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INDEX Achilles (subject) 42–43, 140, 156, 161, 170, 291; Arches Basilica 81 Figs. 2.23, 6.26, 10.19 Arc de Triomphe, Paris 359–360; Aemilia 135–136; Fig. 5.22 acroterion 33, 37, 39; Fig. 2.14 Fig. 12.26 Constantine, Trier 338–339; Figs. 12.4–12.5 Actaeon (subject) 176, 241; Figs. 6.33, 8.34 Arcus Novus, Rome 311 Nova, Rome 340; Figs. 12.6–12.7 Adamclisi, Tropaeum Traiani 229–230; of Argentarii, Rome 287; Figs. 10.14, 10.15 Pompeii 81–83; Figs. 4.5, 4.6 Figs. 8.20–8.21 of Constantine, Rome 341–346; Severan, Lepcis Magna 296, 299; adlocutio 116, 232, 256; Figs. 5.2, 8.24, 9.13 Figs. 12.8–12.11 Figs. 10.26–10.27 adventus 63, 203, 228, 256, 313, 350; of Galerius, Thessalonica 314–315; Ulpia, Rome 216; Fig. 8.5 Figs. 7.25, 8.23 Figs. 11.15–11.16 Baths aedicular niche 133; Fig. 5.20 of Marcus Aurelius, Rome 256; Fig. 9.13 of Agrippa, Rome 118, 185, 279 aedile 12 of Septimius Severus, Lepcis of Caracalla, Rome 279–283; Aemilius Paullus 16, 65, 126 Magna 298–299; Figs. 10.28, 10.29 Figs. 10.7–10.10 Victory Monument 16, 107–108; of Septimius Severus, Rome 284–286; of Cart Drivers, Ostia 242–244; Fig. 8.37 Figs. 4.30, 4.31 Figs. 10.11–10.13 of Diocletian, Rome 320–322; Aeneas 27, 121, 122, 126, 127, 135, 140, 156, of Titus, Rome 201–203; Figs. 7.22–7.24 Figs. 11.23–11.24 175, 215, 354, 355; Figs. 5.7, 5.11, 8.2, of Trajan, Beneventum 16, 233, 237; of Neptune, Ostia 263; Fig. 9.20 12.21, 12.22 Figs. 8.28–8.31 of the Seven Sages, Ostia 260; Fig. 9.18 Agrippa 118, 121, 124, 132, 219, 279, 294; Archaistic style 129, 130; Figs. 5.16, 5.17 Stabian Baths, Pompeii 172; Fig. 6.28 Figs. 5.6, 5.10 architectural revolution 146, 167, 170, 177, “Temple of Mercury,” Baiae 141; Fig. 5.28 Alexander the Great 8, 96, 97, 126, 198; 205, 217, 219, 221, 223, 224, 259 of Titus, Rome 185 Fig. 4.21 arcuated (Syrian) pediment 173, 259; Beneventum Alexander Severus 277, 279; Fig. 10.6 Figs. 6.28, 9.17 Arch of Trajan 16, 233, 237; Figs. 8.28–8.31 amphitheater Aristoxenus, Promiscuous Banquets 55 bronze (material) 25, 37, 65–68, 117, 182, 186, Capua 237–240; Figs. 8.32–8.34 Artemis 350 284; Figs. 1.2, 1.8, 2.10, 3.15, 3.16, 3.17, Flavian (Colosseum), Rome 182–185, see also Diana 3.18, 3.19, 4.34, 6.11, 7.19, 8.2, 8.26, 9.3, 206; Figs. 7.3–7.5 Athena (deity) 34, 43, 153, 155, 198, 329 11.8–11.12, 12.2 Pompeii 88–90; Fig. 4.12 see also Minerva bulla 124; Fig. 5.10 Statilius Taurus, Rome 136 Athena (subject) 32, 33, 55, 350; Antinous 224, 233; Fig. 8.15 Figs. 2.14, 3.5, 12.17 caduceus 287 Antioch-on-the-Orontes (site) 326 atmospheric perspective 133, 170; Fig. 5.20 Caere (Cerveteri) (site) 21 House of the Atrium 326–328; atrium 14, 15, 23, 95, 101, 103, 205, 293; Banditaccia necropolis 22, 24, 27; Figs. 11.29–11.31 Figs. 1.13, 4.25, 10.23 Figs. 2.2, 2.7 House of the Boat of Psyches 330; Augustus Regolini-Galassi Tomb 24; Fig. 2.4 Fig. 11.33 Ara Pacis Augustae 120–124; Figs. 5.6–5.10 Tomb of the Greek Vases 23 House of Menander 329–330; Fig. 11.32 City of Rome 112, 118–132; Fig. 5.3 Tomb of the Reliefs 23, 60; Fig. 3.10 Antoninus Pius 246–247 corona civica 15, 120 Tomb of the Shields and Chairs 23; Fig. 2.3 Column 253–255; Figs. 9.11–9.12 dynasty 114, 115, 119, 120, 123, 141, 143 Caesarea Maritima 142–143; Fig. 5.29 Hadrianeum 253; Fig. 9.10 Forum Augustum 124–128; Caligula 146 portraiture 247; Fig. 9.1 Figs. 5.11–5.14 portraiture 146–147; Fig. 6.2 Aphrodisias Mausoleum 119–120; Figs. 5.4, 5.5 caldarium 133, 280, 321 Sebasteion 161–162; Figs. 6.15, 6.16 name and titles 114–115 Calydonian Boar Hunt (subject) 241, 265; Apollo (deity) 26, 43, 49, 100, 107, 121, Palatine Hill 128–132; Fig. 5.15 Figs. 8.33, 9.24 128, 345 COPYRIGHTEDParthian victory 116 MATERIALcameo (material) 139, 148–149, 158–159; Apollo (subject) 26–27, 116, 129, 130, 140; Pontifex Maximus 115; Fig. 5.1 Figs. 5.27, 6.3, 6.12 Figs. 2.8, 5.2, 5.16, 5.17, 5.27, 8.27, 12.17 portraiture 115–117; Figs. 5.1, 5.2, 6.3, 6.4 capite velato 63, 115; Fig. 5.1 Apollodorus of Damascus, Res Gestae Divi Augusti 119–120 Capitoline She-wolf 3; Fig. 1.2 architect 215–219, 224, 257 rise to power 114 Capua (site) 19, 45 Apollonius and Tauriscus (sculptors) 281 virtues 120 amphitheater sculpture 237–238; apotheosis 34, 126, 189, 207, 253, 254, 361; Aurelian 305–306 Figs. 8.32–8.34 Figs. 9.11, 12.27 Aurelian Walls, Rome 305–306; Fig. 11.5 Caracalla 274 Apotheosis of Washington fresco, U.S. Capitol, Baths 279–283; Figs. 10.7–10.10 Washington D.C. 360–361; Fig. 12.27 Baiae (site) 141; Fig. 5.28 portraiture 277; Figs. 10.1, 10.5 apotropaic 30, 151, 190, 260; Fig. 6.5 Barbarini Togatus 4; Fig. 1.3 caryatids 126, 223; Fig. 5.14 Ara Pacis Augustae 120–124; Figs. 5.6–5.10 barrel vaults 84, 167, 279, 340, 347 Cassia Victoria 249; Fig. 9.5 A History of Roman Art, First Edition. Steven L. Tuck. © 2015 Steven L. Tuck. Published 2015 by John Wiley & Sons, Ltd. 368 0002212300.indd 368 11/7/2014 1:14:30 PM index 369 Cassius Dio, Roman History 224, 227, Decennalia Monument, Rome 312–313; Hadrian 213–214 246, 259, 274 Figs. 11.13–11.14 Hadrianeum 253; Fig. 9.10 cella 35 Decius 302; Fig. 11.3 Pantheon 219–221; Figs. 8.9–8.11 Chiusi 24–26; Figs. 2.5, 2.6 decursio 254 portraiture 214–215; Fig. 8.2 Christian art 354, 358–359; Figs. 