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  • Welcome to Roman Architecture.

  • I'm Professor Kleiner, and what I'd like to do today

  • is to give you a sense of some of the great buildings

  • and some of the themes that we will be studying together this semester.

  • I think it's important to note, from the outset,

  • that Roman architecture is primarily an architecture of cities.

  • The Romans structured a man-made, worldwide empire out of architectural forms,

  • and those architectural forms revolutionized the ancient world

  • and exerted a lasting influence on the architecture and the architects of post-classical times.

  • This semester we will be concerned primarily with urban

  • communities-- with urban communities--and we

  • will, in the first half of this

  • semester, we will focus on the city of

  • Rome, and in the second-- and also central Italy,

  • including Pompeii.

  • And I wanted to show you, at the outset,

  • an aerial view of Rome--you see it over here,

  • on the left-hand side of the screen--

  • that situates us in the very core of the ancient city.

  • You see the famous Colosseum, the very icon of Rome,

  • at the upper right.

  • You see the Roman Forum, as it looks today,

  • and you see a part of the Capitoline Hill,

  • transformed by Michelangelo into the famous Campidoglio,

  • as well as the Via dei Fori Imperiali of Mussolini,

  • built by Mussolini, and the Imperial Fora.

  • So the city of Rome again we'll be concentrating on,

  • at the beginning of this semester, as well as the city of

  • Pompeii.

  • An aerial view of Pompeii, as it looks today.

  • You can see many of the buildings of the city,

  • including the houses and the shops, and also the

  • entertainment district.

  • This is the theater and the music hall of ancient Pompeii.

  • The amphitheater is over here.

  • And you can see, of course, looming up in the

  • background, Mount Vesuvius, the mountain that caused all that trouble in 79 A.D.

  • So that's the first half of the semester.

  • The second half of the semester we are going to be going out

  • into the provinces, into the Roman provinces,

  • and that is going to take us-- and we're going to look at the

  • provinces both in the eastern and the western part of the

  • Empire-- and that will take us to Roman Greece.

  • It will take us to Asia Minor; Asia Minor, which of course is modern Turkey.

  • It will take us to North Africa.

  • It will take us to the Middle East,

  • in what's now Jordan and Syria, and it will also take us to

  • Europe, to western Europe,

  • to cities in France and to cities in Spain.

  • And let me just show you an example of some of the buildings

  • that we'll look at as we travel to the provinces.

  • This is the Library of Celsus, in Ephesus,

  • on the western coast of Turkey.

  • This--the theater, a spectacularly well-preserved

  • theater at Sabratha, you see on the upper right-hand

  • side; and down here a restored view

  • of the masterful Palace of Diocletian.

  • We have the late Roman emperors in a place called Split,

  • which is in Croatia, along the fabulously gorgeous

  • Dalmatian Coast today.

  • So those are just a sampling of the kinds of buildings that

  • we'll look at in the provinces.

  • We're going to be seeing, we'll be concentrating on the

  • ways in which the Romans planned and built their cities.

  • And it's important to note, from the very outset,

  • that Rome itself grew in a very ad hoc way.

  • And we can tell that.

  • Here's a Google Earth image showing that core of Rome,

  • with the Colosseum, with the famous,

  • modern Victor Emmanuel Monument that looks either like a wedding

  • cake or a typewriter.

  • It's very white, and it's called the wedding

  • cake by a lot of the locals.

  • You see that here.

  • But it's a landmark in Rome.

  • And the Capitoline Hill, with the Campidoglio over here;

  • the Forum, the Roman Forum; the Imperial Fora on this side.

  • But you can see from the relatively crooked and narrow

  • streets of the city of Rome, as they look from above today,

  • you can see that again the city grew in a fairly ad hoc

  • way, as I mentioned.

  • It wasn't planned all at once, it just grew up over time,

  • beginning in the eighth century B.C.

  • Now this is interesting because what we know about the Romans is

  • when they were left to their own devices,

  • and they could build a city from scratch,

  • they didn't let it grow in an ad hoc way.

  • They structured it in a very methodical way.

  • It was basically based on military strategy,

  • military planning.

  • The Romans, they couldn't have conquered the world without

  • obviously having a masterful military enterprise,

  • and everywhere they went on their various campaigns,

  • their various military campaigns, they would build

  • camps, and those camps were always

  • laid out in a very geometric plan,

  • along a grid, usually square or rectangular.

  • So when we begin to see the Romans building their ideal

  • Roman city, they turn to that so-called

  • castrum, or military camp design,

  • and they build their cities that way.

  • And I show you here one example.

  • We're using Google Earth here again,

  • another example of, or an example of a city called

  • Timgad, T-i-m-g-a-d,

  • which is in modern Algeria, and the ancient city still

  • survives.

