Art and Archaeology of Ancient Italy
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Art and Archaeology of Ancient Italy - Leaderboard
Art and Archaeology of Ancient Italy - Details
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| Tomb of... | Tomb of the Roaring Lions, Villanovan/Orientalizing, early 7th cent. BCE, 2 registers of design (stylized apatropaic lions & Birds/ducks above them), simple geometric shapes, possibly earliest tomb painting in Etruria |
| Tomb of... | Tomb of the Ducks, Veii, Villanovan/Orientalizing, CA. 675-650 BCE, stylized, bright colors, fits well with decoration of vessels (large color blocks, animals but not mythological creatures) |
| What tomb is this? | Campana Tomb, Veii, CA. 625-600 BCE, painting has faded so much you can no longer see the figures, 4 panels surrounded by colored geometric shapes, surrounding doorway leading to back chamber, panels have myth figures, different parts of the body have different colors, (1) horse with wings, (2) apatrapaic feline, (3) sphinx & panther & horse being led, do not know what the narrative is depicting, issues with perspective, unique from other cultures |
| Tomb of... | Tomb of the Bulls, Tarquinia, CA. 540 BCE, Archaic Pd., doorways lead to place where the deceased were placed, beam on top, decorated in temple-like structure (pediment), animals (kimera, sphinx, man on horse thought to be Pegasus and Bellerophon), 2 figures of bulls above doors (1) facing us apatropaic (2) beard & human face, bull 2 charging 2 male figures during intercourse with erect falice (could be depicting Oculus), raises a lot of questions about Etruscan sexuality, bull1 with 2 men and 1 woman (the woman is being penetrated) |
| What tomb is this? | Tomb of the Bulls, Tarquinia, back wall, detail, 540 BCE, figure in helmet holding a knife behind fountain, warrior on horseback, depiction of Achilles and Troilus (Achilles hiding behind fountain, jump out and kill Troilus), (Achilles/Troilus myth not popular in Greece due to moral issues relating to Troilus being murdered outside battle), Achilles has a one sided knife and fountain that looks like an altar suggests this could be used as a sacrificial image, red ribbons thought to be a religious element |
| What tomb is this? | Tomb of the Augurs, Tarquinia, Ca. 530 BCE, back wall, 2 figures on back thought to be augurs/priests, holding out hand in either apatropaic or mourning pose, painted door thought to represent door to tomb or door to afterlife, |
| What tomb is this? | Tomb of the Augers, Tarquinia, Ca. 530 BCE, 2 men wrestling, the "augur" in purple actually a referee, early depiction of funeral games, |
| Painting with phersu (mask) figure and dog (?) | Tomb of the Augurs, Tarquinia, Ca. 530 BCE, phersu with leash and pointed collar, if he pulls on the collar the animal will attack, the figure with their face covered is being attacked (most likely a criminal sentenced to death), first depiction of a funerary game with ritual bloodletting, |
| What tomb is this? | Tomb of Hunting and Fishing, Tarquinia, ca. 530 BCE, geometric cloth pattern on ceiling, made to look like a semi-permanent structure, first example of illusionistic painting, baqueting scene on top, continuation of the scene on all sides, niche in the wall is where the urns were placed; other wall: boat, figure diving into water, possible representation of transition to afterlife |
| What sculpture is this? | Aplu (Apollo), from the Portonaccio temple, Veii, Terracotta sculpture, ca. 525-500 BCE, Rome, Museo Etrusco de Villa Giulia, akroteria (placed on top), probably one of the central figures on the temple, major sculptures are not being made out of terracotta in other cultures, similarities to Greek Kouros (facial features, striding one foot forwards, same hairstyle, muscles depicted in a similar way), archaic smile, potentially written about by the Roman historian Pliny |
| Name. | "Archaic smile", Temple of Zeus at Olympia, ca. 470 BCE, corners of the mouth are pinched and pulled back, facial features makes it look like they are always smiling, even though here this guy is clearly in pain |
| What statue is this? | Medusa (gorgon), Antefix from the Temple at Veii, 525-500 BCE, Rome, Museo Etrusco de Villa Giulia, cap for roof tiles, apatropaic (fangs, open mouth, tongue sticking out), |
