WEBVTT 00:01.610 --> 00:02.980 Prof: Good morning everyone. 00:02.980 --> 00:06.490 We are on the cusp of Valentine's Day. 00:06.490 --> 00:11.320 So I thought it was appropriate for us all to tell Rome how much 00:11.321 --> 00:14.851 we love--Rome or Roma--how much we love her. 00:14.850 --> 00:16.810 And so I've done that here. 00:16.810 --> 00:20.490 I've loved Rome for as long as--for a long time, 00:20.490 --> 00:23.780 certainly from the age that you are now. 00:23.780 --> 00:26.840 And I know that there are many of you in this class who feel 00:26.840 --> 00:28.580 the same way, and I hope that those of you 00:28.583 --> 00:31.083 who entered this class, without having those strong 00:31.083 --> 00:34.963 feelings for Rome, have come to love the city and 00:34.955 --> 00:37.925 its civilization as much as I do. 00:37.930 --> 00:41.070 So this is a kind of Valentine lecture, for Rome. 00:41.070 --> 00:44.490 And I think that the particular topic that it is, 00:44.490 --> 00:47.610 is appropriate, in the sense that we are going 00:47.610 --> 00:51.980 to be looking at a number of quite eclectic monuments today, 00:51.980 --> 00:54.180 very different monuments, one from the next, 00:54.180 --> 00:56.360 and they're full of surprises. 00:56.360 --> 00:58.400 And Rome is always full of surprises; 00:58.400 --> 01:01.150 Rome a city, of course, that you see layers 01:01.146 --> 01:05.486 upon layer of civilization, that one peels back to get us 01:05.489 --> 01:09.299 back to antiquity, but along the way experiences 01:09.299 --> 01:10.869 some amazing things. 01:10.870 --> 01:12.900 So I think that this particular lecture, 01:12.900 --> 01:15.450 which will talk about the varied nature of Roman 01:15.450 --> 01:18.100 architecture, especially architecture 01:18.104 --> 01:22.604 commissioned by individual patrons to preserve their memory 01:22.602 --> 01:24.882 for posterity, again is particularly 01:24.876 --> 01:25.416 appropriate. 01:25.420 --> 01:29.940 I've called today's lecture "Accessing Afterlife: 01:29.944 --> 01:34.814 Tombs of Roman Aristocrats, Freedmen, and Slaves." 01:34.810 --> 01:41.730 We spoke on Tuesday about public architecture commissioned 01:41.730 --> 01:47.030 by the emperor Augustus, public architecture that we 01:47.031 --> 01:50.101 noted was made primarily out of marble, 01:50.099 --> 01:54.209 out of Luna or Carrara marble, that was quarried on the 01:54.206 --> 01:59.456 northwest coast of Italy itself, and the objective of it being 01:59.456 --> 02:04.096 to try to conjure up the relationship between the new 02:04.096 --> 02:08.196 Golden Age of Augustus and the Golden Age, 02:08.199 --> 02:11.369 fifth century B.C., of Periclean Athens. 02:11.370 --> 02:16.770 Just as Julius Caesar had tried to create a kind of Alexandria 02:16.769 --> 02:20.129 on the Tiber, we see Augustus trying to 02:20.133 --> 02:23.323 recreate an Athens on the Tiber. 02:23.318 --> 02:25.268 And Augustus was, of course, very much-- 02:25.270 --> 02:29.050 in his objectives was very much in keeping with other objectives 02:29.045 --> 02:32.635 that we've been studying for some time: this Hellenization of 02:32.643 --> 02:35.943 Roman architecture that we have addressed on a number of 02:35.940 --> 02:36.900 occasions. 02:36.900 --> 02:40.840 We spoke last time about the Forum of Augustus in Rome, 02:40.840 --> 02:44.100 featuring the Temple of Mars Ultor, 02:44.098 --> 02:48.468 that temple that Augustus vowed he would build if he could be 02:48.473 --> 02:52.123 victorious over the assassins of Julius Caesar, 02:52.120 --> 02:54.010 that is, Cassius and Brutus. 02:54.008 --> 02:57.708 He was so, at the Battle of Philippi, and he built this 02:57.708 --> 03:01.678 forum and he built this temple again as its centerpiece. 03:01.680 --> 03:06.890 And you'll recall again that it was made, for the most part, 03:06.889 --> 03:09.009 out of Carrara marble. 03:09.008 --> 03:11.608 We see the columns of Carrara here, a wall, 03:11.614 --> 03:14.594 the seventeen Carrara marble steps, and so on. 03:14.590 --> 03:17.270 We also talked about the Ara Pacis Augustae, 03:17.270 --> 03:22.350 the Altar of Augustan Peace, put up to the diplomatic 03:22.352 --> 03:27.632 agreements or treaties that Augustus made with those in 03:27.628 --> 03:32.128 Spain and Gaul: a monument that was put up near 03:32.125 --> 03:37.375 his earlier mausoleum, a monument that was also made 03:37.377 --> 03:41.077 out of Carrara marble, and in fact solid Carrara 03:41.084 --> 03:41.634 marble. 03:41.628 --> 03:46.298 And this monument too had precedents in the Greek period. 03:46.300 --> 03:47.990 It looked back to a number of sources, 03:47.990 --> 03:50.590 but one of those, as we noted on Tuesday, 03:50.590 --> 03:54.060 was the Altar of the Twelve Gods, or the Altar of Pity, 03:54.060 --> 03:56.080 a fifth-century B.C. 03:56.080 --> 04:01.050 monument that was located in the marketplace of ancient 04:01.050 --> 04:01.880 Greece. 04:01.878 --> 04:04.948 So again, both of these buildings, looking back to Greek 04:04.949 --> 04:07.069 prototypes in their general format, 04:07.068 --> 04:10.078 and also, of course, in the material out of which 04:10.080 --> 04:12.630 they were made, namely marble. 04:12.628 --> 04:15.248 When we talked about the Ara Pacis, 04:15.250 --> 04:19.100 we talked about the fact that it eventually ended up being 04:19.096 --> 04:21.996 part of a kind of architectural complex, 04:22.000 --> 04:25.330 that while this architectural complex may have not been 04:25.334 --> 04:28.504 planned from the start, it grew up over time into 04:28.502 --> 04:32.132 something where all of the buildings related to one another 04:32.129 --> 04:35.479 in interesting ways, both in terms of their content 04:35.475 --> 04:38.485 and also in terms of their architectural design. 04:38.490 --> 04:43.470 The complex included the Mausoleum of Augustus, 04:43.470 --> 04:46.400 the tomb of the emperor Augustus, which was the first 04:46.401 --> 04:49.951 monument built on this site, and eventually the Ara Pacis, 04:49.954 --> 04:53.324 which you'll recall was actually not located originally 04:53.317 --> 04:54.497 where it is now. 04:54.500 --> 04:58.040 It was located in an area a bit here to the upper right 04:58.041 --> 05:00.611 originally, on the Via Flaminia that 05:00.613 --> 05:04.823 Augustus took when he returned to Rome from Spain and Gaul, 05:04.819 --> 05:07.929 but that it was moved, or the remains of it were moved 05:07.925 --> 05:10.495 over to this location, next to the Tiber, 05:10.495 --> 05:13.315 by Mussolini, because as we noted last time, 05:13.319 --> 05:17.509 in the meantime a palace had been built on top of the 05:17.507 --> 05:20.567 original location of the Ara Pacis, 05:20.569 --> 05:24.389 and that area was no longer available for use. 05:24.389 --> 05:27.789 But again, the Mausoleum of Augustus, the first building of 05:27.790 --> 05:28.670 this complex. 05:28.670 --> 05:32.910 You see in this aerial view from Google Earth that the 05:32.910 --> 05:37.390 mausoleum ended up becoming the centerpiece of the Piazza 05:37.389 --> 05:41.559 Augusto Imperatore, that piazza that Mussolini's 05:41.562 --> 05:45.912 architects designed to commemorate Augustus and also to 05:45.906 --> 05:49.796 commemorate Mussolini, because that inscription I 05:49.802 --> 05:54.102 showed you last time is inserted into the building over here. 05:54.100 --> 05:57.310 If we look at this aerial view of the Mausoleum of Augustus, 05:57.310 --> 06:01.100 which you'll see from your Monument List was begun in 28 06:01.098 --> 06:03.498 B.C.-- and in fact that should ring 06:03.504 --> 06:07.684 some bells for you and we should say something about its genesis 06:07.677 --> 06:08.537 in 28 B.C. 06:08.540 --> 06:11.250 Because you'll recall that important date of 31; 06:11.250 --> 06:15.360 31 the Battle of Actium when Augustus was victorious over 06:15.363 --> 06:18.893 Antony and Cleopatra and became sole emperor, 06:18.889 --> 06:24.199 or began his march to becoming sole emperor of the Roman world. 06:24.199 --> 06:28.609 It's interesting to see him building this massive mausoleum 06:28.605 --> 06:32.095 only three years after the Battle of Actium; 06:32.100 --> 06:33.480 that's really quite striking. 06:33.480 --> 06:35.330 Why did he do that? 06:35.329 --> 06:39.289 Well the reason that he seems to have done that is despite the 06:39.288 --> 06:41.948 fact that he lived until 76-years-old, 06:41.949 --> 06:44.799 which was very old in ancient Roman times, 06:44.800 --> 06:47.620 as I mentioned last time--despite the fact that he 06:47.622 --> 06:50.912 lived to that ripe old age, he was not in terribly good 06:50.910 --> 06:52.830 health, even as a young man, 06:52.827 --> 06:56.387 and he was very concerned about his own longevity. 06:56.389 --> 06:57.559 How long was he going to live? 06:57.560 --> 07:01.360 He knew he had accomplished a lot already by this victory over 07:01.362 --> 07:03.942 Antony and Cleopatra, and by some of his other 07:03.937 --> 07:06.427 military victories, but he wasn't actually sure how 07:06.430 --> 07:10.310 long he was going to last, and so he begins to build this 07:10.307 --> 07:14.437 gigantic tomb eventually to hold his own remains. 07:14.439 --> 07:16.859 And he completes that tomb in five years. 07:16.860 --> 07:18.870 It's built between 28 B.C. 07:18.870 --> 07:20.650 and 23 B.C. 07:20.649 --> 07:23.809 And you'll recall the date of the Ara Pacis is considerably 07:23.812 --> 07:28.032 later; 13 to 9 B.C. 07:28.028 --> 07:29.728 So the Ara Pacis was only added to this complex later, 07:29.730 --> 07:32.440 and at that point the whole thing was orchestrated with the 07:32.437 --> 07:35.397 addition of the obelisk, and we talked about how the 07:35.404 --> 07:39.384 obelisk cast a shadow on the Ara Pacis on Augustus' birthday, 07:39.379 --> 07:41.509 and so on and so forth. 07:41.509 --> 07:44.499 With regard to the tomb itself, we're going to see something 07:44.502 --> 07:47.962 quite striking today, and that is that the tomb is 07:47.956 --> 07:52.826 architecturally very different from the Ara Pacis Augustae, 07:52.829 --> 07:56.099 and indeed from the Forum of Augustus. 07:56.100 --> 07:58.840 And it's a good example of the eccentricity, 07:58.841 --> 08:02.481 as we'll characterize today, of Roman tomb architecture in 08:02.475 --> 08:03.235 general. 08:03.240 --> 08:06.250 Keep in mind that Roman tomb architecture is the most 08:06.247 --> 08:08.907 personal of any form of Roman architecture, 08:08.910 --> 08:11.360 which makes it particularly interesting to study, 08:11.360 --> 08:15.380 because the only practical requirement for a tomb was that 08:15.382 --> 08:18.842 it be able to hold the remains of the deceased. 08:18.839 --> 08:21.379 That's all it needed to do, whereas other buildings had to 08:21.379 --> 08:23.829 do all kinds of other things: have running water through 08:23.829 --> 08:25.299 them, and so on and so forth. 08:25.300 --> 08:27.030 But that was not the case here. 08:27.028 --> 08:31.458 So that the patron and the architect could come together to 08:31.461 --> 08:35.661 create buildings that were unique to that individual and 08:35.663 --> 08:39.183 again were eccentric to a certain degree, 08:39.178 --> 08:41.458 and that is indeed what we will see, 08:41.460 --> 08:45.540 and that is the case also in the Mausoleum of Augustus. 08:45.538 --> 08:48.858 As we look down on the Mausoleum of Augustus, 08:48.855 --> 08:52.845 in this aerial view, we see the general plan of it. 08:52.850 --> 08:54.860 We see that there was a central burial chamber; 08:54.860 --> 08:59.390 that there was a hollow drum, and around that hollow drum-- 08:59.389 --> 09:01.679 and all of this is made of concrete construction-- 09:01.678 --> 09:05.818 around that hollow drum a series of concentric rings, 09:05.820 --> 09:09.750 a series of concentric rings, as you can see them here, 09:09.750 --> 09:12.760 again made out of concrete. 09:12.759 --> 09:16.399 And then the outer wall--which you can also see in this 09:16.398 --> 09:19.498 view--the outer wall was faced with travertine, 09:19.498 --> 09:23.528 which is also interesting; not Luna marble, 09:23.534 --> 09:25.934 travertine blocks. 