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51 Cards in this Set
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Title: So-Called “Brutus” Date: 4th c. BCE Location: RomeParagraph: Silver denarius, minted ca. 44 BCE by Marcus Brutus, showing portrait of his ancestor Lucius Junius Brutus. Capitoline Museums, Rome. Identified to a founder in republic. Marcus Brutus found it and claimed that it was his ancestor to help boost his claim to power. |
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Title: Mars of Todi Date: 400 BCE Location: Rome Paragraph: Inscription on leg: Ahal Trutitis dunum dede. Ahal Trutitis gave [this] gift H. 1.41 m. Might have been used to keep track of inventory. The statue has a contrapposto stance. Typical military dress. Bare feet shows divinity. Was holding a spear in one hand and a terra in the other. A terra is a libation bowl. Helmet and eyes were lost. |
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Title: Esquiline Tomb Fresco Date: (Early 3rd c. BCE) Location: Esquiline Hill, Rome Paragraph: 87.5 x 45 cm (encircled room, ca. 17 m – only 6% of original!) Four registers of scenes; figure in toga labelled Q FABIO shown twice meeting with figure in military dress.Perhaps Quintus Fabius Maximus Rullianus (cos. 310, 308; dictator 313 BCE); celebrated triumph in 322 BCE during the Second Samnite War. Tomb celebrates achievements of the Fabii family. |
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Title: Achilles sacrificing Trojan prisoners François Tomb Date: (350 – 325 BCE) Location: Vulci Paragraph:Achilles sacrificing Trojan prisoners )memrun hinthial Vanth Achle Charu Patrukles Achilles sacrificing trojan prisoners, scene from greek mythology with the Etruscan gods included. Funeral games from the Iliad, Achilles slaughtered several Trojan soldiers. 2 deities shown, one monster guy (death blow). And Other wing demon vanth. Woman stands behind Achilles. |
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Title: Legendary Battle of Etruscan and Roman Heroes François Tomb Date: (350 – 325 BCE) Location: Vulci Paragraph: Caele Vipinas, Macstrna, Larth Ulthes, Laris Papthnas Velznach, Pesna Arcmsnas, Rasce, Venthical, Alve Vipinas all shown. Men fighting in battle, most of them shown nude. Shows ambush, captive men bound freeing each other. Local history painting. Legendary battle of the Etruscan and Roman heroes. Meander pattern shown at the top of the portrait. Heroic nudity. Referenced by Claudius as a historic a historic event. |
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Title:Vel Saties and Arnza François Tomb Date: 350-325 BCE Location: Vulci Paragraph: Vel Saties (Roman double naming system) was part of an important family in Rome. Vel Saties is depicted wearing a wreath crown and a purple toga with elaborate designed. It is fringed with silver spirals and nude men holding shields. The men are dancing a pyrrhic dance which is a ritual to render warfare lawful. He styles a mustache, sideburns and short hair. He is thought to be an Etruscan General. The other person depicted in labeled as Arnza, it is thought that he might be a servant or assistant because he is just given one name. Arnza is holding a bird so it is believed that Vel Saties may be practicing auspicium, the art or reading omen by watching bird. Augury was seen as very sacred and important at the time. |
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Title: Alexander Mosaic Date: 310 BCE Location: Pompeii Paragraph: Copy of wall painting (ca. 310 B.C.) by Philoxenos of Eretria Mosaic – made up of colored stone tesserae. From house of the Faun, Pompeii. Shows the chaos of battle against the Persians. Alexander the great defeating Darius, the Persians are shown as fearful while Alexander can be seen cool and confident with his leonine hai, melting gaze, deeply carved eyes, sudden jerking of head, parted lips. deeply emotional |
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Title: The Great Altar of Zeus at Pergamon Date: 175 BCE Location: Pergamon Paragraph: Reconstruction west front of the altar from Pergamon. Made out of marble, this monument has a 120-feet long frieze scenes of gigantomachy and traditional greek scenes . Very ornate, Hellenistic baroque. Light-dark style. Chiaroscuro technique to create depth and shadowing. |
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Title: The Great Altar of Zeus at Pergamon Date: 175 BCE Location: Pergamon Paragraph: Gigantomachy: AthenaThe Great Altar, Pergamon, east frieze, Athena fighting giants. Marble height 7ft 7in 2.3 m.Athena is seen being crowned by Nike, the goddess of victory. Hellenistic baroque, ornate style of architecture. Light-dark style. Chiaroscuro technique to create depth and shadowing. |
