Rome: the Empire

The Antonines (138–192 CE.) Succession by Adoption: In 138 CE Hadrian adopted Antoninus Pius, whom he required at the same time to adopt Marcus Aurelius and Lucius Verus. On Hadrian's death, Antoninus Pius became emperor. When he died 23 years later, Marcus Aurelius and Lucius Verus became Rome's first co-emperors.

Equestrian Monument to Marcus Aurelius ca. 175 CE. Bronze, approx Equestrian Monument to Marcus Aurelius ca.175 CE. Bronze, approx. 11' 6” high Equestrian portraits express the Roman Emperor’s majesty and authority. Notice that the emperor’s size. It is impossibly large compared to his horse. His size emphasizes his power and authority. The emperor is weary, thoughtful & benevolent as he stretches his arm out in a gesture of greeting (or an offer of clemency). At one time, there may have been a cowering enemy under the horses leg, begging for mercy. This statue was preserved for many years because it was believed to be a portrait of Constantine. This equestrian monument inspired many Renaissance sculptors to portray their patrons on horseback.

Marcus Aurelius was very interested in classical Greek philosophy. Equestrian Statue of Marcus Aurelius – SmART History video Marcus Aurelius was very interested in classical Greek philosophy. Marcus Aurelius' saw himself as a bringer of peace. One of the few bronze sculptures to remain on public view throughout the Middle Ages. Equestrian statues had been a tradition since Julius Caesar, but this is a very rare surviving piece. Equestrian Statue of Marcus Aurelius, cast bronze, ca. 175 CE.

Late Empire (192-337 CE.) A Civilization in Transition: At the end of the 2nd century CE. the power of Rome was beginning to decline. The Severans (193–235 CE.) An African Rules the Empire: The African-born emperor Septimius Severus, his wife, Julia Domna, and their two sons, Caracalla and Geta The Soldier Emperors (235–284 CE.): Murder and Civil War: During the turbulent third century CE, many emperors ruled only briefly before being murdered. Diocletian and the Tetrarchy (284–306 CE.) Power Shared and Order Restored: Diocletian established the tetrarchy and adopted for himself the title of Augustus of the East. He ruled the East together with a Caesar of the East. The other two tetrarchs ruled as the Augustus and the Caesar of the West Constantine (306–337 CE.) Constantine and the Rise of Christianity: Following the defeat of Maxentius at the battle at the Milvian Bridge, Constantine believed the Christian god helped him in battle. So he ended the persecution of Christians. In 325 CE., at the Council of Nicaea, Christianity became the official religion of the Roman Empire.

Painted portrait of Septimius Severus and his family From Egypt, ca. 200 CE. Tempera (pigments in egg yolk) on wood, approx. 14" diameter In 193 CE. an African named Septimius Severus, who was the general of the army in Upper Pannonia, became emperor with the support of the Roman army.  Septimius Severus died in England, at York, in February 211 CE. He left the Empire jointly to his two sons, Caracalla and Geta. He is said to have told them to take care of each other and the army, and never mind anything else. Caracalla killed Geta. He even had Geta’s name and image erased from monuments all over the Empire. See the defaced portrait at right > This is the only surviving painted image of any Roman emperor!

Portraits of Caracalla ca. 211–217 CE. Marble Caracalla’s ruthless character was captured in his portrait images. Caracalla fought wars throughout his reign. But he was stabbed to death by his own guards in 217 CE. in the middle of the Parthian war. The leader of the guards, Macrinus, proclaimed himself emperor. Caracalla’s short beard & close cropped hair were created by incising the marble’s surface. Often finely carved, his portraits look compact but convey an explosive energy. Portraits of Caracalla ca. 211–217 CE. Marble

A Gigantic Roman Health Spa: The huge Baths of Caracalla in Rome were built with brick-faced concrete. The symmetrical design includes a circular domed caldarium, a groin-vaulted tepidarium and a frigidarium (hot, warm and cold bathing rooms). Also part of the complex were lecture halls, libraries, colonnaded exercise courts, and a large swimming pool.

Plan of the central section of the Baths of Caracalla ©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license. Plan of the central section of the Baths of Caracalla Rome, Italy, 212-216 CE. The bathing, swimming, and exercise areas were surrounded by landscaped gardens, lecture halls, and other rooms. All were enclosed within a great concrete perimeter wall. The whole covered 50 acres.

Soul Portraits of Soldier Emperors Portraits of the soldier emperors in the third century CE. are notable for their emotional content and for their technical virtuosity. Notice the subject’s worried expression furrowed brow & deep set baggy eyes. The portrait reveals the anguished soul of the man and of the times. Portrait bust of Trajan Decius, A.D. 249–251. Marble, approx. 31" high

The 3rd century saw the empire in constant crisis. Emperors were “soldier emperors” from outlying provinces. They gained the throne through force. The upheaval of the time is reflected in the portraits – the mood is more emotional, less documentary. Plontius was a Greek philosopher and “mystic.” At this time, there was a spread of Oriental Mystery cults. The cults foreshadowed the middle ages moving culture away from Classicist traditions. Portrait Head (Plontius) late 3rd century BC.