09:25.928 --> 09:29.318 And let me show you another somewhat closer view, 09:29.322 --> 09:33.002 also from Google Earth, to show you the structure. 09:33.000 --> 09:34.880 So again the central burial chamber; 09:34.879 --> 09:37.899 the hollow drum; the concentric rings around 09:37.903 --> 09:41.923 that; the travertine wall around that. 09:41.918 --> 09:44.038 But, of course, you're looking essentially at 09:44.038 --> 09:44.568 the core. 09:44.570 --> 09:48.560 This is not what the original entire monument looked like. 09:48.558 --> 09:52.148 And what it was, was in fact there was an 09:52.153 --> 09:56.103 earthen tumulus, or an earthen mound, 09:56.095 --> 10:00.185 that was placed on top of these concentric rings, 10:00.190 --> 10:04.290 and then at the very apex of that earthen mound was a 10:04.287 --> 10:08.777 gleaming bronze statue of the emperor Augustus himself. 10:08.778 --> 10:13.528 I think I can make this clearer by showing you a plan of the 10:13.534 --> 10:15.474 Mausoleum of Augustus. 10:15.470 --> 10:18.610 And we see all the features I've already described: 10:18.606 --> 10:21.416 the central burial chamber, the hollow drum, 10:21.423 --> 10:24.113 again all made out of concrete construction, 10:24.110 --> 10:27.420 and the concentric rings around that. 10:27.418 --> 10:30.848 And then the cross-section at the top is particularly helpful 10:30.849 --> 10:34.279 I think because you can see the way in which the concrete has 10:34.279 --> 10:37.479 been built up by means obviously of annular vaults, 10:37.480 --> 10:41.290 the annular vaults that ultimately support the gleaming 10:41.292 --> 10:44.492 bronze statue of Augustus, at the apex. 10:44.490 --> 10:48.600 And you can also see in this cross-section the earthen mound, 10:48.600 --> 10:53.660 the way in which the earthen mound is piled up on top of that 10:53.659 --> 10:57.749 substructure, that concrete substructure, 10:57.753 --> 11:03.753 to create the dome-like shape of the mausoleum on its own. 11:03.750 --> 11:08.390 Now scholars who believe--and we all believe in fact--that 11:08.393 --> 11:12.143 again Augustus was a philhellene, that he had a 11:12.139 --> 11:15.479 particular penchant for things Greek. 11:15.480 --> 11:18.050 So you look at something like this and you ask yourselves, 11:18.052 --> 11:19.772 "Well, what's Greek about this? 11:19.769 --> 11:22.449 Why didn't he, when he came to make the 11:22.447 --> 11:26.887 decision about his last resting place, why did he not want to be 11:26.888 --> 11:30.058 laid to rest in the manner of the Greeks? 11:30.058 --> 11:32.918 Why doesn't this--why wasn't this tomb made in the form, 11:32.918 --> 11:34.478 for example, of a Greek temple, 11:34.476 --> 11:35.876 or something like that? 11:35.879 --> 11:37.969 Why did he choose this particular form?" 11:37.970 --> 11:41.490 So scholars have debated for quite some time whether there 11:41.493 --> 11:43.783 are any tombs like this in Greece, 11:43.779 --> 11:50.139 or in Asia Minor--what kind of tomb was Alexander the Great 11:50.143 --> 11:52.703 buried in, for example? 11:52.700 --> 11:55.540 Well we don't know exactly for sure, but that's one 11:55.543 --> 11:59.133 possibility, that it might have something to do with Alexander's 11:59.128 --> 11:59.638 tomb. 11:59.639 --> 12:03.549 Others--because Aeneas came from burning Troy-- 12:03.548 --> 12:06.198 others have suggested perhaps--and that's in Asia 12:06.201 --> 12:08.511 Minor-- perhaps the way the Trojans 12:08.505 --> 12:12.515 were buried might have something to do with this selection. 12:12.519 --> 12:16.129 But I think the model is much closer at hand. 12:16.129 --> 12:19.589 I think the model--myself, I believe that the model comes 12:19.586 --> 12:22.156 from Italy, and that it's a very 12:22.159 --> 12:26.009 interesting choice on the part of Augustus, 12:26.009 --> 12:28.749 because I think what it tells us is that Augustus may have 12:28.751 --> 12:31.831 wanted to build public buildings in Rome that conjured up ancient 12:31.831 --> 12:34.131 Athens, but when it came to deciding 12:34.129 --> 12:36.279 about how he wanted to be buried, 12:36.279 --> 12:42.009 he wanted to be buried in the manner of his Italian ancestors. 12:42.009 --> 12:44.799 Let me show you what I think is a really important comparison. 12:44.798 --> 12:47.868 We're looking on the left-hand side of the screen once again at 12:47.870 --> 12:50.200 the Mausoleum of Augustus, as it looks today. 12:50.200 --> 12:51.990 Here you see the central entranceway. 12:51.990 --> 12:57.870 You see what remains of the concentric, concrete rings. 12:57.870 --> 13:05.530 You see some of the travertine facing for the outer ring of the 13:05.527 --> 13:07.007 structure. 13:07.009 --> 13:08.649 And you see, of course, that the uppermost 13:08.653 --> 13:10.783 part, namely the earthen mound, is no longer there. 13:10.778 --> 13:13.598 But if I compare the Mausoleum of Augustus, 13:13.600 --> 13:16.580 to what you see here on the right-hand side of the screen, 13:16.580 --> 13:20.390 which is an Etruscan tomb, an Etruscan tomb from the 13:20.389 --> 13:22.419 so-called-- and I put this on the Monument 13:22.418 --> 13:25.538 List for you-- the Banditaccia Cemetery, 13:25.544 --> 13:29.494 which is at a site called Cerveteri, 13:29.490 --> 13:32.760 Cerveteri, a very important Etruscan site. 13:32.759 --> 13:41.029 And this tomb we believe dates to the sixth century B.C. 13:41.029 --> 13:44.129 Cerveteri is an extraordinary place to visit now because there 13:44.126 --> 13:46.206 is one tomb after another of this type. 13:46.210 --> 13:50.110 You go into the site and you feel like you're on another 13:50.111 --> 13:53.301 planet or some such, as you wander among these 13:53.303 --> 13:56.713 extremely well-preserved tombs at Cerveteri. 13:56.710 --> 13:59.180 And Cerveteri, by the way, is right off the 13:59.176 --> 14:01.346 highway, between Rome and Florence. 14:01.350 --> 14:05.550 So it's a very easy site to get to and very well worthwhile; 14:05.548 --> 14:07.878 there's nothing quite like it anywhere in Italy, 14:07.875 --> 14:09.405 anywhere indeed in the world. 14:09.408 --> 14:13.378 And you see these series--and I've just chosen one here to 14:13.375 --> 14:15.875 show you-- you see these series of tombs, 14:15.879 --> 14:19.049 and I think if you look at it you'll see the similarity of 14:19.051 --> 14:21.111 this to the Mausoleum of Augustus. 14:21.110 --> 14:27.040 These round Etruscan tombs have central burial chambers. 14:27.038 --> 14:31.608 They have stone facing around the outermost part of the 14:31.613 --> 14:32.633 structure. 14:32.629 --> 14:36.879 And you can see that piled on top of that is an earthen mound, 14:36.884 --> 14:40.724 and if you expand the size -- the Cerveteri tomb is much 14:40.721 --> 14:41.561 smaller. 14:41.558 --> 14:45.058 Actually the individual Cerveteri tombs are smaller than 14:45.057 --> 14:46.837 the Mausoleum of Augustus. 14:46.840 --> 14:49.760 The Mausoleum of Augustus is 290 feet in diameter; 14:49.759 --> 14:51.149 it's a very large building. 14:51.149 --> 14:54.479 But if you expand the size of one of these, 14:54.480 --> 14:57.470 what we call tumulus, t-u-m-u-l-u-s, 14:57.470 --> 14:59.730 tumulus tombs, at Cerveteri, 14:59.730 --> 15:02.950 if you expand the size, if you plant this with trees-- 15:02.950 --> 15:05.950 because we know that the Mausoleum of Augustus was 15:05.953 --> 15:08.533 planted with trees on the earthen mound; 15:08.528 --> 15:11.138 there's been quite a bit of controversy about what kind of 15:11.143 --> 15:11.513 trees. 15:11.509 --> 15:13.439 For a long time people said cypress trees. 15:13.440 --> 15:15.750 Now people seem to favor juniper trees. 15:15.750 --> 15:17.750 But whatever, trees of some sort, 15:17.745 --> 15:19.735 decorating that earthen mound. 15:19.740 --> 15:24.080 So if you enlarge this, if you put some junipers on top 15:24.077 --> 15:26.557 of it, and if you stick a gleaming 15:26.561 --> 15:29.171 bronze statue of Augustus at the apex, 15:29.168 --> 15:35.008 you will have essentially the Mausoleum of Augustus. 15:35.009 --> 15:37.329 So I'd like to suggest to you today that the Mausoleum of 15:37.327 --> 15:39.727 Augustus indicates to us that when it came to his tomb, 15:39.730 --> 15:43.380 Augustus wanted to be buried like his Italian ancestors, 15:43.379 --> 15:48.269 like the Etruscans, and that is why he chose this 15:48.267 --> 15:51.727 particular type of tomb in Rome. 15:51.730 --> 15:54.530 The Mausoleum of Augustus, like so many other monuments 15:54.533 --> 15:56.823 that we've been looking at this semester, 15:56.820 --> 16:00.660 survives in large part because it was re-used over the 16:00.658 --> 16:03.408 centuries in a wide variety of ways. 16:03.408 --> 16:07.468 You can see in this engraving that it was used at one point as 16:07.471 --> 16:10.501 a garden, a very nicely manicured garden, 16:10.504 --> 16:13.104 as you can see inside the remains, 16:13.100 --> 16:16.720 inside those concentric circles, a very nice garden. 16:16.720 --> 16:21.440 It was also used as a fortress at one point by the well-known 16:21.436 --> 16:23.476 Colonna family of Italy. 16:23.480 --> 16:25.210 It was used, believe it or not, 16:25.205 --> 16:28.245 as a bull ring-- a little touch of Spain in the 16:28.254 --> 16:31.904 midst of Rome, as a bull ring--and it was used 16:31.903 --> 16:34.483 most recently as a music hall. 16:34.480 --> 16:39.670 It was a music hall before it was turned back into the 16:39.668 --> 16:42.018 Mausoleum of Augustus. 16:42.019 --> 16:45.539 So again, this very--a very similar saga to this building 16:45.535 --> 16:49.485 and to its post-antique history, as to so many others that we've 16:49.491 --> 16:50.561 talked about. 16:50.558 --> 16:54.948 Another important point to make about the Mausoleum of Augustus 16:54.950 --> 16:58.250 is that, although Augustus intended it 16:58.254 --> 17:02.504 as his own last resting place, he didn't intend for him to be 17:02.499 --> 17:04.639 the only person who was laid to rest there. 17:04.640 --> 17:06.890 He wanted this to serve as a family tomb, 17:06.890 --> 17:10.100 for him, his wife, his--well it turned out his 17:10.097 --> 17:13.507 daughter didn't end up there, but that may have been the 17:13.509 --> 17:15.659 intention originally, that she would. 17:15.660 --> 17:19.240 She was discredited because of all the adulterous affairs she 17:19.238 --> 17:22.338 had and Augustus eventually banished her in 2 B.C. 17:22.338 --> 17:25.308 from Rome, razed her house to the ground, and did not allow 17:25.310 --> 17:27.770 her to be buried in the Mausoleum of Augustus. 17:27.769 --> 17:33.769 But for his wife, for his nephew and son-in-law, 17:33.769 --> 17:37.169 Marcellus, and others, he wanted to create this family 17:37.169 --> 17:39.939 tomb where he, his family, and presumably, 17:39.939 --> 17:42.799 since his objective was to create a dynasty, 17:42.798 --> 17:46.368 presumably where his successors of the dynasty that he founded 17:46.371 --> 17:48.071 would also be laid to rest. 17:48.068 --> 17:51.678 And there are inscription plaques that have come to light, 17:51.680 --> 17:54.280 from the Mausoleum of Augustus, and I can show you a couple of 17:54.284 --> 17:57.324 them here, that do indicate that was 17:57.316 --> 17:59.096 exactly the case. 17:59.098 --> 18:02.508 We see this plaque over here, which actually has the name 18:02.512 --> 18:04.222 Marcellus inscribed there. 18:04.220 --> 18:07.800 This is the Marcellus of the Theater of Marcellus, 18:07.800 --> 18:12.040 the nephew and son-in-law of Augustus, who was laid to rest 18:12.040 --> 18:13.650 in this Mausoleum. 18:13.650 --> 18:18.260 His sister, "soror," Octavia, also laid to rest; 18:18.259 --> 18:21.339 that is, Augustus' sister, Octavia, also laid to rest 18:21.335 --> 18:21.745 here. 18:21.750 --> 18:25.780 And it continued to be used as a burial place again after 18:25.777 --> 18:29.727 Augustus' death and through the so-called Julio-Claudian 18:29.732 --> 18:32.482 emperors, who we'll look at next week: 18:32.484 --> 18:34.734 Tiberius and Caligula and Claudius. 18:34.730 --> 18:37.850 And we see, in fact, an inscription plaque over here 18:37.846 --> 18:41.266 that honors Agrippina the Elder: Agrippina the Elder, 18:41.269 --> 18:44.249 the mother of Caligula, the third emperor of Rome, 18:44.250 --> 18:47.800 and it was Caligula who laid his mother to rest in this tomb. 18:47.798 --> 18:53.188 So very much a family tomb created by the emperor Augustus. 