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Title: The Great Altar of Zeus at Pergamon Date: 175 BCE Location: Pergamon Paragraph: The Great Altar, Pergamon, eat frieze, Zeus fighting giants. Marble height 7ft 7in 2.3 m.Light-dark style. Chiaroscuro technique to create depth and shadowing. Zeus is defeating the giants, the children of the Earth Titan Gaid. He is depicted with his upper half as a heroic nudity symbol and the bottom half in draped with a cloak in a wet drapery fashion. |
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Title: Temple of Portunus Date: Late 2nd century BCE Location: Forum Boarium, Rome Paragraph: Formerly attributed to Fortuna Virilis. Pseudoperipteral (engaged columns), tetrastyle, prostyle, Iconic. From the Italic tradition it takes its high podium (one ascends stairs to enter the pronaos), and strong frontality. From Hellenistic architecture comes the Ionic order columns, the engaged pilasters and columns. The use of permanent building materials, stone (as opposed to the Italic custom of superstructures in wood, terracotta, and mudbrick), also reflects changing practices. The temple itself represents the changing realities and shifting cultural landscape of the Mediterranean world at the close of the first millennium B.C.E. |
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Title: Round Temple by the Tiber Date: ca.100-90 BCE Location: Forum Boarium, Rome Paragraph: Some previous identifications are Vesta and Mater Matuta. Two possible identifications are Hercules Victor ad portam Trigeminam and Hercules Olivarius. It is peripteral and Corinthian. It is the oldest, completely marble building in Rome that has survived. It is made of Greek (Pentelic) marble and later restorations were made in Italian marble. |
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Title: Monument of Aemilius Paullus Date: 168 BCE Location: Delphi Greece Paragraph: It commemorates the Roman victory in the Battle of Pydna against King Perseus of Macedon. However, the monument was taken over by Aemilius Paullus to celebrate himself and Rome's victory. he completed monument was a bronze equestrian statue atop a rectangular pillar that soared over 9 meters high.[3]While the equestrian statue that was originally on top of pillar no longer remains, the cuttings in the plinth show that the horse would have been in a rearing position. An inscription near the base of the altar survived, which translated reads, "Aemelius, son of Lucius set this up from the spoils which he took from King Perseus and the Macedonians."[2] |
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Title: Altar of Domitius Ahenobarbus Date: 1st. Century BCE Location: Right section, in Louvre Paragraph: It is on the outside of some monument. It is in the center section of census-taking scene, in the Louvre. The height is five feet and the total length is eighteen feet and five inches. It shows lustrum which is the ritual purification of Roman people, before taking the census. The god Mars is shown, barefoot and the tallest in person. |
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Title: Altar of Domitius Ahenobarbus Date: 1st century BCE Location: Antikensammlung, Munich Paragraph: Reconstruction of monument. It is on the outside of some monument. It is in the center section of census-taking scene, in the Louvre. The height is five feet and the total length is eighteen feet and five inches. It shows lustrum which is the ritual purification of Roman people, before taking the census. The god Mars is shown, barefoot and the tallest in person. |
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Title: Togatus with Busts of Ancestors Date: Late 1st century BCE Location: Museo del Palazzo dei Conservatori, Rome Paragraph: Head was not original to the statue,it was in the renaissance era but was still ancient. It was marble and lifesize. Made of imagines: wax masks of ancestors, it is in contrapposto and also shows drapery. |
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Title: Tivoli General Date: ca. 75-50 BCE Location: Museo Nazionale delle Terme, Rome Paragraph: It was found in the substructure of the Temple of Hercules at Tivoli. It is a military figure as the breastplate is resting beside his left leg. He is in contrapposto and shows almost heroic nudity, has chlamys. Also has a young body and an old head. |
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Title: Pompey the Great Date: ca. 55 BCE Location: Copenhagen, Ny Carlsberg Glyptotek Paragraph: Was discovered in the Licinian Tomb on the Via Salaria in 1885, along with a series of other portraits, sarcophagi, and decorated funerary altars. The portrait appears to have been based on a lifetime public image of Pompey- possibly created for his theater around 50 B.C when he was fifty years old- - the surviving head is a marble copy of Claudian date. The face is treated in a veristic style; Pompey is depicted with a round fleshy face, double chin, furrowed forehead, small deeply set eyes, a bulbous nose, and thin lips. |
