Classics midterm 2 Image List

Name: Portrait of Livia

Date: 4 CE

Location: Fayum region in Egypt

Culture: With the help of the state, Augustus sets up a statue of Livia in Rome (around 35 BCE) but these do not survive. Likely were standing portraits where their heads were covered, showing they are modest and pious. The portrait served as a message for how women should be in roman society. She is never aging in her portraits, has the “nodus” which is the hair in a knot at the top of the head (common in augustan period). Always looks young, setting the precedent for 400 years of roman art of women looking delicate.

Medium: marble

Fact: Livia was the third wife of Augustus, and mother of Tiberius (who became the second emperor after Augustus died)

Name: Porticus of Octavia

Date: 27-23 BCE

Location: Campus Martius in Rome

Culture: She keeps the original temples but adds new structures (a library and school behind the porticus in honor of her son Marcellus). She dedicates these herself, meaning she built this with her own money. Builds a curia (senate space) so she is trying to pull the strings (Curia Octavia). Unclear if she paid or augustus paid. Previously this was the Porticus of Metellus.

Medium: Concrete and marble architectural complex

Fact: Octavia is the sister of Augustus. She built her porticus or complex near the manubial temples (temple of portunus, temple of hercules victor etc) snd the triump area. This takes up space in an area that has been dominated by men. Not built on new land, the original temple to Juno was built as a manubial temple in 179 BCE (later a temple of jupiter was added 146 BCE). Octavia took over the space in 27, removed the old names, and named herself the patron.

the statue of cornelia was found in this porticus

• wife of africanus

• she continued the family name (the gracchi brothers)

• good matrona

• another woman that starts to have public appearance (only the base survived)

Name: Funerary relief of the Gessii

Date: 30-20 BCE

Location: Rome

Culture: Middle guy has F in the middle of his name meaning he is a freeborn individual. He used to be the owner of the woman to the left (she was his slave) and she had his child while she was still a slave. The womans name has L in the middle meaning “liberta” (she is a freedperson). She took the family name of the person that freed her, making her Gessia. The son also has L meaning he was born before being freed.

Medium: Marble (from Carerra)

Fact: three men that that look related. Center has a breast plate with a paludamentum and a veristic head (looking like a late republican hero). His wife is on the lefts ide with a nodus (hair bun, identifies time period as later republic) and is wearing a stola to cover her chest (modesty and piety). Right is his son wearing a toga.

Name: Tomb of the Baker

Date: 30-20 BCE (late republican)

Location: Rome

Culture: The name Eurysaces is very greek, and the other two are roman (showing that he might be a freedperson). He is a contractor for a large group of people to bake bread. The monument looks like a machine to bake bread, with the holes as kneading machines from a birds eye view. The top frieze is showing sculptures of people involved in baking bread (ovens, kneading machines etc). This seems like a previously enslaved person bc they are very proud of their work that defines how they have freedom. But also, there is hesitation about whether he is a freedman: if he could build something so big as a formally enslaved person, there are so many new avenues for social promotion to new classes.

Argument that he is not a freedman but instead a free man (born free): no “L” in his name, doesn’t have a family name, the structure is made from marble which is expensive.

Medium: Marble tufa, concrete core. Long columns (without capitals)

Fact: Built on the outskirts of Rome by Eurysaces who we believe is a freed previously enslaved person. There is an inscription on four sides (repeated on each side): says its a monument of Marcus Vergilius Eurysaces, he is a baker, a contractor, and apparet (a public servant). Super strange structure makes it seem like he is a freedman because no free man would build this under normal social constructs.

Name: Monument of the Julii

Date: 30-20 BCE

Location: Glanum (in Gaul/Southern France)

Culture: mix of different styles. The base has a socle (decorated base with reliefs). On top is a four sided arch (quadrifons). On top is a tholos. Normally, you don’t see a funerary monument with three different styles stacked (it shows a mixture of provincial and roman ideas).

Socle: the sculptures show a cavalry battle, roman soldiers (with hats) vs a non roman army. Two sides show mythological events. These are deep relief cut outlines (just deep outlines, not the same as high relief). This type of sculpting is from the “glanum master” (local gaul artist but is aware of outside mediterranean culture).

