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Chapter 10
The Roman Empire
1. Lecture Strategies and Key Ideas. Together with the previous chapter
on Greek art, this chapter on Roman art is a crucial text for AP students.
Roman art and architecture form the second half of their Classical art
studies.
You might call attention to the introductory comments found on page 237 as
it summarizes the profound influence the Romans had on Western art and
government. These contributions are important as they help in student
understanding of the “context” in which Roman art was made.
Students should be aware of the geography of Italy and teachers might pass
out maps for students to study. (See MAP 9-1 and MAP 10-1). It is
necessary for students to be versed in Roman history but teachers can
provide this background with perhaps two lectures, one on Republican Rome
and the other on the Roman Empire. Illustrate these with transparencies
showing the geographic conquests of the Emperors. The Outline of Roman
History on page 239 will help students see the chronological development
from the Roman Republic to the Roman Empire.
It is often useful for students to examine two slides at once, and in the case
of this chapter it is helpful for students to view a Roman art slide while also
seeing a Greek image. Showing a Greek temple and Roman one
simultaneously, for example, will show both the similarities and
dissimilarities. The two culture’s art alternately was idealistic and real, and
students might ponder how the Greek statuary moved from high classical
ideals to a Hellenistic “real world” portrayal, just as the Romans would
move from realism during the Republic period to Roman classicism later.
AP Exam Tip. It is in architecture that the Romans made their greatest
contributions and students can be assured that they will be expected to know
the great Roman public buildings when they confront the AP Art History
Exam. Fortunately, most students will find the subject fascinating and they
will already be somewhat familiar with structures such as the Colosseum and
Pantheon. (The graceful beauty of the Pont du Gard will probably be a
pleasant but new sight for them.) There is a good discussion of the Roman
use of concrete and of variations of the arch on page 241 and students
should study these images.
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Patronage. The long list of emperor’s names need not be memorized, but
AP students should know Caesar Augustus, Hadrian, Marcus Arelius and
Constantine and the parts they played as patrons of the arts. Narrative in
Art. Examples are the Ara Pacis and its narrative as state propaganda and
the panels of the Arch of Titus with its story of the conquest of Palestine.
The interesting story of how Roman art turned from its classical roots to a
medieval appearance can be found in Battle of Romans and barbarians
[Ludovisi Battle Sarcophagus] and in the reliefs of the Arch of Constantine,
where artists mixed old classical motifs and style with those of the later
medieval world. The statue of Augustus of Primaporta (human body) is
illustrative of the iconography and return to classicism of his period.
Gender. Women are shown on the panels of the Ara Pacis as mothers with
children at their sides. This depiction had a political purpose, as it was the
Emperor's wish to increase Roman population by extolling the family
structure.
Heads Up Note. It would be well for teachers to divide the chapter into four
lessons and give quizzes at the end of each. These four sub-chapters are
listed below along with the key vocabulary that is associated with each part.
Again, be particularly certain that students are versed in the architectural
achievements of the Romans. These four periods are outlined on page 239.
1. Republic. 509 BCE-27 BCE. This is the period that saw in 211 BCE the
beginning of the Roman “craze for Greek art.” In architecture, students
should be aware of the place concrete had in the Roman ability to create
molded and complex forms. This Roman “architectural revolution” (see
page 250) allowed the building of “spatial envelopes.” Students showed be
able to visual the arch, barrel vault, groin vault and dome construction. In
sculpture, Republican Roman art is characterized by a brutal realism called
verism. Roman genius for city planning is found at Pompeii. In painting, the
text differentiates among the first, second, third and fourth styles. Students
should know the characteristics of each, and appreciate that Roman painters
were familiar with single point perspective and aerial perspective, although
these views were always employed.
Key Vocabulary for Republican Art.
Temple of “Fortuna Virilis”
concrete
Dome
barrel vault
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arch
groin vault
Verism
Nave aisles
point perspective
forum
basilica
impluvium
Pompeii
aerial perspective
2. Early Empire. 27 BCE- 96 CE. This era begins with the reign of Caesar
Augustus and leads to his Pax Romana. Just as Alexander helped spread
classical ideals, so the Romans took with them during this period their art
ideals as they conquered nations east and west. The statue of Augustus of
Primaporta is illustrative of the iconography and return to classicism of the
period. Students should know the panels of the Ara Pacis and its narrative as
state propaganda.
A good example of a contextual question in AP Art history is to have
students describe how the style of the panels advances the purpose of the
Ara Pacis panels. There are also public structures that students should know,
especially the Pont du Gard, Maison Carrée, Colosseum, and Arch of Titus
with its narrative of the Roman conquest of Palestine.
Key Vocabulary for Early Empire Art.
Augustus of Primaporta
Ara Pacis
Maison Carrée
Pont du Gard,
Colosseum
triumphal arch
Spoils of Jerusalem
Pont du Gard
Maison Carrée
Arch of Titus
3. High Empire. 97BCE-192 CE The period when the Roman Empire was
at its peak. The patronage of the various emperors led to the building of
some of Rome’s grandest public structures, including Trojan and his arch
and column and the justly famous domed Pantheon and Villa built on orders
from Hadrian. The Pantheon is famous for its Architecture of Space. The
equestrian statue of Marcus Arelius is the first of a long line of “man on
horseback” statues that students will find in art history.
Key Vocabulary for High Empire Art.
Arch of Trajan
Trajan’s column
Hadrian’s Villa
Ostia
equestrian statue
mummy portrait
Pantheon
apotheosis
4. Late Empire. 193 CE- 395 CE. This is the era of the ruthless rulers and,
for the Empire, the beginning of the end. In art, we find also the demise of
classicism in art (See, for example, FIG. 10-70) and the beginning of art
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ideals that would last through the Middle Ages. The Four Tetrarchs (FIG.
