History of Arts Notes

workweek 1 PREHISTORICHybrid compute, mammoth ivory, ca. 40,000-28,000 BCE To take aim split dry mammoth tusk, scarpe into shape (using sagacious blad) half human, half animal= human dressed as animal for hunting purpose Bear, Chauvet Cave, ca. 30,000-28,000 BCE hand paintings, hand silhouettes reap animals took advantage of walls eg. bump creates bears shoulder joint disc overed in 1994 So-called Venus of Willendorf, limest integrity, ca. 28,000-25,000 BCE no naturalism- stress fertility emphasizing rep magnetic poleuctive features= fertility target area Spotted horses and human hands, Pech-Merle Cave, ca. 16,000-15,000 BCE shamanism- belief in spirit world accessed through alternative states of consciousness hand dots- can find how many artificers painted in one cave saliva, water, blood- MIXED- applied with brush, finger, moss, chewed stick, join Rhinoceros, wounded man, and bison, Lascaux Cave, ca. 15,000-13,000 BCE sense of power pathetic, no power powerful Hall of the bulls, Lascaux Cave, ca. 5,000-10,000 BCE human never lived in Lascaux cave (no objects, remains instead bear bones, torches) not optical images insteadCOMPOSITE- many details of animal Stonehenge, ca. 2,100 BCE, Salisbury Plain, Wiltshire, England marked passing of time/seasons megalith(stone forming prehistoric monument) in associations= CROMLECHS simple structure= post and lintel Babylonian deed of sale, clay with cuneiform writing, ca. 1,750 BCE refined pictogram pressed in series of wedge-shaped signs= CUNEIFORM used for dministrative accounts poetry invention of writing WEEK 2 SUMERIAEGYPT Remains of the White synagogue on its ziggurat, ca. 3500-3000 BCE Uruk, Iraq Tripartite lay step up from 3sides- can see ceremonial ascent of priest leaders stairs- counter clockwise just roughly mound= indirect approach= Mesopotamian temple tightietecture Cylinder seal of priest- baron feeding sacred sheep, ca. 3300 cylindrical made of stone with hole tal ly through centralize design carved into surface of seal- when pressed in soft clay= reverse image unfoldStatues from Abu Temple, Tell Asmar, ca. 2700-2500BCE maybe worshipers exaggerated eyes- responding to Gods awe, warding reach evil Relief Panel of Hesy-ra, ca. 2660 BC wooden stele nonnaturalistic 3000 years of same system of showing torso same composite artificial counselling of showin g clay SHOWS that it was much to a greater extent than authoritative to follow tradition instead of realism, point is not that they cannot make naturalistic art this convention was chosen on purpose Imhotep, Step Pyramid and Necropolis of King Djoser, ca. 681-2662 BCE made for King Djoser-ruled 2630-2611- superpower emailprotected was NECROPOLIS-cemetery -encircling entire complex is rectangular stone wall stretchign over mile in length and 33ft high -DOMINANT FEATURE= STEPPED PYRAMID-oriented to cardinal points of compass zygarat- elevate temple in mesopotamia- this is not a t emple but a grave this is only image of palace meant for infinity there was a statue of king in center believed that soul could live in a staute of king statue enclosed in a room in center with windows and look out rest of complex so king could live eternily monumental archeitectureRoyal exemplification of Ur, ca. 2600 BCE bottom= charioteers pulled bu oagers. Riding over enemies middle= prisoners stripped of clothing armor are escorted pass= prisoners brought to central figure- head is off canvas banquet= top= seated for banquet, cups raised to music played by harp PANELS tally Kingship Prince Rahotep and Nofret, 2580 BCE carved from limeston- softer than diorite- painted skin tones, cop, garments, jewelry rahotep is government official and wife is aquiline of king- ritualized gesture in full frontality rigid frontality norm for royal and elite shapesPyramids of Menkaure, 2533-2515 BCE, Kafra, 2570-2544 BCE, and Khufu, 2601-2528 BCE, Giza pyramid only a part o f necropolis- city of dead King djoser had a mudbrick palace made of wood, mud brick, reeds has archeitect which suggest how important buildling is stones cut precicly so that they can interlock together and create smooth surface pyramid 440ft tall- 45 stories Menkaure and Queen Khamerernebty II, 2515 BCE carved in one piece with an upright back slab, rigid frontality almost identical height, left(a) foot forward King is more tendinous and half nude and queen draped in thin dress hemmed at ankles= smooth surfaces and high polishestablish appearance of