Ancient Rome Ancient Rome Through conquests, Rome had become one of the Through conquests, Rome had become one of the most powerful countries in the western Mediterranean most powerful countries in the western Mediterranean by the 200's B.C. The Romans then began to expand by the 200's B.C. The Romans then began to expand in the east. In the 140's B.C., they took control of in the east. In the 140's B.C., they took control of Greece and Macedonia. Under Roman rule, the Greek Greece and Macedonia. Under Roman rule, the Greek city-states had no important military or political role. city-states had no important military or political role. But trade, agriculture, industry, and intellectual But trade, agriculture, industry, and intellectual activities flourished. activities flourished. The Romans borrowed the art, The Romans borrowed the art, religion, philosophy, and way of life of the ancient religion, philosophy, and way of life of the ancient Greeks, and they spread Greek culture throughout Greeks, and they spread Greek culture throughout their empire.their empire. The Roman Empire was divided in A.D. 395, and The Roman Empire was divided in A.D. 395, and Greece became part of the East Roman Empire. The Greece became part of the East Roman Empire. The West Roman Empire collapsed in A.D. 476. The East West Roman Empire collapsed in A.D. 476. The East Roman Empire survived as the Byzantine Empire until Roman Empire survived as the Byzantine Empire until 1453, when it fell to the Turks. Greek was the official 1453, when it fell to the Turks. Greek was the official language of the Byzantine Empire, and Greek culture language of the Byzantine Empire, and Greek culture formed the basis of Byzantine institutions.formed the basis of Byzantine institutions.

Etruscan Art 800BC to 100BC

About 900 and 800 BC, the Italian peninsula was settled by people called Etruscans. It isn't known where the Etruscans came from, but they probably came from the Eastern Mediterannean, possibly Asia Minor. When they arrived, they brought a high level of a Greek-like culture with them. They founded their cities in North-Eastern Italy between the Appenine mountain range and the Tyrrhenian Sea. Their civilization stretched from the Arno river in the North to the Tiber river towards the center of the Italian peninsula in the South.

Like the Greeks, the Etruscans lived in fortified cities. In the earliest times, these cities were ruled by kings, but later the political system changed to oligarchies that governed through a council and elected officials. The Etruscans were an agrarian people, but they also used military means to dominate the region. By the sixth century BC, the Etruscans had subjugated much of Italy and some regions outside of Italy, such as the island of Corsica.

Most pottery found at Etruscan burial sites follows very closely on the contemporary Greek (notably Corinthian and East Greek) designs. From the 7th Century geometric and Proto Corinthian ware were most prevalent, some imported, and some copies by local immigrant artists.

Bucchero Ware

Votive Statuetteof a Girl with a Snakeabout 100 BCVilla Givlia, Rome, Italy

Votive Statuettesof Warriorsabout 400 BCVilla Givlia, Rome,

Fibula with Orientalizing lions, from the Regolini-Galassi Tomb, Cerveteri, c. 650 - 640 BC. Gold, appprox. 12 ½" high.

Human-headed cinerary urn. C. 675 - 650 BC. Terra-cotta, height 25 ½".

Reconstruction drawing of the Treasury of the Siphnians. Sanctuary of Apollo at Delphi. c. 525 BC.

Model of a typical Etruscan temple of the 6th century BC, as described by Vitruvius.

Greek vs. Etruscan TemplesSimilarities: Gable roof; General design; Columns ; Triangular corniceDifferences: The Etruscan temple:Rests on tall base, or podium; Narrow stairway on south sideSteps lead to deep porch; Columns only in front; Cella divided into three zones; Constructed of wood, sun-dried brick and terra-cotta

Terracotta Apollo, from the roof of the Portonaccio Temple, Veii, c. 510-500 BC. Painted terracotta, 180 cm high. Museo Nazionale di Villa Giulia, Rome, Italy.

Apollo of Veiiabout 510 BCVilla Givlia, Rome, Italy

Etruscans like the Egyptians, Greeks, and later the Romans, painted their statues, so what you see in a museum is not what a contemporary of the sculptor would have seen.

