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  • Prof: Good morning everybody.

  • In the last couple of lectures we have looked at what happened

  • when Rome took over civilizations that were older

  • than Rome's own, and arguably even more advanced

  • than Rome's own.

  • And what happened, of course, was an interesting

  • mix between the architecture and the architectural forms that the

  • Romans brought with them, and what they found in these

  • highly developed civilizations, and the interesting mix that

  • came about because of that.

  • But we've also taken a look at what happens when Rome went out

  • and created cities essentially from scratch,

  • built cities where there had been no cities before.

  • And what happened as a result tended to be cities that looked

  • very much in the Roman stamp.

  • And we're going to look at a number of those cities today,

  • in the western provinces of the Empire,

  • in fact, to see what happens again when Rome builds cities

  • from scratch in that part of the world,

  • and, as I mentioned already, the distinctive stamp,

  • this distinctive Roman stamp that they had.

  • But at the same time there is always some impact from the

  • local civilization, and to mention in passing that,

  • at least in the part of the world that we'll be

  • concentrating on today, especially in Gaul,

  • ancient Gaul, the Celtic tribes were foremost

  • there, and we do see that some of the

  • impact of those tribes makes itself felt,

  • as well as tribes in other parts of this part of the

  • ancient Roman world.

  • Just as a reminder, I want to show you again a

  • couple of the monuments that we looked at last time,

  • when we were talking about Greece and about Athens under

  • the Romans.

  • And I remind you, for example on the left-hand

  • side of the screen, of this Temple of Olympian

  • Zeus, the Olympieion in Athens, which was begun already in the

  • Archaic period, the Greek Archaic period,

  • continued to be built up-- those, the patrons tried to

  • complete it, in the course of the

  • Hellenistic period into the Augustan period,

  • and ultimately, as you'll remember,

  • it was completed under the emperor Hadrian.

  • So a building with a very long history and a very distinctive

  • style.

  • And when it was completed under Hadrian,

  • of course, you'll recall that it looked entirely Greek --

  • very similar to what it would have been in the Hellenistic

  • period.

  • So those--again, the Greeks holding very

  • tenaciously to their own plans, to their building materials,

  • and indeed to the kinds of architects and artisans to carve

  • them, that had been carving them for

  • centuries.

  • We also took a look at the building on the right-hand side

  • of the screen, which is the Horologion of

  • Andronicus, or the Tower of the Winds.

  • And you'll remember in this case that the civilization that

  • had impact on it was another firmly entrenched civilization

  • and that is that of Egypt.

  • We talked about the fact that while the date of this monument

  • is controversial-- it might be second century

  • B.C., it might be Caesarian, or even into the Augustan

  • period--it's controversial, but we talked about the fact

  • that even though the date is controversial,

  • that the monument itself was built under very strong

  • influence from Ptolemaic Egypt.

  • The Ptolemaic Egyptians particularly intrigued,

  • for example, by clocks--this was a water

  • clock, as you'll remember--and by

  • these abstruse, identifications of abstruse

  • winds, male winds, that we see in the uppermost

  • part.

  • So again, the impact of two very high civilizations--

  • the Greek civilization and the Egyptian civilization--

  • on Roman architecture in the eastern part of the world.

  • Today we're going to go west, and we're going to look at

  • Roman architecture in a variety of places,

  • including--and some beautiful places--

  • including the south of France: a series of cities--

  • and I'll point those out to you in a moment--

  • in the north of Italy.

  • So the north of Italy, the south of France,

  • into Spain, into what is now Spain.

  • And then also we will dip into an area called Istria,

  • which is the uppermost part of what is now Croatia,

  • where a place by the name of Pola is located.

  • So those western provinces will be the area that we're going to

  • concentrate on today.

  • Now any of you who've traveled in this part of the world know

  • that it is extraordinarily beautiful.

  • And I show you just one example of that.

  • When you go along the French Riviera,

  • for example, you see places as sophisticated

  • as Monte Carlo, with its yachts moored here,

  • and of course with its glittering nightlife and its

  • extremely famous casino, the Casino at Monte Carlo.

  • There are also other wonderful cities to visit along here,

  • modern cities, such that of Villefranche,

  • which you see here, and its fabulous pastel colored

  • houses, with boats that are not quite

  • as magnificent as those at Monte Carlo,

  • but nonetheless very picturesque, a wonderful place

  • to visit.

  • So it's not a hardship to have to travel and look at Roman

  • antiquities in the south of France.

  • I want to begin though with northern Italy,

  • with a city in the north of Italy, a city at a place called

  • Aosta.

  • It's the first on your Monument List for today.

  • A city that was founded by the Romans in 24 B.C.,

  • in the time of Augustus.

  • And therefore it won't surprise you to hear that its ancient

  • Roman name was Augusta Praetoria: Augusta Praetoria,

  • the modern city of Aosta.

  • And it was the last colony that the Romans founded in Italy;

  • the last colony.

  • And it's interesting to see therefore that this last Roman

  • colony in Italy takes almost exactly the shape of the first

  • Roman colony in Italy.

  • You'll remember the city of Ostia, which the Romans founded

  • in 350 B.C., and the way in which it conformed to the

  • typical castrum plan.

  • We see the same thing here.

  • We see this typical castrum plan for Aosta:

  • a rectangle, a regular rectangle,

  • laid out according to Roman surveying practice.

  • We see that the two major streets of the city,

  • the cardo and the decumanus,

  • meet in the center, and that at that intersection

  • of those two main streets we see the location,

  • as it should be, of the forum,

  • most likely.

  • You'll see a question mark there, so we're not absolutely

  • sure, but we think that the forum was located there.

  • If you look around at the rest of the city,

  • it was very regularly laid out, with a series of buildings that

  • we've become accustomed to seeing in a typical Roman city,

  • when a typical Roman city is built from the basics.

  • You see the baths here.

  • You see a temple up there, with a cryptoporticus.

  • You see a theater and you see an amphitheater.

  • This site, by the way, spectacularly located in the

  • Italian Alps.

  • It's at the intersection of two major trade routes,

  • in the St.

  • Bernard passes, as you can see from this plan

  • that comes from Ward-Perkins.

  • And what you can also see, that's typical of these cities

  • that the Romans build from scratch around the western part

  • of the Empire, is the fact that the city is

  • ringed with walls, and that it has a series of

  • gates, the openings of which you can also see in this excellent

  • plan.

  • Now I can show you also from the city of Aosta a surviving

  • Roman arch, one of those gateways in fact,

  • from the city, that we know dates to the age

  • of Augustus.

  • So we give it a date, the same date,

  • roughly 24 B.C.

  • You see it here.

  • You see, if you remember the arches that we've discussed from

  • the Augustan period in the past, you'll note right off that this

  • is very consistent with other Augustan arch design.

  • By that I mean it has one single arcuated bay,

  • in the center, flanked on either side by

  • pedestals, wide pedestals that have a set

  • of double columns on either side,

  • as you can see here.

  • The major difference between this and an arch that might have

  • been put up in Rome at the same time,

  • in the Augustan period, is the fact that it is made out

  • of local stone, which is characteristic of so

  • much of provincial Roman architecture,

  • and will be the case for most of the buildings that we look at

  • today.

  • The attic is gone.

  • There's a modern roof on top of the structure.

  • The ancient attic is gone.

  • But you can imagine that it would've had a fairly

  • traditional attic, with an inscription at the apex

  • and probably some kind of sculpture crowning the monument

  • in antiquity.

  • Now there's one detail that has to do with the orders that are

  • used here that is different from any other arch that we've seen

  • before.

  • And I wonder if any of you notice what that is.

