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Roman Imperial Sculpture Relief Sculpture Portrait Sculpture

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Page 1: Relief Sculpture Portrait Sculpture - PCD APAHpcdapah.weebly.com/uploads/1/3/1/6/13162884/sculpt_and...Relief from Haterius Mausoleum • Not all imperial sculpture was for emperors

Roman Imperial Sculpture

Relief Sculpture

Portrait Sculpture

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Roman Relief Sculpture

• Among the finest examplesof Roman art

• Often officiallycommissioned

• Recorded Roman history forthe people

• Often used to decoratebuildings, arches,sarcophagi and columns

• Vehicle for RomanPropaganda

• Much still visible in Rometoday

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Roman Triumphal Arch

• Distinctively Roman structure

• Part Architecture, part sculpture

• Commemorates a triumph or victory parade

• Victorious general or emperor paraded with his

troops, captives and booty through the city after a

significant campaign

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Arch of Titus

• Commissioned by the emperor Domitian in honor ofhis brother and deified predecessor Titus

• It was constructed shortly after the death of Titus in81 CE.

• The arch commemorates Titus's capture and sack ofJerusalem in 70 CE.

• Triumphal arch constructed of concrete and facedwith marble

• Has a single arched opening, located on the Via Sacrajust to the south-east of the Forum in Rome.

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Arch of Titus, Roman Forum

Originally, the arch stood as a 50 foot base for a statue of a four horse

chariot and driver, a typical triumphal symbol.

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• Applied to the arch

are columns in the

composite order.

• The inscription on

the top declares that

the Senate and

people of Rome

erected this

monument in honor

of Titus.

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• Over the centuries,

there has been a great

deal of theft and

restoration of the arch.

• However, originalspandrels,decorative frieze andcomposite columnsare intact on theColosseum side ofthe arch.

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• On the insideof the archthere is adetailed reliefsculpturedepictingTitus’s sack ofthe city ofJerusalem in70 CE .

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Titus’s Capture of Jerusalem

• Ended a fierce campaign

to crush a revolt by the

Jews in Palestine in

70CE.

• Romans sacked and

destroyed the Second

Temple in Jerusalem.

• Carried off its sacred

treasures.

• Displayed them in a

triumphal procession in

Rome.

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• Reliefs are located on the inside of the arch and capture the drama of theoccasion.

• Depicts Titus’s soldiers flaunting the spoils form Jerusalem as they paradedthrough Rome.

• The mood in this scene is much different from the relaxed formality wesaw on the Ara Pacis .

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Sculptural Technique

• Sculptors indicated spatialrelationships among the figuresby rendering the closer elementsin high relief and the more distantelements in lower relief.

• In another attempt at realism, themenorah, which is the focal pointin the scene is carved as if seenfrom the low point of view of aspectator at the actual procession.

• The menorah has never beenfound and some archeologistsbelieve it is buried somewhere inRome.

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The other side of the arch depicts Titus

leading the procession in his chariot.

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Emperor Trajan

The Column of Trajan

The column is hollow and

once contained the ashes of

Trajan.

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• Marble, completed in 116 CE, stands 131 ft high.

• Was part of a large area called Trajan’s Forum or Market

• A 700 foot spiraling band of superbly carved reliefs tells the tale of Trajan's

battles in Dacia, present day Romania..

• There are very small windows in the column, which allow just enough light

inside to light up the spiral staircase.

• The column owes much of its survival to the papacy.

• Pope Gregory the Great was moved by a scene depicted on the column

which showed Trajan helping the mother of a dead soldier, so he prayed for

Trajan's soul to be spared.

• The tale goes on to say that God told Gregory that Trajan indeed had been

saved from hell, despite his pagan life.

• As a result, the church allowed his statue to remain atop the column for a

very long time. It was only in 1587 that his statue was finally replaced by

one of St.Peter.

The Column of Trajan

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Trajan’s Column 113-16 CE

• Completed about 35 yearsafter the Arch of Titus.

• Sculptors have furtherdefined the art of thepictorial narrative.

• High point of Roman reliefsculpture

• Base of the column carvedin Laurel wreath, symbol ofvictory

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• Relief at the base ofthe column depictsTrajan’s army at thebeginning of thecampaign.

