• Porta Marzia (Gates of Mars) 2nd century
• Etruscans
• 800-507 (500) BC
• Entrance into Arisia (Port of Mars), has an arch which is a central keystone that is formedby a series of trapezoidal stones. Sculpted half firgures of Jupiter and his sons, Castor and Pollux and their steeds look out from between the columns.
• This arcuated (arch shaped) gateways and freestanding arches became major architectural type. The three dieteis turned the tide in favor of the Romans on the battle field, reflect the Roman practicce of erecting triumphal arches crowned by gilded bronze statues.

• Golden Fibula
• Etruscans
• 800-507 (500) BC
• golden jewelry, beautiful and very fine. Broach that would have held a gown together at the shoulder. Lions in the ancient near east signify traveling from the Orientalizing period, and called a fibula because of bone.  
• Technique combines hammered relief and granulation (fusing tiny metal balls to a metal surface). Jewelry found in wealthy Etruscan family tomb.

• Apollo from Veii
• Etruscans
• 800-507 (500) BC
• Terracotta, made of baked clay not marble. Etruscan arcahic, not greek b/c has robe on. No contraposto yet but as a stride. Big structure holding him up, on the exterior roof of temple.
• Displays energy and excitement.. God confront Hercle for possesion of Ceryneian hind. Has extrodinary force, swelling contours, plunging motion, and calflike muscles that are distinctly Etruscan.  

• Sarcophagus of Married Couple
• Etruscans
• 800-507 (500) BC
• Found in tomb for inhumation. Puts portrait on tomb, is pottery, image of couple is put on top. Archaic women enjoyed freedom, ate w/ husbands, went to games. They are sharing/ enjoying a celebration, both on elbows and he has his arm around her. They are reclining on triclinum (couch)
• He's barefoot, probably going into the other world. Only contained the ashes of the deceased. Transition to the torso at the waist is unatural. The focus is on the upper half with vibrant faces and gesticulating arms.

• Frescos from Tombs
• Etruscans
• 800-507 (500) BC
• Painted tomb of 2 lionesses. Banquet scene, women lighter, men are darker. They are sharing a meal, music, eating, drinking. There is some landscaping and lounging. Kind of looks like a garage, tools, rope, and decorated with frescoes.
• Painted tombs are the privelege of only the welathies Etruscan families. Tomb of Leopards- named for the beasts that guard the interior of the painted. Man holds up egg, symbol of regeneration. Celebrates life, food, wine, music and dance. Tomb of hunting and Fishing- youth dives of rock while others fish from boat and there are birds all over the sky. Shows pleasures of nature  

• She Wolf
• Etruscans
• 800-507 (500) BC
• Made of bronze, becomes symbol for Rome (origin) .Nurtured Romulus and Remus. Stands on top of the hill, she is fiery. There are hackles on her neck, and shes baring teeth.
• Mother thought they would be killed, so they were found and raised by a she wolf after they were abandoned as infants. Rom and Rem are NOT Etruscan. Body, strong legs, lowered head, glaring eyes capture the intensity of the fierce and protective beats as danger approaches   

• Chimera
• Etruscans
• 800-507 (500) BC
• Greek mythological beast. Lion, tail of snake, and head of goat coming out of it. Made of bronze, goats neck bears wound of Greek hero Bellerophon inflicted when he hunted and slew the composite beast.
• Engraved in Etruscan on leg. Monster that goes on to Early Christian church. Beast prepares to attack and cry emanates from its jaws. Guardian nurse of Rom and Rem 

• Aule Metele (The Orator)
• Republican Period
• 509-27 BC 
• He is a spearker, made of bronze to get attention. Hand gesture will see quite a lot, addresses an assembly. important in republican era, has a toga and lace up boots= important one, magistrate. Etruscan bc of hem on togo tells who parents were.
• Very realistic, 5'11. Also has a ring on his finger and distinctive facial features like signs of age. Supremely confident image.

