The Early Empire

1
Ancient Rome
Portrait of Augustus as general Primaporta,
Italy 20 B.C
The Early Empire
When Octavian inherited Caesars fortune at the
age of 19 and took control of the Mediterranean
by age 30, he ended an era where rule by elders
was a distinct characteristic of the Roman
Republic. Roman portraitists were called on to
produce images of a youthful head of state.
This idealized portrait of youthful Augustus
was inspired by Classical Greek art. He is
always shown as youthful. Moreover, Augustus
(portrayed as general) takes on Polykleitan style
with sharp ridges of the brown, and tight cap of
layered hair. The Political Message The
inclusion of Venus son, Cupid, is a reminder of
Augustus divine descent (related to Goddess
Venus). Furthermore, this depicts the return
of Roman military standards by the Parthians.
2
Ancient Rome
Portrait bust of Livia 1st century AD
The Early Empire
Women of equal stature This bust shows that
imperial women of the Augustan age shared the
emperors eternal youthfulness. Unblemished
skin, and sharply defined features emulate the
images of Classical Greek goddesses. The
coiffure, or hair style, would change with the
introduction of new fashion trends .
3
Ancient Rome
Ara Pacis Augustae (view from the
southwest) Rome, Italy 13-9 B.C.
The Early Empire
The Ara Pacis Augustae (Altar of Augustan
Peace) was built in recognition of Augustus
great achievement of peace. The Altar was
reconstructed during the Fascist era in Italy in
connection with the two-thousandth anniversary of
Augustus birth. The building stands within an
almost square wall enclosure with acanthus
tendrils in the lower zone and figural reliefs in
the upper zone. Four panels on the east and west
ends depict mythological subjects. One of these
is a relief of Aeneas (Son of Venus and
forefather of Augustus) making a sacrifice. The
connection between the Emperor and Aeneas was a
key element of Augustus political ideology for
his new golgen age.
It is no coincidence that the Aeneid was
written during the rule of Augustus, as this epic
poem glorified the young emperor by celebrating
the founder of the Julian line.
4
Ancient Rome
Female Personification (Tellus?), panel from the
east facade of the Ara Pacis Augustae Rome,
Italy 13-9 B.C.
The Early Empire
This panel is at the other end of the altar and
depicts a seated matron with two animated babies
on her lap. Though her identity is disputed, she
is usually called Tellus (Mother Earth). Some
have called her Pax (Peace), Ceres (goddess of
grain), and even Venus. She epitomizes the
fruits of the Pax Augusta. The earth around her
is bountiful, blooming, and peaceful and
refreshing breezes flank her (windblown
clothing). One rides a bird and another a sea
creature.
Earth, sky, and water were all incorporated into
this picture of peace and fertility in the
Augustan cosmos.
5
Ancient Rome
Procession of the Imperial Family, deal of the
south frieze of the Ara Pacis Augustae Rome,
Italy 13-9 B.C
The Early Empire
This procession of important dignitaries appear
on the north and south sides of the altar. These
parallel friezes were clearly inspired by the
Panathenaic procession frieze on the Parthenon.
This is another instance of Augustan artists
using Classical Greek models. Augustus sought to
present his new order as a golden age like that
of Athens under Pericles in the middle of the
fifth century B.C. The emulation of classical
models thus made a political statement, as well
as an artistic one. Even so, the Roman
procession is very different from the Greek. On
the Parthenon friezes, figures act out an event
that recurred every four years. Also, the
Parthenon the friezes stand for all Panathenaic
Festival processions. This depicts a specific
event , probably the inaugural ceremony of 13
B.C. when work on the altar began, and
recognizable contemporary figures.
Among these contemporary figures are
children. These children act like children, not
small adults. These are the first depictions of
children in Greek of Roman state monument. They
are pictured because Augustus was worried about
the decline in birthrate among nobility and he
wanted to encourage marriage, fidelity, and
raising children. The depiction of men with
families was intended as a moral exemplar. Once
again, the emperor used are to further his own
political and social agenda.
6
Ancient Rome
Maison Carree Nimes, France, ca. A.D. 1-10
Early Empire
This Corinthian pseudoperipteral temple was
patterned on the Temple of Mars in the Forum of
Augustus. Many of the artists who worked on
this Maison Carree were believed to have also
worked on the Fortuna Virilis in Rome, with
Maison Carree being the larger of the two. This
building was much admired by Thomas Jefferson,
who used it as the model for the State Capitol in
RIchmond, Virginia.
