syllabus - history of art

8/13/2019 Syllabus - History of Art

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History of Art 41 Mr StewartIntroduction to Greek and Roman Art (CCN 05533) Fall 2004

SYLLABUS

The purpose of this class is fivefold. We will:

! introduce you to some of the central works of Greek and Roman art;

! acquaint you with different ways of looking at and interpreting them;

! encourage you to develop your own historical and critical sensibility;

! help you to test and refine your ideas and opinions in writing and in discussion.

And finally, we hope to:

! deepen your understanding and enjoyment of some of the most spectacular products of Westerncivilization.

1. Class Information

Classroom: 101 MoffittTime: TuTh 9.30-11 am

Instructor: Mr StewartOffice hours: Tu 11.30-1 pm, 412 DoeMailbox: History of Art office, 416 Doe

GSIs: Mont Allen; Isabelle PaffordSections: Tuesdays 1-2, 2-3 in 104 Moffitt Library; and Wednesdays 10-11 in 104 Moffitt Library

and 308B Doe LibraryOffice hours: Mont Allen on Wed 11-12 @ Caf Milano, 2522 Bancroft; Isabelle Pafford on Tues

11-12 @ Free Speech Movement Caf

Mail: 416 Doe; [email protected]; [email protected]

Dates to remember:Tuesday, September 21: first exercise due @ lectureTuesday, October 19: midterm examinationThursday, December 16, 8-11 am: final examination

WebsiteAll handouts (NOT pictures) are posted at http://ls.berkeley.edu/dept/arthistory/materials.html.

(See: handouts/courses/41/syllabus.pdf.)

Required Textbooks:Robin Osborne,Archaic and Classical Greek Art. Oxford: Oxford University Press, 1998.

Mary Beard and John Henderson, Classical Art. From Greece to Rome. Oxford: OxfordUniversity Press, 2001.Jas Elsner, Imperial Rome and Christian Triumph. Oxford: Oxford University Press, 1998.

Boardman, John (ed.), The Oxford History of Classical Art. Oxford: Oxford University Press,1993.

Sylvan Barnet,A Short Guide to Writing about Art. 7th ed. New York: Little, Brown & Co., 2003.James Smith Pierce, From Abacus to Zeus: A Handbook of Art History. 7th ed. Englewood

Cliffs: Prentice-Hall, 2004.


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These textbooks have been chosen to complement each other, in the belief that there is no single, uniqueway to look at art. Osborne, Beard and Henderson, and Elsner offer a more-or-less chronologicalaccount of Greek and Roman art that is self-consciously up to date, often unorthodox, and sometimeseccentric. Although their facts are 99% accurate, their opinions should not be taken as gospel but usedcritically and with caution to stimulate your thoughts. Boardman, on the other hand, offers a completely

conventional survey that could have been written at any time since 1950: use it to balance the first threebooks and to round out their coverage and discussions of the objects. Barnet is the best guide in print towriting about art; Pierce is a standard glossary for reference.

2. Requirements

2.1: Lectures. These follow a chronological plan; they are complemented by required reading and bydiscussion sections beginning with the third week of class (see Part 4, below). The contentof the course is chiefly in the lectures; because the slides are integral to the lectures, a classmissed is difficult if not impossible to reconstruct by borrowing someone else's notes.Lectures 1 and 2 are introductory; their content will not be examined.

2.2: Reading. Required readings are listed at the beginning of each lecture, and in some sectionhandouts. You must complete them and acquaint yourselves with the objects illustratedbeforecoming to class.

2.3: Discussion Sections. These are intended to train you in visual analysis and interpretation; to enableyou to discuss selected works of art in depth; to elaborate on aspects of the lectures; and tohelp you develop your own aesthetic, historical, and critical values. Registration in sectionbecomes permanent after the third week of classes. Attendance is required and participationis expected; quizzes will be given from time to time in section. Your performance in sectionwill be taken into account when we come to calculate your final grade.

2.4: Section Topics. These are listed in Part 4, below, and described in a separate handout. Theyrequire careful preparation; photo study; review of lecture notes; and of course thought and

reflection. They do not require in-depth research. You must come prepared with notes todiscuss each week's topic, and you MUST submit papers on three of them (see 2.5, below).Your notes may be collected and checked by your GSI.

2.5: Papers. Three papers are required. Paper 1 should be 4-5 pages in length (1000-1250 words);papers 2-3 should be 5-6 pages in length (1250-1500 words).

The firstpaper will introduce you to looking at art and writing about it. It is due at thebeginning of lecture on Tuesday, September 21, so you must begin to work on it as soon asthe semester starts. This paper is an exercise and will be graded on a pass/fail basis; if youfail it the first time, you must continue to submit revisions until you pass.

For your secondpaper, choose any topic among those assigned for Discussion Sections for

Weeks V-X; for the third, choose any topic among those assigned for Weeks XI-XV. Thesepapers are assigned a letter grade. Each paper is due at the beginning of that topicssection. Late papers or drafts of papers will notbe accepted. If you are unable to make adeadline for any reason, simply switch to the following week's topic--though N.B. that WeeksIX and XV are the last occasions when you can do this. So pace yourself and don't leavethings until the last minute. Standards will tighten up as the course progresses, and writing apaper and studying for an exam at the same time is a bad idea.


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2.6: Online Resources. The following websites are authorized for this course. You may of courseconsult any website that you wish, but BEWARE! Much if not most of the informationabout the ancient world that is available on the Internet is misleading, just plainwrong, and/or plagiarized from uncited and/or kooky sources; in particular, avoid"goddess" and other gender-based websites except "Diotima" (see below). You maycite the following websites in your papers; citations from others are prohibited, and ifsuch unauthorized material is detected in your papers, you will be penalized.

Perseus: http://www.perseus.tufts.edu/

A vast and invaluable digital library of texts and of images of ancient sites andobjects. Go to Classics and you will see its Table of Contents, "Greek andRoman Materials." After Textsyoull find Secondary Sourceswith links to onlineprinted catalogs and studies, then Images, MuseumPhotography, SitePhotography, and Miscellaneous Pictures. Or you can go to its "Art and ArchCatalogs."

Diotima: http://www.stoa.org/diotima/

Materials for the study of women and gender in the ancient world: images, essays, and

bibliography.

Museum Websites: Any reputable museum website

See Section handouts for assignments requiring consultation of specific museumwebsites.

2.7: Quizzes and Exams. You will get brief quizzes or other exercises as we deem appropriate. Therewill also be two exams (a midterm and a final), graded by letter grade. They cover materialspresented in the lectures, discussion sections, and readings. The material of the October 14lecture will not be on the midterm but will be on the final. The final will be comprehensive butwill stress material presented in the second half of the course.

2.8: Completion of Assignments and Exams. You MUST complete all required assignments and exams topass this course. Excuses or requests for deferral, for make-up exams, etc., will only beaccepted if they reach either Prof. Stewart or Mr Allen BEFORE the paper is due or the exambegins. Make-up exams are given only for reason of serious illness or required participationin Varsity games (NOT practices) and at Prof. Stewart's sole discretion; a physician's orcoach's letter is required. No make-up exams or extensions will be granted for absences dueto sports practice, family, work-related, academic, or other commitments.