• Veristic Portrature 
• Republican Period
• 509-27 BC
• Veristric- superrealistic portratits. Nothing is covered up (no plastic surgery). Someone who has aged, he looks imporatant and you go to him from guidance.
• Get veristric in 2 ways: 1- Etruscans 2- Used as deathmasks for family, come out on special occasions. No greek idealism, its realistic. Each bulge, fold, and scar that makes statement about personality ( serious, experienced, determined, loyal)  

• Pompeii: Roman home and Frescoes
• Republican Period
• 509-27 BC
• Vesuvius exploads and freezes everything in 79 BC. On coast, it was a resort for Romans to get out of the city, open space in frontroom allows for rain to collect and courtyard is for villa. 4 styles of architecht- 1- Painting, bottom pannel- marbelized and painted if cant afford mosaic 2- Artchitecural style, takes walls and extends. If dont hae windom make a garden, decorates the walls to see the landscape, decorates for pleasure 3- Ornate- more decorative and finer 4- Intricate, complex. Neros golden palace, decratie and framed pictures
• Roman house played important role in oman soceital rituals. Central reception area= atrium. True frescoesdamp. , colors appplies while plaster was still

• Roman Temple in contrast with Greek and Etruscan
• Republican Period
• 509-27 BC
• Temple of Fortuna Virilis survived Christianity b/c it became a Christian church. Not Greek b/c has an entrance and has to go to the front, unlike many entrances. Its on a podium and the columns are engaed. Behind is just the back, not a big deal, doesnt specify its dedication. Greeks front and backs were indistinguisahbl and steps and columns were placed on all sides
• Not Etruscan b/c the entrance was possible only via a narrow staircase at the center of the front, which is only part of building made of stone. The rest was made of wooden columns and roof, and the walls of sun-dried brick. Home for grand statues of Etruscan gods, more widly spaces, and teractta statue was on peaks of their temple roofs.    

·     Roman Temple to Portunus (Fortuna Virilis)

·     Republican Period

·     509-27 BC

·     Temple of Fortuna Virilis survived Christianity b/c it became a Christian church. Not Greek b/c has an entrance and has to go to the front, unlike many entrances. Its on a podium and the columns are engaed. Behind is just the back, not a big deal, doesnt specify its dedication. Greeks front and backs were indistinguisahbl and steps and columns were placed on all sides.

• The Temple of Portunus, the Roman god of harbors. Follows the Etruscan fattter, columns confined to the deep porch. Ionic columns comples with flutes and bases. Wide flight of steps, built of stone to imitate marble temples of Greeks

• Maison Carree
• Republican Period
• 509-27 BC
• In Nimes France. Has 6 columns and then 11, vs 4 x 7 of Fortuna Virilis. Whenever they took over properties they put in temples, the order is corinthian. One a pedestal, has front entrance, column engaged on sides. Roman temple form.
• Usually didicated to a goddess. Much arger and was patterened on the Temple of Mars. A Roman temple that has classicizing architural style 

• Pont du Gard
• Republican Period
• 509-27 BC
• In Nimes France. Aqueducts made because Romans loved H2O and went to great lengths to brint it to the city. Points out arches taht hold up much more, the great aqueduct bridge.
• Carries H2O from mountians to thri city and demonstrates the skill of Romes engineers. Provided about 100 gallons of water a day and carried by gravity flow. Relationship between large and small aches shows aestheic and practical sense of engineer.

• Porta Maggiore
• Republican Period
• 509-27 BC
• An end result of aqueducts and three come together to forma  termianl. Buldi elaborate structure that flows in their and architecher with rustication (rough). Its a grandiose gate.
• Constructed at the point where two of Roms water lines converged. Instead of using precisely shaped blocks favored by greeks, the designer combined smooth and rusticated surfaces. This created an exiting and eccentric facade.

• August Primporta
• Early Empire
• 27 BC-180 CE
• Caesar August avenged Julius Casesars death and marked the Age of Roman Peace. Recognizable for cowlick. Found at primaporta at wife Livias. Holds up finger which means hes a descent from the gods. First of Roman art that combines mythological and atual on the chestplate. Caesar goes to the gods and negotiats and his standards are returned to him in peace. Also depicts gods that wintessed and blessed this event.
• Reinsstituted the family value. Augustus 'Octavian' idealized portrait and defeated Antony and Cleopatra, he addresses his troops with right arm extended in manner of Aule Metele. Diplomatic victory- the return of Roman military standards the Parthians captures from a Republican general. Cupid at Augustus feet proclaims his divine descend from Caeasars family to Venus. Carries a political message.   