Takeaways: Roman culture connected with gallic culture, greco-roman iconographies (mythology & history), local artists,uses tholos (very greek) but stacked which is weird. The dedicated family (the Julii) were likely elite residents of local Gaul but stayed wealthy after the Romans took over and were loyal to them.

Medium: Limestone (from local quarries)

Fact: Right outside the city walls of Glanum. Dedicated by three men (Sextus, Lucius, and Marcus Julius - the three sons of Gaius). The family name is Gens Julia (the same type of family that Julius Caesar comes from). They were likely local tribe people that helped the Romans take over Gaul, and were given citizenship of Rome by Caesar or Augustus (giving them the Julia family name)

Name: Harbor at Caesarea

Date: 22-10/9 BCE

Location: Caesarea Martima in Roman Judea

Culture: four ingredients in Roman concrete. Water & Lime mix together = mortar. Mortar + Pozzolana (volcanic ash only found in Italy) = gloopy mortar. Gloopy mortar + aggregate = solidifies. The aggregates are usually brick or stones. Roman concrete is hydronic meaning = exists under water. Three methods of construction:

1. Box method (earliest method, build wooden framework at the ocean floor and fill with concrete)

2. Hollow wall box method (box build on wall with hollow wall, put it in water and then pour mortar in to sink it)

3. Variation of hollow wall box method: partially fill it in land and finish in water

Kept changing method because they get further from coast and the concrete sets too fast. They use a local aggregate (sandstone) which doesn’t work as perfectly with the Roman concrete mixture.

Medium: Roman concrete and wood

Fact: First harbor on the Levantine coast (in the area owned Herod). Before this, you had to ship to Egypt and then use land routs, but now this can capitalize on the trade without giving anything up to Egypt. Herod built this with his own money. Shipped Roman concrete from Rome (the volcanic ash of Pozzolana is only found in Rome). There was also a temple built for augustus and the goddess Roma that is seen in the second picture.

Name: First Style of Painting

Date: first found in the 2nd century BCE

Location: In Pompeii/Rome overall. This was the popular style of painted walls and frescoes in the 2nd century BCE

Culture: Plaster is molded and painted to look like ashlar masonry but with colors. They create the visual that there is a brick wall when in reality its just pigment and wet paint. This illusion is Trompe-l’oeil (a french style to trick the eye, making you think the wall is 3-d and brick)

Medium: fresco painting. paint is applied to wet plaster on the wall to seal in the color and preserve it. These are water based paints, and images are bound to the wall. Usually the local colors are black, red, yellow and white. Other colors are imported.

Fact: called the incrustation or masonry style

Name: second style of Roman paintings

Date: mid 1st century BCE

Location: Rome/Pompeii

Culture: Comes after the 1st wall painting style and builds on the Trompe-l’oeil style that tricks your eye. Makes you think you are looking far beyond the confines of the room to a larger structure further away. Usually you are looking at architectural buildings with large doors and painted columns, or landscape elements that are lifelike sizes.

Medium: fresco painting

Fact: During this time there is a trickle down of wealth in Rome (due to conquests abroad). Most of these paintings are in suburban villas outside of the main Rome city so this is like an escape for rich people to look away from their homes (especially during periods of civil war).

Name: smaller subgroup of second style of Roman paintings (shows megalography)

Date: mid 1st century BCE

Location: Rome/Pompeii

Culture: has more figures (is figural) with life sized figures. megalography is painting in large scale. Examples include idealized family portraits engaged in worshop of gods such as dionysus (the greek god of fertility and agriculture)

Medium: fresco painting

Fact:

Name: third style of Roman painting

Date: late 1st century BCE to early 1st century CE

Location: Rome/Pompeii

Culture: decorative style with a lot of detail and refined techniques. It still shows architecture (similar to 2nd style) but not as life like or realistic. Looks flat (not tricking the eye) is simple and shows wispy delicate arches usually.

Medium: fresco painting

Fact: Usually involves a pendant painted in the middle of the arch showing landscape or more architecture. These walls are less distracting than older styles: could show that owners are trying to exert control in their homes because they no longer can control the senate or census since Augustus is emperor.

Name: Fourth style of Roman painting

Date: 62 - 79 AD

Location: Rome/Pompeii

Culture: combo of second and third style. Delicate architecture in layered spaces. Usually smaller scale and framed paintings, and near other framed mythological panels. Seems crowded with a lot of decor.