2.9: Images. At the very least, for quiz and exam purposes you are responsible for knowing ALL imagesreproduced in Osborne, Beard and Henderson, Elsner, and Boardman that are included inthe lectures. Your achievement in this course will, however, be proportionate to the depthand breadth of your acquaintance with the material, so do not confine your studies to theseparticular images.

2.10: Pacing. Because of the range and number of works presented, and the cumulative character of theexams, you must establish a regular pattern of attendance and study quickly. In particular,reading the assigned passages in the textbook(s) and previewing the images before class willboth reduce misunderstandings and enable you to follow the lectures more closely. Yourweekly workload should also include a review of your notes and assigned readings; study ofillustrations; and thorough preparation of your section topic for the following week.


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2.11: Grading. Your final grade will be the average of your grades on the quizzes (10%); the mid-term(20%); the final (40%); and the second and third papers (15% each). We will giveconsideration, especially in borderline cases, to consistent improvement and to the quality ofyour oral participation in the discussion sections; the latter can advance you a half to a fullletter grade.

2.12: Final note. The content of your papers must be your own original work. Any statements, opinions,or ideas quoted or paraphrased from the work of others (as opposed to well-known factualmaterial) must be footnoted, in accordance with the regulations of the College of Letters andScience. All suspected violations of academic conduct on papers or exams will be reportedto the Office of Student Conduct for adjudication.

3. A Note on Office Hours

Students often complain that professors are remote and unapproachable. DON'T fear to attend officehours if you have a question or a problem, or if you just want to talk generally about the material. We areavailable to do this at the times listed in Section 1, above (but either sign up in advance or take yourchances!), or by special appointment if necessary.


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4. Lectures and Discussion Sections

Lectures Discussion Sections

1. Rediscovering Antiquity, AD 1500-1850 (8/31)2. Rediscovering Antiquity, AD 1850-2000 (9/2)

Week I: No Meeting

Early Greece

3. From Chaos to Polis (9/7)4. Eastern Adventures (9/9)

Week II: Introduction

5. Early Greek Narrative (9/14)6. Early Greek Architecture (9/16)

Week III: Gods, heroes, and mythsQuiz: Architectural Orders

7. Early Greek Sculpture (9/21)8. Enter Politics (9/23)

Week IV: Looking at a work of art

9. "Drink and Be Merry" (9/28)10. From Archaic to Classical (9/30)

Week V: If looks could kill . . .Quiz: Greek Pots

Cities and Empires

11. Periklean Athens (10/5)

12. The Parthenon Sculptures (10/7)

Week VI: Seeing through clothes

Field trip to UCB Cast Collection13. The Peloponnesian War and After(10/12)14. Late Classic Painting and Architecture (10/14)

Week VII: Review

Mid-Term Exam (10/19)15. Alexander Conquers the East(10/21)

Week VIII: No section

16. Macedonia and the Fruits of Conquest (10/26)17. A Passion for Aphrodite (10/28)

Week IX: Stone cold: sculpting the deadQuiz: Mediterranean Map

18. City, Sanctuary, and Monarch (11/2))19. Rome: From Republic to Empire (11/4)

Week X: Violence and "realism"

Imperial Rome and Hellenic Legacy

20. Republican and Augustan Portraiture (11/9)Veterans Day Holiday: no lecture (11/11)

Week XI: The myth of the portrait

21. Discovering Pompeii (11/16)22. "Collecting" Mosaics and Painting (11/18)

Week XII: Reading across the room:programs in paint

23. "Collecting" Sculpture (11/23)Thanksgiving Day Holiday: no lecture (11/25)

Week XIII: UCLA/Getty Forum Project -a demonstration

24. Roman Imperial Sculpture (11/30)25. Roman Imperial Architecture (12/2)

Week XIV: Architecture old and new: thePantheon

26. Center and Periphery (12/7)27. From the Severi to the Sack of Rome (12/9)

Week XV: The sarcophagus: symbol andafterlife

Final Exam: Thursday, December 16, 8-11 am


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READING ASSIGNMENTS AND SLIDE LISTS

Key to symbols: * = Roman copy of (lost) Greek originalcf. = compare

References [] for pictures: O = Osborne,Archaic and Classical Greek ArtB&H = Beard and Henderson,Classical ArtE = Elsner, Imperial Rome and Christian TriumphB = Boardman, Oxford History of Classical Art

All references are to figure numbers (= catalogue numbers in Boardman)

1. REDISCOVERING ANTIQUITY, 1500-1850 (8/31)

Reading: O ch. 1; B&H ch. 2; B pp. 1-9

The Renaissance: Finding the Laokoon (January 14th, 1506)

"The Laokoon stands in the residence of General Titus; it is a work to bepreferred above all others, whether paintings or bronzes. He and thechildren and the wondrous coils of the serpents were made from a single

block of stone by the consummate artists Hagesander and Polydorusand Athenodorus, all of them from Rhodes, in accordance with anagreed plan."

Pliny the Elder, Natural History36. 37 (AD 77)

1. The Laokoon, restored by Giovanni Montorsoli, 1532 [B&H 49a; B 201]2. Map of Rome3. The Laokoon, as drawn by Marco Dente, 15244. The Laokoon, Renaissance bronze statuette in Venice5. The Laokoon, as restored by Philippo Magi in 1957 [B&H 49b]6. Michelangelo: detail from the Sistine Chapel Ceiling(1509-12)

The Renaissance: Collectors, Collections, and the Beginnings of Iconography

7. *"Belvedere" Apollo, Vatican [B&H 77; B 133]8. Michelangelo: Christ, from the The Last Judgment(1538-41)9. The Cortile del Belvedere, Vatican

The "Father of Art History": J. J. Winckelmann (1717-68) and His Legacy

His books:(1) Gedanken ber die Nachahmung der griechischen Werke in der

Mahlerey und Bildhauerkunst(1755), or, Reflections on theImitation of Greek Works in Painting and Sculpture.

(2)Geschichte der Kunst des Altertums(1764), or, The History ofAncient Art.

(3)Monumenti Antichi Inediti(1767), or, Unpublished AncientMonuments.

His classification system:

Date BC Winckelmann Current

Before 450 Older Archaic, Severe

450-400 High/Sublime High Classic

400-330 Beautiful Late Classic

330-Roman Imitators Hellenistic, Roman


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10. Portrait of Winckelmann by Anton von Maron, Weimar [B&H 50]11. Bernini: St. Teresa, Rome (1645-52) - vs. ->12. *"Belvedere" Apollo, Vatican [B&H 77; B 133]13. View of Pompeii14. Pompeii: Discovery of the Alexander Mosaic in 1832 [cf. B&H 11-13; B 165]15. Pompeii: the Ixion Room of the House of the Vettii [B&H 32; B 283]16. Herculaneum: sculptures from the Villa dei Papiri [B&H 63-64]

Collecting, the Grand Tour, and the Dilettanti

17. Charles Townley's Library at 7 Park Street, Westminster, by Johann Zoffany(1783), Burnley [B colorpl. II]

18. *The "Lancellotti" Diskobolos, Rome [B&H 60b; B 84]19. Stuart Sketching the Erechtheum at Athens, by James Stuart (1751), London [cf.

