Western Art Exam 2

Funerary Vase

subject: cremated remains underneath ground, pot above it, oils poured into it in memory and honor of deceased, image of a funeral with simple figures

form: shape and imagery is the same as Mycenaean vase (krater), wide mouth and body used to represent men, curvy pot is for women, lot of geometric patterns in designs, 4ft tall, desire in decorative bands, two in widest part that include a narrative, ground lines, checkerboard, triangles, dotted patterns, “key pattern”, inconsistent scale, no spatial relationship, disproportionate facial looks, simple animals, elevated funeral platform - draws reference to cremation, triangular torsos, is a male but not anatomically accurate, lot of circles, squares, women are doing sad Mycenaean gesture with arms above heads, wife and child are up with him, attendants to the sides, spears, shields, 3 horses side by side (merges together), chariot, soldiers

function: normally used as grave markers and carriers of water/wine, but they have a hole in the bottom to drain out liquid, there is a desire to tell a story, says that he died a hero’s death in battle

Temple of Hera I

subject: stone/marble temple for patron goddess Hera

form: altar is on the outside facing rising sun, very exclusive, priests and attendants only inside, public is outside at altar, Hera: queen of the gods, married to Zeus, would have had a large statue of her, post and lintel construction used to build, set up like a Mycenaean megaron (throne room), desire for symmetry, balance, and order, pronaos, naos, peripteral, colonnade, super structure above columns, super structure connected to roof, classical order present (Doric temple), capital is simple, chunky columns, architrave, frieze on top, pediment, triglyph, metope, entasis, sense of flexibility and life

function: temple is a house/shrine for the statue of the goddess

New York Kouros

subject: youth male, 6 ½ ft tall

function: marble, painted before, given more life like appearance, similar to Egyptian Ka statues, very rigid, closed, one foot extended forward, in the round, naked, eyes were painted, removing more material, not tied to block - different function, athletic and skinny form, youthful, reference to muscles, creases, simple triangle as ribcage, sharp leg bones, calves, knees, little necklace, flat hair, stylized little circular patterns, headband, flat back, spine, elbows, shoulder blades, ears are strange, flat face too, large eyes (almond), disproportionate, alien look, encaustic technique used

form: grave markers, life like and monumental sculptures, votive gift/statue offering to certain gods, male body was celebrated, idealized male nude emerges here - goal of the Greeks

Anavysos Kouros

subject: grave marker of Kroisos, 

form: encaustic technique still used, advancement in physical form from New York Kouros, references in body parts are subtle, creases in his mouth area, face is not flat, pronounced cheeks, dimpled chin, naturalistic distinction, looks a bit more like flesh, rounder hips, shoulders wider, no more stone attached, calves are large, belly button prominent, ankles are detailed, hair is a bit better but still stylized, smiling face? - no, it is an archaic smile= not happy, just the dead face, creases introduced to show movement and vitality in the face

function: shows he died a hero’s death, base is inscribed with mournful message

Death of Sarpedon

subject: Sarpedon: son of Zeus, fought with Trojans but was killed in battle, Greeks are treating an enemy as respectful and honorary hero death, lot of anatomical detail, other features used to suggest blood

form: red-figure technique, figures pop more, stand out prominently, lot easier to make things softer, more life like (naturalism), lot of flower designs, framing soldiers to keep audience focused on main scene, image is not completely flat, turning head slightly in front, showing knee falling forward (foreshortening), sense of occupying space, Europonios made this, known for 3D figures, shows specialization, 2  personified winged figures dressed in armor (Hypnos - sleep, Thanatos - death), Hermes has his staff, winged hat, winged feet, overseeing these actions, responsible for delivering people to underworld, some stylized elements, a bit more natural with space

function: krater pot, large image of a figure from Iliad

Kritios Boy

subject: Kritios is sculptor, found on Acropolis, marble, represented ideal of a fit male athlete, one of several lining processional way leading up from town to major temples - honor participation in the games

form: more natural, less uptight, softer, curvature, structure, muscles, bones, skin, fitness, facial features are proportionate, eyes were carved so inlay would be put in, hair isn’t great, broken but not rigid, first example from Greeks to show real human movement in the form of a weight shift - contrapposto, not just understanding how the body looks, but how it moves all together, one side (leg) has weight while other is visibly bending, pronounced butt, angled anatomically well, pronounced back, neck is turning slightly, much better ear, easy to tell he is a young man, no more archaic smile, makes it much more realistic, want the face to be controlled and static (Greek ideal, order)

function: Greek showing of the natural/perfect human body (orderly, control over destiny, reason)

Spear Bearer

subject: ideal male athlete type, hand held a spear

form: important artist, original was bronze, makes it beautiful, perfect proportion, relationship between all parts of the body, canon - measure/law - says why and how he does what he does, systemic formula for the body proportions, tensed and relaxed limbs opposing each other diagonally, pronounced contrapposto, cross balancing used, hips to left, head to the right, focused face

function: focused efforts on perfected nude male athlete, order on human movement,

