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AP Unit Sheet #7: Chapter 7 Mrs. Cook

Works of Art

Preview: The was the most expansive and powerful of the ancient world, and its cultural productions, architectural forms, social and legal structures, and language has indelibly marked the Western world as we know it today. The empire dates from 753, with the establishment of the city of in . The early monarchy gave rise to the , established in 509 BCE. The early Roman Empire dates to 27 BCE and the rule of , followed by the High Empire of 96‐192 CE. The Late Empire, 193‐337 CE, came to an end when Constantine, the first Christian emperor, moved the of the Empire from Rome to . At its height, the Roman Empire spanned three continents, and its former territory is marked by monumental works of art, , and engineering still visible today. Roman sculptors were avid followers of the Ancient , though they developed a distinctive realist style. Early Roman architecture blended forms from the Etruscans and the Greeks, but the Romans were above all architectural innovators, using on a monumental scale, exploiting the structural possibilities of the , , and , and developing types such as the and amphitheater.

Roman Art – Context Appropriation: “Captive Greece made Rome captive” Pragmatism: where the greatest good and popular opinion established the standard of art Propaganda: Power and Authority of Republicanism and Imperialism Utilitarianism: engineering, road building, public works to manage government and Empire : a tolerant and open‐minded approach to differences Engineering: new technological innovations in building including arch, vault, dome, concrete

Technique/Terminology/Vocabulary: Architecture Corinthian Order : centering, springing, voussoirs, , barrel vault, buttressing, travertine, caementicium, pozzolana : pseudo‐peripteral, veneer, podium, , engage , , coffers, oculus, dome, , spandrel, Baths: calidarium, tepidarium, frigidariu, amphitheater : basilica, longitudinal axis, nave, clerestory, aisels, exedrae, cross vaulting, : Patina, cuirass, antiquarium, death , portrait bust, veristic portraits, , , equestrian portrait the 4 styles of Roman painting, , illusionism, modeling various from Ostia, , and

Roman Architecture 1. Building for use – addressing the practical problems of everyday city life – a shift from religious to civil engineering projects 2. Developing the arch and vault as a structural principle – increase in scale of building exterior and interiors made possible 3. Emphasis on verticality – made possible by the use if concrete – new height of buildings and multi‐used facilities 4. Design of significant interiors – greater variety and complexity of forms – Romans treated space and light as tangible realities

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AP Art History Unit Sheet #7: Chapter 7 Roman Art Mrs. Cook

Advantages of Concrete: 1. Less expensive (than stone) 2. Easier to build with (mixing) 3. Often stronger (tensile) 4. Larger structures can be built (especially height) 5. Greater variety & complexity of forms/spaces possible

Religious Architecture: the Temple of Virilis and Mason Carree: “abbreviated” temples – a blend of Etruscan and Greek prototypes Etruscan characteristics: high podium, access from front only (by stairway) and deep porch (portico) front Greek characteristics: use of classical orders (Ionic or Corinthian), pseudoperipteral (engage on side and back of temple) and stuccoed surface to approximate the white of Greek temples Function: temple not only cult but also used to display trophies and “spoils of war” ( and weapons) Interior Space: central priority is the creation of unobstructed interior space at the expense of elaborate/costly exteriors Construction techniques: constructed in concrete then covered in or marble veneer. Concrete also made possible more complex forms, including , apse, and vaulting (groin, barrel annular) Pantheon: a “revolution” in building: largest interior space in ancient world – a temple to all the gods (pantheon) • Fully realizing the potential of poured concrete – a masterwork of Roman engineering • Dramatic interior space expressed perfect geometric volumes – the “palpable presence of space itself” • Metaphorical implications: Roman engineering – the universality of the sphere connected by a perfect circular oculus to the cosmos beyond. Light plays an important role in this metaphor as the circle of light from the oculus traces the movement of the sun along the bronze coffered dome of the interior. Public Works: the forum, basilica, bath and amphitheater (also aqueducts/bridges/theaters) Forums: open surrounding by and an on both sides, with a at one end • A monument to their builders (individual emperors often trying to out‐do their predecessors) • A public meeting place as well as a place to conduct state business Forum of : an elaborate series of court yards organized along a central axis with the Basilica Ulpia. Greek and Libraries, markets (in the adjacent exedra) and a temple to the deified rule himself.

Basilicas: large rectangular two storied building on a gargantuan scale with at both ends (with a cult statue of the Emperor in one) and long colonnades on the interior surrounding the central space called a nave. Lit by clerestory below a raised (flat or groin vaulted) with a coffered and flanked by two side areas called .

Baths: large complex of baths (frigidarium, tepidarium, and caldarium), as well as libraries, exercise (palaestras), , lecture and landscaped built on a massive scale

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AP Art History Unit Sheet #7: Chapter 7 Roman Art Mrs. Cook

• Built with imperial funds by emperors to curry favor with the citizens of Rome and assert their importance. • Constructed with brick and marble‐faced concrete covering barrel, annular, and groin vaults and domes

Amphitheaters: : most dramatic example of amphitheaters built throughout the empire – site of gladiatorial combat and “hunting” of wild beast brought in from far‐reaches of empire. Held up to 50,000 people! • Engineering feat of colossal proportions – concrete construction faced with travertine, 80 entrance ways, radial concentric corridors of annular vaults, retractable roof of canvas and a sub structure below arena (which could be flooded for mock naval battles) for gladiators, sets, and animals. • Decoration on façade uses Greek orders superimposed around exterior arches using (from bottom to top) Doric, Ionic, Corinthian engaged columns with the top level Corinthian .

Monuments: Altars, triumphal arches, commemorative columns Function: propaganda for the emperor (often military victories) Context: triumphal arches, columns and alters part of larger public works, often connected to forums or city streets Context: Triumphal arches, columns and alters part of larger public works, often connected to forums or city streets Content: Narrative reliefs depicting battle scenes or other historical events, featuring the emperor and armies/senators

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