| Identify. | Polythemus sculpture, Sperlonga Grotto, 1st cent BCE or CE, Museo Archeologico Nazionale, Sperlonga, myth theme (Odysseus blinding Polythemus in a cave), play on diagonal lines, energetic and dynamic composition, in a space were you would move around it and see it from different angles, over life sized, Hellenistic Baroque (play with light and shadow, movement/positions, musculature, deeply carved hair) |
| Identify. | Scylla-monster sculpture, Sperlonga Grotto, 1st cent BCE or CE, Museo Archeologico Nazionale, Sperlonga, depicting an event from book 12 of the Odyssey, shows "her" attacking some of Odysseus's ships, torso of a woman lower body has tentacles, mid-attack (grabbing helmsman by the head, raising club, dogs either coming from lower body or belt attacking men, person falling thought to already be dead), pathos/pain, inscription of 3 sculptors (Rhodian), thought that the sculptors could be the same people who sculpted Laocoon and his sons, similarities to Laocoon sculpture (how pain is expressed, drawing in eyebrows, hair & beard, how hair frames the face) |
| Identify. | Palladium Group, Sperlonga Grotto, early 1st cent BCE or CE, Museo Archeologico Nazionale, Sperlonga, Odysseus and Diomedes steal the Palladium (cult statue of Pallas Athena that protected the city of Troy from falling), one figure striding forwards (movement/dynamic, Greek idealized body, toga wrapped/twisting around arm), cult statue looks like the archaic style |
| Identify. | Pasquino group, Sperlonga Grotto, early 1st cent BCE or CE, Museo Archeologico Nazionale, Sperlonga, this is not the sculpture but one like it, fragments named for sculpture like it in Rome, this one is thought to be Menelaus carrying the body of Patroclus, the one in the grotto probably had Odysseus carrying Patroclus (because all the other sculptures involve Odysseus) |
| Identify. | Ganymede being abducted by Zeus, Sperlonga Grotto, early 1st cent BCE or CE, Museo Archeologico Nazionale, Sperlonga, on apex of grotto, polychrome marble (expensive and imported, very fragmentary, Zeus as an eagle taking Ganymede up to Olympus (why its raised above the other sculptures) |
| Identify. | portrait of Caligula, 37 CE, found in Asia Minor, NY Carlsberg Glyoptotek, Copenhagen, painted marble (can see remains of paint), comma locks (still connected public image to Augustus), proportions similar to Augustus portraits (square, wide forehead; narrower chin), idealized (though this was a portrait of him as a youth) |
| Identify. | Claudius as Jupiter, Lanuvium, ca 50 CE, Vatican Museums, marble, eagle by feet and crown of oak leaves, toga, idealized, contrapposto, leaning on scepter, comma locks, some verism (lines in face, deep set eyes), shift in portrayal of musculature (larger), deeply carved drapery |
| Identify. | Grand Camee, ca 50 CE (or 27 CE), Cabinet des Medailles, Biblotheque Nazionale, Paris, either Tiberius or Claudius, Sardonyx (carved into white vein), three registers (top-down: deceased ancestors and divine figures, current imperial family members, conquered barbarians), large compared to other gem carvings, women and children included in the register with current imperial family members. |
| Identify. | Ara Pietatis (reliefs), Rome, ca 43 CE, Villa Medici, marble, vowed by Tiberius and completed by Claudius, similar themes to Ara Pacis (sacrifice scene, Roman dignitaries and priests in low relief), some advance in style when compared with Ara Pacis, temple in background, heads at same level |
| Identify. | Porta Maggiore, greater gate of Rome, ca 50 CE, crossing of two aqueducts in attic, gate/double archway reminiscent of victory arc, travertine, dressed and undressed stone (rusticated masonry - less finished, more natural), decorated with pediments and corinthian columns (looks like a shrine) |
| Identify. | Columbarium of Vaghri Codini, Rome, 1st cent CE, brick with stone faced and painted plaster, three rooms, Olla(c) - pots used as cinerary urns, some portraits (follow veristic elements), 2/3 burials have inscriptions (name, family, occupation), mass burial used by non-elites |
| Identify. | Columbarium of Pomponius Hylas, ca 14-54 CE, underground, carved out of bedrock, three niches (1 held freedman of Tiberius and 1 Claudia Octavia), freedman obtaining name/recalling relationship to imperial family, freedman Pomponius Hylas bought and decorated the columbarium, people outside of his family still use it, mosaic (has an inscription identifying him, griffins facing each other - apatropaic), painting (blue - expensive) of myth scenes, elements carved into it to look like a shrine |
| Identify. | Temple of Deified Claudius, Caelian Hill, huge temple complex, Claudius turned into a god after his death, large podium (only thing that survives), arcade out of travertine for support, built by Agrippa after his death, Nero destroys it in 58 CE, Vespasian rebuilds the temple for Claudius, know plan of the temple from Forma Ubris Romae (stone plan of Rome) |
| Identify. | Portrait of Nero, 59 CE, Palatine Hill, now in Museo Palatino, Rome, marble, bulbous head, thick neck/double chin, always depicted with neck beard, comma locks |