Grave Stele of Hegeso

subject: marble, 5 ft tall, it is a grave marker, traditional model similar to today, Dipylon cemetery in Athens

form: architectural setting to frame her, name is written, her and her attendant, framed a scene, pediment, flat supportive columns, Doric, genre scene, everyday life, women lived secluded lives, tied to their quarters, placed in context of the home, attendant asserts status, she is seated with elegant hair and robe, hierarchical scale, attendant extending jewelry box - show of wealth, holding one up, chair is impressive, women are clothed and covered, but the curves are more noticeable, now it hangs off her body naturally, attendant is in contrapposto - can see her knees, controlled faces, no smiles, Greek show of order

function: commemorates Hegeso’s death, seated woman, also promotes her father Proxienos’s wealth (both names on the stone), patriarchal society, shows his wealth and status

Parthenon

subject: marble temple complex dedicated to Athena, made by Iktinos and Kallikrates

form: lot of buildings, upward movement, lot of Greek gods and statues everywhere, apply the golden ratio: math ratio fosters organic/natural looking designs that are aesthetically pleasing, all mathematically designed, more proportionate than other temples, heroic sense, not stubby, Doric columns, has ionic features visible on the interior metopes and triglyphs on the frieze up top, pediment, optical adjustments, not very regular, entasis used, but not very pronounced, little flexibility, upper step is slightly curved, carried through to the entablature, some columns thicker/slightly closer together, would have been painted, water would drain off curved stairs, single row of columns all around, pronaos, naos, huge sculpture in here, space behind it is the treasury, 4 columns inside are ionic, have a base, all things are balanced, top of the wall all around is a continuous frieze, lot of sculpture here, Phidias led the effort, would have the statue in gold and ivory, very tall, ready for battle, holding “Nike”, snake friend by side (protective and health), dynamic colorful structure

function: exemplifies ideal plan for temple, perfect proportions and order, ideal beauty,

Lapith Fighting a Centaur

subject: battles of Lapiths and Centaurs (Homer), Theseus story

form: high relief, centaurs are wild, animal nature, chaotic, invited to wedding of Lapith king, drank too much and started a fight, Lapiths started to fight to drive them away and won, pairs of figures all around struggling against each other, Greek is portrayed as ideal male nude, moves well, complex pose, athlete, centaur grabbing Greek’s leg and neck, no reaction from Greek, centaur is very emotional, aggression, sense of balance and beauty, diagonals with body parts - mirrored actions, equally balanced wins and losses, victory is better against a worthy foe, not one-sided, very detailed horse body

function: triumph of order over chaos, Greeks over Persians, order/reason over barbarism

Three Goddesses

subject: part of the pediment on the temple, part of birth of Athena, huge display

form: leaning on one another, part of larger display, complex movements, turning, sit/lean believably, covered up, but dynamic drapery, no attributed of goddesses, just assumed

function: show important figures that would have been important to Athena’s birth story

Panathenaic Procession

subject: part of outer wall, 3 ½ ft tall, real ceremony every 4 years in Athens

form: all people attend as sculpture/wooden statue of Athena from Archaic period was given a new peplos, suggestion of movement, continuous, quick, figures move fast, lot of dynamic actions with humans and animals, energy and excitement, little groups of people discussing, contrapposto, gods and goddesses at front, in central area to watch ceremony

function: honorific action

The Erechtheion

subject: different design, temple housed Athena Archaic statue, site and shrines make it very different

form: follows the lay of the area, name goes back to mythological king who received the statue from the heavens as a gift, hosted contest between Athena and Poseidon, Poseidon gave horses, Athena gave the olive tree, olive tree is major source of economic stability, Ionic temple, capital and base, continuous frieze, dark blue limestone, painted relief figures, 3 porches, screen wall closes off the fourth, very complex design, Poseidon’s salt spring is inside, snake pit, Kekropeion judged contest, is half man, half serpent

function: sacred ground, was a shrine place

Porch of the Maidens

subject: replaced columns with sculptures of women

form: Caryatid, ionic order, women are clothed, rendering of blouses is good, all in contrapposto, show of a weight shift in the heavy parallel folds, relaxed leg: can see knee and lower leg, faces look similar, mask like expression, foundational strength, crown like capital with architrave above, no frieze here - aesthetic choice, so they don’t look overloaded, cornice above that

function: figure who functions as a column

Hermes and Dionysus

subject: Praxiteles is artist, gods but in a human kind of situation, Hermes and Dionysus are on a journey to find new parents for baby, Hermes is resting and trying to entertain the baby, larger than life, Olympian sized gods, 7 ft tall, found in temple dedicated to Hera in Olympia, was delivered to Silenus, part of a group of satyrs who partied all the time 

form: youthful Hermes, nice hair, defined body, no attributes (messenger god), Dionysus (god of parties, wine) shown as a baby here, humor element added in here, dangling a bunch of grapes, baby is reaching out to grab, other is resting on Hermes’ shoulder, Hermes has taken to him, a little bit of a smile instead of a stoic mask, very fun and playful, slimmed up a little, much better proportions with head, movement is dynamic, way more pronounced hip

function: supposed to take the baby to the woods, humanized the situation to show they are stopping for rest, displays how we treat babies, Hermes rests against the tree and is trying to entertain it

