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Prof: Good morning.
From the time of Julius Caesar, we have seen the rulers of Rome
brag about building buildings that were bigger than any others
in the world.
You'll remember Caesar referred to his Temple of Mars in that
way, that he was building the largest Temple of Mars in the
world.
And we also saw the same for Domitian, with his palace on the
Palatine Hill; for Trajan with his enormous
forum; for Hadrian,
building the greatest-- largest dome that had been
built up until that time and, as we discussed,
still the largest diameter dome in the city of Rome today;
and Hadrian's Villa at Tivoli, just as a selection of
examples.
We are going to see today that if bigger was better,
biggest is best, and in the case of the emperor
Caracalla, an emperor who was a
megalomaniac, in the tradition of Nero and
Domitian, that he built the largest
imperial bath structure to date.
And we're going to be looking at that bath structure today,
and we're going to see it as really a colossal and
fascinating building, in all kinds of ways.
But before I get to that--in fact,
we'll end with that bath structure today--
before I get to that, I would like to look with you
at architecture in Rome, in the second and third
centuries A.D., and we'll see that architecture
is quite varied in terms of whether it's private,
it's civic, it's also funerary.
I want to begin though by just reminding you of what we talked
about last time.
We looked at the city of Ostia, and we looked at the city of
Ostia, the port of Rome, in its entirety;
once again, its public buildings, its civic structures,
its commercial enterprises.
And we also went, at the very end of the lecture,
out to Isola Sacra, where the tombs of those who
lived in Ostia were located.
And I show you a couple of those again now on the screen;
these brick-faced tombs, these tombs that are made of
concrete, at Isola Sacra,
that were put up for the professionals,
for the traders, the commercial merchants and so
on that lived in the city of Ostia.
They were made of brick-faced concrete construction.
They had barrel vaults or groin vaults inside.
And you can see also that they were faced with brick,
and they were faced with brick, as we discussed,
that was exposed; the idea of brick being
attractive in its own right, a fabulously beautiful facing,
that they take advantage of in the second century A.D.,
and decide not to stucco it over, as you can see so well
here.
The doorways into those tombs, surrounded by travertine jambs
and lintels, the inscription in the center,
the small slit windows, and then a pediment at the top.
We saw, when we looked at funerary architecture in the age
of Augustus, for example, that is was very varied;
very varied.
Tombs in the shape of pyramids, in the shape of circular tombs.
Tombs that made reference to bakeries, like the Tomb of the
Baker Eurysaces.
There is still a certain amount of variety in tomb architecture
in the second century A.D., but they tend to hone in on one
type in particular, and that type is the so-called
house tomb type; which is exactly what we see
here, a tomb that is rectangular in shape, for the most part,
boxlike, and does resemble, very closely,
a house; this close relationship that
we've talked about so many times this semester between houses of
the living and houses of the dead.
So we looked at those last time.
And where I want to begin today is just to demonstrate to you
that these same kinds of house tombs that we see in Ostia and
Isola Sacra, in the second century A.D.,
we also see in Rome.
And in some cases they are commissioned by individuals of
comparable social status, to those in Ostia,
but sometimes they are commissioned by the most elite.
And I'd like to begin with an example of a similar tomb
commissioned by the most elite.
This is the so-called Tomb of Annia Regilla,
in Rome.
It was put up on the famous via Appia, or the Appian Way.
It dates to around A.D. 161.
In this case we know who the commissioner was,
and I can show you what he looked like as well.
You see him here, on the right-hand side of the
screen.
He was a man by the name of Herodes Atticus;
I've put his name on the Monument List for you,
Herodes Atticus.
Herodes Atticus was actually a Greek.
He was Athenian, from the Greek part of the
Empire.
He lived in Athens, for the most part,
and he commissioned a very famous music hall,
an odeon, which still survives.
You can see it over here.
It's without its roof today, but it was originally one of
these roofed music halls, an odeon.
It is located on the slope of the Acropolis in Athens;
the Acropolis that of course we know primarily for its great
architectural feats of the fifth century B.C.
in Greece.
This is the Roman building, put up by Herodes in the second
century, and we see it on the slope of the Acropolis,
very well preserved.