12.19, 12.24 Demetrius the Topographer 94 tondi 233; Fig. 8.27 chthonic 29, 58 dentil frieze 80 villa at Tivoli 221–224, 240; Cicero 3, 8, 114 Diana (subject) 116, 176, 241; Figs. 5.16, 6.33 Figs. 8.12–8.15, 8.35, 8.36 Civil War Dido 140, 354–356; Figs. 12.21–12.23 virtuti Augusti medallions 233; Fig. 8.26 of 68–69 ce 179 Diocletian 307–308 Hellenistic style 8, 80, 92, 95, 108, 226 of 193 ce 274 Baths 320–322; Figs. 11.23–11.24 hemicycle 216–217 Classicizing style 66, 115, 160, 179, portraiture 308; Fig. 11.6 Herculaneum 9, 187 230, 255, 275 see also Tetrarchy destruction 186–187 Cleopatra 114, 130 Diodorus Siculus 24, 94 House of Neptune and Claudius 19, 157 Dionysus (subject) 104, 290, 318, 326; Amphitrite 187–188; Fig. 7.7 Porta Maggiore, Rome 162–163; Fig. 6.17 Figs. 4.28, 6.30, 10.18, 11.30, 12.18 Sacellum of the Augustales 188–189; portraiture 157–158; Figs. 6.10, 6.11, 6.16 Domitian 197 Figs. 7.8–7.9 clementia 226, 318, 343 Arch of Titus 201–203; Figs. 7.22–7.24 Hercules (subject) 33–34, 45, 66–67, 189, clerestory 81 Cancelleria reliefs 203–204; Figs. 7.25, 7.26 251, 253, 282; Figs. 2.14, 3.16, 3.17, Cloaca Maxima 5; Fig. 1.4 Forum Transitorium 198, 207, 212 5.17, 7.9, 10.10 coins palace on the Palatine Hill 207–209; herm 130; Fig. 5.18 Constantius 311; Fig. 11.10 Figs. 7.28–7.30 hierarchy of scale 40, 53, 62, 286, 313 Gordian III 309–310; Fig. 11.8 portraiture 197; Figs. 7.18, 7.19 hieros gamos 41 Maximian 311; Figs. 11.11–11.12 Domus Aurea 168–171; Figs. 6.24–6.26 horror vacui 42 Petillius Capitolinus 36; Fig. 2.17 Domus Transitoria 167–168; Figs. 6.22, 6.23 hortus Fig. 1.13 Postumus 310; Fig. 11.9 Doryphoros of Polykleitos 116–117 Titus 185; Fig. 7.5 Dura-Europos, house church 331–332; Fig. 11.34 imbrication 100 collocatio 205; Fig. 7.27 imperium sine fine 149, 159, 161 Colosseum 182–185, 206; Figs. 7.3–7.5 ekphrasis 206–207, 261 impluvium Fig. 1.13 Column El Djem, Tunisia (site) insula 260 of Antoninus Pius 253–255; Figs. 9.11–9.12 mosaic 288; Fig. 10.16 isocephaly 123, 159, 201, 204, 233, 237, 290 of Marcus Aurelius 17, 257; Figs. 9.14–9.16 encaustic painting 269 Italic style 7, 30, 137–139, 160; of Trajan 216–217, 225–228; see also painting, panel Figs. 2.10, 5.25, 5.26, 6.14, 9.9 Figs. 8.5, 8.16–8.19 entablature 100 ivory (material) 33, 37, 129; Fig. 2.5 Commodus 246–247 Ephesus portraiture 251, 253; Fig. 9.9 Temple of Hadrian 257–260; Fig. 9.17 Josephus, Jewish War 143, 186 Concordia Augustorum 246, 298 episodic narrative 16–17, 64, 205, 265, 355 Judgment of Paris 329 concrete see opus caementicium Eros (subject) 105, 116, 148, 268; Julia Domna 274 Constantine 335–336 Figs.