  • And if we look at this Google Earth image of it,

  • you can see there are no later accretions,

  • as we have in Rome, no later civilizations built on

  • top of it.

  • You can see the ideal Roman plan, which, as I said,

  • is usually either a square or a rectangle.

  • It has in the center the two main streets of the city.

  • The north-south street is called the cardo,

  • c-a-r-d-o.

  • The east-west street is called the decumanus,

  • d-e-c-u-m-a-n-u-s.

  • We'll go back to all of this in the future; so you don't have to

  • worry about it today.

  • The cardo and the decumanus,

  • and you can see that they cross exactly;

  • they intersect exactly at the center of the city.

  • And then the rest of the city is arranged in blocks,

  • very regular blocks, this grid plan that I mentioned

  • before.

  • Then some of the major monuments, whether it's the

  • theater or the forum, are arranged in different parts

  • of the city, and then these blocks

  • constitute essentially the housing and the shops and so on

  • and so forth.

  • This is a city that was planned in around 100 A.D.,

  • under the emperor Trajan.

  • And again it gives us an inkling of what the Romans --

  • when the Romans thought about ideal Roman town planning --

  • it was this grid plan, not Rome, but this grid plan

  • that they had very much in mind.

  • Cities like Rome, like Timgad,

  • and most of the others that we'll look at in the course of

  • this semester, were surrounded by defensive

  • walls.

  • As a major military machine in its own right,

  • Rome was only too aware of the dangers of attack from others,

  • and consequently they walled their cities.

  • And we will look at the two major walls in Rome,

  • as well as walls in other parts of the Roman world.

  • I promise not to spend too much time on walls,

  • because they're essentially piles of stone.

  • But they're important in their own right and I will speak to

  • them on occasion, and especially the two in Rome.

  • You see them here.

  • This is the first wall in Rome, the so-called Servian Walls,

  • which was built in the Republic, in the Roman Republic,

  • to surround the city, the Republican city,

  • and essentially the Seven Hills, the famous Seven Hills of

  • Rome, to surround the Seven Hills of

  • Rome, in the fourth century B.C.

  • You see a section of it here.

  • This wall--any of you who've come to Rome by train,

  • and the Stazione Termini, see a very extensive section of

  • the Servian Walls, as you get out--I don't know if

  • you've noticed it, but you should see--an

  • extensive section of the Servian Walls right outside the train

  • station.

  • This is a different section, a picture I took on the

  • Aventine Hill, showing part of that wall.

  • And that was eventually replaced by later walls.

  • The city grew over time.

  • It needed a more extensive, broader wall system,

  • and in the late third century A.D., under the emperor

  • Aurelian, the famous Aurelian Walls were built.

  • The Aurelian Walls, as you know -- there's no way

  • you've missed those -- I'm sure if you've been in Rome

  • you've seen the Aurelian Walls-- they're there,

  • they're very much there-- at least if you've left the

  • city.

  • Maybe if you've just gone into the core of the city and haven't

  • gone beyond that, you might not have seen them.

  • But if you've left the city, you've seen the Aurelian Walls

  • -- a very impressive set of walls that encircled the later

  • city.

  • One thing that's apparent to you as you look at these,

  • even if you have no knowledge of Roman

  • architecture, is these are made of very

  • different kinds of materials.

  • So technical issues come to the fore right away as one analyzes

  • this sort of thing.

  • In the early period, essentially blocks of stone,

  • piled one on top of the other, for the wall.

  • Here, a more sophisticated use, later on in the Empire,

  • of a new technology that we're going to talk about a lot this

  • semester.

  • That is concrete, and what concrete did to

  • revolutionize Roman architecture;

  • concrete, in this particular case, faced with brick.

  • We talked about regular town planning and the location of the

  • cardo and the decumanus.

  • I want to show you just an example of this.

  • This is a city in Italy, in this case the city of

  • Pompeii.

  • You see it here in plan.

  • This is a plan of Pompeii as it looked, just at the moment that

  • Vesuvius erupted.

  • So in August of 79 A.D.

  • this was the way Pompeii was at that particular time.

  • You can see it's not really a rectangle;

  • it's kind of elongated, sort of like an oval,

  • kind of an oval, an irregular oval.

  • But it has the sense; I think it has the sense.

  • It shows you that again even though the Romans were thinking

  • to try to create their cities in a very regular way,

  • it didn't always work out exactly that way,

  • depending on the terrain and so on and so forth.

  • But this is a rough--it's sort of an irregular rectangle,

  • as you can see here.

  • But if you look very carefully, you sort of say to yourself

  • like, "Where's the cardo,

  • where's the dec?