Vitruvius, whose treatise, The Ten Books of
Architecture, dedicated to Augustus, became the
bible of Renaissance architects, preferred the
classicizing architectural style of the Maison
Carree and the Forum of Augustus to the newer
Roman vaulted concrete technology.
7
Ancient Rome
Pont-du-Gard Nimes, France, ca. 16 B.C.
Early Empire
The Pont-du-Guard demonstrates the skill of
Romes engineers. The aqueduct provided about
one hundred gallons of water per person each day
for the inhabitants of Nimes from a source some
thirty miles away. The water was transfered by
means of gravity, requiring a continual decline
over the entire route from the source to the
city. This three-story aqueduct was created to
maintain the height of the water channel where
the water crossed the Gard River.
Each large arch spans some eighty-two feet and is
constructed of uncemented blocks weighing up to
two tons each. The top level is a row of smaller
arches (three small arches for ever one below
it). These small arches carry the water channel
itself. Their quickened rhythm and the
harmonious proportional relationship between the
larger and smaller arches reveal that the Roman
engineer had a keen aesthetic, as well as
practical sense.
8
Ancient Rome
Pont-du-Gard, Nimes, France 16 B.C.
Early Empire
I took this photo above when we visited Europe in
the summer of 2004. I was able to hike the
mountain to get a closer view of this ancient
wonder. It was more than impressive.
9
Ancient Rome
Porta Maggiore, Rome, Italy 50 A.D.
Early Empire
The Porta Maggiore was constructed at the point
where two of Romes water lines converged. It
was made under the reign of emperor Claudius.
Its huge attic (uppermost story) bears a wordy
dedicatory inscription that conceals the conduits
of both aqueducts, one above the other. The
gate is the outstanding example of the Roman
rustic (rough) masonry style. Instead of using
precisely shaped blocks,the designer combined
smooth and rusticated surfaces. The Porta
Maggiore profoundly influenced the facade designs
of some Renaissance palaces.
10
Ancient Rome
Colosseum, Rome, Italy 70-80 A.D
Early Empire

This monument for most people represents Rome
more than any other building. In the past it was
identified so closely with Rome and its empire
that in the early Middle ages there was a saying
While stands the Colosseum, Rome shall stand
when falls the Colosseum, Rome shall fall and
when Rome falls- the World. The Flavian
Amphitheater, as it was known in its day, was one
of Vespasians first undertakings after becoming
emperor. The decision to build the Colosseum was
very shrewd politically. The site chosen was the
artificial lake on the grounds of Neros Domus
Aurea, which was drained for the purpose.
11
Ancient Rome
Colosseum, Rome, Italy 70-80 A.D
The Early Empire
By building the amphitheater there, Vespasian
reclaimed for the public the land Nero had
confiscated for his private pleasure and provided
Romans with the largest arena for gladiatorial
combats. The Colosseum takes its name not from
its size- it could hold up to fifty thousand
spectators- but from its location beside the
Colossus of Nero, a huge statue of the emperor
portrayed as the sun, at the entrance to his
urban villa. It was completed in 80 A.D.
12
Ancient Rome
Arch of Titus, Rome, Italy, after A.D. 81
The Early Empire
When Vespasians older son, Titus, died only two
years after becoming emperor, his younger brother
Domitian, took over. Domitian made this arch in
Tituss honor on the Sacred Way leading into the
Republican Forum Romanum. This type of arch,
the so-called triumphal arch, has a long history
in Roman art and architecture, beginning in the
second century B.C. and continuing even into the
era of Christian Roman emperors. This Roman
arches celebrated more than just military
victories, as they often commemorated events such
as bulding roads and bridges.
13
Ancient Rome
Arch of Titus, Rome, Italy, after A.D. 81
The Early Empire
Typical of the early triumphal arch and consists
of one passageway only. Engaged columns frame
the arcuate opening, but their capitals are the
Composite type, an ornate combination of Ionic
volutes and Corinthian acanthus leaves (Roman
eclecticism) Reliefs depicting personified
Victories (winged women in greek art) fill the
spandrels, (the area between the archs curve and
the framing columns and entablature. A
dedicatory inscription stating that the arch was
set up to honor the god Titus, son of the old
Vespasian, dominates the attic. (Roman emperors
normally were proclaimed gods after they died,
unless they ran afoul of the Senate then they
were damned. The statues of those who suffered
damnatio memoriae were torn down and their names
were erased from public inscriptions.)