Dying Gallic Trumpeter

subject: used to be part of monument to commemorate the defeat of the Gauls, in a sanctuary devoted to Athena on the acropolis in Pergamon, heroic image, Gallic trumpeter has been hurt and is in pain on the ground, marble

form: desire to adhere to ethnic characteristics for Gauls, hair is good, but sticking up like a lion - battle aspect, facial hair, necklace, metal work - jewelry (distinctive to Gallic soldiers), slumped over, head hanging, barely alive, brow is heavy, can almost feel his pain, wounds are visible, can feel him breathing heavy, looks like blood is coming out, supporting weight, might be trying to get back up, long trumpet on ground along with sword, great rendering of body, feet are incredibly detailed

function:  believable representation of someone hurt and dying, convincing show of someone wounded in battle

Athena Attacking the Giants

subject: monument to commemorate defeat of Gauls, son of king commissioned work, huge space, ionic order, capitals and stylobates, massive frieze at the base of structure, battle of Olympian gods vs Titans, 

form: very high relief, very long, lot of panels and carved figures, Hellenistic body types, dynamic figures, extreme positions, break out onto the steps, Athena has a lost face, but has helmet, holding out shield, titans fighting, Gaia (mother earth) and Alkyoneos, very dramatic, lot of diagonals, energy!, winged figure of Nike (victory) crowning Athena with a laurel crown, titan is super hurt, deep eyes, rolling back, feeling of pain, Athena has him by the hair, reaching up with arm to grab her, snake is wrapping around him, head is biting him on chest - believable struggle, mouth open, Gaia has a super sad expression, pleading to her to not kill son, pretty hair, hands are dramatic, expressions are great, leaves people wondering what her face is like, realistic creases in body types, contrast between light and dark, add more drama, deeply carved parts are in shadow and other catch the light way more

function: shows good vs evil, equates to Greeks vs Barbarians, shows win of Athena and her strength (is her altar)

Laocoon and His Sons

subject: Hagesandros, Polydoros, and Athanadoros were the artists, group of figures brought together in large, complex, dramatic subject inspired by Iliad, Laocoon (priest of Athena) found out about Greek horse, tried to stop them but Poseidon ordered sea serpents to come up and attack him and sons

form: very specific moment in story, perfect point, Laocoon struggling to fight the snakes, biting him, sons are also wrapped around, show of body movement, very complex faces and movements, diagonals, images of pain and extreme suffering, mouth open, head pulled back, eyes rolled back, hair is very good, musculature, broad, huge, ideal male nude now, huge arms

function: Helleninistic body type, intended to engage with viewers, make them feel bad for him

Nike of Samothrace

subject: “winged victory”, personification of victory, interest of Greeks, bronze statue, larger than life, Samothrace - island in Aegean sea, figure placed on front of a naval warship, memorial of a victory

form: many limbs lost, head and arms, bit sheer, presented like she had just flown in, momentum, forward movement through torso and wings going back, drapery is beautiful, one leg forward, one back, body is moving, acting on drapery - wind blowing look, some is wet looking (stomach area), wings are realistic, feathered, dynamic movement, theatrical

function: originally in a fountain, on a hillside over looking the sea - had sound, smell of ocean, brings you directly into the scene - appeals to the senses fully

Old Woman

subject: representation of an old woman on her way to the market - Hellenistic interest in all human forms

form: lot of sagging, falling out of her dress, feel her staggering, bent posture, can feel her pain, very emotional face, appears to be on the way to the market with a basket of chickens, peaking out (can hear the peeping), creases on her face and around her eyes, hair out of place, sunken cheeks, maybe no teeth, gravity effects, drapery is interesting, can see her sternum, has all her bags, marble, life sized, deep carving, dramatic play of light

function: captures how age affects the human body

Etruscan temple plan

subject: none left, Vitruvius wrote all about it, similarities with the Greeks but also big differences, is a temple that functions as holding cult statues of temple patrons, specifically 3 known as the Divine Triad - Jupiter, Juno, and Minerva

form: roof is similar to Greeks, but made differently, not marble and instead used wood, sundried brick, and terracotta decorations, only columns in front (2 rows), distinct front porch, gabled roof, steps leading up but only one way of access, elevated on a podium, high up, wooden columns, architrave, frieze, pediment, did not adorn frieze with sculpture but instead put it on the roof, sculpture is terracotta, on the spine, along the ends and edges, 3 separate areas within the naos that hold the major statues, none of the Greek orders, somewhat like Doric but has a base - known as Tuscan