unity man some(prenominal) arms carry out and woman arms around man- dependent Seated Scribe, ca 2400 BCE, limestone -frontal, stiff in traditional poses in earlier society- fat and mark of age could be signs of honour- experience sallow cheeks, sagging jaw, loose stomach= social status succeed in career, eats well, relies on subordinates to do physiologic work on his behalf Head of an Akkadian ruler, ca.2250-2200 BCE na ram-sin (sargans lordlyson) stretched Akkadian empires explited art to reflect and establish power= compend tomentum cerebri and beard= strong symmetry= contrl and order disablement done maybe by Medes- who invaded Nineveh= gaughe eyes, ears and nose hacked= as if really attacking person Great Ziggurat of King Urnammu, Ur, ca. 2100 BCE Mud bricks clay mixed with veg and straw to prevent clay cracking when dry mud mixture put into wodden frames- knocked out and backed under sun joined wall with wicked clay not durable so sealed with BITUMEN buttresses= articulate walls= impression of strength, lines= add dynamic energy, 100 steps Stele with the Law Code of Hammurabi, ca. 1760 BCE TOP- hammurabi appears in relief- standing with arm raised in greeting before the enthroned sun-god Shamash- gods shoulders emanate sun rays- god extends hand, holding rope ring and the measuring rod of kingship= THIS GESTURE unifies scenes composition and purpose of the two leading characters gloomyer scale of Hammurabi compared to seated god= shepherd rather than god himselfFemale figurine, 12th-13th dynasties (ca. 1650 BCE), faience object military positiond in tombs along with dead from tomb in Thebes, represents a schematized woman- legs stop at knees, restrict her mobility/ or legs maybe not essential to her function painted cowrie-shell stays to emphasize belly and hips, delineate breats and pubic area= function may have been as fertility objects, enhance family continuity blue-green color of faience associated with fertility, mutation and goddess hathor Temple of Hatshepsut, ca. 478-1458 BCE New Kingdom funerary temple= Hatshepsut- female king crowning pyramid- mastaba and terraces extending into cliff face ascending white limestone courts, linked by wide ramps on a central axis trees lined entrance way and paired sphinxes faced each other Queen Hatshepsut kneeling, ca. 1473-1458 BCE Hatshepsut kneeling as she makes offering because kingship is male office, she wears regalia of a male king(kilt, false beard and nemes headdress(striped cloth worn by kings))Akhenaten and his family, 1355 BCE akhenaten with family- consort Nefertiti and 3 oldest daughters sun life-giving beams give out downward with hands at their terminals- reed columns suggest scene is within garden pavilion stocked with wine jars king and wife sit face up each othe on stools- hold daughters, on laps, in arms, uniting composition with animated gestures- contrast to STATIC quality of scenes of other times emphasis on daughters childishness marks changeAkhenaten, 1353-1335 BCE break dramatically long-established conventions for depicting royal subjects- different proportions- differentiate shoulders, lacking musculature, marked potbelly, wide hips, generous thighs, large lips, distinctive nose, chin, narrow eyes make face recognizable. Queen Tiy, 1352 BCE Akhenatens mother- used dark wood of yes tree with precious metls and semiprecious stones for details downturned mouth and modeled lines running from sides of nose to mouth= advancing years initially queen wore gold jewlry and silver headdress decorated with golden cobras= identify her with funerary goddesses Isis and Nepthys wig embellished with shabu beads topped with plumed crown Queen Nefertiti, 1348-1335 BCE Nefertitis bust- plastered over limestone core and painted left eye not inished- bust remained unfinished but elegance still derives from sculpturers command of geometry The weighing of the heart and judgment of Osiris The Book of the Dead of Hunefer, 1285 BCE books of dead instructions on how to flying the great beast and make it through afte rlife needed to go ceremony and weight their heart with ostrich feather- if free from sin- heart should be lighter than ostrich feather Temple of Ramses II, Abu Simbel, ca. 1279-1213 BCE Ramesses commissioned most architectural projects- including monumental temple king marked his claim to the land of Kush in Lower Nubia( origin of old, viroy and enimal pelts) between statues legs- small figures represent member of royal family.INTERIOR- colossal