14
Ancient Rome
Spoils of Jerusalem, relief panel from the Arch
of Titus, Rome, Italy, after A.D. 81
The Early Empire
The scene depicts the triumphal parade down the
Sacred Way after his return from the conquest of
Judaea at the end of the Jewish Wars in a.d 70.
This panel contains the depiction of the
sacred seven-branched Menorah, from the Temple of
Jerusalem. Missing in this relief is the
classicism that was contained in the depictions
of the Altar of Augustan Peace.
Also depicted here are the Table of the Shewbread
(shown at an angle), and the silver trumpets
which called the Jewish people to Rosh Hashanah.
The bearers of the treasure wear laurel crowns
and those carrying the candlestick have pillows
on their shoulders. Placards in the background
explain the spoils or the victories Titus won.
15
Ancient Rome
Triumph of Titus, relief panel from the Arch of
Titus, Rome, Italy, after A.D. 81
The Early Empire
This scene depicts the actual triumphal
procession with the toga-clad Titus in the
chariot, but with the addition of allegorical
figures--the winged Victory riding in the chariot
with Titus who places a wreath on his head, the
goddess leading the horses (identified as either
Roma or Valor), and the semi-nude Genius of the
People. Because the reliefs were deeply carved,
some of the forward heads have broken off.
16
Ancient Rome
The Column and Tomb of Trajan Rome, Italy, 112
A.D.
The High Empire
This is thought to be the first column with a
spiral narrative frieze. Since, it has been
copied throughout history. This column is 128
feet tall, a nude statue of Trajan once stood
atop the column, until its dissapperance in the
Middle Ages, when it was replaced by a statue of
Saint Peter. The ashes of both Trajan and his
wife were placed inside the base in golden urns.
The relief represents Trajans two successful
campaigns against the Dacians. The band is 625
feet. 2500 different figures appear throughout
the frieze, with 150 episodes.
17
Ancient Rome
Arch of Trajan Benevento, Italy, ca. 114-118 A.D.
The High Empire
The Arch of Trajan was built at the point where
the Via Traiana, a road in southern Italy,
entered Benevento (ancient Beneventum) This work
is almost identical to Titus arch on the Sacred
Way in Rome, but relief panels cover both facades
of the Trajanic arch, giving it a billboard-like
function Every inch of the facades are used to
advertise the emperors achievements, and
portrayed him as the guarantor of peace and
security in the empire, the benefactor of the
poor, and the patron of soldiers and merchants
alike The emperor is shown entering Rome after
a successful military campaign, distributing
largess to needy children, is portrayed as the
founder of colonies for army veterans, and as the
builder of a new port in Ostia, Romes harbor at
the mouth of the of the Tiber river Trajan is
shown intermingling with divinities, and on the
archs attic, Jupiter is shown handing him his
thunderbolt, which symbolizes that Trajan had
power over the world
18
Ancient Rome
Funerary relief of a circus official Ostia,
Italy, ca. 110-130 A.D.
The High Empire
This relief was found on the tomb of the circus
official Gives a partial view of the refurbished
racetrack, the Circus Maximus, which Trajan
restored as a benefaction to the Roman
people The relief is not a product of one of the
emporers official sculptural workshops and
illustrates how different the art produced for
Romes huge working class was from the art
commissioned by the state and old aristocratic
families.
The relief has distorted perspective, only one
team of horses races around the central island,
but the charioteer is shown twice, driving the
horses and also holding the palm branch of
victory. He may also be shown later in life as
the toga-clad official who appears at left end.
This method of showing the same figure more than
once in the same space at different stages of a
story is called continuous narration
19
Ancient Rome
Funerary relief of a circus official Ostia,
Italy, ca. 110-130 A.D.
The High Empire

The charioteer, shown as the toga-clad official,
clasps hands with his deceased wife. We know
this because a handshake symbolizes marriage in
Roman art. The scale of his wife alludes to
her lesser importance. It is clear that she is
deceased because she stands on a base like a
statue, as if she is not a real person.
Overall, this shows that the wife died before
her husband, but that did not break their bond of
marriage, and that, because this is a relief on
her husbands tomb, he too has died and they will
be reunited in the afterlife
The rules of classical design, which still guided
the Roman states artists, were ignored
here. Before long, however, some of these
non-classical elements appeared in official art
as well.