function: Place to worship and hold cult statues of their patron gods

Apollo

subject: terracotta sculpture, from a temple in Veii, one of a group of 4, Roman god Apollo who is condemning Hercules for taking a sacred animal (deer) of Diana

form: 5 ft 10 in, similar face to Archaic smile of the Greeks, lot of Greek influence, almond eyes, big nose and mouth, long hair, very dynamic pose and clothed, not the same motivations as the Greeks, no youthful male figure ideal, very stylized, not very accurate to form of body, simplified drapery and folds, support is below, elaborate, and decorative, has a greater sense of energy, because he is confronting Hercules, hands reaching forward, originally painted, headpiece/crown

function: told a story, was on top of the roof

Tomb of the Reliefs

subject: in the city of Cerveteri, large burial mounds, multichambered tombs cut from rock

form: similar to the Egyptians, tombs as home for the deceased, beds, chairs, pillows, doorways, windows, stone pillars, stucco - slow drying plaster that they molded and carved to create objects like ropes, knives, plates that were all brightly painted, cremated remains and put in sarcophagus or a jar, placed in the space, little dog is also displayed in stone, columns have an interesting capital, decorate ionic

function: meant to resemble the houses of the living

Sarcophagus

subject: found in one of the tombs, form of a dining couch with a husband and wife eating together, terracotta, 6 ½ ft long, lounging casually together

form: man - beard, almond eyes, dynamic, reaching hands, long, clothed, wife - long hair, almond eyes, dynamic, hands moving, clothed, man had a cup, woman beckoning us to come see them, very engaging and Etruscan, not made as a single piece, decorative legs of dining couch, shows more freedoms of women compared to Greeks, stylized ionic style, lower part of body is disregarded, no form, shoes and barefoot, little smiles broad and slim shoulders, no emphasis on correct human anatomy

function: shows loving and fun connection, portrayal of deceased in a living activity (Egyptians)

Temple of Portunus

subject: along the Tigris River in Rome, typical temple, temple devoted to a minor god, Roman god of Harbors (Portunus)

form: very similar to Etruscan temple plan, porch, roof, steps outside are one way, very elevated on a podium, no statues up top, ionic style, Greek style up top, have columns built into the wall (engaged half columns) - decorative, gives the illusion that there is a single row of columns that go all the way around (pseudoperipteral) look of marble with cheaper material, limestone, easier to get and cheap with same look, used stucco to make it look like marble, illusionistic, single space, small temple

function: wanted to honor their patron god, also mimic parts of Greek structures but cheaper and more creatively 

Initiation of Rites of the Cult of Bacchus

subject: Roman paintings have survived, preserved through the eruption of Mt. Vesuvius in Pompeii (79 AD), within a Roman home, Villa of the Mysteries, wall painting that goes around the whole room showing an initiation ritual for the Cult of Bacchus - god of wine, parties, fertility, vegetation

form: rough shape, great color, illusionistic, paint figures moving and interacting in space on a flat wall, paint begins at base and goes up the wall, faux marble technique used below, did it with colorful paint, little stage/ledge to put figures on, very complex flat columns, Greek pattern used on top, more faux marble, dynamic, believably act in space, move, sit, dance, make music, goat people, realistic forms, have mass and volume, light and dark colors, models, lot of masks on columns, theatrical decorations, draws attention to illusion based image, desire to create figures who are interacting with the space itself, whip going over the corner on one wall to another, beautiful faces, good hair, realistic body forms and colors

function: wide variety of religious practices, mystery religions and cults, secret wisdom from those initiated, benefit of salvation to join - eternal blissful union with the god

Cityscape

subject: small space but meant to display open space on all 4 walls, cityscape view to make the room look bigger than it was

form: fresco technique all across wall, faux marbling technique, different colors everywhere, painted columns interact with actual architecture, creates an illusion of a platform, opening up, buildings, gazebos, shiny color, lot of depth, suggests a lot of space, really good with proportions, benches, fountains, gardens, desire for gates, Corinthian capitals, shadows, 3D presence of objects, mask hanging off of arch, gold plate above it, not everything lines up, unstable looking, but pretty good overall, intuitive perspective is used, means the artist is observing the world around and things further away seem smaller, observing and trying to replicate, all types of columns, lines don’t meet up in a singular point

function: emphasis on illusion, preserved because of Mt. Vesuvius

Augustus of Primaporta

subject: Augustus, Octavian, pointing to the distance with Cupid at his side, one of many he commissioned, was set up in Primaporta