  • The columnar orders.

  • They are what?

  • Doric, Ionic or Corinthian?

  • Students: Corinthian.

  • Prof: Corinthian.

  • Okay, everyone agrees they're Corinthian.

  • You're absolutely correct.

  • But what is strange about the fact--if you look above those

  • Corinthian columns, what do you see that doesn't

  • usually go with Corinthian columns?

  • Student: Oh, the triglyphs.

  • Prof: The triglyphs and the metopes;

  • the triglyphs and the metopes that tend to accompany the Doric

  • order.

  • So this is very interesting.

  • We see this mixing of the orders here, the use of

  • Corinthian columns but a Doric frieze with triglyphs and

  • metopes.

  • You'd never see that in Rome itself.

  • But what it is, is an interesting playing

  • around with the canonical orders that have been passed from Rome

  • to this part of the world.

  • This particular architect or patron,

  • or the city itself, whoever was the patron of this

  • particular monument, made the decision to go in a

  • somewhat different route.

  • So an interesting mixing of the orders --

  • an eccentric arch in that regard, but in every other

  • conforming quite closely to what we would see in Rome,

  • the city of Rome contemporaneously.

  • I want to go from Aosta, in the north of Italy,

  • to the south of France, to Provence,

  • to take a look at the original town plan of the city of Arles,

  • the well-known city of Arles.

  • And those of you who know it, or have been there,

  • know it probably primarily as the city of Vincent van Gogh.

  • It's in the city of Arles he spent a good deal of time.

  • He went to this particular café so often that it has

  • borne his name for some time, the Café

  • Van Gogh.

  • And you see another view of a lovely piazza in the city of--or

  • plaza in the city of Arles.

  • And then the famous painting of Van Gogh,

  • the panting that he made of this particular café,

  • that he used to spend so much time in,

  • a café again, as you see here,

  • that is still there, and where you can yourselves go

  • and sip an aperitif or whatever.

  • This part, the city of Arles, a wonderful place to go.

  • It has a very--I'm not going to show it to you in any detail,

  • just a glimpse here of its famous amphitheater.

  • It has a very well-preserved Roman amphitheater.

  • And the fact that France is so close--

  • as you can see in that map I showed you before--

  • to Spain, has led to quite a bit of Spanish influence coming

  • into this particular part of France.

  • And this amphitheater is used today not only for other kinds

  • of performances, but even for bullfights,

  • as you see.

  • This is actually a bullfight in Madrid,

  • not in Arles, but nonetheless it's the sort

  • of thing that has been performed even in the Amphitheater at

  • Arles.

  • Here's the map again.

  • Before I show you the city plan of Arles as it would've looked,

  • I just wanted to remind you of these towns in relationship to

  • one another.

  • So we've come up from Rome.

  • We've looked at Aosta in the north of Italy,

  • in the Alps.

  • We're making our way now into the south of France.

  • And I wanted to point out the proximity of northern Italy with

  • the south of France.

  • Because we do believe that a lot of the impact of Rome was

  • felt through the-- on south of France,

  • or what is now the south of France--

  • was passed through the intermediary of the north of

  • Italy; that there were certain kinds

  • of architectural forms that were developed in the north of Italy

  • that were transferred into the south of France,

  • because of the proximity of one to the other.

  • We're going to be looking at Arles.

  • We're going to be looking atmes.

  • We're going to look at a building in La Turbie.

  • We'll be looking at Saint-Rémy,

  • and at Orange, the great theater at Orange,

  • as well as a temple at Vienne -- so all of those sites.

  • We're going to dip into Spain.

  • We're going to look at a famous, famous,

  • spectacular aqueduct at Segovia, and a less spectacular

  • but very well-preserved aqueduct at Tarragona.

  • And then we're also going to make our way,

  • as I mentioned before, into Istria,

  • part of what was formerly Yugoslavia,

  • to the site called Pola, that is now in,

  • as you know, Croatia.

  • I want to begin with the city plan of Arles,

  • as it would've looked in ancient times.

  • And I show you here the city plan of--

  • excuse me, not the city plan, I want to show you the forum,

  • to give you a sense of what fora looked like in the western

  • provinces during this period, especially in Gaul.

  • I want to show you the forum plan of the city of Arles.

  • And I show it to you here, with the modern streets

  • superimposed on top of it.

  • Because much of it is underground;

  • you can't see too much of it today.

  • But it has been explored underground enough where

  • scholars have been able-- archaeologists have been able

  • to reconstruct the fact that it was a large open rectangular

  • space, surrounded by columns,

  • as we have seen is characteristic of all Roman

  • forum design, from the Forum in Pompeii that

  • we looked at at the very beginning of this semester.

  • And although you can't see it on this particular plan,

  • there was also a temple on one short end, as well as a basilica

  • that was part of this plan.

  • And I think it's interesting to think back,

  • especially as you review from what we've done from the midterm

  • through the second midterm, it's interesting to think about

  • basilican architecture, because it was usually a part

  • of forums, and when it was a part of--and

  • in what buildings, in what fora it was

  • incorporated: think back to Pompeii,

  • think to the Forum of Trajan in Rome.

  • But think of the fact that both the Forums of Julius Caesar and

  • the Forum of Augustus in Rome did not have basilicas as part

  • of them.

  • Here already in the Augustan period in--

  • because that's when this dates--in the Augustan period we

  • see a basilica incorporated into the forum plan,

  • in what was ancient Gaul.

  • I mentioned that there's a well-preserved--there's a

  • well-preserved cryptoporticus,

  • an underground storage area, around the colonnade.

  • And you see a view of it here: extremely well preserved.

  • And it should remind you of those cryptoportici that

  • we looked at very early in the semester at the sanctuaries that

  • we explored: the sanctuaries, you know, at Tivoli and

  • Hercules Victor; Hercules Victor at Tivoli and

  • Jupiter Anxur at Terracina, for example;

  • very similar with its barrel-vaulted corridors.

  • This one was used for storage within the forum.

  • So they would store salt and fuel and other items that they

  • would need for daily use.

  • But it also became eventually--and you can get an

  • inkling of that from this view on the left--

  • it eventually became a dump for architectural members that were

  • no longer needed-- as you can see here,

  • columns and capitals-- but also for sculpture.

  • And one of the most famous portraits of the emperor

  • Augustus was found in this cryptoporticus,

  • dumped there at some later period, and it's now on display

  • in the Archaeological Museum in Arles.

  • I want to turn now to the Theater at Orange,

  • which is one of the most spectacular monuments that I'm

  • going to show you today.

  • And you see it in this extraordinary view from the air;

  • a building that you can see from your Monument List was put

  • up in the late first century B.C.,

  • early first century A.D., and it is really something

  • special, not only in its own right,

  • but also because of how well preserved it is.

  • And you can see in this view not only the typical scheme that

  • we have seen, we've become accustomed to,

  • for Roman theater design: the semicircular orchestra;

  • the semicircular cavea; the division into these

  • wedge-shaped sections or cunei;

  • the outer wall of the structure.

  • And you should be immediately struck by this outer wall of the

  • structure, because the outer wall of the

  • structure is better preserved than any other outer wall that

  • we've seen in the course of this semester.

  • It's preserved to its full height.

  • It is very severe, but that severity would have

  • been lessened in antiquity by the incorporation of a colonnade

  • on the front of the structure.

  • So this very important building, in that regard,

  • because we again have this very well-preserved wall,

  • which gives us a good sense of what these walls would've looked

  • like in antiquity.

  • And you have to imagine here again that alleviation of this

  • severity by that portico.

