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The Late Roman Empire 192 – 476 CE

The Late Roman Empire 192 – 476 CE

The Late

192 – 476 CE

Portrait of , ca. 211– 217 CE. Marble, 1’ 2” high. Metropolita n Museum of Art, New York. 2 Painted portrait of and his family, from Egypt, ca. 200 CE. Tempera on wood, 1’ 2” diameter. Staatliche Museen,

Berlin. 3 Chariot procession of Septimius Severus, relief from the Arch of Septimius Severus, Lepcis Magna, Libya, 203 CE. Marble, 5’ 6” high. Castle Museum, Tripoli.

4 Relief with funerary procession, from Amiternum, , second half of first century BCE. Limestone, 2’ 2” high. Museo Nazionale d’Abruzzo, L’Aquila.

Rare for a freed slave to commission a tomb relief with narrative. Shows deceased looking around at own funeral with paid mourners. Floating ground planes were meant to be interpreted as being behind the figures on lower ground planes. A pre- classical aversion to overlapping figures. This style had been out of fashion for a long

time. Then, as now, social status often dictates artistic taste. 5

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= (?)

8 Plan of the , , Italy, 212–216 CE. 1) natatio, 2) , 3) , 4) caldarium, 5)

palaestra. 9 Model of Baths of Caracalla Artist rendering of interior of Baths of Caracalla Baths of Caracalla, 2009 , (Roman copy of the original by ) was on exhibit in the Baths of Caracalla Wall mosaic of an athlete from the Baths of Caracalla Portrait of , 249 – 251 CE, marble Heroic portrait of Trebonianus Gallus, from Rome, Italy, 251–253 CE. Bronze, 7’ 11” high. Metropolitan Museum of Art, New York.

16 Battle of Romans and barbarians (Ludovisi Battle Sarcophagus), from Rome, Italy, ca. 250–260 CE. Marble, 5’ high. Museo Nazionale Romano-Palazzo Altemps, Rome. Sarcophagus with the myth of Orestes, ca. 140–150 CE. Marble, 2’ 7 1/2” high. Cleveland Museum of Art, Cleveland. 250 CE vs. 150 CE. Think about the differences in the societies that created these 2 sarcaphogi. Sarcophagus of a philosopher, ca. 270–280 CE. Marble, 4’ 11” high. Vaticani, Rome. Restored view (top) and plan (bottom) of the Temple of Venus, Baalbek, Lebanon, third century CE.

21 Portraits of the four tetrarchs, from Constantinople , ca. 305 CE. , 4’ 3” high. Saint Mark’s, Venice.

22 Mr. Chmiel’s daughters as the Tetrarchs

Decursio, pedestal of the Column of , Rome, Italy, ca. 161 CE. Marble, 8’ 1 1/2” high. Musei Vaticani, Rome. 8 CENTURIES AFTER GREEKS FREED THE HUMAN FORM FROM THE RIGID FRONTALITY OF EGYPTIAN-INSPIRED KOUROS STANCE, THE HUMAN FIGURE IS AGAIN CONCEIVED OF IN ICONIC TERMS. IDEALISM, NATURALISM, INDIVIDUALITY, AND PERSONALITY BELONG TO THE PAST. Restored view of the palace of , Split, Croatia, ca. 298-306. Temple of Jupiter Mausoleum of Diocletian

Bernini, Appearance of the Cross to Constantine, 17th C. CE, St. Peter’s Cathedral, CONSTANTINE FOUNDS A NEW ROME: CONSTANTINOPLE Diagram of the walls of Constant inople Wall of Constantinople (south side), Rome, Italy, 312–315 CE.

Arch of Constantine

Distribution of largess, detail of the north frieze of the Arch of Constantine, Rome, Italy, 312–315 CE. Marble, 3’ 4” high. Portrait of Constantine, from the Nova, Rome, Italy, ca. 315–330 CE. Marble, 8’ 6” high. Musei Capitolini,

Rome. 39

Plan of Basilica in Trajan’s Forum (Encyclopedia Britannica) Interior view of Trajan's Basilica (), as restored by Canina. (Encyclopedia Britannica) Basilica at Pompeii. 1, Portico (Chalcidicum); 2, hall of basilica; 3, aisles; 4, altar; 5, tribunal; 6, offices. (Encyclopedia Britannica) Restored cutaway view of the Basilica Nova, Rome, Italy, ca. 306–312 CE (John Burge).

Remains of an apse

Basilica Nova, Rome, Italy, ca. 306–312 CE Aula Palatina (exterior), , , early fourth century CE. Aula Palatina (interior), Trier, Germany, early fourth century CE.

57 Coins with portraits of Constantine. Nummus (left), 307 CE., diameter 1”. American Numismatic Society, New York. Medallion (right), ca. 315 CE. Silver, diameter 1”. Staatliche Munzsammlung, Munich.

A: ID

60 B: ID

61 C: ID

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