Sarcophagus, from Cerveteri. c. 520 BC. Painted terracotta, 116 cm highlength 201 cm. Museo Nazionale di Villa Giulia, Rome, Italy.

Sarcophagus, from Cerveteri. c. 520 BC. Terra-cotta, length 6'7".

Youth and Demon of Death. Cinerary container. Early 4th century BC. Stone (pietra fetida), length 47".

Banditaccia necropolis, Cerveteri, 7th to 2nd centuries BC.

Banditaccia necropolis, Cerveteri, 7th to 2nd centuries BC. The Etruscans built their tombs out of stone, and they liked their tombs to look like their houses, so we can get some idea what Etruscan houses looked like.

Burial chamber of the tomb of the Reliefs, Cerveteri, third century BC. It is the most elaborate of the Cerveteri underground tombs, in decoration if not in plan.

Tomb of Hunting and Fishing, Tarquinia, Italy. c. 520 BC.

Tarquinia, c. 480-470 B.C.

Double Flute Player from the Tomb of the Leopards, Tarquinia

Dancer from the Tomb of the Juggler, Tarquinia

Capitoline Wolf, c. 500-480 BC. Bronze, approx. 80 cm h. Palazzo dei Conservatori, Rome.

The Chimaera of Arezzo is a bronze statue which was found in Arezzo, in Italy, in 1553. Of Etruscan origin, probably from 5th century bc, it is one of the most beautiful examples we have of ancient Etruscan art. It is at present at the Archeological museum in Firenze.

Novios Plautios, Ficoroni Cista, from Palestrina, late 4th century BC. Bronze, 76 cm high, Museo Nazionale di Villa Giulia, Rome. Such cylindrical containers for a woman’s toilet articles, made of sheet bronze with cast handles and feet and elaborately engraved bodies, were produced in large numbers. Together with engraved bronze mirrors, they were popular gifts for both the living and the dead. The composition of the engraving is an adaptation of a lost Greek panel painting.

Warrior (Mars of Todi) early 4th BC. Bronze, 142 cm, Vatican Museums, RomeThis is one of the very rare objects of ancient Italic statuary that has survived to our time. It shows a warrior dressed in armour and, originally, with a helmet, portrayed in the act of performing a libation before battle, pouring the liquid contained in a particular form of cup held by the extended right hand, while with the left he leans on an iron spear. The statue, which betrays the influence of Greek art starting from the middle of the 5th cent. BC, was found in Todi buried between slabs of Travertine, perhaps after having been hit by lightning.

Portrait of a Boy, from the Faiyum, Lower Egypt 2nd century AD. Encaustic on panel, 39 x 19 cm. MMOA, New York.

Mummy portrait of a man, from Faiyum, c. AD 160-170. Encaustic on wood, approx. 36 cm high. Albright-Knox Art Gallery, Buffalo.

Roman Patricianwith the Busts of his Ancestorsabout 10 BC. Marble, lifesize,Palazzo dei Conservatori(Museo Capitolino), Rome, Italy

Head of a man. C. 300 BCE. Bronze, 31.8 cm h. Palazzo dei Conservatori, Rome.

Head of a Roman, c. 80 BC. Marble, lifesize. Palazzo Torlonia, Rome.

Even under the spell of Hellenism, Roman portraitists produced works that hav

e no parallel in Greek Art.

Roman marble portrait bust of Aulus Postumius Albinus. Replica of an original from the 1st c. BC. .

Portrait of Octavian. (portrait bust from forum- Arles)ca. 39 BCE

Sulla - portrait bust (later copy - with alterations - after original of the 2nd century B.C.)

marble

Portrait of a man c. 80 BC. Marble, Rome. Portrait of Pompey c. 55 BC, Marble, lifesize, Rome

A marble portrait of Julius Caesar Caesar was one of ancient Rome's greatest generals and statesmen. He became a brilliant military leader and helped make Rome the center of an empire that stretched across Europe. Caesar also won fame as an orator, politician, and writer.

Julius Caesar,

c. 50 BC

Portrait bust of Livia, from Faiyum, Egypt, early first century AD. Marble, 34 cm h. Ny Carlsberg Glyptotek, Copenhagen.

