From Seven Hills to Three Continents: The Art of Ancient Rome
	Republic :: Pompeii And The Cities Of Vesuvius :: Early Empire :: High Empire :: Late Empire		Images courtesy of Saskia Ltd.
	EARLY EMPIRE Antony and Cleopatra: The murder of Julius Caesar on the Ides of March, 44 BCE, plunged the Roman world into a bloody civil war. The fighting had lasted 13 years and ended only when Octavian (Augustus), Caesar's grandnephew and adopted son, crushed the naval forces of Mark Antony and Queen Cleopatra of Egypt. Octavian dbecame the undisputed master of the Roman world as the Emperor Augustus. The battle signaled the end of the absorption of the Hellenistic kingdoms into the Roman Empire. The old Roman Republic ended in 27 BCE when the Senate conferred on Octavian the title of Augustus. The Pax Romana: The peace and prosperity Augustus brought to the Mediterranean world and which prevailed for two centuries is known as the Pax Romana. During this time a number of public works were commissioned throughout the empire. Augustus and the Julio-Claudians (27 BCE-68 CE) Augustus, son of a god: When Octavian inherited Caesar's fortune in 44 BCE, he was not yet 19 years old. The following portrait of Augustus is a copy of an original bronze in the traditional Greek idealized manner. 10-25: Portrait of Augustus as general, from Primaporta, Italy, copy of a bronze original of ca. 20 BCE. Marble, 6' 8" high. Vatican Museums, Rome. various views various views various views various views various views Livia, never-aging empress: The idealized portrait of Livia is derived from images of Classical Greek goddesses. 10-26: Portrait bust of Livia, from Faiyum, Egypt, early first century CE. Marble, approx. 1' 1 1/2" high. Ny Carlsberg Glyptotek, Copenhagen. Livia Livia Livia Livia Livia A shrine to peace: The Ara Pacis Augustae (Altar of Augustan Peace) celebrates the establishment of peace by Augustus. The processions carved in relief on the north and south sides depict a specific event.
	10-27: Ara Pacis Augustae (Altar of Augustan Peace), Rome, Italy, 13-9: BCE. (View from the southwest). various views various views various views various views various views
	10-28: Female personification (Tellus?), panel from the east facade of the Ara Pacis Augustae, Rome, Italy, 13-9: BCE. Marble, approx. 5' 3" high. panel panel panel panel panel panel
	10-29: Procession of the imperial family, detail of the south frieze of the Ara Pacis Augustae, Rome, Italy, 13-9: BCE. Marble, approx. 5' 3" high. frieze frieze frieze frieze frieze Rome, the marble city: Augustus boasted that he had found Rome a city of brick and transformed it into a city of marble. Rome in France: The Forum of Augustus is in ruins today, but the conservative neoclassical Augustan style it epitomizes may be seen in an exceptionally well preserved temple at Nimes in southern France. The classicizing style of the so-called Maison Carrée was admired by Thomas Jefferson, who used it as the model for his design of the State Capitol in Richmond, Virginia. The Romans also built aqueducts, roads, and bridges to serve colonies throughout the far-flung empire. The three-story aqueduct-bridge known today as the Pont-du-Gard demonstrates the skill of Rome's engineers.
	10-30: Maison Carrée, Nîmes, France, ca. 1-10: CE. temple temple temple temple temple
	10-31: Pont-du-Gard, Nîmes, France, ca. 16 BCE. bridge bridge detail detail bridge bridge Claudian rustication: Constructed at a point where two of Rome's water lines and two major roads converged, the Porta Maggiore is an outstanding example of the Roman rusticated (rough) masonry style.
	10-32: Porta Maggiore, Rome, Italy, ca. 50 CE. gateway gateway gateway gateway Nero's golden house: Nero's Domus Aurea was richly decorated with marble paneling, painted and gilded stucco, as well as frescoes. The design of the octagonal hall shows an inventive and new approach to concrete architecture. 10-33: SEVERUS and CELER, plan and section of the octagonal hall of the Domus Aurea (Golden House) of Nero, Rome, Italy, 64-68: CE. section plan plan photographs The Flavians (69-96: CE): The suicide of Nero in 68 CE brought an end to the Julio-Claudian dynasty. Following a period of civil strife, Vespasian emerged as the new emperor. Vespasian, whose family name was Flavius, was succeeded by his Titus. After Titus's death in 81 CE, Vespasian's second son, Domitian, became emperor. Colossus and Colosseum: The Flavian Amphitheater, as it was known in its own day, was one of Vespasian's first undertakings after becoming emperor. The site chosen was the artificial lake on the grounds of Nero's Domus Aurea, which was drained for the purpose. The Colosseum takes its name not from its size - it could hold more than 50,000 spectators - but from its location beside the Colossus of Nero, the huge statue of the emperor portrayed as the sun god, at the entrance to his urban villa.
	10-34: Colosseum (Flavian Amphitheater), Rome, Italy, ca. 70-80: CE. various views exterior exterior entrance entrance interior various views exterior exterior exterior detail interior An engineering marvel: The Colosseum was built using concrete. The oval seating area is supported by a complex system of concrete barrel vaults. The exterior, made of travertine, is divided into four bands. The large arched openings that pierce the lower three are framed by engaged columns with Tuscan Doric capitals at the bottom, then Ionic capitals, and Corinthian capitals on the third level. The huge amphitheater in Rome known as the Colosseum was begun by Vespasian and completed by Titus in 80 CE. The revival of verism: The simple tastes of Vespasian are apparent in his portrait, which perhaps deliberately resuscitates the veristic tradition of the Republic. 10-35: Portrait of Vespasian, from Ostia, Italy, ca. 69-79: CE. Marble, approx. 1' 4" high. Museo Nazionale Romano-Palazzo Massimo alle Terme, Rome. Vespasian Vespasian Vespasian Vespasian Vespasian An elegant Flavian woman: A portrait bust of a young woman is notable for its elegance and delicacy and for the virtuoso rendering of the differing textures of hair and flesh.
	10-36: Portrait bust of a Flavian woman, from Rome, Italy, ca. 90 CE. Marble, approx. 2' 1" high. Museo Capitolino, Rome. bust bust rear rear rear similar A new arch for a new god: Erected after Titus's death by Domitian, the single arched opening is framed by engaged columns with Composite capitals. The spandrels contain reliefs of winged female Victory figures.
	10-37: Arch of Titus, Rome, Italy, after 81 CE. various views view view various views drawing The spoils of Jerusalem: Two large, deeply carved relief panels on the inside of the passageway show the triumphal parade of Titus down the Sacred Way after his return from the conquest of Judaea at the end of the Jewish Wars in 70 CE.
	10-38: Spoils of Jerusalem, relief panel from the Arch of Titus, Rome, Italy, after 81 CE. Marble, approx. 7' 10" high. relief relief relief relief relief Titus in triumph: The seeming historical accuracy of the spoils panel (10-38:) that closely corresponds to the contemporary description of Titus's triumph by the Jewish historian Josephus - gave way in the following panel to allegory.
	10-39: Triumph of Titus, relief panel from the Arch of Titus, Rome, Italy, after 81 CE. Marble, approx. 7' 10" high. relief relief relief relief relief
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