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Definition
| is an ancient citadel(a fortress, typically on high ground, protecting or dominating a city.) located on an extremely rocky outcrop above the city of Athens and contains the remains of several ancient buildings of great architectural and historic significance, the most famous being the Parthenon. |
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| Iktinos and Kallikrates; Parthenon |
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Definition
| Parthenon (Temple of Athena Parthenos, view from the northwest) Acropolis, Athens, Greece 447-438 BC[image] |
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Term
| Model of a typical Etrsucan temple of the sixth century BC as described by Vitruvius, Rome |
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Definition
| one staircase, 3 entrances [image] |
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| Sarcophagus with reclining couple, from Cerveteria 520 BC painted terracotta approx. 45 1/2" high, Rome |
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Definition
| NOT GREEK BECAUSE OF TWO REASONS - 1. greeks don't use sarcophagi; 2. women and male don't dine together -- must then be etruscan[image] |
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| Aule Metele (Arringator Orator) from Sanguineto near Lake Trasimene, early 1st century BC, Bronze, approx. 5'7" |
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Definition
| transition from Etruscan culture to Roman imperialism, through the sign of the toga and the Orators pose, as well as the use of marble [image] |
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Republican Art
Temple of Fortuna Virillis (Temple of Portunus) Rome, late 2nd (or early first century) |
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Definition
| one entrance despite the fact that both Etruscan and roman temples usually have 3 entrances for the 3 deities (), as well as having inlaid columns that don't go all the way around the temple. [image] |
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| Portrait of Roman general, from the Sanctuary of Hercules, Tivoli 75-50 BC, marble, approx. 6'2" Rome |
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Definition
| Idealized body all the while having verismo (flauvism?) features to indicate wisdom and strength within a ruler.[image] |
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TRUE FRESCO
first style, late second century BC |
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Definition
| masonry, to embellish the wall to make it seem a much more expensive material(that of marble)[image] |
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Term
TRUE FRESCO
second wall paintings, 50-40 BC approx. 8'9" |
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Definition
| to create a 3-D space and see deeper within the wall [image] |
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Term
TRUE FRESCO
third style wall painting, 10 BC (boscotrecase) |
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Definition
| to emphasize the wall itself, fanatical columns [image] |
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TRUE FRESCO
fourth style wall painting, 70-79 AD |
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Definition
| a combination of 1-3 style painting [image] |
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Term
| Portrait of Augustus as general, from Primaporta, copy o a bronze original 20 BC marble 6'8" high Vatican Museums |
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Definition
| Aphrodite/cupid reference of reinforcement of power then shown at Augustus' ankle, as well as the combination of power, strength, and oration shown through pose, clothing, and armor. Idealized body based on the youth and immediacy of his rise to power and continuity of it. Imperial Art[image] |
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Term
| Ara Pacis Augustae, Rome 13-9 BC (view from southwest) marble |
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Definition
| The Ara Pacis Augustae (Latin, "Altar of Augustan Peace"; commonly shortened to Ara Pacis) is an altar in Rome dedicated to Pax, the Roman goddess of Peace. The monument was commissioned by the Roman Senate on July 4, 13 BC to honor the return of Augustus to Rome after three years in Hispania and Gaul, and consecrated on January 30, 9 BC.[image] |
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Term
| Tellus, pael from the east of the Ara Pacis, marble, approx. 5'3" |
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Definition
| The altar reflects the Augustan vision of Roman civil religion. The lower register of its frieze depicts vegetal work meant to communicate the abundance and prosperity of the Roman Peace (Latin: Pax Augusta), while the monument as a whole serves a civic ritual function whilst simultaneously operating as propaganda for Augustus and his regime, easing notions of autocracy and dynastic succession that might otherwise be unpalatable to traditional Roman culture.[image] |
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| Colosseum, interior view, Rome 70-80 AD; travertine and concrete some marble |
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Definition
| the combination of two theaters of Greeks [image] |
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| Colosseum (Flavian Ampitheatre), exterior view, Rome, 70-80 AD |
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Definition
| all three collumns to then produce a political scene towards the audience of solidarity of varying cultures, all the while a large group of people can weave in and out of the building with the use of the arc[image] |
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Term
| Portrait of Vespasian, from Ostia 69-79 AD marble, approx., 16" high Rome |
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Definition
| Verism brought back to then take himself away from Augustus' idealism through [image] |
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Term
| Apollodorus of Damascus, Column of Trajan 112 BC, Rome, marble |
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Definition
| that commemorates Roman emperor Trajan's victory in the Dacian Wars. It was probably constructed under the supervision of the architect Apollodorus of Damascus at the order of the Roman Senate[image] |
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Term
LATE EMPIRE
portrait of Caracalla AD 211-217 Marble, approx. 14" |
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Definition
| This bust with its determined expression is a portrait of Emperor Caracalla (AD 211-217). It is an expression of both the prince's psychology and his politics, and testifies to the importance of the military side of political life in the early third century AD; [image] |
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Term
| Portraits of the four tetrarchs 305 AD, Porphyry Approx 4'3" |
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Definition
| The reliability upon plebian influences, through the parallels of face, body/clothing texture and lack of emphasis of body as well as the connective group hug[image] |
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Term
| Portrait of Constantine from the Basilica Nova, Rome 315-330 AD, marble, approx. 8'6" high |
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Definition
| about 30 feet high, this Constantine is the revitalization of illegal Christianity with the large plebian eyes and fingers pointing up to the sky, another hand holding onto the globe that anoints the idea of "one god" equating to "one ruler" and thus the preparation of power that then all went to Constantine based on religious capitalization[image][image] |
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| Aula Palatina (Basilica) Trier, early fourth century AD (exterior and interior) brick |
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Definition
| The Basilica of Constantine (German: Konstantinbasilika), or Aula Palatina, at Trier, Germany is a Roman palace basilica that was built by the emperor Constantine I (AD 306–337) at the beginning of the 4th century.[image][image] |
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| Wall with Torah niche from a house-synagogue, Dura-Europos, Syria 245-256 CE; Tempera on plaster, section approx. 40' long. Reconstructed in the national museum, Damascus, Syria |
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Definition
| is an ancient synagogue uncovered at Dura-Europos, Syria, in 1932. The last phase of construction was dated by an Aramaic inscription to 244 CE, making it one of the oldest synagogues in the world. It is unique among the many ancient synagogues that have emerged from archaeological digs as the structure was preserved virtually intact, and it had extensive figurative wall-paintings, which came as a considerable surprise to scholars. [image] |
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Term
| Samuel anoints David, detail of the mural paintings in the synagogue, Dura-Europos,Syria, pre-256; Tempera on Plaster 4'7" |
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Definition
Plebian characterization of the figure, lack of emphasis of the body. Samuel Anointing David, third century. Interior wood panel from Dura Europos, National Museum of Damascus, Syria.
The third-century Dura Europos synagogue paintings represent the earliest continuous narrative cycle of biblical images known in art. The synagogue was built in AD 244/245 and destroyed in 256 in the Sassanid sack of the city. This rapid destruction helped to preserve its unique frescoes, whose discovery in the French-American excavations in the 1920's marked a new beginning in the study of Jewish art.[image] |
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