WEBVTT 00:01.770 --> 00:03.320 Prof: Good morning everyone. 00:03.320 --> 00:05.350 We are finally there. 00:05.350 --> 00:09.700 We are finally at the Colosseum, the very icon of 00:09.704 --> 00:10.344 Rome. 00:10.340 --> 00:13.470 And because I think of the Colosseum as the very icon of 00:13.474 --> 00:15.974 Rome, I've called today's lecture 00:15.974 --> 00:20.524 "The Creation of an Icon: The Colosseum and Contemporary 00:20.518 --> 00:22.788 Architecture in Rome." 00:22.790 --> 00:26.990 But before we discuss the Colosseum, I want to say a few 00:26.992 --> 00:30.892 words, a few more words, about Nero, the last of the 00:30.890 --> 00:33.030 Julio-Claudian emperors. 00:33.030 --> 00:37.100 And I show you a portrait of Nero here, ensconced in his 00:37.100 --> 00:41.320 Domus Aurea, with the Fourth Style wall of Fabullus behind 00:41.318 --> 00:41.908 him. 00:41.910 --> 00:47.250 And I wanted to just say, and bring your attention to the 00:47.247 --> 00:49.367 fact, that it really is quite amazing 00:49.368 --> 00:51.738 that we have the names of so many of Nero's artists and 00:51.736 --> 00:52.346 architects. 00:52.350 --> 00:55.970 And that can only attest to the fact that he must have gathered 00:55.966 --> 00:58.996 around him truly the greatest artists of the day, 00:59.000 --> 01:03.080 artists whose accomplishments were so superb that their names 01:03.082 --> 01:07.302 had been recorded for posterity at a time when very few artists 01:07.302 --> 01:09.892 and architects names are recorded. 01:09.890 --> 01:12.070 And I just want to remind you of that group. 01:12.069 --> 01:15.559 Think, of course, of the painter of Nero, 01:15.560 --> 01:20.520 the man who was responsible for painting the Third Style walls 01:20.518 --> 01:23.868 of Nero's Domus Aurea, Fabullus himself, 01:23.872 --> 01:28.542 and who also appears to have been the innovator of the Fourth 01:28.540 --> 01:31.030 Style of Roman wall painting. 01:31.030 --> 01:34.510 There was also Zenodorus, who was the most famous bronze 01:34.510 --> 01:38.350 caster of his day, a Greek artist of great renown, 01:38.352 --> 01:42.082 whom Nero hired to make his colossal statue, 01:42.080 --> 01:46.130 the colossal statue 125 feet tall, out of bronze, 01:46.129 --> 01:51.269 that depicted Nero in the guise of the sun god Sol, 01:51.269 --> 01:55.239 and a statue that was referred to as "The Colossus." 01:55.239 --> 01:59.519 And lastly, but not least by any stretch of the imagination, 01:59.519 --> 02:03.779 were the two architects of Nero, Severus and Celer-- 02:03.780 --> 02:07.190 Roman architects we believe--Severus and Celer, 02:07.188 --> 02:10.518 who were responsible for the Domus Aurea itself, 02:10.520 --> 02:14.940 for all the architectural innovations and experimentations 02:14.941 --> 02:16.571 at the Domus Aurea. 02:16.568 --> 02:21.248 And it was they who we believe were the creators of the 02:21.246 --> 02:26.006 remarkable octagonal room: as I mentioned last time, 02:26.008 --> 02:28.178 probably the most extraordinary room we've seen thus far this 02:28.175 --> 02:31.435 semester, and one that's going to have 02:31.439 --> 02:36.999 lasting impact on later Roman buildings and complexes. 02:37.000 --> 02:39.170 So the octagonal room, and also I mentioned to you 02:39.169 --> 02:41.519 other things in the villa, including a banqueting hall 02:41.515 --> 02:42.795 with a revolving ceiling. 02:42.800 --> 02:45.680 So these men, also great architectural 02:45.678 --> 02:46.688 innovators. 02:46.690 --> 02:50.370 So when Nero is forced to commit suicide in 68, 02:50.370 --> 02:55.090 we have to ask ourselves, what happened to those artists? 02:55.090 --> 02:58.900 What happened to those innovations after Nero was 02:58.899 --> 03:00.009 discredited? 03:00.008 --> 03:05.408 And I mentioned also last time that when Nero committed 03:05.408 --> 03:07.908 suicide, when he was discredited, 03:07.913 --> 03:10.953 he received an official damnatio memoriae from 03:10.953 --> 03:13.733 the Senate, a damnation of his memory, 03:13.729 --> 03:16.799 which meant that his portraits could be, 03:16.800 --> 03:20.120 and were encouraged to be, destroyed, 03:20.120 --> 03:21.870 and the same with his buildings. 