  • You can also see here though something very interesting about

  • this particular theater that makes it connected--

  • although it's Roman in every way--that connects it also to

  • earlier Greek theatrical architecture.

  • Because you'll remember that the major difference between

  • Roman theaters and Greek theaters was that Romans built

  • their theaters on their own hill,

  • made of concrete, but the Greeks built their

  • theaters on actual natural hillsides.

  • And if you look very carefully at this excellent view from the

  • air, you will see the way in which

  • this particular theater, at Orange, is actually built

  • into a hillside.

  • They happened to have a natural hillside perfect for this kind

  • of construction, right where they wanted it to

  • be.

  • So they took advantage of that hillside and they placed--

  • they supported the cavea of this structure by that

  • hillside, as you can see extremely well.

  • The interior of the Theater at Orange is also extremely well

  • preserved, as you can see here.

  • You can see the stage.

  • You can see the semicircular orchestra.

  • You can see the stone seats of the cavea,

  • and you can also see that the stage building--

  • and because the wall, the outside retaining wall is

  • so well preserved, you can also see that the

  • interior of the wall still stands, obviously.

  • And this wall had one giant niche in the center,

  • with a projecting element also in the center,

  • and then would've had three tiers of columns,

  • one on top of one another.

  • Most of those are unfortunately no longer there,

  • but you can see one set of two pairs here--

  • the lowest tier with two columns, the upper tier with two

  • partial columns above that-- which gives you some sense of

  • what this would've looked like in antiquity.

  • Again we think the tiers, the columns,

  • were on three stories.

  • Remember the date of this, late-first century B.C.

  • probably.

  • And so this does post-date some of the 60 to 50 to 40 B.C.

  • paintings that we looked at that show these kinds of

  • multi-storied, scaenae frontes with

  • columns.

  • We speculated about the fact that some of those may have been

  • based on actual theatrical architecture,

  • but that it didn't survive from that early on,

  • but it may have been made out of wood.

  • But here we see a fairly early example, in the Augustan period,

  • in the south of France, and it is very important in

  • that regard.

  • I want to turn from theater architecture in the western

  • provinces to temple architecture.

  • And just as in Rome, and just as in every city that

  • we've looked at, temple architecture was

  • extremely important.

  • The temples that I'm going to show you--

  • and I'm going to show you two of them,

  • one at Vienne, in France, and one at

  • mes, also in France--are among our

  • best preserved Roman temples today.

  • And it's important to keep in mind that both of them were part

  • of complexes.

  • They stand in isolation today, but in antiquity they were part

  • of a complex -- probably some kind of forum or central space

  • for that city.

  • This is the one at Vienne, which I show to you first,

  • that dates to, probably to before A.D.

  • 14.

  • And it is a temple that was put up to Augustus and Roma.

  • It may have been--the dedication may have been changed

  • to Augustus and his wife Livia, at some point;

  • we're not absolutely sure.

  • But you see it here in a very good general view of what it

  • looks like today.

  • It's one of these buildings that has been preserved in large

  • part because it has been used--for later purposes.

  • It was used as a marketplace.

  • It was used as a museum at one point.

  • And that is what has helped to preserve it.

  • We see it again here, and it's interesting,

  • I think, to compare it to the restored view of the Temple of

  • Mars Ultor that was part of the Forum of Augustus in Rome,

  • because the dates are roughly comparable to one another.

  • And I think that you will see that it is a typical Roman

  • temple, in fact, almost indistinguishable from

  • what we would see in Rome at the same time.

  • So here's an example again of what happens when you go--

  • when the Romans go into a part of the world that isn't already

  • inhabited by a very highly developed civilization,

  • that they make buildings that look very similar to those that

  • were put up contemporaneously in Rome.

  • The Temple at Vienne is no exception.

  • If we look at this temple, we see it has the typical

  • Greco-Roman plan with the tall podium, the deep porch,

  • the freestanding columns in that porch.

  • And we see that the order that is used here is the Corinthian

  • order.

  • Some of the temple is made out of local limestone.

  • Some of it is made out of marble.

  • But what we see here that's very interesting

  • vis-à-vis what was happening at the same time in

  • Rome is the cella.

  • You can see that the cella is actually very shallow,

  • much more shallow than the cella usually is;

  • and you can see that quite well in this view over here.

  • And that same shallow cella we find at the Temple of Mars Ultor

  • in Rome.

  • The other similarity is the fact that at the Temple of Mars

  • Ultor in Rome we have freestanding columns--

  • columns all the way up to the back here--

  • and those columns--and there's space between those columns and

  • the wall of the cella.

  • And that creates a type of temple design that we refer to

  • today as a temple with alae or wings;

  • wings one on either side of the cella, formed by that space

  • between the wall of the cella and the freestanding columns.

  • And we see exactly the same thing over here,

  • this design of a temple with alae.

  • There is no question that this temple in Vienne was built under

  • the very strong influence of the Temple of Mars Ultor in Rome --

  • all of those features--I mean, they wouldn't have come upon

  • those features by accident; it is clearly being closely

  • based one on the other.

  • Here are two more views of the Temple of Augustus and

  • Roma/Livia at Vienne, where we see all of the

  • features that I've already shown you,

  • but where you can see particularly well the shallow

  • cella, the plain--the back wall here

  • that has pilasters rather than columns.

  • And then if you go around the back you will see it has a plain

  • flat back, which was the case also for the Temple of Mars

  • Ultor in Rome.

  • A more famous temple, an even more famous temple,

  • if that's possible, an even better preserved

  • temple, is the one that you now see on

  • the left-hand side of the screen,

  • which is the famous Maison Carrée atmes.

  • It too, it too has been reused in ancient times as a museum and

  • the like.

  • It's still a small museum today, which is one of the main

  • reasons that it is so well preserved.

  • It is an extraordinary work of Roman architecture.

  • I think it's interesting to compare it to the Temple of

  • Portunus that we saw much earlier this semester.

  • The major difference, of course, between the two,

  • the materials that are used.

  • This is local limestone with marble.

  • This--well we won't remind ourselves, but tufa and

  • travertine and so on and so forth, that we looked at

  • earlier--this is an Ionic temple;

  • this is a Corinthian temple.

  • But once again it seems to be the Temple of Mars Ultor that

  • was the main model for the Maison Carrée or the

  • Square House atmes.

  • And I show you another view of it here.

  • Because you'll see, just like the Temple of

  • Portunus, it has a pseudo-peripteral colonnade,

  • and you can see that extremely well.

  • Yes, the columns encircle the entire monument,

  • including the back wall, but those columns are engaged

  • or attached to the wall going all the way around.

  • Here you can again see the opus quadratum blocks of

  • this local limestone that's used for the walls,

  • and then marble used for the columns and also for the

  • capitals of this glorious and very well- preserved Roman

  • temple.

  • And here some spectacular details of the capitals of the

  • Maison Carrée atmes,

  • and the frieze, and also the decoration up

  • above.

  • And what's interesting about these capitals,

  • if you look at them in detail you will see that not only are

  • they Corinthian, and we can see the spiral

  • volutes growing out of the acanthus leaves down below,

  • but if you compare these capitals to a capital,

  • a preserved capital from the Temple of Mars Ultor in Rome,

  • you will see that not only are these based on these,

  • but that they are so close, so close,

  • that there is absolutely no question,

  • I believe--well this was not suggested by me but by a scholar

  • who studied these in great detail and determined and

  • suggested, and all of us have believed it

  • ever since-- that these are not only based

  • on those, but that the same workshop

  • worked these capitals for the Maison Carrée as for the

  • Temple of Mars Ultor in Rome.