  • You just told us the cardo and the

  • decumanus intersect in the center;

  • like where are they?

  • Why aren't they intersecting in the center?"

  • Well, surprise, surprise, maybe not such a

  • surprise, if you look over here at the bottom left,

  • you will actually see the original city of Pompeii.

  • In the fourth century B.C., the third century B.C.,

  • the second century B.C., Pompeii didn't look like this;

  • Pompeii looked like this.

  • And if you look very carefully at just this section,

  • where we have the buildings in the various colors,

  • you will see that there is indeed a cardo and a

  • decumanus that intersect exactly at the center of this

  • roughly square-- so this was actually pretty

  • regular originally-- this roughly square city of

  • Pompeii.

  • At three we find the forum, because the forum is always at

  • the intersection.

  • The Romans try--they're very careful about this sort of

  • thing-- try to put their forum right at

  • the intersection of the cardo and the

  • decumanus.

  • You see that here; and then you see a lot of other

  • buildings splayed off to either side.

  • The law court or the basilica, another temple here.

  • Here the main Temple of Jupiter, and the Senate House or

  • Curia, and a series of other religious and comparable

  • structures, on the right-hand side.

  • So it began as a quite regular plan, cardo and

  • decumanus intersecting at the center, forum right at the

  • intersection of those two.

  • And then over time it grew.

  • It grew and expanded, and the streets,

  • the same streets, the cardo expanded,

  • although it was no longer exactly at the center of the

  • city.

  • This is a view from Google Earth that shows you just pretty

  • much-- I tried to angle it in such a

  • way that it looks-- that it's exactly the same

  • angle, or close to exactly the same angle,

  • as the plan that we just looked at before.

  • And you can see over here the amphitheater.

  • You can see many of the streets, including the shops and

  • the houses, and you can see over here the forum,

  • as it looks today from the air.

  • And again it shows you how helpful Google--

  • and, of course, as you know,

  • using Google Earth yourselves for other purposes,

  • you know that you can go way down;

  • I mean, you can find the entire city and then you can go and

  • explore each individual building on your own and in your own

  • time.

  • In fact, that's what I've done here.

  • Here you see a closer view of the forum in Pompeii,

  • as it looks today, from the air,

  • via Google Earth, here at the left.

  • And I compare it to this plan that comes from your textbook,

  • one of your two textbooks.

  • This is the book by J.B. Ward-Perkins,

  • which is, of the two, the more--well,

  • they're both important, but then they both do different

  • things-- but one of the two important

  • books that we'll be using this semester.

  • Here is a plan from that book.

  • And you can see the way in which this forum,

  • and this forum is very important at Pompeii because

  • it's very early in date, and consequently we will talk

  • about it a fair amount.

  • We see this.

  • The way Roman forums were usually arranged was to have one

  • general open rectangular space, open to the sky,

  • surrounded by columns, with a temple,

  • the key, the most important temple,

  • the chief temple, pushed up against one of the

  • short back walls, and dominating the space in

  • front of it.

  • This is a Capitolium; we'll talk about what a

  • Capitolium is in a future lecture, but it is a temple to

  • Jupiter and others, as we shall see.

  • Temple of Apollo over here, the basilica or law courts over

  • here.

  • And you can see, interestingly enough,

  • they have essentially the same shape as the central forum

  • proper, rectangular with a colonnade in

  • the center, and then something on one side;

  • it's not another temple but rather a tribunal,

  • a place from which the judge would try the cases in the law

  • courts.

  • We see the Senate House over here, and a series of other

  • buildings, including a marketplace and some other

  • buildings here, on the right-hand side.

  • So a typical Roman forum at its earliest.

  • This dates very early on, second century B.C.,

  • and is therefore an extremely important building for us.

  • Just so that you get a sense of what some of these look like in

  • actuality, this is the basilica or the law

  • court, which is part of the Forum of

  • Pompeii.

  • And we see that tribunal that I mentioned before,

  • a two-story tribunal from which the judge would try the cases.

  • The building isn't as well preserved as we'd like,

  • although there's quite a bit there.

  • What is there allows us to create this kind of

  • reconstruction drawing where we can get a very good sense of

  • what this building actually looked like in antiquity.

  • You see the tribunal over there.

  • You see that there are double stories with columns on either

  • side.

  • You see these colossal columns along the aisle.

  • But most importantly, unlike the forum,

  • which was open to the sky, this is roofed,

  • and it had a flat roof with what's called a coffered

  • ceiling-- we'll talk about that later in

  • the term-- but then a sloping roof from

  • the outside.

  • And basilicas were always roofed;

  • that's what distinguishes them from a lot of other Roman

  • buildings.

  • Roman temple architecture.

