| Identify. | Apollo Barberini, 1st-2nd cent BCE, Munich Glyptothek, possible copy of the cult statue at the Temple of Apollo, dress is more Greek in style, depicted in a feminine way (which is common for Apollo), classical elements (contrapposto, serene expression, movement, drapery), in Temple of Apollo the Sibylline Books were kept underneath the cult statue of Apollo |
| Identify. | marble head of Livia Drusilla, Fayon (Egypt), copy from 4th cent. CE of 27-23 BCE original, New York Carlsburg Glyptothek, Copenhagen, Livia married Augustus in 37 BCE, depicted with delicate features some individual features and veristic elements, also smooth and idealistic, hair not usually done in ornate way to connect to Augutus's theme of prosperity and modesty, hair put up in a bun with a plate of hair pulled up at the front. |
| Identify. | Livia Drusilla as goddess Ceres (Roman fertility goddess associated with seasons and agriculture) or Ops (fertility goddess associated with seasons and agriculture but of Roman origin), contrapposto can be seen through heavy skirts, face matches that of her other portraits (how we know its her), modest hair |
| Identify. | Forum of Julius Caesar, started in 52 BCE and inaugurated in 46 BCE, Temple of Venus Genetrix, brick faced with carrara and travertine, peripteros sine postico, republican forum plan similar to Forums seen in colonies such as Ostia and Pompeii |
| Identify. | Forum of Augustus, late 1st cent BCE, vowed in 42 BCE (Battle of Philippi), began in 28 BCE and dedicated in 2 BCE, Temple of Mars Ultor (making a statement about avenging Caesar's death, tying Roman religion and military) Exedrae (open area, semicircles, used for law courts and other public events), Summi viri (greatest men) statues decorated the exedrae, they look back on Republican Romans and myth (making a statement about the kind of Rome he wants to create), equestrian statue of Augustus in the center |
| Identify. | Jupiter Ammon Shield and Caryatid of side colonnade Attics, currently in Museum dei Fori Imperiali, traditional shield design (feathered design, gioche pattern, strigil pattern), hellenistic sculpture (bearded, curly hair), deep sculpture in ceiling, columns like the Erechtheion (women done in a more traditional style) |
| Identify. | Statue of Mars Ultor, Capitoline Museum, wearing all armor, elaborate helmet, Contrapposto leaning on spear, Greek/Classical inspo (beard, curly hair, contrapposto), elaborate decor on cuirass (similar to Prima Porta) |
| Identify. | Pediment of Mars Ultor relief; ca mid 1st cent CE; Ara Prietatis Agustae; open pediment; sculptures filling interior; tells a history of Rome; figures from right to left are/represent the Palatine Hill, Romulus, Venus with cupid, Mars Ultor (center), Fortuna (fortune), Roma, Tiber; Venus, Mars Ultor, and Fortuna represent Augustus's ideals; when rivers are personified they are often reclining |
| Identify | wall paintings from Pompeii, 1st cent. CE, (left) Romulus, (right) Aeneas with Anchises and Iulus, thought to be what statues were placed in the main niche in the Exedra in Augutus's Forum, 2 different foundation myths, tying themselves to the Greeks and to those who fought at the Trojan War |
| Identify. | Mausoleum of Augustus, 28-23 BCE, begun after the Battle of Actium (31 BCE), 290 ft. in diameter, in Campus Martius, Rome, concrete construction, outer wall faced with travertine, bronze statue of Augustus at apex (exterior), earthen mound planted with trees (cypress- have connection to the gods and the underworld), central burial chamber, concrete rings, intended to bury himself and other family members here (people buried here were selected), form is similar to the Etruscan tumuli, using Italic forms with Greek/Hellenistic influence, Augustus is creating a dynastic family. |
| Identify. | Horologium, Gnomon brought to Rome in 10 CE, obelisk from Egypt, taken from Heliopolis originally erected by Psammetichus II in the 6th cent BCE, now in Piazzo del Parlimento, turned into a sun dial, casts a shadow on the pavement, shadow would fall on Ara Pacis on Augustus's birthday (Sept 23), elements of Greek influence (Greek markings on pavement for sun dial), imagery of his victory over Egypt |
