The Art of the Italian Peninsula and Roman Empire

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The Art of the Italian Peninsula and Roman Empire

• Adaptation and Change

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Growth of the Roman Empire
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Timeline

• For the Metropolitan Museum Interactive Timeline
  click here
• http//www.metmuseum.org/toah/ht/04/eust/ht04eust.
  htm

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Italy Before the Romans

• The Art of the Etruscans

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Etruria

• Somewhere between 900 and 800 BCE, the Italian
  peninsula was settled by a mysterious peoples
  called the Etruscans. Archaeologists suspect that
  they came from the eastern Mediteranean, possibly
  Asia Minor. We know that when they came to Italy,
  they brought civilization and urbanisation with
  them.

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Studying Etruscan Art

• In studying Etruscan art, we must remember that
  much of their works did not survive to the
  present day.. As a result, we have a skewed
  perception of Etruscan art most of the art that
  survives today is funerary art.
• From excavations at Murlo, Roselle and other city
  sites, it is apparent that art was a normal part
  of Etruscan life. In Murlo, a seventh century
  Etruscan villa has been unearthed, revealing
  large painted terracotta panels adorning the
  entrances. Necropolis art in the form of
  polychrome reliefs and frescoes hint that the
  Etruscans used colour to great advantage even
  from the earliest times. Although painted tombs
  are among the most famous, it should be
  remembered that these represent a minority, and
  that only the aristocratic families could afford
  such luxuries as tomb frescoes.

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Etruscan Grave Art

• Fibula with Orientalizing lions from the
  Regolini-Galassi Tomb, Cerveteri, ca. 650-640 BCE
  (P. 232 -Gardners)

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Fibula with Orientalizing Lions
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Model of a typical Etruscan temple
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A typical Etruscan temple
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A typical Etruscan temple

• Similar to a Greek temple, it served as an
  ornate home for cult images.
• Made of mud-brick, not stone, only partially
  reflecting Greek tradition. The columns resemble
  Greek Doric style, but were made of wood,
  unfluted, with no bases or pediment statuary.
• A narrow staircase led to a podium supported by
  columns (creating one main side, unlike Greek
  temples) three cellas for Zeus, Hera, and
  Athena.
• Narrative sculpture, made of terracotta not
  stone, was displayed along the top of the roof.

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Apulu (Apollo)

• Apulu (Apollo), from the roof of the Portonaccio
  Temple, Veii, c. 510500 BCE. Painted terracotta
  (hard baked clay that is painted/glazed)approxima
  tely 180 cm high.

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Apulu

• Apulu (Apollo), from the roof of the Portonaccio
  Temple, Veii, Painted terracotta, detail showing
  stylized hair treatment.

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The Necropolis ( a large cemetery) at Cerveteri
Cerveteri, an important trading centre situated
near Rome  was one of the most important Etruscan
cities. Gold jewelry and vases of particularly
fine workmanship were made here.
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The Necropolis at Cerveteri
Today, Cerveteri is known for its monumental
necropolis, one of the largest from the ancient
world. It is famous for the number and wealth of
the tumulus tombs discovered here. The
Banditaccia, with its painted and decorated
tombs, represents one of the most important
archeological areas in Italy.
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Tomb of the Reliefs, Cerveteri

• Interior of the Tomb of the Reliefs, Cerveteri,
  third century BCE.

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Sarcophagus at Cerveteri, p.236
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Sarcophagus from Cerveteri

• Animated reclining couple, c. 520 BCE. Painted
  terracotta, compare to Egyptian/Greek sculpture.

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Tomb of the Leopards (detail)
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Tomba caccia e pesca, Tarquinia
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Tomba caccia e pesca, (detail)
Detail of fresco in the Tomb of Hunting and
Fishing, Tarquinia, c. 530520 BCE.
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The Capitoline Wolf c. 500-480 BCE
Capitoline Wolf, Etruscan, c. 500480 BCE.
Bronze, approx. 80 cm
high. Palazzo dei Conservatori, Rome.
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The Chimera of Arezzo
Chimera of Arezzo, first half of fourth century
BCE. Bronze, approx. 80 cm high.
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Ficoroni Cista

• Novios Plautios, Ficoroni Cista, from Palestrina,
  late fourth century BCE. Bronze, approx. 80 cm.
  high.
• Used for womens combs, brushes, etc, such
  cistae were commonly given as gifts to both the
  living and the dead.
• Novios Plautios was an Etruscan artist living in
  Rome.

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Porta Marzia

• Porta Marzia, Etruscan city gate, Perugia, second
  century BCE.
• Note the combination of Greek and Roman styles

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Sarcophagus of Lars Pulena

• Sarcophagus of Lars Pulena, from Tarquinia, early
  second century BCE. Tufa, approx. 2 metres long.

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Sarcophagus of Lars Pulena

• Sarcophagus of Lars Pulena, detail, showing
  Etruscan writing.

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Etruscan Sarcophagus

• In late Etruscan sarcophagi, the matrimonial
  couple is no longer shown and the air of festive
  banqueting is gone.

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Aule Metele

• The portrait of Aule Metele as a magistrate
  raising his arm to address an assembly is a
  supremely self-confident image.
• This late Etruscan statue proves that they
  continued to be experts in bronze casting long
  after the Roman came to dominate the Italian
  peninsula. Most likely produced in the early
  first century BCE when Rome gained complete
  domination of the Etruscan region and conferred
  Roman citizenship upon all the inhabitants of
  Italy.

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From Seven Hills to Three Continents

• The Art of Ancient Rome

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ARCHITECTURE of the Repulic
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Temple of Fortuna Virillis

• This temple combines both Etruscan and Greek
  design elements. Like Greek temples, it has a
  porch (pronaos) with free-standing columns.
  Slender engaged Ionic columns are found on the
  sides and back -a style called pseudoperipteral.

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Temple of Fortuna Virillis, 248

• Etruscan influences set on a high podium, the
  Temple of Fortuna Virillis has stairs only on the
  front facade.

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Temple of Fortuna Virillis

• In plan, it is like Etruscan temples, with a
  clear front and rear facade.

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Temple of Vesta or the Sibyl

• One of a number of temples on the ancient
  acropolis at Tivoli, it was built c. 60 BCE..
• The peristyle of eighteen fluted Corinthian
  columns was of travertine..
• The design and workmanship are show a knowledge
  of ancient Greek round temples such as the THOLOS
  at Delphi.

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Temple of Vesta or the Sibyl

• Corinthian columns on the Temple of Vesta.

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Sanctuary of Fortuna Primgenia
Erected on a foundation of poured concrete, the
Sanctuary of Fortuna Primigenia (120 - 80 BCE) is
a massive temple complex located at Palestrina
just outside Rome. Built on the site of an
earlier oracle, the compound spread over seven
terraced levels - the whole hillside was reworked
as Roman builders never turned away from the
opportunity to do massive earthwork in order to
create a major architectural statement.
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Sanctuary of Fortuna Primgenia
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Sanctuary of Fortuna Primgenia
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Roman patrician, 250
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Villa of the mysteries, Pompeii,257
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(No Transcript)
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Second style fresco, Boscoreale
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Second style, Villa of Livia, 258
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Boscoreale Room , Met Museum
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Vettii House, all 4 styles, 262
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Double Portrait from Pompeii, 263

• Double portrait. "Terentius Neo" (studiosus or
  attorney and wife). Roman fresco, 1st century CE.
  Pompeii. Naples, National Museum.

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Augustus of Primaporta,265

• Statue of the first Emperor, Augustus, named
  after the town of Primaporta where it was found.
  Born Gaius Octavius, Augustus changed his name
  upon becoming Emperor. Great nephew of Julius
  Caesar, Octavian defeated Anthony and Cleopatra,
  taking control of the Empire and ending the civil
  wars which followed the assassination of Julius
  Caesar.

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Augustus of Primaporta

• The Emperor stands with his arm extended as if
  addressing his troops, carrying his staff of
  office in his left hand. His breastplate depicts
  the return of the Roman standard from a
  successful military campaign. The head was a mass
  produced stereotype, common throughout the
  Empire, so Augustus would be easily recognized by
  the populace

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Ara Pacis Augustae.267

• The Ara Pacis, Altar of Peace, was erected by
  Augustus between 13 and 9 BCE to commemorate his
  triumphal return to Rome following the end of
  civil war and the establishment of firm Roman
  rule in Spain and France.

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Ara Pacis Augustae

• Detail The Procession of the Family

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Ara Pacis Augustae

• Panels on the east and west ends depict carefully
  selected mythological subjects. There is a
  procession (like the Parthenon frieze) of the
  imperial family and important dignitaries paying
  homage to Augustus.
• The sculptors of the Ara Pacis depicted actual
  individuals. They represented spatial depth by
  carving closer elements in high relief and those
  farther back in lower relief.

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Ara Pacis Augustae

• Detail Tellus, the earth-mother goddess.

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Colosseum interior,271
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Arch of Titus, 273
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Arch of Titus (detail)

• Roman soldiers carrying home spoils of the
  destruction of the Second Temple, Jerusalem, 70
  CE.

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Trajans column, 276
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Pantheon, 279
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Pantheon exterior, 279
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Pantheon interior
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Marcus Aurelius, 286