10-73) is a charming introduction to these medieval art developments. The
main monument showing the transition away from classicism to medieval art
is found on the Arch of Constantine, and students should be able to tell the
arch’s history and describe its reliefs.
Key Vocabulary for Late Empire Art.
Four Tetrarchs
Arch of Constantine
Constantine’s Christianity
Basilica Nova
3. Key Images from Gardner’s Art through the Ages.
Artist
Subject
Republic
Republic
Republic
Gardner
FIG. Number
10-3
10-4
10-5
Key Idea
Architecture
Architecture
Architecture
10-6
10-12
10-15
Variations on the use of the arch
Pompeii
City planning
House atrium
House planning
Painting
Painting
Painting
Painting
Painting
Painting
10-17
10-18
10-21
10-22
10-25
10-26
Wall
Mystery frieze
Wall
Wall
Couple
Fruit
Early Empire
Early Empire
Early Empire
Early Empire
Early Empire
High Empire
10-27
10-29 to 10-31
10-32
10-33
10-1 and 10-36
10-39 to 10-41
Augustus
Ara Pacis
Maison Carrée
Pont du Gard
Colosseum
Arch of Titus
High Empire
High Empire
10-44
10-49 to 10-51
High Empire
10-59
Temple Virilus
Greek & Etruscan
Temple of Vesta Like Greek tholos
Fortuna Primigenia Use of concrete
First style
Second style
Third style
Fourth style
“Portraiture”
“Still-Life”
Classicism, power
Political messages
Public temple
Public water
Public spectacles
“Triumphal arch”
with narrative
Trajan’s column Spiral column
Pantheon
Unique space
based on sphere
Statue of Aurelius First equestrian
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High Empire
10-60
Portrait
encaustic paint
Late Empire
Late Empire
Late Empire
10-70
10-73
10-75 and 10-76
Late Empire
Late Empire
10-77
10-79/80
Ludovisi
Reject perspective
Four Tetrarchs
Reject classicism
Arch of Constantine Transition to
medieval style
Constantine bust colossal
Basilica Nova
Model for
churches
4. Study Materials
Good sources of online websites that contains images for all Art History are
found at
http://www.art-design.umich.edu/mother/ and at
http://witcombe.sbc.edu/ARTHLinks.html
Illustrated discussions of the Colosseum are at
http://www.bbc.co.uk/history/ancient/romans/empire_1.shtml
http://www.the-colosseum.net/idx-en.htm
And a QTVR 360 degree image available at
http://www.italyguides.it/us/roma/rome/ancient_roman_empire/roman_arch
_colosseum.htm
Other QTVR images are found at http://www.fullscreenqtvr.com/roma/
Full view on the interior of the Pantheon is at
http://www.cad.auckland.ac.nz/content/tvp/qtvr/index.php?qtvr=pantheon.m
ov&caption=Interior%20of%20the%20Pantheon,%20Rome
For a 360 degree image of the Pont du Gard see
http://dativ.at/fotos/panoramas/gard.html
A discussion with images of the Arch of Constantine is at
http://www.greatbuildings.com/cgibin/glk?http://sights.seindal.dk/sight/299.html
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5. Questions: Each chapter of Gardner’s Art Through the Ages textbook
has a corresponding quiz and test in the “Instructor’s Manual.” The CDROM allows teachers to choose which questions to use and to create and
print quizzes and tests.
Essay Questions.
1. Augustus of Primaporta (FIG. 10-27 and text) and Kritios Boy (from chap
5).
Question: Identify by name both these sculptures. Which came first? What
qualities do both sculptures share and what qualities are different? (10
minutes)
Students should remember Kritios Boy as the first classical statue (from the
Greek chapter) and also know the statue of Augustus. While both share a
classical ideal, students should note that the armored Augustus and the small
associated statue of cupid make almost every facet of the statue a political
and propagandistic message. Arch of Constantine (FIG. 10-76).
2. Arch of Constantine. (FIG. 10-75 and 76).
Question: Identify the Roman Emperor for whom this arch is named. What
stylistic qualities found on the arch’s roundels and on the relief panel
beneath them reflect influences from earlier cultures, and which suggest new
trends in art? (8 minutes.)
Students should discuss the arch as a transition art piece with classical style
mixed with the style of the medieval world.
3. The Pantheon (FIG. 10-49 to10-51).
Question: Identify the building shown by its name, purpose and culture that
built it. Discuss its innovative engineering and the aesthetic effect achieved
by its architects. (10 minutes.)
The Pantheon should be discussed as a temple for the gods with its unique
domed construction and its architecture of space based on a sphere.
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4. Document Based Question “Art Was Power.”
Present the following quotation to students and ask them to discuss the
author’s thesis about what constitutes power. Then, have them describe how
the Roman emperors used art to advance the power of themselves and the
state by citing and descriving three statues or buildings from Ancient Rome
to support Elsner’s definition of power. (30 minute essay.)
Jás Elsner in his recent book Imperial Rome and Christian
Triumph, has written:
"[T]he Roman state bolstered its authority and legitimacy
with the trappings of ceremonial --cloaking the actualities
of power beneath a display of wealth, the sanction of
tradition, and the spectacle of insuperable
resources....Power is a far more complex and mysterious
quality than any apparently simple manifestation of it
would appear. It is as much a matter of impression, of
theatre, of persuading those over whom authority is
wielded to collude in their subjugation. Insofar as power is
a matter of presentation, its cultural currency in antiquity
(and still today) was the creation, manipulation, and display
of images. In the propagation of the imperial office, at any
rate, art was power.”
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