form: was painted, lots of reds and blues, made of marble, take inspo from Greeks, idealized, dressed well, fit, athletic body type, contrapposto stance, dignity, leadership, engages with audience by hand reaching out, preferred a type: young, fit, athletic, shaven, short hair, not for ears or hair though, was actually much older at time of creation, chest plate - armor imagery, dress is a little unusual, typical of Roman fitted armor, leather sleaves and skirt - military leader, combined with robe draped down over him, more associated with intellectual leaders of Rome - senate, originally had a long staff of command in hand, decorative chest plate tells a story with images, objects and figures: roman sky god - heavens on top, sky personified, figure in chariot with horses (sun god), bringing light to the world being led by Aurora, Roman soldier and a figure extending a long pole with eagle on top is the symbol of Rome, Persians captured a Roman standard, Augustus negotiated the return of it - diplomatic, bottom of Chest plate is a woman reclining with full cornucopia, personification of earth (tellus), figure holding on to him is Cupid

function: propaganda, celebrate what he’s done and enforce his rule as emperor, shows victory over Marc Antony and ended civil war, grow and protect Rome, shows he isn’t just a forceful ruler, but also a thinker, abundance and prosperity, the gods approve of Augustus and his leadership, Cupid reminds Romans that Caesar adopted Augustus and asserts that the Caesar family descends from Venus

Ara Pacis

subject: public altar, set up by Augustus

form: reminiscent of a temple, elevated, single step access, open at top since it is outdoors, sacrificial place, exterior adorned with beautiful vegetative patterns, floral, second level is reps of Roman history, culture now, symbolic Roman personification, columns used, Corinthian, key pattern all around

function: celebrate peace in Empire and return to Rome after success in Gaul - expand empire

Imperial Procession
subject: represents inaugural ceremony of this altar

form: figures are recognizable, extended family of imperial family, all types of people and bodies, interaction of children with adults, suggestion of figures in low relief, further back, and others up close

function: very human and realistic, sense of caring and responsibility, protecting children and order, draws reference to Augustus laws to promote marriage, fidelity, and raising children

Allegory of Peace

subject: earth goddess tellus in center surrounded by women helpers, animals, and children

form: symmetrical, balanced by women, side figures are bare, holds a drape, filled with air - sky figures are personified breezes, relief, hierarchical scale, but overall very natural, drapery responds to movement, occupy space well, parts are deeper than others (tells us they are behind the figures), holds two children, very healthy, holds cornucopia in lap, smiling at baby, vegetation, animals, water, goose, cow, lamb, prosperity in agriculture and trade, sea serpent, Mediterranean sea, placement of figure in space is good

function: not specific but believed to be the Roman people (earth provides for Roman people)

Colosseum

subject: space for entertainment like gladiator fights, naval battles, plays, animal fights, 160 ft tall, 6 acres, held 55,000 people

form: architecture of space, built later in empire, Vespasian led construction following Nero (very bad), roman arches and concrete, wooden floor with sand, soaked up gore, nets to protect fans, covering over top for bad weather, underneath was rooms and places to hold animals, trap floor, plumbing underneath, seen again after Minoans, statues all around within arched doorways, 3 levels with lots of entry ways and multiple access points for evacuation, music performed, flowers, festivals, prizes, round arches on exterior and interior, could hold lots of pressure as load bearing, wedge shaped stones - voussoirs, wooden centering to support, keystone is on top causing counterpressure, supports piers, create a barrel vault, groin vault, material used to create is roman concrete, put veneers over it to make it look pretty and expensive, perfectly symmetrical, decorative engaged columns, Tuscan at bottom, Ionic on middle, and Corinthian at top

function: gift to the people, recreation, leisure, open to all (political act)

Arch of Titus

subject: arch that shows the victories and accomplishments of Titus, a Roman Emperor during the 1st cent. BC, focus of VICTORY

form: large scale, 50 ft tall, dedication in Latin at top which identifies emperor and the patron of the structure (Titus’ brother posthumously), important location on the sacred way - very heavily trafficked road to the Roman forum, lost some common features on the top, bronze chariot with horses - triumphal chariot, engaged columns flanking, triangular space between columns are arches themselves, relief sculpture between within them, Nike is present in them (two), create a new classical order combined of Ionic and Corinthian - composite, made of Roman concrete with marble veneer, images in relief on both sides

function: celebration of military victories of Titus, Jewish Wars, speaks to his godly connections, reminds people of how great he is

Spoils from Temple of Solomon

subject: present on the arch of Titus, 7 ft tall, carved in marble set into the side

form: large menorah, massive weight and needed multiple people to carry it, all dressed in classic Roman military gear, all wearing laurel wreath crowns - victory and triumphal image, trumpets, bold diagonal forms with energy and life, encourages celebration and movement and no static, moving towards a triumphal arch just like how a person would be traveling underneath the triumphal arch of Titus, speaks to historical practice of cheering them on, flags, chair/table, carved in high relief, illusion of depth, lost a bit of it, lets the light play off the surface and add dramatic effects

function: illustrates the triumphal parade of Titus and the Roman army’s return from the conquest into Judea, celebrate the wealth and greatness brought to Rome 

