House of Vettii Plan
62-79 CE.
Imperial Rome
-Pompeii, Italy
-3600 sq. ft.
-peristyle (open courtyard or garden area surrounded by a colonnade) fluted doric columns with volute capital
-2 atriums
-2 large central halls
-owned by 2 brothers; nouveau rich wine merchants
-open floorplan
-atrium had an open roof with an impluvium (vaulted part in floor to catch rainwater) to catch rainwater
-cut stone and fresco
-republican society operated on patron-client relations
House of Vettii Atrium
62-79 CE.
Imperial Rome
-Pompeii, Italy
-cut stone and fresco
-acted as a reception hall
*-this photograph was taken in the fauces (hallway leading from the door of the house into the atrium). It shows the impluvium (vaulted part in floor to catch rainwater) in the center of the atrium, the opening in the roof above and in the background, the peristyle garden with its marble tables and mural paintings
House of Vettii Frescoes
62-79 CE.
Imperial Rome
-Pompeii, Italy
-cut stone and fresco
-many frescoes were present throughout the home; painted "windows" show imaginary landscape
-many of them were inappropriate and perhaps indicative of an altered sense of morality for the "new money" of the time
*-fourth style: a style of painting full of fantastical images and irrational architectural vistas
Alexander's Mosaic
C. 100 BCE.
Republican Rome
-from the house of Faun located in Pompeii, Italy
-tesserae mosaic (is an individual tile, usually formed in the shape of a cube, used in creating a mosaic)
-portrays the Battle of Issus
-made in the house of Faun which was the largest house found in Pompeii
-house is thought to be built shortly after the Roman conquest of Pompeii and the mosaic proves the wealth and power of the most likely Roman ruling class inhabitant of the home
*-amazing use of foreshortening (a perspective technique that is done by reducing or distorting in order to convey the illusion of 3-D space)
-Greek influence HOWEVER Roman time period
-based off of a Greek painting
-crowded; lots of movement
Head of Roman Patrician
C. 75-50 BCE.
Republican Roman
-ORIGINAL location: Otricoli, Italy
-patron: emperor Augustus
-marble
-veristic portrait (verism: super-realism; brutal honesty)
-eclecticism: Greek-hellenistic features; Etruscan-portrait heads
-illustrates the idealistic physical appearance at the time, this being older face indicating their wisdom
-Roman emperor Augustus admired Greek verism and he encouraged sculptors to promote and mimic verism
-differed from Greek methods (this is a Roman artifact) who used full length portraits
Augustus of Prima Porta
Early Imperial Rome; Early first century CE.
-Patron: Emperor Augustus
-white marble; marble sculpture
-used to send a political message and spread propaganda for the emperor (emperor Augustus)
*-original was dedicated to Augustus by the Senate and placed in a public place (most likely to help spread support of him, due to the fact that he was not as popular as Doryphorus)
-though Augustus was old at the time, he was portrayed younger because he believed this would help strengthen his political message
*-Cupid is depicted at Augustus' feet to show his divinity (Cupid was the son of Aphrodite aka Venus as called by the Romans), Augustus' family were supposedly descendants of the God Venus
-organic shapes and lines; heavily detailed; subtractive
-based off of Contrapposto of the Spear Bearer (Polykleitos made the spear bearer of Doryphorus)
Colosseum
Aerial View and Amphitheater
70-80 CE.
Imperial Rome
-Rome, Italy
-Patron: Emperor Vespasian of the FLAVIAN FAMILY
-stone and concrete
-use of concrete and elaborate support pillars
-source of entertainment for the Roman people
*-built using Barrel Vaults
*-velarium: tented roof
*-corinithian capitals line exterior
-was originally covered in marble and statues
-built over Nero's artificial lake
-eclectic mix of Greek order with Etruscan plan
-orders based on proportions
-built after successful conquest of Jerusalem as a space for entertainment
Forum of Trajan
106-112 CE.
