| Identify. | Equestrian statue of Marcus Aurelius, ca 164-166 CE, bronze, Capitoline Museum, would have been gilded with gold, triumphal return, motion (ie. horse), placed out in open space (meant to be looked at from multiple angles), lot of attention given to his hair and beard, idealized adulthood (almond shaped eyes, deep set eyes, shape of mouth), moved to Campidoglio by Michelangelo (her from 1538-1981, thought to be Constantine) |
| Identify. | Hadrianeum, Temple of Hadrian, 145 CE, now Rome's chamber of commerce, reliefs of personifications of provinces and trophies that were important to Hadrian (places he traveled, places he conquered), inspired by Hellenistic art and then the art of the provinces (wavy hair, idealized, looking off into the distance), reliefs could have been between columns. |
| Identify. | Column of Marcus Aurelius, white carrara marble, begun in reign of Aurelius finished in 192 CE by Septimius Severus, inspired by column of Trajan (same height, helical reliefs), shows 2 campaigns he fought against Germanic tribes across the Danube, lines are bolder and figures are done in higher relief (probably to make it easier to see), less classicizing in style |
| identify. | Painted tondo from Fayon, Egypt, ca 199 CE, now in Staatliche Museum, Berlin, part of tondo (cup), pained (in same style as mummy portraits), style advances since Augustus, Septimius Severus, Julia Domna (wife), Caracalla and Greta, Greta recieved damnatio memoriae (face scratched out), jewelry, crown (gold, look like laurel wreath), holding sceptre, pear necklace and earing coming into fashion |
| Identify. | Arch of Septimius Severus, 203 CE, commemorates victory of the Parthians (triumph in 202 CE, gone under semi-permanent arch in this location), much larger than Arch of Titus, triple bayed arch (arcuated openings, 1st surviving example in Rome), panels over side bays (decoration), 4 free-standing columns on pedestals decorated with Parthians and Roman soldiers |
| Identify. | Severan Marble Plan, Forma Urbis Romae, created by Septimius, ca. 203-211 CE, lets us know what Rome looked like at this time, originally hung in the Temple of Peace, probably taken down and gradually destroyed in middle ages, rediscovered in 1562, detailed architectural plan, only about 10% remains today |
| Identify. | marble portrait head of Carcalla, early-mid 3rd cent, now in The Met, heavy creased brow, cropped short hair, plasticity shifts from hair to face/facial features (deeply carved, play of light and shadow), typically beardless or with a very short beard |
| Identify. | Baths of Carcalla, dedicated 216 CE, imperial bath type (open space, exedra, hemicycles, central block for bathing in center) |
| Identify. | Farnese Hercules, from frigidarium of the baths of Carcalla, ca early 3rd cent CE, Naples Archaeological Museum, Roman copy by Glykon in Athens of Greek sculpture by Lysippos from 330 BCE, leaning, tired, using forms of classical style (contrapposto, musculature is emphasized a lot), not frontal (different from most classical sculptures) |
| Identify. | Farnese Bull, from Baths of Carcalla, Hellenistic original marble sculpture, some figures (esp. animals) thought to be later additions or restored in Middle Ages, found during 16th century excavations, now in Napes Archaeological Museum, largest single sculpture found in antiquity, shows Dirce (wife of Lykos, king of Thebes) tied to a bull, dynamic, lots of motion (bull resisting, men struggling), dramatic |
| Identify. | Porta San Sebastiao, built during crisis (sometime between 235-284 CE), gate to Appian Way, redone by pope in the Middle Ages (towers not original) |
| Identify. | Aurelian Walls, built during crisis (sometime between 235-284 CE), brick faced with concrete, incorporation of older monuments (just built walls around them), fortified gates made of stone at major roads (18) |
| Identify. | Diocletian, wearing crown (almost in the round), large, detailed, deep furrowed brow, facial features more general |
| Identify. | Four Tetrachs, 300 CE, porphyry sculpture, now in facade of St. Mark's Basilica in Venice, Diocletian started new form of government where four people held power, probably 2 separate sculptures of 2 figures, contested which is which (2 who rule same area embracing or one from one area embracing one from another area) |
| Identify. | Baths of Diocletian, ca 298-396 CE, largest imperial baths, now museum of antiques, exedra becomes Piazza della Repubblica, Santa Maria Delgi Angelo, marbles reused, extremely tall spaces, domes & groin vaults |
| Identify. | Basilica Nova, in Roman Forum, 306-313 CE, finished by Constantine in 313 CE, reaffirms primacy of Rome (as a capital, after four Tetrachs), great hall for public affairs, had claristory, highly decorated, concrete faced with brick, variegated marble revetments (thin marble), coffered ceilings (blue with gold gilding), geometric marble floor, sculptures of past emperors, major political and administrative center in Rome |
| Identify. | Colossus of Constantine, 313 CE, Capitoline Museum, 30 ft, head 8'6" ft, abstract geometric image, eyes almost cartoonish, can tell generally what he may have looked like, proportions are off, not veristic/realism, acrolithic sculpture, seated (knee bent), possibly held a staff, other hand pointing up (reference to christian god?), 1st cleanshaven portrait of a man since Trajan |
| Identify. | Old St. Peter's Basilica, 320-330 CE, flat timbered roof, nave divided with columns, singular frontal view, single focus down long axis, open peristyle/atrium (elements get incorporated into piazza later on) |
| Identify. | Arch of Constantine, 312-315 CE, next to Colosseum, commemorates civil war (direct reference/celebration, very different from Augustus's approach), triple bayed arch, appropriated of panels from older monuments, mix of carving styles |