Medium: fresco painting

Fact: We have more specific dates for this style because these were being built as Vesuvius erupted and 80% of the pompeii paintings were fourth style.

Name: Second style architectural painting in the Villa at Oplontis

Date: mid 1st century BCE (80-15 BCE)

Location: Bay of Naples (Boscoreale near Pompeii)

Culture: tricks your eye with trompe-l’oeil. Makes you think you are looking outside of the walls of your own villa to a different architectural site. This one shows painted columns and doors and monuments far away. Usually these paintings are in suburban villas, and it lets people escape their homes during this time of civil wars. This was a time of great wealth in Rome (trickle down effect from conquests and people like pompey the great)

Medium: fresco painting

Fact: Bay of naples was a popular tourist destination in the roman era (near pompeii)

Name: Third style wall painting in the Villa of Boscotrecase

Date: 10 BCE

Location: Bay of Naples

Culture: Likely belonged to an imperial family (Agrippa). Shows the delicate capitals of tiny columns, and there is no extra dimension to the painting (looks basically flat). Decorative style with a lot of detail and refined techniques. This one has a pendant painting in the middle of the arches of an architectural villa. The columns themselves look like they would have no structural support.

Medium: fresco painting

Fact: Sometimes called the Candelabrum style of painting. Augustus is the sole leader at this time so elites have nothing to control except for their own homes. They develop less distracting paintings than before to control their own spaces.

Name: House of the Vettii

Date: 62-79 CE

Location: Pompeii

Culture: Built in the 2nd century BCE but renovated after the Pompeii earthquake in 62 CE. Unique because after entering the fauces to the atrium, behind that is a peristyle garden rather than a tablinum. A garden shows wealth (they don’t need space for more rooms). Unique that we know the home owners: the Vettii brothers (may not be related). One of them had a bronze signet ring with his name on it Aulus Vettius Restittutus (this was found during excavation). The name seems like he was previously enslaved (Aulus is a common Roman name, Restitutus means restored or second change). One side of the bronze signet ring has. his name on it (used as a stamp, likely part of commerce). Other side is an amphora (vase).

Grafffiti outside the house names A. Vettius Conviva (conviva is his name). His first name is augustalis (which is the name of a high priest that can only be taken on by someone in the freedperson class. He basically helps people donate money to back one person for a position)

Medium: fresco painting

Fact: General discourse around the house is that it is not in good taste. Evidence of freedperson ownership: tablinum is replaced with peristyle (because freedpersons are clients not patrons), peristyle means you have money and access to water. Both sides of atrium have bronze lockboxes (direct display of wealth, if you were of higher class you would show your wealth through decor but they showed it more blatantly, also poor taste).

Priapus: in the fauces (the hallways to enter) there is an image of the roman god priapus (of agriculture) with a huge dick that he weighs against a bag of gold (apotropaic image, if you cross into the house and do something bad the dick can get you, also promotes fertility).

The peristyle again has a statue of priapus with water comes from the dick (lack of class again)

Pentheus room: named after pentheus (royal person) being pulled apart by people *violent image. Also shows herculus in a painting with snakes (he is wrestling the snakes). The presentation of these greek myths suggests wealth and education of the people in the space, and they are conversation starters. This is a private quarter (must be invited into) that is grand

Triclinium: largest room in the home with myth paintings of couples with small thing designs of architecture. Private grand room. There is a large frieze (band) of little cupids working in different industries, might suggest the working class background of the Vettii brothers.

Second atrium is a private space where the enslaved people work (humble private place). non elite viewers and they promote the idea of containment. The kitchen is here and the household shrine (the god that looks over their home) is taken care of by the slaves (showing that slaves take care of the people). A room to the side has erotic paintings not for elite viewers.

Name: House of the Painters at Work

Date: Ongoing work in 79 CE

Location: Pompeii

Culture: This was a 4th style fresco that was never finished due to the eruption of mount vesuvius. The painting helps us see the process that painters worked in. This was a large house in pompeii and the largest room (maybe the triclinium) was being worked on during the eruption. The process: they painted from the top down in vertical strips. The “dado” or bottom strip of the wall is unfinished. This makes sense since you have to move fast for fresco techniques before the paint dries. They add swaths of background color, then add architectural and minor figural details. Then add figural panels. last step is a sealant coat.