| What is this? | Ash urn of the "married couple", Ca. 525 BCE, Rome, Villa Giulia Museum, Archaic Period, dining at a banquet on a Kline, bine and metal inlays for legs of kline, terracotta, development from older styles (similar to the one in the Louvre), women can participate in banquets in Etruria, some details but some parts are highly stylized and less detailed, Archaic smiles and almond shaped eyes, arms outstretched but we don't know what they were holding |
| What is this? | Pyrgi "Temple A", terracotta, high relief, H. 146 cm, Ca. 470-460 BCE, Museum Nationale Etrusco de Villa Giulia, Rome, depicts myth of the Seven Against Thieves, Tydeus and Melanippus (Tydeus eating the other dude's brains and Athena deciding not to give him immortality), Zeus striking down Capaneus for challenging him, a warning to act in accordance with the gods (these are acts the gods consider over the line), pathos (showing emotion, mouths open), more motion when compared to other Archaic sculptures, climactic, |
| What tomb is this? | Tomb of the Leopards, Tarquinia, Back wall, Ca. 470 BCE, symposium (celebratory banquet), Etruscan motifs and design, cloth ceiling, lively (dancers and musicians), Aulus (double flute connected at mouth piece), theme becoming more popular during this time period. |
| What tomb is this? | Tomb of the Triclinium, Tarquinia, Ca. 470 BCE, dado of red waves, lively and joyful, animals underneath kines (common theme), Dionysus ritual in pediment (grape vines) |
| What tomb is this? | Tomb of Triclinium, Tarquinia, side walls, dancers, Ca. 470 BCE, part of a religious scene (red ribbons), elaborate clothing, sense of movement (with clothes esp) |
| What to tomb is this? | Tomb of the Reliefs, Banditaccio Necropolis, Cerveteri, 4th cent. BCE, decorated like the interior of a house, reliefs on the wall made with terracotta or stucco, farm/household/military equipment, potentially objects that indicate elite activities, Chavrun & Cerberus (shift to underworld motifs) |
| What tomb is this? | Tomb of Orcus (1 & 2), Tarquinia, Ca. 330 BCE, Velia Vulcha, married to someone who is buried in the tomb, beginning of portraiture (starting to see unique features), foggy dark clouds intentional, Tuchulcha (demon boi - snake horns, donkey ears (?), beard, wings that look like the snake wrapped around their forearm, debate over gender of the demon lol), These (Theseus) playing a board game, do not know what Tuchulcha and These are doing |
| Charu, Tomb of Orcus | Tarquinia, Ca. 350 BCE, blue skinned demon (common for Etruscans to portray demons like this), similar wings to Tuchulcha, club he uses to knock on the doors of the underworld (not associated with boat imagery at this time in Etruria) |
| What tomb is this? | Tomb of the Shields, Tarquinia, Ca. 325 BCE, Larth Velca & Velia Seitithi, more sombler, 3/4 profile (coming into Etruscan art), unique figures (not typical archaic smile and eyes), she is holding out and egg to her husband (symbol of fertility) |
| What tomb is this? | Typhon (son of the Titans) loses a fight with Zeus and is imprisoned under mount Edna), blue wings (not normally winged in Greek art), evidence of leaving behind archaic style (movement, musculature), processions scene (ancestors and demons), snake imagery |
| Tomb of Quintus Fabius Maximus | Rome, fragmentary, Fannius and Fabius, Samnite wars (Rome's first attempt to control the peninsula), style of dress (and undress) different from Etruria, episodic narrative, shown shaking people's hands (negotiation?), potentially depicting a historical event, Italic themes (hierarchy in scale, dress, caption use and historical themes) |
| What tomb is this? | Tomb of the Diver, Paestum, ca. 480 BCE, Archaic style in "Classical" movement, stone slabs placed in the ground, symposium, walls have paintings of banquets with couples, diver ties this Greek tomb to Etruscan imagery of transitioning into the underworld, diver on the ceiling so the deceased could look up at it |
| What tomb is this? | Tomb 114, Poseidonia, Ca. 320 BCE, man's tomb, possibly depicting a historical battle scene, 2 armies lined up facing each other, Mars with Larthian warrior?, hills with cattle in the background serve as details/context that suggest this is a historical painting |
| What is this? | Sarcophagus of Thanchvil Tarnai and Larth Tetnies, Ca. 350-300 BCE, Vulci, now in Museum of Fine Arts Boston, lovers on lid, hunting scenes on ends, one side depict battle scene with Amazons, one side horse race, more classical in style |