Heroic portrait of Trebonianus Gallus Rome, Italy, 251–253 CE Heroic portrait of Trebonianus Gallus Rome, Italy, 251–253 CE. Bronze, approx. 7' 11" high The nude, larger-than-life size bronze portrait of the short-lived emperor Trebonianus. This work shows him with a small head and a thick wrestler's body.

47. Ludovisi Battle Sarcophagus. Late Imperial Roman. C. 250 CE. Marble. 5’ high. Museo Nazionale Romano, Rome. *Khan Academy Video Battle of Romans and Barbarians: The writhing and highly emotive figures were spread evenly across the entire relief, with no illusion of space behind them. Notice the victorious emperor at the center.

Plan and reconstruction drawing of the Temple of Venus, Baalbek, Lebanon, 3rd century CE. The design ignores Classical traditions in its insertion of an arch into the pediment of the gabled columnar façade, and in the introduction of scalloped edges around the circular domed cella. This is the only known example of 5 sided Corinthian capitals.

Temple of Venus, Baalbek, Lebanon, 3rd century CE. Notice the scalloped edges around the circular cella.

Made of porphyry (purple marble). Artists did not try to capture the individual appearances and personalities of the Tetrarchs, but sought instead to represent the nature of the tetrarchy itself – that is, to portray four equal partners in power. All are identically clad & each embraces the other as a display of concordance. Figures have large cubical heads on squat bodies & Faces are emotionless. Individuality, personality, & idealism in portraiture have given way to iconography. Portrait of the Four Tetrarchs, from Constantinople, ca 305 CE. Approx. 4’ 3” high. Saint Mark’s, Venice.

Constantine (306–337 CE.) The rise of Christianity

Portrait Head of Constantine This is the most impressive of Constantine’s preserved marble portraits. The head is 8.5 feet high. The entire statue was a colossal 30 feet high. It had a brick core, a wooden torso covered with bronze and heads & limbs of marble. The emperor held a globe and a Christian cross. It is similar to the massive statue of Ramses II, in terms of size and the conveyance of power. Colossus of Constantine – SmART History video

Arch of Constantine Rome, Italy, A.D. 312–315 (south side). The arch is a great triple-passageway in the shadow of the Colosseum. It commemorates the defeat of Maxentius on the Milvian Bridge.

The Arch of Constantine The shallow reliefs on the Arch of Constantine show poorly modeled undistinguished figures that are squat in proportion. The figures have mechanical gestures and many repeat the same stance as others. The Arch of Constantine Arch of Constantine – SmART History video Re-fashioned reliefs, taken from earlier monuments were utilized, probably because of the poor conditions of sculpture studios at the time. The re-purposing of older art works also shows that Constantine saw himself as the restorer of Roman glory.

Frieze, Arch of Constantine, early 4th century CE. This frieze was made specifically for the arch (not taken from elsewhere). It shows Constantine addressing the Senate; no sense of movement, no spatial depth, no foreshortening, shallow doll-like figures, no contrapposto. The composition is abstracted on purpose, it is symmetrical to show the importance of the emperor in the center. The only figure to be shown full-frontal is Constantine (his head has been knocked off). The design points toward Christian (Medieval) art.

The Distribution of Largess Detail of north frieze of the Arch of Constantine, Rome, Italy, 312–315 CE. Marble, approx. 3' 4" high Sculptors refashioned reliefs from previous emperors’ monuments. They also added labels like Fundador Quietus (bringer of peace), and Liberator Urbis (liberator of the city). In this frieze Constantine is shown giving largess to the citizens on either side of him. The figures are squat & move mechanically. The relief is shallow and the forms are not fully modeled. It is a crowd rather than a composed group of individuals (as was seen on the Ara Pacis).

How does the principle of rhythm play a part in these two examples? The Distribution of Largess Frieze, Arch of Constantine, early 4th century CE. How does the principle of rhythm play a part in these two examples? Procession of the Imperial Family Ara Pacis, Rome, Italy ca. 13-9 BCE.

Reconstruction drawing of the Basilica Nova (Basilica of Constantine), ©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license. Reconstruction drawing of the Basilica Nova (Basilica of Constantine), Rome, Italy, ca. 306-312 CE. The original structure was 300’ long & 115’ wide with walls 20’ thick. Notice the clerestory windows.

Roman Basilica Aula Palatina An austere brick exterior, and boldly projected vertical buttresses create a pattern of alternating voids and solids. early 4th century CE, Germany

Roman Basilica, Aula Palatina early 4th century CE The designs of both the interior and exterior were similar in many Early Christian basilicas. The simple interior is a wide open space with two stories of large windows and a flat, wooden, coffered ceiling. It measures 195 feet long and 95 feet wide. The interior has no aisles but in characteristic Roman fashion, the rear apse is framed by a triumphal arch.