Column of Trajan

subject: popular good emperor, specifically shows the stories of victorious military campaigns against the Dacians

form: columns carry symbolic significance, structural support, strength and fortitude, very tall, public important location for all to see in the Roman forum, directly in front of Temple dedicated to Trajan, in front of libraries with Latin and Greek texts, placed on a high pedestal that acts as a mausoleum, door on the bottom leads to the ashes of Trajan and his wife, base of column is a laurel wreath (victory and accomplishment), top of column had an image of Trajan in military garb with globe in his hands, bronze and covered in gold, was painted at one point, elements added to make it legible, spiral narrative, bands get wider so it is more visible to those lower, lot of episodes captured here, 2500 figures involved, incredibly detailed about practices in battle and what they would build to win (bridges and structures), they are ordered and controlled following their leader while the Dacians are in chaos and disarrayed, constructed in pieces, hollow within to allow access with lightwells to help airflow, big figure of a god that is wishing them luck is present too

function: erected in his honor, commemorate victory in war, expansion of empire

Pantheon

subject: temple dedicated to all of the gods

form: had an elevated podium because roads have been built up around it, single step access, deep front porch that is Grecian, columns all in front with entablature and pediment, Corinthian columns, temple front recedes to a round space caped with a massive dome - round arch construction, has a rotunda, needed thick concrete walls to support the weight of the dome, built up levels with varied compositions within the concrete, used strong heavy rock at the bottom but as they go up, they use lighter stones, recessed panels in the ceiling are coffers, lightens the weight of the dome, might have had gold stars within them to seem like the heavens, big hole in the middle - oculus, allowed light into the space, illuminates different parts of the interior based on the time of day, little niches that would have held statues of the various gods - each one would have been lit up at a specific point, would have allowed rain in, underground plumbing, drain is in the center, columns are decorative on the interior, pediments used for decoration, tallest domed structure in the west, veneer is brick, originally was covered in bronze on the outside, true arch is very powerful with concrete

function: allowed them to build a vast open space to accommodate visitors

Equestrian Statue of Marcus Aurelius

subject: common type to celebrate roman emperors, statue of Marcus Aurelius on a horse

form: horse associations: taming a wild beast and having control over nature, broad and muscular horse, he is very relaxed and in charge, sits tall, had reigns at one point, one hand is free to engage with another figure that was at the base of the structure, figure was a vanquished foe, makes sense why the horse is pulling back, flaring nostrils, Marcus Aurelius’ gesture is one of clemency, not going to trample him and knows he has won - philosophy of this emperor in how he lived and governed, a stoic - educated, reason and order instead of overwhelming emotions, face is a mask of control even though he has just defeated an enemy, being reasonable and engaging, not dressed in armor and instead the robes/beard that an intellectual would have (wisdom, experience) - borrowed from Greeks, bronze sculpture, covered in gold leaf originally - divine aura, survived because the early Christians recognized him instead as Constantine and liked him a lot

function: shows the victorious nature and stance of Marcus Aurelius, dominance over a powerful animal, leadership qualities and promotes his connection to stoic philosophy

The Tetrarchs

subject: created during the late empire, there was chaos under the four different emperors so they wanted a portrayal of all four standing together

form: different portrayal of the figures, decline in realistic design, very linear, carved in high relief, purple Egyptian stone, often used for imperial statues since purple is an imperial color, was believed to be a part of the Eastern imperial palace unity is conveyed through embraces together, all look the same, dressed in armor but still stylized, same hat, other arm is on their sword ready to defend the Roman empire, only difference is that two are bearded - seniors, and other two are clean shaven - juniors, mask like expressions, furrowed brows and large eyes, bodies are squat, not anatomically correct really - late empire style

function: portrays a feeling of unity all ruling in the greatness and stability of Rome

Arch of Constantine

subject: 60 ft tall, right by the Colosseum, made of marble veneer, actually concrete, Constantine had a vision where angel appears and promises victory if he took up Christ’s symbol and was able to defeat Maxentius who drowned in the river

form: triumphal arch - 3 of them, made up of dedications, triangular pieces, victories, Corinthian engaged columns, illusion of support, Chi Rho - symbol of Christ, lot of statues, reliefs, writings, geometric forms, circles and squares, unusual triumphant arch, imagery is varied in style intentionally - appropriated images of other monuments in Rome of Marcus Aurelius, Trajan, and Hadrian, all recognized as good emperors so he identifies himself with them, rectangular reliefs up top - Marcus Aurelius, figures on the podiums - Dacian prisoners for Trajan, circular images/roundels - Hadrian, horizontal reliefs - Constantine, defeat of Maxentius and giving gifts to the people of Rome, Hadrian, Trajan, and Marcus Aurelius are classical and Greek style with Early Empire style, Constantine is late empire style, stubby, linear drapery, disproportionate, lot of linear patterns, same figures, Constantine is elevated above the rest, separated as a leader, figures all lifting up a hand to receive gifts from Constantine

function: set up to commemorate Constantine - defeated Maxentius (tetrarchy), civil war ends by his rule