Scholars think that the myth panels in the middle were done by a different group of people (one group does background details one does the panels). We think there were three people working on this home (based on the tools found)

Medium: fresco painting

Fact:

Name: House of the Chaste Lovers

Date: 62-79 CE

Location: Pompeii

Culture: this was an atrium house, but the area where atrium and tablinum would be were converted into a commercial bakery and restaurant. The atrium had ovens for baking. People at this time always went out to eat, so they would buy bread and then walk to the back room to eat it (little triclinium to eat in). If you want to dine, you walk past the workers, donkeys and slaves working in the bakery and are thankful you aren’t them (shows that Romans were used to violence).

Medium: modified atrium style house

Fact: preserved 3 mule skeletons were found chained to the walls during the eruption they likely died (they helped with the bakery). In a stable in the room next to the triclinium has chaste lovers (not having sex). They show everyday figures enjoying dining (if you eat here you will also have fun!). The woman is lightskinned, male is darker (common at the time). The paintings in the triclinium are fourth style frescos.

Two parts of a millstone:

meta: the immovable base

Catillus: hourglass stone

a mule or donkey pulled the catillus in a circle to grind the mill flour

the donkeys had scarred skin, were whipped, and blindfolded. The human slaves were also whipped and chained together so they don’t escape.

Name: The Colosseum (Flavian Amphitheater)

Date: 70-80 CE

Location: Rome (area previously used for Nero’s lake)

Culture: almost the shape of an ellipse. 76 difference entrances that all channel you to different seating areas (this maintains the social hierarchy). 45-55k people can be seated.

Exterior: 4 stories. The first three stores have arcades (arches next to each other) each with three different column orders. Bottom is tuscan (basic, more similar to doric), second is ionic, third is corinthian. The top story has windows instead of arches and large sockets for a giant awning to be pulled up by slaves for shade (awning was called velarium). the arches used to have statues of the imperial family, athletes, famous public Roman figures (showing the history and strength of Rome). The arches are made from travertine blocks and framed by engaged columns (that are mostly for decoration). Travertine is local but looks like marble.

Interior: Arena is the sand used as the stage in the center of the building (about 1,000 yards). Cavea is the seating, which is divided by your social class. lower class sit further in back.

Upper structures: 8 rows of travertine piers, bulk of support are large travertine blocks held together by iron clamps rather than mortar (more traditional ashlar masonry). each pier is connected with an arch at the top, and each pier is supported by the piers next to it because of the ellipse shape. each of the 80 radial travertine stone barrel is doing the load bearing for the one next to it. Concrete is used only for the vaulted roof to give the arched ceiling look. marble is used only for seating (no longer there because people pillaged it)

subterranean structures: during flavian era (in 1st century CE) only a wooden floor under the building (floor could be removed, water floods the arena, and mock naval battles are replayed here). In the second century CE: concrete and brick interior basement. vertical shafts to raise animals to the arena through trap doors using a pulley system. this created a mind game for gladiators (don’t know where the animals will come from)

Question: Why did romans not use concrete (which is much easier to work with?)

• stone feels safer because it stands the test of time, feels more permanent

• to use this stone, they had a tread wheel crane (people/slaves ran in the wheel to life up the stone block and place it)

Medium: mostly travertine, some concrete, and a bit of marble for decor

Fact: Nero’s lake was built after the fire in Rome in 64 CE which destroyed much of the Subura neighborhood. He built his own palace and placed a man made lake here. The Flavians (emperor dynasty after him) took back the space to build an amphitheater, called the Flavian amphitheater. Later called the colosseum because they kept the colossal statue Nero had erected of himself as the sun god, the face was converted to look like just the sun god. The theater was built really fast, likely built by enslaved people (many were jewish slaves). The building was likely divided into 4 parts and different groups built the different parts. inaugural games under titus lasted for 100 days.