| Identify. | Theatre of Marcellus, Rome, dedicated 13 or 11 BCE, Marcellus had been married to Augustus's daughter, he was well-liked and his death was mourned by the "royal" family, tufa, concrete with opus reticulatum (individual diamond shaped bricks placed), faced with travertine, traditional roman theatre, stage taller than seating, covering that could be pulled out over seating, shrine to get around he laws, mixed column style (each level had its own style) |
| Identify. | Ara Pacis, Altar of Augustan Peace, on Campus Martius, built between 13 and 9 BCE by senate in honor of Augustus, commissioned on 4 July 13 BCE, dedicated on 30 January 9 BCE (Livia's bday), dedicated to Pax (Roman goddess of peace), located in the Ara Pacis Museum, relocated when it was excavated, reliefs outside, follows plan of a Greek or Hellenistic altar, decoration is Roman, 2 procession scenes (static, low relief, overall more Roman in style), small myth scenes (style has more Greek inspiration), polychrome (painted), nature motif around lower half of the outer walls, shows order in nature, meander between nature and narrative reliefs, shows fertility in new empire, excavation pushed by Mussolini who adopted some of the imagery as fascist imagery. |
| Identify. | Ara Pacis Nature relief, Ara Pacis Museum, 13-9 BCE, more than 50 identifiable species of plants and animals, on lower half of the outer walls, scrolling acanthus leaves, pilasters with candelabra, order within the complexity of nature, fertility in new empure |
| Identify. | Ara Pacis, Ara Pacis Museum, 13-9 BCE, Lupercal (grotto on Palatine Hill), Romulus and Remus, she-wolf, Mars and Faustulus, very fragmentary, can piece it together because of other depictions of this scene, representation of the myth of Romulus and Remus being found, Mars looking over them |
| Identify. | Ara Pacis sacrifice scene, Ara Pacis Museum, 13-9 BCE, possibly Aeneas or Numan Pompilius, temple in the background, seated figures in shrine thought to be Penates (household gods), the scene (whether it be Aeneas or Numan Pompilius) represents the religious foundation of Rome, know he is making a sacrifice because if head is covered the same way men in Rome do when they make sacrifices |
| Identify. | Ara Pacis, Ara Pacis Museum, 13-9 BCE, central female figure with two children, representation of a goddess (could be Pax, Tellus, or Venus), flanks by two women riding animals, ox and sheep - represent harmony and peace, connecting to Pax Romana, female figures riding animals likely personifications of winds, Greek inspiration (deep drapery, classical, almost looks wet and see through, naked) |
| Identify. | Ara Pacis Roma relief, Ara Pacis Museum, 13-9 BCE, Roma is almost always depicted sitting on shield, shows military power and that they've conquered other places, very fragmentary, reconstruction is based on other images of Roma |
| Identify. | North side wall Ara Pacis, Ara Pacis Museum, 13-9 BCE, procession scene, walking west, procession of senators with laurel wreaths, priests holding incense that would have been involved in sacrifices, animation vitality, all are walking but some have unique actions as well (ie looking), stacked figures to show depth, isocephaly (heads at the same level) |
| Identify. | South side wall Ara Pacis, Ara Pacis Museum, 13-9 BCE, Augustus followed by 4 Flamines (priests), they are carrying Fascus (bundle of sticks with axe to show power and strength of the Roman army), Agrippa (head covered) following priests, child holding Agrippa's sleeve wearing a torque instead of a bulla, thought to be a child taken from a conquered area, woman either Livia or Julia, religious festival (but serious/somber) |
| Identify. | Tomb of Eurysaces; Rome; ca 20 BCE, for Marcus Vergilius Eurysaces; possibly a freedman; inscription says "This is the tomb of Marcus Vergilius Eurysaces, baker, contractor, public servant"; pillars and holes thought to be a visual representation of his occupation (break baking); a wealthy member of society who was not in the upper class; frieze showing process of baking bread (milling grain, working with grain, making dough, baking); unique design for a tomb; corinthian columns; made with concrete, tufa blocks, travertine |
