to part 

Interior, Santa Costanza, Rome c. 350 Imperial Christian Architecture

•  Used to be a tomb, now a church

Harvesting of Grapes, Mosaic, Ambulatory Vault, Santa Costanza c. 350 Imperial Christian Art

• The technique, subject, and style are Roman, but the meaning has been altered. An example of Syncretism . 

Mausoleum of Galla Placidia, Ravenna, c. 425 - 26 Imperial Christian Architecture

• Called because Galla and her family were once believed to be buried here.
• Building is cruciform - cross shaped

Interior, Mausoleum of Galla Placidia, Ravenna Imperial Christian art

• Called because Galla and her family were once believed to be buried here.
• Building is cruciform - cross shaped
• The interior is very different to created a transition to simulate the passage from the real world into a supernatural one. 

Good Shepherd, Lunette over the Entrance, Mausoleum of Galla Placidia c. 425-26 Ravenna

• Lunette - Half moon shape
• Good Sheperd is depicted as a young adult with a golden halo, wearing imperial robes of gold and purple and holding a long goldent staff 

Sarcophagus of Junius Bassus, Grottoes of St. Peter, Vatican, Rome, c. 359 CE Imperial Christian Art

•  Sides have grapes - example of Syncretism - combination of two traditions. 

Porta Augusta, Perugia, Italy 3rd to 2nd Century BCE By Etruscans

• It is one of the few surviving examples of Etruscan monumental architecture.
• It is known for anticipating the Roman use of the round arch.  

Apollo from the Temple of Minerva, c. 510 – 500 BCE by Etruscans

•  Adopted from the Greek Gods
• A large clay sculpture.
• This Apollo comes from the temple dedicated to Minerva and other gods in the sanctuary of Portonaccio at Veii. 

Burial Chamber, Tomb of the Triclinium, Tarquinia, c. 480 – 470 BCE by Etruscans

• Dancing
• Women are portrayed as active participants in the festivities and ceremonies.  

Burial Chamber, Tomb of the Reliefs, Cerveteri, 3rd Century BCE by Etruscans

• Bunch of low relief
• simulated in Stucco- thick plaster 

Sarcophagus from Cerveteri, c. 520 BC By Etruscans

• Archaic smile
• They gesture to communicate something important to the living viewer - perhaps an invitation to dine with them for eternity 

Mirror, c. 400 – 350 BCE by Etruscans

• Engraved
• An example of Etruscan metal work

She-Wolf, c. 500 BCE with 15th or 16th Century additions By Etruscans

• A famous sybmbol of Rome, the legendary wolf who nourished and saved the city's founder Romulus, and his twin brother, Remus.
• The Etruscans created the bronze wolf in the fifth century BCE, later the Romans added the sculpture of two children in the late fifteenth or sixteenth century CE 

Head of a Man (Brutus?), c. Mid 3rd Century By Etruscans

• The sculptor shows the sculpture as a world-weary man who also projects strong character and great strength of purpose.  

Land Walls of Constantinople, 412 - 13 By Byzantines

• Has double set of walls with huge towers
• The people of Constantinople lived secure behind these walls. 

Anthemius of Tralles and Isisdorus of Miletus, Hagia Sophia, Istanbul, 532 - 37 By Byzantines

• It means holy wisdom
• Hagia Sophia is based on a central plan with a dome inscribed in a square. 
• Now a mosque
• projects messages - power of Christianity and imperial power
• Dome is supported in pendentives

Hagia Sophia Interior,Anthemius of Tralles and Isisdorus of Miletus, Istanbul, 532 - 37 By Byzantines

• It means holy wisdom
• Hagia Sophia is based on a central plan with a dome inscribed in a square. 
• Now a mosque
• projects messages - power of Christianity and imperial power
• Dome is supported in pendentives
• Dome appears to float.

Church of San Vitale, Ravenna, c. 520 - 548 By Byzantines

• Dome is supported in squinches
• The interior is light and airy, a sensation reinforced by the liberal use of gold tesserae in the mosaic surface decoration. The structure seems to dissolve into shimmering light and color.  

San Vitale, Apse Mosaic, 546 - 548 By Byzantines

• The image of Christ enthroned is flanked by Saint Vitalis and Bishop Ecclesius, who presents a model of the church to Christ.  

Emperor Justinian and Attendants, San Vitale, 546 - 548 By Byzantines

• purple robe - royalty
• picture scenery is in the main portion of the church

Empress Theodora and her Attendants, San Vitale, 546-48 By Byzantines

• picture scenery right outside of church
• Theodora is holding chalice (put wine in that)

Apse Mosaics, Sant’Apollinare in Classe, Ravenna, 6th Century  Subject: Transfiguration By Byzantine

• Orant figure
• Simplification of forms
• The artist eliminated any suggestion of a naturalistic landscape by making the trees and lambs at the top of the golden sky larger than those at the bottom. 

