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59 Cards in this Set
- Front
- Back
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portrait of trajan, british museum |
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portrait of trajan as victorious general, ostia, 110 CE, marble |
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portrait of plotina, 112 CE, from maritime baths, ostia, wife of Trajan, marble, relies on the conventions of Trajan's with her oval, calm, ageless face and her smooth hair carved into separate locks, extension of Flavian styles, pupils not carved- later style that begins under Hadrian |
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Forum of Trajan, rome, model, the 5th, largest, and final of the imperial fora, relies on the basic design and building sets of each previous imperial forum, emphasis on axiality and symmetry, with the large hemicycles- references adjacent forum of Augustus |
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Forum of Trajan, Rome, remains of the Basilica Ulpia and the Column of Trajan, the 5th, largest, and final of the imperial fora, relies on the basic design and building sets of each previous imperial forum, emphasis on axiality and symmetry, with the large hemicycles- references adjacent forum of Augustus
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Forum of Trajan, Rome, reconstruction drawing, the 5th, largest, and final of the imperial fora, relies on the basic design and building sets of each previous imperial forum, emphasis on axiality and symmetry, with the large hemicycles- references adjacent forum of Augustus |
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Basilica Ulpia, Forum of Trajan, Rome, reconstruction drawing of interior, the 5th, largest, and final of the imperial fora, relies on the basic design and building sets of each previous imperial forum, emphasis on axiality and symmetry, with the large hemicycles- references adjacent forum of Augustus |
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Forum of Trajan, Rome, Column of Trajan, the 5th, largest, and final of the imperial fora, relies on the basic design and building sets of each previous imperial forum, emphasis on axiality and symmetry, with the large hemicycles- references adjacent forum of Augustus |
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Forum of Trajan, Rome, Column of Trajan, reconstruction drawing, the 5th, largest, and final of the imperial fora, relies on the basic design and building sets of each previous imperial forum, emphasis on axiality and symmetry, with the large hemicycles- references adjacent forum of Augustus |
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Forum of Trajan, rome, Column of Trajan, base, the 5th, largest, and final of the imperial fora, relies on the basic design and building sets of each previous imperial forum, emphasis on axiality and symmetry, with the large hemicycles- references adjacent forum of Augustus, contains dedicatory inscription above door allowing access into chamber at food of column and to stairs leading up column |
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Forum of Trajan, rome, Column of Trajan, detail of relief spiral, the 5th, largest, and final of the imperial fora, relies on the basic design and building sets of each previous imperial forum, emphasis on axiality and symmetry, with the large hemicycles- references adjacent forum of Augustus, composed of drums of luna marble divided into 155 separate scenes that narrate key events in Dacian Wars |
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Markets of Trajan, Rome, view of hemicycle, 110 CE, designed by Apollodorus of Damascus, most remarkable and innovative of Trajanic architectural projects, 6 stories tall, multi- story complex built against cliff with no access, light or air from the cliff side presented enormous challenges, turned to materials and forms of architectural revolution, over 150 shops and offices, hemicycle- need for light drove design |
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Markets of Trajan, rome, main market hall interior, 110 CE, designed by Apollodorus of Damascus, most remarkable and innovative of Trajanic architectural projects, 6 stories tall, multi- story complex built against cliff with no access, light or air from the cliff side presented enormous challenges, turned to materials and forms of architectural revolution, over 150 shops and offices, hemicycle- need for light drove design |
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Markets of Trajan, Rome, main market hall exterior, 110 CE, designed by Apollodorus of Damascus, most remarkable and innovative of Trajanic architectural projects, 6 stories tall, multi- story complex built against cliff with no access, light or air from the cliff side presented enormous challenges, turned to materials and forms of architectural revolution, over 150 shops and offices, hemicycle- need for light drove design |
