History of Arts Notes

calendar week 1 PREHISTORIC teetotum of thorns figure, mammoth ivory, ca. 40,000-28,000 BCE To garner split dry mammoth tusk, scarpe into shape (using slap-up blad) half homosexual, half living creature= hu universe adjusted as animal for hunting suggest Bear, Chauvet Cave, ca. 30,000-28,000 BCE hand motion pictures, hand projects designate animals took advantage of smformer(a)s eg. criticize creates bears shoulder dis strained in 1994 So-cal lead Venus of Willendorf, limest star, ca. 28,000-25,000 BCE no naturalism- tense fertility emphasizing reproductive features= fertility disapprove Spotted horses and human hands, Pech-Merle Cave, ca. 16,000-15,000 BCE shamanism- belief in spirit world accessed done alternative states of cognizance hand dots- bottom of the inning find how many artificers multi-color in one spelunk saliva, water, blood- MIXED- applied with encounter, finger, moss, chewed stick, feather Rhinoceros, suffered man, and bison, Lascaux Cave, ca. 15,000-13,000 BCE sense of power pathetic, no power powerful Hall of the bulls, Lascaux Cave, ca. 5,000-10,000 BCE human never hold waterd in Lascaux cave (no objects, remains instead bear bones, torches) not optical images insteadCOMPOSITE- many details of animal Stonehenge, ca. 2,100 BCE, Salisbury Plain, Wiltshire, England marked passing of time/seasons megalith( stone pit claying past monument) in circles= CROMLECHS simple structure= post and lintel Babylonian ch angstromionship of sale, stiff with cuneiform writing, ca. 1,750 BCE refined pictogram pressed in series of simple signs= CUNEIFORM used for dministrative accounts poetry invention of writing WEEK 2 SUMERIAEGYPT Remains of the White synagogue on its ziggurat, ca. 3500-3000 BCE Uruk, Iraq Tripartite lay emerge from 3sides- can picture ceremonial ascent of priest leaders stairs- counter clockwise round mound= indirect approach= Mesopotamian temple archietecture Cylinder seal of pries t-king provide sacred sheep, ca. 3300 cylindrical make of stone with hole running through centre design carved into surface of seal- when pressed in sonant clay= reverse image unfoldStatues from Abu synagogue, Tell Asmar, ca. 2700-2500BCE maybe worshipers exaggerated eyes- responding to deitys awe, warding re question evil Relief Panel of Hesy-ra, ca. 2660 BC woody stele nonnaturalistic 3000 years of comparable system of showing body same compo twite artificial way of showin g body SHOWS that it was much more(prenominal) important to follow tradition instead of realism, point is not that they cannot make naturalistic art this convention was chosen on purpose Imhotep, stair Pyramid and Necropolis of King Djoser, ca. 681-2662 BCE do for King Djoser-ruled 2630-2611- king email& one hundred sixtyprotected was NECROPOLIS-cemetery -encircling entire complex is rectangular stone groyne orbitign over air mile in length and 33ft high -DOMINANT FEATURE= STEPPED PYRAMI D-oriented to cardinal points of compass zygarat- school up temple in mesopotamia- this is not a temple but a grave this is only image of palace meant for eternity there was a statue of king in amount of money believed that soul could live in a staute of king statue enclosed in a room in center with windows and hear taboo rest of complex so king could live eternily massive archeitectureRoyal Standard of Ur, ca. 2600 BCE bottom= charioteers pulled bu oagers. Riding over enemies middle= prisoners bargon(a) of clo descale downg armor are escorted top= prisoners brought to key figure- direct is off canvas banquet= top= seated for banquet, cups raised to music contend by harp PANELS exhibit Kingship Prince Rahotep and Nofret, 2580 BCE carved from limeston- softer than diorite- painted struggle tones, bull, garments, jewellery rahotep is government official and wife is capable of king- ritualized gesture in all-inclusive frontality dictated frontality norm for royal and elite sculpturesPyramids of Menkaure, 2533-2515 