18:53.190 --> 18:56.250 And I should also mention, with regard to burial practice 18:56.246 --> 18:59.436 at this time, that everybody was--imperial 18:59.440 --> 19:02.060 individuals, and those lower on the social 19:02.061 --> 19:04.971 pyramid as well-- were all cremated at this 19:04.970 --> 19:06.330 particular time. 19:06.328 --> 19:10.748 So you have to imagine that there were urns for each of 19:10.750 --> 19:14.190 these inside the tomb somewhere as well. 19:14.190 --> 19:18.520 Now it may not surprise you to hear that once the emperor chose 19:18.515 --> 19:22.395 the form of his tomb, that he set in motion a fashion 19:22.396 --> 19:26.026 that just about every aristocrat wanted to follow. 19:26.028 --> 19:28.588 So all of a sudden, after the construction of the 19:28.586 --> 19:31.766 Mausoleum of Augustus, again between 28 and 23, 19:31.769 --> 19:35.849 there is this efflorescence of round tombs in Rome and 19:35.854 --> 19:37.554 elsewhere in Italy. 19:37.548 --> 19:40.408 And I want to show you just one example of that. 19:40.410 --> 19:44.410 This is the so-called Tomb of Caecilia Metella. 19:44.410 --> 19:46.930 It dates to 20 B.C. 19:46.930 --> 19:50.910 So it began to be put up not too long after Augustus' 19:50.913 --> 19:52.603 mausoleum was built. 19:52.598 --> 19:56.498 It is located on the famous Via Appia in Rome, 19:56.503 --> 19:57.983 the Appian Way. 19:57.980 --> 20:00.830 The Appian Way, which you see--this is a Google 20:00.828 --> 20:04.728 Earth image once again where you can see a stretch of the Appian 20:04.731 --> 20:06.921 Way, or the Via Appia, 20:06.924 --> 20:11.044 that is modern asphalt, although there are remains--and 20:11.038 --> 20:13.298 I'll show you later an example of this-- 20:13.298 --> 20:17.898 there are remains of the polygonal masonry pavement that 20:17.901 --> 20:22.241 would have been there initially, looking very much like the 20:22.238 --> 20:25.328 pavement that we saw in Pompeii, for example. 20:25.328 --> 20:28.818 And you can see the Tomb of Caecilia Metella right over 20:28.817 --> 20:29.267 here. 20:29.269 --> 20:32.709 Like the Mausoleum of Augustus, it was re-used in ancient 20:32.705 --> 20:36.445 times, and there was a fortress and a palace that was added to 20:36.450 --> 20:36.880 it. 20:36.880 --> 20:41.170 And you can see also there, in a reddish earth color, 20:41.170 --> 20:47.030 the remains of that fortress and palace that abutted the 20:47.025 --> 20:51.705 mausoleum or the Tomb of Caecilia Metella. 20:51.710 --> 20:55.180 And while this is on the screen, you can also see that 20:55.183 --> 20:58.663 while the tomb was essentially a cylindrical drum, 20:58.660 --> 21:02.790 resembling the cylindrical drum of the Mausoleum of Augustus, 21:02.788 --> 21:06.718 it was placed--it was given some height by being placed on a 21:06.722 --> 21:09.252 podium-- the kind of podium that we saw 21:09.248 --> 21:11.968 at the sanctuaries, or the podium that we saw at 21:11.973 --> 21:14.453 the Villa of the Mysteries-- to raise it up. 21:14.450 --> 21:16.630 It's not as big as those, but it's sizable, 21:16.630 --> 21:19.880 and it raises this round tomb up a little bit, 21:19.880 --> 21:23.460 so that it can be more readily seen as people make their way 21:23.462 --> 21:24.802 along the Via Appia. 21:24.798 --> 21:28.458 The Mausoleum of Augustus does not have a similar podium. 21:28.460 --> 21:31.240 So that's a unique, a different feature that is 21:31.236 --> 21:33.466 added to this particular structure. 21:33.470 --> 21:36.150 You can also see there's an inscription on the front, 21:36.153 --> 21:39.043 and we'll talk about that in a moment, and then there are 21:39.042 --> 21:40.542 crenellations at the top. 21:40.538 --> 21:43.528 There's some dispute about when those crenellations were added, 21:43.525 --> 21:46.025 whether they belonged to the original tomb or not. 21:46.029 --> 21:48.659 I think it's highly unlikely that they belonged to the 21:48.663 --> 21:51.293 original tomb, and they may have been added at 21:51.285 --> 21:53.915 the time that this was made into a fortress, 21:53.920 --> 21:57.090 as I've already mentioned. 21:57.088 --> 21:59.648 This is a view of the Tomb of Caecilia Metella, 21:59.650 --> 22:04.400 as it looks today, this tomb of this woman of 20 22:04.401 --> 22:06.671 B.C., and you can see that it's 22:06.673 --> 22:10.103 actually quite well preserved, and we can get a very good 22:10.096 --> 22:12.116 sense of its original appearance. 22:12.118 --> 22:16.408 You can see the concrete podium down here, without its original 22:16.406 --> 22:18.786 facing; it was surely faced. 22:18.788 --> 22:21.268 You can see the great cylindrical drum, 22:21.270 --> 22:24.600 of the Tomb of Caecilia Metella, and you can see the 22:24.601 --> 22:25.321 facing. 22:25.318 --> 22:27.918 And, once again, the facing for this tomb, 22:27.923 --> 22:31.673 just as in the Mausoleum of Augustus, is not Luna or Carrara 22:31.671 --> 22:32.371 marble. 22:32.368 --> 22:35.548 It is travertine, but very, very nicely cut 22:35.547 --> 22:38.647 travertine blocks, as you can see here. 22:38.650 --> 22:39.990 Very well done. 22:39.990 --> 22:43.470 She was undoubtedly a well-to-do patron who was able 22:43.465 --> 22:46.885 to hire the best architects, the best artisans, 22:46.893 --> 22:50.693 and they have done an outstanding job of cutting that 22:50.688 --> 22:51.708 travertine. 22:51.710 --> 22:56.260 You can see also that there is a frieze that encircles the 22:56.257 --> 23:01.577 monument at the uppermost part, right here, and that frieze 23:01.575 --> 23:05.335 depicts garlands and skulls of bulls, 23:05.339 --> 23:08.339 bucrania; the same sort of thing that we 23:08.339 --> 23:10.969 saw in the inner precinct wall of the Ara Pacis. 23:10.970 --> 23:14.580 Although this pre-dates the Ara Pacis, so we can't say it was 23:14.582 --> 23:16.572 the influence of the Ara Pacis. 23:16.568 --> 23:20.528 This is again 20, whereas the Ara Pacis wasn't 23:20.531 --> 23:22.031 begun until 13. 23:22.028 --> 23:23.728 And it shows us that this motif was very much in the air, 23:23.730 --> 23:27.500 during the Augustan period, this motif of garlands hanging 23:27.500 --> 23:30.930 from bucrania, which of course makes reference 23:30.929 --> 23:33.969 to sacrifice, and it could be a sacrifice in 23:33.971 --> 23:38.391 honor of a funerary event, as well as anything else, 23:38.387 --> 23:42.047 and we again see that very well here. 23:42.048 --> 23:48.468 One very interesting fact is that the frieze is not made out 23:48.474 --> 23:52.834 of travertine but out of pentelic marble, 23:52.830 --> 23:55.010 p-e-n-t-e-l-i-c. 23:55.009 --> 23:59.539 Pentelic marble is marble from Mount Pentelikon in Greece. 23:59.538 --> 24:04.008 So it tells us that marble was imported from Greece, 24:04.009 --> 24:07.359 or marble that was imported from Greece was purchased and 24:07.358 --> 24:10.468 used for the frieze of this particular structure, 24:10.470 --> 24:13.470 and we'll see that it was used also for the inscription plaque. 24:13.470 --> 24:15.390 So it tells us something. 24:15.390 --> 24:19.350 It tells us that there was--that some patrons made the 24:19.346 --> 24:23.896 decision to spend a little more for the material for what they 24:23.902 --> 24:28.012 considered the most important part of the monument. 24:28.009 --> 24:31.779 So in this case the most important part of the monument 24:31.781 --> 24:35.001 was the frieze, and also the inscription plaque 24:34.998 --> 24:38.028 that preserved this woman's name for posterity. 24:38.029 --> 24:41.389 So they paid a little bit more in order to get that more 24:41.394 --> 24:44.514 expensive material for those critical details of the 24:44.513 --> 24:45.313 monument. 24:45.309 --> 24:46.389 Here's the inscription. 24:46.390 --> 24:48.620 We're very fortunate that it's still preserved today. 24:48.618 --> 24:51.698 We see it still inserted into the monument. 24:51.700 --> 24:57.170 Again, it's done in pentelic marble, and I think you can see, 24:57.171 --> 25:01.641 even in this view, the difference between pentelic 25:01.638 --> 25:04.008 marble and travertine. 25:04.009 --> 25:08.019 Travertine has more texture to it than the plainer marble, 25:08.015 --> 25:09.205 as you can see. 25:09.210 --> 25:14.400 And her name is given here, Caecilia Metella: 25:14.398 --> 25:17.818 Caecilia Metella down here. 25:17.818 --> 25:23.108 And it tells us that she was the daughter F(filia), 25:23.112 --> 25:27.242 f-i-l-i-a, the daughter of Quintus Q. 25:27.240 --> 25:31.710 Creticus--Creticus, C-r-e-t-i-c-u-s--who may have 25:31.711 --> 25:34.741 come from Crete; it's possible. 25:34.740 --> 25:38.970 And it also makes reference to the fact that she was married to 25:38.969 --> 25:41.219 someone by the name of Crassus. 25:41.220 --> 25:44.960 This may be Crassus the Elder; we're not absolutely sure. 25:44.960 --> 25:48.180 But what it does indicate to us is this is an aristocratic 25:48.178 --> 25:48.628 woman. 25:48.630 --> 25:52.580 This is an aristocratic woman whose family has a great deal of 25:52.576 --> 25:56.516 money, who are honoring her with this tomb, in the mode of the 25:56.521 --> 25:59.651 day; which of course was the tomb 25:59.654 --> 26:03.584 type that was chosen by Augustus himself. 26:03.578 --> 26:06.338 You may have noticed up here, in this same detail, 26:06.338 --> 26:08.738 not only the frieze that we've already described, 26:08.740 --> 26:10.590 with the garlands and bucrania, 26:10.588 --> 26:14.678 but that there is a relief here that represents a Roman trophy. 26:14.680 --> 26:15.810 What is a Roman trophy? 26:15.808 --> 26:20.168 What the Romans did at the end of battle, 26:20.170 --> 26:23.200 if they were victorious, is they went over to the 26:23.199 --> 26:26.669 nearest tree trunk on the battlefield and they took arms 26:26.671 --> 26:30.461 and armor from their defeated enemy and they tacked that arms 26:30.458 --> 26:34.898 and armor up on that tree trunk, to create a military trophy 26:34.900 --> 26:38.920 commemorating their victory, right on the battlefield. 26:38.920 --> 26:42.600 And that's exactly what you see here, a tree trunk with a 26:42.603 --> 26:45.633 breastplate and a helmet and shields and so on, 26:45.628 --> 26:47.798 all tacked up to that trophy. 26:47.798 --> 26:50.668 So we have to ask ourselves, what is that trophy doing on 26:50.673 --> 26:52.063 this particular monument? 26:52.058 --> 26:55.878 It's highly unlikely that it refers to--there are some 26:55.884 --> 26:59.634 instances; we do hear about woman trying 26:59.626 --> 27:04.586 to raise money for troops and so on and so forth. 27:04.588 --> 27:08.148 But we don't--and even thinking that they might go into battle 27:08.145 --> 27:11.525 -- but for the most part Roman women did not participate in 27:11.528 --> 27:12.168 battle. 27:12.170 --> 27:16.870 So it is highly unlikely that this refers to a military 27:16.865 --> 27:19.035 encounter that she had. 27:19.038 --> 27:22.628 More likely it either refers to a military encounter of her 27:22.628 --> 27:25.658 father or her husband, or it may be a more generic 27:25.662 --> 27:27.212 reference to victory. 27:27.210 --> 27:30.740 We've talked about the fact that in the minds of the Romans, 27:30.740 --> 27:33.600 the victory in battle, victory in the hunt, 27:33.598 --> 27:37.428 often were conflated with victory over death. 27:37.430 --> 27:39.900 So it could be a more generic reference, 27:39.900 --> 27:43.820 but I would guess it may have something to do more 27:43.818 --> 27:48.778 specifically with the conquest of her husband or her father. 27:48.779 --> 27:55.149 The structure today is just right there, out on the Via 27:55.145 --> 27:57.455 Appia; easy to see. 27:57.460 --> 28:00.870 There is a small museum that isn't all that often open, 28:00.874 --> 28:03.974 but sometimes it is, that is in the remains of the 28:03.972 --> 28:06.442 fortress, and the palace next door. 28:06.440 --> 28:09.590 You can see that the outside of the monument, 28:09.588 --> 28:12.068 they've inserted a lot of finds just from-- 28:12.068 --> 28:15.268 it doesn't mean they came from the Tomb of Caecilia Metella -- 28:15.269 --> 28:17.409 but from this area on the Via Appia. 