• Ara Pacis Augustus
• Early Empire
• 27 BC-180 CE
• Altar of Peace. Musolini recreated this, Richar Meyer too modern. Created by the senate that dedicated to Augustus for peaceful ways. Open up to the sky, people entered, made sacrificed,and then exited. Figural reliefs and acanthus adorn the altars marble walls. Four panels on the east and west depict mythological subjects. 1- relief of Aeneaus (son of Venus and Augustus forefather) making a sacrifice. 2- Seated matron with two babies is usually called Tellus (Mother Earth) that epitomizes the fruits and all around her is bountiful earth bloom and animals. Earth, sky, water that sho peace and fertility. Romulus and Remus are depicted, origin of Rome.
• Procession of the imperial family on the south side is reality. Photo of what took place and everyone is identified. Augustus at front and then daughter and husband behind. The children are at this significant event, they pull of robes, tired, etc. They show marriage and family which are Roman virtues that Augustus signed laws on to promote this. Inspired by Pathenon procession fireze.
• Eumlation of classical models makes a political and artistic statement, both the Ara Pacis and Augustus Primaporta are moral exemplars and established Roman art

• Nero's Godlen House
• Early Empire
• 27 BC-180 CE
• Rebuilds the city of Rome after fire destroys it, in concrete, perfected with concrete and charges. Self indulgent to the max, and feared above all (kicked wife to death, cut wifes vein in bathtub) Makes himself emperor in Domus Auruea and created woods, putting a lake in, and a mile to drive to his house. Rich decorations with marble paneling.
• Ceiling of octagonal room admits light to the room and the walls shape it. Vast and etravagant, entrance contains statue of Nero in the guise of Sol, the sun god. Looked like a city that had vineyards, pasteurs, and woodlands. Sea and sulphur water were on tap in the baths, and it was very extravagant   

• Concrete and arches
• Early Empire
• 27 BC-180 CE
• A great fire destroyed Rome so rebuilding was carried out in accordance with a code that required widespread use of concrete (greater fireproofing) because it was both cheap and fire resistant. Gave architectures opportunity to explore possibilities of new material. Perfected concrete with arches and not limited to post/lintel constructuions but had shapes and forms (concrete is maleable)  

• Arch of Titus
• Early Empire
• 27 BC-180 CE
• Titus leads the assault on tmple of Jersulasm and destroys its ( 2nd time after nebuchanezzar) so a triumphal arch is created. First one that sets the stadsards of what is to be done. Single arch, decorations inside depicts art that took place and the dedication is on top. Chariot and hoeses are missing. Interior panel has everything that they approved (spoils liek the menorah) that were paraded through town.
• Titus younger brother Domitian had this created that consists of one passageway only. Arch honrs the god of Titus, son of Vespasian (on attic). Romans were proclaimed gods after they died. The energy and swing of soldiers in relief panel show the rapid march. The other panel shows Titus in Triump with his chariot and that victory rides with Titus in the four horsed chariot, where a wreath is placed on his head.  

• Flavian Ampitheater (Colosseum)
• Early Empire
• 27 BC-180 CE
• Roman/ civic art that took two theaters from the Greeks and put them together. It was free standing. Arches / concrete- Greek inspiration b/c first floor= doric, 2nd=ionic, 3rd=corinthian. Flavians left there mark with this monument that represents Rome.
• Site is artificial lake of Nero which was the largest arena for gladiator combat and other specatcles. Got name from location beside Colosus of Nero (huge statue that portrayed him as Sun God). Entranceways were numbered and people sat according to social hierarchy.