BCE, Kafra, 2570-2544 BCE, and Khufu, 2601-2528 BCE, Giza pyramid only a part of necropolis- city of jobless(p) King djoser had a mudbrick palace made of wood, mud brick, reeds has archeitect which suggest how important buildling is stones cut precicly so that they can coordinate together and create smooth surface pyramid 440ft uplifted- 45 stories Menkaure and top executive Khamerernebty II, 2515 BCE carved in one piece with an up obligation back slab, rigid frontality almost identical height, left foot forward King is more muscular and half nude and queen draped in thin dress hemmed at ankles= smooth surfaces and high polishestablish appearance of unity man both mail down and woman arms around man- dependent Seated Scribe, ca 2400 BCE, limestone -frontal, stiff in traditional poses in in front society- fat and marks of age could be signs of honour- experience sallow cheeks, droop jaw, loose stomach= s ocial status succeed in career, take well, relies on subordinates to do physical work on his behalf Head of an Akkadian ruler, ca.2250-2200 BCE naram-sin (sargans superciliousson) stretched Akkadian empires explited art to reflect and establish power= abstract hair and face fungus= strong symmetry= contrl and order damage done maybe by Medes- who invaded Nineveh= gaughe eyes, ears and nose hacked= as if really attacking person spacious zikkurat of King Urnammu, Ur, ca. 2100 BCE Mud bricks clay mixed with vegetable and straw to proceed clay cracking when dry mud mixture put into wodden frames- knocked out and backed under sun joined jetty with wet clay not durable so sealed with BITUMEN buttresses= articu new walls= impression of strength, lines= kick in dynamic energy, 100 steps Stele with the Law Code of Hammurabi, ca. 1760 BCE TOP- hammurabi appears in informality- standing with arm raised in greeting in the lead the enthroned sun god Shamash- gods shoulders eman ate sun rays- god extends hand, suffering rope ring and the criterion rod of kingship= THIS GESTURE unifies scenes theme and purpose of the ii ahead(p) characters littler scale of Hammurabi compared to seated god= shepherd rather than god himselfFe man homogeneous figurine, 12th-13th dynasties (ca. 1650 BCE), faience object placed in tombs along with dead from tomb in Thebes, represents a schematized woman- legs stop at knees, restrict her mobility/ or legs maybe not immanent to her function painted cowrie-shell girdle to emphasize belly and hips, delineate breats and pubic area= function may have been as fertility objects, rise family continuity blue-green color of faience associated with fertility, regeneration and goddess hathor Temple of Hatshepsut, ca. 478-1458 BCE New demesne funerary temple= Hatshepsut- fe potent king bakshishing pyramid- mastaba and terraces extending into drop face ascending white limestone courts, linked by wide ramps on a central axis v ertebra trees lined entrance way and mated sphinxes faced each other queer Hatshepsut kneeling, ca. 1473-1458 BCE Hatshepsut kneeling as she makes crack because kingship is male office, she wears regalia of a male king(kilt, false beard and nemes headdress(striped material worn by kings))Akhenaten and his family, 1355 BCE akhenaten with family- consort Nefertiti and 3 oldest daughters sun life-giving beams give off downward with hands at their terminals- reed columns suggest scene is within garden pavilion stocked with wine jars king and wife put facing each othe on stools- hold daughters, on laps, in arms, union composition with animated gestures- contrast to STATIC quality of scenes of other propagation emphasis on daughters childishness marks changeAkhenaten, 1353-1335 BCE break dramatically long-established conventions for show royal subjects- antithetic proportions- narrow shoulders, lacking musculature, marked potbelly, wide hips, openhanded thighs, heavy(a ) lips, clear-cutive nose, chin, narrow eyes make face recognisable. Queen Tiy, 1352 BCE Akhenatens mother- used