| What is this? | "old couple" ash urn, Volterra, ca. 2nd-1st cent. BCE, mimesis (immitation) & verism (showing age in a weathered, stoic, and experienced way), portraiture |
| What tomb is this? | Reconstruction of Inghirami Tomb, Ca. 175-50 BCE, Ulimento Necropolis, Volterra, Reconstruction in the garden of Museo Archeologico in Florence, figures reclining on couches, arranged to resemble a banquet, many holding objects used for offerings, myths on the side of tombs (some repeating) |
| What statue is this? | Mars of Todi, bronze statue, 400 BCE, now in Vatican Museum, hollow cast bronze work, perhaps made in Orvieto, warrior (armor, skirt underneath armor, leaning on spear, holding something in his other hand that didn't survive, classical (contrapposto, classical features, more realistic and less stylized detail, inlaid eyes, dedicated as a votive (give to the gods and they will give something to/help you in return), inscription: Ahal Trutitis gave this as a gift |
| What statue is this? | Chimera of Arezzo, late 5th-4th cent. BCE, Museo Archeologico Nazionale, Florence, would have been with other sculptures (likely interacting with Bellerophon and Pegasus, myth popular in Etruria), inscription to Tina (Etruscan equivalent to Zeus), very classical (but mane stylized in archaic way), encourages the viewer to move around it and interact with it |
| Ficorini Cista | Bronze, 350-300 BCE, Praeneste, Museo Archeologico Etrusco de Villa Guilia, Rome, insized design depicting Jason and the Argonauts stopping to drink from a well, Polyx beats the well's guard in a boxing match (showing after the match), on top Dionysis is flanked by 2 satyrs, classical in style, detail, musculature, etc |
| What statue is this? | Capitoline Museum, ivory eyes, head original but the bust is not, portraiture (verism/mimesis), not trying to make him look youthful, showing his age/experience/weathered look, could have acted as a portrait mask used for funeral processions, speaks to the power of some families |
| Identify. | Oval huts. Palatine Hill. 8th cent. BCE. Post holes in bedrock, wood frame and thatched roof, wattle and daub (interwoven twigs covered in mud or clay), able to reconstruct them and get an idea of what they looked like due to hut urn |
| What temple is this? | Temple of Jupiter Optimus Maximus Capitolinus. Capitoline Hill. Ca. 525-500 BCE. Construction probably started under Tarquinius Superbus, dedicated under new government on September 13 509 BCE, symbolizes everything to come for Rome*, sculptural decorium (sculpture on rooftop) done by Vulca of Veii (person who is credited for our fav Aplu), entire temple dedicated to Jupiter, 3 cellas for Jupiter and Juno and Minerva, Peripterus sine postico (very deep front porch, back wall, columns don't go all the way around), altars outside, central door (largest) for Jupiter, most likely painter red, open pediment |
| Identify. | Capitoline Triad. Montecelio. Mid-late 2nd cent. CE. Museo Civico Archeologico. 3 gods (Jupiter, Juno, Minerva) seated next to each other, becomes common in art to see these three gods together, each has an animal to represent them, made long after the construction of the temple but gives an idea of what the sculpture on the temple would have looked like* |
| Identify. | Cloaca Maxima. Velabrum, Rome. Constructed under Tarquinius Priscus. Ca 600 BCE. The forum was prone to flooding, king undertook large-scale drainage public works project, allowed Rome to expand, still used today |
| Identify. | Winged horses. Terracotta. Tarquinia. Ca 350-300 BCE. The Ara della Regina (major Etruscan temple). Temple is dedicated to a female god but we don't know who, mutule plaque, high classical style (very detailed, expressive, "armor"), doesn't fit with Greek myth (there's 2 of them), 3/4 view (stack back legs to help show this) |
| Ara della Regina. | Temple. Tarquinia. 4th cent. BCE. has multiple phases, all on the same sized podium, phase 2 adds columns and porches, phase 3 and 4 see development of tripartate design |
| Terracotta sculpture of winged spirit | Thesan (?), Chianclano Terme, 2 cent. BCE, more classical (fully nude; leaning & can see where all her weight is going; movement in hair, position, drapery, in general responding to gravity) |