28:17.410 --> 28:18.950 There were tons of Roman tombs out here, 28:18.950 --> 28:21.760 and all of this paraphernalia that you see, 28:21.759 --> 28:25.889 statuary and fragments of friezes and cornices and so on, 28:25.890 --> 28:28.700 all come in part possibly from this monument, 28:28.700 --> 28:32.040 but more likely from the other tombs in the area. 28:32.038 --> 28:34.558 Those have been inserted into the wall in a kind of 28:34.561 --> 28:35.471 interesting way. 28:35.470 --> 28:37.630 And then here's the museum itself. 28:37.630 --> 28:40.280 The museum doesn't have--the stuff that's in there is pretty 28:40.281 --> 28:42.441 much the same sort of thing that you see here. 28:42.440 --> 28:46.850 But going into the museum is interesting because you can see 28:46.849 --> 28:51.559 into the central chamber of the Tomb of Caecilia Metella and see 28:51.558 --> 28:54.548 the concrete construction and so on. 28:54.548 --> 29:00.118 I mentioned already that Roman tombs could be very eccentric 29:00.115 --> 29:03.155 indeed, and I want to show you one of 29:03.156 --> 29:06.486 the two most eccentric tombs, in my opinion, 29:06.491 --> 29:11.331 from ancient Rome that one can see in the city of Rome today. 29:11.328 --> 29:16.148 And the first of these is the so-called Tomb of Cestius, 29:16.150 --> 29:19.320 because we believe--in fact, we're absolutely sure-- 29:19.318 --> 29:22.078 that it honors a man by the name of Gaius, 29:22.078 --> 29:25.008 G-a-i-u-s Cestius, C-e-s-t-i-u-s; 29:25.009 --> 29:25.979 Gaius Cestius. 29:25.980 --> 29:27.720 It was put up in 15 B.C. 29:27.720 --> 29:30.570 That is in the age of the emperor Augustus. 29:30.568 --> 29:35.238 In this Google Earth aerial view, we see what that structure 29:35.243 --> 29:36.753 looks like today. 29:36.750 --> 29:42.290 It is a Roman tomb in the form of an Egyptian pyramid. 29:42.288 --> 29:46.008 It's the only Roman tomb in the form of an Egyptian pyramid that 29:46.008 --> 29:49.198 we can see in Rome today, but we know there were others 29:49.195 --> 29:50.195 in antiquity. 29:50.200 --> 29:54.800 We have reports that tell us that certain others that existed 29:54.800 --> 29:58.560 at a certain time were torn down, at one point. 29:58.558 --> 30:00.498 There was one, for example, 30:00.501 --> 30:04.241 not far from the Vatican, that was torn down at one 30:04.239 --> 30:08.049 point, because it got in the way of the street. 30:08.048 --> 30:10.298 So this is not unique in the sense of the only one, 30:10.298 --> 30:12.638 although it is the only one still surviving today. 30:12.640 --> 30:14.380 We have no idea how many of these there were. 30:14.380 --> 30:15.670 There were certainly some. 30:15.670 --> 30:18.840 Whether there were a lot, we can't be absolutely certain. 30:18.838 --> 30:20.258 But here it is, a Roman tomb, 30:20.259 --> 30:21.629 in the form of a pyramid. 30:21.630 --> 30:25.210 Now when it was first put up, it was put up outside the 30:25.208 --> 30:29.188 Servian Walls of the city, because all--as we've talked 30:29.192 --> 30:33.682 about the fact that by Roman law the necropolis or city of the 30:33.683 --> 30:38.033 dead needed to be located outside the walls of the city. 30:38.029 --> 30:40.619 But as the city grew, and as there was a need for a 30:40.617 --> 30:42.897 new wall-- and this happened in the third 30:42.900 --> 30:45.120 century A.D., and we'll talk about it way at 30:45.118 --> 30:48.148 the end of this semester-- the Romans ended up building a 30:48.147 --> 30:51.307 new wall, the famous Aurelian Walls. 30:51.308 --> 30:55.228 And the circuit happened to be planned for this particular--to 30:55.229 --> 30:59.019 pass this particular point where the Tomb of Cestius was. 30:59.019 --> 31:03.159 And fortunately they recognized the aesthetic and historical 31:03.163 --> 31:06.923 value of this tomb, and decided not to tear it 31:06.915 --> 31:12.005 down, but rather to incorporate it into the Aurelian Walls. 31:12.009 --> 31:13.479 So what you see in this aerial view are two of the walls-- 31:13.480 --> 31:16.070 two parts of the Aurelian Walls abutting, 31:16.068 --> 31:20.718 and in fact incorporating, the Pyramid of Cestius, 31:20.720 --> 31:23.350 but in antiquity--when it was first built, 31:23.349 --> 31:24.999 excuse me, it stood alone. 31:25.000 --> 31:29.670 And what you see over here is a gateway that also belongs to the 31:29.665 --> 31:31.365 later Aurelian Walls. 31:31.368 --> 31:36.918 So again, fortunately this particular tomb was preserved. 31:36.920 --> 31:41.190 These two engravings are helpful in showing us that the 31:41.192 --> 31:45.152 inner core of the Tomb of Cestius was concrete, 31:45.150 --> 31:49.420 and the outer pyramidal shape was faced once again with 31:49.421 --> 31:50.451 travertine. 31:50.450 --> 31:53.590 So travertine clearly the material of choice by 31:53.594 --> 31:56.074 aristocrats-- because we're going to see that 31:56.067 --> 31:59.447 Cestius was also an aristocrat-- for their tombs in the age of 31:59.450 --> 32:03.940 Augustus: concrete core, travertine facing. 32:03.940 --> 32:07.160 And then if you look at this cutaway view over here, 32:07.155 --> 32:10.425 you will see that the burial chamber inside was very, 32:10.434 --> 32:15.014 very, very small; very, very, very small. 32:15.009 --> 32:18.199 So small enough that there was not a lot of space for these 32:18.200 --> 32:20.850 burials; but we'll see that we still 32:20.849 --> 32:24.039 believe that this too was a family tomb. 32:24.038 --> 32:29.428 The burial chamber has had, and still has, 32:29.434 --> 32:33.124 remnants of painted walls. 32:33.118 --> 32:36.468 And I show you an engraving here of those walls that was 32:36.473 --> 32:39.953 made when they were in somewhat better shape than they are 32:39.950 --> 32:40.560 today. 32:40.558 --> 32:43.888 And I wondered if any of you--you're such experts now on 32:43.886 --> 32:46.606 First to Fourth Style Roman wall painting-- 32:46.608 --> 32:48.968 if any of you could tell me--I'm sure all of you could 32:48.970 --> 32:52.680 tell me-- what style painting is being 32:52.681 --> 32:58.551 used in the burial chamber of the Tomb of Cestius? 32:58.549 --> 32:59.769 Student: Third Style. 32:59.769 --> 33:00.819 Prof: Third style. 33:00.817 --> 33:01.527 Why Third Style? 33:01.528 --> 33:04.858 Student: There's floating mythological features 33:04.858 --> 33:06.338 and very thin columns. 33:06.338 --> 33:09.108 Prof: Very thin candelabra here, 33:09.111 --> 33:11.081 and mythological figures. 33:11.078 --> 33:14.818 How are those used that make--that show that this is a 33:14.823 --> 33:16.733 typical Third Style wall? 33:16.730 --> 33:19.110 Student: They have a blackout laying around them and 33:19.106 --> 33:20.716 they're just floating around in space. 33:20.720 --> 33:21.770 Prof: That's the word, floating. 33:21.769 --> 33:24.049 They are floating in this random space, 33:24.051 --> 33:26.941 right in the center of the panels, as we know was 33:26.935 --> 33:30.175 characteristic of Third Style Roman wall painting. 33:30.180 --> 33:34.040 So 15 B.C., Third Style Roman wall painting. 33:34.038 --> 33:37.878 And if you think back to some of the palaces or villas that we 33:37.880 --> 33:41.660 looked at and their dates--think of Boscotrecase for example, 33:41.656 --> 33:42.346 11 B.C. 33:42.348 --> 33:46.888 You see this is roughly contemporary to what's happening 33:46.891 --> 33:50.031 in Campania at this particular time. 33:50.029 --> 33:54.009 And here are two details of the remains of those paintings, 33:54.009 --> 33:56.519 and you can see one of these floating mythological figures 33:56.520 --> 33:58.460 that looks like a victory figure: female, 33:58.460 --> 34:00.400 winged, carrying a wreath over here, 34:00.400 --> 34:02.270 flying in the center of the panel. 34:02.269 --> 34:04.039 This also shows you, in this case, 34:04.040 --> 34:06.620 the panels were white, very similar to the walls, 34:06.617 --> 34:08.927 for example, of the Third Style in the Domus 34:08.925 --> 34:09.995 Aurea in Rome. 34:10.000 --> 34:12.720 And then here, this candelabrum, 34:12.719 --> 34:15.349 very attenuated, very delicate, 34:15.353 --> 34:18.603 that is used in place of columns; 34:18.599 --> 34:23.129 both of these motifs decorating the flat wall that was so 34:23.130 --> 34:27.340 characteristic of Third Style Roman wall painting. 34:27.340 --> 34:30.300 Here's another view of the pyramid as it looks today. 34:30.300 --> 34:32.890 You can see it is exceedingly well preserved, 34:32.891 --> 34:35.661 one of the best preserved of all Roman tombs. 34:35.659 --> 34:40.269 You can see again the way in which the later wall was built 34:40.273 --> 34:42.953 into it, and you can also see the 34:42.945 --> 34:46.975 travertine blocks and how carefully carved they were by 34:46.983 --> 34:49.543 the designers, by the artisans. 34:49.539 --> 34:55.339 And here, this is very helpful, because it shows you that the-- 34:55.340 --> 34:57.480 at least one, but I can tell you that two 34:57.476 --> 35:00.296 sides of the tomb, the eastern and western sides 35:00.298 --> 35:03.018 of the tomb, had in the center of the 35:03.021 --> 35:05.321 pyramid the name of Cestius. 35:05.320 --> 35:06.670 That's how we know it was his tomb. 35:06.670 --> 35:08.800 You see it here, Gaius Cestius. 35:08.800 --> 35:11.200 And it also includes all of his titles. 35:11.199 --> 35:15.479 So he was very happy to advertise his titles on this 35:15.481 --> 35:17.941 monument, the purpose of which, 35:17.940 --> 35:22.080 of course, was for those who mourned him to feel proud of him 35:22.081 --> 35:23.741 and his achievements. 35:23.739 --> 35:26.899 But even more important than that, from his point of view I 35:26.900 --> 35:29.150 am sure, and from the point of view of 35:29.146 --> 35:32.496 the Romans in general, was that his name and his deeds 35:32.503 --> 35:35.403 be preserved for posterity so that someday-- 35:35.400 --> 35:39.200 in 2009, we're sitting in this classroom looking at this-- 35:39.199 --> 35:42.359 we think back on Cestius, his title, 35:42.360 --> 35:44.470 what he did, what he achieved, 35:44.474 --> 35:47.614 and the way in which he was memorialized. 35:47.610 --> 35:50.370 So this whole idea of preserving memory, 35:50.367 --> 35:54.537 not only in your own time, but into the far flung future. 35:54.539 --> 35:57.209 This tomb, as I said, despite the fact that the 35:57.210 --> 36:00.290 burial chamber is small, we do believe it was a family 36:00.286 --> 36:00.806 tomb. 36:00.809 --> 36:04.399 We have evidence for that, because two bases were found 36:04.400 --> 36:06.860 that seemed to belong to this tomb; 36:06.860 --> 36:09.570 in fact, it's Cestius' name, or members of his family, 36:09.568 --> 36:11.868 Cestius, you can see there, are named in these 36:11.869 --> 36:12.739 inscriptions. 36:12.739 --> 36:17.099 These have markings on the top that suggest to us that statues 36:17.103 --> 36:19.253 stood on them, at one point. 36:19.250 --> 36:24.400 So these were statue bases, probably placed right in front 36:24.396 --> 36:28.006 of the entrance to the pyramidal tomb. 36:28.010 --> 36:30.560 And if you cast your eyes over this inscription you will not 36:30.563 --> 36:32.343 only see the name Cestius a few times, 36:32.340 --> 36:35.610 but you will see another very important name, 36:35.610 --> 36:37.800 and that is M.***Agrippa. 36:37.800 --> 36:41.100 That's Marcus Agrippa, that's the Marcus Agrippa, 36:41.099 --> 36:45.889 the longtime--the boyhood friend and longtime close 36:45.887 --> 36:51.247 confidant and onetime heir and son-in-law of Augustus; 36:51.250 --> 36:53.000 all of those things. 36:53.000 --> 36:54.020 He's mentioned here. 36:54.018 --> 36:56.698 So he is a member also of this family. 36:56.699 --> 36:59.989 So it demonstrates to us again we are dealing with an 36:59.987 --> 37:01.377 aristocratic family. 37:01.380 --> 37:03.120 So all of those tombs I've shown you thus far-- 37:03.119 --> 37:05.859 the Mausoleum of Augustus, the Tomb of Caecilia Metella, 37:05.860 --> 37:09.760 and the Tomb of Gaius Cestius--are all examples of 37:09.760 --> 37:14.220 aristocratic tomb architecture in the age of Augustus. 