  • Now that works well chronologically,

  • because you'll remember that the Temple of Mars Ultor in Rome

  • was dedicated in 2 B.C.

  • This building, as you can see from your

  • Monument List, was built in around A.D.

  • 5.

  • So there was perfect--it was perfect timing for those

  • architects and artisans who had been successful at the Temple of

  • Mars Ultor in Rome, this major commission,

  • allowed themselves, we believe, to be hired out to

  • those in the south of France, to make the trip tomes

  • in order to build a temple in the model of the Temple of Mars

  • Ultor in Rome, atmes;

  • the result, the Maison Carrée.

  • So this is--I've made this point in other lectures about

  • the fact that there are certain times when we can document not

  • only the exchange of architectural ideas but even the

  • exchange of architects and artisans,

  • going from one part of the Roman world to another,

  • in search of commissions.

  • And this is one of those times where we can document with

  • certainty that artists working in the employ of the emperor

  • himself, Augustus, made their way to the

  • south of France to create this amazing temple from scratch.

  • Once again, a temple very much in the model of the most famous

  • temple of its day in Rome, and that is the Temple of Mars

  • Ultor, in the Forum of Augustus.

  • One more detail.

  • Here's the Mars Ultor capital again, and over here the

  • capitals of the Maison Carrée.

  • And I show you above the frieze, which is extremely well

  • preserved, and you see this flowering

  • acanthus plant, that should immediately remind

  • you of contemporary decoration in Rome;

  • think of the flowering acanthus plants of the Ara Pacis

  • Augustae.

  • So once again proof that there is a very close connection to

  • what's going on in Rome at this time, and in the south of

  • France.

  • Here's another spectacular view of the Maison Carrée,

  • as it looks in its location today.

  • In the center of a plaza, surrounded by the daily life of

  • mes, as you can see so well here -- still very much a

  • part of daily life.

  • And very interesting is the fact that if you look across the

  • street, from the Maison Carrée,

  • you see a building that was designed by the very famous and

  • very talented British architect, Norman Foster.

  • It's also a museum, and it's a play on the name of

  • the Maison Carrée, it's called the Carrée

  • d'Art.

  • It's a museum that has modern art, and it mostly exhibits its

  • permanent collections.

  • But you can see--and I'm going to show you a detail in a moment

  • to bring this point home-- you can see that Norman Foster

  • has really looked at, and studied,

  • the Maison Carrée, and has created a modern

  • version, a very modern version of the Maison Carrée.

  • If you look at the Maison Carrée and its deep porch

  • and its high podium and its single staircase,

  • this façade orientation, all the usual Roman elements,

  • and look at this building, you will see that he too has

  • created a kind of portico in the front.

  • They're not actual columns, they're piers,

  • but piers--and very slender and elegant piers--

  • but piers nonetheless that are clearly being played off the

  • columns of the Maison Carrée.

  • And look at the way in which he has done the glass exterior.

  • He has divided it into a series of panels that are clearly,

  • I believe, reflecting--and I'm sure he knew he was doing this

  • at the time-- clearly reflecting the panels

  • of the ashlar masonry of the walls of the actual Maison

  • Carrée.

  • So this is very interesting.

  • We see not only dialogue happening,

  • you know, within Roman buildings themselves,

  • in Rome itself and in various parts of the world,

  • but this ongoing dialogue between ancient monuments and

  • modern buildings in cities like Rome--

  • the Ara Pacis in the Meier building is one example--

  • but also in some of these other cities,

  • likemes in the south of France.

  • And, by the way, you can go up -- there's a roof

  • garden that you can go up to, on the top of this,

  • of the Carrée d'Art, in order to see a spectacular

  • view from above of the Maison Carrée.

  • Now one of the most important elements of the Romanization of

  • the Empire was the fact that as the Romans went in and built

  • these new cities, in East and also in West,

  • they supplied it with amenities that weren't there before.

  • And this was especially important in the western

  • provinces where again the civilization had not been all

  • that high, prior to this period.

  • So the Romans come in and they build aqueducts with a vengeance

  • in the western provinces, in the south of France,

  • in Spain, in order to provide these towns with a water supply.

  • And I want to show you a couple of examples of our best

  • preserved and most spectacular Roman aqueducts anywhere in what

  • was the ancient Roman Empire.

  • I want to begin with perhaps the--with certainly the most

  • famous of these, the so-called Pont du Gard,

  • also atmes.

  • And I show you first a map, which gives you a sense of what

  • was going on here.

  • The patron, by the way, of the Pont du Gard at

  • mes was none other than Marcus Agrippa:

  • Marcus Agrippa whom we've talked about several times this

  • semester, the close friend,

  • confidant, right-hand man, son-in-law, hoped-for heir of

  • Augustus, who we saw was building

  • buildings in Rome.

  • He built the baths that bear his name,

  • the Baths of Agrippa, and he also built that first

  • Pantheon, that first temple to all the

  • gods, with its caryatid porch.

  • We saw that he was active as a builder in Athens,

  • where he built the Odeon of Agrippa,

  • and where he was honored with a statue on top of a pier on the

  • Acropolis in Athens.

  • He also was active in the south of France as a great builder,

  • and it was here that he was responsible for commissioning an

  • aqueduct that would bring water from thirty-one miles away,

  • up in the mountains, down to the city of

  • mes.

  • And this map gives you a very good sense of exactly how that

  • was done.

  • The source was up there, at the top, the top pink circle

  • up here, made its way all the way down to the city of

  • mes here.

  • Now the Romans were very clever about how they built aqueducts.

  • They let gravity and the change in terrain essentially do the

  • work for them.

  • They placed terracotta pipes underground,

  • for the most part, on sloping ground,

  • and allowed the water to come from the hillsides or the

  • mountains down into the city, just as they did here.

  • On occasion they allowed those terracotta tubes to be carried

  • by low walls.

  • But sometimes they got to a point where they had to cross a

  • body of water, and that is exactly what

  • happened here.

  • The River Gard of the city ofmes,

  • of the area ofmes, goes through--is located at

  • this particular point, and so the aqueduct system had

  • to cross the river.

  • How did they do that?

  • They couldn't tunnel it underground, they couldn't place

  • it on a low wall, so what they did was build a

  • bridge; they built a bridge to carry

  • that water across the body of water.

  • And the result of that is what you see here.

  • This is the famous Pont du Gard atmes.

  • This is the bridge that serves to carry the water across.

  • They place the terracotta pipes in the aqueduct itself,

  • and that water is carried across that aqueduct.

  • Now what's particularly extraordinary about this

  • monument, besides that feat of taking

  • that water across the river, is the fact that it is--well if

  • you look at the building technique,

  • you can tell that it is made of ashlar masonry;

  • ashlar masonry that is local stone,

  • in this particular case, as we have seen is the case,

  • for the most part, in architecture in the south of

  • France, in the Roman period.

  • But what is amazing about this particular aqueduct,

  • besides this great engineering feat,

  • is the fact that the architects have paid enormous attention to

  • the exact measurements, not only of the arch itself,

  • but of the arcuations.

  • And they have worked up all kinds of elaborate mathematical

  • theorems in order to get to the point where they play these

  • shapes, and the sizes of these shapes,

  • well off against one another.

  • The larger arcuations below are perfectly mathematically worked

  • out, so that they work well with the smaller ones up above.

  • And we see in a building like this,

  • I think, something that is really impressive:

  • not only a sign of Romanization--

  • I mean this is--when you talk about Roman imperialism and the

  • Romans taking over the world in ancient Roman times,

  • one could think about that, in part,

  • in a negative way.

  • I mean, imperialism and taking over and creating an empire can

  • be viewed negatively.