In modern times its greatest fame is the fact that Yanni
performed his "Live at the Acropolis"
concert at the Odeon of Herodes Atticus.
And even if you don't like Yanni, it's actually quite an
interesting concert to view-- and one can view it in video
and so on-- because it does take such
wonderful advantage of this extraordinary ancient structure,
as Yanni presents his music.
At any rate, at one point Herodes Atticus,
who had a lot of connections, not only in Athens but around
the Empire, at one point,
through those connections, he gets himself appointed a
senator in Rome, and in order to take up that
position he needs to leave Athens behind and go spend some
time in Rome, and he and his wife,
Annia Regilla, set up house in Rome.
Annia Regilla, unfortunately,
dies in Rome, and he needs to bury her,
and he decides to bury her in Rome,
instead of in Athens, and he builds for her a tomb on
the Appian Way, on the Via Appia,
in around 161 A.D.; that's the date that we believe
she died.
And we see a view of that tomb here.
What we're looking at--and you probably recognize this already
because we've looked at a number of models from this museum of
casts in Rome, the Museo della Civiltà
Romana, in EUR in Rome.
And I show you two views of this model of the Tomb of Annia
Regilla; one that we see from the front
and another that we see from, if we're facing the monument,
the left side of the tomb.
And these are extremely helpful, because they give us a
very good sense of what we are dealing with here.
It is clear that we are dealing with a tomb type that is not
that different from what we saw in Ostia;
although this looks more like a temple than it looks like a
house.
And you can see that right off.
It looks exactly like a typical Roman temple.
We see that it is on a high podium;
it has a deep porch; it has freestanding columns in
that porch; it has a single staircase on
the front of the structure; has a façade orientation;
then an entranceway into the structure.
It also has freestanding columns that support a pediment.
So if I were to show you this, and not identify it and say to
you: "What kind of a building is this?"
I'm sure you would have said it was a temple;
and you would've been right in the sense that it looks most
like a temple.
But it is a tomb in the form of a temple, as you can well see
here.
Looking on the side of the monument, you can also see those
same features that I've just described.
And while we are looking at this view--
because I'm not going to bring it back--
I want to point out one detail that will loom large as we look
further at this structure.
You will see on the left side of the tomb that the architect
has created, has kind of scalloped out the
side on either side, creating niches,
tall niches on the side, and placed columns into that
space; which is a very unusual thing
to do.
It's not true on the other side of the monument,
only on this side of the structure.
Why has the architect done that?
I think it might have something to do with the siting,
perhaps how you viewed it from the street.
Maybe it was skewed in such a way that you would see not only
the façade but also the side,
and he wanted to emphasize the columns on that particular side
of the structure.
But it may also have just had to do with a quirk,
with a particular interest that the architect or the patron had
in doing something different than any other tomb,
and I want to return to that point in a moment.
But most significant of all is that in terms of the building
technique, the use of concrete faced with
exposed brick, this is exactly what we saw in
Ostia.
And you can see that just as in Ostia,
they have taken that brick as far as it can go,
in terms of its aesthetic value, by respecting the texture
of the brick, playing that texture off,
playing color, different colored bricks,
a reddish brick against a more yellowish colored brick,
playing those off against one another,
and then adding certain very highly decorative details like a
meander pattern, that we're going to see in a
moment, and decoration around the
windows of the tomb, done in stucco.
The columns, however, are marble;
the columns are marble, and in that sense again
something somewhat different than what we saw at Ostia.
This is a view of the tomb as it looks today.
The porch is not well preserved, and I can't show you
any of that.
But I can show you the rest of the structure,
and you can see it quite well in this particular view.
And again, you see that it is indeed well preserved.
Concrete construction, faced with brick,
the brick left exposed, respected and enjoyed,
in its own right.
What I've already described: the playing off of one color of
brick against another; this meander pattern done in
stucco; the stucco decoration,
very elaborate decoration, as we're going to see,
around the windows; tall podium,
we see that here as well.
An extraordinary structure.