| Identify. | Temple pediment from Talamone with Seven Against Thebes, Terracotta, 2nd cent. BCE, lots of motion, figures filling the entire space (very Greek), Capaneus climbing the temple, Tydeus and Melannipus, shows Vanth pulling Amphiaraus into the underworld (Etruscan twist on a Greek myth), Eteocles at the center reacting to his sons death (attention drawn to him), figures almost completely in the round, looking down, very emotional, lots of movement, message: respect the gods/behave accordingly |
| Identify. | Porta Marzia, Perugia, 2nd-1st cent. BCE, facade of an Etruscan gate, wall continued to be built upon/rebuilt over the centuries, true arch, inlaid sculptures looking down behind latus screens, could have been made to look like a temple, could just represent important buildings, middle figure probably Tinia (Jupiter), flanked by Caster and Pollux (likely them because there are horses next to them and they are often depicted with horses), inscription to Colona Vibia |
| Identify. | Porta all'Arco, Volterra, 3rd cent. BCE, medieval wall & Etruscan arch, three heads made out of darker stone, cannot identify who they are, too weathered, could be Tinia Caster and Pollux (common to see depicted together) |
| Identify. | Ash urn of Larthi Cracnei, Volterra, Museo Guarnacci, alabaster, 2nd-1st cent. BCE, in the round, holding sacrificial bull, classical sculpture on lid (elaborate hair, veiled, somber serene expression, unique features), side shows Actaeon being attacked by two dogs, he is kneeling (often representative of a sacrifice) |
| Identify. | Sarcophagus of Laris Pulenas, from Tarquinia Nenfro tufa. Tarquinia, Arch. Meseum. Ca 200 BCE. holding open a scroll with a summary of everything he did in his life, most likely a priest (necklace, hat), features very realistic (elements of verism), sarcophagus has Vanths on the side interacting with different individuals |
| Identify. | Sarcophagus of Larthia Seianti, Chiusi, terracotta, Florence, Arch. Museum, Ca 180-170 BCE, painted, holding a mirror, veiled (lifting/adjusting it), lots of jewelry, purple bands on fabric show wealth (purple was an expensive dye), very realistic details, skeleton found inside, many physical injuries (deformed right jaw, gum disease, cavities, crushed right leg and pelvis, arthritis in hip and spine, potentially in riding accident |
| Identify. | Tomb of the Velimna, main chamber with ash urns, 3rd-1st cent. BCEM, mythological figures on the side different from what we are used to seeing (not a whole narrative), lids/figures on lids more with the style at the time (banqueting, kline) |
| Identify. | Ash urn of Arnth, Velimnas. Tomb of Velimna, Perguia. Traveterine with painted stucco. Ca 150-100 BCE, fully classical in style (features, hair, drapery, depicts musculature but also relaxed), couch he is on is probably an example of furniture that didn't survive antiquity, painted door (meant to be door to underworld) flanked by 2 vanths, this theme developing and becoming more popular at the time, 2 vanths almost entirely in the round |
| Identify. | Ash urn of Publius Volumnis Violens, from Tomb of Velemna, Perugia, Marble, early 1st cent CE, period of early Roman Emplire, depicts a Roman building, style very Roman (inscription, pedimental decoration, columns, gorgon face, bucrania (bull skull) on side and garland decoration popular in Roman architecture (ribbons wrapped around bull horns represent a sacrificial offering), sphinx on roof |
| Identify | Ombra della Sera, bronze statuette of a boy, from Volterra, 57 cm, Volterra Museo Guarnacci, 300-250 BCE, odd proportions, very elongated, face proportions normal |
| Identify. | Bronze statuette of a haruspex, votive, Rome, Museo de Villa Guilia, 3rd cent. BCE, type of priest that watches patterns in nature, has pointed hat associated with these priests, short arms, very elongated body |
| Identify. | Votumna (?), terracotta head from Campo della Fiera, 4th-3rd cent. BCE, maybe depicting a god as there was a sanctuary in this area dedicated to Voltumna, bust, bearded, kind of stylized hair (common) |
| Identify. | Bronze statuette of a child, found near Lake Trasimene (Cortona area), "Putto Graziani", Vatican Museums, 200 BCE, playing with a bird figure, wearing a bulla (commonly worn by young Roman boys, holds things meant to protect them, ceremony where they get rid of it when they become a man), only through facial features know he's young, inscription dedicating him to the sanctuary he was found in (a votive) |
| Votive body parts/organs | Give one to the gods hoping the gods would fix theirs, v literal |
