1. The Burden Of GLORY
The Art Of The High Roman Empire
Introduction
To
Art
History
I
Professor
Will
Adams

2. Pont-­‐du-­‐Gard,
Nîmes,
France;
19
BCE
The Imperial Age
§ The
Romans
typically
built
aqueducts
to
serve
any
large
city
in
their
empire.
§ The
city
of
Rome
itself,
being
the
largest
city,
had
the
largest
concentration
of
aqueducts,
with
water
being
supplied
by
eleven
aqueducts
constructed
over
a
period
of
500
years.

3. The Imperial Age

4. The Imperial Age

5. The Imperial Age
§ There
were
approximately
300
miles
of
aqueducts,
while
only
29
of
them
were
above
ground.
§ The
aqueduct
provided
about
one
hundred
gallons
of
water
a
day
for
the
inhabitants
of
Nîmes
from
a
source
some
thirty
miles
away.

6. The Imperial Age

7. Pont-­‐du-­‐Gard,
Nîmes,
France;
19
BCE
The Imperial Age

8. The Imperial Age
§ This
civic
Roman
temple
was
built
by
Agrippa,
who
died
in
12
BCE.
§ It
was
then
dedicated
to
his
two
sons,
Caius
and
Lucius,
heirs
of
Augustus
who
both
died
very
young.
§ It
shows
the
allegiance
&
loyalty
of
the
Roman
colony
to
the
empire.
§ It
stands
on
the
short
south
side
of
the
forum
on
a
podium
which
is
nearly
10
feet
high.
§ It
was
built
of
local
limestone,
but
without
a
doubt
the
architect
and
workmen
came
from
Rome.
Maison
Carrée,
Nîmes,
France;
c.
10
CE

9. The Imperial Age
Maison
Carrée,
Nîmes,
France;
c.
10
CE

10. An empire emerges
§ After
his
father’s
death,
Vespasian’s
son,
Titus,
assumes
control
of
the
Empire
in
79
CE,
the
same
year
that
Mt.
Vesuvius
erupts
and
buries
the
cities
of
Pompeii
and
Herculaneum.
§ Despite
the
disaster,
Emperor
Titus
was
known
as
“the
light
of
the
world”
during
his
reign,
in
recognition
of
his
administration
and
completion
of
his
father’s
Coliseum
project.
§ Titus
was
mysteriously
killed
in
81
CE.

11. Pompeii & Herculaneum
§ Pompeii
&
neighboring
Herculaneum
were
buried
on
August
24
&
August
25,
79
CE
by
the
eruption
of
Mt.
Vesuvius.
§ Pompeii
is
the
most
important
archaeological
site
for
learning
about
life
in
a
Roman
city.

12. The City of Pompeii

13. The Imperial Age
Roman
Cities
&
Pompeii
§ The
forum
was
an
oasis
in
the
heart
of
Pompeii
-­‐
an
open,
airy
plaza.
§ Throughout
the
rest
of
the
city,
every
square
foot
of
land
was
developed.
§ The
forum
was
constructed
at
the
southern
end
of
the
town,
immediately
after
the
Roman
colony
was
founded
in
80
BCE.

14. MISCONCEPTIONS
§ Some
misconceptions
about
Pompeii
are:
§ The
victims
were
“buried
alive;”
they
had
no
chance
of
escape.
§ The
city
was
buried
“as
it
was;”
the
victims
were
caught
completely
unaware.
§ Pompeii
was
never
again
explored
since
ancient
times.

15. REALITIES
§ Some
of
the
realities
about
Pompeii
include:
§ The
eruption
did
not
occur
without
warning;
there
were
many
earthquakes
in
the
week
leading
up
to
the
eruption.
§ Many
people
did
escape;
some
of
those
who
did
not
may
have
been
looters
or
were
simply
unwilling
to
leave.

16. THE PLASTER MOLDS
§ Despite
these
misconceptions,
no
other
ancient
site
shows
what
an
ancient
city
may
have
been
like
better
than
Pompeii.
§ The
most
striking
example
of
this
is
the
plaster
molds
from
Pompeii.
§ In
1863,
Giuseppe
Fiorelli,
an
Italian
archaeologist,
invented
the
technique
of
the
plaster
molding.

17. THE PLASTER MOLDS
§ Pompeii
was
buried
under
roughly
70
feet
of
volcanic
ash.
§ Fiorelli
realized
that,
by
pounding
on
the
ground,
he
could
identify
areas
which
were
hollow
below.
§ The
hollow
areas
were
once
filled
with
remains
-­‐
pottery,
bodies,
or
other
items
-­‐
that
had
long
since
decomposed,
leaving
negatives.