figures of Ramesses- 32ft Fugitives crossing a river, ca. 883-859 BCE walls covered with large scale stone reliefs narrative images- painted in places for emphasis- glorified king with detailed depictions archer and two women look on with hands raised NO RELATIVE SCALE, primary purpose of scenes to recount specific enemy conquests supply of citadel of Sargon II, with lamassu, 742-706 BCE (photo taken during excavation) lamassu- great guaridian figures powerful and terrifying deities to anyone who might enter embody kings fearful authority- tall horned headdresses, deep-set eyes, powerful muscularity of legs and bodies Reconstruction of Citadel of Sargon II, Dur Sharrukin, ca. 21-705 BCE Sargon II had plan for city of Dur Sharrukin where he had royal residence unexcavated but estimate to cover a square mile enclosed within an formal mud-brick wall 30 court yards- 200 live Lion hunt, ca. 645 BCE king slay lion way of demonstrating power over beast EGYPT- royal lion hunts were events that took place in palace grounds roal attendants released animals from cages into a square formed by troops with shields ritual symbolic showcasing kings strength and serving as illustration for military skillsPalette of King Narner, ca. 310-3125 BCE TOP CENTER hieroglyphs spell out narmers name BESIDE hieroglyphs= cow heads represent sky goddess LEFT= King Narmer holds enemy by hair and raises mace- sign of kingship KING- wears white crown of Upper Egypt and belt of kilt hangs tail of bull- symbole of power kings wear as part of ceremonial dress-larger scale establish authority BOTTOM-enemy stripped of clothing- humiliateion BEHIND king attendant carries kings sandals RIGHT of Narmer appears falcon holding rope OTHER SIDE- king wears red crown of LOWER egypt- by sandal carrier and long-hared figure= FOLOWS FOUR people holding some thing to inspect bodies of prisoners with their heads between their legs CENTRAL register= 2 animals roped by male figure- twist long necks to frame a circle in composition symmetrical, balanced= maat LOWER- bull rep. king attack city and tramples down enemy COMMUNICATE BY ombine several diff types of signs on one object some literal representations and symbolic representations- bull=strength MESSAGE king embodied unified UPPER and LOWER EGYPT- though human, he occupied divine office shown by placement of name in sky WEEK 3 GREEK Amphora with meander pattern and funeral, ca. 750 BCE vase from cemetery- known as Dipylon Vase- one of a group of large vessels Athenians used as funerary markers over burials- holes in its base allowed mourners to pour liquid offerings during funerary rituals- ashes of dead inside vases placedBlack-figured amphora Exekias, Achilles and Ajax playacting Dice, ca. 540-530 BCE black-figured technique- painted design in black silhouette against reddi sh clay- incised details into design with needls, painted white and purple over black to make chosen areas stand out Athenian amphora- signed by Exekias- both potter and painter- painting shows Homeric heroes Achilles and Ajax playing dice- episode not exist in surviving literary sources- two figures lean on their spears shields stacked behind them black silhouettes create rhythmical composition, symmetrical around table in centerKouros, ca. 540-525 BCE (means youth) male- slim, broad-shouldered, left leg forward, arms by side, clenched fists, shoulders, hips and knees are level Kore, ca. 530 BCE (wearing a peplos) (means maiden) female- -BOTH HAVE stylized wig-like hair, show techniques and proportional systems used by Egyptian sculptors- rigid, frontal, quatern distinct sides, no backslab, (GREEK space between forms, public nudity acceptable for males/not females. EGYPT figures embedded in stone. forced nudity on slaves) Red-figured amphora Euthymides, Dancing revelers, ca. 5 10-500 BCE black-fig. imit artist to incision for detail- develop red-figured tech- scence not dependent on profiles- freedom with brush translates into freedom of movement in dancing- range of poses, twisty bodies, age of intensive and conscious experimentation Red-figured kylix (wine cup) Douris painter, Eos and Memnon, ca.490-480 BCE Eos, goddess of dawn lifts limp body of her dead son, Memnon whom Achilles killed- Douris(maker)- traces contours of limbs beneath drapery and balances vigorous outlines with more delicate strokes- dead weight of memnons body contrats with lift of Eos wings Kritios Boy, ca. 480 BCE (marble) contrapposto weight shifted