03:21.870 --> 03:24.620 So what is going to happen to the evolution of Roman 03:24.617 --> 03:27.257 architecture when one of its greatest patrons, 03:27.258 --> 03:31.098 someone who encouraged the greatest architects and artists 03:31.097 --> 03:33.407 of the day, when he and his memory are 03:33.413 --> 03:35.793 annihilated and his buildings are destroyed? 03:35.788 --> 03:38.768 What is going to happen to architectural innovation? 03:38.770 --> 03:42.480 That's the main question we need to ask ourselves today, 03:42.479 --> 03:45.459 as we look at the buildings that were commissioned by his 03:45.464 --> 03:48.104 successors, by members of the Flavian 03:48.095 --> 03:53.005 dynasty--Vespasian, Titus and ultimately Domitian. 03:53.008 --> 03:55.978 We'll talk about Vespasian today, a bit on Titus, 03:55.979 --> 03:59.009 and then more on Titus and Domitian on Tuesday. 03:59.008 --> 04:01.188 What happens to these innovations when they begin to 04:01.187 --> 04:03.577 take over and when they begin to commission buildings? 04:03.580 --> 04:05.260 And we're going to see it's mixed. 04:05.258 --> 04:08.568 We're going to see a certain move back toward a conservative 04:08.568 --> 04:10.798 vision, but we're also going to see 04:10.798 --> 04:15.078 that Nero's innovations live on, and that's the most exciting 04:15.080 --> 04:18.350 piece of this particular Flavian puzzle, 04:18.350 --> 04:20.990 as we shall see. 04:20.990 --> 04:23.480 So we see again Nero here. 04:23.480 --> 04:28.510 And when Nero died in 68 A.D., what happened was not only that 04:28.507 --> 04:31.967 he received a damnatio memoriae, 04:31.970 --> 04:35.100 but there were no other Julio-Claudians to succeed him, 04:35.100 --> 04:37.380 and Rome and the Empire were plunged, 04:37.379 --> 04:40.529 once again, into a very serious civil war, 04:40.529 --> 04:45.739 a civil war that was as profoundly troubling as the 04:45.740 --> 04:50.640 civil war that had followed Caesar's death -- 04:50.639 --> 04:54.599 Caesars death, as you know, 04:54.601 --> 04:56.431 in 44 B.C. 04:56.430 --> 04:59.060 And what emerged after this civil war, 04:59.060 --> 05:03.410 or during this civil war, was one of the most complicated 05:03.406 --> 05:06.586 and difficult years in Rome's history, 05:06.588 --> 05:10.568 the year 68 to 69, during which Rome had four 05:10.572 --> 05:12.592 emperors, not co-emperors, 05:12.586 --> 05:15.366 as Rome was to have much later in its history, 05:15.370 --> 05:19.090 but competing emperors, in very quick succession, 05:19.089 --> 05:22.539 some of them holding onto power for only a few months. 05:22.540 --> 05:26.500 These men were Galba, G-a-l-b-a, whose portrait you 05:26.504 --> 05:32.154 see on a coin in the upper left; Galba who becomes emperor right 05:32.148 --> 05:34.048 after Nero's death. 05:34.050 --> 05:36.750 And you can see him in a no-nonsense, realistic portrait 05:36.750 --> 05:38.370 on that coin in the upper left. 05:38.370 --> 05:42.930 He is succeeded very soon after by a man by the name of Otho, 05:42.930 --> 05:43.690 O-t-h-o. 05:43.690 --> 05:48.010 You see him on the gold coin on the right. 05:48.009 --> 05:51.129 Otho who saw Nero as a soul mate and had himself rendered 05:51.129 --> 05:54.139 very much with a Neronian hairstyle, as you can see. 05:54.139 --> 05:58.219 And then third, a man by the name of Vitellius, 05:58.220 --> 06:01.910 V-i-t-e-l-l-i-u-s, Vitellius who seems to have had 06:01.910 --> 06:06.430 more chins than any other emperor in the history of Rome, 06:06.430 --> 06:08.900 as you can see in this wonderful portrait now in 06:08.904 --> 06:09.594 Copenhagen. 06:09.588 --> 06:14.048 And then ultimately Vespasian, V-e-s-p-a-s-i-a-n, 06:14.050 --> 06:18.590 Vespasian, who was the only one of these four who was able to 06:18.586 --> 06:22.436 hold onto power long enough to create a new dynasty: 06:22.444 --> 06:26.684 a new dynasty that he called after his family name-- 06:26.680 --> 06:31.140 Flavius was his family name--the so-called Flavian 06:31.139 --> 06:32.049 dynasty. 06:32.050 --> 06:37.570 And fortune was on his side, because he had two sons to 06:37.572 --> 06:42.882 succeed him, Titus and Domitian; and because he had two sons to 06:42.884 --> 06:46.074 succeed him, he was able to create a quite successful 06:46.067 --> 06:49.247 dynasty, as we shall see, that had lasting power. 