dark wood of yes tree with precious metls and semiprecious stones for details downturned mouth and modeled lines running from sides of nose to mouth= go on years initially queen wore gold jewlry and silver headdress modify with golden cobras= identify her with funerary goddesses Isis and Nepthys wig embellished with glass beads overstep with plumed crown Queen Nefertiti, 1348-1335 BCE Nefertitis bust- plastered over limestone summation and painted left eye not inished- bust remained unfinished but elegance still derives from sculptors command of geometry The weighing of the sub post and judgment of Osiris The Book of the Dead of Hunefer, 1285 BCE books of dead instructions on how to contend the striking beast and make it through afte rlife needed to go watching and pitch their heart with ostrich feather- if free from sin- heart should be brightness level than ostrich feather Temple of Ramses II, Abu Simbel, ca. 1279-1213 BCE Ramesses commissioned most architectural projects- including monumental temple king marked his claim to the land of Kush in visit Nubia(origin of old, viroy and enimal pelts) amidst statues legs- small figures represent member of royal family.INTERIOR- colossal figures of Ramesses- 32ft Fugitives traverse a river, ca. 883-859 BCE walls clear uped with large scale stone reliefs narrative images- painted in places for emphasis- glorified king with detailed shewions archer and two women look on with hands raised NO RELATIVE SCALE, primary purpose of scenes to recount specific opposite conquests Gate of Citadel of Sargon II, with lamassu, 742-706 BCE (photo taken during excavation) lamassu- great guaridian figures powerful and terrifying deities to anyone who might enter embody kings fearful authority- tall horned headdresses, deep-set eyes, powerful muscularity of legs and bodies Reconstruction of Ci tadel of Sargon II, Dur Sharrukin, ca. 21-705 BCE Sargon II had protrude for city of Dur Sharrukin where he had royal residence unexcavated but estimate to cover a square mile enclosed within an imposing mud-brick wall 30 court yards- 200 entourage Lion hunt, ca. 645 BCE king come to lion way of demonstrating power over beast EGYPT- royal lion hunts were events that took place in palace grounds roal attendants released animals from cages into a square organise by troops with shields ritual symbolic showcasing kings strength and serving as metaphor for military skillsPalette of King Narner, ca. 310-3125 BCE TOP CENTER hieroglyphs spell out narmers name BESIDE hieroglyphs= cow heads represent sky goddess LEFT= King Narmer holds rival by hair and raises mace- sign of kingship KING- wears white crown of Upper Egypt and belt out of kilt hangs tail of bull- symbole of power kings wear as part of ceremonial dress-larger scale establish authority BOTTOM-enemy stripped of clothing- humiliateion BEHIND king attendant carries kings sandals effective of Narmer appears falcon prop rope OTHER SIDE- king wears red crown of LOWER egypt- by sandal carrier and long-hared figure= FOLOWS FOUR people holding roughthing to inspect bodies of prisoners with their heads between their legs CENTRAL register= 2 animals roped by male figure- deflect long necks to frame a circle in composition symmetrical, balanced= maat LOWER- bull rep. king attack city and tramples down enemy COMMUNICATE BY ombine several diff types of signs on one object some literal representations and symbolic representations- bull=strength MESSAGE king somatic unified UPPER and LOWER EGYPT- though human, he occupied nobleman office shown by placement of name in sky WEEK 3 GREEK Amphora with meander pattern and funeral, ca. 750 BCE vase from cemetery- known as Dipylon Vase- one of a group of large vessels Athenians used as funerary markers over burials- holes in its base allowed mourn ers to pour liquid offerings during funerary rituals- ashes of dead inside vases placedBlack-figured amphora Exekias, Achilles and Ajax Playing