creating asymmetry in two sides of his body. Knee of forward leg is commence than the other, right hip is thrust down and in, left hip up and out, axis of body not straight vertical line, reversed S-curve stands at ease- CHIASTIC POSE (balanced asymmetry of relaxed natural stance) muscles suggest bm Temple of Hera II at Paestu m, ca. 460 BCE building made of DORIC order simple capital, no base, columns sit directl on step platform columns look massive, bantam space between them archeitects worried about rooms falling down Zeus or Poseidon, ca. 460-450 BCE, bronze nude bronze from sea near classic coast- 7ft tall- depicts spread-eagled male figure in act of throwing- Zeus casting thunderbolt or Poseidon throwing his trident. -sculptor catures and contrasts vigorous action and firm stability- express gods direful power.Shows artists understand of bodies in motion and also knowledge of strength of bronze= allow gods arms to stretch out without support. Warrior, ca. 450 BCE, found in the sea off of Riace, Italy over-life-size figure found in sea near Riace- used lost-wax technique- not just cutting away stone- artist build clay model- where marble absorb light, bronze surface reflect= explore surface texture for hair and skin Roman written matter later a bronze original by Myron, Diskobolos, ca. 50 BC E bronze, Myron condensed a sequence of movements into single pose, achieved through violent twist of torso that brings the arms into same place as legs -Pose conveys essence of action by presenting coiled figure in perfect balance Iktinos and Kallikrates, Parthenon, 447-432 BCE building made when athens was at war- created by currency in military- dominant temple on Akropolis- Perikles conceived it to play focal role in cult of Athena- chief center of cult practice remained on Erechtheion(north f Parthenon)- built of gleaming white marble- Architects Iktinor and Kallikrates OCTASTYLE(eight-column arrangement)- continuous sculpted frieze runs around all sides in variation of Ionic style- depicts procession moving from west-east- horsemen jostle with musicians,water carriers, sacrificial beasts- figures converging to create illusion of company- encircling colonnade gave impression that visitor can approach temple from all sides. appears less massive than TEMPLE OF HERA II at PA ESTUM= columns more slender, capitals smaller and less flaring-cornice projects less. East freize of the Parthenon, ca. 440 BCE part of festival held to honor Athena- exalts mortal classicals by deicting them in space reserved for divine and mythological scenes. cloth is a new robe for Athena(woven by Athenian girls and depicting Athenas triumph against giants in gigantomachy) Model of Pheidias, Athena Parthenos, ca. 438 BCE enormous statue of Athena by sculptor PHEIDIAS- stood with one hand supporting a personification of Victory, and shield resting against her side. Figure out of ivory and gold(combo known as CHRYSTELEPHANTINE)- supported by wooden armature- priceless Three goddesses, from the east pediment of the Parthenon, ca. 38-432 BCE Hestia, Dione and Aphrodite (recent, Leto, Artemis, Aphrodite)- pediment figures embedded in building- forms are strong and solid- masterpiece of swirling drapery, garments cling to bodies beneath as if wet- drapery not follow lines of body - there is twisting around legs(struggle with them) Temple of Athena Nike, 427-424 BCE, Akropolis, Athens (ionic order) has a bas- thinner columns- taller- fluting on columns is like womens robe or skirt- base is like shoes- more feminin and elegant- footling temple of athena nike- godess of wisdom and war- nike= VictoriaAkropolis, Athens, 421-405 BCE dedicated to goddess Athena Erechtheion, 421-405 BCE, Akropolis, Athens Mnesikles project-architext had to deal with difficult terrain- built to serve several religious functions- included foursome rooms and basement on western side- two porches attached to its flanks- one dedicated to Poseidon face north and is main entrance- smaller one juts out toward ParthenonErechtheion, Porch of the Maidens 421-405 BCE, Akropolis, Athens 6 caryatids of columns support roof- represent women of Caryae (city-state in Peloponnese that formed alliance with Persians in Persian wars)- when war over, Greeks took women as slaves- architects THUS des igned images of these women to bear the burden of their states dishonor in perpetuity Nike, from the balustrade of the Temple of Athena Nike, ca. 10-407 BCE Nike taking off sandles-about to