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75 Cards in this Set
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Temple of Vesta Tivoli, Italy Roman Republic -Round/tholos temple, greek inspired -Travertine Corinthian columns -Made from concrete |
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Man with Portrait Busts of Ancestors Roman Republic -Reflects importance patricians put on genealogy -Heads may be reproductions of wax or terracotta portraits |
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Funerary Relief with the Gessii Roman Republic -Freedmen often depicted themselves & their former owners on the facades of their tombs to celebrate their freedom & new statuses as citizens -Depicts the living & dead side by side |
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House of Vetti Pompeii Roman Republic -Roman houses of this type were inward looking in nature -Resembles the plan of a basic Etruscan house -Had peristyle garden behind the atrium |
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House of Vetti Pompeii Roman Republic -Atrium, Peristyle |
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House of Vetti Roman Republic Pompeii -Ixion Room (Fresco) |
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Dionysiac Mystery Frieze Fresco Roman Republic -Villa of Mysteries at Pompeii -Used to celebrate Dionysos in private -Illustrated all females (with exception of 1 boy) interaction with mythological figures |
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Denarius with Julius Caesar Silver Roman Republic -Standard Roman coin from which the word "penny" derives -Roman coins were used to mold public opinion in favor of the ruler by announcing his achievements |
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Portrait of Augustus as General Marble Early Empire -Augustus' head emulates the idealized Polykleitan youths head in overall shape -Details of the statue carry political messages -Augustus was depicted in many different ways, in this instance he is portrayed as a general |
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Ara Pacis Augustae Marble Early Empire -Monument celebrating Augustus' best achievement, the establishment of peace -Includes a relief of Aeneas making a sacrifice, Aeneas is one of Augustus' forefathers |
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Pont-du-Gard Nimes, Early Empire -Aqueduct bridge, water flowing over by gravity alone -The harmonious proportional relationship between the larger & smaller arches reveals that the engineer who designed this had a keen aesthetic sense |
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Colosseum Rome, Early Empire -Also known as the Flavian amphitheater -By building over Nero's artificial lake, Vespasian reclaimed Nero's private land for the public -Named for its location beside the Colossus of Nero, 120 ft tall statue |
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Portrait Bust of Flavian Women Marble Early Empire -Purpose not to project Republic virtues but to present the subject as beautiful -Corkscrew curls punched out using a drill instead of a chisel |
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Arch of Titus Marble Early Empire -Triumphal arch, erected by Titus' younger brother after he died -The capitals are Roman Composite capitals |
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Spoils of Jerusalem Marble, Early Empire, Arch of Titus -Represents the triumphal parade of Titus down the sacred way after his return from the conquest of Judaea -The illusion of movement in this relief is convincing -The sculptor rejected the Classical low-relief style of the Ara Pacis in favor of extremely deep carving which produces strong shadows |
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Triumphs of Titus Marble, Early Empire, Arch of Titus -Personification of the Roman goddesses Victory, Honor, and Valor -1st known instance of the divine interacting with humans on an official Roman historical relief -Honors the deified Titus, not the living emperor |
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Forum of Trajan Rome, High Empire, Apollodorus of Damascus -Features a basilica with clerestory lighting, 2 libraries, & a commemorative column -Funded by the spoils from two Dacian wars -Rome's largest forum |
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Column of Trajan Marble, High Empire -Once had a heroically nude statue of the emperor at the top -Decorated with Dacian arms & armor -Served as Trajan's tomb -Most noteworthy for its spiral frieze |
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Pantheon Rome, High Empire -Made out of concrete & revealed the medium's full potential -Had a traditional facade that masked the cylindrical drum & hemispherical dome -Interior symbolized both the orb of the Earth & the vault of the heavens |
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Equestrian Statue of Marcus Aurelius Rome, High Empire -Gilded bronze -Depicted much larger than any human is to their horse -This survived the melting down of bronze statues in the Middle Ages bc it was mistaken to be of Constantine |
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Battle of Romans & Barbarians (Ludovisi Battle Sarcophagus) Marble, High Empire -Piling of figures is a rejection of Classical perspective -Chaotic scene of Romans fighting on of their northern foes, probably the Goths |
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Four Tetrarchs Porphyry, Late Empire -In group portraits, artists always depicted the 4 corulers as identical partners in power, not distinct individuals -Purple marble -Idealism, naturalism, individualism, & personality have disappeared |
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Arch of Constantine Rome, Late Empire -Commemorates Constantine's defeat to Maxentius -Reuse of statues & reliefs, added labels, lack of creativity (?) -Reuse were carefully selected to associate Constantine with "good emperors" |