And what's interesting I think to note,
at least culturally and in terms of social status,
is the fact that although this structure was put up for one of
the most wealthy men in-- or the wife of one of the most
wealthy men in Rome at this particular time,
the general aesthetic is very similar to what we saw for
professional people in the city of Ostia: that is,
a concrete tomb, in the form of a house,
or a temple in this case, that has as its facing brick,
and a respect for that brick in its own right.
Here are a couple of details.
I show you once again a detail of the warehouse or the Horrea
Epagathiana at Ostia that we looked at,
and also a detail of the Tomb of Annia Regilla in Rome.
And I think you can see here what I mean.
Again, the different coloration of brick, the yellowish brick,
the reddish brick, played off one against the
other; the use of stucco decoration,
in this case for the volutes of the composite capitals.
In this case--and in fact you'll remember I pointed out
what was interesting about these capitals at the warehouse was
that they were-- that the brick was used to make
up the main body of the capital.
And this is not one of them, but I also showed you one where
you could see the way in which that brick formed the actual
acanthus leaves of the capital, and then the volutes added in
stucco.
We see the same thing at the Tomb of Annia Regilla.
We see those--and here I think you can see it well --
the brick used to create the lower part of the acanthus
leaves, and then stucco added for the
curving part, and for some of the additional
decoration, the flower and so on up above.
And so we see--and here again very elaborate decoration around
the windows, which we also saw at the warehouse in Ostia.
Two more details of the Tomb of Annia Regilla.
Here you see what I was talking about before,
the way the architect has scooped out two areas on the
left side of the tomb, and placed the columns inside
of those, which is a unique--I don't know
of any other example of this in Roman architecture,
and it underscores, once again, that when it came
to tomb architecture, that the patron could pretty
much do whatever he wanted, as long as the architect could
build it.
It could be quite idiosyncratic as a form of architecture.
And we see not only has he scooped out these niches in
which to place the columns, but if you look at those
columns very carefully, and at the bases of those
columns, you will see that they are not round.
They are multi-sided, and the bases are also
multi-sided.
So doing something very unique in the context of this
particular tomb of Annia Regilla.
So two main points.
One, that there is clearly an aesthetic that is used for tomb
architecture, concrete faced with brick that
is used in the uppermost levels of Roman society,
and then further down in Roman society,
not only in Rome but also in Ostia.
But at the same time individuality,
eccentricity is valued in tomb architecture,
allowed in tomb architecture in a way that perhaps it isn't in
other forms of Roman architecture,
and we see it taken to its limit in this particular
building.
Just a few more details.
We see a niche from the Tomb of Annia Regilla.
We also see here both the meander pattern and this very
elaborate decoration around the windows;
a frame around the windows and then a projecting element up
above, with these great spiral volutes on either side;
very similar to the same sort of thing that was happening at
Ostia.
I remind you of the niche in the courtyard of the Horrea
Epagathiana, the warehouses at Ostia,
where you see the same sort of thing: these pilasters added in
stucco, the brickwork creating
triangles and lozenges, as you can see here.
Same idea over here, in the Tomb of Annia Regilla.
And if you look very closely at the pediment that is located
above the niche, from the tomb in Rome,
you see the projecting entablatures;
you see where the capitals would have been.
There would also have been probably columns added here,
on either side of the niche, making it look much more
similar to here.
But look closely at the pediment.
You will see that there is projecting entablature above
each column, but then in the center the
triangular pediment is cut back, and that playing around with
the traditional vocabulary of architecture is something that
I've noted is going to be a part of what we call the baroque
trend in Roman architecture.
I'm going to devote an entire lecture to the baroque trend in
Roman architecture, around the Empire,
not just in Rome, but mostly in the provinces.
And we'll see that same sort of thing, which creates a kind of
in-and-out lively movement to the façade that is part
of that approach.
The tomb itself again.
And just to point out, interestingly enough,
a couple of female figures with capitals on the top of their
head, or what look maybe more like
vases on the top of their head, but looking very much like
caryatids, like the caryatids that we saw
from the Erectheion in Athens, fifth century B.C.,
from the Forum of Augustus and from Hadrian's Villa around the
Serapeum.
They are not duplicates of those in Athens,
like the other two are, but they do seem to make
reference to them.
They're a bit more casual.