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Markets of Trajan, Rome, via biberatica, 110 CE, designed by Apollodorus of Damascus, most remarkable and innovative of Trajanic architectural projects, 6 stories tall, multi- story complex built against cliff with no access, light or air from the cliff side presented enormous challenges, turned to materials and forms of architectural revolution, over 150 shops and offices, hemicycle- need for light drove design |
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Forum of Trajan and Markets of Trajan, Rome, plan, 113 CE, |
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Portrait of Hadrian, differs from all previous emperors in one significant way: first emperor portrayed with a full beard, style followed by all emperors for next 100 years, provided opportunity for sculptors to explore difference in texture between hair and skin, 135 CE |
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Portrait of Hadrian, differs from all previous emperors in one significant way: first emperor portrayed with a full beard, style followed by all emperors for next 100 years, provided opportunity for sculptors to explore difference in texture between hair and skin, 135 CE |
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Portrait of Sabina, 135 CE, from maritime baths, Ostia, marble, wife of Hadrian, establishes precedent for imperial women's imagery for the remainder of century, classicizing face is consistent with Trajanic pattern, but hair is rejection of elaborate styles of past 30 yrs, veil is based on style of Classical Greek goddesses |
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Pantheon, Campus Martius, Rome, facade, best preserved surviving Roman temple, name suggests that it was dedicated to all gods, represents culmination of architectural revolution in Rome, extreme emphasis on interior over exterior contrasting pattern of traditional Roman temple architecture, exemplifies revolutionary creation of space emphasizing light and height, after 126 CE |
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Pantheon, Campus Martius, Rome, reconstruction of complex, best preserved surviving Roman temple, name suggests that it was dedicated to all gods, represents culmination of architectural revolution in Rome, extreme emphasis on interior over exterior contrasting pattern of traditional Roman temple architecture, exemplifies revolutionary creation of space emphasizing light and height, after 126 CE |
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Pantheon, Campus Martius, Rome, plan, best preserved surviving Roman temple, name suggests that it was dedicated to all gods, represents culmination of architectural revolution in Rome, extreme emphasis on interior over exterior contrasting pattern of traditional Roman temple architecture, exemplifies revolutionary creation of space emphasizing light and height, after 126 CE |
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Pantheon, Campus Martius, Rome, rectangular connector, best preserved surviving Roman temple, name suggests that it was dedicated to all gods, represents culmination of architectural revolution in Rome, extreme emphasis on interior over exterior contrasting pattern of traditional Roman temple architecture, exemplifies revolutionary creation of space emphasizing light and height, after 126 CE |
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Pantheon, Campus Martius, Rome, interior, best preserved surviving Roman temple, name suggests that it was dedicated to all gods, represents culmination of architectural revolution in Rome, extreme emphasis on interior over exterior contrasting pattern of traditional Roman temple architecture, exemplifies revolutionary creation of space emphasizing light and height, after 126 CE |
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Pantheon, Campus Martius, Rome, interior of dome, best preserved surviving Roman temple, name suggests that it was dedicated to all gods, represents culmination of architectural revolution in Rome, extreme emphasis on interior over exterior contrasting pattern of traditional Roman temple architecture, exemplifies revolutionary creation of space emphasizing light and height, dome- only visible from inside when one reached front door, visual surprise, after 126 CE |
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Hadrian's Villa, Tivoli, aerial view of Poikile, entire complex is a series of scattered suites of rooms, enclosed spaces, and building complexes across a bare and fairly level stretch of land about 17 mi from Rome, largest imperial villa in Roman world, |
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Hadrian's Villa, Tivoli, aerial view of Island Villa, entire complex is a series of scattered suites of rooms, enclosed spaces, and building complexes across a bare and fairly level stretch of land about 17 mi from Rome, largest imperial villa in Roman world, |
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Hadrian's Villa, Tivoli, remains of Island Villa, entire complex is a series of scattered suites of rooms, enclosed spaces, and building complexes across a bare and fairly level stretch of land about 17 mi from Rome, largest imperial villa in Roman world, |