| Swaddled baby votive | Votive from Veii, terracotta, Rome, Museo de Villa Guilia, 3rd cent. BCE |
| Votive plaque with organs | From Cerveteri, terracotta, Vatican Museums, 3rd cent. BCE |
| Foot and hand | Votives, from Cerveteri, terracotta, Vatican Museums, 3rd cent. BCE |
| Votive models of Uterus | From Cerveteri, Tarquinia, etc; 4th-3rd cent. BCE; asking for fertility |
| Identify | Votive head of a man, from Cerveteri, terracotta, Rome, Museo de Villa Guilia, 1st cent BCE, verism, very realistic, unique features (nose, lips, wrinkles) |
| Identify. | Bronze portrait of a boy, Florence, Archaeological Museum, Ca 300 BCE, stylized hair we typically see in classical style, serene realistic face, dedicating individual to a deity in the hopes that the deity will do something for him (ie. health) |
| Identify | Servian Walls, 4th cent. BCE, Veii Tufa, Ashlar Masonry/Opus Quadratum, wall that encloses the area around the seven hills of Rome, big blocks of stone, rectangular, some placed longways some short (helps with stability), no mortar |
| Identify | Norba, mid 4th cent BCE, fortification wall, limestone (using local resources), polygonal masonry (flat side facing out, not worked into any specific shape, more natural), no mortar |
| Identify. | Ostia (the port of Rome), founded late 4th cent BCE, where the Tiber river comes out, often has issues with flooding, adopting Castrum style (4 gates NSEW, main buildings in center, forum), regularity (pattern of plan) |
| Identify. | Ostia (forum and capitolium), open space NS, bassilica used for law cases, main tmeple (Capitolium - named after Jupiter Optimus Maximus Capitolinis), podium, multiple columns, porch, main chamber with back cella |
| Identify. | Falerii Novi, founded 241 BCE, true arch and gate, grey peperino stone (used for arch), rep-brown tufa, ashlar masonry, voussoirs (pizza slice shaped stones for arch), keystone (top stone, put on last), spring line (line between wall and where the arch begins), impost (base between wall and arch) |
| Identify. | Capitolium, Cosa, mid-late 2nd cent BCE, named after Jupiter Optimus Maximus Capitilonus, built up on high podium, large staircase, triartite, open pediment, decorated with architectural terracotta, cistern (no water source in Cosa, could be later edition), used as a church in the Middle Ages |
| Identify. | Tablinum wall of the House of Sallust, Pompeii, 100 BCE, example of style 1 of Pompeii wall paintings, frescos, "faux" marble (seen as lesser bc of this but still for upper class), different courses: isodomic (same size and shape), orhostates (larger), dado (one color) |
| Identify | House of the Griffins, Room 3, Rome, ca 80 BCE, panels (isodomic & Orthostates), "pedimental" decoration with griffins, example of style 1 wall paintings, "faux" marble |
| Identify. | Cubiculum (Room 2) of the House of the Griffins, Palatine Hill, Rome, ca. 80-60 BCE, example of style 2 wall paintings, imitation of real architecture, using paint to indicate depth (looks like the columns are coming forwards), maintaining "faux" marble style, Roman innovation |
| Identify | Villa of the Mysteries, Cubiculum 16, Pompeii, 60-50 BCE, 2nd style but elements from the 1st style are still present, columns with entablatures, appears to be looking outside, relative perspective (not realistic but relative to central point on the painting), there is a suggestion of exterior vistas, the dark black on the base may be an imitation of wooden stages |
| Identify. | Villa of P. Fannius Synistor at Boscoreale, looking at the scene through an open pediment, receding depth, public architecture in the painting, good example of stacking architecture for perspective, 1st image (very ornate, religious elements, theatre masks, elements closer to the viewer are more ornately done), first depiction of blown glass in Rome |
| Identify, | Triclinium of Livia, Prima Porta, ca 30-20 BCE, idyllic nature, continuous fence, tree in front & behind fence, every tree & bird is real and identifiable |
| Identify | Villa of the Mysteries, Room 5, Pompeii, 40 BCE, example of style 2, thought to show an initiation process to mysterious cult of Dionysus (possibly depicting her initiation), shows preparation & process, starts with her looking like she is getting ready for a wedding, ritual involving whipping, returns to bridal imagery. |