  • But one of the positive things that the Romans brought,

  • one of the many positive things that the Romans brought to these

  • under-developed parts of the world,

  • was what we call Romanization; bringing these amenities,

  • bringing things like water to a city, so that it could live at a

  • higher level than it was able to live before.

  • But besides that, when you look at an aqueduct

  • like the Pont du Gard atmes,

  • I think you'll agree that although we would call this a

  • feat of Roman engineering, first and foremost,

  • the Romans have been adept enough,

  • both through paying attention to these mathematical

  • considerations, but also to carving the stone,

  • to making the stone really work aesthetically,

  • that they have essentially, in this aqueduct,

  • transformed engineering into architecture,

  • into what we would define as architecture.

  • I want to show you two other aqueducts.

  • The first--both of them in Spain--the first at Tarragona

  • and the other one at Segovia.

  • First a reminder of the fact that Spain, as you'll recall,

  • was extremely important in the Roman period because two of

  • Rome's emperors came from Spain; think of Trajan,

  • who was born in Spain, and also Hadrian,

  • whom we see here on the left.

  • A map of Spain showing the locations of Italica,

  • where Hadrian was born, but also the two sites that

  • we're going to look at, Tarragona, Tárraco,

  • which was located very close to Barcelona,

  • near the sea, as you can see here,

  • and then further inland Segovia;

  • Segovia which is near Madrid, the city of Madrid.

  • So very accessible; for any of you traveling Spain,

  • these are sites that are extremely accessible,

  • and especially Segovia, well worth looking at.

  • I just want to show you the aqueduct at Tarragona briefly.

  • You can see it here on the screen, an aqueduct that dates

  • to the Augustan period.

  • And it's a handsome work of architecture.

  • It has ashlar blocks, as you can see:

  • local stone.

  • But it doesn't have the finesse.

  • I think you can see here now how great the Pont du Gard is,

  • because it doesn't--it's attractive,

  • it does the job, it's a great engineering feat--

  • but it doesn't have the aesthetic values that the Pont

  • du Gard does, with its arches that are the

  • same size, on the lower story,

  • and then in the upper story it doesn't have the appeal

  • aesthetically, visually, that the Pont du Gard

  • does; but it does its job.

  • However, the aqueduct at Segovia is quite another story.

  • The aqueduct at Segovia is right up there with the Pont du

  • Gard atmes as one of the great works of Roman

  • engineering and of Roman architecture.

  • And what makes it all the more spectacular is how much of it is

  • preserved.

  • And I think you can see that extremely well here,

  • in this amazing view of the aqueduct marching--

  • making its way across the center of the city of modern

  • Segovia, in this truly spectacular image.

  • As you can see from your Monument List,

  • the date of the aqueduct at Segovia is very controversial.

  • There are some people who think it's first century;

  • there's some people who think it's second century.

  • I think it is most likely to be second century,

  • and probably put up during the time of Trajan,

  • the emperor Trajan.

  • But we're not sure about that.

  • Whenever it was put up, it is an incredible example of

  • aqueduct engineering and aqueduct architecture.

  • And it does allow us to see a couple of things that we--it's

  • very distinctive in its own right;

  • it's beautiful, but beautiful in a very

  • different way, as we see from the Pont du

  • Gard.

  • But it does allow us to look at a couple of other features of

  • Roman aqueduct planning and design that I think are worth

  • talking about.

  • I show you here another view of the aqueduct at Segovia,

  • and you see here that it is for the most part a two-tiered

  • aqueduct system.

  • But what they've done here to vary it,

  • and to make it much more interesting aesthetically than

  • the aqueduct at Tarragona, is to make those two stories

  • different in height.

  • So the lower story is much higher, as you can see,

  • with much more attenuated arches;

  • and then the upper tier is lower, with much smaller arches.

  • The other thing that they've done -- using local stone --

  • they have left the stone in a somewhat rougher state.

  • It isn't quite as rough, perhaps, as Claudius'

  • buildings-- but left in a fairly rough

  • state, which gives it a real sense,

  • as you look at it, of the texture of that stone,

  • of the materiality of that stone, in a way that makes this

  • particular building extremely attractive and impressive.

  • And you can see here--this view is also very helpful because you

  • can see people standing below which gives you some sense of

  • the very large scale of this particular aqueduct.

  • Here's another view.

  • This is one of my favorite views of the aqueduct at

  • Segovia, because I think here you can

  • really get a sense of the coloration of the stone,

  • of the texture of this slightly rough stone,

  • and of the way, even in the architecture of

  • aqueducts-- again mainly,

  • an aqueduct is built mainly for a practical purpose,

  • to bring water from one part--one place to another

  • place, to provide an amenity,

  • as we've talked about it, a significant and important

  • day-to-day amenity.

  • But even with that, even though it is essentially a

  • practical building, aesthetics are never far from

  • the Romans' minds.

  • And when this particular aqueduct was designed,

  • not only did the designer have in mind the texture of the stone

  • and the way in which the light of Spain,

  • this particular part of Spain, hits that stone at any given

  • time of day, but the whole concept of vista

  • again.

  • When you wander along this particular aqueduct--because it

  • goes on for quite awhile; you can do that,

  • and you're not on top of a body of water as well.

  • So you can walk along it down below and see what you see as

  • you meander through it.

  • And it is amazing aesthetically again how they have set up a

  • series of views and vistas, from one part of this aqueduct

  • to another.

  • As you stand here and you look at it,

  • making its way, almost marching its way--

  • in fact, I like to think it's Trajanic because it's almost

  • like Trajan's army marching through the city of Segovia,

  • off to some military exploit in the far reaches,

  • because--the way it marches through the city,

  • as you can see here.

  • But all of these wonderful views and vistas and panoramas

  • that one can see, depending upon where one stands

  • in the city, where one stands beneath the

  • arches themselves, is really spectacular,

  • and clearly was very much in the minds of the architect who

  • designed this.

  • Here's another very good view where if you stand below the

  • aqueduct and look up, this is the sort of view that

  • you see, with the rough stones,

  • even in the vaults of the arches themselves:

  • an incredible work.

  • And again, the fact that it is as well preserved as it is,

  • is really something to be grateful for.

  • Here's a very interesting view, because it also shows you what

  • happens with aqueduct design when the terrain changes.

  • So in the center of the city--in the views that we

  • looked at just before-- they were able to build,

  • the ground level was low enough,

  • that they were able to build the aqueduct in two stories,

  • with that very high first story and then the lower second story.

  • But what happens when the terrain shifts,

  • when you go--because again they're taking advantage of a

  • source that is located higher up,

  • with the hope that gravity will do the work for them and allow

  • that water to flow from that source,

  • down into the city.

  • And that is exactly what they did here.

  • The source is farther away and it's high.

  • So the water has to be piped into this structure and make its

  • way down from the hillside to the city.

  • So you see the ground rising here, to go up that hill.

  • And what happens is that they have to adjust the aqueduct

  • according to the changing terrain.

  • So if you look at this particular section,

  • you will see that the bottom story is just an arch.

  • The arch rests on the ground, so that they--because it has to

  • be much shorter at this juncture than anywhere else.

  • And you see the same--well you see it changing somewhat here,

  • as it makes its way.

  • But you see it rounding the corner,

  • and the way they have had to make these adjustments,

  • and made them so well, without losing the impressive

  • aesthetic quality of this particular structure.

  • Once again, a tribute to the fact that these Roman architects

  • were not only great engineers but also, without any question,

  • world-class architects.