When I look at this pair, they always look to me like
they're kind of standing at a cocktail party together and
conversing with one another, using the usual gestures that
Italians are so famous for.
We see them doing that sort of thing here.
But they do seem to have that same pedigree,
going back to the whole idea of the caryatids.
And I only mention it to you, they were found right near this
tomb, and so it has been speculated,
although it is by no means certain,
that they might have belonged to the tomb.
They might have been located in front of the tomb,
or have been part of some kind of forecourt or fore space to
that tomb.
It's pure conjecture, but it would be interesting if
it were the case.
Because remember Herodes Atticus comes from Athens.
We see that the tomb is a thoroughly Roman tomb of the
second century A.D.
But it would be interesting to think that he might have added
some touches that might have made some reference for him,
and also especially for his wife whose tomb it was,
to the Athens of his birth.
With regard to tomb interiors in the second century A.D.
in Rome, there are two major types, and I want to treat both
of those today.
One of them is a type that we've seen before,
and that is where you stucco over the interior of the tomb;
you stucco it over, and then you add additional
stucco, in relief, to form the decoration,
and then you paint it.
That's one type.
And the second type, which might also use that for
the vault; but for the walls,
the second type is to use instead architectural members--
columns, pediments and the like--to enliven the wall and to
create a much more sculptural effect.
Both of these types are used in Rome, in the second century A.D.
in tomb architecture.
And I want to show you examples of both of them today.
The first, type 1, with stucco,
painted stucco, we see in the so-called Tomb of
the Valerii; the Tomb of the Valerii which
dates to around A.D.
159, and is located on the Via Latina in Rome.
We haven't looked at the Via Latina before,
but it is one of Rome's main streets,
that had along it cemeteries, and there are a fair number of
concrete tombs, faced with brick,
that are preserved, very well preserved on the Via
Latina today.
And what makes them particularly special is the
interiors are almost pristine.
It's quite extraordinary to go into these and see how well they
have stood the test of time.
The Tomb of the Valerii, you see the lunette and the
vault of the interior of that tomb right here.
And as you look at the acanthus leaves growing up in the
lunette, all done in stucco relief,
and the barrel vault with its individual compartments,
round and square compartments, with floating figures inside,
you should certainly be reminded of things we've already
seen before.
When one looks at the acanthus leaves,
one can't help but think back to the delicate leaves of the
Ara Pacis, the delicate acanthus leaves of
the Ara Pacis Augustae, which you see on the left-hand
side of the screen.
And I'm sure you are as reminded as I am,
looking at this vault, by other things that we have
seen earlier this semester.
What's this over here?
The Domus Aurea; it's one of the vaults of the
Domus Aurea.
Third style; done, we believe,
by Fabullus himself.
And you'll recall, very delicate,
very light floral motifs; compartments,
in this case rectangular, with floating sea creatures in
the center.
We see exactly the same sort of thing here, although done in
stucco instead of paint.
But this was painted originally in antiquity,
and we see these floating, these Nereids on the back of
sea creatures inside, floating inside these.
And we think the message here, of course, is of the soul of
the deceased being carried to the Iles of the Blessed,
by these sea creatures.
So very much stucco decoration, second century A.D.,
but very dependent on Third Style Roman wall painting and
third style stucco decoration of earlier dates.
The Tomb of the Pancratii, in Rome, which dates to 169,
also on the Via Latina, has similarly well preserved
stucco decoration, also painted;
and I'll show you a color view in a moment, for you to get a
sense of that coloration.
But here you get an idea of the scheme of the wall:
very, very elaborate; stuccoed over;
stuccoed, much of the stucco is done in relief.
You can see it here.
If the stucco decoration of the Tomb of the Valerii made
reference to the Third Style, I think the inspiration here
was Fourth Style Roman wall painting and stucco decoration.
Because although you continue to see floating mythological
figures in these rectangular or triangular compartments,
if you look very closely, especially in this zone here,
you will also see these architectural cages,
done in stucco, very similar to the
architectural cages that we saw at the top of Fourth Style Roman
wall design.
So this taking its cue from Fourth Style Roman wall
painting.