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Hadrian's Villa, Tivoli, remains of Piazza D'Oro, entire complex is a series of scattered suites of rooms, enclosed spaces, and building complexes across a bare and fairly level stretch of land about 17 mi from Rome, largest imperial villa in Roman world, |
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Hadrian's Villa, Tivoli, plan of Piazza D'Oro, entire complex is a series of scattered suites of rooms, enclosed spaces, and building complexes across a bare and fairly level stretch of land about 17 mi from Rome, largest imperial villa in Roman world, |
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Hadrian's Villa, Tivoli, remains of large baths, entire complex is a series of scattered suites of rooms, enclosed spaces, and building complexes across a bare and fairly level stretch of land about 17 mi from Rome, largest imperial villa in Roman world, |
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Hadrian's Villa, Tivoli, remains of the Canopus-large artificial pool named after canal at Alexandria in Egypt, entire complex is a series of scattered suites of rooms, enclosed spaces, and building complexes across a bare and fairly level stretch of land about 17 mi from Rome, largest imperial villa in Roman world, along side of pool are 4 copies of caryatids from 5-th century BCE |
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Hadrian's Villa, Tivoli, remains of the Serapeum at the Canopus, entire complex is a series of scattered suites of rooms, enclosed spaces, and building complexes across a bare and fairly level stretch of land about 17 mi from Rome, largest imperial villa in Roman world, Serapeum- dining complex with decoration inspired by sanctuary of Serapis, at far end of pool stands semi circular portico w statues of mars, mercury, and minerva |
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Arch of Septimius Severus, Forum Romanum, Rome, traditional form of victory arch, 203 CE, celebration of Severan dynasty, exterior of arch is covered w 3 major surviving sculptural elements- small frieze, reliefs on pedestals that support the 4 free standing columns on each side, and four large panels that flank central passage |
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Arch of Septimius Severus, Forum Romanum, Rome, detail of panel, traditional form of victory arch, 203 CE, celebration of Severan dynasty, exterior of arch is covered w 3 major surviving sculptural elements- small frieze, reliefs on pedestals that support the 4 free standing columns on each side, and four large panels that flank central passage |
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Portrait of Septimius Severus, 195-200 CE, Greek marble, elements of Aurelius' portraiture are seen in the curly hair and short, parted beard, associating himself with successful emperors of the 2nd century CE, represents the end of the Antonine portrait tradition which is replaced with entirely new aesthetic |
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Portrait of Julia Domna, 193 CE, 24 3/8 in., marble, wife of Septimius Severus, mother of Caracalla and Geta, became most visible and powerful imperial woman since Livia, widely spaced eyes flanking a long nose, connected brows and curving mouth, wears hair in a heavy, center parted helmet shaped style, formal imperial image that makes direct visual links between her and previous dynasty |
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Portrait of Caracalla, 206- 212 CE, Rome, marble, 11 1/4 in., rejection of the Antonine traditions and point the way to the portrait style of remainder of 3rd century CE, plasticity and volumetric portrayal of hair of 2nd century is replaced w plasticity of skin, hair and beads reduced as figure's skin is explored with incised lines, restless energy shown w evidence of concern for ruling and internal conflict |
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Baths of Caracalla, Rome, plan, 211- 216, 50 Acres, only one of a number of immense imperially sponsored bathing complexes in the city of Rome, huge block of bathing rooms- 702 ft x 360 ft surrounded by formal gardens laid out on a large terraced platform, lavishly covered with marble floors and wall panels |
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Baths of Caracalla, Rome, Aerial view of the remains, 211- 216, 50 Acres, only one of a number of immense imperially sponsored bathing complexes in the city of Rome, huge block of bathing rooms- 702 ft x 360 ft surrounded by formal gardens laid out on a large terraced platform, lavishly covered with marble floors and wall panels |
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Portrait of Philip the Arab, first Roman emperor of Arab descent and example of expansion of citizenship and military and political opportunities under empire, relies on pattern established under Caracalla, rejecting classicism of other Severans, short cropped hair element of Caracalla's military portraiture, hair and beard chiseled w small incisions and turned head, drilled pupils give expressive and restless appearance to work that seems to suggest psychological state, 244- 249 CE, Rome, marble, |