step on holy ground-wings keep her stable so she performs embarrassing act with elegance and ease- Pheidian style evident in deeply cut folds of her wet look garments clinging to her body and fall in deep swags between her legs. expunge stele of Hegeso, ca. 410-400 BCE Pheidian style recognizable in drapery and also in smooth planes of faces- delicacy of carving clear in forms fathest away from viewer- servants left arm, veil behind Hegesos right hsoulder= relief merges with background strengthening illusion that background is empty space rather than solid surface.Roman transcript after an original by Praxiteles, Aphrodite of Knidos original from ca. 340-330 BCE first nude monumental statue of godess in Greek world- about to bathe, or rising from bath- right hand, she covers nudity in gestur e of modesty, grasping for robe with her left- head slightly turned so does not engage viewers gaze directly Roman copy after an original by Praxiteles, Hermes and the infant Dionysius original from ca. 320-310 BCE Hermes holding infant Dionysos- sandals=roman in style- chiastic pose is exaggerated and creates fuly relaxed curve of torso- youthful more than athleticWEEK 4 ROMAN & ITALY Ara Pacis Augustae, 13-9 BCE republican practice of commissioning narrative reliefs to record specific events- reliefs mounted on public buildings and monuments(ara pacias augustae) Imperial procession, Ara Pacis Augustae, 13-9 BCE below Parthenon frieze, ca. 440 BCE inclusion body of women and small children= denote importance of dynasty as well as referring to moral legislation Augustus enacted to promote child-birth among the elite. Roman copies of a Greek original by Lysippos, characterization of Alexander the Great, original late 4th C.BCE to have idealized quality- planes are smooth especi ally around brow and individuality emerge in fretful hair, raised at fron (cowlick) and twist of head- does not engage with a viewer- has distant gaze The Abduction of Persephone, wall painting in Tomb 1, Vergina, ca. 340-330 BCE from small tomb at Vergina- subject=abduction of Persephone- appropriate to funeral setting-Pluto-carries away Persephone to be queen-pluto seizes Persephone into speeding chariot-her handmaiden rearing back in fright The Battle of Alexander and the Persians mosaic copy of ca. 00 BCE of a Hellenistic painting of ca. 315 BCE roman copies of Greek wall painting- may be copy of Philoxenos painting- depicts Darius and the fleeing Persians on right and damaged left-hand portiong depict figure of Alexander- mosaic- follows fourcolor scheme(yellow,red,black,white)- widely used in late 4th century Portrait, called Brutus, ca. 300 BCE rome- develop upon greek style-form art that became popular in this period= true-to-life(prenominal) PORTRAIT lips thin, lips one over the other, overbite= similar notion of greek emphasis on individual = maybe a republican ideal, showing elf as god, flaws, suggest philosophical stance Epigonos of Pergamon (? ), Dying Gaul trumpeter, perhaps a Roman copy of a bronze original of ca.230-220 BCE found in chancel of Athena on Akropolis of Pergamon- sculptor identifies enemy as Gaul through his bushy hair and moustache and by torque around his neck(braided gold band)- dies sink quietly to ground/struggling to prop imself up as blood pours from wound in chest. Drunken old woman and market woman, Roman copies of originals of ca. 00 BCE depict unidealized and realistic everyday life- genre=Hellenistic realism- Roman- crouches on ground, clasping wine bottle, head flung far back-wrinkles cover face, skin on her exposed shoulder and chest sags with age- wears buckled tunic= identify as member of wealthy social class- (other sculptures of this kind focus on rustic life on poor) Nike of Samothrace, ca. 190 BCE cele brates naval victories-nike-means victory- of Eudamos- Rhodian marble of sculptures base suggest sculpture comes from Rhodes.Victory goddess seems to be landing on prow of ship as if to bestow crown of victory upon Eudamos- maybe about to take flight, massive wings soar out behind her, wings make statue appear weightless despite mass of stone- neither leg holds the bodys full weight. Great Altar of Zeus at Pergamon, ca. 166-156 BCE Eumenes II or Attalos II built it to commemorate territorial victories over Pontos and Bithynia and cheek of a grand victory festival(Nikephoria). Altar stood high on a podium with large rectangular encloser defined by Ionic colonnade. wide stairway at fron provided