37:14.219 --> 37:19.399 Why did he choose a pyramid for his tomb is a very interesting 37:19.396 --> 37:22.806 question to ask, and I would suggest here--and 37:22.813 --> 37:26.053 it's not rocket science to figure this out at all-- 37:26.050 --> 37:29.760 I would suggest here though that the reason has to do with 37:29.764 --> 37:33.804 Augustus' very important victory over Mark Antony and Cleopatra 37:33.804 --> 37:36.024 at the Battle of Actium in 31. 37:36.018 --> 37:38.408 It was at that time, and even before, 37:38.405 --> 37:41.915 that an interest in things Egyptian came into Rome. 37:41.920 --> 37:47.460 We saw that Augustus himself made reference to his victory 37:47.460 --> 37:51.400 over that pair, over Cleopatra and Mark Antony, 37:51.398 --> 37:55.138 in the complex with the Ara Pacis and the Mausoleum of 37:55.141 --> 37:58.821 Augustus, by inserting that obelisk in 37:58.824 --> 38:01.134 the center; an obelisk that I have 38:01.132 --> 38:04.042 mentioned to you was actually brought from Egypt itself. 38:04.039 --> 38:06.499 So these references to Egypt, initially under Augustus 38:06.496 --> 38:07.976 himself, had political import. 38:07.980 --> 38:10.320 It was there to show that Augustus had been-- 38:10.320 --> 38:14.170 that obelisk was there to show that Augustus had prevailed over 38:14.168 --> 38:17.928 Mark Antony and Cleopatra, and because he had prevailed, 38:17.934 --> 38:21.734 he could steal obelisks from Egypt and bring them back to 38:21.730 --> 38:24.280 decorate Rome, as trophies essentially. 38:24.280 --> 38:25.960 So that was a political statement on his part. 38:25.960 --> 38:29.250 But as time went on, Egyptomania became a kind of 38:29.248 --> 38:30.618 fashion statement. 38:30.619 --> 38:34.299 I think that it caught on; it caught on after Egypt was 38:34.304 --> 38:36.704 made a Roman province in 30 B.C., 38:36.699 --> 38:39.739 right after Actium, and we begin to see this wave 38:39.744 --> 38:42.604 of things Egyptian spreading through Rome, 38:42.599 --> 38:45.129 and it's likely that Cestius--perhaps a combination 38:45.132 --> 38:47.092 of both, since he's from Agrippa's 38:47.092 --> 38:49.902 family, this combination of political reference, 38:49.900 --> 38:53.380 but also just this was an interesting-- 38:53.380 --> 38:56.080 this was the style at this particular point, 38:56.079 --> 38:59.129 to do things in the Egyptian manner. 38:59.130 --> 39:02.740 You might remember some of those Egyptianizing motifs that 39:02.744 --> 39:03.924 we saw, for example, 39:03.920 --> 39:05.630 from the Black Room at Boscotrecase, 39:05.630 --> 39:09.660 which was also a villa that was closely connected with the 39:09.657 --> 39:10.927 imperial family. 39:10.929 --> 39:15.079 You remember Agrippa Postumus who was the son of Agrippa 39:15.083 --> 39:19.393 himself, born by his wife Julia, after Agrippa's death; 39:19.389 --> 39:21.659 hence his name. 39:21.659 --> 39:25.409 Another view of the back of the Pyramid of Cestius, 39:25.409 --> 39:29.459 the Mausoleum of Cestius, which again shows us how well 39:29.460 --> 39:30.960 preserved it is. 39:30.960 --> 39:34.670 You can see the Aurelian Walls, you can see the gate that we 39:34.668 --> 39:37.558 looked at before, and you can also see that the 39:37.559 --> 39:40.199 back is actually in a modern cemetery. 39:40.199 --> 39:42.669 This is the so-called Protestant Cemetery, 39:42.668 --> 39:46.278 and if you are in Rome and have time, this is one of the most 39:46.282 --> 39:48.212 interesting places to visit. 39:48.210 --> 39:50.040 It's again a bit off the beaten track. 39:50.039 --> 39:52.929 Not that many tourists go there, but those that do are 39:52.925 --> 39:56.285 rewarded, because it's a cemetery where 39:56.289 --> 40:00.909 many expatriates were buried -- people who flocked to Rome 40:00.914 --> 40:02.364 because they loved it. 40:02.360 --> 40:06.700 Authors, scholars, poets, painters came to Rome, 40:06.699 --> 40:09.289 ended up spending the rest of their lives there-- 40:09.289 --> 40:11.199 coming from all different countries around the world-- 40:11.199 --> 40:13.009 spending the rest of their lives there, 40:13.010 --> 40:15.530 dying there, and eventually being buried in 40:15.534 --> 40:17.704 the so-called Protestant Cemetery. 40:17.699 --> 40:20.189 Percy Bysshe Shelley, for example, 40:20.190 --> 40:22.910 is buried there, as is John Keats. 40:22.909 --> 40:25.179 And the Keats tomb, Keats marker, 40:25.184 --> 40:28.104 is my favorite by far in this cemetery. 40:28.099 --> 40:32.049 You can see his tombstone here, which doesn't even give his 40:32.054 --> 40:35.754 name, it just identifies him; and you'll remember he died 40:35.753 --> 40:38.453 very, very young, in his early twenties I think 40:38.452 --> 40:39.042 it was. 40:39.039 --> 40:41.579 You see him here referred to only as "the young English 40:41.579 --> 40:42.139 poet." 40:42.139 --> 40:45.609 And down below it says, "Here lies one whose name 40:45.614 --> 40:47.324 was writ in water." 40:47.320 --> 40:49.400 It's an amazing stone. 40:49.400 --> 40:52.700 It does show the lyre, which makes reference, 40:52.704 --> 40:57.514 of course, to the fluency and so on of his mellifluous poetry. 40:57.510 --> 41:00.040 And over here, a companion of his, 41:00.039 --> 41:03.489 Joseph Severn, who doesn't hesitate to mention 41:03.487 --> 41:06.167 his relationship to John Keats. 41:06.170 --> 41:10.970 So you see Keats' name in Severn's tombstone but not in 41:10.965 --> 41:13.005 Keats' own tombstone. 41:13.010 --> 41:16.320 But I show this to you just because it's one of those more 41:16.322 --> 41:18.012 fascinating places in Rome. 41:18.010 --> 41:20.470 And many of the tombs, by the way--there are many 41:20.467 --> 41:23.227 tombstones here that clearly are based on ancient Roman 41:23.231 --> 41:24.001 prototypes. 41:24.000 --> 41:26.070 So it's a fascinating place to wander. 41:26.070 --> 41:28.380 And by the way, you can do that in our own 41:28.378 --> 41:31.138 Grove Street Cemetery, where there are a number of 41:31.135 --> 41:34.115 tombs that are done very much in the Roman style. 41:34.119 --> 41:38.629 If you think the Tomb of Cestius is unusual, 41:38.630 --> 41:43.210 the weirdest tomb by far in Rome, from ancient Rome, 41:43.210 --> 41:46.600 is the one that I turn to now, and this is the Tomb of the 41:46.599 --> 41:49.529 baker Eurysaces, the Tomb of the baker Eurysaces 41:49.532 --> 41:52.732 that was put up in Rome in the late first century B.C. 41:52.730 --> 41:56.640 And that again is another tomb from the age of Augustus. 41:56.639 --> 42:00.439 But in this case we believe, although the inscription 42:00.438 --> 42:04.548 doesn't tell us this for sure, but we believe it is highly 42:04.550 --> 42:08.010 likely that Eurysaces is from a different level of Roman 42:08.014 --> 42:10.354 society, not an aristocrat, 42:10.347 --> 42:13.237 but a working man who probably-- 42:13.239 --> 42:18.189 either he himself or his family were slaves originally, 42:18.190 --> 42:19.770 eventually freed. 42:19.768 --> 42:23.758 He takes up the profession of bread making and he ends up 42:23.760 --> 42:28.110 building this extraordinary tomb that I'm going to show you in 42:28.108 --> 42:29.888 some detail, in Rome. 42:29.889 --> 42:33.279 As we look at this particular view, we see the Tomb of 42:33.277 --> 42:36.477 Eurysaces, as it looks today; it's right over here. 42:36.480 --> 42:40.300 We see it has behind it a great travertine gate, 42:40.302 --> 42:43.072 which is actually later in date. 42:43.070 --> 42:44.860 It dates to the time of the emperor Claudius. 42:44.860 --> 42:46.410 We'll talk about it next week. 42:46.409 --> 42:48.889 So you have to think that away for the moment. 42:48.889 --> 42:52.849 That was not standing when the Tomb of Eurysaces was put up. 42:52.849 --> 42:55.779 You can also see, however, that this gate was 42:55.782 --> 42:57.852 placed in an aqueduct system. 42:57.849 --> 43:03.009 That aqueduct was begun during the time of Augustus. 43:03.010 --> 43:05.720 So you can imagine that at least some of that aqueduct 43:05.719 --> 43:08.379 system stood at the time that this tomb was built. 43:08.380 --> 43:11.930 The tomb, as you can see here, was a three-storied structure, 43:11.929 --> 43:13.999 very eccentric in its appearance. 43:14.000 --> 43:18.470 The ground line today is much lower than the modern ground 43:18.469 --> 43:19.019 line. 43:19.018 --> 43:22.038 So you have to go right up to the monument. 43:22.039 --> 43:24.029 You can look down at the first story. 43:24.030 --> 43:25.530 So you're only seeing a part of the first story here. 43:25.530 --> 43:29.700 You can see that it is made of tufa blocks. 43:29.699 --> 43:32.529 You can also see the interior is concrete, 43:32.530 --> 43:34.710 the core of the structure is concrete, 43:34.710 --> 43:37.000 and then on the second and third stories, 43:37.000 --> 43:40.950 the tomb is faced with travertine. 43:40.949 --> 43:44.919 So travertine again used for tomb facing in the age in 43:44.916 --> 43:45.736 Augustus. 43:45.739 --> 43:53.169 And we see this very unusual design where there are these 43:53.172 --> 43:59.412 great--not piers--cylinders, great cylinders; 43:59.409 --> 44:02.349 great cylinders that are placed here vertically, 44:02.346 --> 44:05.966 and then cylinders placed in the next tier horizontally. 44:05.969 --> 44:07.869 Vertically placed cylinders. 44:07.869 --> 44:09.169 They're not columns. 44:09.170 --> 44:10.370 You don't see any capitals. 44:10.369 --> 44:11.569 They're very fat. 44:11.570 --> 44:14.690 So they are cylinders, vertically, and then 44:14.693 --> 44:15.813 horizontally. 44:15.809 --> 44:18.659 And some scholars have suggested, and I think quite 44:18.663 --> 44:21.003 convincingly, that these may actually make 44:21.003 --> 44:23.403 reference to what were grain measures. 44:23.400 --> 44:27.140 Grain measures were these cylindrical structures in silos, 44:27.135 --> 44:30.665 in a sense, in which they stored grain in ancient Roman 44:30.673 --> 44:31.333 times. 44:31.329 --> 44:34.829 So that is very possible, since we know that this man was 44:34.831 --> 44:38.261 a baker, that this may make reference to 44:38.255 --> 44:43.635 these grain storage cylinders that were used in the process of 44:43.637 --> 44:44.517 baking. 44:44.518 --> 44:46.118 With regard to the siting of the tomb-- 44:46.119 --> 44:49.969 this is particularly interesting--I show you this 44:49.967 --> 44:53.297 plan over here, which indicates to us--here you 44:53.302 --> 44:56.542 can actually see the plan of the Tomb of Eurysaces, 44:56.539 --> 44:58.909 and you can see that it is very unusual in shape. 44:58.909 --> 45:00.969 It is trapezoidal in shape. 45:00.969 --> 45:03.299 Why is it trapezoidal in shape? 45:03.300 --> 45:07.710 It probably is trapezoidal in shape because the tomb was 45:07.708 --> 45:12.678 located on a piece of property that was between two major roads 45:12.679 --> 45:17.329 of Rome that exited and entered the city at this particular 45:17.329 --> 45:20.859 point: the so-called Via Labicana and the Via 45:20.856 --> 45:22.456 Praenestina. 45:22.460 --> 45:26.830 So two major Roman roads that come into the city at this 45:26.833 --> 45:27.473 point. 45:27.469 --> 45:28.759 And remember, the Tomb of Eurysaces, 45:28.760 --> 45:31.200 like all Roman tombs during this period, 45:31.199 --> 45:34.279 was outside the Servian Walls, so built outside the walls, 45:34.280 --> 45:39.610 but between these two streets. 45:39.610 --> 45:42.680 Now this model over here, which by the way comes from a 45:42.677 --> 45:45.687 museum in Rome that again is off the beaten track, 45:49.476 --> 45:52.486 Romana, which is in a building built by 45:52.485 --> 45:55.695 Mussolini in the 1930s for a World's Fair, 45:55.699 --> 45:59.049 and the buildings--and it and other buildings like it out 45:59.050 --> 46:02.140 there, in a place--part of Rome that 46:02.137 --> 46:06.527 we call EUR from Esposizione Universale di Roma, 46:06.530 --> 46:08.770 E-U-R, EUR. 46:08.768 --> 46:12.038 That whole area built up by Mussolini for the World's Fair. 46:12.039 --> 46:15.379 But the buildings were so substantial that they decided to 46:15.378 --> 46:18.948 keep them, and they still stand, and this museum was placed in 46:18.952 --> 46:19.892 one of them. 46:19.889 --> 46:23.149 It is a museum of casts, where you can go and see works 46:23.150 --> 46:26.530 of Roman art and architecture from not only Rome but from 46:26.534 --> 46:28.894 around the world, all in one place. 