  • There's an interesting monument that is located--

  • you can see the aqueduct of Segovia in the back left there--

  • there's an interesting monument that was put up to celebrate the

  • bi-millennium of the aqueduct in Segovia.

  • And it's interesting to see what they put at the top:

  • the she-wolf suckling Romulus and Remus to underscore the

  • close connections between ancient Roman Segovia and Rome.

  • Another very interesting building in France is the one

  • that I show you now, which was a fountain.

  • These aqueducts brought not only water for daily use but fed

  • fountains.

  • And I want to show you one fountain from Roman Gaul,

  • from what is France today, the so-called Temple of Diana.

  • It wasn't a temple, it was a fountain,

  • as I mentioned, and it was built during the

  • Hadrianic period, between 100 and 130.

  • What makes this fountain particularly interesting is if

  • we just looked at this-- if I asked you,

  • if I put this up and said to you: "What do you think

  • this was?"

  • you would be unlikely to say a fountain;

  • because you can see that this structure is in the form of a

  • basilica.

  • It's a barrel-vaulted central chamber, with side aisles that

  • are also barrel-vaulted.

  • You can see the barrel vault of this side aisle over here.

  • You can see a barrel vault of the central space here.

  • You can see that there are columns on tall bases.

  • You can make out, over here, a triangular

  • pediment on top of a niche.

  • There were a series of niches along the wall,

  • with alternating triangular and segmental pediments.

  • But most interesting of all is the central space,

  • the central barrel-vaulted space, with these barrel-vaulted

  • side aisles, which is exactly the scheme of

  • a typical basilica.

  • And it's another example of something I've shown you

  • throughout the semester, that I've called the

  • interchangeability of form; the way in which certain

  • building types, in this case a basilica,

  • built initially as a civic structure for the trying of law

  • cases, becomes a plan that is used in

  • other contexts; whether it's in residential

  • architecture, as we've already seen,

  • and in this case in the form of a fountain.

  • So that's particularly interesting.

  • Also interesting is the fact that although this is a

  • barrel-vaulted structure, it is made entirely out of

  • local stone -- no concrete whatsoever in this

  • particular part of France.

  • No concrete, stone construction.

  • It's a masterwork when you consider that this was all done

  • out of stone, and done extremely well.

  • Look how smooth the stones are.

  • And look, the designers have even been talented enough to

  • create ribs, with stone, in that stone barrel vault,

  • for this amazing structure.

  • And you should be reminded, when I talk about the

  • interchangeability of form, of the underground basilica

  • that we looked at way back when, in the time of Claudius,

  • which was built underground, made out of concrete,

  • faced with stucco, as you'll recall,

  • but used for a secret sect, and in this case the use of

  • this basilican structure for a fountain in Roman France.

  • Up to this point we have looked at monuments that were made

  • possible by Rome's subjugation of this particular part of the

  • world; the subjugation we know of at

  • least forty-four Alpine tribes.

  • And so while all of these buildings that I've shown you

  • come because of that subjugation and subsequent Romanization of

  • the area, there is one monument,

  • spectacularly sited, that actually celebrates,

  • honors, that very subjugation, and it's to that that I now

  • want to turn.

  • It is, as I mentioned spectacularly sited,

  • along the French Riviera, not far from Nice,

  • not far from Monte Carlo.

  • You see it here.

  • It is the Trophy of Augustus, the Tropaeum Augusti,

  • as you'll see on your Monument List,

  • that is located in a town called La Turbie and you can see

  • it rising up in the midst of modern La Turbie here.

  • It dates, we believe, to 7 to 6 B.C.,

  • and thus in the age of Augustus, and celebrates,

  • quite specifically, Augustus'--and the inscription

  • tells us this-- Augustus' subjugation of

  • forty-four Alpine tribes in this particular part of the world:

  • a monument put up to honor that victory of Augustus.

  • So essentially a trophy monument.

  • You can see that it is only partially preserved.

  • And I show you here a view of it down the street,

  • the modern street, as it looks today,

  • where you can see it rising up over that street.

  • And if you look very carefully, you will see that the stone

  • that the structure is made out of is very similar--

  • in fact exactly the same--as the stone used for the local

  • houses.

  • Now this is very interesting, because what--

  • the monument did not look--even though it's only partially

  • preserved today, even less of it was preserved

  • earlier on, and it was in the 1930s that an

  • American patron decided that he wanted to reconstruct,

  • as best that could be done, the Trophy Monument at La

  • Turbie.

  • Because there was recognition that the monument at La Turbie

  • had served as a quarry, essentially for the local

  • inhabitants, and that over the years they

  • had been taking the stone from the Victory Monument of

  • Augustus, and using it--that's why it's

  • the same stone-- using it in their houses.

  • And this American wanted to rectify it,

  • so he donated the funds that enabled them to tear down,

  • to demolish, thirty-two houses,

  • and come up with 3000 fragments from the Victory Monument,

  • the trophy at La Turbie, and reconstruct it as best as

  • they could from those fragments.

  • And that's what you see there now.

  • Here's a view of it as it looks today, as well as a model.

  • And what you can see from both of these is not only the

  • inscription and the trophy in relief,

  • on this side, that mentions the forty-four

  • Alpine tribes, but the monument itself.

  • And this model makes it very clear what the general form was:

  • a round structure, with columns encircling it,

  • on a base, and then the whole thing placed

  • on a very large-- a tall pedestal,

  • with a pyramidal element at the top,

  • and a crowing statue at the very apex.

  • This scheme of placing a rotunda on top of a tall base is

  • something that we have seen as characteristic of funerary

  • architecture, from the age of Augustus.

  • Think of the Tomb of Caecilia Metella, for example.

  • And it is that scheme that is used here.

  • So another example of this interchangeability of form --

  • that a form that was used for mausoleum architecture now used

  • for a trophy monument, of the same time,

  • but in a different part of the world.

  • The model also shows you that there were niches around the

  • central circular structure.

  • Those had in them portraits of Augustus' lieutenants,

  • who helped him placate this particular part of the world.

  • And then at the top of the stepped pyramidal structure,

  • a portrait, a bronze statue of the emperor Augustus himself.

  • Here's a detail of the Victory Monument at La Turbie,

  • with all of those stones from those thirty-two demolished

  • houses reused here to reconstruct it.

  • There is concrete used here, but it's a Gallo-Roman form of

  • concrete.

  • You'll see in Ward-Perkins that he refers to this work as

  • petit appareil, p-e-t-i-t a-p-p-a-r-e-i-l,

  • petit appareil, which is essentially a

  • Gallo-Roman version of concrete construction,

  • with stone facing, little work,

  • little pieces of stone, that are very similar to

  • opus incertum, but different enough and

  • distinctively French enough to be called petit appareil.

  • The victories, Augustus' victories and

  • pacification of this part of the world also led to the

  • construction of arches.

  • And I want to turn to a couple of those now.

  • The Arch at St.

  • my, also in the south of France.

  • You see it here.

  • It dates to around 20 B.C., and it probably served as both

  • an arch in honor of these victories that Augustus

  • celebrated here, but also as a gateway into the

  • city.

  • It's very simple.

  • It looks very much like we've come to know Augustan arches

  • are, with a single arcuated bay in

  • the center, columns, in this case,

  • on two separate bases, fluted columns.

  • The capitals are not preserved, so we don't know if they were

  • Corinthian, but they were probably Corinthian.

  • A very elaborate archivolt, as you can see here,

  • with the coffering extremely well preserved.

  • And then if you look very closely at the decoration,

  • you see a couple of figures standing on either side.