access. Stood on Pergamene Akropolis- reconstructed in Berlin-frieze encircle base-extends 400ft in length and 7ft in height-subject is battle of Gods and Giants Athena and the giants, from the frieze of the Great Altar of Zeus at Pergamon, ca. 166-156 BCE muscular bodies rush at each other , overlapping, entwining, wings beat and barments blow in wind or twist around those they robe, texture contrasts with smoothness of giants flesh. -giants emotion pain in torment of defeat- brows creased in painSanctuary of Fortuna Primigenia, Praeneste, early 1st C. BCE -in italy- made to celebrate military victory of sola- oracular center where priests interpreted divine will- architec used cover to mold structures over entire surface of hillside and to craft spaces- sanctuary ascend in 7 levels- BOTTOM=basilica&senate house- UPPOER TERRACE=rose in grand crescendo-4TH=colonnaded exedrae framed altars Wall paintings from the villa of Publius Fannius Synistor at Boscoreale, mid 1st.Century BCE molybdenum style- employed architectural vistas to open wall into a fantasy realm suggest another(prenominal) world beyond room Portrait of a man, early 1st century BCE wrinkles cover face, etching deep crags into cheeks and brows- depicted distinguishing marks=warts,hooked nose, recedin g hairline Temple of Portunus, Rome, ca. 80-70 BCE borrow Greek forms- in Italic style- stands on podium and engaged lateral columns emphasize frontal approach- Ionic coluns have slender proportions of Classical Greek temples Scenes of Dionysiac mystery cult, Villa of the Mysteries, Pompei, ca. 0-50 BCE 1st of MAUS FOUR STYLES OF PAINTING-(4 styles of roman wall painting= used paint and stucco to imitate expensive colored marble paneling- lower part of walla(the dado) and upper section above the cornice level are painted in rich mottled colors to resemble exotic block painting of a garden, Villa of Livia at Primaporta, ca. 20 BCE fresco -dining room- painted on all of the walls and ceiling so it looks like you are in a garden- frescos on all sides- light hitting different kinds of leaves- birds- leaves move in the wind- moving sensation Augustus of Primaporta, possibly a later copy of an original of ca. 0 CE depicted as ageless youth- appears in battledress with arm raised in ge sture of address- romans clothe sculptures, relaxed gesture- armor- pictures of his family, battles- represent life in armor- showing status- romans show specificperson- more political purpose, leading war with hand, armor, heigh preist, leader-CUPID=rides dolphin- acts as strut to strengthen marble- dolphin eoked sea Wall paintings, Ixion room, House of the Vettii, Pompei, 63-79 CE fourth style- united aspects of all lead preceding styles tocreate extravagant effect- combine imitationmarble paneling, framed mythological scenes resembling panel pictures set into wall Atrium of the House of the Vettii, Pompei, 2nd century BCE-79 CE eilte Roman house-distinct feature=atrium-square of simple central hall lit by opening in roof with shallow pool(impluvium) in ground to collect rainwater-airy quality=grandeur upon house, romans kept portraits of ancestorsWEEK 5ROMAN & gnarly Icon of the Madonna Enthroned, late 13th c. CE, poster color Interior, Cathedral of Monreale, Italy, 1180-11 90 CE Interior, St. Marks, Venice, begun 1063 CE Dome with mosaic of the Pantocrator, eleventh c. CE Church of the Dormition, Daphni, Greece Crucifixion, mosaic, 11th c. CE Church of the Dormition, Daphni, Greece Emperor Justinian and his attendants, 547 CE mosaic, San Vitale, Ravenna Empress Theodora and her attendants, 547 CE mosaic, San Vitale, Ravenna Anthemius of Tralles and Isidorus of Miletus, Hagia Sophia, Istanbul (previously Constantinople), 532-7 CE San Vitale, Ravenna, 526-47 CE Interior, San Vitale, Ravenna, 526-47 CEIcon of Christ, 6th c. CE, encaustic Iconoclasm Mausoleum of Galla Placidia, Ravenna, 425-50 CE Good Shepherd, mosaic, Mausoleum of Galla Placidia, Ravenna, 425-50 CE The Good Shepherd and Stories of Jonah, 4th c. CE Catacomb of Ss. Pietro e Marcellino, Rome Constantine the Great, early 4th century CE large and deeply carved eyes- see something beyond this world-soft modeling to cheeks and mouth-more natural than tetrach-full cap of hair and absense of bea rd it reference to Trajan and Augustus Santa Costanza, Rome, ca. 350 CE Interior of Old St. Peters, Rome, built 324-400 CE (drawing by Jacopo Grimaldi, 1619) Arch of Constantine, Rome, 312-315 CE people of rome dedicated