B 107]20. The Erechtheum at Athens, from Stuart and Revett, The Antiquities of Athens

(London 1751-53) [cf. B 107]21. The "Elgin Marbles" (sculptures taken by Lord Elgin in 1800 from the Parthenon

at Athens), London [O 105-9, 111-12; B 103-5]

22. The "Venus de Milo" (taken by the Comte de Marcellus in 1820 from the island ofMelos), Paris [B&H 84]

23. 'Tis Living Greece No More, by J.M.W. Turner (1822), Athens24. The cast collection of the Museum of Fine Arts, Boston, in the late nineteenth

century [cf. O 1]

2. REDISCOVERING ANTIQUITY, 1850-2000 (9/2)

Reading: O ch. 1; B&H ch. 2; B pp. 1-9

National Rivalries, Archaeological Schools, and the Big Digs

1. The British School of Archaeology at Athens2. The Akropolis at Athens (systematic Greek excavations from 1862)[cf. B 101]3. The Sanctuary of Zeus at Olympia (systematic German excavations from

1875)[cf. B 112]4. Discovery of the archaic korai on the Akropolis, in 1879 [cf. O 37-38, B 47]5. The sculptures of the Temple of Zeus at Olympia, found in 1877 [O 94-101; B 82]6. The Athenian Agora (systematic American excavations from 1931)7. The Stoa of Attalos, reconstructed in 1953-56 to serve as the Agora Museum and

American excavation headquarters8. The "Cave of Tiberius" at Sperlonga [B&H p. 254, plan 14]9. The Sperlonga sculptures (excavated by Enrico Bellante and Filippo Magi in

1957) [B&H 52; B 202]10. Tel Dor, Israel (Phoenician, Israelite, Greek, and Roman city excavated by John

Garstang for the British School at Jerusalem in 1923-24; Hebrew University from1980; and UC Berkeley from 1985)

11. Greek mask and garland mosaic found by the Berkeley team at Dor in 2000

Some Nineteenth- (and Twentieth-) Century Methodologies: Positivism, Contextualism,and Formalism

12. Polyphemos Amphora, Eleusis [O 26; B 12]13. Heads, hands, and feet by the "Polyphemos Painter"14. *The "Belvedere" Apollo, Vatican [B&H 77; B 133]


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15. *The Knidian Aphrodite of Praxiteles, Vatican [O 140; B 130]

Ancient Art Now: Interpreting Dexileos

16. Funerary stele of Dexileos, Athens (Kerameikos)[O 3]17. The Kerameikos Cemetery and Street of the Tombs, Athens

[Dexileos's inscription reads: "Dexileos son of Lysanias of Thorikos. Born in thearchonship of Teisandros; died in that of Euboulides, among the fiveriders at Corinth." So he was born in 414 BC and was killed in 394.] Cf.:

18. Riders from the Parthenon frieze, Athens [O 109; B 104]

3. FROM CHAOS TO POLIS (9/7)

Reading: O ch. 2; cf. B pp. 11-23 and nos. 1-7

The "Dark Age" (ca. 1150-800 BC)

1. Map: Greece, ca. 1000 BC2. Sub-Mycenaean pots from Athens, Heidelberg3. Karphi: A Refugee Settlement4. Lefkandi: A War Casualty5. Dor: A "Sea Peoples" Settlement

Sculpture: A New Beginning (ca. 800-700 BC)

6. Map: The Peloponnese (southern Greece)7. Argive bronze mare and foal from Olympia, Athens [O 8]8. Corinthian bronze stallion, Berlin [O 9]9. Bronze man and Centaur from Olympia, New York [0 10]: Herakles killing

Nessos, or Zeus killing Typhon?

"Geometric" Vasepainting at Athens (ca. 800-700 BC)

10. The "Dipylon" amphora (wine-jar), Athens [cf. B 5]11. The "Hirschfeld" krater (mixing-bowl), New York [O 13]

The Polis Detected (ca. 700 BC)

12. Reconstruction of the Greek colony of Old Smyrna in western Turkey13. Map: Greek trade and colonization14. Athenian geometric-style oenochoe (wine jug), Munich [O 14]

4. EASTERN ADVENTURES (9/9)

Reading: O ch. 3; cf. B pp. 11-23 and nos. 8-22.

Raiders and Traders, 800-600 BC

1. Map: Greek trade and colonization, ca. 800-600 BC2. A Phoenician ship, from an Assyrian relief3. Dor: A Phoenician city on the coast of Israel


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4. Phoenician bichrome pottery from Dor5. The Assyrian capital of Nineveh (in Iraq), a reconstruction6. Assyrian palace reliefs from Nineveh, London

The Objects (800-600 BC)

7. Phoenician bronze bowl from the Kerameikos cemetery, Athens8. Electrum pendant from Rhodes, Paris [O 23]9. Bronze griffin caldron, Salamis (Cyprus)[cf. B 8a]10. Bronze griffin protome from Rhodes, London [O 18-19], cf.:11. Oenochoe (wine-jug) from Aegina, London12. Corinthian aryballos (perfume bottle), Boston [O 20]: Bellerophon and the

Chimaira13. Corinthian amphora (wine jar), London

The Heraion at Samos: A Seventh-Century International Sanctuary

14. Map: The Eastern Aegean15. Plan and reconstruction of the Heraion at Samos16. Egyptian bronze statuette of Mut, Samos [O 21]

17. Wooden statuette of Hera, Samos [O 22]

The "Daedalic" Style (700-600 BC)

18. Electrum jewelry from Rhodes, Paris [O 23]19. Ivory Astarte figurine from Nimrud, New York20. Ivory sphinx from Perachora, Athens [O 24]21. The great sphinx at Giza

5. EARLY GREEK NARRATIVE (9/14)

Reading: O ch. 4; cf. B pp. 11-23 and nos. 7, 10-20.

NB:Learn the basic pot shapes (O pp. 114-15) before coming to class

The Beginnings (750-650 BC)

1. Bronze man and Centaur from Olympia, New York [0 10]: Herakles killingNessos, or Zeus killing Typhon?

2. Corinthian aryballos (perfume bottle), Boston [O 20]: Bellerophon and theChimaira

3. Pithos (storage jar re-used as a coffin) from Mykonos [O 25; B 17]: The TrojanHorse and the Sack of Troy

4. Amphora (wine-jar used as a coffin) from Eleusis [O 26]: Odysseus blindsPolyphemos; the Gorgons chase Perseus. Cf.:

5. Bronze griffin caldron, Salamis (Cyprus)[B 8a]

6. Amphora from Melos, Athens [O 27]: Apollo and the Hyperborean Maidens

Maturity: Attic Black Figure (650-550 BC)

7. Athenian amphora (used as a grave-marker) from the Kerameikos cemetery,Athens [O 28; B 12]: Herakles kills Nessos; the Gorgons chase Perseus.