Dice, ca. 540-530 BCE black-figured technique- painted design in black silhouette against reddish clay- incised details into design with needls, painted white and olympian over black to make chosen areas stand out Athenian amphora- signed by Exekias- both potter and painter- painting shows Homeric heroes Achilles and Ajax compete dice- episode not exist in surviving literary sources- two figures lean on their spears shields stacked behind them black silhouettes create jazzy composition, symmetrical around table in centerKouros, ca. 540-525 BCE (means youth) male- slim, broad-shouldered, left leg forward, arms by side, clenched fists, shoulders, hips and knees are level Kore, ca. 530 BCE (wearing a peplos) (means maiden) female- -BOTH HAVE stylise wig-like hair, show techniques and proportional systems used by Egyptian sculptors- ri gid, frontal, four distinct sides, no backslab, (GREEK space between forms, public nudity acceptable for males/not females. EGYPT figures plant in stone. forced nudity on slaves) Red-figured amphora Euthymides, Dancing revelers, ca. 510-500 BCE black-fig. imit artist to incision for detail- develop red-figured tech- scence not dependent on visibilitys- freedom with brush translates into freedom of movement in dancing- range of poses, twisting bodies, age of intense and self-conscious experimentation Red-figured kylix (wine cup) Douris painter, Eos and Memnon, ca.490-480 BCE Eos, goddess of dawn lifts limp body of her dead son, Memnon whom Achilles killed- Douris(maker)- traces contours of limbs beneath drapery and balances vigorous outlines with more delicate strokes- dead weight of memnons body contrats with lift of Eos wings Kritios Boy, ca. 480 BCE (marble) contrapposto weight shifted creating imbalance in two sides of his body. Knee of forward leg is lower than the other, right hip is thrust down and in, left hip up and out, axis of body not straight vertical line, reversed S-curve stands at ease- CHIASTIC ready (balanced asymmetry of relaxed natural stance) muscles suggest motion Temple of Hera II at Paestum, ca. 460 BCE create made of DORIC order simple capital, no base, columns sit directl on step platform columns look massive, little space between them archeitects worried about rooms chance uponing down Zeus or Poseidon, ca. 460-450 BCE, dye nude bronze from sea scraggy Grecian coast- 7ft tall- depicts spread-eagled male figure in act of throwing- Zeus casting thunderbolt or Poseidon throwing his trident. -sculptor catures and contrasts vigorous exertion and firm stability- express gods dreadful power.Shows artists understand of bodies in motion and also friendship of strength of bronze= allow gods arms to stretch out without subscribe. Warrior, ca. 450 BCE, make in the sea off of Riace, Italy over-life-size figure found in sea near Riace- used lost-wax technique- not just knifelike away stone- artist build clay model- where marble absorb light, bronze surface reflect= explore surface texture for hair and skin popish re-create afterwards on a bronze accepted by Myron, Diskobolos, ca. 50 BCE bronze, Myron condensed a sequence of movements into single pose, achieved through violent twist of torso that brings the arms into same place as legs -Pose conveys essence of action by presenting coiled figure in perfect balance Iktinos and Kallikrates, Parthenon, 447-432 BCE building made when athens was at war- created by money in military- predominant temple on Akropolis- Perikles conceived it to play focal role in madness of Athena- chief center of cult use remained on Erechtheion(north f Parthenon)- build of gleaming white marble- Architects Iktinor and Kallikrates OCTASTYLE(eight-column arrangement)- continuous sculpted frieze runs around all sides in variation of Ionic style- depicts procession mov ing from west-east- horsemen jostle with musicians,water carriers, sacrificial beasts- figures lap covering to create conjuring of crowd- encircling colonnade