triple-bayed arch to Constantine near colosseum to celebrate 10 year anniversary- largest imperial arches- little of sculptural relief on its surface was specifically designed for this monument- free-standing Dacian capties on attic originated in Trajans Forum as did Trajanic Frieze on ends of attic and inside central bay- Arch of Constantine, 312-315 CE detail of Hadrianic rondels and Constantinian relief Constantine addressing a crowd, Arch of Constantine, 312-15 CE figures crowd the scene- heads are disproportionatel large- bodies stocky- poses unnaturally rigid- lines cared on flat surface render anatomical details- second row of heards arranged above first indicates recession- The Tetrarchs, 305 CE, porphyry during tetrachy-portraiture took radically abstrac t quality- two porphyry sculptural groups mounted on columns- each group shows two tetrachs in elaborate military dress with bird-headed sword hilts and flat pannonian caps=represent powerful Illyrian officer class-proportions are squat and nonnaturalistic, facial features abstract rather than individualized.=portrait suggest authority resides in office of emperor not in who holds office. =sameness of portraits underlines the tetrachs equality-porphyry-hard Egyptian stone reserved for imperial use Hadrians Villa, Tivoli, 130-138 CE emperor built magnificient residence for self- built on site of Republican villa- villas form follo natural line of landscape but massive earthworks rearranged terrain to accommodate architecture water is a common feature- in pools, running transmit=adding sound,motion,reflecting light, offering coolness in summer heat-canal has been known as CANOPUS Pantheon, Rome, 117-125 CE Augustus right-han dman=Agrippa built first Pantheon-name intended it as tem ple to gods- fire destroyed this temple and Domitian built reconstruction- Pantheon now work of Trajans architect=APOLLODORUS- completed in Hadrians reign-In roman times pantheon stood raised on a podium at south end of large rectangular court-octastyle facade- dome pierced with 27ft hole(OCULUS open to sky)- 143ft(total interior height is also domes diameter=sphere=eternity and perfection Trajans Column, Rome, 106-113 CE (height 38 m) support gilded statue of emperor- winding through interior of shaft is a spiral staircase leading to a viewing platform- credited as work of Apollodorus-role as velvedere(viewing station) Titus riding in triumph, Arch of Titus, 81 CE rides triumphal chariot, high above a buzz crowd- horses appear in profile but chariot is frontal=illusion that procession is approaching viwer before turning sharply- behind emperor-personification of victory crowns him for his success boost of spoils from the Temple in Jerusalem, Arch of Titus, 81 CE soldiers carry booty through the streets including seven-branched menorah and other sacred furniture looted from Temple- panel marks important move toward spatial illusionism Colosseum, Rome, 72-80 CE held over 50 000 spectators-concrete-faced with travertine- 80 arched entrances led into building framed with tuscan columns- second story, Ionic columns framed second set of arches, third engaged Corinthian columns. WEEK 6Sinan, Mosque of Selim II, 1569-74, Edirne, Turkey Sultan-Muhammed, Allegory of Heavenly and Earthly Drunkenness, from a manuscript of the Divan of Hafiz, 1529 Detail of a rug from Iran, ca. 1575-1600 Behzad, Poor man refused admittance to a mosque, from a manuscript of the Bostan of Sadi, 1486 CE Court of the Lions, Alhambra, 14th c. CE, Granada, Spain Dome, Hall of the Abencerrajes, Alhambra, 14th c. CE, Granada, Spain Cloak of Roger II of Sicily, 12th c. CE The Temptation and Fall, Doors of Bishop Bernward, Hildesheim Cathedral, ca. 1015 CE Detail of qibla wall, Great Mosque, Cordoba, 10th c. CE Interior of Prayer Hall, Great Mosque, Cordoba, 8th-10th c.CE St. Matthew, from the Gospel Book of Archbishop Ebbo of Reims, 816-835 CE St. Matthew, from the Gospel Book of Charlemagne, ca. 800-810 CE Equestrian Statue of a Carolingian Ruler, 9th C Kufic script from a Quran, 9th c. Chi Rho Iota Page, Book of Kells, ca. 800 CE St. Matthew, Lindisfarne Gospels, tempera on vellum, ca. 700 CE Cross Page, Lindisfarne Gospels, tempera on vellum, ca. 700 CE Dome of the Rock, Jerusalem, ca. 690 and later Interior, Dome of the Rock, Jerusalem, ca. 690 CE and later Belt buckle, Sutton Hoo Ship Burial, ca. 600-650 CE Purse cover, Sutton Hoo Ship Burial, ca. 600-650 CE Clasp, Sutton Hoo Ship Burial, ca. 600-650 CE