8. Athenian amphora from Italy signed by Exekias, Vatican [O 51; B 70]: Achillesand Ajax playing dice


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6. EARLY GREEK ARCHITECTURE (9/16)

Reading: O pp. 69-75; B pp. 11-23 and nos. 3, 23-32.


1. Map: Early Greece2. Karphi: A Refugee Settlement3. Lefkandi: The "Heron" [B 3]4. Reconstruction of the Greek colony of Old Smyrna in western Turkey5. Geometric-style model of a shrine from Mycenae, Athens [cf. B 23]

The Doric Order: Invention and Consolidation (650-480 BC)

6. Thermon: the temple [O 29-30; B 19], cf.7. Mycenae: Megaron of the Bronze-age palace8. Pithos from Mykonos [O 25]: The Trojan Horse and the Sack of Troy9. Anubis portico, Deir-el Bahari, Egypt10. Temple of Artemis at Corfu [O 31]11. Temple of Hera, Paestum (Italy) [B 26]12. Temple of Apollo, Corinth [B 27]13. Athenian Treasury, Delphi

The Ionic Order: (600-480 BC)

14. Siphnian Treasury, Delphi [O 60-62; B 28]15. Temple of Artemis, Ephesos [B 25]. Cf.:16. Temple of Artemis at Corfu [O 31]

Coda: The Corinthian Order [invented around 400 BC]

17. Temple of Olympian Zeus, Athens [E 79]

7. EARLY GREEK SCULPTURE (9/21)

Reading: O ch. 5; B pp. 11-23 and nos. 33-53.


1. Bronze man and Centaur from Olympia, New York [0 10]: Herakles killingNessos, or Zeus killing Typhon?

Archaic Temple Sculpture

2. Temple of Artemis at Corfu [O 31]: limestone pediment with Medusa and her

children Pegasos and Chrysaor; felines; Gods (Zeus and others) fight the Titans[O 31; B 33]

3. Hammered bronze cult triad of Apollo, Leto, and Artemis from Dreros, Herakleion[O 32]

Votive Offerings and the Introduction of Marble

4. Marble statue dedicated at Delos to Artemis by Nikandre of Naxos, Athens [O 33;B 16]. Inscription reads: "Nikandre dedicated me to the far-shooter of arrows, the


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excellent daughter of Deinodikes of Naxos, sister of Deinomenes, wife ofPhraxos n[ow]."

Kouroi and Korai (600-480 BC)

5. Kouros from Attica, New York [O 34]. Cf.6. Granite statue of Mentuemhat from Thebes in Egypt, Cairo [O 35]7. Kouros from near Anavyssos in Attica, Athens [O 36; B 41]. Inscription reads:

"Stay and mourn at the tomb of dead Kroisos, whom raging AresDestroyed one day, fighting in the foremost ranks."

8. Calf-bearer (Moschophoros) dedicated on the Athenian Akropolis to Athena byRhonbos, Athens [O 40]

9. Kore #679 from the Akropolis, Athens [O 37; B 47]10. Kore #594 from the Akropolis, Athens [O 38]11. Grave-marker of Phraskleia from Attica, Athens [O 39]. Inscription reads:

"Marker of Phrasikleia. Maiden shall I always be called, since instead ofmarriage this is what the gods have allotted me. Aristion of Paros made it."

8. ENTER POLITICS (9/23)

Reading: O ch. 7; B pp. 11-23 and nos. 28, 33, 35-38.

Myth and Its Uses

1. Map2. Amphora (used as a coffin) from Eleusis [O 26]: Odysseus blinds Polyphemos;

the Gorgons chase Perseus.3. Athenian amphora (used as a grave-marker) from the Kerameikos cemetery in

Athens [O 28]: Herakles kills Nessos; the Gorgons chase Perseus.4. Athenian silver coin: Athena's owl [O 57]

Sixth-Century Temples, Sanctuaries, and Local Pride

5. Temple of Artemis at Corfu [O 31]: limestone pediment with Medusa and herchildren Pegasos and Chrysaor; felines; Gods (Zeus and others) fight the Titans[O 31; B 33]

6. Temple C at Selinus (Sicily): terracotta pediment with Gorgoneion; metopes withthe epiphany of Apollo; Perseus killing Medusa [O 59]; Herakles and theKerkopes

7. View of the Sanctuary of Apollo at Delphi8. Gold and ivory Apollo and Artemis, and silver bull, from Delphi [B 55]9. Siphnian Treasury, Delphi [O 60-62; B 28, 35]: korai (so-called "Caryatids"); east

frieze with battle at Troy between Achilles and Memnon over the body of

Antilochos and Council of the Gods; north frieze with battle between Gods andGiants

The Persian Invasions of 490 and 480 and their Aftermath

10. Athenian Treasury, Delphi [O 65; B 37]: metopes with deeds of Theseus andHerakles

11. Kouros from near Anavyssos in Attica, Athens [O 36]12. Kouros base from the Kerameikos cemetery, Athens: athletes [O 67; see B 53B

for one of the other sides]


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13. Temple of Aphaia at Aigina [O 63-64; B 38]: pediments with sack of Troy, Munich

9. "DRINK AND BE MERRY" (9/28)

Reading: O chs. 6, 8; B pp. 11-23 and nos. 59-60, 67-79.NB:Revise the basic pot shapes (O pp. 114-15) before coming to class

The Symposium, its Setting, and its Agenda

1. Symposium room, Perachora2. Athenian black-figure cup, Oxford: symposium [O 68-69]3. Athenian red-figure stamnos signed by Smikros, Brussels: Smikros and a flutegirl

at a symposium [O 72]4. Athenian red-figure cup, Tarquinia: pouring libations5. Tomb of the Diver, Paestum: kottabos[O 92]6. Athenian red-figure cup, Rome: komos(revel)[O 81]7. Athenian red-figure cup, Wrzburg: throwing up

The Crockery and its Techniques

8-14. Vases for storing, mixing, and drinking wine15-18. Athenian black- and red-figure painting techniques

Themes: Dionysos and his Entourage, Eros, and the "Greek Men's Club"

19. Athenian red-figure pointed amphora, Munich: Dionysos and maenads [B 77]20. Athenian red-figure cup, Rome: maenads in a komos(revel)[O 81]21. Athenian red-figure bell krater, Boston: Pan chases a goatherd; Artemis and

Aktaion [O 82-83]22. Athenian red-figure bell krater, Boston: Zeus and Ganymede [O 78-79]23. Athenian red-figure amphora, Munich: wrestling [O 71]24. Athenian red-figure calyx krater, Malibu: Athena and Herakles fight Ares and

Kyknos [O 74]25. Athenian red-figure kalpis, Naples: Sack of Troy [O 75-76]

10. FROM ARCHAIC TO CLASSICAL (9/30)

Reading: O ch. 9; B pp. 83-91 and nos. 81-90, 93, 96-100, 112.