gave impression that visitor can approach temple from all sides. appears less massive than TEMPLE OF HERA II at PAESTUM= columns more slender, capitals smaller and less flaring-cornice projects less. East freize of the Parthenon, ca. 440 BCE part of festival held to honor Athena- exalts mortal Greeks by deicting them in space reserved for manufacturing business and mythological scenes. cloth is a new robe for Athena(woven by Athenian girls and depicting Athenas triumph against giants in gigantomachy) Model of Pheidias, Athena Parthenos, ca. 438 BCE extensive statue of Athena by sculptor PHEIDIAS- stood with one hand supporting a personification of Victory, and shield resting against her side. Figure out of ivory and gold(combo known as CHRYSTELEPHANTINE)- supported by wooden armature- valuable Three goddesses, from the e ast pediment of the Parthenon, ca. 38-432 BCE Hestia, Dione and Aphrodite (recent, Leto, Artemis, Aphrodite)- pediment figures embedded in building- forms are strong and solid- masterpiece of swirling drapery, garments cling to bodies beneath as if wet- drapery not follow lines of body- there is twisting around legs(struggle with them) Temple of Athena Nike, 427-424 BCE, Akropolis, capital of Greece (ionic order) has a bas- thinner columns- taller- fluting on columns is like womens robe or skirt- base is like shoes- more feminin and elegant- tiny temple of athena nike- godess of wisdom and war- nike= VictoriaAkropolis, Athens, 421-405 BCE consecrated to goddess Athena Erechtheion, 421-405 BCE, Akropolis, Athens Mnesikles project-architext had to deal with troublesome terrain- build to serve several religious functions- included four rooms and basement on western side- two porches attached to its flanks- one dedicated to Poseidon face north and is main entrance- smaller one jut s out toward ParthenonErechtheion, Porch of the Maidens 421-405 BCE, Akropolis, Athens 6 caryatids of columns support pileus- represent women of Caryae (city-state in Peloponnese that formed alliance with Persians in Persian wars)- when war over, Greeks took women as slaves- architects THUS designed images of these women to bear the result of their states dishonor in perpetuity Nike, from the balustrade of the Temple of Athena Nike, ca. 10-407 BCE Nike taking off sandles-about to step on holy ground-wings keep her stable so she performs awkward act with elegance and ease- Pheidian style evident in deeply cut folds of her wet look garments clinging to her body and fall in deep swags between her legs. Grave stele of Hegeso, ca. 410-400 BCE Pheidian style recognizable in drapery and also in smooth planes of faces- delicacy of press clipping clear in forms fathest away from viewer- servants left arm, mist behind Hegesos right hsoulder= relief merges with background strengthening illusion that background is empty space rather than solid surface. roman letters copy after an original by Praxiteles, Aphrodite of Knidos original from ca. 340-330 BCE first nude monumental statue of godess in Greek world- about to bathe, or rising from bath- right hand, she covers nudity in gesture of modesty, grasping for robe with her left- head slightly turned so does not engage viewers wish directly Roman copy after an original by Praxiteles, Hermes and the infant Dionysius original from ca. 320-310 BCE Hermes holding infant Dionysos- sandals=roman in style- chiastic pose is exaggerated and creates fuly relaxed curve of torso- upstart more than athleticWEEK 4 ROMAN & ITALY Ara Pacis Augustae, 13-9 BCE Republican practice of commissioning narrative reliefs to record specific events- reliefs mounted on public buildings and monuments(ara pacias augustae) Imperial procession, Ara Pacis Augustae, 13-9 BCE below Parthenon frieze, ca. 440 BCE inclusion of women and small ch ildren= denote sizeableness of dynasty as well as referring to moral legislation Augustus enacted to promote child-birth among the elite. Roman copies of a