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Title: Julius Caesar Date: ca. 44 BCE Location: Turin, Castello di Agile Paragraph: Marble portrait which comes from Tusculum and has been associated with Mettius denarius and appears to be a contemporary portrait of Caesar. The dictator is represented with a high forehead with a receding hairline, broad face, straight brows, a prominent nose and chin, creases near the mouth and along the neck, and a protruding Adam’s apple. |
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Title: Julius Caesar Date: ca. 44 BCE Location: Egypt Paragraph: Diabase (state) portrait, currently in Berlin, Antikensammlung. Made of dark green diabase slate that comes from Egypt, and may be the portrait commissioned by Cleopatra for the Caesarium in Alexandria put up shortly after Caesar’s death and deification. The head belongs to a draped bust and Caesar’s head is turned sharply to the left. The pupils and irises of the eyes, added in another stone, are incised. |
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Title: Octavian/Portrait of Octavian Date: 37 BC Location: Arles, Museum (France) Paragraph: Crab claw-like hair can be used to identify him, depicted as young man (18-19), portrait doesn’t change even though he ages (forever young), later known as Augustus: adopted son of Julius his uncle; won battle of Actium in 31BC and takes name Augustus; used art in the service of his political and social ideology; his portraits break completely in style and iconography with the portraits of the republic; became emperor at 19, creating a new empire that needed a new image: a young man full of life and vitality who was enthusiastic about running such a large empire i.e. why augustus was always portrayed as a young man; |
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Title: Ara Pacis Augustae, cut away from west Date: 13-9 BC Location: Rome, Italy Paragraph: Greatest monument of Augustan state art, dedicated to Augustus’ most noble achievement--pacification of the Roman world; altar inside a large marble precinct wall; in 1930s Mussolini commissioned rebuilding on altar on the banks of Tiber River next to Augustus’ mausoleum; dedicated on Livia’s birthday, Augustus’ wife; built on the Via Flaminia; two doorways in the precinct--on the eastern and western sides; when the doors were closed, it signaled that peace reigned throughout the world; |
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Title: Ara Pacis Augustae, south side, imperial family Date: 13-9 BC Location: Rome, Italy Paragraph: Augustus can be identified by his physiognomy and is shown performing a sacrifice; women and children present with their husbands and fathers which has never been seen in a state frieze; children are included because of Augustus’ social policy; the figures move from right-left; Marcus Agrippa is pictured behind Augustus and also Livia and her son Tiberius are shown; underscores the new Augustan emphasis on youth, he held them in high esteem; chiarascuro technique used to show depth; |
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Title: Statue of Augustus from Prima Porta Date: after 20 BC Location: Prima Porta (?), Italy Paragraph: presented as a great general, powerful orator, and as eternally youthful with the body of a Greek athlete; cupid rides on a dolphin on his cuirass (breastplate) and refers back to Augustus’ divine ancestry from Venus and may have dynastic implications as well; the cuirass is covered in figures and was used as a field for propagandistic messages; the back off the statue is only summarily worked because it was displayed in a niche or against a wall but it still ornamented with a trophy and part of a wing near the emperor’s arm; Caelus, the sky god, is situated at the apex of the breastplate; this statue commemorated Augustus’s victory over Parthia; Tiberius is the hero of the breastplate and is a copy of a bronze original; barefoot, aligning himself with the divine; mimics diryphoros statue; Rome is receiving its power in the center of the breastplate; Tellus, god of the earth, holds cornucopia of prosperity; |
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Title: Arsinoe Portrait Group Date: ca. 4 BC Location: Augustan House, Rome, Italy Paragraph: shows Augustus’s stepson Tiberius, Augustus, and his wife Livia; his portrait doesn’t change even though he’s aging; women’s portraits usually dated by hairstyle; Livia is ageless like Augustus, portrait doesn’t really change; Livia depicted as youthful bride even though she would be around 60 at this point in time; Tiberius portrays serene idealism, has a broad forehead, ruled from 14-37AD |