Athenian Democracy; The Persian Invasions of 490 and 480

1. Map: Greece and Persia2. The Athenian Akropolis

The Male Nude: Transformations of Athlete and Warrior (480-450 BC)

3. "Kritian Boy" from the Akropolis, Athens [O 84; B p. 88]. Cf.:4. Kouros from near Anavyssos in Attica, Athens [O 36]5. Charioteer from Motya (Sicily)[O 85; B 88]6. Two bronze warriors from the sea off Riace Marina (S. Italy), Reggio Calabria [O

86, 87; better picture, B 87(color pl. IX)]7. *Doryphoros (Spear-Bearer) by Polykleitos of Argos, copies in Naples [O 88; B

93a] and Florence [B 93b]; reconstruction formerly in Munich


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Private Imagery, the New Painting, and the Ethic of Self Restraint (480-450 BC)

8. Athenian red-figured psykter, London: satyrs reveling [O 89]9. Athenian red-figure calyx krater, Paris: Prelude to the Battle of Marathon; Apollo

and Artemis slaughter the Niobids [O 90-91; cf. B 95-96]

Olympia: The Justice of Zeus (ca. 470-455 BC)

10. View and reconstruction of the Temple of Zeus [O 94; B 112]11. The temple sculptures [O 95-101; B 82]:

E. Pediment: Preparation for the chariot race between Pelops andOenomaos for the hand of Hippodameia

W. Pediment: Apollo presides over the battle of Lapiths and CentaursMetopes: The Twelve Labors of Herakles

11. PERIKLEAN ATHENS (10/5)

Reading: O pp. 174-87; B pp. 83-91 and nos. 90, 101-8.

Perikles (ca. 495-429 BC) and the Empire

1. The Akropolis [B 101]2. *Perikles, London [B 90c]3. Athenian red-figures stamnos, Munich: warrior leaving home4. Map: The Athenian Empire

The Periklean Akropolis

5. The Akropolis: View and Plan [B 101]6. The Theater of Dionysos7. The Propylaia (entrance-gate, designed by Mnesikles) [cf. B 101]

8. The Temple of Athena Nike (cf. B 101]9. The Temple of Athena Polias (so-called Erechtheion)[B 107]10. The Parthenon (Temple of Athena Parthenos, designed by Iktinos, Kallikrates,

and Karpion; superintended by Pheidias)[B 101, 102, 105]

12. THE PARTHENON SCULPTURES (10/7)

Reading: O pp. 174-87; B pp. 83-91 and nos. 103-6.

1. The Parthenon: View and Cutaway [cf. O 102; B 105]2. The Pediments [O 112-13]:

E: Birth of Athena, witnessed (left) by Helios, Dionysos, Demeter and

Kore, Artemis; (right) by Hestia, Dione, Aphrodite, Selene.W: Athena battles Poseidon for the land of Attica3. The Metopes [O 103-7; B 103]

E: Battle of Gods and GiantsN: Sack of TroyW: Battle of Greeks and AmazonsS: Battle of Lapiths and Centaurs

4. The Frieze [O 108-11; B 104]Panathenaic procession


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5. The Athena Parthenos of Pheidias [B 106]: *copies in Athens and Boston;reconstruction in Toronto

Base: Birth of PandoraSandals: Battle of Lapiths and CentaursShield exterior: Battle of Greeks and AmazonsShield interior: Battle of Gods and GiantsHelmet: Pegasoi, sphinxes, etc.

6. *Doryphoros (Spear-Bearer) by Polykleitos of Argos, reconstruction

13. THE PELOPONNESIAN WAR AND AFTER (10/12)

Reading: O pp. 184-87 and chs. 10-12; B pp. 83-91 and nos. 123-24, 139.

The Peloponnesian War (431-404)

1. The Nike Bastion on the Akropolis and its parapet [O 114; B 101, 124]2. Athenian red-figure hydria, Florence: Phaon and Aphrodite [B 139]3. Athenian white-ground lekythos, Athens: warrior seated at his tomb [O 118]

Fourth-Century Sculpture

4. Tombstone of Hegeso, Athens [O 119]5. *Aphrodite of Knidos by Praxiteles, Vatican [O 140-41; B 130]. Cf.6. Statue of a woman, Kos [B 218]7. Temple of Aphrodite Euploia, Knidos8. *Aphrodite of Knidos, "Kaufmann" head in Paris9. Head of Telephos, Tegea (workshop of Skopas)[O 130]10. *Apoxyomenos ("Body-scraper") by Lysippos, Vatican [B 134]11. Bronze Perseus from Antikythera, Athens [O 138]12. *Sokrates (executed, 399), Vatican [O 142]

14. LATE CLASSIC PAINTING AND ARCHITECTURE (10/14)

Reading: O chs. 10-11; B&H pp. 23-29; B pp. 83-91 and nos. 109-13, 128-131, 138-45,157.

Painting in the Fifth Century

1. Tomb of the Diver, Paestum [O 92]2. Athenian red-figure kalpis, Naples: Sack of Troy [O 75-76]3. Athenian red-figure calyx krater, Paris: Prelude to the Battle of Marathon; Apollo

and Artemis slaughter the Niobids [O 90-91; cf. B 95-96]4. Athenian white-ground lekythos, Athens: warrior seated at his tomb [O 118]

The Invention of the Picture: "Old Masters" and Roman Copies (400-300 BC)

5. *Sacrifice of Iphigeneia from Pompeii, Naples6. *Perseus and Andromeda from Pompeii, Naples7. *Achilles among the Maidens, from Pompeii, Naples [B&H 18-20]

The Macedonian Royal Tombs at Vergina (340-300 BC)


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8. Tomb I (probably King Philip II, murdered 336): Demeter; Hades and Persephone[O 122; B 144]

9. Tomb II (probably King Philip III Arrhidaios, murdered 316): Hunt [O 133; B 145]

Fourth-Century Architecture and Its Embellishment

10. Temple of Apollo Epikourios, Bassae, supposedly designed by Iktinos, with friezeshowing Greeks fighting Centaurs and Amazons [O 123-26; B 128]

11. The Tholos at Epidauros, designed by Polykleitos the Younger [B 109C]12. The Theater at Epidauros, designed by Polykleitos the Younger [B 157]13. The Mausoleum (tomb of King Maussolos, died 353 BC) at Halikarnassos

(Bodrum) in Turkey, designed by Pytheos of Priene, with Amazon frieze anddynastic portraits [O 132; B 113, 131]; cf.:

14. Head of Telephos, Tegea (workshop of Skopas)[O 130]

---MIDTERM EXAMINATION (10/19)

15. ALEXANDER CONQUERS THE EAST (10/21)

Reading: O chs. 11-12; B&H pp. 13-23, 225-27; B pp. 151-58 and nos. 165, 194.