• The men aremarching on apontoon bridge tocross the DanubeRiver.

• The river isrepresented by alarge river god,sometimes calledFather Tiber.

• Scene above depictssoldiers constructinga battlefieldheadquarters.

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Excellent example of

Roman Propaganda

• On the column, Trajan is

always portrayed as a

strong, stable, efficient

leader.

• Barbarian enemies are

consistently portrayed as

pathetically disorganized

and desperate.

• In this segment of the

relief, Trajan’s soldiers

offer the enemy severed

heads.

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Relief from Haterius

Mausoleum

• Not all imperial sculpture wasfor emperors.

• This relief is from themausoleum of a plebianfamily.

• Depicts a gigantic humanpowered crane beingmaneuvered into place to workon the still unfinishedmausoleum.

• Usually funerary sculpturehonored the dead withportraits, garlands or narrativescenes.

• Historians believe this reliefcommemorates a person whowas a builder or architect.

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Roman Portrait

Sculpture

Rows of Portrait Busts in the

Vatican Museum

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Roman Portrait Sculpture

• A typically Roman style of art.

• Romans demanded a likeness and gravitas in their portraits.

• However, sometimes they preferred a little idealization, especiallyduring the reign of Augustus.

• Other times they wanted an exact image, warts, wrinkles, big noseand all.

• Portrait sculptures were often busts of famous Romans, but notalways.

• Subjects for these sculptures would include various patricians andemperors - multiple copies of which were circulated around theempire; like a picture of the President at the post office.

• Often used as funerary sculpture; helped Romans to honor andcommemorate their ancestors.

• Roman portrait sculpture embodied Roman civic virtues andset the standard for European and American public portraitsculpture.

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Not only politicians, like Cicero, had their

portraits sculpted, so did wealthy Romans.

• Romans had great respect for

ancestors and often commissioned

sculptures.

• Reveals a great deal about styles

and fashions of the da.y

• Archeologists often use hair and

clothing styles to date a piece.

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• Romans demanded a likeness intheir portraits.

• However, sometimes theypreferred a little idealization.

• Other times they wanted an exactimage, warts, wrinkles, big noseand all.

• No idealization here!

• Why do you think this manwanted to be portrayed inthis way?

Remember that……

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• The traditional Romanconcept of virtue called forold-fashioned morality, aserious, responsible publicbearing, and courageousendurance in the field ofbattle.

• Prestige came as a result ofage, experience, andcompetition among equalswithin the establishedpolitical system.

• These are the valuesexpressed in the Romanportraits of bald, grim-faced,middle-aged men, like thisone.

• Gravitas, a certainweightiness or importance.

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• This bust depicts a privateindividual who wished to haveherself portrayed like a memberof the imperial family, bywearing her hair in the samestyle.

• The imitation of imperialhairstyles by Roman women wascommon throughout the RomanEmpire, and this work is one ofmany examples in which privateportraits were stronglyinfluenced by official images ofthe imperial family.

• This points to the widely sharedacceptance of and identificationwith the empire established byAugustus.

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The Flavian Hairstyle

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• During the third century CE, the

idealism of Augustan portraiture

were often put aside in favor of

frankness for women and fiercely

knit brows for men.

• This is an important change in the

nature of portraiture that had

remained, with few exceptions,

flattering and naturalistic since the

end of the first century CE.

• Also during this time, busts were

becoming increasingly taller, so

tall as to become almost half-

statues that included not only the

shoulders and chest but the arms

as well, giving images such as this

an uncannily lively appearance.

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Philip the Arab versus Augustusc. 244 - 249 CE 27 BCE -14 CE

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Middle Aged

Flavian Women

• Late 1st century CE

• More realistic approach

• Revives sculpture style ofthe Republican period (preAugustus)

• Comic writers of the Flavianera often satirized andstereotyped old women whotried disparately to remainyouthful.

• This woman did not fit theirstereotype.

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Antinous130-38 CE

• Found at Hadrian’s villa at

Tivoli.

• In contrast to typical Roman

realistic style.

• Hadrian was a highly traveled

and sophisticated emperor.