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Portrait of Constantine Marble, Late Empire -Revives the Augustan image of a perpetually youthful ruler -Colossal head is one fragment of an enthroned Jupiter-like statue of the emperor holding the orb of world power |
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(Exterior)Aula PalatinaTrier Germany, Late Empire
-Austere exterior which embodies early christian or later roman architecture -However, use of glass in clearstory windows allows life to be given to the exterior |
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(Interior) Aula PalatinaTrier Germany, Late Empire -Contains no aisles, only a wide space with two stories of large windows that provide ample light |
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Coins with Portrait of Constantine, Billion and Silver, Late Empire -Characterizes imperial roman portraiture -on the left, he is older as a tetrarch; on the right he is youthful -not synonymous with “likeness.” |
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Dura-Europos, Syria, Late Antiquity -narrative wall art in which artists tell stories with stylized gestures, no action -hierarchy of scale to suggest importance on subjects -paintings depicting episodes from the Hebrew scriptures |
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Samuel Anoints David, Dura-Europos, Syria, Late Antiquity -hierarchy of scale to suggest importance on subjects, as seen between the relation of David to the others -David wears Purple, as it was the color associated with the Roman emperor, the imperial toga from Roman state art signifies David’s royalty -The figures lack volume, stand in frontal rows, and exhibit stylized gestures—features characteristic of Late Antique art |
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Sarcophagus with Philosopher, Orant, Old and New Testament, Marble, Late Antiquity -Sarcophagus depicts the salvation of Jonah, Christ as Good Shepherd, and the baptism of Christ -two different depictions of jesus: the Good shepherd and as a baptized child -Together they make up a cross-section of the Christian family seeking a heavenly afterlife |
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Santa Costanza, Rome, Late Antiquity -Utilizes a central plan: equal dimensions around a center -would become the preferred form for byzantine churches -accommodates an ambulatory -The Santa Costanza mosaic program, however, also included subjects common in Roman funerary art, such as scenes of putti harvesting grapes and making wine |
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Suicide of Judas and Crucifixion of Christ, Ivory, Late Antiquity -One of the first known depictions of of the crucifixion of christ -Jesus is portrayed strong, emotionless, empowered and heroic -Contrast between strong, powerful mentality of Jesus on the cross to the limp, dead body of his betrayer Judas -Divine being conquers death |
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Santa Sabina, Rome, Late Antiquity -Corinthian columns of its nave arcade produce a steady rhythm that focuses all attention on the chancel arch and the apse, which frame the altar -Clerestories would have allowed natural light to illuminate frescoes -Austere exterior typic of later Roman architecture |
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West Doors of Santa Sabina, Rome, Late Antiquity - |
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Crucifixion of Santa Sabina, Rome, Late Antiquity |
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Galla Placidia, Ravenna, Late Antiquity -Small cruciform (cross-shaped) structure -Emphasis is on the tall crossing tower -fusion of the basilica and central plans |
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(Interior) Galla Placidia, Ravenna, Late Antiquity -Mosaics cover as much space as possible, in comparison to earlier mosaics which were confined to floors -In mosaics artists placed rather than blended colors |
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Barbarini, Ivory, Early Byzantine -The dynamic twisting postures of both horse and rider and the motif of the spear-thrusting equestrian emperor are familiar motifs in Roman imperial works |
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Hagia Sophia, Constantinople, Early Byzantine -Distinguishable among architecture for the special mystical quality of the light flooding the interior -40 windows at the base of the dome create the illusion that the dome rests on the light pouring through them. -a vastness of space shot through with light, and a central dome that appears to be supported by the light it admits -Pendentive construction |
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San Vitale, Ravenna, Early Byzantine -Images and symbols covering the entire sanctuary express the single idea of Christ’s redemption of humanity and the reenactment of it in the Eucharist -Central plan |
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Theodora and Attendants, Mosaic, Early Byzantine -The artist represented the women within a definite architecture -the artist underscored Theodora’s elevated rank by decorating the border of her garment with a representation of the three magi, suggesting that the empress belongs in the company of the three monarchs bearing gifts who approached the newborn Jesus -San Vitale’s mosaics are proxies for the absent sovereigns |
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Crucifixion, mosaic, Early Byzantine -artist fully assimilated classicism’s simplicity, dignity, and grace into a perfect synthesis with Byzantine piety and pathos. The figures have regained the classical organic structure to a surprising degree -Good blend of hellenistic stylization and byzantine -Symmetry and closed space combine to convey the motionless and unchanging aspect of the deepest mystery of the Christian religion |