Name: Arch of Titus

Date: 81 CE

Location: Rome (along the triumphal route)

Culture: Usually arches in Rome have 3 bays (arches) but this has only 1. When Domitian comes to power, he changes the sculpture in the arch placing a relief of Titus in the vault of the arch (Apotheosis of Titus) which is seen when you walk under the arch and look up. Titus shown on top of the wings of an eagle (shows apotheosis: the elevation of someone to divine status). This makes it look commemorative

Another sculpture: Triumph of Titus. Titus is emperor, and being crowned by a female figure behind him placing a corona civica on his head (the wreath for the saviors of Rome). In the republic, emperors would take this off after getting it so they do'n’’t confuse themselves to be gods, but here the empire changes this and the woman is victoria herself (first time the emperor is shown as a god). Old figures = senate representation, young members = public presentation. Titus celebrates his triumph as a formerly mortal now divine Roman.

last sculpture: Spoils from the sack of Jerusalem: a menorah (7 point candle) shows victory over the jews. Looks heavy (lots of people holding it up). placards written in latin giving descriptions. overlapped figures, people in motion. arch on the right side that they are passing through (shows this is a triumphal procession). New illusion compared to old sculptures with more active movement, becomes common during the empire.

Medium: Concrete and travertine. Higher reliefs (more popping out) and there are overlapping figures with spatial illusionism (playing with depth) which is different than sculptures in the republic.

Fact: oldest triumphal arch to survive in the city of Rome. This started to be built by Titus for his triumph (and his father Vespasius) over Judea. Titus dies while building it, his brother Domitian takes it over as patron and it also becomes commemorative.

Name: Apotheosis of Titus

Date: 81 CE

Location: Rome (along triumphal route)

Culture:

Medium: concrete and travertine

Fact:

Name: Triumph of Titus

Date: 81 CE

Location: Rome (along triumphal route)

Culture: Titus is emperor, and being crowned by a female figure behind him placing a corona civica on his head (the wreath for the saviors of Rome). In the republic, emperors would take this off after getting it so they do'n’’t confuse themselves to be gods, but here the empire changes this and the woman is victoria herself (first time the emperor is shown as a god). Old figures = senate representation, young members = public presentation. Titus celebrates his triumph as a formerly mortal now divine Roman.

Medium: concrete and travertine

Fact:

Name: Spoils from the sack of Jerusalem

Date: 81 CE

Location: Rome (along triumphal route)

Culture: a menorah (7 point candle) shows victory over the jews. Looks heavy (lots of people holding it up). placards written in latin giving descriptions. overlapped figures, people in motion. arch on the right side that they are passing through (shows this is a triumphal procession). New illusion compared to old sculptures with more active movement, becomes common during the empire.

Medium: concrete and travertine

Fact:

Name: The Cancelleria Relief (of Domitian/Nerva’s profectio)

Date: 93-96 CE

Location: Rome

Culture: nude torso figure with a young face (greek style), older person with a toga showing the senate members, gods on the left (mars with a breast plate and minerva next to him). Basically, a general is being led out to battle by the gods. First time in Roman public art that a mortal figure (mortal emperor BEFORE he becomes a divine figures, whereas Titus had already died and become divine) that is mixed with the gods. A bit more classicizing than the arch of titus (less movement, more static sculptures) so we know sculptures have a blend of the old and new style. Uses isocephaly (all the heads are shown at roughly the same height which is a greek style). Likely this was built by Domitian, and he used the older greek style to legitimize himself.

Medium: marble

Fact: profectio is the ritual departure someone has before going out to war. There are people in shields looking like they will go out to battle. Emperor body is domitian, they cut out the head and made it Nerva after Domitian was killed. This shows Damnatio memoriae: roman practice of condemning the public memory of a deceased person and erasing them from history.

Name: Forum of Trajan

Date: 106-113 CE

Location: Rome

Culture: builds a forum that looks like the augustus forum, but has a basilica in the back (after walking through the porticos). Behind the basilica is a temple to the deified Trajan with libraries on the side and the column of trajan in the middle. there are semi circle arches next to the portico. Instead of carytadids there are dacian people (with beards long hair and pants) holding up the roof (showing that the roman world functions on conquest of other territories. the middle of the forum has trajan on horseback as a sculpture. shield portraits between the prisoners of the imperial family (taking the place of what used to be for the gods)

Medium:

Fact:

Name: Column of Trajan

Date: 106-113 CE

Location: Rome

Culture: next to the basilica in the forum of trajan. 100 feet tall (dug up 100 feet of earth). has spiraling reliefs of tthe two wars against the dacian people.

Medium:

Fact:

Name: Pantheon

Date: 110s - 128 CE

Location: campus martius, Rome

Culture:

Medium:

Fact: