A History of Roman Art
A HISTORY OF ROMAN ART is a new authoritative and lavishly-illustrated survey of the art of Rome and the Roman Empire from the time of Romulus to the death of Constantine, presented in its historical, political, and social context. All aspects of Roman art and architecture are treated, including private art and domestic architecture, the art of the Eastern and Western provinces, the art of freedmen, and the so-called minor arts, including cameos, silverware, and coins. The book is divided into four parts-Monarchy and Republic, Early Empire, High Empire, and Late Empire-and traces the development of Roman art from its beginnings in the 8th century BCE to the mid fourth century CE, with special chapters devoted to Pompeii and Herculaneum, Ostia, funerary and provincial art and architecture, and the earliest Christian art.
(imitating the Greek Classical style) temples, basilicas, and porticos that the 1 Strabo, Geography, 5.3.9. Translated by Horace Leonard Jones, The Geography of Strabo, vol. 2 (Cambridge, Mass.: Harvard University Press, 1960), 409. 6-4 Third Style mural paintings in the burial chamber of the tomb of Caius Cestius,Via Ostiensis, Rome, ca 15 BCE. (Drawing after a 1697 engraving by Pietro Santi Bartoli.) Tomb of Caius Cestius,Via Ostiensis, Rome, ca. 15 BCE. emperor erected throughout his new.
The tomb he had built for Atistia and to join her in the afterlife. 6-7 Portrait relief of a husband and wife, from Via Statilia, Rome, ca. 75 – 50 BCE. Marble, 5 10 78 ؆ high. Musei Capitolini – Centrale Montemartini, Rome. RELIEF OF THE SERVILII The importance of personhood, citizenship, and family among newly enfranchised slaves is especially clear on those funerary reliefs where inscriptions are preserved naming those portrayed. The fragmentary portrait relief (Fig. 6-8) of the Servilii.
Elaborate coiffure of curls, and Nero’s (Fig. 8-13) represents him as a boy still wearing the youthful bulla (compare Fig. 6-8). He did not reach adulthood until 51 ce, so his portrait and that of his mother must have been set up between 48 and 51, probably as additions to a smaller group of Claudius and others. Nero is portrayed as a prince and emperor-in-waiting, with a round face and long locks of hair combed down over his forehead and parted in the middle. JULIO-CLAUDIANS AT RAVENNA In the.
However, all gladiators who competed in the Colosseum were state-owned to ensure that they could not be used as a private army to overthrow the government. Although every gladiator faced death every time he entered the arena, some had long careers and achieved considerable fame. Others, for example, criminals or captured enemies, were sent into the amphitheater without any training and without defensive weapons. Those “games” were a form of capital punishment coupled with entertainment for the.
The “Vatican Vergil,” which dates from the early fifth century. It originally contained more than 200 pictures illustrating all of Vergil’s works. Only 50 painted pages remain. They illustrate passages in Vergil’s epic saga, the Aeneid, and his pastoral poems, the Georgics. The page reproduced here (Fig. 10-21) includes a section of text from the Georgics at the top and a framed illustration below. Vergil recounts his visit to a modest farm near Tarentum (Taranto, in southern Italy) belonging to.