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| an ancient brooch used to fasten clothes |
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| Architectural sculpture came in the form of acroteria (a figure or ornament placed usually at the top or edge of the ranking cornice), or sculptures that were simply placed on the roof. Etruscan temple more closely resembled a (real) home for the gods, rather than a sacred shrine. |
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| Much of what is known of Etruscan culture has come from excavations of their tombs. necropolis (literally "city of the dead") |
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| Basic ideas of Roman civilization |
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Roman civilization was a multicultural civilization, and naturally Roman art is rather eclectic1.
The Roman people were, in general, tremendously practical; therefore, many of the finest works of Roman art were also utilitarian.
The Romans were also a political people, and so many works of Roman art served as propaganda.
The Romans sought to control and harness the environment around them, and this is strikingly evident in much of their art.
Ancient Rome was the vehicle by which ancient thought and art was carried into the Middle Ages, through the Renaissance and into our own times. |
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| Roman history is generally divided into three parts: the Regal period when Rome was ruled by Etruscan kings (753-509 BCE); the Republican period when Rome was governed by the Senate (509-27 BCE); and the Imperial period when Rome was ruled by emperors (27 BCE - 476 CE) |
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| In spite of the interesting combination of styles, the primary contribution of the Romans to the world of architecture was the invention of concrete. Not only was it less expensive (remember the Romans were a practical people), but concrete also allowed Roman architects to create all sorts of vaults and domes, which could not be achieved with building blocks alone. The Romans were interested in the space vaulting and dome construction afforded, rather than the sheer bulk (and little space) of post and lintel structures (remember, for the Greeks, monumental structures were grand works of sculpture, but for the practical Romans, buildings needed to be useful as well as beautiful). |
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| apply stucco or marble facing to concrete to make it more pleasing to the eye |
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| religious structure that served as focus of roman republican period towns. |
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| The structure not only housed the law courts (as it did in most Roman towns), but it was also the "Wall Street" of Pompeii. Needless to say, the basilica saw many people each day, and it was in fact designed to meet the need for a large, enclosed public space. Two rows of internal, two-storied columns created a large, central space (or nave) flanked by two side aisles that were also rather spacious, providing space (on both stories) for offices. |
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| Roman republican sculpture |
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| purposeful, literal representation. Realistic. The overall work is still quite elaborate, however |
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| First Style (roman painting) |
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| This style, which is of Greek origin, is easily recognizable, as the walls are painted in such a way as to resemble expensive marble revetment. |
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| Second Style (roman painting) |
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| sought to "expand" the rooms with the illusion of three-dimensional space. ve, but in the "ledge," on which the figures are painted. presence of a mock stage creates the illusion of depth on a two-dimensional surface |
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| A system of drawing or painting in which the artist attempts to create the illusion of spatial depth on a two-dimensional surface. |
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| describes the technique of blurring objects in the "distance," while painting those in the foreground with incredible precision in order to create a three-dimensional illusion in two-dimensional space. |
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| Third style (roman painting) |
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| is recognized by delicate linear decoration on a monochromatic (single color) background. when landscapes or mythological scenes were added, they appeared as hanging pictures, rather than exercises in perspective. |
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| fourth style (roman painting) |
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| ere, we see motifs painted on monochromatic backgrounds like in the Third Style, but now there are framed views that "go past" the wall. |
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| With the consolidation of power, Rome experienced an era of order and peace known as the Pax Augusta ("Augustan Peace"), which extended over the next two hundred years (a period naturally called the Pax Romana, or "Roman Peace"). This was also a period that witnessed an unprecedented number of public works: forums, temples, basilicas, baths, amphitheaters, roads, bridges and aqueducts (just to name a few!). All of which was sponsored by, and to the glorification of, Rome's emperors. |
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| Augustan Sculpture (early imperial art) |
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| Sculpture in the Augustan age also took on a striking new look from what we have studied. Augustus gained control of the Roman state in his early thirties and reigned well into his seventies, yet his portraits always presented the leader as young and powerful, and, at times, godlike. No longer do we see the aged realism of the Republican period. |
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| Flavian art (early imperial) |
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| Although not as direct as the sculpture we studied in the Republican period, Vespasian's portraits nevertheless show a definite break from the Augustan tradition of showing the emperor as a mythological hero or god. |
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| coloristic (flavian, early imperial) |
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| deep carving and the resultant shadows give the appearance of being differently colored from the rest of the work, though it is obviously from the same piece of stone. |
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| triumphal arch (flavian, early imperial) |
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| These freestanding arches were not functional (other than for propaganda), and were used to commemorate events such as military conquests. |
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| composite capitals (flavian, early imperial) |
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| a combination of Ionic volutes and Corinthian acanthus leaves. |
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| Spandrel, the space above the arcuated opening and below the entablature. Attic, or upper portion of the triumphal arch. |
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| apse (high imperial, trajan and hadrian) |
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| coffering (high imperial, hadrian and trajan) |
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| sunken, decorative panels that were added to the interior of the dome to decrease the weight of the dome as well. |
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| encaustic (high imperial under antonines) |
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| the encaustic technique involves painting with hot wax to which colors have been added |
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| pigments mixed with egg yolks |
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| When a person's memory was "damned". This included, among other things, having his or her image and name blotted out. |
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| groin vaults (late imperial) |
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| produced by the intersection at right angles of two barrel vaults. |
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