• Column of Trajan
• Early Empire
• 27 BC-180 CE
• Fourth piece of Roman art. On the bottom is a river god that blesses this, 128ft tall, 2 battles between Dacians and Romance forces. This is the continuous record of campaign, scroll inscribed in the column (continuous spiral narrative fireze). Has 150 epidsodes with thousands of figures.
• Great historical records, tells how to cross rivers, chop trees, the battle scene, and its a relief sculpture done in drums. Resting place of Trajans ashes. Once had nude Trajan on top, but now Saint Peter replaces this. His ashes and those of his wifer were placed inside the golden urns. The focus is always on the emperor. Romans won because of organization and powerful army, not because they were superior beings (didnt belittle enemies)    

• Markets of Trajan
• Early Empire
• 27 BC-180 CE
• Trajan takes part of the hillside and then puts a marketplace in. Multi-storied places that had shops and administrative offices, not very decorated, had arches and a skylight.
• Resembles the modern shopping mall. This structure was possible only using concrete and showed Trajan as a master of this moder medium while also using the traditional stone and timer post and lintel architecture.

• Basilica Ulpia
• Early Empire
• 27 BC-180 CE
• Trajans family names was Ulpius. Basilica Ulpia was a larger and more ornate version of the basilica in the forum of Pompeii. A huge Basilica, not a temple, dominated the colonaded open square. Basilica was the public meeting space that comes from the word churge. It was flanked by 2 libraries, greek and Latin.
• Public hall to accomodate businesses, law, and administrative beaureus

• Pantheon
• Early Empire
• 27 BC-180 CE
• Combo of temple front and dome interior, still used today in churches. Dome rests on the drum, and the roof is thicker at the bottom and lighter on top made of fatherweight pumice that replaced stones. Oculus- circular opening that is the only light source for the interior. Pantheon= all gods. Dedicated to Marcus Aurelius.
• The temple of All Gods. One of most influential designs, after Hadrian became emperor. Has a facade of eight corinthian columns. Concrete cyclinder covered by a huge hemispherical dome, interior space is imagined as the orb of the earth while the dome is the vault of the heavens. Encloses visitors without imprisoning them. Calm and mystical immensity

• Villa Tivoli
• Early Empire
• 27 BC-180 CE
• Hadrian was involved with the construction of his own counrty villa at Tivoli. Building activity didn't cease until his death. One project was contruction of pool and artificial grotto called Canopus and Serapeum. Grotto is made of concrete and has pumpkin shaped dome.
• Greek Columns and marble copies of Greek statues line the pool, b/c he loved Greek art. The colonade is arcuated (curved or arched) which breaks Greek design.

• Marcus Aurelius Equestrian Statue
• Early Empire
• 27 BC-180 CE
• Shows imperial majesty on horseback. Gilded bronze equestrian statues, the emperor posseses a superhuman grandeur and is much larger than normal in relation to the horse. His right hand is stretched out in a gestery that is both greeting and offers clemency. Beneath the horses leg an enemy possibly once cowered, begging for mercy.
• The statue conveys the awesome power of the godlike Roman emperor as ruler of the whole world. Statue inspired many Renaissance sculptors to portray their patrons on horseback. Expresses the Roman emperors majesty and authority.

• Caracalla Bust portrait
• Late Empire
• 180-395 CE
• When Caracalla succeeded as emperor he had his brother murdered,wifer murdered, and memory damned. Marble portrait of ruthless warrior taht suggested the texture of the hair and close cropped beard. Moving characterizations of Caracallas suspicious nature.
• Brow is knotted and he abrubtly turns his head over left shoulder as if he suspects danger from behind. He was assasinated so had reason to be fearful. Hair and beard created with negative carving that stippels a chisel across surface of stone. Emperors scowl is threatening, powerful, and realistic (sense of presence and connection instead of dreamy eyes) 

• Baths of Caracalla
• Late Empire
• 180-395 CE
• The greatest in a long ling of bathing and recreational complexes erected with imperioal funds to win the publics favor. Made of brick faced concrete, covered and area of almost 50 acres.
• Symmetrical along a central axis and depicts Roman custom of taking sequential plunges in baths. Circular chamber seated hundreds of spectators in open air performances, and dome was almost as large as pantheons. Mosaic floors, marble walls, and statues decorated the vaults. 
• Supplied with water from aquaducts aht is equivalent to modern day health spa, over 1600 bathers could enjoy at one time. There wre lecture halls, gardens, libraries, gyms, and swimming pools in this facility   