• Greatly admired Greek art, but

was familiar with the art of

many cultures.

• Hadrian liked to combine his

favorite images into new

works.

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• Marble, 8’ tall

• Idealized portrait of

Hadrian’s companion,

Antinous, who drowned in

the Nile.

• But is still recognizable as

Antinous with a slightly

flabby middle.

• He assumes the pose of an

Egyptian king, wearing the

kilt and royal headdress.

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Equestrian Statue

of Marcus

Aurelius

•Imperial portraits realistic

or not contain an element

of propaganda.

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Marcus Aurelius

• Prided himself on both his military and intellectual abilities.

• The last of the good emperors.

• This bronze statue survived from antiquity, because very early on it

was mistaken to be a statue of the first supposedly Christian emperor

Constantine, and thus came under the protection of the Church.

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Marcus Aurelius

• Outdoor copy of Roman original.

• Typical Roman orator pose.

• Equestrian statue-horse and rider

• Reflects excellent understanding ofanatomy.

• Weight, hard to distribute on threelegs.

• Nice balance between horse and rider,sometimes in other statues, horse wastoo big taking attention away from therider.

• At one time there was a “barbarian”under the raised hoof.

• Located in a piazza, designed byMichelangelo, above Capitoline Hill.

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The Original Bronze

c. 176 CE

Capitoline Museum Rome

• Of what other work

of art does this

remind you?

• This conquering

emperor wears no

armor, and carries

no weapons.

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The Emperor Commodus

• Unfortunately, Marcus Aurelius was succeeded by his totallyincompetent son, Commodus.

• One historian writes, “Commodus was not just decadent-hewas probably insane.”

• He claimed at various times to be the reincarnation of Herculesand the god Jupiter.

• Even appeared in public as a gladiator

• Commodus devoted his life to luxury and foolish pursuits,with little concern for the empire.

• His mistress arranged to have him strangled in the bath by hiswrestling partner

• However he did attract some of the finest artists of the day forhis commissions.

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Commodus as Herculesc. 191 CE, marble

• Sculptor’s expert modelingenhances the play of lightand shadow on the bust,bringing out the texture ofthe hair, beard, drapery andfacial features.

• Conveys the illusion of lifeand movement, but it alsocapture’s the subject’sfoolishness.

• What are some of theattributes of Hercules youcan see in this piece?

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The Late Empire

The Severan Dynasty

The Third Century

The Tetrachs

Constantine the Great

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The Late Empire• The reign of Commodus at the end of the 2nd century

marked the beginning of a period of political andeconomic decline.

• “Barbarian” groups pressed on Rome’s northernborders.

• Many crossed the borders, settling down and causingunrest within the empire.

• Imperial rule became more and more authoritarian.

• Eventually the army took over the government, andthe Imperial Guard set up and deposed rulers at will.

• Often selected poorly educated, power hungry leadersfrom their own ranks.

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The Severan Dynasty

• However despite all the politicaland economic problems the artscontinued to flourish during theSeveran Dynasty.

• Septimius Severance succeededCommodus.

• He and his Syrian wife, Julia,restored public buildings,commissioned portraits and builtnew structures.

• Their sons Caracalla and Getasucceeded Septimius as co-emperors.

• But Caracalla killed Geta in 211,may be with Julia’s help, andruled alone until, 217 when hewas also assassinated.

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Arch of

Septimius Severus

• Triumphal arch, erected in203 CE to celebrate thevictories of EmperorSeptimius Severus and hissons Caracalla and Geta inthe wars against theParthians and the Osroeni in195 CE and 197 CE.

• The arch is very wellpreserved.

• In medieval times the archwas incorporated partiallyinto a church and partiallyinto a fortress.

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Arch of Septimius Severus,

Roman Forum

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Portrait of Septimius Severance, his wife

Julia and their sons, Geta and Carcalla

• From Fayum Egypt, highlystylized

• Early 3rd century CE

• Notice that Geta has beenscratched out.

• After Caracalla killed him, heordered all images of Geta to beremoved

• This painting is not as subtle orsophisticated as the portraits welooked at from Pompeii

• Rather hard drawing style

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1st Century 3rd Century

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Caracalla• This head is from a statue,

other fragments of whichsurvive.