  • The Temples of Jupiter and Apollo at Pompeii are not that

  • well preserved, but some Roman temples are

  • magnificently preserved.

  • I mean, look at this one, it's pristine;

  • it's like it was created yesterday as a duplicate of what

  • a Roman temple, or a restoration of what a

  • Roman temple might have looked like.

  • You could put this in Memphis or somewhere like that,

  • and think that you had a nice replica of a Roman temple.

  • That's how well preserved it is.

  • It's an amazing temple.

  • It just happens to be well preserved, in part because it

  • was re-used over time, most recently as a small

  • archaeological museum.

  • This is the famous Maison Carrée,

  • or Square House, for obvious reasons,

  • that is in the beautiful French town ofmes,

  • in the south of France.

  • You see it here in all its glory.

  • And think as you look at this how many banks were based on

  • this plan.

  • I mean, you can go to almost any small city in America and

  • see a bank that looks something like this,

  • which just gives you some sense of again how influential Roman

  • architecture has been over time.

  • It's a quite traditional temple.

  • We'll talk about the difference between traditional temple

  • architecture and more innovative temple architecture in the

  • course of this semester.

  • And as innovative as it gets, is one of the key buildings of

  • Roman architecture, which is, of course,

  • the famous Pantheon in Rome.

  • I'm sure there's none of you who's been in Rome who hasn't

  • been inside the Pantheon.

  • It's an incredible building.

  • This is a Google Map.

  • It was done during--the building was put up during the

  • reign of the very important, from the architectural

  • standpoint and many other standpoints,

  • the very important Emperor Hadrian.

  • And we see--this is again one of the wonderful things about

  • Google Earth, because you're seeing here the

  • modern city, but you're also seeing in 3D.

  • The building still stands, and it's in incredible

  • condition-- but you're also seeing the

  • building almost as it would've been in ancient times,

  • surrounded by its modern environment.

  • It's a temple.

  • It's a very distinctive and innovative temple,

  • because when you look at it from the front,

  • you see it has a kind of traditional porch.

  • It is not unlike the one on the Maison Carrée with

  • columns that support a pediment and looks like earlier Greek or

  • Etruscan architecture.

  • But what's very innovative about it is that once you go

  • into the building, you see that this is not

  • about--this is all about an interior space,

  • an extraordinary interior space that is shaped by light,

  • that is shaped by genius, essentially.

  • And this image is actually one of those that gives you a sense

  • of the kind of thing that I've been able to incorporate into

  • this course, that I didn't always use

  • before, which includes many, many, many of my own images.

  • And this one I'm particularly proud of.

  • It's a very atmospheric view of the dome of the Pantheon,

  • and I think really gives you, almost more than anything else,

  • gives you a sense almost more than anything else that I can

  • show you today, of Rome at its best,

  • of the power and glory of Rome and of Roman architecture.

  • I'm very biased, but as far as I'm concerned

  • this is the greatest building ever conceived by man.

  • So there you are.

  • We'll see by the end of the semester whether you agree with

  • me or you think I'm absolutely wrong about that.

  • This is another extraordinary structure and one that enables

  • me to say something that you'll hear me say more than once--

  • and I know I'm biased--but say more than once in the course of

  • this semester, and that is that there isn't

  • much that the Romans didn't discover,

  • didn't create, and not just in architecture,

  • in all kinds of ways.

  • And this is a good example of that.

  • This is the so-called, the famous Markets of Trajan in

  • Rome, part of the great Forum of the emperor Trajan in Rome.

  • And you can see that what the Romans have done is taken a

  • hill, one of the famous Seven Hills,

  • the Quirinal Hill, taken that hill,

  • cut it back, poured concrete on it and

  • created this incredible shopping center on the side of the hill.

  • If this isn't the beginning of mall architecture,

  • I don't know what is; shopping mall architecture.

  • It's right here already.

  • You can shop; there are over 150 shops.

  • You can shop on a variety of levels.

  • You can shop in the hemicycle, you can shop along the Via

  • Biberatica.

  • You can shop 'til you drop in this incredible mall.

  • And as one looks at it in detail, one sees amazing things.

  • This is a view of one of the shopping streets.

  • You can see the typical polygonal masonry that is so

  • characteristic of Roman street design here.

  • Along it, some of the individual shops--think that

  • away at the top, that was added later.

  • But you see some of the individual shops here.

  • And look how ingenious the Romans have been to provide not

  • only a ramp but also a series of stairs, flat area stairs and so

  • on.

  • And this has all been very, very carefully orchestrated by

  • the designers in a way that is not only utilitarian but also

  • very attractive.

  • And then there's this.

  • This is the Great Hall of the Markets of Trajan in Rome,

  • a kind of bazaar, which also has a series of

  • shops and also attic windows, as you can see, above.