Greek original by Lysippos, Portrait of Alexander the Great, original late 4th C.BCE to have idealized quality- planes are smooth in particular around brow and individuality emerge in unruly hair, raised at fron (cowlick) and twist of head- does not engage with a viewer- has distant gaze The Abduction of Persephone, wall painting in Tomb 1, Vergina, ca. 340-330 BCE from small tomb at Vergina- subject=abduction of Persephone- appropriate to funeral setting-Pluto-carries away Persephone to be queen-pluto seizes Persephone into speeding chariot-her handmaiden rear back in fright The Battle of Alexander and the Persians mosaic copy of ca. 00 BCE of a Hellenistic painting of ca. 315 BCE roman copies of Greek wall painting- may be copy of Philoxenos painting- depicts Darius and the fleeing Persians on right and damaged left-hand portiong depict figure of Alexander- mosaic- follows fourcolor scheme(yellow,red,black,white)- widely used in late 4th century Portrait, called Brutus, ca. 300 BCE rome- develop upon greek style-form art that became frequent in this period= REALISTIC PORTRAIT lips thin, lips one over the other, overbite= quasi(prenominal) notion of greek emphasis on individual = maybe a republican ideal, showing elf as god, flaws, suggest philosophical stance Epigonos of Pergamon (? ), Dying Gaul trumpeter, perhaps a Roman copy of a bronze original of ca.230-220 BCE found in Sanctuary of Athena on Akropolis of Pergamon- sculptor identifies enemy as Gaul through his bushy hair and moustache and by torque around his neck(braided gold band)- dies sinking lightly to ground/struggling to prop imself up as blood pours from wound in dresser. Drunken old woman and market woman, Roman copies of originals of ca. 00 BCE depict unidealized and realistic everyday life- genre=Hellenistic realism- Roman- cro uches on ground, clasping wine bottle, head flung far back-wrinkles cover face, skin on her exposed shoulder and chest sags with age- wears buckled tunic= identify as member of wealthy social class- (other sculptures of this patient of focus on rustic life on poor) Nike of Samothrace, ca. 190 BCE celebrates nautical victories-nike-means victory- of Eudamos- Rhodian marble of sculptures base suggest sculpture comes from Rhodes.Victory goddess apprehendms to be landing on prow of ship as if to bestow crown of victory upon Eudamos- maybe about to take flight, massive wings sailplane out behind her, wings make statue appear weightless contempt mass of stone- neither leg holds the bodys full weight. Great Altar of Zeus at Pergamon, ca. 166-156 BCE Eumenes II or Attalos II built it to commemorate territorial victories over Pontos and Bithynia and establishment of a grand victory festival(Nikephoria). Altar stood high on a rostrum with large rectangular encloser defined by Ionic col onnade. wide staircase at fron provided access. Stood on Pergamene Akropolis- reconstructed in Berlin-frieze encircle base-extends 400ft in length and 7ft in height-subject is battle of Gods and Giants Athena and the giants, from the frieze of the Great Altar of Zeus at Pergamon, ca. 166-156 BCE muscular bodies rush at each other, overlapping, entwining, wings beat and barments blow in wind or twist around those they robe, texture contrasts with smoothness of giants flesh. -giants feeling agonize in torment of defeat- brows creased in painSanctuary of Fortuna Primigenia, Praeneste, archaean 1st C. BCE -in italy- made to celebrate military victory of sola- oracular center where priests interpreted manufacturer will- architec used concrete to mold structures over entire surface of hillside and to ruse spaces- sanctuary ascend in 7 levels- BOTTOM=basilica&senate house- UPPOER TERRACE=rose in grand crescendo-4TH=colonnaded exedrae framed altars contend paintings from the villa of Publius Fannius Synistor at Boscoreale, mid 1st.Century BCE atomic number 42 style- employed architectural vistas to open wall into a fantasy realm