And I have mentioned to you a couple of times already this
term that, in fact, most post-Pompeian
painting, and stucco decoration,
post-79 A.D., does seem to be inspired by the
third style, but even more so by the fourth
style of Roman wall painting, and we see that very well here,
with this stucco decorating the lunettes and also the vaulting.
Here's a view in color of the interior of the Tomb of the
Pancratii, where you can see the same sort
of scheme that I've already described,
but with the color.
And you can also see that we are dealing here with a
groin-vaulted interior.
And, what's interesting, is that sometimes the walls
have small niches for urns and the so-called arcosolia--
I've mentioned those to you before--
that were used for the placement of bodies,
once inhumation became as popular, indeed even more
popular, than cremation.
But we also sometimes see the sarcophagi themselves,
the freestanding coffins located in these tombs,
as we see here.
And it's interesting to keep in mind that all of the money and
time that was expended on this interior decoration--
keep in mind that very few people entered into these tombs.
When you looked at a tomb, you saw primarily its exterior.
Some family members, on special occasions,
might go inside, but it was relatively rare.
So all of this, all of this done,
in fact, to give the deceased a pleasant
home in perpetuity, and to help them on their
journey to the Isles of the Blessed.
This structure also has sea creatures depicted in it.
So travel is clearly also alluded to.
And scholars who have worked on this particular monument,
in particular, have noted that they think it
has to do with one of these secret mystery religions,
in this case the Orphic, O-r-p-h-i-c,
the Orphic religion that was practiced in secret initially
and then eventually came up above ground.
Two more details of the Pancratii ceilings,
in stucco.
These, I think, give you a particularly good
sense of the way in which they were built up almost as reliefs,
in some parts of these scenes -- this figure here,
for example.
Some of the rest was painted.
We see heraldic leopards over here, on either side of a vase.
The shell in the niche also done in stucco and raised in a
very sculptural way, and then the whole painted in a
variety of attractive maroons and blues and greens.
The most interesting tomb, from my point of view actually,
is a tomb that is located, a Roman tomb of the second
century that is located beneath the Vatican today.
And I show you a view again of the dome of St.
Peter's Cathedral in Rome, designed by Michelangelo
himself.
Another view over here showing also Michelangelo's dome,
but showing below it the so-called Baldacchino that was
put up by the famous seventeenth-century Italian
architect, Borromini, Francesco Borromini
, the Cathedral of St.
Peter's.
And any of you who've been there will agree with me on
this, it's one of the great wonders of the world;
there's no question it is.
If you want to talk about bigger is better,
or biggest is best, this is a truly colossal
building, as any of you who have been there know.
But it does give me occasion to mention,
as I've mentioned a couple of times already this term,
that one of the really great things to do when you visit Rome
is to climb things, is to climb.
If you're so lucky to climb the Column of Trajan,
or the Pantheon, up to the dome--those you have
to get special permission to do.
But what you don't need special permission to do,
and is one of the great climbs in Rome, is to go up St.
Peter's.
And you can go up St.
Peter's either on the outside of the building,
to various levels from which you can see some of the greatest
views of Rome, including back over central
Rome, ancient Rome, all the buildings that we've
been talking about.
You can see the dome of the Pantheon from the top of St.
Peter's.
You can see the Victor Emmanuel Monument, tall and proud,
from the dome of St.
Peter's.
But you can also climb up to the dome, from the inside,
which is another extraordinary experience.
You can go almost--not quite but almost--to the apex of
Michelangelo's dome, walk around a corridor there,
and look down on Bernini's Baldacchino.
So for those of you who are going to Rome anytime soon,
or in the future, it's a not to be missed
experience to climb the Cathedral of St.
Peter's, on the outside, and also on the inside.
I bring you to St.
Peter's because one can also go down underneath St.
Peter's.
And that's another very interesting experience,
to go down in the depths, beneath St.
Peter's and get a really great sense of the centuries of
civilization that have been piled one on top of another,
from ancient Rome, or from the time of Romulus,
indeed all the way up to today.
And in order to see the Tomb of the Caetennii,
which is the tomb that I want to turn to now,
you do have to go down underneath St.
Peter's.
You have to--this is something you can't just walk it.
You can climb St.
Peter's any day of the week, but if you want to go
underneath St.
Peter's, you have to make special arrangements.