  • But then the particular marvel of this space is--look what

  • they've done above.

  • They have taken, using concrete once again--and

  • this gives you some sense of the miracle of Roman concrete.

  • Using concrete, they have created a new kind of

  • vault, which we call the groin vault,

  • vault, which is a ribbed vault,

  • and you can see the ribs very clearly here.

  • And they have lifted that ribbed vault on top of piers

  • that have been attenuated, narrowed to the point,

  • in a very sophisticated way, much more than was true up to

  • up to this moment.

  • So they have been able to lift those groin vaults in a way that

  • always reminds me-- it's as if you went and opened

  • a series of umbrellas over a space,

  • lifted the space up in a truly miraculous way.

  • And as an example again of the fact that the Romans--there's

  • nothing the Romans didn't do or didn't invent.

  • Here you see the well-known marketplace in San Francisco,

  • where you see essentially the same idea;

  • a series of shops down below and then this magnificently

  • lifted ceiling above.

  • So Roman architecture, as I said in the very

  • beginning, really had a huge impact on later architecture.

  • The Markets of Trajan were part of the forum complex,

  • the Forum of Trajan, which you see part of here.

  • The forum itself was really quite conventional.

  • This is an interesting building because we have a fairly

  • traditional approach to the forum itself,

  • and then an innovative approach to the markets.

  • This is a restored view of the basilica or law court of the

  • Forum of Trajan.

  • You see that it's very traditional, with columns and

  • marble and a flat ceiling with coffers.

  • And that's what most of the forum looks like.

  • The markets are done in a very different style,

  • as we saw.

  • And this particular forum was not only a meeting and a

  • marketplace, or a place where cases could be

  • tried, but was also a monument in stone to

  • stone to the military victories of Trajan.

  • Trajan was the emperor who extended the borders of the

  • empire to their furthest reaches,

  • and the monument is a testament to what his accomplishments were

  • militarily.

  • And the famous Column of Trajan, which still stands and

  • is in magnificent condition, as you can see here,

  • is a monument that is wrapped with a spiral frieze that

  • purports to describe, from bottom to top,

  • all of the exploits, all of the military exploits of

  • Trajan's two military campaigns in Dacia.

  • It also served as the emperor's tomb.

  • There was a burial chamber down below for urns of Trajan and his

  • wife Plotina.

  • So it served not only as a commemoration of his military

  • victory over Dacia-- which by the way is modern

  • Romania today-- but also to victory over death

  • for the emperor.

  • Every Roman city had its bath buildings.

  • Most of the houses did not have running water,

  • so baths were extremely important, obviously.

  • So most of these had more than one, and in fact most cities,

  • Pompeii, for example, seems to have had about three

  • bath buildings.

  • They're very important, both in terms of their social,

  • their practical needs, and also as a place for social

  • interaction, but also because there are some

  • very interesting architectural experiments that took place in

  • them.

  • I'm going to show you in the course of this semester the

  • development from the simplest bath buildings,

  • such as the ones in Pompeii, to the most elaborate.

  • Those of you who've visited the Baths of Caracalla in Rome --

  • that's an example of one of the huge and most elaborate bath

  • buildings.

  • I show you here on the left-hand side of the screen,

  • just as an example, a view of one of the rooms of

  • the Forum Baths in Pompeii, the caldarium or warm

  • room.

  • All of these baths had multiple spaces within them.

  • One of the distinctions of the earlier baths was that the men's

  • sections and the women's sections were separate from one

  • another.

  • And I hate to say it, but the men had all the great

  • rooms.

  • They were bigger and they were more ornately decorated,

  • as this one is -- the warm room of the men's baths at Pompeii.

  • But you can see here, even in much smaller scale than

  • a building like the Pantheon, and much earlier than the

  • Pantheon, they're beginning to explore

  • the curvatures of the wall, the semi-dome there,

  • and the way in which you can create light effects by putting

  • holes or what's called an oculus,

  • a round hole, in part of the ceiling,

  • and other rectangular holes in the ceiling to create fantastic

  • light effects.

  • So they're already exploring that here in Pompeii.

  • When we look at some of the larger bathing establishments,

  • the Baths of Caracalla still look--well they're essentially a

  • pile of concrete faced with brick today,

  • as any of you who've seen it know.

  • But the scale is truly colossal, and one is very

  • impressed when one wanders around the Baths of Caracalla.

  • But some of the others, for example,

  • the Baths of Diocletian have been reused in modern times,

  • and it's one of the reasons that so many Roman buildings

  • survive is because of this kind of reuse over the centuries.

  • This, the Baths of Diocletian, part of which was transformed

  • into a church, at first, was decorated at one

  • point in part by Michelangelo.