| Identify. | Temple of Mercury, Baiae (Bay of Naples), Augustan, not a temple for Mercury but a public Roman bath, it was the largest dome in the world until the construction of the Pantheon (71 ft in diameter), good example of innovations with concrete, oculus (opening on the top allowing light to come in, throughout out the day it shines light on different parts of the interior of the dome), made out of tufa blocks and concrete, does not appear large because the vertical part of the wall is short, learning curve (when they built the Pantheon they made the vertical part of the wall higher) |
| Identify. | portrait of Tiberius, 13 CE, Phrygian Marble, Louvre, Paris, some veristic elements, more smooth and idealized, hair (while shorter) is similar to Augustus, copied the "comma locks" hairstyle to directly tie himself to Augustus, other physical similarities in their depictions include wide forehead, furrowed brow, deep set eyes, chin and mouth almost identical to portraits of Augustus, while not related tried to imitate Augustus's look to show connection |
| Identify. | Boscoreale cup A, after 10 CE, Louvre, Paris, silver cup with 2 handles, the figures/scene on the side probably imitates some public art/state relief that does not survive, Augustus is seated and is being handed a sculpture of victory (?), Augustus is holding a globe as well, symbolism for the large empire he rules and how he is the bringer of Pax Romana, expensive, possibly a gift |
| Identify. | Boscoreale cup B, after 10 CE, maybe the Louvre, 2 handled silver cup, shows Tiberius in a chariot during a triumph, Tiberius becomes ruler as an already accomplished general, showing him as a military victor, shows a bull about to be sacrificed, Tiberius also depicted on the other side overlooking the sacrifice |
| Identify. | Gemma Augustea, probably commissioned at the end of Augustus's reign or the beginning of Tiberius's reign, 15 CE, gem carving has been popular in Italy since the Etruscans, large compared to most gem carvings (7.5 * 9 in), probably commissioned as a private piece by Tiberius which would then be shown off, cameo on bluish-black onyx gemstone. Top register: depicts Augustus on a throne mostly nude leaning on a sceptor (greek in style), he is being crowned (the civic crown) by Oikoumene (Harmony), he is seated next to Roma who is wearing a helmet and resting a foot on a shield, Tiberius is off to the left stepping off a chariot (symbolism for his military victories), Victory is behind Tiberius, Tellus to the right with 2 children. It is showing Augustus as one of the gods. Bottom register: depicts Tiberius's victory over the Germans in 12 BCE, the figures wearing helmets are the Romans, they are holding the Tropian (a symbol of victory), the scene is mid action, they are setting it up over the conquered Germans, believed that Castor and Pollux are two of the soldiers, the figure helping set up the tropian in the elaborate helmet and cape could be Mars, the one female figure is most likely Diana. There are elements of portraiture (realistic faces). Showing the feats of Rome at the time. |
| Identify. | Saepinum Gate, 15 CE, Saepinum (Roman colony), opus reticulatum (diamond shaped blocks put into the concrete), style has strong Italic ties (similar to gates from the past ie. Voltera), inscription on the gate says that it was built by Tiberius, protome on keystone (human head, possibly apatropaic), 2 high relief sculptures on either side are of bound captives, for those living there these defensive infrastructure projects show stability, for outsiders the two relief sculptures serve as a warning of what will happen if they try to breach the wall. |
| Identify | Villa Jovis, Capri, Reign of Tiberius, 14-37 BCE, barrel vaults and cisterns (water for baths and kitchen), pavement atop barrel vaults to create a large court, north side is apartments, south side is a bath complex, western side court and admin, east side is a long hall and entertainment area, Ambulatio with triclinium (walkway/terrace looking out over the water) |