| Identify. | Domus Aurea, octagional room, 64-68 CE, concrete, room may have been able to rotate, oculus would highlight different parts of the room at different times of the day, entertainment space, thought to be different innovations (ie flower cannon) |
| Identify. | Colossos of Nero, put up sometime between 64-68 CE, sculpted by Zenodorus, bronze over life sized statue of Nero (think statue of liberty size), contrapposto, Damnatio Memoriae - moved by Flavians in front of their ampitheatre (Colosseum), Vespasian adds sun beam crown to make it Sol |
| Identify. | Bust of Emperor Titus, Capitoline Museum, verism (wide head, receding hairline, deep eyes), similar to how Vespasian depicted himself |
| Identify. | Herculanium Titus, before 79 CE, from Herculanium, depicting him as emperor, white marble, painted, general headshape and features of Vespasian, probably leaning on a spear that does not survive, similar to Augustus of Prima Porta, veristic face (not as old, more realistic), idealized body (different proportions than classical style, more square, softer limbs) |
| Identify. | Statue of Titus, Rome, ca 70-80 CE, marble, Musei Vaticani, compare to Augustus Pontifex Maximus, deep carving in drapery |
| Identify. | Portrait bust of Domitian, 90 CE, Rome, Toledo Museum of Art (Ohio), full face, deep set eyes, hooked nose, more classicizing and less veristic than portraits of Vespasian and Titus, comma lock shaped curly hair (do not know if this was intentional or just a hairstyle), |
| Identify. | Statue of emperor Domitian, Vatican, late 1st cent CE, possible recut from Nero original, holding scroll and globe/sphere, similarity to Prima Porta, contrapposto, musculature more detailed (than Prima Porta) |
| identify. | Vespasian and Titus as heroic figures, 95 CE, marble, from shrine of Augustales, Misenum, Museo Archeologico dei Campri Flegrei, Baia, support for sculptures emphasizing military success, contrapposto, musculature is different (stockier, more square), nude (different from images of other emperors, emphasizing heroic nature, power and masculinity) |
| Identify. | Equestrian statue of Domitian, reworked as Nerva (damnatio memoriae), ca 95 CE, shrine (sacellum) of the Augustales, Misenum, rearing horse, hunting scene (not wearing boots or curiass), fitted with mask of Nerva's features, armor similar to Alexander the Great's (ie. Alexander Mosaic), figure of Hercules wrestling 2 snakes on armor (Domitian considered himself Hercules reborn, one reason we can tell its him) |
| Identify. | Portrait of an aristocratic woman, possibly Marcia Furnilla second wife of Titus, late 1st cent CE, found in Lake Albani, Flavian hairstyle (elaborate as hell), deep drilling techniques, some veristic elements (nose) but smoother features, pose of Venus Pudica (Capitoline Venus) |
| Identify. | Portrait of Domitia (wife of Domitian), 81-96 CE, verism but ideal youth, deep drilling technique, elaborate hair |
| Identify. | Bust of middle aged Flavian woman, late 1st cent CE, Capitoline Museum, marble, high verism (hooked nose, wrinkles, drooping eyes), more simplistic but still well done, hairstyle much less elaborate |
| Identify. | Cancelleria relief of adventus of Vespasian, Rome, 93-96 CE, marble, 6.75 ft, found under Palazzo della Cancelleria, Musei Vaticani, Rome, Adventus - arriving as emperor, coming home (presumably after civil way) greeting Domitian, depiction of Roma or Virtus, mix of real people and dieties, some figures taller than others because they are on stools/seated, low and high relief, all coming to and looking at the central group (drawing viewer's attention to them) |
| Identify. | Cancelleria relief of profectio of Domitian, Rome, 93-96 CE, Musei Vaticini, Rome, setting out for battle, changed to Nerva (know this because proportions are wrong, right eye much smaller, neck too long), Domitian/Nerva leading allegorical figures to battle, mix of low and high reliefs, departure of Domitian for Sarmatian War, isocephaly |
| Identify. | Tomb of Haterii, late 1st cent CE, Vatican Museums, Rome, marble, collocatio (laying out a body), in domestic context, probably in atrium of house (perspective is looking down into it), part of funerary practices, Italic conventions (mixture of groundlines/levels, hierarchy of scale), episodic narrative |
| Identify. | Tomb of Haterii, relief, late 1st cent CE, Rome, Vatican Museums, Rome, Haterii family involved with construction of several building projects under the Flavians, showing this connection, depicting mechanisms for construction (ie. construction crane), not part of imperial family but showing their connection to them, different groundlines (Italic conventions, looking back at Etruscans not classicizing Greece) |
| Identify. | Temple of Peace, Forum of Vespasian, unsure how the space functioned, know plans from Forma Urbis Romae, housed spoils of war, perhaps functioned like a museum, space with temple at the end, some materials taken by Titus from sac of Jerusalem, lots of imported marble (red granite collonade, yellow marble for screening and columns, white marble decor), gardens in center |