  • And what we're looking at here, the Church of Santa Maria degli

  • Angeli, Saint Mary of the Angels,

  • what we're looking at here is a view into what was the cold

  • room, or the frigidarium of

  • the Baths of Diocletian, but transformed into a church,

  • used as nave of the church of Saint Mary of the Angels.

  • But if you look very closely, you'll see those same cross or

  • groin vaults that we saw in the Markets of Trajan,

  • that are also used here to lift the ceiling in a very effective

  • way, and then all these

  • multi-colored columns that you see are actually the columns

  • from the ancient building.

  • So even in this interior of Santa Maria degli Angeli,

  • we can get a sense of how ornate some of the decorations

  • of some of these bath buildings were.

  • We're going to look at Roman theaters this semester.

  • This is an example of one, the spectacular Roman theater

  • at Orange in the south of France.

  • You see it here.

  • I'm not going to go into the parts of a theater or its

  • relationship to earlier Greek theatrical architecture.

  • But you can see the stair, you can see the seats,

  • you can see the orchestra.

  • You can see the stage building, a stage building that initially

  • was decorated with a forest of columns,

  • only a couple of which survive, as well as a lot of sculptural

  • decoration, again most of which does not

  • survive.

  • But one of the points I want to make today is that the Greeks

  • tended to build--the Greeks always built their theaters on

  • hillsides.

  • They used the natural hill to support the seats.

  • And that's true at Orange as well.

  • But the Romans were not content to build their theaters only on

  • hillsides.

  • They wanted to build their theaters where they wanted to

  • build their theaters, and if they wanted to build a

  • theater in downtown Rome, they wanted to build a theater

  • in downtown Rome.

  • So what they did was that they used concrete again to build a

  • hill, upon which they could support those same seats.

  • And that's again an innovation that we'll talk about.

  • This is the Theater of Marcellus in Rome,

  • the earliest surviving stone theater in Rome that dates to

  • the Age of Augustus.

  • But I show it to you again, just to show you the wonders of

  • Google Earth.

  • I've looked at this building a zillion times.

  • I've wandered around it.

  • Most of the ancient part is over on this side,

  • and I'll show that to you in another lecture.

  • But over time this is one of those buildings that was

  • transformed into all sorts of things, most recently into a

  • fabulous condominium.

  • But as you wander around it today, you get a sense of some

  • of the high-rise apartments that have been added to the original

  • theater.

  • But you can't get a full sense of it unless you go up above it.

  • And so here's where again Google Earth is so helpful,

  • because we can look down on the entire complex,

  • see the gardens, see some of the apartments,

  • see the circular driveway and so on and so forth,

  • which gives us information that it wouldn't be possible to glean

  • anywhere else.

  • And here is--if you let that transformation from modern Rome

  • to ancient Rome take place on Google Earth,

  • this is what you're going to get for that same Theater of

  • Marcellus.

  • We just saw it and what it looks like today on Google

  • Earth.

  • Here's what it looks like when you let it transform completely

  • into the Theater of Marcellus from ancient times.

  • The Colosseum, the very icon of Rome.

  • No Roman city was without its amphitheater,

  • its place for gladiatorial and animal combat,

  • and Rome was no exception.

  • The most famous surviving Roman amphitheater is the Colosseum.

  • I show it to you here from the inside,

  • rather than the outside initially, because I can--

  • it allows me to illustrate the places where the animals were

  • kept down below, but also to show you that that

  • building has been used as a quarry.

  • It was used by the popes and the princes of later Italy as a

  • stone quarry.

  • They would take essentially--well they stripped

  • it of all its interior marble, to use that in a variety of

  • buildings in Rome, and some of those we know their

  • identification even today.

  • Here's a view of one of the corridors where you can see once

  • again those groin vaults or ribbed vaults that the Romans

  • popularized.

  • Connecting all these cities with one another were the

  • streets of the city.

  • We'll look at streets, especially in Pompeii,

  • where they are extremely well preserved,

  • and these streets look very modern--

  • you see the polygonal stones--but very modern in the

  • use of the sidewalks.

  • The sidewalks; there are drains as well along

  • the sidewalks.

  • And then you can see these very deep rut marks where the wheels

  • of the carts used to--over time obviously they made these ruts

  • in the pavement.

  • And then over here a small fountain, a fountain blessed by

  • Hermes or Mercury.

  • You can see him there with his wings and his caduceus.

  • A small fountain, important obviously again

  • because most of the houses did not have running water,

  • and there had to be a place that you could go to collect

  • water for household use.

  • One of the great things about Pompeii, of course,

  • is it gives us a sense of what life was like in ancient Roman

  • times, daily life was like.