Basilica of Maxentius and Constantine (Basilica Nova)

subject: last important imperial government building built in ancient Rome, started by Maxentius and finished under Constantine, situated in the Roman forum

form: rectangular form, divided into side aisles that flank large central aisle/walkways in a nave, no narthex, the center area is where all people would walk through, at the end of the nave is an apse (semi circular space), held the sculpture of the emperor (Constantine at the time), functioned as a permanent stand in for the emperor so that whenever something needed his presence to be done, he would be there, round arch construction, concrete, veneered with brick, coffers used, groin vaulted ceiling, windows put in all around the sides - clerestory, barrel vaults on side aisles, very thick walls to hold up massive ceiling, richly marbled and stucco, colored interior, two entry ways, on the same street as the sacred way, apse also on other entrance, Roman basilica

function: business offices, courts, government building

Good Shepherd, Orants, and Story of Jonah

subject: two early Christian martyrs, contained their remains - extensive underground tunnels used for burials and funeral ceremonies, fresco style, Roman law tradition, on the stretch of Via Caselina, rooms where family could meet, little recesses have spaces for sarcophagus and urns/remains, center: the good shepherd is a simple landscape with sheep and him carrying a lamb, images from Jonah’s life

form: circular forms, a cross is evident, distinctive symbol, young, clean, shaven - Christ image, a shepherd, little trees, ground, little contrapposto, illusionistic devices, standing in space, lighter painted objects, old form of figure, sacrificial sign, but spun on its head for Christianity, shepherd is the protector of Christian followers, semi circles on outer ring are episodes from OT, story of Jonah - message is faith and rebirth, consumed by sin, reborn and everlasting life with Christ, Jonah is an OT prefiguration of Christ for early Christians, one circle has Jonah being eaten by sea serpent, Jonah thrown off boat in another, one figure also mentioned (orants) between circles - another form found in Roman world, figures that were found on Roman coins who represented piety and looked up at heaven

function: desire to adorn the walls, not providing for body but speak to show important symbols/images from early Christianity

Old St. Peter’s

subject: Christian architecture, need a large scale place to worship, Constantine allowed for large scale church construction to occur

form: large structure in the middle is a baldachin that directs attention to St. Peter’s grave, lot of arches, wooden roof, marble columns, Corinthian columns and capitals, martyrium - marks location of martyrdom, entrance on east end, large nave walkway and semicircular entrance on other end, rectangular form, normally sculpture is a stand in to oversee proceedings, instead of sculpture they put an altar - different from Greeks and Romans since it is on the inside - shown as the ultimate goal, elevated platform to assert importance, single staircase access, majestic approach, go through gatehouse to open courtyard, narthex is new, vestibule area is space to compose, holy water, before the nave, side areas flanking nave, divided by rows of columns (colonnade), side aisles created, new rectangular feature called a transept, feel like a cross design - help more people through the church and accommodate the people looking at his grave, columns, round arches, clerestory used, nave is elevated above, introduced windows to illuminate inside, composite/Corinthian columns, plain on the outside, no sculpture, idea was for it to be unassuming but walk into the church and are transformed - beautiful adornment, mosaics, colors, paintings, wealth and richness,

function: takes inspo from Roman basilica gov’t type building that could move people in and out, large open space, vast to accommodate followers, honor St. Peter and Christ

Santa Costanza

subject: was originally a mausoleum for Constantine’s daughter but became a church later

form: central plan used with circular plan, capped by a dome - way to connect to heavens, narthex still used, separation between outer area and inner, clerestory space, altar in central space, ambulatory - main area for people moving around, columns are composite and separate areas, distinct, daughter’s sarcophagus was placed in recess in back, support dome, build off Roman ideals, rotunda, lot of mosaic work inside structure, tesserae - slightly uneven so it makes image sparkle, upper level of the walls is a focus, grape vine is all around, they are harvesting, birds, image of daughter in middle, on ground is a cart and oxen with grapes, figures crushing grapes to make wine, put in jugs, trying to replicate muscular and complex figure forms, believable placement, intuitive perspective, figures standing on vine branches, shadows from implied light

function: imagery appeals to both Christians and non-Christians, celebration of Holy Eucharist - the blood of Christ, image of Bacchus and fertility

Oratory of Galla Placidia

subject: small chapel, named for Roman emperor’s sister after capital is moved there

form: simple outside, plain brick, but beautiful mosaic inside, domed space, real marble work then all mosaic around, decorative devices everywhere, geometric and key pattern, leaves with fruit and Christian scenes, Christian St. Lawrence walking to death, dome ceiling is bright blue with gold stars and cross in center, symbol representation of gospel writers too

function: prayer space in honor of sister, shows moments important to Early Christians