  • These are actually--they're headless now--but they're

  • actually figures of captives; of captives,

  • of local captives, to make reference again to the

  • fact that this was military, a military operation,

  • that allowed Augustus to take over,

  • to subjugate these forty-four Alpine tribes,

  • and others in this particular area,

  • and that that subjugation is referred to here by the

  • representation of those captured barbarians.

  • A much more important and more interesting arch is this one.

  • It's an arch that is located in Orange--back to Orange--also in

  • the south of France.

  • The date of this monument is very controversial,

  • and I think by looking at the general view,

  • and also a detail, you can see why.

  • It is a triple-bayed arch, with a large central arch,

  • two smaller ones on either side, with columns on tall

  • bases, Corinthian columns in between them.

  • You can see that the central element, with its pediment,

  • projects into the viewer's space.

  • You can also see that every inch of space is completely

  • covered with decoration-- figural decoration,

  • piles of arms and armor from the enemy--

  • so much so that it tends to dematerialize the arch.

  • These are all characteristics of later Roman architecture--

  • think the Arch of Septimius Severus,

  • which I'll show you again in a moment--

  • which has led some scholars to date this as late as A.D.

  • 200 or A.D.

  • 203,204, at the same time as the Arch of Septimius Severus.

  • And it was long thought to be that also because no one could

  • concede that this idea of the triple-bayed arch could turn up

  • in let's say Augustan or Tiberian France,

  • Gaul, before it turned up in Rome.

  • So getting back to that issue I've raised on several occasions

  • about center and periphery.

  • Does everything flow from the center,

  • or are forms sometimes developed in the periphery and

  • then make their way back into the center,

  • is an age-old and very interesting question to ask.

  • But I think you can see the reasons why scholars,

  • some scholars, have dated this to the Severan

  • period.

  • Here's a view--and I'll say more about that in a moment--

  • a view here, another view showing an

  • engraving, giving you a sense of the kind

  • of sculptural decoration that would've been placed at the top:

  • the omnipresent figure in the chariot,

  • four-horse, or in the case--four-horse,

  • I think, in this case, chariot.

  • And then figures of captured barbarians, as well as trophies

  • on the apex.

  • Here's our comparison with the Arch of Septimius Severus in the

  • Roman Forum.

  • And I think you can see the close association between the

  • two: the triple bay, the profusion of decoration

  • that we see in the arch on the left-hand side as well.

  • Here's a detail of the attic, which shows you an interesting

  • battle scene where the figures are very heavily outlined,

  • as you can see here, which is unusual.

  • Scholars have suggested, and I think correctly,

  • that the reason for that is that these artists,

  • in this part of Gaul, were probably working from copy

  • books, or copy scrolls I guess I

  • should say: drawings of battle scenes,

  • typical Greco-Roman battle scenes, that they could use--

  • Hellenistic battle scenes perhaps, or early Roman battle

  • scenes-- that they copied.

  • And these were drawings, and consequently they copied

  • them quite exactly, by showing the outlines around

  • the figures.

  • It's a speculation, but I think it's an interesting

  • speculation, in this very frenzied battle scene from the

  • uppermost part.

  • With regard to the date of this monument though,

  • the plot thickens.

  • Oh, one other detail.

  • If you look at the side of the arch, you see an arcuated

  • element inside.

  • You can barely see the triangular pediment,

  • but there's an arcuation inside an unbroken, a complete

  • triangular pediment.

  • So that scheme of placing the arcuation also tends to be a

  • late feature.

  • However, scholars who've spent a lot of time looking at the

  • sculptural decoration of this monument,

  • at the piles of arms and armor that one finds there--

  • which, by the way, includes piles of arms and

  • armor from a naval victory, which is interesting,

  • as well as piles of arms and armor from victories on land,

  • which has made some scholars speculate that this refers to a

  • kind of generic victory, to victory on land and sea,

  • by whomever this honored.

  • But very interesting is the fact that there is one armament

  • that is inscribed with the name Sacrovir, S-a-c-r-o-v-i-r,

  • Sacrovir.

  • Sacrovir we know was someone who was living and active in the

  • time of Tiberius.

  • He led a revolt in this part of Gaul, in A.D.

  • 21, against the local Roman governor and his excessive

  • taxes.

  • And it has been speculated that that Sacrovir,

  • who is mentioned here, is that very same Sacrovir,

  • and that it is very conceivable therefore that this arch was put

  • up in the time of Tiberius.

  • I've given you a date of A.D.

  • 25.

  • I believe that myself, although it does defy

  • imagination, to a certain extent,

  • to think of an arch, with all of these features that

  • I've described today, as early in the south of France

  • as A.D.

  • 25.

  • But it's something for you to think about in terms of our

  • whole question of the relationship between center and

  • periphery.

  • I want to show you the last group relatively quickly,

  • just to dip into Istria, as I said I would,

  • to the uppermost part of what is today Croatia,

  • to look at one more arch, in a different part of the

  • Roman world, but during the same period,

  • the end of the first century B.C., an arch at Pola.

  • I show you the location here of Pola,

  • or Pula, at the very uppermost part of Croatia,

  • very close, exactly at, I mean it's just--

  • when I went there once, you literally,

  • you go across the border and there you are,

  • the Italian border, you're in Pola.

  • And you see the rest of Croatia here,

  • with the other great site of Split,

  • which we'll look at next time, and of course the famous city

  • of Dubrovnik at the base.

  • You see the arch extremely well preserved.

  • Another typical Augustan arch: single bayed,

  • two columns, Corinthian order,

  • on a shared base.

  • If you look at the attic, the attic is interesting.

  • Local stone once again.

  • Look at the attic, you'll see bases that are

  • inscribed at the top, and those bases are very

  • helpful in terms of telling us something quite extraordinary,

  • and that is that this arch was put up by a woman.

  • We know her name: Salvia Postuma,

  • Salvia Postuma, Sa-l-v-i-a P-o-s-t-u-m-a.

  • Salvia Postuma, who put this monument up to

  • three male members of her family,

  • who were involved in military operations at this particular

  • time, died, and then were honored by

  • this monument.

  • I show you a reconstruction of what the uppermost part probably

  • looked like when there were statues of those three male

  • members of the family, possibly in their military

  • costumes, although we don't know for

  • sure, at the apex of the structure.

  • Here's a detail of it also over here, where you see victories in

  • the spandrels; you see the Corinthian capitals;

  • you see cupids carrying garlands;

  • all the kind of decoration.

  • You see some acanthus leaves, very much like those in the Ara

  • Pacis: all the kinds of decoration that have been

  • transported from Rome to be used,

  • in this case, in the north of former

  • Yugoslavia for this arch.

  • We see the Corinthian capitals here.

  • We see the victories here.

  • We see the cupids with the garlands over there.

  • We see a chariot scene here.

  • The chariot scene is an interesting reference to the

  • race of life, a reference to victory in

  • athletic competition, as well as victory over--you

  • see the bucrania there also;

  • clearly another touch of Rome, of the Ara Pacis.

  • But this interesting--we've seen this throughout the

  • semester, the close correlation in the

  • minds of the Romans between victory in battle,

  • victory in athletic competition, victory in the

  • hunt, and also victory over death.

  • And all of that comes together well in the arch here.

  • If you look up into the vault, it's very well preserved.

  • In the center a representation of an eagle, with a serpent,

  • holding a serpent; this is probably a reference to

  • death and rebirth.

  • And remember, this is Augustan in date,

  • so it predates the vault of the Arch of Titus in Rome.

  • But this whole idea of placing in the vault a scene of death

  • and rebirth, leads ultimately, I think, to that divinization

  • scene of Titus.

  • I want to take you very quickly to show you an important tower

  • tomb in the city of St.

  • my--we're back in the south of France--St.