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Portrait Statue of Trebonius Gallus, bronze portrait, 251- 253 CE, 95 in., |
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Aurelian Wall, Rome, first walls built around Rome since those that followed the Gallic sack in 286 BCE, symbol of imperial control and power, walls are also indicative of Roman govt's uncertainty in defending capital, massive brick- faced concrete construction over 12 mi in circuit, over 20 ft high and 13 ft thick at base, 270-275 CE |
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Diocletian's Palace, Split, Dalmatia, model, 300-306, rigid, symmetrical design, temple to Jupiter, octagonal mausoleum, |
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Diocletian's Palace, Split, Dalmatia, View of "Peristyle Court", 300-306, rigid, symmetrical design, temple to Jupiter, octagonal mausoleum, |
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Diocletian's Palace, Split, Dalmatia, plan, 300-306, rigid, symmetrical design, temple to Jupiter, octagonal mausoleum, |
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Porphyry Tetrarchs statue group, Venice, Italy, 300 CE, rich purple color of stone, color generally reserved for emperors- conveys status of rulers while composition of paired figures in collegial embrace, one Augustus and one Caesar- one senior and one junior emperor, parallels political structure, identical in dress and features, large pupils, each holds handle of sword with left hand- indicating power |
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Porphyry Tetrarchs, Vatican, Rome, rich purple color of stone, color generally reserved for emperors- conveys status of rulers while composition of paired figures in collegial embrace, one Augustus and one Caesar- one senior and one junior emperor, parallels political structure, identical in dress and features |
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Coin portrait of Maxentius |
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Basilica of Maxentius, Forum Romanum, Rome, drawing, or basilica nova, 315 CE, largest basilica ever constructed in Rome, begun under Maxentius and completed under Constantine, form and materials relied on those of the imperial baths |
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Basilica of Maxentius, Forum Romanum, Rome, remains, or basilica nova, 315 CE, brick faced concrete, largest basilica ever constructed in Rome, begun under Maxentius and completed under Constantine, form and materials relied on those of the imperial baths |
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Basilica of Maxentius, Forum Romanum, Rome, reconstruction of interior, or basilica nova, 315 CE, largest basilica ever constructed in Rome, begun under Maxentius and completed under Constantine, form and materials relied on those of the imperial baths |
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Colossal portrait of Constantine the Great, 315 CE, Rome, 9 ft 9 3/4 in. tall, marble, portraiture is bold and differs dramatically from immediate predecessors like much about his rule, most important feature- lack of beard, first clean shaven emperor since Trajan, bowl haircut and curly bangs also similar to Trajan, dramatic size and detail of eyes |
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Colossal portrait of Constantine, reconstruction drawing of statue, marble, portraiture is bold and differs dramatically from immediate predecessors like much about his rule, most important feature- lack of beard, first clean shaven emperor since Trajan, bowl haircut and curly bangs also similar to Trajan, 315 CE, Rome, originally about 30 ft in height, acrolithic seated image of emperor, draped with bronze clothing |
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Porphyry portrait of Constantine |
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Arch of Constantine, Rome, first time ever that a Roman emperor celebrated in triumphal arch openly dedicated to commemorate victory in civil war, 312- 315 CE, made reference to some of Rome's greatest emperors, traditional in design, large amount of spolia or reused material- unlike other major examples of public sculpture that survive |
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Arch of Constantine, Rome, detail, first time ever that a Roman emperor celebrated in triumphal arch openly dedicated to commemorate victory in civil war, 312- 315 CE, made reference to some of Rome's greatest emperors, traditional in design, large amount of spolia or reused material- unlike other major examples of public sculpture that survive |
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Arch of Constantine, Rome, detail, first time ever that a Roman emperor celebrated in triumphal arch openly dedicated to commemorate victory in civil war, 312- 315 CE, made reference to some of Rome's greatest emperors, traditional in design, large amount of spolia or reused material- unlike other major examples of public sculpture that survive |