Aulus Metellus (L'Arringatore or The Orator), ca. 90 BC, bronze, 170 cm, Florence. Discovered near Lake Trasimene in 1566, this statue represents Aulus Metellus, a Roman-appointed official. The statue's inscription (in Etruscan), location (Etruscan territory), workmanship (Etruscan), as well as the subject's name (Aulus Metellus is the Latin rendition of Aule Metele, an Etruscan name), all point to Etruscan origins. Nevertheless, Aulus Metellus wears Roman costume and holds Roman office. At the same time, this piece possesses a Roman character that does not resemble the Greek works that had inspired Etruscan art.

Portrait of Augustus as general, from Primaporta, copy of a bronze original of c. 20 BC. Marble, 203 cm. Vatican Museums, Rome.

Portrait bust of Hadrian as general, from Tel Shalem, c AD 130-138. Bronze, 89 cm h. Israel Museum, Jerusalem.

Marcus Aurealius about AD 175. Bronze, 350 cm, h. Campidoglio, Rome.

Portrait of Marcus Aurealius detail of a relief from a lost arch, c. AD 175-180. Marble, Approx. lifesize, Palazzo dei Conservatori, Rome.

Young Flavian Woman. c. 90 CE. Marble, 64 cm,Museo Capitolino, Rome.

Middle-Aged Flavian Woman. late 1st century CE. Marble, 24 cm.

Caracalla. Early 3rd century CE. Marble, height 36.2 cm. MMOA. New York. The emperor was consistently represented with a malignant, scowling expression, a convention meant to convey a particular message to the viewer: the emperor was not god, not an effet intellectual, not a soft patrician, but a hard-as-nails, battle-toughed military man, a lethal opponent ready to defend himself and his empire.

Caracalla. Early 3rd century CE. Marble,

Portrait bust of Trajan Decius, AD 249-251. Marble, 79 cm high. Museo Capitolino, Rome.

Portrait of Philip the Arab AD 244-49. Marble, 71.1 cm. Musei Vaticani, Braccia Nuovo, Rome.

portrait of Septimius Severus

Antonius. From Hadrian’s Villa at Tivoli. c. 130-38 CE. Marble, 244 cm h.

Commodus as Hercules. c.190 CE. Marble, 118 cm. Palazzo dei Conservatori, Rome. Son of Marcus Aurelius, the emperor was not just decadent, he was probably insane. He claimed at various times to be the reincarnation of Hercules and of the god Jupiter, and he even appeared in public as a gladiator. He ordered the months of the Roman year to be renamed after him.

Heroic portrait of Trebonius Gallus from Rome, AD 251-253. Bronze, 241 cm. MMOA, NY

Heroic portrait of Trebonius Gallus from Rome, AD 251-253. Bronze, 241 cm. MMOA, NY

The Tetrarchs: ca. 305 A.D. Piazza San Marco, Venice

In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West. Each had a caesar, a vice-ruler, who was his heir. This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305. Carved in porphyry, a hard purple stone used primarily for imperial objects, these four emperors symbolize the equality of their rule. No individualized features are represented; they are dressed identically, even to their swords, and they are of equal height. Their embraces also indicate their unity. The staring eyes, squatty forms, and absract quality are characteristic of much late Roman sculpture, where symbolism is more important than realism and individuality.

Funerary relief with portraits of the Gessius family, from Rome (?), c. 30 BC. Marble, approx. 65 cm high. Museum of Fine Arts, Boston.

Funerary Stele, Family of Publius Longidenus

Funerary Alter of Cominia Tyche

Temple of Portunus: (formerly known as the temple of Fortuna Virilis), Rome: exterior view from NE, [in L. background, Temple of Vesta]. ca. late 2nd to mid-1st century B.C

Temple of “the Sibyl” or of “Vesta,” Tivoli, early first century BC. Roman admiration for the Greek temples they encountered in their conquests also led to the importation into Republican Italy of the round or tholos temple type, a form unknown in Etruscan architecture. In contrast with Greek practice, the cella wall is constructed not of masonry blocks, but with a kind of “artificial stone”—concrete— easier and cheaper. The high podium can be reached only by means of a narrow stairway leading to the door to the cella.

