'- !llllilln HI Tr,)jan and rt'I!1,ll1l\ ollhr R.l,-ilii,) UlPI,l III !Ill ,f Traj,)Tl

7-40 Colns!Oeum iill1t-rillr vkwl

APOllOOORV:S Of DAMA!>CU5, forum or Trajan, Romlt. drd!C(lIt-d

J 1 (mood). Musco tlella (ivilll Romantl, ROInlt

'·18 Dionysia(' mystery frieze. Stnmd Style wall paintings in Room 5 of the Villa of Ih~ Mysteries. Pompeii, c. 60-50 s.c Friezlt apprux. \. 4- hill!1­

AI"·)I'·IH'k,",'llj\\l;~'I~ M,lrl.,t'\\"ITr"iilil RHllll'

,II 100-112 IRt'tnn,nU([IOn dr,l\\ing.)

-

7·60 Mod.:! 01 an insula. O~Ii<t second (t'ntmy A.D. Musen della Civi1l3 Romana, Rome.

dmUl" IJ

'~lllH">I ~

IJ".... lel.l I

,•.••........•..••..•..; r·····················,

[] " t········· .. •·r.. ·· ......· ........:...········u

N

7.31 Ar<'l Pads AugUShlt', RWIH'. 13-9 B,C (view from tht> ;,tHllhw,'~!)

I

7~3 RC(:Ofl\lfllrlion dti!wing nllht' SJIl(lUary oj FuflUUa

Prh ":'gt'lliJ, P,,:cminJ, lal(' ~t,(tllld ({'Illmy

;5 Pantheon, exterior view, Rome, A,D. 118-125.

important dignitaries (FIG. ,·31), ThaI the parallel friezes of the Ara Pacis were inspired 10 some degree by the Panathenaic procession frieze of Ihe Parthenon (FIG. 5-56) cannot be doubted and is anorher instance of the use of Classical Greek models by Augustan artists. Augustus sought to presem his new order as a golden age compara­ble to the Periclean golden age of the middle of the fifth century B,C" and Ihe emulation of Classic,,1 models made a political as wen as an artistic statement. Nevertheless, despite the styHstic affinities, the Roman procession js markedly different in character from the Greek. On the Parthenon, anonymous figures act out an event that recurs every lour years, and the frieze stands for all Panathenaic festival processions, ~n the Ata Pacis a specific event is

depicted-probably the inaugural ceremony of 13 B.C

when work on the altar began-·and recognizable historical personages are present. Among those portrayed are chU· dren, who restlessly Illg on the garments o[ their elders and talk ro one another when they should be quiet on a solemn occasion-in short, children whQ act like children, and not like miniature adults as they frequently do in the history 01 an. Their presence lends a great deal or charm to the pro­cession, but thai is not why ('hildren were included on the Ara Pads when they had never had a place on any Greek or Roman state monument before. Augustus was con­cerned about a decline in rhe birthrate among the Roman nobility, and he enacted a series of laws designed 10 pro· mote marriage, marital fidelity, and the raising of chlldren.

7-32 "tel!us, ~ panel from [he eJS! facade or the Ara Pads. Marbl("

approx 5' 3" high.

7~33 Proct':isiOI1 of [hI: impnjal family, Jt'lail of th(' sowh frieu of the Ari3 P3ci~, Milrble, 2pproX.

'f r hiJl!~

744 Spoils of Jerusalem, relief panel from the Ar(h 01 Trw), Marble, approx, 7' lO~ high.

7-45 Triumph ufTilU5, relief pand from Ihe Arro of TinJS. Marble, appro::c T IOfi !llgh.

7-56 LOllt;HU'-,

lateral sections (lIthe Pantheon,

-2.8 PurtrZli! 1)J A,u~:mlll" gcnt:"fnL Prill

roll/\." \)rlgHl.;l! 01.: 20 II {_ MJrble 6' p, hi~~l. Va

;Ollll'

Z7 sul! fife whh peaches, detail of a Fourth Style wall palming

·m Herculaneum. C A.D, 62-79. Approx 14" x 13 111". Museo litlnak, Naples.

7·91 Au!" F\,;,1]llhl (B,1'lh.1), Tr-je! (.ld}' h:llf!h (CllIllr-y _, Ii

H \,~'r-h"-!

7~20 Odysseus Jlllht'

Underworld. det(!il'uf a Sel,,'ond Style wall painting from a house on the Esquilioe Hill, Rome,

c 5(}..-40 B.C. Approx. 47" high. Vatican Library, Rome.

7~21 G<1rdellsc<'pl"" Sccond Slyle wall painring from Ibe V!tia of Livia. Primapona, [. 30-20 9.C

7~35 Maison Carree. Nimcs. c. A.D. I-to.

6·29 Uly.)Scs in the Land IIf the Le.~tryg()nicm5 (scene from the Odyssey Landscape.l)' second-srylc wall painting from a house in ROI larc first century B.C. Approx. 6011 high. Vatican Library, Rome.

·92 Reconstruction of the Basilica of Constantine, Rome.

6~45 Plan of the Imren,ll forums in Rome, c 46H.l'.-A.n. 117.

:::i' 0

~3 c: Kt 0

Z" ~ ,., u. c· Ci::> ~ Olr;-0 e,­<;;? :::::~ OJ '"0;:­2' ~ ~@" ,n:n0 o ::: S E" !"" .i"l

;()phagLl~ from Cerveteri, Co 520 B.C. Painted terra-cotta, appmx. 6'7" long. Mw;c<) Nazionale di Villa (.lit

:::

;..

J ~

'2". ~

"' VI o 0

?' (1

0:1 '" 0 ::> ~

w 'U 'U a « v.> v.> I~l:;

::r jQ'

?"

'" _~&U~.......1..1 ...._ J"UVUU,U.l'-£J.LlU.Y'Il ­- ..............................u ...u ...

7~44 Spoils of Jerusalem. relief panel from the Arth of -n!us. Marn]e, appro•. T 10' bigh.

7-4' Triumph oint"" relief panel from the Ardt ornrus. Matble, awrox, 7' 10" high.

phyry sarcophagus (now in the Vatican Museums) was exhibited inside it. The mausoleum. later converted into a

8~lO InteriQr of Santa Costanza. Rome., 337-351. 8-1!

7·3 Reconstruction drawing of the Sanctuary of Fortuna Primigenia, Palestrina. late second century B.C.

R«OtlStructlon drawimt 01 ~the Ba5ilica Nova (Basi1ica of Constantine). Rome, c. A.D. 306-312.