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Title: Forum Augustum, Plan, actual state, reconstruction Date: dedicated 2 BC Location: Forum Augustum, Rome, Italy Paragraph: exedra flank either side of the portico; octastyle corinthian temple at the center (Temple of Mars); one of the 3 most splendid buildings of Rome at its time; contained an elogium (inscription of acheivements of life); had an opus quadratum firewall to protect it from fires that ravaged Rome often (many home were made of wood); outside of firewall left unfinished for a rustic look that was popular at the time; |
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Title: Temple of Apollo Palatinus, Terracotta relief: Apollo and Hercules Date: 28 BC Location: Palatine Hill, Rome, Italy Paragraph: the two figures possess classical musculature but archaic pose; possibility that Hercules represents Mark Antony; temple was Augustus’s first major commission with a carefully orchestrated architectural and sculptural program; Augustus built his private residence next door to the temple, attempting to establish not only a physical but also a symbolic link between himself and the god who underscored their personal relationship; Augustus enjoyed using terracotta plaques to decorate his temples; the plaques on this temple were not merely decorative but clothed the struggle between Octavian and Antony in mythological guise; depicts the contest between Apollo and Hercules for the Delphic tripod; was originally painted many colors; Antony believed he physically resembled Hercules and Augustus was rumored to be the son of Apollo, explaining why they are depicted as Hercules and Apollo in the relief; Apollo=protector of the tripod, Octavian=protector of Rome; |
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Title: Temple of Apollo Palatinus, terracotta relief: Apollo and Diana decorate a Baetylus Date: 28 BC Location: Palatine Hill, Rome, Italy Paragraph: depicts Apollo and Diana ornamenting a baetylus or pillar monument which is associated with Apollo; has an ancient aura of importance; hearkens back to the past; |
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Title: Mausoleum of Augustus Date: 28 BC Location: Campus Martius, Rome, Italy Paragraph: several members of the imperial family buried here; references back to the tombs of the 7th century (ancient adoration); has a core of concrete covered in bricks (usually faced with marble); 2 red granite obelisks from Egypt in front of tomb; laurel branches over doorway; corona cuica: crown made of oak leaves; the obelisks are now near the church of S.Maria Maggiore and in the piazza of the Quirinal Hill; |
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Title: Theater of Marcellus Date: dedicated 13 or 11 BC Location: Campus Martius, Rome, Italy Paragraph: made of Travertine limestone; converted into palace in the middle ages, 3 Greek architecture order of columns present: doric on bottom, ionic in middle, and corinthian on top; seating assigned according to social rank in Roman society; semi-circle shape and could hold 15,000 people; |
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Title: Marble portrait of Tiberius Date: Ca. 4 BCE Location: Found in Egypt; now in Ny Carlsburg Glyptotek, Copenhagen Paragraph: This marble portrait of Tiberius is largely affected by Classicism and depicts him as a young man. It is 47 cm in height and is a copy of the original. |
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Title: Portraits of Caligula Date: 37 – 41 CE Location: First pic: Paris, Louvre. Second pic: Copenhagen, Ny Carlsburg Glyptotek Paragraph: In these portraits of Caligula, Classicism is intense, again. The hair is designed to resemble the style that Augustus was well-known for, a crab-like curve above the forehead. Also characteristic of Augustus’s successors are the triangular shaped face and protruding ears. His vanity is displayed in his pursed lips and turn of the head. |
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Title: Claudius as Jupiter Date: Ca. 50 CE Location: Vatican Museums Paragraph: This statue is reminiscent of the Roman past in that Claudius has the physical appearance of a strong, godlike youth in body, but his face is accurately depicted as aged. This might have been for multiple reasons, one being that during his lifetime, Claudius was physically handicapped and hindered by his defects. Barefeet are usually associated with the divine, as well as the symbols in the statue. The eagle at his feet is symbolic of Jupiter’s sacred animal, the scepter in his left hand represents his rule over the Roman Empire, and the libation disk is symbolic of tribute to both the gods and his loyalty to the Roman people. |