Good Shepherd mosaic

subject: above the entrance of the Oratory of Galla Placidia, viewable as leaving, image of Christ as the shepherd

form: similar devices used in past but new ones too, Christ seated in landscape as good shepherd, attentive and watching his flock, dressed in purple and gold - royalty/emperors, made Christian and assert importance, makeshift throne with rocks, holds staff with cross on top, adds a halo - suggests divinity and holiness, Roman illusionism, set back in space, device that separates us from Him, sheep, sky, and grass all balanced and detailed, shadows, all looking, petting the sheep 

function: encouraging representation of Christ as our shepherd who will watch over, protect, and care for us, His sheep

Sarcophagus of Junius Bassus

subject: coffin, marble, inscription says he is baptized and had a conversion

form: late empire and classical style, columns, high relief, separated with architecture, capitals (composite), support carved entablature, rounded roan arch, open Greek pediment alternate, scenes are Christian, random OT and NT scenes, not ordered by emphasized Christ, Adam and Eve, Abraham and Isaac, Daniel and Lions, Peter is arrested, Christ and Pontius Pilate, Christ to Jerusalem, Christ is accompanied by Peter and Paul, one hand as a scroll and the other broken - handing them The Law “Word of God” to spread to the masses, Christ symbols borrowed by them from the Greeks and Romans, young, elevated on the throne, clean shaven, figure below being a sky god holding Christ up - asserts Christianity’s triumph, little winged figures on vines all around the columns, figures have large heads, large hands, pretty anatomically correct, contrapposto, linear folds in clothes

function: created to house a government leader in Rome, senator, high ranking society member, starting to see Christianity appeal to everyone, faith and the reward of salvation

Hagia Sophia

subject: huge church in Istanbul, made by Anthemius of Tralles and Isidorus of Miletus,

form: domed structure, plain on outside but huge, somewhat like Basilica planned church, open courtyard, narthex, two of them before main area, apse, nave, side aisles, caped by a dome but is a centrally planned structure (combined basilica and central plans) - domed basilica, architectural form that is Byzantine style, triangular forms that allow for circles to go in square spaces (pendentives), clerestory up top in the dome, second floor added, gallery - growth and practices, lot of round arches, light form and balanced, hovering look - lot of light comes through, ethereal, interior was golden mosaics, imagery everywhere, architrave, row of arches, flanking side aisles

function: Justinian funded it to be built, was Christian church until Turks took over

Justinian and His Attendants

subject: within the church of San Vitale in Ravenna Italy, Justinian and his attendants bringing the bread/Eucharist during the mass

form: lot of reds, greens, and purples, decorative borders, flat representation, just sits on plane, not very realistic or illusioned, elongated figures that looked floating, not shadows, no bodies appear underneath drapery, faces are slightly distinct, but forms are all the same and simple, hieratic arrangement, Justinian is in center, dressed differently, has a halo, 3 groups of attendants, crown + halo - emperor and religious leader, wearing purple, very frontal and formal, fancy shoes, jeweled, wide stance and feet overlapping, gold background, all attendants dressed the same in white and purple, next group are members of the church, one is named and identified as bishop of the city, holding a jeweled cross, monks next to bishop holding a decorative Bible in cased, military on side reinforcing his role as a political leader, colorfully dressed, shield and spears - Chi Rho, displays they are fighting for Christianity, bread loaf - bread of everlasting life, means of salvation and the Eucharist, constant presence

function: presented as head of both church and state

Theodora and Her Attendants

subject: within the church of San Vitale in Ravenna Italy, Theodora and her attendants bringing the wine/blood during the mass

form: Theodora has the wine and a big chalice, means of salvation and Eucharist, crowned with jewels and a halo, lot of patterns and complexities, attendants, purple, white, and gold, all of her female assistants to her side, 2 female attendants, very flat image, feet are overlapping and extend further, architectural elements, possibly in the entrance of the church, scene on her dress in gold: 3 magi bringing their gifts, tesserae technique used

function: elevates her role as well as symbolic and a constant presence

Rebecca at the Well

subject: page within an illustrated copy of the book of Genesis, illuminated manuscript, painted, Rebecca leaving city to get water and meets a servant of Abraham who was sent to find Isaac a wife, and she gave him and the camels water, servant says she should be chosen

form: gold and silver paint on purple died vellum, calf skin, suggests it was an imperial patron, very costly item, codex, book bound that has individual pages and cover - change in how texts were created, story written above and illustration at bottom, continuous story, single page with conflated narrative, 2 scenes of a story in the same frame, she appears twice, city in the back, intuitive perspective, colonnade path with columns, well, reclining lady pouring water - personifying spring water, not very accurate in bodies and legs, but get idea, desire for illusion and movement, drapery

function: show a biblical story with both the text and a picture that describes what is happening