| Identify | The Pine Room, House of Augustus, Palatine Hill, 63 BCE-14 CE, pretty modest design, pine garland decoration, elements of public architecture, using depth to make it appear as though some architectural elements come forward. |
| Identify | Room of the Masks, House of Augustus, Palatine Hill, 63BCE-14CE, architectural elements projecting out, theatre masks in windows, Bucrania and dish for offerings, grotesques (the creature things idk wth they are), tied to theatre structures (scaenae frons), possibly a depiction of one |
| Identify | Villa of Agrippa Postumus, Boscotrecase, Red Room, 11 BCE, example of style 3 wall painting, landscape scene in the center, architectural elements smaller and less realistic, delicate detail, returning to the inherent flatness of the wall, attenuated (thin) columns, has a solid colored background, imitations of Egyptian imagery |
| Identify | Ixion Room, House of the Vettii, Pompeii, 1st cent BCE, example of style 4, combines elements of the 2nd and 3rd styles, vistas in different scenes on the wall (less realistic than the 2nd style), spindly columns (similar to style 3), central panels (larger than 3rd style), bottom section of the wall painting resembles style 1 |
| Identify. | Roman portrait of a man, ca. 50 BCE, Verona, Staatliche Antikensammlungen, Munich, portraiture, generalizations (frontal, somber, static, verism), Etruscan influence and rejection of idealized classical portraiture, increased use of stone over bronze |
| Identify. | L'Arringatore (The Orator), Avle Metele/Aulus Metellus, Lake Trasimeno, 1st cent BCE, Florence Archaeological Museum, 1.8 m, toga exigua and senatorial boots, Etruscan inscription, assumed he was an upper ranking member in society, one arm up generally indicates speaking, classical (drapery, contrapposto, realistic detail), italic/republic style (hairstyle, receding hairline, showing age, inlaid eyes), thought to be a votive offering from the inscription on the end of the toga, |
| Identify. | Statue of General Tivoli, Temple of Hercules, Marble (Greek), ca 75-50 BCE, face veristic in style, Greek idealized body, attention to drapery, some element of modestly (not fully nude like in Greek sculptures), know he is a general because he is leaning on a column with armor on it |
| Identify. | Pseudo-Athlete, Delos, House of the Roman Patron, Marble, early 1st cent BCE, relaxed contrapposto, idealized body, veristic face (crows feet, some balding), completely nude (heroic nudity), some drapery (deeply carved) |
| Identify. | Togatus Barberini, late 1st cent BCE, some of the heads not part of the original sculpture, man holding busts of his ancestors, toga folded in a decorative and elaborate way, contrapposto, imagines (ancestral masks), Pliny and Polybius |
| Identify | Pompey the Great, Claudian copy of a portrait from 50 BCE, likely copied from one in Theatre of Pompey, found in Lincinian Tomb of the Via Salaria, Rome, marble, verism with heroic allusions, some elements (ie anastole hairstyle) allude to other hairstyles, imitating Alexander the Great (hairstyle, nickname), borrowing images already associated with power, has conscious political goal to benefit from this association |
| Identify. | Gaius Julius Caesar, life portrait, ca 50-44 BCE, Forum of Tusculum, near Rome, excavated by Lucien Bonaparte, marble, elements of accurate portrayal (there is writing about his wide head, balding, uneven ears), appears to be a copy of his bronze portrait on a coin |
| Identify. | Altar of Domitius, Ahenobarbus, reliefs, ca 100 BCE, Rome, Musee Louvre, Paris and Antikensammlungen, Munich, earliest example of base relief, marriage of Neptune and Amprotrite, Greek style figures, lots of motion and action, coming out of frame, emotion, hippocampus (horse with snake body) |
| Identify. | Altar of Domitius Ahenbarbus, relief, ca. 100 BCE, Musee Louvre, Paris, Roman style side, sacrifice scene to Mars, Roman citizens in sensus, Roman altar, suovetaurilia (old form of roman sacrifice), size of figures changes based on the person's importance (hierarchy of scale), common in Roman art to see Roman citizens and gods working in the same scene, much more static, possibly done later |
| Identify. | Fauces, Samnite House, Herculaneum, 2nd cent. BCE, style 1 wall painting, long narrow hallway opening up to an atrium, flanked by 2 rooms separate from the house and often rented out for shops |