Archangel Michael, From an ivory diptych, Early 6th Century By Byzantines

• Deptych - 2 panels hinged together, things were meant to open and close.
• portable item
• used as a prayer object
• barbie feet

Rebecca at the Well, From the Vienna Genesis Early 6th Century By Byzantines

• Made out of Vellum- calf skin
• Written by hand - gold and silver inks
• Pages are dyed purple (royalty)
• An example of continous narative
• personification of spring - the figure pouring the jar of water 

Crucifixion and Resurrection, From the Rabbula Gospels, 586 By Byzantines

• Narrative clustered together
•  Very expressive with color -red (passion)
• two scenes pushed together -mirror imagery. 
• In the cross Christ is dressed in a long, purple robe that signifies his royal status. 

The Asension, Rabbula Gospels, 586 by Byzantines

• First time Christ is seen with a beard
• Narrative abstractive
• Christ is in a oval almond shape (Mandorla)
• Symbols represent the 4 gospels
• Marry- orant - praying

Virgin and Child with Saints and Angels, Icon, Late 6th Century, Encaustic on wood By Byzantines

• foreshortening
• Not realistic, but spiritual 
• use of gold make it not liberal
• Barbie doll feet
• holding Jesus on her lap in a way that suggest that she represents the throne of Solomon

Virgin of Vladimir, Icon, Faces: 11th – 12th Century Figures retouched By Middle Byzantines

• The humanized image suggests the growing desire for a more immediate and personal religion.
• It was thought to protect the people of the city where it resided. 

Monastery Churches of Hosios Loukas, Katholikon (left), early 11th Century, Greece By Middle Byzantine

• Two churches smugged together
• Dome on squinches
• On the exterior, the rising forms of apses, walls, and roofs disguise the vaults of the interior.  

Katholikon, Interior early 11th Century, Greece By Middle Byzantines

• Dome on squinches 

Cathedral of St. Mark, Venice, building begun in 1063 By Middle Byzantines

• Greek cross plan - like a plus sign
• Middle byzantine - gold mosaics, elimination of detail, spiritual, sense of hierarchy. 

Crucifixion, Church of the Dormition, Daphni, Greece Late 11th century By Middle Byzantines

• Full of gold mosaic
• emphasis on suffering of the Christ- the blood
• emotional portrayal - Mary crying and reaching for the blood
• star composition 
• The interpretation of the Crucification unties the Old and New testaments.

Harbaville Triptych, Mid 11th Century, Ivory by Middle Byzantines

• Diptych- portable 
• Barbie doll feet
• Devotional piece represents the Deesis. 

David the Psalmist, Paris Psalter, 2nd Half of the 10th Cent. By Middle Byzantines

• book of songs
• personification of melody and mountain
• luxury object 

Anastasis, Church of the Monastery of Christ in Chora, apse of funerary chapel, 1310 – 21 by Late Byzantines 

• related to funerary (imagery) 
• spiritual
• Christ appears as a savior in white.

Purse Cover, from Purse Cover, from Sutton Hoo, first half of the 7th  Century, Cloisonné From Early Medieval Art in Europe

•   Object found at Great Barrel cite - great ship that carried dead and dead treasures also made out of wood. 
• Attached to leather
• Artist used Cloisonné which is a technique forming a gold wire to hold shaped pieces of garnet or glass. 
• Has interlace- taking a motif/abstract/ element extend them
• Stylized

Page with Man (Matthew), Gospel Book of Durrow, 2nd  Half of 7th Century From Early Medieval Art in Europe

• Interlacing in the border - all done by hand
• His feet are in twisted perspective 
• The format and text of the book reflect Roman Christian models, but its paintings are an encyclopedia of contemporary design. 

Palace Chapel, Aachen, Germany, 792-805 From Carolingian Architecture

• Inspired by roman and early Christian art
• Rotunda plan

South Cross, Ahenny, 8th Century “High cross” From Early Medieval Art in Europe

• Named High cross because it is really large
• Marks religious sacred ground
• More interlace
• Mimics gold/metal crosses with the 5 circles.
• The large bosses (broochlike projections) which form a cross within the cross, resemble the jewels that were similarly placed on metal crosses.  

Chi Ro Iota Page, Book of Kells, Late 8th or Early 9th Century From Early Medieval Art in Europe

• This image means Christ

• A lot of interlace

• lots of animal and vegetable motifs
• months and months of work
• fish symbol of Christ.  

• May be brought by the monks who established a refuge at Kells