• Appears cold and ruthless

• Much different than portraitof Augustu.

• Caracalla abandoned theluxuriant hair and beard ofhis predecessors for amilitary style characterizedby close-cropped curls and astubble beard.

• Sculptor enhances theintensity of the expressionwith sharp contrasts of lightand dark.

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Augustus Caracalla1st Century 3rd Century

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Baths of Caracalla

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• Located on the southeast side of Rome.

• The baths alone covered 5 acres.

• The accompanying shops, exercise rooms, gardens,libraries, auditorium and reservoirs covered over 50acres.

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• Begun by Septimius Severance,

finished by his son, Caracalla.

• The bath complex covered

approximately 50 acres.

• The bath building was 750ft long,

380 ft wide and 125ft estimated

height.

• Could hold an estimated 1,600

bathers.

• The Caracalla bath complex of

buildings was more a leisure centre

than just a series of baths.

• The "baths" were the second to

have a public library within the

complex.

• Like other public libraries in Rome,

there were two separate and equal

sized rooms or buildings; one for

Greek language texts and one for

Latin language texts.

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In the early 20th century, the design of the

bath was used as the inspiration for several

modern structures, including Pennsylvania

Station in New York City.

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The Third Century• Continuation of the Severan dynasty.

• Succession of soldier-emperors.

• Lots of turmoil and political unrest.

• Problems with the “barbarians”at the borders

• Art became more abstract and symbolic.

• Becoming more and more difficult to controlthe empire.

• Last Severan emperor, Alexander Severusruled 225-35.

• After his death, a half century of anarchy andturmoil followed.

• In 284 CE, a general, Diocletian, (right)came to power

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Emperor

Diocletian

• Brilliant politician and general.

• Reversed the empire’sdeclining fortunes.

• Had an increasinglyautocratic style of leadership.

• Social structure of the empirebecame increasingly rigid.

• In an attempt to secure moreefficient control of the empire,Diocletian divided the empirein two.

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A Tetrarchy

• Tetrarchy : Greek for "leadership of four people" can be applied to anysystem of government where power is divided between four individuals butis rarely used.

• The most famous Tetrarchy was instituted by Diocletian in 293.

• The establishment of the Tetrarchy usually marks the resolution of theCrisis of the Third Century and the recovery of the Roman Empire.

• The first phase sometimes referred to as the Dyarchy, 'the rule of two'involved the designation of the general Maximian as co-emperor orAugustus.

• Diocletian took care of matters in the Eastern regions of the Empire whileMaximian similarly took charge of the Western regions.

• In 293, feeling more focus was needed on both civic and military problems,Diocletian (with Maximian's consent) expanded the imperial college byappointing two Caesars, like junior emperors, (one responsible to eachAugustus).

• The senior emperors jointly abdicated and retired, allowing Constantiusand Galerius to elevate in rank to Augustus.

• They in turn appointed two new Caesars - Severus II in the west underConstantius, and Maximinus in the east under Galerius.

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The Tetrarchs

c. 300 CE

• Carved from a rare very hardpurple stone, from Egypt calledporphyry, reserved for imperialuse.

• Represents the 2 Augustuses andthe 2 Caesars.

• Dressed in military clothing withswords.

• Hugging representing imperialunity.

• Proclaims peace and unity throughstrength - propaganda.

• Sculpture of Tetrarchs represent aturn toward abstraction andsimplification of natural forms.

• Probably made in Egypt, moved toConstantinople, looted bycrusaders and placed in theCathedral of St Mark’s in Venice.

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Constantine and His Legacy

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End of the Tetrachy

• Diocletian’s idea of the tetrarchs eventually failed and a strugglefor leadership followed.

• Two main contenders emerged in the Western Empire.

• Constantine and Maxentius, were both sons of former Tetrachs

• Constantine defeated Maxentius at the Battle of the MilvianBridge, at the entrance to Rome, taking sole control of theWestern Roman Empire.

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Constantine and

Christianity

• Legend has it that on the night before the

battle, Constantine saw a flaming cross in

the sky, and heard these words, “In this

sign, you shall conquer”.