The Sanctuary of Fortuna, Primigenia, Palestrina, Late 2nd century BC.

Model of the the reconstructed Sanctuary of Fortuna Primigenia, Palestrina. Begun c. 100 BCE. Museo Archeològico Nazionale, Palestrina, Italy

Pompeii. Forum. Balloon photograph, Whittlesey Foundation.

Pompeii: civic and theatre areas

Pompeii: civic and theatre areas

Pompeii: civic and theatre areas

Pompeii: civic and theatre areas

Pompeii: civic and theatre areas

Pompeii: Streets and

Businesses

Pompeii: Streets and Businesses

Pompeii: Streets and Businesses

Pompeii: Streets and

Businesses

Reconstruction drawing of the Via dell' Abbondanza at Pompeii.

Pompeii: Cemeteries

Pompeii: Cemeteries

Cast of Victims, Pompeii

The owners of this dog unfortunately left him tied to a chain when they fled from the House of Orpheus. The dog, who managed to stay alive during the first phase of the eruption, was finally overwhelmed by the last surge on the morning of August 25.

The adult and child shown here were found near a second adult and child pair in the House of the Golden Bracelet. The four are thought to make up a small family group that was found under the staircase of the House of the Golden Bracelet on the western slope of Pompeii. The four were killed by the collapse of the staircase, which led to the villa's garden and, further on, to the seafront.

Pompeii: Homes

Pompeii: Homes

Pompeii: Homes

Pompeii: Homes

Pompeii: Streets and

Businesses

Bakery, Reconstruction painting, Pompeii

House of the Vettii

Pompeii: Homes

First style decoration in the atrium of the House of Sallust, Pompeii (left and lower right) and reconstruction (upper right) The First Style (200-80 BC) was to imitate the appearance of marble panels w/ painted stucco relief.

First Style wall painting in the fauces of the Samnite House, Herculaneum, late 2nd century BC.

Gardenscape, Second Style, wall painting from the Villa of Livia, Primaporta, c. 30-20 BC. 201 cm h. Museo Nazionale Romano, Rome. The Second Style (80-15 BC) was to paint almost the entire wall with scenes of figures, architecture or landscapes w/ the illusion of 3-d space.

This is a representation of the birth of Venus from the sea. The house where this is located is now named the "House of Venus". (second style)

Second Style wall paintings in Cubiculum M of the Villa of Publius Fannius Synistor, Boscoreale, c. 50-40 BC. 297 cm high. MMOA, New York.

Venus sitting close to her lover, the god of war Mars; she is holding his spear while the little Cupid below tries on his warrior's helmet.

Villa of Mysteries, Pompei, c. 50 BC, wall painting frieze (Second style)

Initiation Rites of the Cult of Bacchus.

Villa of Mysteries, Pompei, c. 50 BC, wall painting frieze (Second style)

Third style decoration from the House of Marcus Lucretius Fronto, Pompeii The Third Style (15 BC-45 AD) was to paint the wall in one solid color and decorate it with small framed views.

Third Style frescoes from the Farnesina house in Rome (above) / reconstruction of a Roman room with second style decoration (below)

Roman Third Style wall painting: a Cupid stands against an architectonic background.

Third-style mural painting sequence from the Oeci - House of the Vettii - Pompeii - ca. 62-79 A.D.

Detail of a Third-style wall painting from cubiculum 15 of the Villa of Agrippa Postumus, Boscotrecase, Pompeii, c. 10 BC. 234 cm high. MMOA, New York

4th-style mural painting in the Ixion Room(Tridinium P), House of the Vettii, Pompeii, ca. 70-79 A.D. The Fourth Style (beginning c 45 CE) was a complex combination of the features found in the other three styles, bringing together the more realistic architectural details of the First and Second style with even greater fantasy than in the Third style.

House of the Vettii

Roman Fourth Style wall painting from the tablinum of the House of the Dioscuri, Pompeii: a woman gives water to a traveler.