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Title: Porta Praenestina, or Porta Maggiore Date: Ca. 50 CE Location: Rome Paragraph: We know that this “larger gate” was built by Claudius due to the inscriptions carved into it. It served as not only a gate to Praenestae, by also as a way to channel water via the aqueducts. The style is rustication (to look vintage or rustic), thus explains the deliberately unfinished stone beneath the attic, without any attempt at refinement. The gate was later incorporated into the Aurelian Wall. However, the name of Porta Maggiore did not originate until after its connection with the wall, most probably due to the fact that this connected it to the Basilica Santa Maria Maggiore. |
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Title: Maison Carrée Date: After 4 CE Location: Nîmes, France Paragraph: This buildings is of the Vitruvian style of architecture. It is pseudoperipteral, and Maison Carrée translates to “square house.” It is in the Corinthian order and contains vegetal reliefs, a hallmark of the Augustan age. It was dedicated to Gaius and Lucius Caesar, Augustus’s grandsons and adopted heirs. Originally there was a shrine within the Maison Carrée, but now no decorations remain inside the cella. |
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Title: Apotheosis of Augustus Date: Ca. 40 – 50 CE Location: Ravenna, Museo di San Vitale Paragraph: This Claudian era relief depicts the apotheosis (becoming a god) of Augustus. The contrapposto poses suggest Classicism as do the draping clothes. Augustus is depicted as Mars Ultor; Venus is present; Livia is also present. |
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Title: Altar of the Vicomagistri Date: Ca. 41 – 54 CE Location: Rome? Paragraph: This relief in the Altar of the Vicomagistri shows the Genius and Lares of the emperor. In every neighborhood in Rome, there was an altar to a “genius” (“daemon” in Greek), the guiding spirit of a Roman’s life. These altars were also, essentially, to Augustus. The lares are the gods of the home. Also present are the victimarii who were in charge of sacrificing the animals as this is an image of sacrifice. |
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Title: Domus Aurea of Nero Date: Ca. 64 – 68 CE Location: Rome Paragraph: This countryside villa of Nero was designed by the architects Severus and Celer. This is the floor plan of the so called “Golden House,” showing a complex of buildings connected together in the heart of urban Rome. A few of the structures included in the floor plan would have been fountains, baths, porticos, pavilions, and tempietti. Some of the house is still preserved under the foundations of later buildings, but most has been swept away in the years since Nero’s death. |
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Title: Octagonal room in the Domus Aurea of Nero Date: Ca. 64 – 68 CE Location: Rome Paragraph: This octagonal room in the Domus Aurea is thought by many to be a banqueting hall. In the center of the room is an oculus (“eye”), which is an opening in the ceiling that allows light into the room, similar to a sky light. At one time, this dining hall would have been superbly decorated with constellations and stars, and it is even thought that the top portion of the octagonal room could be rotated by servants (though there is no way to prove this) in order to represent the rotations of the heavens. |
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Title: Wall paintings in the Domus Aurea Date: Ca. 64 – 68 CE Location: Rome Paragraph: These paintings in the Domus Aurea are in the fourth style, which aims to give more dimension and planes of perspective inside the paintings. For example, several of the paintings appear as windows, depicting imaginary buildings to give the illusion of depth - this is called trempe l’oeil. These paintings are the works of master painter Famulus (or Fabius), and the features in this specific room are termed “grotteschi” because the images appear in a grotto. |
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Titus 79-81 CE From near Lateran, Currently in the Vatican Museums Paragraph:Titus was the second member of the Flavian dynasty to rule as emperor from 79 CE to 81 CE. Titus was the first emperor to claim the throne directly after his own biological father. |
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Flavian Amphitheater (Colosseum) 76-80 CE Rome, Italy. East of Roman Forum Paragraph: The Flavian Amphitheater, also more commonly known as the Colosseum. The project began with Vespasian, the first of the flavians as he carried out most of the construction before his death. He dedicated the structure before his death in 79 CE with a celebration the consisted of multiple games that lasted one hundred days. Domitian, the last in line of the Flavian dynasty is said to have finished the project, with other indications of structural changes made by other emperors later in history. |