• Palace of Diocletian
• Late Empire
• 180-395 CE
• Emperor Diocletian built a palace for himself at split when he retired in 305. Wanted a well fortified suburban palace in Yugoslavia. Covers about 10 acres and hhas watchtowers flanking the gates.
• Gave emperor a sense of secuity in the most insecure of times. Within high walls two avenues intersected the palaces center which was supposed to emphasize the designs central axis but instead became the "gable of glorification" where he appeared before those who gathered in court to pay homage to him. Huge domed tomb would become popular and Christian times and be prototype of church. One on side of court was tempole of Jupiter and on the other side the mausoleum.

• The Tetrarchs
• Late Empire
• 180-395 CE
• In attempt to restore order to the Roman Empire, Diocletian shared power with his potential rials. In 293 he established the tetrarchy (rule by four). August of East, other were Augustus of west, and Eastern and Western Caesars. Together they ruled w/o strife until Diocletian retired in 305.
• Four were often portrayed together with their individaulity lost. Represented the nature of the tetrarchy itself rather than personalities, four equal partners in power. Made of porphyry (purple marble), its imposible to name the rulers. All identical in cloack and each grasps a sheathed sword with left hand, while right arms embrace one another.Bodies are shapeless and face are imotionalys, distinguishable are beard on two figures which is older, similar to Egyptian kourous of formal rigidity and no more idealism, naturalism, or individuality.  Power shared and order restored, until they fought for leadership    

• Constantine/ sculpture fragments
• Late Empire
• 180-395 CE
• After victory over Maxentius built colossal scuplture of Constantine. One of several marble fragments of a colossal enthroned statue of the emperor that was composed of brick core, wooden torso covered with bronze, and a head and limbs of marble.
• Held an orb in his left hand which was a symbol of global power. Nervous glance of thrid century portraits is absent, has frontal mask with enormous eyes. Personality is lost in the immense image of eternal authority. Overwhelming powere appropriate to Constantines exalted position as absolute ruler. Has two right hands with upraised index fingers  

• Basilica of Maxentius and Constantine
• Late Empire
• 180-395 CE
• This basilica was a project Maxentius had begun on a site not far from the Arch of Titus. Constantine completed the building after his rivals death. His image dominated the interior of the basilica. Built with brick faced concrete, with marble and stucco floors.
• Lessons learned in making Trajans Market hall and Baths of Caracalla were applied to this Roman Basilica. Became an exception to the ideal basilica design with well lit interior, fire resistant frome, etc. Traditional Basilica Uplia remains the ideal.

• Arch of Constantine
• Late Empire
• 180-395 CE
• After Constantine had a victory at the Milvian bridge, he erected a triple passageway arch in the shadow of the Colosseum to commemorate his defeat of Maxxentius. Largest erected in Rome since century before. Scluptoral decoration taken from Trajan, Hadrian, and Marcus Aurelius. The heads of earlie emperors were recut with features of the new. 
• The reuse of statues and relif was evidence of a decline in creativity and technical skill in years of Pagan Roman Empire. Reveals compositional principles of the Late Antique style are those of the Middle ages. Became part of monumental era that exhibited a respect for the classical past in it reuse of 2nd century sculptures while rejecting the norms of classical design in its fireze (heads not distinguished, rigid formality, less narative, repeated stances). Paved the way for the iconic art of the middle ages   

• Aula Palatina Basilica Trier
• Late Empire
• 180-395 CE
• Located in Germany. At Trier Constantine built a new palace complex. It included a basilica like audience hall, made of traditional form and materials. Its auster brick exterior characterized later Roman and Early Christian architecture. Has windows, lead framed panes of glass for windows gave life and movement to blank exterior surfaces.
• Inside the hall was simple, flat, wooden ceiler. No aisles, just a wide open space with large windows that provide amplelight. The main hall is divided from the semicicular apse by a triumphal arch. Orgininaly covered in marble and veneer,provided magnificent environment for enthroned emperor. Interior/exterior design paralelled many christian basilicas. Later converted to Christian churge.