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12 Cards in this Set

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Portrait of Augustus as general, from Primaporta, Italy, copy of bronze original, Marble 6' 8".
Augustus's idealized portraits were modeled on Classical Greek statues and depict him as a never-aging son of a god. This portrait presents the emperor in armor in his role as general.
Ara Pacis Augustae (Altar of Augustus Peace: looking northeast)
Rome, Italy, 13-9 BCE
Augustus sought to present his new order as a Golden Age equaling that of Athens under Pericles.
The Ara Pacis celebrates the emperor's most important achievment, the establishment of peace.
Maison Carree, Nimes, France
ca. 1-10 CE
EARLY EMPIRE
This exceptionally well preserved Corinthian pseudoperipteral temple in France, modeled on the Temple of Mars Ultor in Rome, exemplified the conservative Neo-Classical Augustan architectural style.
Pont-du-Gard, Nimes, France
ca. 16 BCE
EARLY EMPIRE
Roman engineers constructed roads and bridges throughout the empire. This aqueduct bridge brought water from a distant mountain spring to Nimes - about 100 gallons a day for each inhabitant from 30 miles away.
Arch of Titus
EARLY EMPIRE
Rome, Italy, after 81 CE.
Domitian erected this arch on the road leading into the Roman Forum to honor his brother, the emperor Titus, who became a god after his death. Victories fill the spandrels of the arcuated passageway.
Column of Trajan, Forum of Trajan
Rome, Italy, dedicated 112 CE
HIGH EMPIRE
The spiral frieze of Trajan's column tells the story of the Dacian Wars in 150 episodes. All aspects of the campaigns were represented, from battles to sacrifices to road and fort construction.
Pantheon, Rome, Italy
118-125
HIGH EMPIRE
Originally, the approach to Hadrian's "temple of all gods" in Rome was from a columnar courtyard.
Like a temple in a Roman forum, the Pantheon stood at one narrow end of the enclosure.
Equestrian statue of Marcus Aurelius, Rome, Italy, ca. 175 CE, Bronze,
Musei Capitolini, Rome
HIGH EMPIRE
In this equestrian portrait of Marcus Aurelius as omnipotent conqueror, the emperor stretches out his arm in a gesture of clemency. An enemy once cowered beneath the horse's raised foreleg
Ludovisi Battle Sarcophagus, Battle of Romans and barbarians.
Rome, Italy, ca. 250-260 CE, Marble
Museo Nazionale Romano - Palazzo Altemps, Rome
LATE EMPIRE
A chaotic scene of battle between Romans and barbarians decorates the front of this sarcophagus. The sculptor piled up the writhing, emotive figures in an empathic rejection of Classical perspective.
Portrait of Constantine, from the Basilica Nova, Rome, Italy, ca. 315-330 CE
Marble, 8' 6" high
Musei Capitolini, Rome
LATE EMPIRE
Constantine's portraits revive the Augustan image of an eternally youthful ruler. This colossal head is one of several fragments of an enthroned Jupiter-like statue of the emperor holding the orb of world power
Aula Palatina (exterior)
Trier, Germany, early fourth century CE.
LATE EMPIRE
The austere brick exterior of Constantine's Aula Palatina is typical of later Roman architecture. Two stories of windows with lead-framed panes of glass take up most of the surface area.
The four tetrarchs, from Constantinople
ca. 305 CE Porphyry
4' 3" high
Saint Mark's, Venice.
LATE EMPIRE
Diocletian established the tetrarchy to bring order in the Roman world. In group portraits, artists always depicted the four co-rulers as nearly identical partners in power, not as distinct individuals.