Alexander Rides In (334-323 BC)

1. Map: Alexander's Conquests2. The *Alexander Mosaic from Pompeii, Naples: Battle of Issos, 333 BC [B&H 8,

12-13; B 165]. Cf.3. Vergina, Tomb I (probably King Philip II, murdered 336): Hades and Persephone

[O 122; B 144]4. The Mausoleum frieze [O 132; B 113, 131]

Aftermath: The Successors (323-270 BC)

5. Map: The World of the Successors6. Silver tetradrachm of Lysimachos, New York: Alexander with Ammon's horns [O

137; B&H 173]7. Bronze Hellenistic ruler, Rome [B 194; B&H 174]

16. MACEDONIA AND THE FRUITS OF CONQUEST (10/26)

Reading: B pp. 151-58 and nos. 144-49, 165.

Palaces, houses, and good living (330-270 BC)

1. Map: Macedonia2. Pella: The city and its mansions3. The *Alexander Mosaic from Pompeii, Naples: Battle of Issos, 333 BC [B&H 8,

12-13; B 165]4. Pella: Stag-hunt mosaic by Gnosis [B 175]5. Gilt bronze krater from Derveni, Thessaloniki: Dionysos [B 181]

Finds from the Royal Tombs at Vergina (320-300 BC)

6. The Great Tumulus: cutaway view


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7. Tomb I (probably King Philip II, murdered 336): Hades and Persephone [O 122;B 144]

8. Tomb II (probably King Philip III Arrhidaios, murdered 316): Hunt [O 133; B 145]9. Silver vessels [B 146]10. Ivory couch inlays: Pan, satyr, and maenad; portrait [B 149; O 131]11. Gold bow-case (gorytos)12. Gold ash-chest (larnax) and wreath [B 148]13. Purple and cloth of gold winding sheet [B 147]14. Urn from Tomb III (probably Alexander IV, murdered 310)

17. A PASSION FOR APHRODITE (10/28)

Reading: O pp. 230-35; B&H pp. 113-141; B pp. 151-58 and nos. 130, 190-91, 207-8.

Praxiteles' Aphrodite of Knidos (ca. 350 BC)

1. *Aphrodite of Knidos by Praxiteles, Vatican [O 140-41; [B&H 87; B 130]. Cf.:2. Statue of a woman, Kos [B 218]3. Temple of Aphrodite Euploia, Knidos

4. *Aphrodite of Knidos, "Kaufmann" head in Paris

Hellenistic Aphrodites (300-100 BC)

5. *Capitoline Aphrodite, Rome [B&H 88]6. *Medici Aphrodite, Florence [B&H 82]7. *Crouching Aphrodite, Naples [B&H 89; B 190]6. Crouching Aphrodite, Rhodes [B&H 90]7. *Aphrodite Kallipygos ("Nice-Ass"), Naples [B&H 86]8. *Aphrodite loosening her sandal, from Pompeii, Naples [B&H 81]. Cf.:9. Nike loosening her sandal, from the Nike Temple Parapet, Athens [O 114]10. Aphrodite from Melos ("Venus de Milo"), Paris [B&H 84-85; B 191]11. Aphrodite, Pan, and Eros, dedicated by Dionysios of Berytos (Beirut) on Delos to

his native gods, Athens

"The Only Happy Couple": Hellenistic Hermaphrodites (200-100 BC)

12. *Sleeping Hermaphrodite, Paris [B&H 92-93; B 208]13. *Pan molesting a hermaphrodite, Naples [B&H 95a]. Cf.:14. *Dionysos and Ariadne from Pompeii, Naples [B&H 95b]15. *Satyr molesting a hermaphrodite, Dresden [B&H 94b; B 207]16. *Satyr molesting a hermaphrodite from Pompeii, Naples [B&H 94c]

18. CITY, SANCTUARY, AND MONARCH (11/2)

Reading: B&H pp. 147-64; B pp. 151-58 and nos. 150-51, 155, 200.

The City Beautiful

1. Priene (W. Turkey), planned around 350 BC [B 151]: view, plan, houses, agora,Athena temple, bouleuterion, and theater

2. Pergamon (W. Turkey), planned around 270 BC [B&H p. 256, plan 17; B 150]:view, plan, terraces, theater, and Athena sanctuary

Victory Monuments of the Pergamene Kings (230-160 BC)


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3. *Suicidal and *Dying Gauls, Rome [B&H 110-111; B 200]4. The Great Altar of Pergamon, Berlin: Battle of Gods and Giants [B&H 101-2, 106-

9; B 155]

The Shadow of Rome (200-30 BC)

5. Map: The Hellenistic World in 190 BC6. Gold coin of Titus Quinctius Flamininus, victor over Macedon in 197

19. ROME FROM REPUBLIC TO EMPIRE (11/4)

Reading: B&H pp. 89-105, 164-75, 186-89, 221-25; B pp. 217-30 and nos. 226-8, 240,254-5.

The Hellenization of Italy (150-30 BC)

1. Sanctuary of Fortuna, Praeneste (modern Palestrina)[B 254]2. So called Altar of Domitius Ahenobarbus from Rome, now in Paris and Munich:

Poseidon and his entourage; census and lustrum(suovetaurilia: pig, sheep, ox)to Mars [B&H 68; B 226]

Augustus and the Empire (30 BC-14 AD)

3. Head of the Augustus from Primaporta, Vatican [B&H 160; B 240]4. Map: The Augustan Empire5. The Altar of Augustan Peace (Ara Pacis Augustae): views, scroll friezes, panel

relief with Italia/Tellus; procession frieze with Augustus [B&H 136, 172; B 228].Cf.:

6. Frieze of the Parthenon, Athens: the Panathenaic procession [O 108-11; B 104]

20. REPUBLICAN AND AUGUSTAN PORTRAITURE (11/9)

Reading: B&H pp. 209-32; B pp. 217-30 and nos. 228, 236-42, 250E, 271.

Republican Portraits (200-30 BC)

1. "Verist"-style head, Boston [cf. B&H 154, 176, 178; B 237]. Cf.:2. Alexander the Great, Pella3. The Barberini Togatus, Rome [B&H 178; B 238]4. Three types of Roman portraits: togate, in armor, and naked5. Cn. Pompeius Magnus from Rome, Copenhagen [B&H 155-6; B 239]

The Face of Augustus (30 BC- AD 14)

6. Head of the Augustus from Primaporta, Vatican [B&H 160; B 240]7. The Gemma Augustea, Vienna [B 271]8. Gold coin of Augustus, London [B 250E]9. Bronze head of Augustus from Meroe in the Sudan, London [B&H 170]10. Augustus from the frieze of the Ara Pacis, Rome [B&H 136, 172 far left; B 228].