Portrait of Terentius Neo (the Baker) and his wife, Pompeii, Museo Nazionale Naples.

Still Life. Detail of a wall painting from the house of Julia Felix, Pompeii. Late 1st century CE.

Young Woman Writing. Pompeii. Late 1st century CE

Bacchante （女祭司） Detail of a wall painting. Late 1st century CE.

Imperial Roman Fourth Style fresco from Pompeii. Detail: Still life with fish, squid, and mussel.

Still life mosaic of food for a banquet; from a villa at Tor Marancia - near the Catacombs of Domitilla - 2nd century A.D.

Theseus Triumphant, First century BC, Pompeii. Theseus: legendary Greek hero, king of Athens, and a famous slayer of monsters. He appears often in antique art on vases and frescoes but did not find wide favor with Renaissance or later. His most famous exploit was to kill the Minotaur, the bull-headed monster born of Pasiphaë, which was kept in the Labyrinth of King Minos of Crete, and to which Athenian youths and maidens were regularly sacrificed.The king’s daughter Ariadne fell in love with Theseus. She gave him a ball of string which enabled him to retrace his steps out of the maze after slaying the Minotaur.

The Bakery, first century BC. Pompeii,

The image is a small marble figure of Venus preparing to bathe; notice the added gold-leaf 'bikini'. Also visible is a small male figure which she is leaning on; this is her offspring Priapus, a fertility god recognized by his oversized phallus, which has broken off in this example. However, another house at Pompeii contains this wall-painting of Priapus, right inside the front door. He is obviously a god connected with male sexual potency, but was also a symbol of profit or wealth.

In modern day Moregine, south of Pompeii, excavators found this important building, which houses three triclinia, or dining rooms. The walls of these rooms were covered in frescoes of extraordinarily high quality, and the detail here is thought to be a depiction of Nero as Apollo, surrounded by numerous muses (not shown). These frescoes were uncovered by accident during a recent expansion of the Italian autostrada or highway.

Dice players in a faded fresco from a tavern back room at Pompeii

Doctor's Kit, Herculaneum: Found amongst the 32 skeletons found in Arcade 12 in Herculaneum, this case contained surgical instruments that a doctor apparently tried to take with him. In it were found copper cylinders, surgical instruments like scalpels and chisels, forceps, pliers, hooks, and a needle. These instruments are a testament to the advancements of Roman surgery in Pompeii's era.

This small drinking cup in chalcedonic agate is among the rare objects in semi-precious stone found in the Vesuvius area. The cup was discovered in Arcade 7 on the beaches of Herculaneum, where large-scale excavations revealed the bodies of nearly 300 fugitives.

Bronze Pitcher: From The Field Museum collections of Roman artifacts. The excavations done at Pompeii have yielded a plethora of artifacts, and The Field Museum’s own collections contain a number of fine objects from the region.  These pieces were collected by one of the Museum’s founders and greatest benefactors, Edward Ayer.

Detail, bronze statue of Apollo, Pompeii: This piece was taken from the house of Julius Polybius, a man of Greek descent who, according to nearby election exhortations, was running for public office during the time of the eruption. This brilliant bronze statue of Apollo has been converted to a lamp stand and was found locked up in the villa along with other objects of upper-middle class economic status.

Marble statue of woman, Pompeii

This statue originally depicted a member of the Istacidi family who were the final owners of the Villa of the Mysteries. However, Emperor Tiberius had the original head replaced with his mother Livia's likeness. The home, which was in a state of neglect due to the earthquake of AD 62, became dedicated to wine-making in the last stages of its life.

This helmet was worn at Pompeii's amphitheatre by a heavily armoured gladiator called a murmillo

Based on an original excavated from the ruins of Pompeii, the Gladius Sword

A murmillo stands victorious over a retiarius in Pollice verso, a painting by Jean-Léon Gérôme (1852)

All the artifacts excavated are displayed in the temporary warehouses.

jewelry and coins found with woman's skeleton outside Pompeii

Herculaneum was a smaller town close to the city of Pompeii. Its main industry was fishing. When Vesuvius erupted in August of 79 AD, Herculaneum was buried under nearly 60 feet of superhot mud. When the mud cooled, it set nearly as hard as concrete. This makes excavations very difficult, but scientists continue their work to learn about the people and the town of Herculaneum.