18. THE PLASTER MOLDS
§ By
pouring
plaster
into
this
hollow
area,
the
plaster
would
dry
and
take
the
original
shape
of
what
once
laid
there.
§ Archaeologists
could
then
dig
around
the
plaster,
and
take
out
the
positive
model
of
what
was
once
actually
contained
there.
§ The
following
are
some
examples:

19. THE PLASTER MOLDS

20. The Imperial Age
§ Pompeii’s
new
citizens
erected
a
large
amphitheater.
§ It
is
the
earliest
such
structure
known
and
could
seat
some
twenty
thousand
spectators.
§ The
word
amphitheater
means
“double
theater”,
and
the
Roman
structures
closely
resemble
two
Greek
theaters
put
together,
although
the
Greeks
never
built
amphitheaters.
20Aerial
view
of
the
amphitheater,
Pompeii,
Italy,
c.
80
BCE

21. The Imperial Age
§ Greek
theaters
were
placed
on
natural
hillsides,
but
supporting
an
amphitheater’s
continuous
elliptical
cavea
required
building
an
artificial
mountain,
and
only
concrete,
unknown
to
the
Greeks,
was
capable
of
such
a
job.
§ Barrel
vaults
also
form
the
tunnels
leading
to
the
stone
seats
of
the
arena.

22. The Imperial Age
§ Arena
is
Latin
for
“sand”,
which
soaked
up
the
contestants’
blood.
§ Instead
of
the
refined
tragic
performances
that
would
have
taken
place
in
Classical
Greek
theaters,
the
amphitheaters
were
largely
used
to
stage
bloody
gladiatorial
combats.

23. The Imperial Age
§ This
painting
that
is
found
on
the
wall
of
a
Pompeian
house
depicts
an
incident
that
occurred
in
the
amphitheater
in
59
CE.
§ A
brawl
broke
out
between
the
Pompeiians
and
their
neighbors,
the
Nucerians,
during
a
contest
between
the
two
towns.
§ The
fight
left
many
wounded
and
led
to
a
10
year
prohibition
against
such
events.
23
Brawl
in
the
Pompeii
Amphitheater
Pompeii,
Italy,
c.
60-­‐79
CE

24. The Imperial Age
§ The
painting
shows
the
cloth
awning
(velarium)
that
could
be
rolled
down
from
the
top
of
the
cavea
to
shield
spectators
from
either
sun
or
rain.
§ It
also
has
the
distinctive
external
double
staircases
that
enabled
large
numbers
of
people
to
enter
and
exit
the
cavea
in
an
orderly
fashion.

25. DAILY LIFE IN POMPEII
§ The
remains
of
certain
buildings
give
us
a
glimpse
of
what
daily
life
was
like
for
the
people
of
Pompeii.
§ Among
some
of
the
buildings
we
have
remains
of
are
shops,
baths,
and
homes.
§ Even
graffiti
on
the
walls
still
remains
in
certain
areas
of
Pompeii.

26. A PISTRINUM (BAKERY)

27. THERMOPOLIUM ( FAST FOOD
RESTAURANT)

28. THERMAE (BATH)

29. ROMAN HOUSES
§ Because
of
its
inhabitants’
wealth,
Pompeii
also
has
some
of
the
most
magnificent
houses
in
Rome’s
history
§ Among
the
more
famous
homes
are:
§
The
Villa
of
the
Mysteries
§
The
House
of
the
Faun
§
The
House
of
the
Vettii

30. ROMAN HOUSES
30

31. ROMAN HOUSES
31

32. A VIRTUAL ROMAN DOMUS

33. HOUSE TERMS TO
KNOW
§ Fauces:
The
narrow
entryway
from
the
street.
§ Atrium:
The
central
public
room
of
the
house,
just
inside
the
entryway;
it
usually
has
an
impluvium,
or
water
basin
at
its
center.
§ Cubiculum:
The
small,
painted-­‐but-­‐windowless
bedrooms
&
dressing
rooms
surrounding
the
atrium.
§ Tablinum:
The
homeowners’
office,
study,
or
greeting
area.
§ Peristyle:
The
open
courtyard
or
garden
surrounded
by
a
colonnade
at
the
back
of
the
house.
§ Triclinium:
The
dining
room,
located
off
the
peristyle.
§ Lararium:
A
shrine
to
the
Roman
household
gods,
usually
located
in
the
peristyle.

34. SOCIAL ASPECTS OF THE
HOME
§ Like
the
Greeks,
the
Romans
(and
Italians)
were
big
on
social
hierarchy.
§ The
plans
of
most
of
the
homes
differ
slightly
in
the
layout,
but
inevitably
are
designed
to
enable
the
visitor
to
see
into
the
home.
§ When
the
front
door
was
open
during
the
day,
a
passerby
could
see
directly
into
the
atrium,
then
the
tablinum,
which
lead
directly
into
the
peristyle.
§ The
more
gardens
and
courtyards
you
had,
the
greater
your
wealth
and
status.