suggest another world beyond room Portrait of a man, early 1st century BCE wrinkles cover face, etching deep crags into cheeks and brows- depicted distinguishing marks=warts,hooked nose, receding hairline Temple of Portunus, Rome, ca. 80-70 BCE take on Greek forms- in Italic style- stands on podium and engaged lateral columns emphasize frontal approach- Ionic coluns have slender proportions of Classical Greek temples Scenes of Dionysiac mystery cult, Villa of the Mysteries, Pompei, ca. 0-50 BCE 1st of MAUS FOUR STYLES OF PAINTING-(4 styles of roman wall painting= used paint and stucco to imitate expensive colored marble paneling- lower part of walla(the dado) and upper section above the cornice level are painted in rich mottled colors to fit exotic stone fence in painting of a garden, Villa of Livia at Primaporta, ca. 20 BCE paint -dining room- painted on all of the walls and ceiling so it looks like you are in a garden- frescos on all sides- light hitting different kinds of leaves- birds- leaves move in the wind- moving sensation Augustus of Primaporta, possibly a later copy of an original of ca. 0 CE depicted as arrant(a) youth- appears in battledress with arm raised in gesture of address- romans clothe sculptures, relaxed gesture- armor- pictures of his family, battles- represent life in armor- showing status- romans show specificperson- more political purpose, leading war with hand, armor, heigh preist, leader-CUPID=rides dolphin- acts as strut to strengthen marble- dolphin eoked sea Wall paintings, Ixion room, House of the Vettii, Pompei, 63-79 CE fourth style- united aspects of all three precede styles tocreate extravagant effect- combine imitationmarble paneling, framed mythological scenes resembling panel pictures set into wall Atrium of the House of the Vettii, Pompei, 2nd century BCE-79 CE eilte Roman house-distinct feature=atrium-square of oblong central hall lit by opening in roof with shallow pool(impluvium) in ground to collect rainwater-airy quality=grandeur upon house, romans unplowed portraits of ancestorsWEEK 5ROMAN & BYZANTINE Icon of the Madonna Enthroned, late 13th c. CE, poster colour Interior, Cathedral of Monreale, Italy, 1180-1190 CE Interior, St. Marks, Venice, begun 1063 CE covered stadium with mosaic of the Pantocrator, eleventh c. CE Church of the Dormition, Daphni, Greece Crucifixion, mosaic, 11th c. CE Church of the Dormition, Daphni, Greece Emperor Justinian and his attendants, 547 CE mosaic, San Vitale, Ravenna Empress Theodora and her attendants, 547 CE mosaic, San Vitale, Ravenna Anthemius of Tralles and Isidorus of Miletus, Hagia Sophia, Istanbul (previously Constantinople), 532-7 CE San Vitale, Ravenna, 526-47 CE Interior, San Vitale, Ravenna, 526-47 CEIcon of Christ, 6th c. CE, encaustic Iconoclasm Mausoleum of Galla Placidia, Rav enna, 425-50 CE Good Shepherd, mosaic, Mausoleum of Galla Placidia, Ravenna, 425-50 CE The Good Shepherd and Stories of Jonah, 4th c. CE Catacomb of Ss. Pietro e Marcellino, Rome Constantine the Great, early 4th century CE large and deeply carved eyes- see something beyond this world-soft modeling to cheeks and mouth-more natural than tetrach-full cap of hair and absense of beard it reference to Trajan and Augustus Santa Costanza, Rome, ca. 350 CE Interior of Old St. Peters, Rome, built 324-400 CE (drawing by Jacopo Grimaldi, 1619) Arch of Constantine, Rome, 312-315 CE people of rome dedicated triple-bayed arch to Constantine near colosseum to celebrate 10 year anniversary- largest imperial arches- little of sculptural relief on its surface was specifically designed for this monument- free-standing Dacian capties on attic originated in Trajans Forum as did Trajanic Frieze on ends of attic and inside central bay- Arch of Constantine, 312-315 CE detail of Hadrianic rondels and Con stantinian relief Constantine addressing a crowd, Arch of Constantine, 312-15 CE figures crowd the scene- heads are disproportionatel large- bodies stocky- poses unnaturally rigid- lines cared on flat surface dedicate anatomical details- second row of heards arranged above first indicates recession- The Tetrarchs, 305 CE, porphyry during tetrachy-portraiture took radically abstract quality- two porphyry sculptural groups mounted on columns- each group shows two tetrachs in elaborate military dress with bird-headed sword hilts and flat pannonian caps=represent powerful Illyrian officer class-proportions are squat and nonnaturalistic, facial features abstract rather than individualized.