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| Alexander the Great takes power in 336BC with Philip II assasination; |
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| Alexander the Great head from a Pergamene copy (200BC) Istanbul, Turkey Marble |
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| Dying Gaul; Roman Copy; 220 BC; Marble; Museo Captiolino, Rome; shows valor and strength to the endd-holding himself up; |
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| Venus de Milo; 130-100BC; Aphrodite?; Louvre Museum, Paris; found in Milos; Hellenistic; |
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Nike of Samothrace;
Sanctuary of the Great Gods;
300-190 BC;
Musee de Louvre;
Marble;
discovered by French exploreres in 1863;
Appears very alive |
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Laocoon and His Sons;
150 BCE;
Marble copy of bronze original;
made at Pergamon;
Vatican Museums; |
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Etruscan Temple Reconstruction;
University of Rome;
Sculpture on roof;
no decorated pediment or entablature;
Tuscan order
steps and porch in front only; |
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Etruscan Temple Plan;
no cella-three rooms instead; |
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| Etruscan Sarcophagus; Cerveteri, Italy; 520 BCE; Terra cotta; Now in Rome; Men in women equal in status |
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Etruscan Sarcophagus Detail;
Greek archaic smile;
relaxed posture;
lively posture - hands up, like talking/eating |
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Patrician holding busts of ancestors;
realism/verism;
10BC-early AD;
status symbols |
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Roman Republic Head of a Man;
80 BC;
Palazzo Torlonia, Rome;
Marble;
face creased with wrinkles;
VERISM;
wisdom, honor of father/parents/age |
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Augustus of Primaporta;
20 BC;
Marble;
Vatican Museum, Rome; |
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| Augustus of Primaporta detail |
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Young Woman Writing;
Pompeii;
Late 1st century AD;
Naples;
Women at all levels of society, except the very poorest, learned to read and write |
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Colosseum Aerial;
Rome;
72-80 AD; |
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| Colosseum through arch to inside |
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Pantheon Facade;
118-125 AD;
Rome;
Hadrian; |
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Aqueduct of Nimes (Pont du Gard);
Nimes, France;
late 1st century BC-early 1st century AD;
8-12,000 gallons of water per day; |
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Arch of Titus;
Rome;
81 AD;
high relief;
to honor victory and death of Titus;
triumphal arch |
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| Arch of Titus, chariot relief in situ |
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| Arch of Titus, destruction of the Temple in Jerusalem; |
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Column of Trajan; Rome; 106-113 AD; Marble 125';
symbol of power and male virility; celebrates military victories; built by Emperor Trajan; low relief; tells story |
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| Column of Trajan detail, River God and troops |
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| Naples Eruption of Vesuvius |
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| Pompeii, typical house plan |
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| Pompeii, peristyle of a house |
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Catacomb painting, Fish and Loaves;
Purpose: painting marking an underground grave;
Subject: cryptic and ambiguous, not specifically Christian;
Fish and bread could refer to the occupations of the dea person or to Jesus's Sermon on the Mount and would be recognized by other Christians;
Style: simplified Roman style; impressionistic; loose strokes;
Significance/Result: shows the earliest Christian responses to the need for art; apprehension in showing Christian subjects; |
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Jonah Sarcophagus;
Purpose: marking the sarcophagus of hte dead person with a clearly Christian story and a promise of afterlife;
Subject: typological pairing of Jonah and Christ |
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Jonah Sarcophagus, detail on left
STYLE: Clasic: narrative, figural, excellent stone-carving skill, many class references, such as contrapposto, reclining nude figure, classical head type;
2. Changes (Non classic): multiple scales and perspectives, not unified space; hieratic scales; multiple times and places, not single time and place; events and people are stacked up in zones, rather than "receding" into the distance; the story is more important than naturalism; 3. Some non-clasical specifics: vignettes inserted without regard to unity of space/time, plants out of proportion but they do not set the story; heads too large for bodies; drapery is crudely cut but is sufficient for the story; the whale is shown twice to indicate passing of time |
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Jonah Sarcophagus, detail on right
SIGNIFICANCE/RESULT: this work shows how Christian carvers both adopted and changed classical models to illustrate Christian doctrine; The new style recalls aspects of Egyptian and Mesopotamian art in its hieratic, non-natural space and its emphasis on supernatural stories |
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