Cf.:11. Alexander from the Alexander Mosaic, Naples [B&H 12; B 165]

The Primaporta Augustus and the "Golden Age" (20-10 BC)


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12. Augustus from Primaporta, Vatican [B&H 160; B 240]. Cf.13. *Doryphoros (Spear-Bearer) by Polykleitos of Argos, Naples [O 88; B&H 70; B

93a]14. Details of the breastplate of the Primaporta Augustus: Roman soldier and

Parthian; conquered provinces, perhaps Spain and Gaul; Apollo and Diana;Italia/Cybele; Sol, Jupiter, Aurora, Venus. Cf.:

15. Augustus from the frieze of the Ara Pacis, Rome [B&H 136, 172 far left; B 228]

Princeps a Diis Electus: The Gemma Augustea (AD 12)

16. The Gemma Augustea, Vienna: Tiberius triumphant, Victoria, Germanicus; Romaand Augustus enthroned; Italia, Oceanus, Oecumene [B 271]

---VETERANS DAY HOLIDAY (11/11)

21. DISCOVERING POMPEII (11/16)

Reading: B&H chs. 1-2 (sections on Pompeii and Herculaneum) and pp. 244-49 (mapand plans); B pp. 217-30 and nos. 264-66

1. Pompeii, map, plan, and views: [B&H 244 figs. 2-3]

Public Spaces and Public Buildings

2. The Forum, Pompeii3. The Temple of Apollo, Pompeii4. The Basilica, Pompeii5. Forum and Stabian baths, Pompeii6. *Copy of the Doryphoros (Spear-Bearer) by Polykleitos, from the gymnasium at

Herculaneum, Naples [O 88; B&H 70; B 93a]

7. Theater, Pompeii. Cf.:8. The Theater at Epidauros [B 157]

Private Houses

9. House of the Vettii, Pompeii [B&H 11-15; B 265]10. The *Alexander Mosaic from the House of the Faun at Pompeii, Naples: Battle of

Issos, 333 BC [B&H 8, 12-13; B 165]11. Great frieze of the Villa of the Mysteries, Pompeii [B&H 37]12. Ixion room from the House of the Vettii, Pompeii [B&H 32]13. Priapos and bedroom scenes from the House of the Vettii, Pompeii [cf. B&H 29;

30]

From Herculaneum to Malibu: The Villa dei Papiri

14. Villa dei Papiri at Herculaneum (owned by Calpurnius Piso, consul in 58 BC),reconstructed as the J. Paul Getty Museum, Malibu [B&H 65]

15. *Bronze herm of Polykleitos's Doryphoros [cf. O 88; B&H 70; B 93a], signed bythe copyist Apollonios of Athens, and other sculpture from the Villa dei Papiri[B&H 63-64]

16. *Amphora signed by Sosibios, from Italy, Paris


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22. "COLLECTING" MOSAICS AND PAINTINGS (11/18)

Reading: B&H ch. 1; B pp. 217-30 and nos. 279-99

1. Hades and Persephone from Vergina: contemporary copy after a picture byNikomachos, taken to Rome as plunder in 148 BC? [O 122; B&H 17; B 144]

The House of the Faun at Pompeii and the Satrii Family's Mosaic "Collection" (150-100BC)

2. Views of the House of the Faun [B&H 11-15]3. The entrance (fauces): Mask and garland mosaic4. The atrium: the "Faun" or Dancing Satyr5. The wings (alae): Doves; cat and birds6. The small dining-room (triclinium): Fish7. The large dining-room (triclinium): Cupid on a tiger8. A bedroom (cubiculum): Satyr and nymph9. The exedra: Nilotic scene and *Alexander Mosaic

The Villa Farnesina in Rome and the "Second Style" (50-30 BC)

10. Cubiculum B: Nysa and the baby Dionysos [B&H 16: but NB, image is left-rightreversed]

Painting "Collections" on Pompeian and Roman Walls (50 BC-AD 50)

11. House "of Achilles" at Pompeii: *Achilles on Skyros [B&H 19]12. House of the Priest Amandus at Pompeii: *Polyphemus and Galatea; *Perseus

and Andromeda; *Herakles and the Hesperides; *Icarus [B&H 36]13. Villa of the Mysteries at Pompeii: Great frieze [B&H 37; B 280]14. *Odyssey frieze from an underground passage (cryptoporticus) in a villa in

Rome, Vatican [B&H 40]

Painting for the Imperial Elite (30 BC-AD 68)

15. The Villa of Agrippa Postumus at Boscotrecase: Black room; Mythological roomwith Polyphemus and Galatea, Perseus and Andromeda [B&H 38-9]

16. The Villa of Livia (Augustus's wife) at Primaporta: Paradise garden [B&H 41; B286]

17. The Golden House of Nero: Volta Dorata [B&H 45-7]

23. "COLLECTING" SCULPTURE (11/23)

Reading: B&H ch. 2; E 169-90; B pp. 217-30 and nos. 248-49

Plunder (200-30 BC)

1. So called Altar of Domitius Ahenobarbus from Rome, now in Paris and Munich:Poseidon and his entourage; census [B&H 68; B 226]

2. Temple of Apollo Sosianus, Rome: Amazonomachy pediment [B&H 61]3. Bronze Hellenistic ruler, Rome [B 194; B&H 183]4. Sculpture from a shipwreck off Antikythera (S. Greece), Athens: Perseus,

philosopher, marble statues [O 138; B&H 62]

A Rhodian Workshop in Italy: Hagesandros and family, and others


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5. The Laokoon by Hagesandros, Athanodoros, and Polydoros of Rhodes, asrestored by Philippo Magi, 1957 [B&H 49b; cf. B 201 - Renaissance restoration].Cf.:

"The Laokoon stands in the residence of General Titus; it is a work to bepreferred above all others, whether paintings or bronzes. He and thechildren and the wondrous coils of the serpents were made from a singleblock of stone by the consummate artists Hagesander and Polydorusand Athenodorus, all of them from Rhodes, in accordance with anagreed plan."

Pliny the Elder, Natural History36. 37 (AD 77)

6. Map of Rome7. The "Cave of Tiberius" at Sperlonga [B&H p. 254, plan 14]8. The Sperlonga mythological groups, signed by Hagesandros and co.: Odysseus

and (1) Achilles; (2) Diomedes and the Palladion; (3) Scylla; (4) Polyphemos[B&H 52-54; B 202]. Cf.:

9. The Villa of Agrippa Postumus at Boscotrecase: Perseus and Andromeda [B&H39]

10. Nymph and Cupids, sculptures from the dining-room at Sperlonga [B&H 55a]11. Ganymede and the eagle, akroterion from above the Sperlonga cave [B&H 56]12. Venus and Cupid, relief from the Sperlonga villa [B&H 55b]13. Third century AD portrait from the Sperlonga villa [B&H 55c]

The Villa dei Papiri at Herculaneum (owned by Calpurnius Piso, consul in 58 BC)

14. Villa dei Papiri at Herculaneum, reconstructed as the J. Paul Getty Museum,Malibu [B&H 65]

15. *Bronze herm of Polykleitos's Doryphoros, signed by the copyist Apollonios ofAthens, and other sculpture from the Villa dei Papiri [B&H 63-64]. Cf.:

16. *Copy of the Doryphoros (Spear-Bearer) by Polykleitos, from the gymnasium atHerculaneum, Naples [O 88; B&H 70; B 93a]

Hadrian (Emperor, AD 117-38) and his Villa

17. Portrait of Hadrian, Rome [E 2, cf. B 245]18. The Villa: The Canopus and its sculptures: Nile, crocodile, *heroes, *Amazon,