06:49.250 --> 06:52.450 So this is our second main imperial dynasty, 06:52.449 --> 06:56.169 the Flavian dynasty, as opposed to the Augustan and 06:56.170 --> 06:58.180 Julio-Claudian dynasty. 06:58.180 --> 07:01.920 Now Vespasian came to power in a civil war, 07:01.920 --> 07:05.070 and like Augustus before him, he recognized that although 07:05.071 --> 07:08.331 coming to power in a civil war could give you the authority 07:08.334 --> 07:11.084 that you needed to govern, it didn't give you the 07:11.081 --> 07:11.631 legitimacy. 07:11.629 --> 07:15.199 It was very important in the eyes of the Romans to have had 07:15.199 --> 07:18.219 an important foreign victory, to give your dynasty 07:18.216 --> 07:19.136 legitimacy. 07:19.139 --> 07:22.859 Augustus came to power after his civil war with Mark Antony, 07:22.860 --> 07:26.210 but he looked to his victory over the Parthians, 07:26.209 --> 07:29.079 in the eastern part of the Empire, to give his reign 07:29.077 --> 07:29.807 legitimacy. 07:29.810 --> 07:31.660 Vespasian does the same thing. 07:31.660 --> 07:33.070 He comes to power in a civil war. 07:33.069 --> 07:35.199 He beats back other Romans. 07:35.199 --> 07:38.839 So he has to look elsewhere for legitimacy, and he also looks 07:38.843 --> 07:39.273 east. 07:39.269 --> 07:44.349 He looks specifically to Judea, and he sends his son in, 07:44.350 --> 07:48.210 his son Titus in, to do war against Jerusalem, 07:48.209 --> 07:52.699 and Titus was victorious in the early 70s A.D., 07:52.699 --> 07:57.589 in this very important Jewish War, that I'll have more to say 07:57.591 --> 08:01.751 about later today and also especially on Tuesday. 08:01.750 --> 08:06.830 So Vespasian also is a--with his son Titus-- 08:06.829 --> 08:10.659 is a victor in a foreign war, and that becomes the basis of 08:10.660 --> 08:13.550 their right to rule, and we'll see references to 08:13.552 --> 08:15.532 those Jewish Wars, in their art, 08:15.531 --> 08:17.901 even in our conversation today. 08:17.899 --> 08:20.729 I also want to say with regard to Vespasian, 08:20.730 --> 08:25.060 not only was he a great military strategist, 08:25.060 --> 08:29.670 but he also seems to have been an extremely shrewd politician, 08:29.670 --> 08:33.470 someone who recognized that you could use architecture in the 08:33.471 --> 08:36.421 service of ideology-- and that's in fact what we're 08:36.423 --> 08:39.773 going to see him doing today-- and he starts this from the 08:39.769 --> 08:41.649 very beginning of his reign. 08:41.649 --> 08:46.329 I go back here to--and we'll look at it a number of times 08:46.331 --> 08:48.571 today; it really is going to loom 08:48.566 --> 08:52.356 large in today's discussion--the site plan of Nero's Domus Aurea 08:52.361 --> 08:54.231 that we looked at last time. 08:54.230 --> 08:58.230 And you'll remember the location of the Golden House of 08:58.226 --> 09:00.726 Nero, up on the Esquiline Hill, 09:00.725 --> 09:03.925 the only part of it that still survives, 09:03.928 --> 09:07.288 the so-called Esquiline Wing, which you can see there. 09:07.288 --> 09:09.038 And here, the great artificial lake. 09:09.038 --> 09:13.568 The Colossus by Zenodorus, located over there. 09:13.570 --> 09:21.530 And you can see the way those are deployed in that 300 to 350 09:21.533 --> 09:28.703 acres of area that Nero had his architects build up. 09:28.700 --> 09:34.000 Vespasian, as he thinks about how to move forward, 09:34.000 --> 09:37.340 with architecture and to begin to commission buildings, 09:37.340 --> 09:39.360 the first thing that strikes him, very wisely, 09:39.360 --> 09:42.530 is he does not want to associate himself with Nero; 09:42.529 --> 09:45.769 in fact, he wants to disassociate himself with Nero, 09:45.774 --> 09:47.434 who has now been damned. 09:47.428 --> 09:49.718 But he looks back at the Julio-Claudians and he 09:49.716 --> 09:52.596 recognizes that there is some merit in linking himself with 09:52.601 --> 09:55.561 them, and quite specifically with 09:55.557 --> 09:58.637 Claudius, who was the best--after, 09:58.643 --> 10:02.963 in addition to Augustus-- was the best of the more recent 10:02.961 --> 10:05.481 lot, and Claudius was made into a 10:05.484 --> 10:06.854 god at his death. 