  • And we'll look at millstones that are part of bakeries,

  • as well as ovens that look--again, the Romans invented

  • everything-- look very much like a modern

  • pizza oven.

  • You go over to BAR, you'll see one of those.

  • Over here, wine shops; we have lots of wine shops in

  • these Roman cities, and they're particularly well

  • preserved in Herculaneum and in Pompeii,

  • with these clay amphorae that were used to hold wines,

  • that were brought to Italy, and also sometimes oils,

  • that were brought to Italy from different parts of the world.

  • Every Roman city had its McDonald's, or its Wendy's,

  • or its Burger King, and I show one of those to you

  • here.

  • It's called a thermopolium,

  • as you can see down below; thermopolium.

  • A thermopolium was essentially--what it was made up

  • of is a--it is a series of--a counter, with a series of

  • recesses.

  • And each day those who ran this thermopolium put

  • different food in there, and so when you got

  • hungry--again, the whole sort of fast food

  • idea-- you just walk by,

  • like in a cafeteria, point out what you wanted.

  • They'd serve it to you and you'd be on your way.

  • So very much fast food--so we see lots of them in Pompeii and

  • Herculaneum.

  • We'll look at Roman houses.

  • This is one example, the House of the Vettii in

  • Pompeii, spectacularly preserved house,

  • where we can see a pool that was actually used for collecting

  • water, a hole in the ceiling,

  • but a view from the atrium of the house into the garden.

  • The garden over here, you get a sense of it -- the

  • greenery, the marble furniture, the fountains,

  • and then the paintings on the walls.

  • I mentioned at the beginning we'll spend a fair amount of

  • time -- we'll spend a few lectures on Roman painting.

  • And the reason that I do that is because it's absolutely

  • gorgeous and it's fascinating.

  • But it also allows us to get a better understanding of interior

  • decoration among the Romans, how they decorated their walls.

  • But also, because as you can see from this one example,

  • from Boscoreale, now in the Metropolitan Museum,

  • the famous Met Cubiculum,

  • which is decorated with Second Style Roman wall painting,

  • that these paintings often depict buildings.

  • They are architectural paintings, and they are very

  • important in that regard because we see --

  • we often see -- experimentation in painting before we see it in architecture.

  • And so there are going to be some things,

  • for example, this broken triangular

  • pediment, that we're going to see first

  • in painting and then in built architecture.

  • So painting -- extremely important for us.

  • We'll also go to the city of Ostia,

  • the port of Rome, which is a city very different

  • from Pompeii because it is essentially a second-century

  • Roman city, rather than a first-century

  • Roman city.

  • The construction technique is concrete, faced with brick.

  • I show you one example of that.

  • But what's most interesting about the houses in Ostia has to

  • do with the kind of city it was -- again, the port of Rome,

  • a commercial city.

  • It was very congested.

  • People were not as wealthy as those in the resort town of

  • Pompeii, and consequently they

  • needed--people didn't have single-story houses,

  • like the one in Pompeii that I just showed you before --

  • but rather apartment houses with multi-stories;

  • a kind of condominium idea.

  • And these are fascinating in their difference from those in

  • Pompeii, and that's a difference that we will surely explore.

  • The very well-to-do lived in--the very well-to-do had

  • villas.

  • The emperors had villas all along what is now the Amalfi

  • Coast.

  • Capri, the island of Capri.

  • The emperor Augustus and Tiberius had twelve villas on

  • the Island of Capri.

  • The most extraordinary villa, Hadrian's Villa at Tivoli,

  • which I show you here from the air.

  • A kind of microcosm of the empire at that particular time,

  • with extraordinary buildings, with pools,

  • decorated with sculpture that show the eclectic taste of the

  • emperor who liked things Roman, liked things Greek,

  • liked things Egyptian, and statues of--he was married,

  • but he also had a beloved young boy whom he met in Bithynia.

  • Antinous, the famous Antinous that he met in Bithynia and who

  • became the love of his life.

  • And when Antinous died he created all kinds of shrines for

  • Antinous.

  • This is very important architecturally because all

  • these are interesting shrines.

  • But in each of those shrines he created statues of Antinous,

  • and this is one showing Antinous as an Egyptian pharaoh,

  • which was perfect for this particular locale because it was

  • meant to conjure up a canal in Egypt.

  • We're going to look at tomb architecture--

  • I want to show you this very quickly--

  • but we're going to look at a lot of tomb architecture,

  • because tomb architecture is particularly interesting,

  • because the only practical consideration for a tomb,

  • is that it had to house the remains of the deceased,

  • that's it.

  • So you could be very whimsical and personal about the kind of

  • tomb you wanted to be buried in.