• The next morning Constantine ordered his

armies’ shields and standards to be

inscribed with the Greek monogram X (chi)

and P (rho), standing for Christos.

• When Constantine was victorious in the

battle he showed his gratitude by ending the

persecution of the Christians.

Constantine’s Dream by Piero della Francesca, 1466 CE

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Painting of Constantine’s Conversion

by Rubens

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Edict of Milan

• Perhaps influenced by his mother, Helen, adevout Christian, Constantine recognizedChristianity as a lawful religion.

• In 313 CE, issued The Edict of Milan, amodel of religious tolerance.

• The Edict of Milan granted freedom to allreligions not just Christianity.

• Constantine, however, remained PontifexMaximus of Rome’s state religion.

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Arch of Constantine

• Arch of Constantine is located near the Colosseum.

• Dedicated by the Senate in AD 315, the tenthanniversary of the emperor's reign.

• Arch of Constantine commemorates the victory ofConstantine over Maxentius at the Battle of MilvianBridge in AD 312 for sole control of the Romanempire in the west.

• The arch is the last and largest in Rome, and the mostflamboyant in its use of colored stone.

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Arch of Constantine

near the Colosseum, Rome

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Triple Arch DesignThree barrel-vaulted passageways, flanked by

composite columns, with laudatory inscription.

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A good deal of the relief sculpture was removed from other

monuments and added to the arch. Why?Two reasons:

1. The work was excellent

2.Constantine wanted to connect himself with Emperors like, Trajan,

Hadrian and Marcus Aurelius

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Notice the differences in the realistic quality of the sculpture between the

circles, (Trajan) and the lower frieze, (Constantine).

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Remember Basilicas?

• In modern usage, a basilica has come to be defined as a place of worship;for example St. Peter’s Basilica.

• During ancient Rome, the basilica was a combination of a court-house,council chamber and meeting hall.

• The basilica of Maxentius and Constantine (sometimes known as theBasilica Nova or Basilica Maxentius) was the largest building in theRoman Forum.

• Today, concerts are held in the Basilica Maxentius in the Roman forum.

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Basilica of Maxentius Rome, 306-12 CE

built by Maxentius during his brief reign

located on southeast side of the Roman Forum.

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The basillica originally measured, 300x215 feet,

and the vaults and central nave rose to 114 feet.

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Check out

the scale

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Performers, like Billy Joel, give concerts in the

summer at the basilica.

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Constantine and the Basilica

• Wanted to impress the people of Rome withvisual symbols of his authority.

• Changed the orientation of the basilica byadding a new entrance in the center of the longside facing the Roman forum.

• Also added a giant apse to be built directlyacross from the new door.

• He finished the building in 306-13 CE.

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Artist’s Reconstruction Drawing of Basilica of Maxentias,

notice unbroken vaulted space.

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Constantine also commissioned an enormous statue of

himself to be place in the original apse.

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• He commissioned a 30 foot tall

portrait of himself.

• The head alone is over 8 feet tall.

• Built on a wooden frame.

• The sculptor combined the head,

chest, arms, and legs carved out

of white marble with bronze

drapery.

• The statue served as a permanent

stand in whenever Constantine’s

presence was required.

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• Combines features of traditional

Roman portraiture with abstract

qualities of the Tetrachs.

• Defining characteristics:

• Heavy jaw, hooked nose and

jutting chin have been

incorporated into tight symmetry.

• His hair, eyes and eyebrows are

simplified into geometric arcs.

• Large eyes are a precursor to

Early Christian art.

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Some of the other remaining parts from the

Colossal Statue of Constantine.Capotiline Museum, Rome

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•Works referenced:

•Janson, History of Art, Abrams 2001

•Marilyn Stockstad’s Art History: Second Edition (Volumes one and two)

•Metropolitan Museum of Art’s “Timeline of Art History.”

•Available online at http://www.metmuseum.org/toah/splash.htm

•Strickland, Carol. The Annotated Mona Lisa. 1992

•“The Web Gallery of Art.” Available online at http://www.wga.hu

•http://www.artchive.com/artchive/E/el_greco.html