Art H 342 Exam 2

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• Gemma Augustea

• Sardonyx

• Unknown origin

• Tiberian

• Significance: "Largest and finest sardonyx cameo known." Tiberius victory, showing what he won with his victory. Shows Divus Augustus, a case of Tiberius playing the role of divi filius.

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• Claudius as Jupiter

• Marble

• Near Rome

• Claudian

• Significance: Claudius depicting himself as a deity. In the beginning of his reign, Claudius depicted himself as youthful, but he soon put his own stamp on his portraiture when he began depicting himself in his 50's. Considered a return to Republican values.

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• Porta Maggiore

• Stone

• Rome

• Claudian

• Significance: Example of Claudius continuing the public works of Augustus by expanding the aqueduct system.

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• Octagonal Room

• Concrete

• Golden House, Rome

• Neronian

• Significance: Resembles a typical atrium, but has a dome, a departure from typical atrium design. Shows architects thinking of walls and vaults not as limiting space, but shaping it.

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• Fourth-style decoration

• Fresco

• Golden House, Rome

• Neronian

• Significance: Some of our finest examples of the fourth-style decoration. Displays a kinship with third-style, but reveals a renewed taste of illusionism.

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• Interior of Flavian Amphitheater

• Concrete and stone

• Rome

• Flavian

• Significance: Location is where Nero's Golden House was, a sign that the Roman's were returning to a more military state versus the state Nero had created.

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• Spoils from Jerusalem

• Marble

• Arch of Titus, Rome

• Flavian

• Significance: Represents Triumphal parade of Titus' after Judea conquest. Shows Roman soldiers carrying the menorah, prized possession of the Jews. Domitian's creation shows how he rejected the Classicizing low relief of Augustan and Julio-Claudian eras in favor of extremely deep carving, which shows greater depth and creates shadows.

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• Triumph of Titus

• Marble

• Arch of Titus, Rome

• Flavian

• Significance: Represents Triumphal parade of Titus' after Judea conquest. Allegorical figures represented show the transformation of the relief from being a record of Titus' battlefield successes into a celebration of imperial virtues. Domitian's creation shows how he rejected the Classicizing low relief of Augustan and Julio-Claudian eras in favor of extremely deep carving, which shows greater depth and creates shadows.

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• Woman as Venus

• Marble

• Rome

• Flavian

• Significance: Women sculpture tends to show an aged face on a youthful body, but this depiction of Venus shows the woman with a youthful face, matching her youthful body. Elite women were not seen naked in public, so whoever this is, her nudity was seen as a prop that conveyed a message that she was as noble and beautiful as venus herself.

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• Vespasian

• Marble

• Origin unknown

• Flavian

• Significance: Return to Republican portraiture. The statue shows his receding hairline, leathery skin, and etched lines which reflect his representation as serious, older, and unpretentious. In a sense, it's considered Anti-Nero.

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• Forum of Nerva

• Concrete and marble

• Rome

• Nerva

• Significance: Rededicated building of Domitian era. Shows variation in traditional forum design. Pseudo-colonnades instead of traditional columnar porticos.

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• Victim of eruption

• Modern plaster

• Pompeii

• 79 BCE

• Significance:

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• Reconstruction of Trajan's Forum

• Concrete and marble

• Rome

• Trajanic

• Significance: Twice the size of Augustus' forum, though it emulated the style. Imagery of Trajan's Dacian victory present.

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• Victory inscribing a shield

• Marble

• Trajan's Column, Rome

• Trajanic

• Significance: Shows the writing of victory when flanked by booty on both sides, showing the wealth of Trajan victories.

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• Astoria Column

• Concrete and steel

• Astoria, Oregon

• 20th century

• Significance: Emulated design of Trajan column. Example of ancient architecture influencing today's style.

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• Trajan vs. Dacians

• Marble

• Great Trejanic Frieze, Rome

• Trajanic

• Significance: Following the model of the Arch of Titus. Remarkable for being first known instance of representation of lower classes on an official Roman monument.

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• Trajan entering Rome

• Marble

• Trajan's Arch, Beneventum

• Hadrianic

• Significance: Following the model of the Arch of Titus. Shows Trajan entering back into Rome after victory.

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• Plan of Pantheon

• Concrete and marble

• Rome

• Hadrianic

• Significance: Shows full potential of concrete as a building material, as well as means for shaping an architectural space.

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• Interior of Pantheon

• Concrete and marble

• Rome

• Hadrianic

• Significance: Rome's temple to all Gods. Dedicated to Agrippa despite Hadrian's construction. Revolutionary architecture to create domed opening at the top. Architect used the light to not only illuminate the darkness, but to create drama and underscore the inter shape's symbolism.

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• Apotheosis of Sabina

• Marble

• Campus Martius, Rome

• Hadrianic

• Significance: Many earlier arches depicted the apotheosis of men, but this is the first known sculptural representation of the apotheosis of an empress.

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• Temple of Venus and Rome

• Marble and Concrete

• Rome

• Hadrianic

• Significance: Designed by Hadrian. Built near Nero's Golden House.

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• Canopus

• Marble

• Hadrian's Villa, Tivoli

• Hadrianic

• Significance: Inspired by the Canopus Hadrian saw in Egypt. However, the design does not incorporate Egyptian styled architecture. Rather, it has Corinthian columns and replicas of classical Greek statues. Distinctly Roman

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• Pumpkin-dome of Serapeum

• Concrete

• Hadrian's Villa, Tivoli

• Hadrianic

• Significance: Artificial grotto. Allowed guests to have a splendid view of the Canopus pool and statues. Long bench breaking societal norms of class division.