46:28.889 --> 46:30.319 Now they're not originals, they're casts, 46:30.320 --> 46:33.640 but it'd be a great place to study for the exam for this 46:33.644 --> 46:34.724 course, for example, 46:34.724 --> 46:37.064 because you can walk around and see so many of the buildings 46:37.061 --> 46:38.131 that we've talked about. 46:38.130 --> 46:40.740 And there are these wonderful models of many of them. 46:40.739 --> 46:45.189 And we see here a model of this aqueduct, the later gate here, 46:45.188 --> 46:47.228 and the Tomb of Eurysaces. 46:47.230 --> 46:50.090 And this shows you very well the way in which these two 46:50.086 --> 46:51.776 streets, the Labicana and the 46:51.779 --> 46:54.219 Praenestina, came into Rome at this point, 46:58.768 --> 47:03.628 And this--it is clear that Eurysaces-- 47:03.630 --> 47:05.650 and I'll tell you how he did this in a moment-- 47:05.650 --> 47:09.680 had enough money that he was able to buy what was certainly 47:09.677 --> 47:13.007 one of the most choice pieces of real estate, 47:13.010 --> 47:16.210 outside the walls of Rome, one in which everyone who came 47:16.213 --> 47:19.703 into Rome from either of those two thoroughfares would see the 47:21.480 --> 47:26.010 This is a man who wanted to be remembered for posterity. 47:26.010 --> 47:29.320 It's another example of how tombs were used for the purposes 47:29.322 --> 47:31.122 of retaining memory over time. 47:31.119 --> 47:37.009 This is also interesting because it shows what happened. 47:37.010 --> 47:40.010 What you see with the dotted lines here is one of these later 47:40.014 --> 47:42.274 gates that was made for the Aurelian Walls. 47:42.268 --> 47:45.128 And in this case, the Tomb of Eurysaces was right 47:45.128 --> 47:48.398 smack dab in the middle of where they wanted to build an 47:48.402 --> 47:50.132 outcropping of this wall. 47:50.130 --> 47:53.790 In this case they decided that they were not going to build the 47:53.789 --> 47:56.149 wall into it, but that they were going to 47:56.150 --> 47:58.040 build the wall on top of it. 47:58.039 --> 48:01.139 But fortunately, again, they did not destroy it 48:01.135 --> 48:02.005 completely. 48:02.010 --> 48:05.360 They did shear off the front of the tomb, 48:06.840 --> 48:10.390 but they allowed the debris to fall into the tower, 48:10.389 --> 48:12.699 and then they covered it up. 48:12.699 --> 48:17.029 So when this tower was eventually torn down to free the 48:17.027 --> 48:20.607 Tomb of Eurysaces, they found the fourth wall and 48:20.608 --> 48:24.338 the debris from that wall, including a portrait statue and 48:24.338 --> 48:26.548 an inscription inside the debris, 48:26.550 --> 48:29.390 which was extremely fortunate, and which allows us to 48:29.385 --> 48:30.855 reconstruct the monument. 48:30.860 --> 48:35.980 Here you see the model in this EUR Museum that shows you what 48:35.978 --> 48:39.048 the tomb looked like in antiquity. 48:39.050 --> 48:41.940 You see the three levels, the three tiers. 48:41.940 --> 48:44.460 You see the entrance to the burial chamber here. 48:46.849 --> 48:49.049 this is the part that no longer survives. 48:51.500 --> 48:54.340 now gone, but we can again reconstruct it from those 48:54.340 --> 48:55.010 remains. 48:55.010 --> 48:57.950 And you see them here, and you see it was relatively 48:57.954 --> 49:00.964 plain on three tiers, except for a portrait statue of 49:00.956 --> 49:04.516 Eurysaces and his wife, an inscription down below. 49:04.518 --> 49:07.758 And you need to think away the frieze up there, 49:07.760 --> 49:10.860 because the frieze was probably not on this side of the 49:10.860 --> 49:12.750 monument, although there was a frieze 49:12.748 --> 49:14.078 around the other three sides. 49:14.079 --> 49:17.089 You can see one of those sides here, and I'll show that frieze 49:17.085 --> 49:18.115 to you momentarily. 49:18.119 --> 49:22.259 This is a view of the tomb again, where we can see so well 49:22.255 --> 49:24.645 those cylinders on two stories. 49:24.650 --> 49:30.160 And you can also see here that in the area between the vertical 49:30.157 --> 49:33.867 and the horizontal cylinders, on three sides of the monument, 49:33.869 --> 49:36.179 there is an inscription, and it repeats over and over 49:36.177 --> 49:38.567 again, and it tells us that this 49:38.570 --> 49:41.290 monument was put up by Eurysaces, 49:41.289 --> 49:47.589 Marcus Vergilius Eurysaces, who was pistor and 49:47.586 --> 49:51.066 redemptor-- p-i-s-t-o-r, 49:51.068 --> 49:54.508 r-e-d-e-m-p-t-o- r--pistor and 49:54.510 --> 49:56.010 redemptor. 49:56.010 --> 50:00.140 That means master baker and contractor--the contractor is 50:00.141 --> 50:04.201 the most important part--master baker and contractor. 50:04.199 --> 50:09.089 We know this is a man who made bread and sold it to the Roman 50:09.085 --> 50:09.815 armies. 50:09.820 --> 50:13.910 This was a pretty lucrative thing to do in the age of 50:13.914 --> 50:18.014 Augustus when there was so much military conquest. 50:18.010 --> 50:20.630 He made a fortune selling bread to the Roman armies, 50:20.630 --> 50:23.850 and it is with that fortune that he was able to buy this 50:23.851 --> 50:27.311 choice piece of real estate and to put up this extraordinary 50:27.309 --> 50:29.829 monument in the late first century B.C. 50:29.829 --> 50:32.369 The portrait relief still survives. 50:32.369 --> 50:34.729 It's in the Capitoline Museums today. 50:34.730 --> 50:36.420 You see it here. 50:36.420 --> 50:38.430 It had fallen in again to the debris, 50:38.429 --> 50:41.589 from the fourth side, but here it is with Eurysaces 50:41.594 --> 50:44.864 standing next to his wife, Atistia--we know her name and 50:44.856 --> 50:47.916 I'll tell you how in a moment-- Atistia, in that portrait 50:47.922 --> 50:48.402 relief. 50:48.400 --> 50:51.060 And we're not going to go into this in any detail, 50:51.059 --> 50:54.439 but if you compare it to the figures of Augustus and his 50:54.443 --> 50:56.223 family, from the Ara Pacis, 50:56.215 --> 50:59.865 I think you'll agree with me that the Ara Pacis is serving as 50:59.869 --> 51:03.049 a model, and that this portrait group is 51:03.054 --> 51:07.444 clearly based on aristocratic-- even though this is probably a 51:07.438 --> 51:11.408 middle-class pair, formerly from a slave family, 51:11.414 --> 51:12.744 freed people. 51:12.739 --> 51:16.659 They are shown here very much as if they are members of the 51:16.663 --> 51:20.593 court, wearing similar costumes, depicted in a similar way, 51:20.585 --> 51:22.475 with similar hairstyles. 51:22.480 --> 51:24.090 And I point to just one detail. 51:24.090 --> 51:29.040 If you look at this view of Livia, on the Ara Pacis, 51:29.039 --> 51:30.789 Augustus' wife, and you see the wonderful way 51:30.789 --> 51:32.579 in which the artist has depicted her hand, 51:32.579 --> 51:35.949 the shape of her hand showing underneath her garment here; 51:35.949 --> 51:40.139 the same is done here for Atistia, you can see--and that's 51:40.144 --> 51:42.284 A-t-i-s-t-i-a--for Atistia. 51:42.280 --> 51:45.050 You can see her hand. 51:45.050 --> 51:46.800 In fact, it's even better done here because you can see the 51:46.795 --> 51:50.305 shape of the knuckles and so on, underneath the garment, 51:50.306 --> 51:55.006 the very diaphanous garment that she wears. 51:55.010 --> 51:57.070 So clearly a very special portrait artist, 51:57.065 --> 51:59.015 probably hired to do these portraits; 51:59.018 --> 52:04.648 a portrait artist who may have been hired at great expense. 52:04.650 --> 52:07.800 And also very significant, and in keeping with what we saw 52:07.800 --> 52:09.790 for the Tomb of Caecilia Metella, 52:09.789 --> 52:14.229 is the fact that although the tomb is faced in travertine and 52:14.233 --> 52:18.013 the relief around the monument is in travertine, 52:18.010 --> 52:21.040 this is done in marble, in, if I remember correctly, 52:21.039 --> 52:24.009 Greek marble, as well. 52:24.010 --> 52:27.480 So imported marble that is brought from elsewhere and at 52:27.478 --> 52:31.578 greater expense is used for the most important portrait relief. 52:31.579 --> 52:34.599 The scenes around the--the scenes, 52:34.599 --> 52:37.819 the frieze scenes, are particularly interesting 52:37.820 --> 52:41.180 because they depict in the greatest of detail the 52:41.179 --> 52:43.839 profession of the making of bread. 52:43.840 --> 52:49.290 They depict Eurysaces' daily achievement of making bread that 52:49.293 --> 52:52.023 he sold to the Roman armies. 52:52.018 --> 52:54.168 I'm going to just show you the scenes very quickly, 52:54.170 --> 52:56.150 and you can see the style is very different. 52:56.150 --> 52:58.510 It's a much more journalistic style, 52:58.510 --> 53:02.350 with figures that don't have the elegant proportions that we 53:02.347 --> 53:06.347 saw in the portrait relief, and it is carved on travertine, 53:06.347 --> 53:07.337 not on marble. 53:07.340 --> 53:12.270 We see here the grain being ground between two stones, 53:12.266 --> 53:18.026 and we see the way in which these men in tunics worked that. 53:18.030 --> 53:21.900 We also see that the upper stone is rotated by a mule that 53:21.902 --> 53:25.842 is attached to a wooden handle that comes off the uppermost 53:25.842 --> 53:26.932 stone there. 53:26.929 --> 53:29.579 We have millstones just like this, from Pompeii, 53:29.579 --> 53:31.779 and I show you the actual millstones. 53:31.780 --> 53:34.910 So these depictions on the Tomb of Eurysaces: 53:34.909 --> 53:38.819 very accurate in terms or what millstones looked like in 53:38.822 --> 53:39.822 antiquity. 53:39.820 --> 53:44.430 Another scene here in which we see two men at a table with big 53:44.429 --> 53:47.149 gobs of dough, that you can see here, 53:47.150 --> 53:49.040 dough, for the bread. 53:49.039 --> 53:53.279 Another scene--this is one of the more important scenes--where 53:53.275 --> 53:57.505 we see four men standing behind a table, that are forming that 53:57.512 --> 53:59.042 dough into loaves. 53:59.039 --> 54:04.419 And over here a magistrate, who has a short-sleeved but 54:04.422 --> 54:08.012 long garment, is supervising them. 54:08.010 --> 54:10.190 And the four men are very interestingly rendered because 54:10.186 --> 54:11.886 they're rendered almost exactly the same. 54:11.889 --> 54:13.839 If you look, if you compare this to the Ara 54:13.842 --> 54:16.032 Pacis where figures are represented in different 54:16.027 --> 54:17.747 postures, a lot of variety, 54:17.751 --> 54:19.961 clearly based on Greek prototypes. 54:19.960 --> 54:21.750 Here we see something very different. 54:21.750 --> 54:25.710 The major objective of the artist is to get the story 54:25.706 --> 54:29.356 across, to show these men making these loaves. 54:29.360 --> 54:30.720 But look at them. 54:30.719 --> 54:33.879 Each one--they're bare chested, and we'll see why they're bare 54:33.880 --> 54:34.400 chested. 54:34.400 --> 54:36.950 It's hot in this part of the bakery. 54:36.949 --> 54:38.439 So they've taken off their shirts. 54:38.440 --> 54:41.450 There's some attempt to depict their musculature. 54:41.449 --> 54:44.279 But they're essentially shown in exactly the same way, 54:44.280 --> 54:47.350 the same curly hair, almost as if they were cut from 54:47.347 --> 54:50.227 a cookie cutter, because again it's not the form 54:50.231 --> 54:52.481 that's of interest to the artist here, 54:52.480 --> 54:54.220 but getting that narrative across. 54:54.219 --> 54:57.009 And if you try to figure out whose legs belong to whom, 54:57.009 --> 54:59.539 believe me, you'll have a difficult time of it. 54:59.539 --> 55:02.849 So the artist is not--is much less concerned with formal 55:02.849 --> 55:05.859 things than he is with getting the story across. 