20
Ancient Rome
Portrait bust of Hadrian as general Tel Shalem,
Israel ca. 130-138 AD
The High Empire
Hadrian was a connoisseur and lover of all the
arts, as well as an author and architect. There
are more existing portraits of Hadrian than of
any other emperor except Augustus. Though he
ruled Rome for more than 20 years, he is depicted
in portraits as a mature adult who never ages.
This portrait was probably erected toward the
end of Hadrians lifetime, when Rome put down a
second Jewish revolt and Judea was reorganized as
a new province called Syria Palaestina.
Hadrians portraits more closely resemble
Kresilas portrait of Pericles than those of any
Roman emperor before him, and no one doubts that
his likenesses were inspired by Classical Greek
statuary Hadrian wore a beard, a habit that, in
its Roman context, must be viewed as a Greek
affectation (an appearance or manner assumed or
put on as a show or pretense, often to impress
others). Beards then became the norm for all
subsequent Roman emperors for more than a century
and a half.
21
Ancient Rome
Pantheon, Rome, Italy. 118-125 AD
The High Empire
With the new Emperor Hadrian in power, work on a
new temple dedicated to all the gods began. This
temple became known as the Pantheon. Excluding
the use of an eight Corinthian column facade, the
temple was completely revolutionary for its
time. The dome of the Pantheon steadily
decreases in thickness from the base to the top.
In the very middle there is an open Oculus
that is used as a skylight, and the only
lighting of the building. The Oculus measures
30 feet in diameter. To prevent overweighing the
roof of the Pantheon not only did the thickness
decrease as it neared the middle, but pumice was
also used in its creation. Decorative panels
were also carved on the inside of the dome to
help keep the weight down.
22
Ancient Rome
Pantheon, Rome, Italy. 118-125 AD
The High Empire
From this indoor photo of the Pantheon you can
see the carved panels as well as the intense
light that the Oculus provides for the room.
These decorative panels are called coffers.
23
Ancient Rome
Canopus and Serapeum, Tivoli, Italy. ca. 130-138
AD
The High Empire
Was created as a means of remembering the
emperors trip to Egypt, where he visited a
famous temple of the god Serapis on a canal
called the Canopus. While its subject matter is
having to do with Egypt, the design of this
structure has nothing to do with
Egyptian style. The grotto at the end of
the pool is made of concrete and has an unusual
pumpkin-shaped dome of a type Hadrian (emperor)
designed himself. This structure is located at
Hadrians Villa, which he took part in designing
and building.
In keeping with the persistent eclecticism of
Roman art and architecture, the pool was lined
with marble copies of famous Greek statues, as
one would expect from a lover of Greek art. The
colonnade lacks a superstructure, as it opposed
traditional Greek horizontal, lintels between
alternating pairs of columns.
24
Ancient Rome
Al-Khazneh (Treasury) Petra, Jordan Second
Century A.D.
The High Empire
Extreme example of what many have called Roman
baroque architecture because of the striking
parallels of the seventeenth-century Italian
buildings This is a sculpture for the tomb
nicknamed Al-Khazneh or the Treasury One of
the most elaborate of many tomb facades cut into
the rose-colored rock on the local mountains The
Treasurys facade is over 130 feet high and
consists of 2 stories (the lower level resembles
a temple facade with 6 columns, but the columns
are unevenly spaced, and the upper level a
temple-within-a-temple is set on top of the lower
temple. The facade on the upper level has a split
roof to make room for a central cylinder) Both
levels of the facade the rythymic alternation of
deep projection and indentation creates dynamic
patterns of light and shade.
Page 282 Figure 10-52
25
Ancient Rome
Model of an insula Ostia, Italy Second Century
A.D.
The High Empire
90 of Romes population of close to one million
loved in multistory apartment blocks, and the
rents were not cheap. Many multistory
second-century insula have been preserved in
Ostia (Romes harbor city). Shops were located on
the bottom stories of the buildings, and above
were man of the insula apartments which were
large, but had neither the space nor the light of
the typical Pompeian private domus. The insula
replaced peristyles and had only narrow light
wells or small courtyards. These apartment
buildings were much like the apartment homes of
today.
Unfortunately, the small glass windows faced the
citys noisy streets. Only deluxe apartments had
private toilets. Others shared latrines, often on
a different floor than the apartment.