=portrait suggest authority resides in office of emperor not in who holds office. =sameness of portraits underlines the tetrachs equality-porphyry-hard Egyptian stone reserved for imperial use Hadrians Villa, Tivoli, 130-138 CE emperor built magnificient residence for self- built on site of Republi can villa- villas form follo natural line of landscape but massive earthworks rearranged terrain to accommodate architecture water is a common feature- in pools, running channels=adding sound,motion,reflecting light, offering coolness in summer heat-canal has been known as CANOPUS Pantheon, Rome, 117-125 CE Augustus right-han dman=Agrippa built first Pantheon-name intended it as temple to gods- fire destroyed this temple and Domitian built reconstruction- Pantheon now work of Trajans architect=APOLLODORUS- completed in Hadrians reign-In roman times pantheon stood raised on a podium at south end of large rectangular court-octastyle facade- dome perforate with 27ft hole(OCULUS open to sky)- 143ft(total interior height is also domes diam=sphere=eternity and perfection Trajans Column, Rome, 106-113 CE (height 38 m) support gilded statue of emperor- winding through interior of shaft is a scroll staircase leading to a viewing platform- credited as work of Apollodorus-role as velvede re(viewing station) Titus riding in triumph, Arch of Titus, 81 CE rides triumphal chariot, high above a teeming crowd- horses appear in profile but chariot is frontal=illusion that procession is approaching viwer before turning sharply- behind emperor-personification of victory crowns him for his success Procession of spoils from the Temple in Jerusalem, Arch of Titus, 81 CE soldiers carry booty through the streets including seven-branched menorah and other sacred furniture looted from Temple- panel marks important move toward spatial illusionism Colosseum, Rome, 72-80 CE held over 50 000 spectators-concrete-faced with travertine- 80 arched entrances led into building framed with tuscan columns- second story, Ionic columns framed second set of arches, third engaged Corinthian columns. WEEK 6Sinan, Mosque of Selim II, 1569-74, Edirne, Turkey Sultan-Muhammed, fiction of Heavenly and Earthly Drunkenness, from a holograph of the Divan of Hafiz, 1529 Detail of a carpet from Iran, ca. 1575-1600 Behzad, Poor man refused admittance to a mosque, from a manuscript of the Bostan of Sadi, 1486 CE Court of the Lions, Alhambra, 14th c. CE, Granada, Spain Dome, Hall of the Abencerrajes, Alhambra, 14th c. CE, Granada, Spain Cloak of Roger II of Sicily, 12th c. CE The Temptation and Fall, Doors of Bishop Bernward, Hildesheim Cathedral, ca. 1015 CE Detail of qibla wall, Great Mosque, Cordoba, tenth c. CE Interior of Prayer Hall, Great Mosque, Cordoba, 8th-10th c.CE St. Matthew, from the Gospel Book of Archbishop Ebbo of Reims, 816-835 CE St. Matthew, from the Gospel Book of Charlemagne, ca. 800-810 CE Equestrian Statue of a Carolingian Ruler, 9th C Kufic script from a Quran, 9th c. Chi Rho Iota Page, Book of Kells, ca. 800 CE St. Matthew, Lindisfarne Gospels, tempera on vellum, ca. 700 CE Cross Page, Lindisfarne Gospels, tempera on vellum, ca. 700 CE Dome of the Rock, Jerusalem, ca. 690 and later Interior, Dome of the Rock, Jerusalem, ca. 690 CE and later Belt buckle, Sutto n Hoo Ship Burial, ca. 600-650 CE Purse cover, Sutton Hoo Ship Burial, ca. 600-650 CE Clasp, Sutton Hoo Ship Burial, ca. 600-650 CE