55:05.860 --> 55:08.320 With regard to why they've taken off their shirts, 55:08.315 --> 55:09.815 they're right near the oven. 55:09.820 --> 55:13.760 And I show you the scene that depicts the dome-shaped oven in 55:13.757 --> 55:16.117 which the loaves are being baked, 55:16.119 --> 55:19.919 and you can see that this oven looks very much like a modern 55:19.918 --> 55:22.468 pizza oven, and in fact the pole that they 55:22.469 --> 55:24.569 use, the wooden pole with the flat 55:24.565 --> 55:28.035 end, is just the sort of thing you see at BAR or any other 55:28.039 --> 55:30.839 major pizza place, either in New Haven or 55:30.842 --> 55:32.442 elsewhere in the world. 55:32.440 --> 55:34.880 And, in fact, these dome-shaped ovens are 55:34.875 --> 55:36.575 still used in rural areas. 55:36.579 --> 55:41.599 And I took this view in Greece, in a small rural town, 55:41.599 --> 55:44.949 and you see these in Italy in some very small towns as well, 55:44.949 --> 55:47.729 still being done in exactly the same way. 55:47.730 --> 55:50.900 There are a number--because of the cylinders on the Tomb of 55:50.898 --> 55:53.248 Eurysaces, there are some scholars who've 55:53.246 --> 55:56.246 suggested that the Tomb of Eurysaces is in the form of a 55:56.248 --> 55:56.848 bakery . 55:56.849 --> 56:01.059 While I do believe that there is reference to those grain-- 56:01.059 --> 56:04.469 to those storage bins, silos that were used for the 56:04.474 --> 56:07.994 storage of grain, I do not think that the Tomb of 56:07.990 --> 56:10.560 Eurysaces is in the form of an oven. 56:10.559 --> 56:13.009 It makes reference to baking, but I don't think it's in the 56:13.012 --> 56:14.792 form of an oven, because this is what Roman 56:14.789 --> 56:15.719 ovens looked like. 56:15.719 --> 56:16.759 They were dome-shaped. 56:16.760 --> 56:20.970 This has a very different appearance, as you can see. 56:20.969 --> 56:24.629 Perhaps the most important scene in the frieze is this one, 56:24.630 --> 56:28.690 where we see two--we see the loaves have been baked, 56:28.690 --> 56:33.140 they're ready to go to market, and they're put in these large 56:33.143 --> 56:35.843 baskets-- you can see them here--and then 56:35.838 --> 56:39.098 they are weighed in this scale, in this ancient scale. 56:39.099 --> 56:42.979 And I think this is a form of private propaganda on the part 56:42.976 --> 56:44.616 of the baker Eurysaces. 56:44.619 --> 56:47.799 What he is telling the public who gaze up on this tomb, 56:47.800 --> 56:50.440 not only in his own day but for posterity, 56:50.440 --> 56:54.510 is: "My bread was always, not only of high quality, 56:54.510 --> 56:56.410 but of the appropriate weight. 56:56.409 --> 56:58.099 I never cheated the public. 56:58.099 --> 56:59.329 I treated you fairly. 56:59.329 --> 57:02.109 I was an honest baker and contractor." 57:02.110 --> 57:04.520 I think that's what the message is here. 57:04.518 --> 57:07.148 And, in fact, you may think this is a 57:07.153 --> 57:10.183 stretch, but I think that one could 57:10.181 --> 57:14.971 easily compare this report that Eurysaces provides of his 57:14.967 --> 57:19.837 profession on the frieze of this tomb as a kind of baker's 57:19.838 --> 57:23.598 version of Augustus' Res Gestae. 57:23.599 --> 57:28.469 The list of things accomplished during his life is laid out in 57:28.474 --> 57:32.154 narrative form, for not only his contemporaries 57:32.152 --> 57:34.472 but for posterity to see. 57:34.469 --> 57:37.789 The portrait group again--and I mentioned that there was an 57:37.786 --> 57:40.356 inscription found with that portrait group; 57:40.360 --> 57:44.390 a very interesting inscription which tells us that Eurysaces 57:44.385 --> 57:47.385 put up this monument to his wife Atistia, 57:47.389 --> 57:50.859 and Atistia's bodily remains, he says, 57:50.860 --> 57:55.310 are buried in hoc panario--in hoc 57:55.309 --> 57:58.639 panario, in this panarium. 57:58.639 --> 57:59.579 What is a panarium? 57:59.579 --> 58:02.259 A breadbasket; which is again why scholars 58:02.259 --> 58:04.849 have said, "Well the whole tomb is in the form of an 58:04.851 --> 58:05.501 oven." 58:05.500 --> 58:08.930 But I think the breadbasket being referred to here is not 58:08.931 --> 58:12.551 the tomb, but rather the urn in which Atistia's remains were 58:12.545 --> 58:13.215 placed. 58:13.219 --> 58:15.119 In the excavation in the nineteenth century, 58:15.119 --> 58:17.729 when that later gateway was removed, 58:17.730 --> 58:21.950 they found one urn, one urn, not two urns, 58:21.949 --> 58:25.459 one urn, presumably the urn of Atistia, 58:25.460 --> 58:29.720 and that urn was in the form--it was drawn at that time. 58:29.719 --> 58:33.429 And we can see this view of it here, a cross-section, 58:33.432 --> 58:36.292 the lid, and the main body of the urn. 58:36.289 --> 58:39.439 And you can see it looks like a breadbasket. 58:39.440 --> 58:42.990 And I show you--we have lots of examples of urns in the form of 58:42.987 --> 58:44.817 breadbaskets from Roman times. 58:44.820 --> 58:46.410 There's one in the Metropolitan Museum of Art, 58:46.409 --> 58:48.949 and any of you who are going down there anytime soon to look 58:48.947 --> 58:50.707 at Roman antiquities and other things, 58:50.710 --> 58:51.970 you can see one there. 58:51.969 --> 58:54.139 This one is in the National Museum in Rome. 58:54.139 --> 58:58.489 And women's remains were often placed in breadbaskets to 58:58.487 --> 59:02.597 accentuate or to speak to their domestic virtues, 59:02.599 --> 59:05.719 if they were good at taking care of the house and baking 59:05.719 --> 59:06.739 bread and so on. 59:06.739 --> 59:10.459 But in this particular case I think it is much more likely 59:10.456 --> 59:13.126 that the reference here is not to her, 59:13.130 --> 59:17.650 to Atistia's cleverness as a housekeeper, 59:17.650 --> 59:23.000 but rather to her husband's profession, 59:23.000 --> 59:24.940 which is very, very interesting in terms of 59:24.938 --> 59:27.478 what it tells us about the gender wars of antiquity, 59:27.480 --> 59:30.910 that here's a tomb that has been put up by this baker, 59:30.909 --> 59:33.329 with his money that he's made from his profession, 59:33.329 --> 59:35.629 in honor of his wife. 59:35.630 --> 59:39.890 But what he depicts -- what he is preserving for posterity is 59:39.885 --> 59:42.575 not the outline of his wife's life, 59:42.579 --> 59:45.599 but the outline of his life, what he has accomplished. 59:45.599 --> 59:48.399 His name is plastered on three sides of the monument. 59:48.400 --> 59:51.890 He's got three sides of the monument with the successive 59:51.891 --> 59:55.321 phases of the baking of bread in all of its aspects. 59:55.320 --> 59:58.240 Yes, he has a very nice portrait relief of his wife, 59:58.237 --> 1:00:00.637 but of course he's standing by her side. 1:00:00.639 --> 1:00:02.369 And he does mention her name down below. 1:00:02.369 --> 1:00:04.059 So he gives her some due. 1:00:04.059 --> 1:00:05.939 But this monument, as far as posterity is 1:00:05.938 --> 1:00:08.818 concerned, is about Eurysaces and not 1:00:08.822 --> 1:00:11.732 about his wife, and I think it tells us again 1:00:11.726 --> 1:00:14.106 very-- a great deal about the motives 1:00:14.114 --> 1:00:16.234 of this particular individual. 1:00:16.230 --> 1:00:20.790 I want to say just a very few words about two other tombs out 1:00:20.793 --> 1:00:24.523 on the Via Appia in Rome, the Appian Way again. 1:00:24.518 --> 1:00:27.838 And I show you a view of the Via Appia, as it looks today. 1:00:27.840 --> 1:00:31.100 You can see that although much of the road is modern, 1:00:31.097 --> 1:00:34.727 you do find bits and pieces of ancient ground out there. 1:00:34.730 --> 1:00:38.100 You can see some polygonal blocks here and some rut marks 1:00:38.103 --> 1:00:41.203 from the ancient road, and you have to be very careful 1:00:41.199 --> 1:00:43.609 when you drive out there in your Cinquecento, 1:00:43.610 --> 1:00:46.110 or whatever--or you bike ride out there, 1:00:46.110 --> 1:00:48.900 as this fellow is doing, or you take your motorbike or 1:00:48.898 --> 1:00:51.188 whatever-- because if you're going too 1:00:51.193 --> 1:00:54.603 quickly and you don't expect it, all of a sudden you hit some 1:00:54.597 --> 1:00:56.697 ancient road, and that makes a huge 1:00:56.695 --> 1:01:00.215 difference in terms of your ability to move forward. 1:01:00.219 --> 1:01:02.769 I want to show you one tomb, very fleetingly, 1:01:02.773 --> 1:01:06.023 out there, which is the one that you see over here on the 1:01:06.023 --> 1:01:07.943 left-hand side of the screen. 1:01:07.940 --> 1:01:09.950 There are remains of many tombs on the Via Appia. 1:01:09.949 --> 1:01:12.519 Most of them are just piles of concrete, but a few of them are 1:01:12.523 --> 1:01:14.383 better preserved, and this is one of them. 1:01:14.380 --> 1:01:20.330 It's a tomb of freedmen and freedwomen from 13 B.C. 1:01:20.329 --> 1:01:21.909 to A.D. 5. 1:01:21.909 --> 1:01:25.429 We call it the Rabirius Tomb because of an inscription that 1:01:25.429 --> 1:01:29.009 tells us members of the Rabirius family were buried here. 1:01:29.010 --> 1:01:32.550 The reason that I show it to you is that the eccentric tombs 1:01:32.550 --> 1:01:36.210 that I've shown you today are absolutely marvelous and tell us 1:01:36.210 --> 1:01:39.210 a lot about the Romans as patrons and their desires 1:01:41.010 --> 1:01:45.050 But it is not--those are not the conventional tomb types. 1:01:45.050 --> 1:01:47.700 We see many more of this sort of thing, which we call a house 1:01:47.695 --> 1:01:49.895 tomb, a tomb that resembles a house essentially. 1:01:58.469 --> 1:02:02.169 either vertical or horizontal, but these horizontal ones 1:02:02.170 --> 1:02:04.460 represent members of the family. 1:02:04.460 --> 1:02:07.410 Some may be deceased, some may not be deceased. 1:02:07.409 --> 1:02:10.579 The message is that even if someone has died before another, 1:02:10.579 --> 1:02:13.209 that they will eventually be re-united together in 1:02:13.213 --> 1:02:14.023 perpetuity. 1:02:14.018 --> 1:02:15.668 But if you look at this carefully, 1:02:15.670 --> 1:02:19.670 you will see that what it looks like is as if these individuals 1:02:19.672 --> 1:02:23.742 are still alive and looking out of the window of their tomb, 1:02:23.739 --> 1:02:26.799 as if out of the window of a house; 1:02:26.800 --> 1:02:30.520 this very close association in the minds of the Romans between 1:02:30.521 --> 1:02:33.331 houses of the living and houses of the dead. 1:02:33.329 --> 1:02:35.999 And that is absolutely the case here. 1:02:36.000 --> 1:02:38.440 And you'll remember, we can trace this all the way 1:02:38.438 --> 1:02:40.078 back to the eighth century B.C. 1:02:40.079 --> 1:02:43.899 You remember the Villanovan hut urn that I showed you, 1:02:43.900 --> 1:02:46.700 and I told you that women's remains were placed in-- 1:02:46.699 --> 1:02:51.179 women's cremated remains--were placed in these huts that 1:02:51.181 --> 1:02:53.301 resembled Romulus' huts. 1:02:53.300 --> 1:02:57.210 And so this whole idea of a house serving as a tomb goes way 1:02:57.208 --> 1:03:00.348 back, and continues to be a leitmotif 1:03:00.347 --> 1:03:05.217 of Roman tomb architecture throughout the entire history of 1:03:05.224 --> 1:03:08.684 Roman architecture, and it's something that I hope 1:03:08.677 --> 1:03:09.737 you'll keep in mind. 1:03:09.739 --> 1:03:12.459 Also just in passing, I want to mention-- 1:03:12.460 --> 1:03:15.110 we've looked--the tombs that we've looked at thus far today 1:03:15.114 --> 1:03:17.584 have been-- they've been of all different 1:03:17.576 --> 1:03:20.446 social classes, from emperor to freed slave, 1:03:20.452 --> 1:03:23.512 but at the same time they have all been tombs, 1:03:23.510 --> 1:03:26.340 including the Rabirius Tomb, of the well-to-do. 1:03:26.340 --> 1:03:28.810 If these were freed slaves, they were ones that made a 1:03:28.806 --> 1:03:30.856 fortune, like Eurysaces did selling 1:03:30.864 --> 1:03:34.044 bread to the Roman army, and with that fortune were able 1:03:34.043 --> 1:03:36.703 to build monumental tombs, at great expense. 1:03:36.699 --> 1:03:39.029 But there were lots and lots of people obviously, 1:03:39.030 --> 1:03:42.090 who lived in Rome and Pompeii and in other cities who could 1:03:42.092 --> 1:03:44.842 not afford those kinds of tombs, and you might be asking 1:03:44.840 --> 1:03:46.490 yourselves, "Where are all of those 1:03:46.487 --> 1:03:47.337 people buried?" 