| 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 |
| Identify. | Pompeiian ampitheatre, 80 BCE, concrete (arches, vaults, opus incertum faced concrete), no subterranean features, 2 large staircases allow access to spectators |
| Identify. | Wall Painting from House of Ancius Anicetus, Pompeii, 60-79 CE, showing event in 59 CE, depicting Pompeiian Ampitheatre, one of the only paintings showing a historical event in Pompeii, brawl broke out during gladitorial games, depicts different levels of seating and staircases, looking into ampitheatre from almost a 3/4 view, too many arches in depiction, showing cloth cover that would have covered some of the seats, can see temporary tent to sell things (like at modern day sporting events), shows inscription on building next door (that building does actually have an inscription but it is different) |
| Identify. | Temple of Venus Genetrix, 40 BCE, Octastyle temple surrounding courtyard, somewhere to store spoils from war construction was started by Caesar and finished by Augustus, ties his image to Venus so he built a temple to her, whole things glorifies Caesar, combination of a public and religious space, inspired to do this by Pompey (one of his political rivals) |
| Identify. | portrait of Augustus, 27 BCE-14 CE, found in Pergamon (Turkey), now in the Archaeological Museum of Istanbul, Turkey, Augustus is known by his hairstyle (swoops to side like commas, bangs, known as "commalocks" or "lobster claws"), this hairstyle will be adopted by successors (since successor is not directly related to the previous emperor they adopt characteristics that connect them), some verism (wrinkles, fleshy chin, etc), but features more smooth and idealized |
| Identify. | Augustus as Pontifex Maximus, ca 12 BCE, marble, from Via Labicana, Rome, now in Palazzo Massimo alle Terme, Rome, capite velato (head covered), toga/drapery deep folds (plays with light and shadows), intentionally made with 2 types of marble, the more expensive marble (smoother, less color variation) is used for the skin, contrapposto, thought to be a direct copy of Doryphoros of Polykleitos (proportions match exactly), probably making a sacrifice, less veristic and more idealized, intentionally referencing classical Greek sculpture |
| Identify. | Augustus of Prima Porta, early 1st cent CE, copy (possible bronze original 20 BCE), found in Villa of Livia Prima Porta, bronze public and marble private (?), idealized attributes of the emperor, uses Greek forms while sending a Roman message, (stance) speaking out probably leading soldiers, references sculptures of both politicians and generals, bare feet (humble piety), cupid (Athena), dolphin (Battle of Actium), some elements of high classical style (contrapposto, musculature, proportions), deep drapery responds to movement (ie. leg), facial features/structure a combination of Greek and Roman Republican portraiture, homage to Greek heroic nudity with Roman armor. Statue displays Augustus as: a military victor, connecting him to past republican values, directly connecting him to the gods, bringer of Pax Romana |
| Identify. | Augustus of Prima Porta Cuirass, early 1st cent BCE, found in Villa of Livia Prima Porta, lots of mythical imagery and allusions, sphinx on shoulders (Egyptian imagery adopted to reference Mark Antony, Cleopatra, and the Battle of Actium), Caelus and Sol (Caelus holding up the sky) on top of the cuirass, central figures represent a Roman and a Parthian, Parthian is holding the Roman Standards, Augustus was able to retrieve the Standard (symbol of returning valor and strength to the Roman army), Apollo and Diana pictured (Apollo is Augustus's patron god, prayed to him for victory against Mark Antony) |
| Identify. | Portrait of Augustus wearing civic crown, early 1st cent CE, now in Glyptothek, Munich, crown of oak leaves, high honor given by the Senate to someone who has saved a Roman in battle, required to wear it in public gatherings, people would stand for you, Augustus is not wearing the crown of a king but the sacred crown of Jupiter |
| Identify. | Temple of Apollo Palatinus, Palatine Hill Rome, Octavian, vowed at Battle of Actium (31 BCE), opened in 28 BCE, site of lightning strike (gods chose this spot), built near a house that could have been Augustus's in the city (modest), Portico attached to the front, library holding sacred texts next to it (Sibylline Books), supposedly Augustus was a very religious person, high concrete podium, marble (corrara) temple |
| Identify. | Archaistic relief of Apollo, Diana, and Leto from Temple of Apollo Palatinus, Rome, Galleria Albani e collezione archeologico, 9 October 28 BCE, choice to have it done in the Archaic style, Apollo accepting sacrifice from a winged female, three cult statues inside said to be these 3 gods, sculpture technique has improved imitating archaic style, facial features archaic (no archaic smiles), position displays movement (walking) but static, selects this style to show power, temple in the background resembles temples during the archaic period (acroteria sculpture, gorgon, antefix) |
| Identify. | Terracotta relief plaque, Temple of Apollo Palatinus, 28 BCE, Museo Palatino, Rome, Apollo and Hercules struggle for Tripod at Delphi, Augustus connects himself to Apollo, Mark Antony connects himself to Hercules, mythical allusion to defeating Antony, archaizing elements and style, painted (blue-expensive pain imported from Egypt) |