| Identify. | House of the Silver Wedding, atrium and impluvium, Pompeii, 2nd cent BCE, open roof to allow light in and for water to fill reflection pool, large open space looking back into office space |
| Identify. | House of the Faun entryway, 2nd cent BCE (house repaired after 62 CE), Pompeii, style 1 paintings, inscriptions, "welcome mat", geometric mosaic pattern on the floor (tesserae) |
| Identify. | House of the Faun, atrium, 2nd cent BCE (repaired after 62 CE), Pompeii, faun sculpture in the impluvium, looking back into the Tablinum, alae and cabiculum off to the side, cabiculum had wall paintings, suffered a lot of damage in WW2, imluvium (colors of inlaid stone that would have been very bright when water was over it, inlaid stone/opus sectile), faun statue Hellenistic in style (movement/dancing, well proportioned) |
| Identify. | The Alexander Mosaic, Napes Arch. Museum, 80 BCE, House of the Faun, Pompeii, floor of the exedra, Alexander the Great and King Darius III of Persia, thought to show an actual battle (probably Battle of Issus or Battle of Gaugamela), probably a copy of a Greek painting (Hellenistic), Hellenistic tropes (large eyes, Anastole hairstyle), movement (shows the 2 kings coming towards each other in the chaos), Darius reaching out to a dying man, emotional, dramatic, reflection of a dying Persian on a bronze shield |
| Identify. | Temple of Portunus, Forum Boarium, Rome, 2nd cent BCE, "derivative" style/pseudoperipteral (engaged columns, built into the wall), ionic capitals with bases (Greek), Roman themes (podium, staircase, frontal), tufa blocks probably faced with travertine (white stone), 1st building preserved with Roman concrete |
| Identify. | Temple of Hercules Victor, ca 150 BCE, Forum Boarium, Rome, potentially dedicated by Lucius Mummius, after the defeat of Cornith in 146 BCE, tholos (round temple), columns on outside (peripteral), corinthian, travertine marble combo, missing entablature, celebrating Hercules as victor |
| Identify. | Temple of Vesta, Tivoli, ca 100 BCE, Tholos, peripteral, elements of entablature remaining, mic of Greek Italic and Roman architecture (ramp gives element of frontality, high podium of concrete, corinthian columns, cella in opus incertum) |
| Identify. | Sanctuary of Fortuna Primigenia, Praeneste, either 2nd cent BCE or 80 BCE, major ramps and large staircases leading to difference terraces, built into a hillside, semicircular exedra (shrine), <new architectural feature in Rome, Greek elements (collonnades, terraces), opus incertum (irregular work of fist sized stones to form facing on concrete interior), vaulted ceiling, marble columns, local tufa stone, biggest sanctuary in Italy at the time |
| Identify. | Nile Mosaic, Praeneste, found in apsidal grotto at Sanctuary of Fortuna, early 1st cent BCE, Roman interpretation/imagined scene of the Nile, imitating Hellenistic style, Greek writing, floor mosaic, mix of mythical and real creatures, people using bows to hunt birds, people doing other things (dining, soldiers, on boats, etc), darker outlines surrounding figures (common in this style) |
| Identify. | Terracing Sanctuary of Jupiter Anxur, late 2nd cent BCE - early 1st cent BCE, multiple terraces, temple found on top, running arcade, terrace platform, cryptoporticus (underground hallway, barrel vault), opus incertum, pseudoperipteral temple on top terrace |
| Identify. | Theatre of Pompey, dedicated in 55 BCE (construction began in 61 BCE), built on Campus Martius (gets around restrictions), Largo di Torre Argentina (area with 4 shrines/temples), 1st permanent theatre, variation on Greek theatre, gives it other elements to make it more socially acceptable (building with meeting place for senators, shrine on top dedicated to Venus Victrix - can claim he built a shrine not a theatre), large garden with water features in the center, decorative elements things Pompey brings back from war |
| Identify. | Temple of Fortuna Huiuscee Diei, maybe dedicated by Quintus Lacatius Catulus in 101 BCE, tholos, Largo Argentina |
| Identify. | Colossal Cult Statue from Temple B, Largo Argentina, ca 101 BCE, 8 m tall, marble, head arm & feet, Central Montemartini Museum, Rome, acrolithic sculpture (mixture of stone and other materials) |
| Identify. | The Basilica of Pompeii, ca 150 BCE (built before it was a Roman colony), multi-use public space, large often 2 stories, long open nave with colonnade dividing the space, clerestory windows (2nd floor), thought forum of cathedrals inspired by early Basilicas |