1:03:47.340 --> 1:03:49.620 Well they tended to be buried underground, 1:03:49.619 --> 1:03:52.369 in what we call columbaria -- 1:03:52.371 --> 1:03:56.251 c-o-l-u-m-b-a-r-i-a, columbaria--underground 1:03:56.248 --> 1:04:00.318 burial chambers, that were either burial clubs 1:04:00.315 --> 1:04:05.085 that you could join for a small amount of money; 1:04:05.090 --> 1:04:08.730 you could join one of these clubs, buy into your last 1:04:08.730 --> 1:04:10.480 resting place that way. 1:04:10.480 --> 1:04:13.850 Or they were burial chambers that were created by the very 1:04:13.846 --> 1:04:16.676 well to do, for example, the emperor and empress, 1:04:16.681 --> 1:04:18.041 Augustus and Livia. 1:04:18.039 --> 1:04:21.249 We know they had thousands of slaves, literally thousands of 1:04:21.250 --> 1:04:21.740 slaves. 1:04:21.739 --> 1:04:24.079 We have a record of some of Livia's slaves. 1:04:24.079 --> 1:04:26.389 She had slaves, not only to tend the garden and 1:04:26.393 --> 1:04:28.763 that kind of thing, but she had a masseuse, 1:04:28.764 --> 1:04:31.844 she had several hairstylists, and she even had a slave, 1:04:31.842 --> 1:04:34.972 we know, who set her pearls, that was her whole job was to 1:04:34.971 --> 1:04:37.221 set her pearls, day in and day out. 1:04:37.219 --> 1:04:39.099 So they had tons and tons of slaves, 1:04:39.099 --> 1:04:43.159 and some of those very well to do also established these burial 1:04:43.163 --> 1:04:47.033 areas where their slaves could find a last resting place. 1:04:47.030 --> 1:04:51.030 And, in fact, the one that I show you here, 1:04:51.030 --> 1:04:52.800 the Vigna Codini, is one such, 1:04:52.800 --> 1:04:55.860 that belonged to the Augustan-Julio-Claudian family 1:04:55.856 --> 1:04:59.336 and was used for the remains of some of their slaves. 1:04:59.340 --> 1:05:01.850 And you can see that each individual had a little niche; 1:05:01.849 --> 1:05:03.189 again, people were cremated. 1:05:03.190 --> 1:05:06.940 The cremated remains were placed usually in an urn, 1:05:06.940 --> 1:05:08.950 that was placed inside one of these niches, 1:05:08.949 --> 1:05:10.979 and then there would be a small inscription, 1:05:10.980 --> 1:05:14.220 referring to the deceased. 1:05:14.219 --> 1:05:17.299 So this gives you a sense again of those who could not afford 1:05:17.300 --> 1:05:19.560 individual tombs and how they were buried. 1:05:19.559 --> 1:05:23.279 In the five or seven minutes that remain, 1:05:23.280 --> 1:05:26.900 I'd like to switch gears entirely and look at something 1:05:26.902 --> 1:05:30.482 very different, as a prelude to what we'll be 1:05:30.476 --> 1:05:33.566 talking about next time, because next time, 1:05:33.565 --> 1:05:35.705 next Tuesday, we are going to return once 1:05:35.713 --> 1:05:37.973 again to innovative Roman architecture; 1:05:37.969 --> 1:05:42.459 architecture made of concrete and with a variety of 1:05:42.456 --> 1:05:44.786 interesting innovations. 1:05:44.789 --> 1:05:47.279 We'll do that next week, as I said. 1:05:47.280 --> 1:05:50.900 And I want to give you an introduction to that by turning 1:05:50.898 --> 1:05:54.198 to this one example from the Augustan period that is 1:05:54.195 --> 1:05:57.745 noteworthy enough for us to say something about it. 1:05:57.750 --> 1:06:03.150 What you're looking at here is the plan of what was a spa 1:06:03.146 --> 1:06:06.806 essentially, in ancient Roman times. 1:06:06.809 --> 1:06:09.919 It's located in Campania, at a place called Baia, 1:06:09.918 --> 1:06:13.868 so in the vicinity of Pompeii and Herculaneum and Oplontis and 1:06:13.869 --> 1:06:15.619 Boscotrecase and so on. 1:06:15.619 --> 1:06:18.959 We've already talked about the fact that that was an area that 1:06:18.958 --> 1:06:22.138 was a mecca for the well-to-do, the glitteratti from Rome who 1:06:22.141 --> 1:06:23.831 went down there for their vacations. 1:06:23.829 --> 1:06:25.279 It was a resort area. 1:06:25.280 --> 1:06:28.430 Many of them had villas along what is now the Amalfi Coast. 1:06:28.429 --> 1:06:31.389 Others had villas on the Island of Capri. 1:06:31.389 --> 1:06:34.479 I can't remember if I told you but Augustus and Tiberius, 1:06:34.480 --> 1:06:36.800 his successor, owned twelve villas on the 1:06:36.797 --> 1:06:39.727 Island of Capri, one of which we'll look at next 1:06:39.726 --> 1:06:40.076 time. 1:06:40.079 --> 1:06:43.879 And this was an area also where there were sulfur springs and 1:06:43.882 --> 1:06:46.642 mineral baths, and so the natural thing to do, 1:06:46.639 --> 1:06:49.079 for those who were coming here, as a resort, 1:06:49.083 --> 1:06:52.413 was to create for them a place that they could go to relax and 1:06:52.405 --> 1:06:55.615 enjoy the thermal springs and the sulfur baths and so on and 1:06:55.617 --> 1:06:58.507 so fort, and that was this place, 1:06:58.507 --> 1:07:02.497 this spa, at Baia, which consisted of a bunch of 1:07:02.496 --> 1:07:07.006 thermal structures that were terraced out over a hillside. 1:07:07.010 --> 1:07:10.270 You have to think of the Sanctuary of Fortuna Primigenia 1:07:10.266 --> 1:07:12.336 at Palestrina, turned into a spa. 1:07:12.340 --> 1:07:14.520 Because they treated it--architecturally it was done 1:07:14.518 --> 1:07:15.628 in exactly the same way. 1:07:15.630 --> 1:07:17.770 They took a hillside, they terraced that hillside, 1:07:17.768 --> 1:07:19.968 they poured concrete on that hillside, 1:07:19.969 --> 1:07:24.329 creating a whole host of interesting structures in which 1:07:24.329 --> 1:07:27.739 one could relax and get away from it all. 1:07:27.739 --> 1:07:31.239 You see a plan of that spa here and the way in which it was 1:07:31.239 --> 1:07:33.349 terraced, via concrete construction, 1:07:33.351 --> 1:07:34.741 over this hillside. 1:07:34.739 --> 1:07:38.769 I am only going to show you one thermal bath from it, 1:07:38.771 --> 1:07:42.031 and it's this one that we see over here. 1:07:42.030 --> 1:07:43.820 It is the so-called "Temple of Mercury" 1:07:43.820 --> 1:07:45.610 -- that's what the locals have long called it. 1:07:45.610 --> 1:07:48.290 It is not a Temple of Mercury, it is a thermal bath, 1:07:48.286 --> 1:07:51.436 but nonetheless we call it that because it's been called that 1:07:51.436 --> 1:07:52.746 for such a long time. 1:07:52.750 --> 1:07:55.910 As you look at the plan of the Temple of Mercury, 1:07:55.909 --> 1:07:58.079 you're going to say to me--every one of you will say 1:07:58.083 --> 1:07:59.873 the same thing, "What's the origin of 1:07:59.869 --> 1:08:00.339 this?" 1:08:00.340 --> 1:08:04.150 Clearly the design is based on the frigidaria of 1:08:04.152 --> 1:08:06.692 Pompeii, the frigidarium or the 1:08:06.686 --> 1:08:10.206 cold room of Pompeii, this round structure with the 1:08:10.213 --> 1:08:14.773 radiating alcoves that we saw as part of bath architecture very 1:08:14.773 --> 1:08:17.063 early on, second century B.C., 1:08:17.060 --> 1:08:18.590 and so on, in Pompeii. 1:08:18.590 --> 1:08:20.720 Same scheme used here. 1:08:20.720 --> 1:08:21.610 Not surprising. 1:08:21.609 --> 1:08:23.509 This is in Campania, it's not far away. 1:08:23.510 --> 1:08:27.150 I can show you the Temple of Mercury is extremely well 1:08:27.145 --> 1:08:27.965 preserved. 1:08:27.970 --> 1:08:30.960 We can see the dome of the Temple of Mercury, 1:08:30.962 --> 1:08:33.212 made out of concrete construction, 1:08:33.208 --> 1:08:34.228 from above. 1:08:34.229 --> 1:08:37.209 You can see the oculus of the-- 1:08:37.210 --> 1:08:40.140 just as those frigidaria had oculi, 1:08:40.140 --> 1:08:45.320 this one does as well, and you can see that extremely 1:08:45.323 --> 1:08:46.523 well here. 1:08:46.520 --> 1:08:49.880 So a concrete building, with a concrete dome, 1:08:49.877 --> 1:08:51.937 used as part of this spa. 1:08:51.939 --> 1:08:57.609 We've traced this desire to make round structures way back 1:08:57.608 --> 1:09:02.578 to the 600s B.C., the time of Quinto Fiorentino. 1:09:02.578 --> 1:09:06.428 I showed you this Etruscan attempt at making a round 1:09:06.427 --> 1:09:08.517 structure, with a dome, 1:09:08.524 --> 1:09:11.314 that was done, in this case, 1:09:11.310 --> 1:09:14.340 in stone, and although it was a valiant attempt, 1:09:14.340 --> 1:09:16.040 not all that successful. 1:09:16.038 --> 1:09:19.638 And we talked about the way in which that eventually 1:09:19.640 --> 1:09:22.820 transformed into the Roman ability to make the 1:09:22.819 --> 1:09:25.149 frigidaria at Pompeii. 1:09:25.149 --> 1:09:28.889 And here are two views of the Temple of Mercury at Baia, 1:09:28.890 --> 1:09:30.250 as it looks today. 1:09:30.250 --> 1:09:33.150 Because of the oculus, there is often rain water. 1:09:33.149 --> 1:09:34.969 The drain no longer functions. 1:09:34.970 --> 1:09:40.970 So there's often a lot of very unappealing green water that 1:09:40.971 --> 1:09:46.251 accumulates in the base of the Temple of Mercury. 1:09:46.250 --> 1:09:48.950 So the times that I've been there, every time I think I've 1:09:48.954 --> 1:09:50.824 been there, there's been enough water in 1:09:50.823 --> 1:09:53.443 there that I haven't been able to actually get pictures of the 1:09:53.444 --> 1:09:55.504 alcoves, which are covered by these 1:09:55.497 --> 1:09:59.227 inches and inches of water that are usually collected inside the 1:09:59.226 --> 1:10:00.466 Temple of Mercury. 1:10:00.470 --> 1:10:02.400 But you get a good sense, I think, 1:10:02.399 --> 1:10:04.599 of it here nonetheless, that we're talking about a 1:10:04.604 --> 1:10:07.324 round domed structure, with an oculus, 1:10:07.322 --> 1:10:10.522 with some windows, with arcuated windows, 1:10:10.515 --> 1:10:13.445 windows with arcuations at the top, 1:10:13.448 --> 1:10:16.738 in the uppermost part, or toward the uppermost part of 1:10:16.743 --> 1:10:20.653 the dome, to add additional light into 1:10:20.654 --> 1:10:22.014 the system. 1:10:22.010 --> 1:10:24.630 And you need to think of these, by the way, as much more ornate 1:10:24.630 --> 1:10:26.110 in antiquity than they are today. 1:10:26.109 --> 1:10:29.429 They would have been stuccoed over, which you can see, 1:10:29.429 --> 1:10:32.059 and then probably decorated with mosaic. 1:10:32.060 --> 1:10:34.660 So the wonderful effects of the light coming in, 1:10:34.658 --> 1:10:37.338 hitting the mosaic, and then there would've been a 1:10:37.344 --> 1:10:39.444 pool in the center, just as there was in the 1:10:39.435 --> 1:10:42.595 frigidarium, around which people could sit. 1:10:42.600 --> 1:10:46.900 It would've been a quite spectacular space. 1:10:46.899 --> 1:10:50.339 And just a few more views, to end with today. 1:10:50.340 --> 1:10:52.390 This one up here, which of course is the 1:10:52.386 --> 1:10:55.476 frigidarium at Pompeii, to show you where all of this 1:10:55.481 --> 1:10:56.061 begins. 1:10:56.060 --> 1:11:00.780 These two views are of the Temple of Mercury at Baia. 1:11:00.779 --> 1:11:02.519 And this one, of course, of the Pantheon, 1:11:02.521 --> 1:11:03.831 which is where we're headed. 1:11:03.828 --> 1:11:07.648 But I think these in particular of the Temple of Mercury at Baia 1:11:07.652 --> 1:11:11.052 again give you a sense of the way in which light not only 1:11:11.050 --> 1:11:14.610 flows into this system-- again, imagine it on mosaic 1:11:14.613 --> 1:11:17.683 ceiling and mosaic walls; spectacular effects, 1:11:17.676 --> 1:11:20.586 the way it would have glittered in the light. 1:11:20.590 --> 1:11:24.670 But look especially at the way the shapes that are formed on 1:11:24.672 --> 1:11:28.552 the water that would have been in the pool down below. 1:11:28.550 --> 1:11:32.840 It's exactly the same sort of sense that you get when you walk 1:11:32.837 --> 1:11:36.697 into the Pantheon today, which also makes circles on the 1:11:36.702 --> 1:11:38.532 floor of the pavement. 1:11:38.529 --> 1:11:41.249 So we're going to again return to these kinds of issues next 1:11:41.247 --> 1:11:41.567 week. 1:11:41.569 --> 1:11:44.749 I just wanted you to be aware of this intermediate step 1:11:44.753 --> 1:11:48.003 between the frigidaria of Pompeii and some of the 1:11:47.997 --> 1:11:51.767 buildings that we're going to be looking at in the next couple of 1:11:51.771 --> 1:11:52.481 weeks. 1:11:52.479 --> 1:11:53.829 Take care. 1:11:53.828 --> 1:11:55.418 Thank you, and Happy Valentine's Day. 1:11:55.420 --> 1:12:02.000