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Saint Mark’s, Venice, Middle Byzantine - Light enters through a row of windows vividly illuminating a rich cycle of mosaics -mosaics portray no sense of volume, perspective, light and shade as to reveal the mysteries of Christian faith. |
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Paris Psalter, Tempera on Vellum, Middle Byzantine -Example of the revival of the classical style -painter portrayed David as if he were a Greek hero |
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Theotokos (Vladimir Virgin), Tempera on Wood, Late Byzantine -demonstrates the rejection of the iconoclastic viewpoint -This painting was reproduced many times -reveals the stylized abstraction resulting from centuries of working and reworking the conventional image |
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Dome of the Rock, Jerusalem (All interior and exterior details), Umayyad Dynasty -a domed central-plan rotunda in the Late Antique tradition -wood dome, which so dominates the elevation as to reduce the octagon to functioning visually merely as its base. This soaring, majestic unit creates a decidedly more commanding effect than that of similar Late Antique and Byzantine domical structures -colorful patterning wrapping the walls like a textile is typical of Islamic ornamentation. It contrasts markedly with Byzantine brickwork and Greco-Roman sculptured decoration -At the center, below the dome, is the rocky outcropping later associated with Adam, Abraham, and Muhammad |
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Great Mosque, Damascus (All interior and exterior details), Umayyad Dynasty -Originally a byzantine church, made into an imposing mosque -New islamic symbols and architecture is apparent throughout the mosque, yet christian, byzantine, and Roman influence still exists -Roman precinct walls - stone blocks, columns, and capitals salvaged arcades reminiscent of Roman aqueducts from the earlier structures on the land -the minarets, are modifications of the preexisting Roman square towers - no zoomorphic forms, human or animal, appear in either the pictorial or the ornamental spaces |
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Great Mosque Cordoba, Spanish Umayyad Dynasty -Includes a hypostyle prayer hall -One of the largest Mosques in the islamic west -lower arches are horseshoe-shaped, a form perhaps adapted from earlier Mesopotamian architecture or of Visigothic origin -The new gates to the complex contain overlapping horseshoe-shaped arches and multi lobed arches -Example of Islamic patterning experimentation |
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Friday Mosque, Isfahan -first mosque, of hypostyle design -typical Iranian mosque plan with four vaulted iwans and a courtyard was perhaps first used in the mosque -consists of simple columns without capitals and pointed arches, typical of islamic architecture |
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Folio from the Blue Koran, Silver on blue-dyed vellum, Alhambra, Granada, Nasrid Dynasty |
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Maqsud of Kashan, Carpet from the Funerary Mosque, Wool and Silk, Safavid Dyanasty |
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Bihzad, Seduction of Yusef, folio of the Bustan of Sultan Husayn Mayqara, Ink and color on paper. Timurid Dynasty |
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Purse Cover from Sutton Hoo, Gold, glass, cloisonne garnets, Anglo-Saxon |
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Wooden Portal of the State Church at Urnes, Norway, Vikings |
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Cross-Inscribed Carpet Page, Lindisfarne Gospels, Tempera on Vellum, Hiberno-Saxon |
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Chi-Rho-Iota Page, Book of Kells, Tempera on vellum, Hiberno-Saxon |
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Equestrian Portrait of Charlemagne, Bronze, Carolingian |
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Saint Matthew, Coronation Gospels, Ink and Tempera on Vellum, Carolingian |
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Palatine Chapel of Charlemagne, Aachen, Carolingian |
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Saint Michael’s, Hildesheim, Doors with relief Panels, Bronze |
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Schematic plan for a Monastery, Saint Gall, Switzerland, ink on parchment |
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Crucifix for Cologne Cathedral, Painted Wood, Ottonian |
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Otto III Enthroned, Tempera on Vellum, Ottonian |
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Reliquary of Sainte-Foy, Romanesque |
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Sainte-Foy, France, Romanesque |
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Reliquary of Sainte Foy, Gold, silver, jewels on wood core, Romanesque |
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Saint-Sernin, France, Romanesque |
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Gislebertus, Last Judgment of Saint-Lazare, Marble, Romanesque |
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Virgin and Child, Painted Wood, Romanesque |
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Hildegard Receives her Visions, vellum, Romanesque |
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Head Reliquary of Saint Alexander, Gilt Bronze, gems, pearls, enamel, Romanesque |
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Leaning Tower (Campanile), Pisa, Romanesque |
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Baptistry of San Giovanni, Florence, Romanesque |
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Bayeux Tapestry, Embroidered Wool on Linen, Romanesque |