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  • The Arch Over the Lechaion Road at Corinth and Its Sculpture

    The Arch Over the Lechaion Road at Corinth and Its Sculpture

    THE ARCH OVER THE LECHAION ROAD AT CORINTH AND ITS SCULPTURE (PLATES57-75) T IS OFT7ENSAID that Pausaniaswas not interested in the monuments of his own time, and, in general, that seems true. But during his tour of Corinth, Pausaniaswalked out throughthe arch over the Lechaion Road which was the northernentrance to the forum (Fig. 1, P1.57:a) and was impressedenough to recordthe presence of the arch and the statues that crowned its attic: two gilded chariotgroups with Helios and Phaethon as drivers.1 Only the heavy foundations of the arch are preserved (Fig. 2), yet it must have been a striking monument which rose above the colonnaded street and held shining quadrigas on top. I would like to think that the chariotof Helios faced the road, since the god would appear then with his sanctuary on Acrocorinth and the rising sun as a backdrop. Phaethon's chariot would be turned to the forum. Hesiod says Phaethon guards the temple of Aphrodite at night.2 As his father seemed to be leaving the acropolis of Corinth in the morning, so Phaethon, with the evening, western sun behind, returned to Aphrodite's temple, where he served as the night watchman of the city goddess. That the statues on top of the arch referredto the gods of Acrocorinth is all we can learn from Pausanias'words. The visible remains provide little to suggest a context in the history of Roman architecturefor the monument, and in discussionsof Roman arches, the arch over the Lechaion Road is relegatedto a passing referencein a footnote, if that much.
  • Roman Art: Pompeii and Herculaneum

    Roman Art: Pompeii and Herculaneum

    Roman Art: Pompeii and Herculaneum August 24, 79 AD A Real City with Real People: The Everyday Roads & Stepping Stones Thermopolia …hot food stands Pistrina Pistrina = bakery Aerial view of the forum (looking northeast), Pompeii, Italy, second century BCE and later. (1) forum, (2) Temple of Jupiter (Capitolium), (3) basilica. The Forum Aerial view of the amphitheater, Pompeii, Italy, ca. 70 BCE. Brawl in the Pompeii amphitheater, wall painting from House I,3,23, Pompeii, Italy, ca. 60–79 CE. Fresco, 5’ 7” x 6’ 1”. Museo Archeologico Nazionale, Naples. Pompeii was surrounded by a wall about 2 miles long Outside the Wall • Pompeians buried their dead outside the city wall. Inside the Walls • Buildings are packed close together Houses Restored view and plan of a typical Roman house of the Late Republic and Early Empire (John Burge). (1) fauces, (2) atrium, (3) impluvium, (4) cubiculum, (5) ala, (6) tablinum, (7) triclinium, (8) peristyle. Floor Plan – Villa of the Mysteries • The main entrance often included mosaics “CAVE CANEM” House of the Tragic Poet Atrium An atrium had a compluvium and an impluvium What was the purpose of these features? Purposes: • Collect rain water • Allow light to come in Reconstruction of the atrium at the Villa of the Faun Peristyles (court yards) House of the Vettii Villa of the Mysteries Wall Paintings • Generally, elaborate paintings covered the walls of every room Studious Girl, Fresco from a Pompeii Home. Not a portrait of an individual. Its purpose is too show that the inhabitants of the house were literate and cultured people. The Four Pompeian Styles • Division = Based on differences in treatment of wall and painted space First Pompeian Style • began 2nd century BCE • Goal: imitate expensive marble House of Sallust Samnite House, Herculaneum Second Pompeian Style • Began early 1st century BCE • Goal: create a 3D world on a 2D surface Villa of the Mysteries (oecus – banquet hall) Dionysiac mystery frieze, Second Style wall paintings in Room 5 of the Villa of the Mysteries, Pompeii, Italy, ca.