  • my, the ancient Glanum, G-l-a-n-u-m;

  • ancient Glanum, which was a very highly

  • developed town, also in the Greek period.

  • So here we see some overlay.

  • We have local Celtic custom.

  • The Greeks infiltrated here, then the Romans;

  • all of that piled one on top of another, to make a very

  • distinctive city.

  • You can also see from the remains, there are extensive

  • remains at Glanum, more than most of these ancient

  • French towns, where you can see baths and

  • temples and parts of houses and peristyles and so on,

  • quite well preserved.

  • I show you here, for example,

  • some honorific bases and altars.

  • And over here a hypocaust from one of the baths,

  • looking very much like a hypocaust we would see in

  • Pompeii of like date.

  • I also want to mention, in case any of you are making

  • your way to the south of France anytime soon,

  • it is located, the city of Glanum,

  • located very close to the wonderful town of Les Baux;

  • in fact, Glanum is in the shadow of Les Baux,

  • that lies in the mountains on the top.

  • A fabulous place to just--nothing to do with Roman

  • antiquity but just a great place to wander,

  • as you can see here, and every one of the caves,

  • and there are a lot of them, have places for wine tasting.

  • So it's a fun place to go.

  • Here are the two monuments.

  • We saw the arch already.

  • This is the tower tomb.

  • These are referred to by the locals as Les Antiques,

  • Les Antiques; the arch--the antiquities--the

  • arch and the tower tomb.

  • And the fact that they are in close proximity;

  • I mentioned the arch may well have been a city gate.

  • The Romans always buried their dead outside the city gate.

  • City gate, cemetery right outside.

  • Extremely well preserved.

  • Tower tomb, tower tomb because it's taller than it is wide.

  • This area of France is particularly famous because of

  • Vincent van Gogh, one again.

  • Van Gogh spent his last years in an insane asylum,

  • as many of you may know, in St.

  • my.

  • This insane asylum--which you can see;

  • this is a Van Gogh painting of that asylum in which he spent

  • those last days--is located exactly across the street from

  • Les Antiques.

  • So if you make the pilgrimage there,

  • I hope you'll make the pilgrimage not only to see Van

  • Gogh, but I hope that you're

  • aficionados now of-- in fact, I hope that you go to

  • see Les Antiques and then also go to see the asylum of Van

  • Gogh.

  • Here's the monument of the Julii, a tower tomb that was put

  • up in St.

  • my in 30 to 20 B.C., so the cusp,

  • the late-Caesarian into the Augustan period.

  • And we think the Julii represented here are in fact

  • veterans of Julius Caesar's army, who have taken his name.

  • Julius Caesar, all of his great military

  • exploits in Gaul, referred to here by his

  • veterans who have taken his name and have settled here on land

  • that they were given in reward for their good work.

  • Again it's a tower tomb; taller than it is wide;

  • a stepped base; a socle with sculptural figural

  • frieze; a quadrifrons up here;

  • Corinthian columns; and then at the very apex a

  • tholos that has two statues inside that

  • tholos.

  • This is pretty much the best-preserved Roman tomb that

  • we have.

  • Everything is intact here.

  • We believe--remember I mentioned way at the beginning

  • that we think that a lot of these Roman ideas came to the

  • south of France via North Italy, and we think this was indeed

  • the case.

  • In North Italy we know they put up a lot of these tower tombs,

  • and we think it's likely that this sort of thing imitates some

  • of those tower tombs in the north of Italy.

  • I show you a detail of two of the figural friezes from the

  • socle of the monument, which you can see represent

  • battle scenes.

  • And you can also see those deep outlines,

  • just as we saw at the Orange Arch, which once again suggest

  • to us that these artists are looking at drawings of this kind

  • of thing that come from the Greco-Roman world,

  • and they are copying what they see.

  • I don't have time to go into it here,

  • but if you look with care at some of these,

  • when you're studying this monument,

  • you will see that there are some figures--

  • while for the most part it makes sense--

  • there are some figures in this crowded scene that don't work.

  • For example, here's a figure on the ground,

  • with a shield above his head, trying to protect himself

  • obviously from a combatant.

  • But there is no combatant there.

  • And that seems to underscore again that they are using copy

  • books, that they are looking at these things.

  • They're copying what they like.

  • They're copying the scene for the most part,

  • throwing in some other figures that they like,

  • that don't--sometimes don't even make any sense.

  • A detail up here of the tholos,

  • with the two statues.

  • I spent about six weeks at this monument at one point,

  • in that area at St.

  • my, in a little place near Les Antiques.

  • And I remember when I was there that there was this wonderful

  • headline in the local newspaper that said--

  • there was a huge storm, with lightening and so on,

  • and the next morning there was a headline that said "Has

  • Gaius Lost His Head?" Because the

  • locals want to believe that this is a monument,

  • not of local army veterans, but of the Augustan family,

  • and that the two figures at the uppermost part were Gaius and

  • Lucius Caesar.

  • Well they were not Gaius and Lucius Caesar,

  • they were local veterans.

  • But nonetheless the myth has continued on.

  • I want to show you lastly, for just the minute or so that

  • remains, to try to underscore that

  • point, that the north of Italy may have been a source for this

  • kind of tower tomb that we see at St.

  • my, just by showing you one example.

  • It's by no means exactly the same, but it's the best that I

  • can do, because most of these tower tombs no longer survive.

  • But it is a tholos tomb from Aquileia,

  • in the north of Italy that dates to the early Augustan

  • period.

  • And you can see that it has a large base,

  • with a figural sculptural decoration here--

  • this Isles of the Blessed kind of imagery--

  • with a tholos at the top that includes a statue,

  • and then a pyramidal roof with a decorative element at the

  • uppermost part, and then, as you can see,

  • some lion statues out in front to guard that tomb.

  • It's by no means the same thing as what I've shown you,

  • but it gives you an idea that these kind of tholos

  • tombs, on decorated bases,

  • were popular in the north of Italy,

  • and the idea may have made its way to the south of France via

  • these north Italian examples.

  • And lastly, just one last monument,

  • because we've tended to be looking at tombs in isolation,

  • individual tombs, rather than tomb complexes,

  • because it's the individual tombs and not the complexes

  • themselves that are well preserved.

  • But I want to show you one excellent example from the north

  • of Italy, again from this wonderful town

  • called Aquileia: an early Augustan set of altar

  • tombs that are still preserved in the actual original burial

  • plots, which gives you a very good

  • idea of what one of these plots would have looked like.

  • These are, of course, not monumental tombs but small

  • tomb markers in the shapes of altars,

  • and then other smaller items, as you can see very well here.

  • But it shows you the way in which the Romans had,

  • just as one has today, these burial plots for the

  • family: these family burial plots,

  • that have individual markers of different family members in

  • them, and then has a kind of stone

  • fence that encircles and protects their plot.

  • And you can see that stone fence down here,

  • a stone fence that should immediately remind you of some

  • of the stone fences that we saw in Second Style Roman wall

  • painting, for example;

  • that were omnipresent in Second Style Roman wall painting.

  • And the last point I'll make today is just to

  • underscore--once again, I think there are lots of

  • examples of it today; the tholoi,

  • for example, the tholos,

  • and these fences, as well as the theatrical

  • architecture we saw at Orange-- that underscore once again the

  • close association between architecture and painting,

  • from the Republic, all the way up to the Augustan

  • age, and still beyond.

  • Thank you all.

Prof: Good morning everybody.

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21.西部開拓時代のミニロム作り (21. Making Mini Romes on the Western Frontier)

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    Sofi に公開 2021 年 01 月 14 日
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