  • This is a series at Pompeii, but we're going to look at

  • those of the emperor Augustus who was buried in a mausoleum

  • that went back to those of the earlier Etruscans,

  • kings, who ruled Rome before the emperors did,

  • and he built a round tomb with an earthen mound,

  • very similar to that of the Etruscans.

  • Hadrian, the famous emperor Hadrian,

  • was also buried in a round tomb, at the well-known Castel

  • Sant' Angelo, in Rome today,

  • with its beautiful Bernini bridge,

  • the angels, Bernini's angels on the bridge --

  • also a round tomb.

  • In its current form, transformed into a fortress,

  • it was used by the popes when they needed to hide out during

  • times of trouble.

  • Very whimsical tombs, including this pyramid of a man

  • by the name of Cestius, and he built this tomb during a

  • time of-- when a wave of things Egyptian

  • came into Rome, at the time that Augustus

  • defeated Cleopatra and Antony.

  • And then even these communal tombs, communal burial places

  • for the less well-to-do, where their remains were placed

  • in urns.

  • We'll also look at tombs in other parts of the Roman world.

  • This is a famous tomb, a rock-cut tomb in Petra,

  • in what is now Jordan.

  • And you can see that the tomb is essentially the rock;

  • in fact, the burial chamber is inside the rock and the

  • façade has been carved out of the rock.

  • We're going to talk about aqueducts in the course of the

  • semester; just fleetingly show you two,

  • the ways in which the Romans brought--

  • for those they conquered, they provided amenities,

  • including water, that was brought from a great

  • distance.

  • This is the famous Pont du Gard atmes.

  • And this is the one I showed you before on Google Earth,

  • the fabulous aqueduct at Segovia that marches its way

  • through the city.

  • I have just a couple of minutes, and I basically wanted

  • to close just making two very quick points about the

  • difference between traditional Roman architecture and

  • innovative Roman architecture.

  • I'm not going to go into that in any detail here.

  • It's going to be the topic of one of our lectures very soon.

  • But this transformation from temples that are based on Greek

  • and Etruscan prototypes, like that one here,

  • to something like the Pantheon.

  • I also want to mention from the start that unlike other courses

  • in architecture where you may have been studying Frank Lloyd

  • Wright or Borromini, Francesco Borromini,

  • or Frank Gehry, we have very few names of

  • architects preserved from Roman times,

  • because it was the patron who was all,

  • not the architect, and I'll explain that in a

  • future lecture.

  • But we have some, and we'll talk about them when

  • we do.

  • We will also see--and I just want to end up where I began,

  • which is to say again that Roman architecture had a huge

  • impact on architecture of post-classical times.

  • The Roman basilica became the Christian church.

  • The round tomb of Rome became the round church in the early

  • Medieval and Byzantine periods.

  • Tombs like the one in Jordan, that I showed you just before,

  • which form what I call kind of a baroque phase of Roman

  • architecture, were the models for

  • seventeenth-century Baroque architecture in Rome,

  • for example, Borromini's San Carlino.

  • The Pantheon had--you all know what this is,

  • UVA.

  • The Pantheon had a huge impact.

  • There are many 'Pantheons' everywhere, including in this

  • country banks and the like.

  • Thomas Jefferson looked to the Pantheon to design his rotunda

  • at the University of Virginia, and the lawn that lay beyond.

  • But for us, in this classroom, at this particular time,

  • the most important impact, as far as I'm concerned,

  • of Roman architecture on more modern architecture has to do

  • with the amphitheater at Pompeii,

  • which you see here; my favorite amphitheater.

  • The Colosseum is more famous.

  • The amphitheater at Pompeii is earlier in date.

  • And what's significant for us, in this classroom,

  • at this particular time, is that the amphitheater at

  • Pompeii-- and I kid you not--is the model

  • for our own amphitheater, and that is the Yale Bowl -- it

  • is the model.

  • This is the building--and you see it here from the air,

  • the amphitheater in Pompeii--on which the Yale Bowl was based.

  • So again, the Romans have clearly had a huge impact on

  • architecture worldwide; on our own architecture.

  • And we think we live on a Gothic campus,

  • but I'll show you, in the course of this semester,

  • how many Roman buildings there are.

  • In fact, we had a post--and just to get you inspired--

  • we had a post in an earlier year in which people went around

  • the campus to take pictures and then post them online of

  • buildings that they thought were influenced by those of the Roman

  • past.

  • At any rate, that's it for today.

  • Great to see you, meet you all.

  • If any of you have any questions at all,

  • I'm happy to answer them, as are the teaching fellows.

Welcome to Roman Architecture.

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B1 中級

1.ローマ建築入門 (1. Introduction to Roman Architecture)

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    Sofi に公開 2021 年 01 月 14 日
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