35. ROMAN HOUSES
§ One
of
the
best
preserved
houses
at
Pompeii
is
the
House
of
the
Vettii,
an
old
Pompeiian
house
remodeled
and
repainted
after
the
earthquake
of
62
CE.
§ This
photograph
was
taken
in
the
fauces.
§ It
shows
the
impluvium
in
the
center
of
the
atrium,
and
in
the
background,
the
peristyle
garden
with
its
marble
tables
and
mural
paintings.
35
Atrium
of
the
House
of
the
Vettii
Pompeii,
Italy,
rebuilt
62-­‐79
CE

36. ROMAN HOUSES
§ The
house
was
owned
by
two
brothers,
Aulus
Vettius
Restitutus
and
Aulus
Vettius
Conviva,
probably
freedmen
who
had
made
their
fortune
as
merchants.
§ Their
wealth
enabled
them
to
purchase
and
furnish
houses
that
would
have
been
owned
only
by
patricians.

37. ROMAN HOME DECORATION
§ These
houses
also
contain
a
number
of
magnificently
preserved
decorative
elements
in
the
form
of:
§
Frescoes:
Wall
paintings
created
by
painting
into
wet
plaster
to
create
a
bonded
image
&
wall.
§
Mosaics:
Images
created
from
tiny,
tiny
pieces
of
glass
or
tile
that
are
called
tessurae.

38. The Imperial Age
§ The
majority
of
homes
in
Pompeii
were
decorated
with
muralistic
wall
paintings.
§ Especially
striking
is
how
some
of
the
figures
interact
across
the
corners
of
the
room.
§ Nothing
comparable
to
this
existed
in
Hellenistic
Greece.
§ Despite
the
presence
of
Dionysus,
satyrs,
and
other
figures
from
Greek
mythology,
this
is
a
Roman
design.
Dionysiac
Mystery
Frieze
Pompeii,
Italy,
c.
60-­‐50
BCE

39. FRESCOES FROM THE VILLA
OF THE MYSTERIES

40. FRESCOES FROM THE HOUSE
OF THE VETII

41. ALEXANDER THE GREAT MOSAIC
FROM THE HOUSE OF THE FAUN

42. DETAILS OF THE MOSAIC

43. The Imperial Age
§ Originally
formed
part
of
a
Fourth
Style
wall
of
an
exedra,
recessed
area
on
the
opening
of
the
atrium
of
a
Pompeiian
house.
§ Standard
attributes
of
Roman
marriage
portraits
are
displayed
here
with
the
man
holding
a
scroll
and
the
woman
holding
a
stylus
and
a
wax
writing
tablet.
§ These
portraits
suggested
high
education
even
if
it
wasn’t
true
of
the
subjects.
§ The
heads
are
individualized
to
the
subject’s
features,
not
simply
standard
types.
§ This
is
the
equivalent
of
modern
wedding
photographs.
43
Portrait
of
a
Husband
&
Wife;
Pompeii,Italy;
c.
70-­‐79
CE

44. § Roman
painters’
interest
in
the
likeness
of
individual
people
was
matched
by
their
concern
for
recording
the
appearance
of
everyday
objects.
§ This
still
life
demonstrates
that
Roman
painters
sought
to
create
illusionistic
effects
while
depicting
small
objects.
§ Here
they
used
light
and
shade
with
attention
to
shadows
and
highlights.
Still-­‐Life
with
Peaches,
Fresco,
Herculaneum,
Italy;
AD
62-­‐79
The Imperial Age

45. The Imperial Age
§ The
illusion
created
here
is
the
furthest
advance
by
ancient
painters
in
representational
technique.
§ It
appears
that
this
artist
understood
that
the
look
of
things
is
a
function
of
light.
Also,
the
goal
was
to
paint
light
as
if
it
were
a
touchable
object
that
reflects
and
absorbs
it.
§ This
marks
the
furthest
advance
by
ancient
painters
in
representational
technique
and
wasn’t
seen
again
until
the
Dutch
still-­‐lifes
in
the
1700’s
CE.

46. Arch
of
Titus,
Rome,
Italy;
81
CE
The Imperial Age
§ When
Vespasian’s
older
son,
Titus,
died
only
two
years
after
becoming
emperor,
his
younger
brother
Domitian,
took
over.
Domitian
made
this
arch
in
Titus’s
honor
on
the
Sacred
Way
leading
into
the
Republican
Forum
Romanum.
§ This
type
of
arch,
the
so-­‐called
triumphal
arch,
has
a
long
history
in
Roman
art
and
architecture,
beginning
in
the
second
century
B.C.
and
continuing
even
into
the
era
of
Christian
Roman
emperors.