You have to get special tickets to do that.
And now one can do that online; you can plan that online and
you can get tickets to go to the so-called Vatican cemeteries
underneath.
And they don't have them--they have a small number of hours,
on a variety of days.
So it is something one needs to plan for well in advance.
But you can do it.
You go to the left of the Baldacchino, you go down,
and you go down century upon century.
You see primarily the tombs of the popes, the crypts with the
tombs of the popes.
And I show you Pope Boniface here, just to give you an idea
of what some of these look like, lying in eternity here on the
top of his sarcophagus, or a sculptured portrait of him
on the top of his sarcophagus.
But if you go all the way down, all the way down--
and most tourists don't do this--but if you go all the way
to the bottom, what you end up with is one of
Rome's great tomb streets.
And this tomb street was out in the light of day,
of course, in antiquity, like all the other tomb
streets, but because of the passage of
time, because other buildings that
were built on top, primarily the Cathedral of St.
Peter's, and just the rising ground level over time,
it now is subterranean.
But when you--it's amazing.
You go down, you walk along it,
it is like you are--it's a dark street, but nonetheless--I
wouldn't want to record in that street.
But you go down under.
It's a dark street but it is--you feel like you are
walking along a major tomb street in Rome;
and indeed you are.
And I show you a plan of it here, so that you can see.
It is very much like walking along the tomb street in Isola
Sacra.
You see at your left and right these concrete,
brick-faced tombs, that look very much like the
Tomb of Annia Regilla, or the ones that we saw in
Isola Sacra: typical house tombs of the second century A.D.
One of the tombs that is located down there has long been
thought by scholars, and believers,
to be the Tomb of St.
Peter.
No one has been able to prove this incontrovertibly,
but there is some interesting evidence, both pro and con.
And it has been thought--and you know Peter's famous
statement, Upon this rock I shall build this church,
namely the Church of St.
Peter's.
We believe that when Constantine, the last pagan
emperor-- and we're going to talk about
him in the last lecture this semester--
when Constantine built the first basilica,
Christian basilica on this site, the basilica that we refer
to as Old St.
Peter's, that obviously predated New St.
Peter's, we think he may have built it on that very rock and
on that very tomb of St.
Peter.
And that's what this restored view shows you here.
If you walk along though and look at these tombs,
for the most part they look like typical Roman tombs from
the second century: brick-faced concrete
construction, with interesting decoration
inside.
And I show you just the most famous mosaic that is located
down there, which you see is a figure in a chariot.
We think it's a representation of the Sun God Sol or Helios,
in the chariot, because you can see the rayed
crown.
But some believe it is a representation of Christ as
Helios.
And I show it to you only because it is the single most
famous mosaic down there, and one of the most famous
mosaics in Rome, but also because it heralds
what we're going to begin to see happening,
especially in the last lecture, and that is this transition
from paganism to Christianity in Rome--
Constantine being the last pagan, first Christian emperor--
and this interesting way in which pagan imagery elides into
Christian imagery, both in terms of figural
decoration, but also in terms of
architecture.
I can't, because it's so poorly lighted down there,
I can't show you a good picture of the tombs beneath St.
Peter's.
But I can show you another set of tombs beneath a--
that are very well lighted and can be photographed better--
beneath a columbarium, an underground--
a catacomb actually, an underground burial area that
was used by the early Christians in Rome.
And you see it's called--you don't have to worry about
this--it's called the Church of San Sebastiano,
and these tombs are underneath that.
But I show them to you here, just to give you a sense of
what that tomb street looked like,
underneath the Vatican, or looks like underneath the
Vatican, with the concrete brick-faced
tombs, looking very similar to those
we saw at Isola Sacra.
The same travertine door jambs, inscriptions,
slit windows.
And if you look through the entranceway of this one,
you will see it's barrel vaulted, and it has a scheme
that is very similar to the stucco decoration of the Tomb of
the Valerii, with these circles done in
raised stucco and with the floating figures in between
them.
And this is exactly what it looks like beneath the Vatican.
I can show you some views of the interiors of some of the
Vatican tombs, because those have lights in
them; they're better lighted.
You can see them here.