Herculaneum, 50 BC.

Herculaneum, House with Atrium in mosaic, 50 BC.

Herculaneum, 50 BC.

Herculaneum Jar with Peaches and a glass, 50 BC.

HerculaneumKnuckle-bone players, 50 BC. Leto, Niobe, Phoebe.

Herculaneum, Odysseus Being attacked by the Laestrygonians, c. 50-40 BC. 116 cm high. Musei Vaticani, Rome.

Courtyard of the Villa of Neptune and Amphitriê, Herculaneum, Italy

Alexander Mosaic. The mosaic depicts the Battle at Issus. Alexander rides against Darius. Ca. 90 BC - 79 AD. Copy of the 4th century BC Greek painting by Philoxenos of Eretria From the House of the Faun, Pompeii.

House of the Faun

Detail from the Alexander Mosaic

Pompeii. Great Theater. Interior view showing auditorium seating, orchestra, stage, orig. ca. 2nd c. BC

Pompeii. Odeon (Small Theater). Interior view showing auditorium seating, orchestra, stage, orig. ca. 75 BC.

Reconstructed model of the Theater of Marcellus, Rome.

Reconstruction of an ancient performance inside the Small Theater, Pompeii. Includes view of cavea and spectators, as well as the orchestra with dancers and musicians carrying auloi and lyres.

Pompeii. Amphitheater (arena), original ca. 80 BC.

Pompeii. Amphitheater (arena). view from W. showing stairways to upper level seating, original ca. 80 BC.

Imperial Roman fresco, ca. 59 - 79 AD, from House I, 3, 23 at Pompeii. Riot and brawl between Pompeians and Nucerians in and around the amphitheater.

Herculaneum, Women’s Baths, 50 BC.

Pompeii Baths. Interior of calidarium (hot bath) with marble labrum basin in apsidal end.

Pompeii: Baths

Pompeii: Baths

Roman bronze bathing utensils from Pompeii. Strigils and a small oil flask on wrist loop.

The Baths of Caracalla, the second largest baths complex in ancient Rome, were built between 212 and 219 A.D. by the emperor Marcus Aurelius Antoninus, better known by his nickname Caracalla. The basic structure is in a fine state of preservation. It is one of the major achievements of Roman architecture, represent the most sophisticated building technology available.

Aerial view of the ruins of the Baths of Caracalla, Rome, AD c. 211-217. Marble and concrete.

Caracalla. Early 3rd century CE. Marble,

PLAN OF THE BATH OF CARACALLA

This huge 27 acre complex housed bathing facilities with seats for more than 1600 people. There were 952 baths of various sizes in Rome by AD 354. They played an important part in the lives of the Roman citizens. The ritual of bathing was a long process, starting with a hot bath in the calidarium. Next up was the lukewarm tepidarium, followed by the cold frigidarium. Then followed a swim in the natatio, an open air swimming pool. The complex was actually a multifunctional leisure center and also housed gymnasiums, libraries, gardens, art galleries, restaurants and even brothels. The Baths of Caracalla were known for its rich interior, which featured marble seats, mosaic covered walls and floors as well as fountains and statues. The baths were fully functional until 537AD when Goths destroyed the aqueduct, cutting off the water supply. Neglection, looting and an earthquake turned this great architectural complex into ruins.

Restoration drawing of the Baths of Caracalla. It shows the enormous Corinthian columns that supported the groin vaults of the ceiling in this central hall.

Restoration drawing of the central hall (frigidarium) of the Baths of Caracalla.

Arch and Vaults drawing.

The Great Bath, England, 1st century AD. 24.4 x 12.2 x 1.83 m deep. It owes its origin and ultimately its name to the springs which produce about five hundred thousand gallons of water a day at 120 degrees Fahrenheit. Back in Roman times the whole complex was under a vaulted roof. Built almost 2000 years ago, it is still flowing with natural hot water today just like it was back then.