*Caryatids [B&H 72; E 119; B 263 and colorpl. XVII, cf. B 107 for the original 5th

century Erechtheion "Caryatids" and B&H 116 for Augustan *copies]19. The Villa: Temple of Aphrodite [E 117; B 263a]20. The Villa: *copy of Praxiteles' Aphrodite of Knidos [E 119; cf. O 140-41; B 130]

The Baths of Caracalla (AD 212-16)

21. Views and plan of the Baths [E 120; B 301]

22. *"Farnese" Hercules from the Baths, signed by Glykon of Athens, Naples [E 114]23. Hercules capital from the Baths24. *"Farnese" Bull (Dirke, Amphion, and Zethos) from the Baths, Naples [E 122]

----THANKSGIVING DAY HOLIDAY (11/25)

24. ROMAN IMPERIAL SCULPTURE (11/30)


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Reading: B&H 177-227; E ch. 3; B pp. 217-30 and nos. 228-46

The Imperial Triumph

1. Arch of Titus, Rome (suppression of the Jewish revolt, AD 70-73)[B&H 131-34; B230]. Cf.:

2. Coin of Augustus: his triumphal arch [B&H 130]3. Procession frieze from the Ara Pacis, Rome [B&H 136, 172; B 228].4. Column of Trajan (conquest of the Dacians [Romania] in AD 101-2 and 105-

6)[B&H 124-26; B 231]. Cf.:5. *Odyssey frieze from an underground passage (cryptoporticus) in a villa in

Rome, Vatican [B&H 40]

Roman Imperial Portraiture

6. Augustus from Primaporta, Vatican [B&H 160; B 240]. Cf.7. Three types of Roman portraits: togate, in armor, and naked8. Hadrian (emperor, 117-138), Rome [E 2, cf. B 245]9. Hadrian from Hierapetra (Crete), Istanbul10. Marcus Aurelius (emperor, 161-80), Rome [E 50; B 338]

11. Commodus (emperor, 180-92), Rome [E 132]

25. ROMAN IMPERIAL ARCHITECTURE (12/2)

Reading: B&H 164-77; E 64-73; B pp. 217-30 and nos. 255-68

From Republican to Augustan architecture (100 BC - A.D. 14)

1. Sanctuary of Fortuna, Praeneste (modern Palestrina)[B 254]2. The Forum of Augustus [B&H 113-22; B 255]

Roma Aeterna: Four Buildings for an Imperial City

3. Model of the city in Constantine's time (AD 330)4. The "Colosseum" - amphitheater of Vespasian and Titus, erected AD 72-

805. Trajan's Forum and Markets, erected AD 110-112 [B 255, 267; E 35]6. The Baths of Diocletian, erected AD 298-3067. The Pantheon of Hadrian, erected AD 125-28 [B&H 123; E 39]

26. CENTER AND PERIPHERY (12/7)

Reading: E pp. 44-51 and chs. 4, 5; B pp. 217-30, 297-304, and nos. 256-61, 300-305,335-6

"Provincials"?

1. Mummy portrait of a woman from Hawara in Egypt, Edinburgh [E 75]2. Mummy portrait from Antinoupolis, Paris3. Limestone funerary relief of Tibnan from Palmyra in Syria, Paris [E 76]

The Cities: (1) The Imperial Image and Cult

4. Portraits of Hadrian, Rome, Hierapetra, and Pergamon [E 2, 131]


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5. The Antonine Altar at Ephesos: Lucius Verus (emperor 161-69) sacrificing [E 82].Cf.:

6. The Great Altar of Pergamon, Berlin [B&H 101-2, 106-9; B 155]

The Cities: (2) Imperial Architecture

7. The Empire-Builders: A Tour of Three Continents

8. Nimes (S. France), unidentified temple called the "Maison Carre" [B 256]9. The "Pont du Gard" (city aqueduct), Nimes [E 78; B 257]10. The aqueduct, Segovia (Spain)11. The amphitheater at Arles (S. France)[cf. B 261]

12. Athens: The Akropolis [cf. B 101] with Agrippa Monument; Temple of Roma andAugustus; Odeion of Herodes Atticus

13. Athens: Hadrian's Library14. Athens: Panathenaic stadium, refurbished by Herodes Atticus15. Athens: Hadrians Olympeion and its gate [E 79-80]

The Countryside: The 2nd

-3rd

Century Villa Rustica

16. View of Djemila (Algeria)17. Mosaic with a view of the villa of Dominus Iulius near Carthage in North Africa,

Tunis [B 310]18. Ploughing and sowing, mosaic from a villa at Cherchel in North Africa

(Caesarea), Tunis [E 66]19. Silver treasure from a villa near Mildenhall in England, London [E 68; B 320]

Stresses and Strains: The Late Empire, AD 200-400

20. Map: The Late Empire21. Lepcis Magna (Libya): view, arch of S. Severus (emperor, AD 193-211), basilica

[E 85-86; B 335]

22. Arch of Galerius (ruler of the east, AD 293-11), Thessaloniki (Greece)[E 87; B336]

23. Porphyry group of four tetrarchs from Constantinople, Venice [E 29; B 340]24. Trier (capital of Constantius Chlorus, ruler of the west, AD 293-306): Porta Nigra,

basilica, paintings [E 88-91; B 303]

27. FROM THE SEVERI TO THE SACK OF ROME (12/9)

Reading: E chs. 2, 3; B pp. 217-30, 297-304, and nos. 304, 322-23, 337, , 342, 353.

1. Marcus Aurelius (emperor, AD 161-80), Rome [E 50; B 338]

Third-Century Turmoil (AD 237-284)

2. Philip the Arab (emperor, AD 244-49), Rome3. Trajan Decius (emperor, AD 249-51, Rome [E 26]4. "Ludovisi" sarcophagus, Rome [cf. E 98; B 353]

The Tetrarchy and Constantine (AD 284-336)

5. Porphyry group of four tetrarchs from Constantinople, Venice [E 29; B 340]


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6. Spalato (Split, in Croatia): Palace of Diocletian (emperor, AD 284-305)[E 45-46,107; B 304]

7. Baths of Diocletian, Rome8. Constantine, from his basilica, Rome [E 32; B 342]9. Basilica of Maxentius and Constantine, Rome [E 33]10. Arch of Constantine, Rome [E 7, 12; B pp. 299-300]

Constantinople: The New Rome (AD 330-1453)

11. Constantinople (Istanbul, Turkey), views and plan [E 47, 92]12. Constantinople: Obelisk of Theodosius the Great (emperor, AD 378-95)[E 49; B

337]13. Spalato: Palace of Diocletian [E 46; B 304]14. Breastplate of the Augustus from Primaporta, Vatican: Italia [B&H 160;5B 240]15. Bronze 4

thcentury emperor from Constantinople, Barletta [E 48]

Roman Twilight (AD 380-410)

16. Diptych of the Nicomachi and Symmachi [E 127; B 323]. Cf.:17. Procession frieze from the Ara Pacis, Rome [B&H 136, 172; B 228]18. Diptych of Stilicho, Serena, and Eucharius, Monza19. Map: The Roman empire in AD 410

FINIS ANTIQVITATIS

syllabus - history of art

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