We see this interesting combination,
that we also saw at Isola Sacra, of the smaller niches
that are used for urns, and the larger arcosolia
that are used for the placement of bodies.
And then you can see, in this view on the right,
the way in which they have closed off those
arcosolia by placing marble plaques on them that
either have inscriptions or sometimes figural scenes,
and then again here a freestanding sarcophagi on these
interiors as well.
This is an axonometric view from Ward-Perkins of the Tomb of
the Caetennii.
It dates to 160 A.D., in the Vatican Cemetery in
Rome.
And I think you can see here both the brick-faced concrete
construction, the way in which the windows
have similar stucco decoration to what we saw on the Tomb of
Annia Regilla, on the Via Appia in Rome.
But most interesting for us is the way in which the interior is
treated, because this is my type 2.
Here we will see some stucco, but you will see here that the
walls are enlivened in a different way.
They are enlivened through architectonic means,
through the use of columns, through the use of niches,
through the use of pediments, triangular pediments,
but also broken triangular pediments.
Here you see a pediment that has been split apart,
a triangular pediment split apart to show what is inside.
This is the same scheme that we saw in Second Style Roman wall
painting, way back when; this whole idea of taking the
traditional vocabulary of architecture and dealing with it
in a very different way than had been done before --
breaking the rules so to speak.
We see that happening here.
But the main thing is that we're looking at this designer
using architectural members to create the visual interest of
the walls of the structure.
You can also see in this axonometric view this
combination of small niches for cinerary urns,
and then these larger arcosolia for the bodies.
So cremation and inhumation still going on hand in hand,
during the second century A.D.
This is a spectacular view of the interior of the Tomb of the
Caetennii, and here you can really see what I mean.
Yes, there is some stucco.
If you look at the vaults you will see that those--
this is again a groin vault that has been stuccoed over,
and it had the same kind of compartments and painted
decoration, relief decoration,
that we saw in the Tomb of the Pancratii.
But you can see that most of the effects have been done
through architectural means.
If you look carefully you will see that there is a
black-and-white mosaic on the floor;
not so different from what we see in Ostia.
There are niches on the walls, these niches used for cinerary
urns; arcosolia down here for
the bodies.
And there are stuccoed decoration and the use of the
shells that you can see here.
But if you look very carefully at the combination of sort of
maroon and cherry red walls, you will see the remains of the
architectural members that served to enliven this space.
Look up here; you will see that there was a
triangular pediment over the central niche.
You can see parts of the broken triangular pediments on either
side.
You can see the remains of capitals, and beneath those
would have been the projecting columns that we saw in the
axonometric view in Ward-Perkins.
So this again the second type, where the walls are enlivened
with architectural members, and those architectural
members, when intact, would have created a scheme in
which you had progression, recession, progression,
recession, all along the wall --
this in and out scheme that we're going to see becomes the
hallmark of what I'm going to term here this semester the
baroque element in Roman antiquity,
in Roman architecture.
All of these buildings were being put up during the reign of
Hadrian's successor.
Hadrian had died in 138 A.D., and he was succeeded by a man
by the name of Antoninus Pius, whose portrait you see here on
the upper right.
Antoninus Pius again was--he reigned for a quite long time.
He reigned between 138 and 161 A.D.
It was a period of extraordinary peace.
He, like Hadrian, was a peace loving man,
and he was able to maintain that peace exceedingly well,
and Rome really thrived under his emperorship.
He's also interesting because he seems to have had more of a
love relationship with his wife than any other Roman emperor
that I can think of, a relationship that was so
strong that when his wife died-- he became emperor--here's his
wife, Faustina the Elder.
He became emperor in 138, but she died already in 141,
and as I mentioned he stayed emperor until 161;
so he was emperor for twenty more years after her death.
He never forgot her.
He stayed completely enamored of her.
He never remarried.
We don't even have any rumors that he had any concubines or
anything like that.
He seems to have stayed completely true to her.
And what's interesting is that when the two of them died,
their successors, Marcus Aurelius and Lucius
Verus, put up a monument to them.
And it's not on your Monument List and I'm not holding you
responsible for it, but I just want to show it to
you, because it will illuminate a monument that I am going to
show you in a moment.