Page 23 Figure 10-53
26
Ancient Rome
Ceiling and wall paintings in the Insula of
Painted Vaults Ostia, Italy Early Third Century
A.C.
The High Empire
Although the decorations of Ostian insulae
(plural of Insula) were more mosdest than that of
the private houses of Pompeii, the finer
apartments had mosaic floors and painted walls
and ceilings. The painted groin vaults of Ostia
are of special interest, because few painted
ceilings are preserved in the cities buried by
the eruption of Mount Vesuvius, and they are
rarely of the vaulted type. Room IV, where this
painting is located, is typically of painted
ceiling design of the second and third centuries
A.D. Such designs appear both in urban buildings
and in the underground Christian catacombs.
The groin vault was treated as if it were a dome,
which a central oculus-like medallion surrounded
by eight wedge-shaped segments resembling wheel
spokes. In each segment is a white lunette with
delicate paintings of birds and flowers.
Page 283 Figure 10-54
created by emily posner
27
Ancient Rome
Neptune and creatures of the sea, Ostia, Italy
140 A.D.
High Empire
This is a floor mosaic found in the baths of
Neptune (Poseidon). It is one of the largest and
best preserved examples of black and white
mosaic. They were used for surface decoration
and therefore are perfect for floors. Instead of
intricate detail, the artist used simple black
silhouettes enlivened by white interior lines
when creating the mosaic. The mosaic depicts
four sea horses pulling the Roman god of the sea,
Neptune, across the waves. The surrounding sea
creatures care positioned so that regardless of
which side a visitor enters the room, some
figures appear right side up.
28
Ancient Rome
Funerary relief of a midwife Ostia, Italy second
half of second century
High Empire
Relief sculptures like this one adorned communal
tombs all over western Europe. They are painted
terracotta plaques that immortalized middle-class
merchants and professional people. This
particular relief depicts a midwife delivering a
baby. Because she looks out at the viewer rather
then at what she is doing, and because almost all
the reliefs focus on the livelihoods of the
deceased, it is likely that this piece
commemorates the midwife rather then the mother.
Reliefs like this one may have served as models
for Medieval illustrations made centuries later.
They are just as important to the history of art
as the Roman monuments, yet arent given as much
attention.
29
Ancient Rome
Apotheosis of Antoninus Pius and Faustina, Rome,
Italy 161 A.D.
High Empire
In 138 A.D., Hadrian adopted the 51- year-old
Antoninus Pius. At the same time, he required
that Antoninus adopt Marcus Aurelius and Lucius
Verus to assure a peaceful succession for at
least another generation. When Hadrian died
later in the year he was proclaimed a god, and
Antoninus became emperor. He ruled the Roman
world for 23 years. After his death, Marcus
Aurelius and Lucius Verus became the Roman
empires first co-emperors. Shortly after
Antoninuss death, Marcus and Lucius erected a
memorial column in his honor.
The columns pedestal has a dedicatory inscription
on one side. Antoninus and his wife Faustinas
apotheosis (ascent to the heavens) is shown on
the other side.
30
Ancient Rome
Apotheosis of Antoninus Pius and Faustina, Rome,
Italy 161 A.D.
High Empire
This relief keeps to the classical tradition with
its elegant, well proportional figures,
personifications, and the single ground line
corresponding to the panels lower edge. The
Campus Martius (Field of Mars), personified as a
youth holding an egyptian obelisk reclines at the
lower left corner. Roma (Rome personified), leans
on a sheild decorated with the she-wolf suckling
Romulus and Remus on the right. Roma is bidding
farewell to the couple ascending to heaven.
Faustina died 20 years earlier than Antoninus. By
showing them going to heaven together, the artist
is suggesting that Antoninus had remained
faithful to his wife for 20 years. This concept
had never been used with portraits of the elite.
31
Ancient Rome
Decursio, pedestal of the column of Antoninus
Pius Rome, Italy 161 A.D.
High Empire
On the adjacent side of the column are two
identical representations of the decuriso, or
ritual circling of the imperial funerary pyre.
This piece also breaks classical convention.
The figures are much stockier. The ground is the
whole surface of the relief and marching soldiers
and galloping horses alike are shown on floating
patches of the earth. This had not occurred
before in imperial art. Elite Roman artists were
beginning to break away from tradition and adopt
the direction of the art of the lower classes.