-Rome, Italy
-artist: Apollodorus of Damascus
-patron: King Trajan
-original location: center of royal court in Rome, Italy
-multi-level outlet
-brick and concrete
-had 150 shops and administrative offices; doorways were wide enough to hold window displays; each shop was a single, barrel-vaulted room
-semi-circular building
-placed in the middle for all to see and symbolized King Trajan's victories over the Dacians
Column of Trajan
Completed 113 CE.
-Rome, Italy
*-tells the story of the Dacian war in 150 episodes
-first of many victory columns
-marble
-architect: Apollodorus of Damascus
-depicts 150 scenes
-statue on top is of St.Peter, formerly known as Trajan
-continuous frieze (opposed to segmented)
-established king Trajan's power, as well as the victory of the Dacians
Basilica Ulpia
106-112 CE.
Imperial Rome
-Rome, Italy
-patron: king Trajan
-architect: Apollodorus of Damascus
-law courts were held in the Basilica Ulpia
-paid for by the defeat of the Dacians
-post and lintel construction
*-contained an apse (semicircular recess covered with a hemispherical vault; rounded end of building); apses were settings for the judges
*-2 aisles were located on each side of the NAVE (the long narrow part of a Roman basilica or a Christian church)
*-Ulpius was family name
-spacious; wide; court; double colonnade
-resembles the Egyptian temple of Amun-Re
The Pantheon
118-125 CE.
Imperial Rome
-architect: Marcus Agrippa
-concrete with stone facing
-a temple dedicated to the Pagan Gods of Imperial, ancient Rome
-is now a catholic church
-"the perfect sphere" represents the orb of the Earth
-inside the dome was coffered (recessed aka sunken decorative panels on the inside surface of a dome or ceiling)
-in the center of the dome lied an oculus (a round opening)
-velarium (a cloth awning) was used to protect citizens from the rain that would come through the oculus
-an example of baroque art (an artistic style that uses exaggerated color and movement in sculpture)
-evidence of superimposing (architectural style which layers generations of architecture upon one another)
-(the artist Raphael is buried inside)
Ludovisi Battle Sarcophagus
C. 250 CE.
Late Imperial Rome
-marble
-represents a shift in burial processes; by the 3rd century burial was taking place of cremation
*-intertwined; backrgroundless; ANTI-CLASSICAL; free standing
-intended to serve as a memorial of the battle between Romans and northern foes (Barbarians); depicted the message of triumph over death
*-the sculptor piled up the writhing and emotive figures in a emphatic rejection of classical Roman perspective
-bodies are idealized, BUT faces are not and are realistic with shorter bodies and more prominent heads
*-evidence of Horror Vacui: the filling of an entire surface or work of art with detail
Petra, Jordan (The Great Temple) and Al-Khazneh
C. 400 BCE.- 100 CE.
*Nabatean Ptolemaic and Roman
-Petra, Jordan
-in situ
-Al-Khazneh otherwise known as TREASURY, though it actually acted as a TOMB
-top is a temple within a temple
-6 unevenly spaced corinthian columns
*-prime example of Roman BAROQUE architecture style; used Greek architectural components in an ORNAMENTAL/DECORATIVE fashion only
*-cut rock
-built by the Nabatean (these were nomadic people), Ptolemaic (Greek), and Romans
-originally covered in red and white stucco (the great temple), it is a free-standing structure with 4 widely spaced columns
-treasury is the first structure seen, placed at the entrance
*-known as "rose-red" city, due to the cut rock resembling a rose color
*-symbolic of the entirety of JORDAN; elaborate carvings are present leading to the treasury (tomb)
-probably dedicated to Diushara
-city built on caravan routes due to the Nabatean being nomadic people
*-split roof present with Tholos (a circular building with a conical or vaulted roof and with or without a peristyle, or surrounding colonnade)
-subtractive techniques
-2 levels, upper contains temple
-over 500 royal tombs
*-the Great Temple had an impressive triple colonnade
*-hexagonal floors