This base, which served as the base for a porphyry column,
that was located on top, represents a scene in which we
see Antoninus Pius and his wife, Faustina the Elder,
being carried to heaven on the back of a male personification.
We see Roma, in the bottom right,
and she is saluting them; she is bearing witness to what
is a representation of their joint divinization.
The two of them, Faustina the Elder,
divinized at her death in 141; Antoninus Pius divinized at his
death in 161.
And yet we see them being carried to heaven as if their
divinizations happened exactly at the same time.
This is obviously a fiction.
It is a conflation of time.
It is a fiction of which the Romans were particularly adept
in their sculptural representations.
But I show it to you here because it has some bearing on a
temple that I now want to talk about.
This is the so-called Temple of Antoninus Pius and Faustina the
Elder.
It is a temple that Antoninus Pius put up in honor of his wife
in 141, to her as a diva, after she was divinized.
But at his own death, twenty years later,
in 161, his successors--again, Marcus Aurelius and Lucius
Verus-- rededicated it to the two of
them, to the divine Antoninus Pius and to the divine Faustina.
It is quite well preserved today, and it is important for
two main reasons.
It is important because it is our best surviving temple that
was put up to an emperor and an empress.
It wasn't the only one, but it's the best surviving
example of that.
And it is another example of the way in which antiquities are
reused over time, in other contexts and at later
times, and how that reuse sometimes
helps to preserve them.
What I show you now on the screen is a coin,
on the upper left, representing Faustina the Elder
on the obverse of the coin, on the left,
her portrait, and it refers to her as
"Diva Faustina."
So it is a coin that Antoninus Pius struck after her death and
after her divinization.
And we see on the back the temple that Antoninus Pius
originally made, in her honor.
Over here we see a series of drawings,
that come from the Ward-Perkins textbook,
that show once again a depiction of that original
temple on the coin, and with a legend that says
aeternitas, for eternity,
because now she is a diva for eternity.
And then a restored view, over here, of what the temple
would've looked like after it was rededicated to Antoninus and
Faustina, in 161.
And then over here, the Baroque building that was
built into it, in the seventeenth century
A.D., when it was turned into the Church of San Lorenzo in
Miranda, and I've put the name San
Lorenzo in Miranda on your Monument List.
If we look at the view of it, as it was after it was
re-dedicated to Antoninus Pius and Faustina,
we will see a typical Roman temple.
All the features that we have described so very often in the
course of this semester--the deep porch;
the freestanding columns in the porch;
the very tall podium; the single staircase;
the façade emphasis--we see all of that here.
A very conventional Roman temple, with sculpture in the
pediment and decoration on the eaves of the temple as well.
What we see on the bottom left is what happened to this temple
in the seventeenth century.
Part of it was preserved--maybe more of it was preserved,
we're not absolutely sure--but at least part of it was
preserved.
The walls, the sidewalls, and also the columns and the
front of the-- well the sidewalls primarily,
and the columns, and the lintel over here that
has the inscription that dedicates the temple to
Antoninus Pius and Faustina.
But what you see behind it is the Baroque façade rising
up, a Baroque façade that
has buttresses-- and I'm going to show it to you
in actuality in a moment-- that has buttresses on either
side, that has this wonderful split,
arcuated pediment-- a split, arcuated pediment that
would've been impossible to conceive,
I believe, without these architects,
Baroque architects of seventeenth century,
looking back to the baroque element in Roman antiquity.
The cross is added in the center, of course.
But there's one major difference between this building
and this building.
Does anyone see what that is, besides the addition of the
Baroque façade?
Student: Podium.
Prof: What?
A little louder.
Student: The podium.
Prof: The podium, exactly.
The podium is not there.
The podium is not there.
The staircase is not there.
Why is that?
Student: I don't know if it's because like the land is
filling.
Prof: Yes.
Student: >
Prof: Yes, the ground level has risen,
so that at the time that they decide to turn the Temple of
Antoninus Pius and Faustina into San Lorenzo in Miranda--
this is where the ground level is.
There's no podium anymore.
The podium is completely underground, as are part of the
columns; we see only the part of the--so
they put the door at the bottom, what is the bottom at that