47. The Imperial Age
§ The
Roman
arches
celebrated
more
than
just
military
victories,
as
they
often
commemorated
events
such
as
building
roads
and
bridges.
§ This
arch
commemorates
Titus’
sack
of
Jerusalem
around
70
CE.
§ This
is
the
oldest
arch
of
its
kind.

48. The
Spoils
of
the
Temple
Relief
depicts
the
triumphal
parade
down
the
Sacred
Way
after
his
return
from
the
conquest
of
Judaea
at
the
end
of
the
Jewish
Wars
in
70
CE.
This
panel
contains
a
depiction
of
the
sacred
seven-­‐branched
menorah,
from
the
Temple
of
Jerusalem.
The Imperial Age

49. The
Triumph
of
Titus
Relief
depicts
the
actual
triumphal
procession
with
the
toga-­‐
clad
Titus
in
the
chariot,
but
with
the
addition
of
allegorical
figures
(the
winged
Victory
riding
in
the
chariot
with
Titus
who
places
a
wreath
on
his
head,
the
goddess
Roma
leading
the
horses).
Because
the
reliefs
were
deeply
carved,
some
of
the
forward
heads
have
broken
off.
The Imperial Age

50. The Imperial Age

51. The High Imperial Age

52. Portrait
Bust
of
Hadrian
as
General,
Tel
Shalem,
Israel;
c.
130-­‐138
CE
The High Imperial Age
§ Hadrian
was
a
connoisseur
and
lover
of
all
the
arts,
as
well
as
an
author
and
architect.
§ There
are
more
existing
portraits
of
Hadrian
than
of
any
other
emperor,
except
Augustus.
§ Though
he
ruled
Rome
for
more
than
20
years,
he
is
depicted
in
portraits
as
a
mature
adult
who
never
ages.

53. The High Imperial Age
§ Hadrian’s
portraits
more
closely
resemble
Greek
portraits
of
Pericles
than
those
of
any
Roman
emperor
before
him,
undoubtedly
his
likenesses
were
inspired
by
Classical
Greek
statuary.
§ Hadrian
wore
a
beard,
a
habit
that,
in
its
Roman
context,
must
be
viewed
as
a
Greek
affectation
(an
appearance
or
manner
assumed
or
put
on
as
a
show
or
pretense,
often
to
impress
others).
§ Beards
then
became
the
norm
for
all
subsequent
Roman
emperors
for
more
than
a
century
and
a
half.
Marble
Bust
of
Hadrian
Wearing
Military
Dress
Tivoli,
Italy;
c.
117
-­‐
118
CE

54. Pantheon
Rome,
Italy;
125-­‐128
CE
The High Imperial Age
§ With
the
new
Emperor
Hadrian
in
power,
work
on
a
new
temple
dedicated
to
all
the
gods
began.
§ This
temple
became
known
as
the
Pantheon.
§ Excluding
the
use
of
an
eight
Corinthian
column
facade,
the
temple’s
design
was
completely
revolutionary
for
its
time.

55. The High Imperial Age

56. The High Imperial Age

57. The High Imperial Age

58. The High Imperial Age
§ The
dome
of
the
Pantheon
steadily
decreases
in
thickness
from
the
drum
to
the
apex,
and
is
constructed
from
pumice
&
Roman
concrete.
§ In
the
very
middle
there
is
an
opening
called
an
oculus
that
acts
as
a
skylight.
§ The
oculus
is
the
only
source
of
natural
lighting
for
the
building’s
interior.

59. The High Imperial Age
§ The
oculus
measures
30
feet
in
diameter.
§ This
is
the
oldest
domed
building
in
the
world
that
still
has
its
original
roof.
§ From
this
indoor
photo
of
the
Pantheon
you
can
see
the
carved
panels
as
well
as
the
intense
light
that
the
oculus
provides
for
the
room.
§ These
decorative
panels
are
called
coffers,
and
serve
two
purposes.

60. The High Imperial Age
Originally,
the
interior’s
niches
and
altars
contained
images
of
the
Roman
gods
and
goddesses.
However,
when
the
Pantheon
was
consecrated
as
a
Catholic
church
in
609
CE,
they
were
replaced
by
images
of
saints
and
those
buried
within
the
structure.

61. The High Imperial Age

62. The High Imperial Age
§ During
Hadrian’s
reign,
he
ordered
construction
of
a
monumental
stone
wall
to
keep
the
‘barbaric’
Scots
and
Picts
from
invading
from
the
North.
§ This
74-­‐mile
stretch
across
Northern
England
is
known
as
Hadrian’s
Wall.
§ It
was
8-­‐10
feet
wide
and
20
feet
tall,
with
a
tower
located
at
every
mile
mark.
§ It
was
built
in
only
about
8
years,
from
122
–
130
CE!

63. The High Imperial Age

64. The High Imperial Age

65. Acta Est Fabula