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• Maritime Theather Plan

• Marble and concrete

• Hadrian's Villa, Tivoli

• Hadrianic

• Significance: Design is remarkable for complete suppression of straight lines. Shows the interplay of convex and concave shapes and the mix of concrete walls, vaults, and stone columns. Secluded retreat for Hadrian.

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• Antinous as Apollo

• Marble

• Delphi, Greece

• Hadrianic

• Significance: One of many roles of Antinous, Hadrian's youthful lover. This depiction relates him to Apollo, similar to other statuary representations of Apollo. Construction of hair is similar to earlier styles used in Flavian portraits of women.

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• Base of Antonius Pius' Column

• Marble

• Rome

• Antonine

• Significance: Remains in classical style with elegant, well-proportioned figures, personifications, and a single ground line that all the figures rest upon.

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• Decursio

• Marble

• Rome

• Antonine

• Significance: Breaking with classical conventions of design. Figures are much stockier than apotheosis relief and composition was not seen as a "window to the world". There is no ground line, rather multiple ground lines.

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• Crossing the Danube

• Marble

• Marus Aurelius' Column, Rome

• Antonine

• Significance: Emulated column of Trajan. Depicting campaigns of Marcus Aurelius against the Germans and Samaritans, in many ways the scenes depicted were almost duplicates of scenes on the column of Trajan.

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• Marcus Aurelius in Triumph

• Marble

• Arch of Marcus Aurelius, Rome

• Antonine

• Significance: Emulates style of Arch of Titus. Variation of spoils of Jerusalem.

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• Marcus Aurelius

• Gilded Bronze

• Rome

• Antonine

• Significance: Inspired Renaissance sculptures to depict themselves on horseback. Conveys power of the Roman emperor as benevolent ruler of the world.

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• Commodus as Hercules

• Marble

• Rome

• Antonine

• Significance: Commodus convinced the senate to depict him as Hercules. Facial features of Commodus are resemblant to prior depictions of him.

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• Detail of capital

• Brick-faced concrete

• Warehouse of Epagathius, Ostia

• Antonine

• Significance: One of the finest examples of Roman's new taste for exposed brick.

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• Plan of Epagathius

• Brick-faced concrete

• Ostia

• Antonine

• Significance: Plan of a warehouse used to store commodities such as grain. The finding of old locks shows us that the building may have held more valuable items as well.

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• Office of Sabratha

• Mosaic

• Forum of Corporations, Ostia

• Antonine

• Significance: Example of foreign exposure. Brought ivory from North Africa. The mosaics in this space often were given motifs that represented the merchants hometown.

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• Tombs

• Brick-faced concrete

• Isola Scara

• 2nd Century BCE

• Significance: Hundreds of tombs attached to each other like a city is Isola Scara containing the remains of working class families.

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• Midwife relief

• Terracotta

• Isola Sacra

• 2nd Century BCE

• Significance: Plaque that adorned a tomb. Depicted activity that middle-class merchants did. Different style relief than elite-class styled reliefs.

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• Couple as Venus and Mars

• Marble

• Isola Sacra

• 2nd Century BCE

• Significance: Couples would sometimes have tomb furniture that depicted themselves as deities. The heads on the sculptures are contemporary portraits. Example of persistent eclecticism and stylistic diversity of Roman art.

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• Septimius Severus and family

• Gold coin

• Rome

• Severan

• Significance: Used coinage to show family to the Roman people. The style of portrait Severus uses is similar to portraits of Marcus Aurelius. The portraits of his wife and sons is resemblant of the tripartite groups on the column of Marcus Aurelius.

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• Arch of Septimius Severus

• Marble

• Roman Forum

• Severan

• Significance: Location connected the Severan dynasty with the founder of the Roman Empire and allowed Severus to introduce his sons and successors to the Roman people. Emulated Augustus' arch.

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• Imperial Family Panels

• Marble

• Arch of the Merchants, Rome

• Severan

• Significance: Shows Severus dressed as Pontifex Maximus. Similar to how Augustus portrayed himself. Symbolic because of other Augustan references.

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• Baths of Caracalla

• Concrete

• Rome

• Severan

• Significance: Example of "magnificent" bathing complex that the people wanted the Severan emperors to create. The plan resembles that of the Baths of Titus and Trajan.

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• Trebonianus Gallus

• Bronze

• Rome

• 3rd Century BCE

• Significance: Physique of a wrestler with a swollen chest and massive legs. The Heroic Ideal in the 3rd Century. Paradoxical image of keen mind and proportioned body gives way to an image of physical strength and troubled psyche.

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• Tetrarchs

• Porphyry

• Constantinople

• Diocletian

• Significance: Imported to Italy. Bodies are of stocky proportions, not idealized figures. Late antique abstraction characterizes these sculptures, not the early and high empire. Bodies are shapeless.

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• Arch of Constantine

• Marble

• Rome

• Constantine

• Significance: First structure to openly celebrate a victory over another roman instead of the defeat of a foreign foe. Largest arch erected in Rome.

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• Arch of Constantine

• Marble

• Rome

• Constantine

• Significance: Taken from the Forum of Trajan. Many sculptural decorations on the Arch of Constantine were taken from previous rulers such as Trajan and Hadrian reliefs. These reliefs were then refashioned and made into images of Constantine.

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• Distribution of Goods

• Marble

• Arch of Constantine, Rome

• Constantine

• Significance: Depicting ceremonial scene. ADD MORE.

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• Constantine

• Marble

• Basilica Nova, Rome

• Constantinian

• Significance: Created in a manner that would remind the onlooker of Augustus and Trajan. This connection was not only to the rulers, but to happier times as well. His youthful portraits were designed for him to dissociate him from the tetrarchy and associate with monarchal rulers.