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Arch of Titus 81 CE Rome, Italy on Via Sacra Paragraph: The Arch of Titus was a commemoration in honor of Titus’s work in the siege of Jerusalem in the year 70 CE. I was not finished or dedicated until after his death. The structure endeared a lot of damage throughout history, and is thought to have been completely rebuilt in attempt to restore the arch. The structure was built of Pentelic marble and was 13.50 metres wide, 15.40 high, and 4.75 deep. Above it is a simple entablature, and an attic 4.40 metres in height, on which is the inscription, which is preserved only on the east side. On each side is an engaged and fluted Corinthian column, standing on a square pedestal. The capitals of these columns are the earliest examples of the Composite style. On the inner jambs of the arch are the two famous reliefs. |
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Interior Relief: North Side of Arch of Titus 81 CE Rome, Italy on Via Sacra Paragraph:This relief depicts Titus standing in a quadriga, the horses of which are led by Roma, while Victory crowns the emperor with laurel as he passes through a triumphal arch. |
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Interior Relief: South Side of Arch of Titus 81 CE Rome, Italy on Via Sacra Paragraph: This southern relief shows the spoils from the temple at Jerusalem, from the sack of Jerusalem. The objects being carried include the table of shewbread, the seven-branched candlestick, and the silver trumpets, which are being carried in triumph into the city. |
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Bust of Trajan 117 CE Currently in the Vatican Museums Paragraph: Trajan led the Dacian wars. He was a very masculine man known for his virtue in humility and dignity. Through his reign, he was very focussed on improving public programs, such as roads, bridges, and provisions for the poor. He had a passion for war because he was very good at it, as seen by the praising of his accomplishments on the column he built. |
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Trajan’s Column Dedicated in 113 CE Rome, Italy. Near Trajan’s Forum north of the Roman Forum Paragraph:. This column was built by Trajan is said to have built it to show the depth of excavation of his forum, and for his sepulchre. It is built of Parian marble. On its top was a statue of Trajan in gilt bronze. Within the pedestal are a vestibule, a hallway, and a rectangular sepulchral chamber lighted by a window on the south-west side, in which the ashes of Trajan in a golden urn were probably placed. The entire surface of the shaft is covered with reliefs, arranged on a spiral band. These reliefs represent the principal events in the campaigns of Trajan in Dacia between 101 and 106 A.D., and also form a complete encyclopedia of the organisation and equipment of the Roman army in the second century. |
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Scenes of Dacian Wars on Trajan’s Column Dedicated in 113 CE Rome, Italy. Near Trajan’s Forum north of the Roman ForumParagraph: Roman troops cross the river on a pontoon bridge.The formal offensive begins with the crossing of the Roman Army over the Danube River in the year 101 (so, too, a river crossing will mark the beginning of the Second Dacian War). |
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Scenes of Dacian Wars on Trajan’s ColumnDedicated in 113 CE Rome, Italy. Near Trajan’s Forum north of the Roman Forum Paragraph:This relief depicts a time when the first Dacian War was near its end. The soldiers are standing in a strategic position using their shields so that their bodies would be protected from the rocks being thrown overhead by the opposing military force. **If you remember the name for this stance, please fill it in** |
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Bust of Hadrian 118-138 CE Currently in British Museum in London Paragraph: Hadrian (76-138 CE) was the fourteenth Emperor of Rome (10 August 117 to 10 July 138 CE) and is known as the third of the Five Good Emperors (Nerva, Trajan, Hadrian, Antoninus Pius, and Marcus Aurelius). Born Publius Aelius Hadrianus, probably in Hispania, Hadrian is best known for his substantial building projects throughout the Roman Empire and, especially, Hadrian’s Wall in northern Britain. Another well known structure by HAdrian is the Pantheon he rebuilt when it was destroyed by fire.. |
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Statues of Antinous:Antinous as Osiris/ Antinous as Silvanus 130-138 CE Currently in the Vatican Museum and the National Museum of Rome respectively. Paragraph: Antinous was known for being close with the emperor Hadrian. Following Antinous’s death, Hadrian deified Antinous and organized a colt focused on the worship of this man that spread throughout Europe. These statues are products of the worship of this man and his figure became so popular in religious culture that he was often integrated or blended with the other gods or deities of the time. These two examples are of Antinous as the Egyptian god of the afterlife and as the deity of woods and fields. |