10:06.850 --> 10:11.410 So he looks to Claudius, and he notices the fact that 10:11.410 --> 10:16.320 there is a Temple of Claudius that was begun on this very 10:16.322 --> 10:20.112 property by Claudius' wife, his last wife, 10:20.113 --> 10:22.983 Agrippina the Younger-- the woman with the poisoned 10:22.976 --> 10:24.786 mushrooms-- Agrippina the Younger, 10:24.792 --> 10:28.312 who also, you'll recall, was the mother of Nero. 10:28.308 --> 10:32.768 And Agrippina the Younger had begun, after Claudius' death and 10:32.768 --> 10:36.128 divinization, a temple in honor of Claudius. 10:36.129 --> 10:40.869 Nero, who had no particular affection for his mother, 10:40.870 --> 10:42.840 and as you'll remember had her murdered, 10:42.840 --> 10:46.000 decided that he didn't want any part of her building project 10:46.003 --> 10:48.503 either, and put a stop to it; 10:48.500 --> 10:52.330 especially when he decided that he had other plans for this 10:52.325 --> 10:55.745 particular area of Rome, namely to build his pleasure 10:55.754 --> 10:56.484 palace. 10:56.480 --> 11:00.010 So Nero stops construction--he doesn't destroy the building but 11:00.009 --> 11:03.369 he stops construction on it--and just leaves it as it is. 11:03.370 --> 11:05.840 The light bulb goes on for Vespasian, 11:05.840 --> 11:08.820 and Vespasian says to himself: "The best way that I can 11:08.818 --> 11:10.888 use architecture to make a connection, 11:10.889 --> 11:15.769 to make a link between myself and the Julio-Claudians, 11:15.769 --> 11:19.449 especially Claudius, is to finish the Temple of 11:19.450 --> 11:22.490 Claudius that Agrippina began." 11:22.490 --> 11:25.850 And that's exactly what he sets out to do, and he does this at 11:25.847 --> 11:27.717 the very beginning of his reign. 11:27.720 --> 11:29.510 We give a date of A.D. 11:29.510 --> 11:33.420 70 to the so-called Temple of Divine Claudius, 11:33.418 --> 11:38.338 or as it is often referred to, the Claudianum in Rome, 11:38.340 --> 11:42.220 and you see again the location of that Claudianum right here. 11:42.220 --> 11:46.820 Now all that survives of this building today is its platform, 11:46.820 --> 11:50.110 and I'm going to show you some details of that platform in a 11:50.114 --> 11:51.844 moment: a tall, great platform, 11:51.841 --> 11:54.441 like the platforms of the sanctuaries that we looked at 11:54.438 --> 11:58.198 earlier this semester, upon which the temple rested. 11:58.200 --> 12:02.140 All that survives is part of that platform. 12:02.139 --> 12:06.729 And what I show you first here is a restored view that comes 12:06.732 --> 12:11.142 from the Ward-Perkins textbook, where you can get a very good 12:11.135 --> 12:13.615 sense of what this platform looked like. 12:13.620 --> 12:17.020 It was a two-storied platform, as I think you can see very 12:17.022 --> 12:17.442 well. 12:17.440 --> 12:19.710 It had barrel-vaulted chambers. 12:19.710 --> 12:22.790 It was made out of concrete; barrel-vaulted chambers made 12:22.791 --> 12:23.831 out of concrete. 12:23.830 --> 12:27.180 And then, on the front, there were doorways at the 12:27.177 --> 12:29.907 bottom and windows on the second tier. 12:29.908 --> 12:33.928 And the facing, the facing for the concrete was 12:33.927 --> 12:36.317 travertine, cut stone travertine, 12:36.317 --> 12:38.487 which should immediately ring a bell, 12:38.490 --> 12:42.530 because you'll remember that it was cut stone travertine that 12:42.528 --> 12:45.758 was also used for Claudius' harbor at Portus, 12:45.759 --> 12:50.209 and also for the Porta Maggiore in Rome. 12:50.210 --> 12:54.740 And you'll remember also the intriguing combination of 12:54.740 --> 12:59.780 rusticated masonry and smooth masonry for those two Claudian 12:59.783 --> 13:00.983 buildings. 13:00.980 --> 13:03.240 The same is true here. 13:03.240 --> 13:06.390 So when Agrippina made a decision to put up a building 13:06.392 --> 13:08.882 honoring her husband, after his death, 13:08.875 --> 13:12.175 a temple that would be to him as a divus, 13:12.178 --> 13:15.868 she turns back to the style that he himself seems to have 13:15.874 --> 13:18.374 favored, this combination of rusticated 13:18.370 --> 13:21.960 and finished masonry, to use for that building. 13:21.960 --> 13:25.920 And I think this underscores the point that I made last time. 13:25.918 --> 13:29.038 This choice of style, of this rusticated masonry 13:29.041 --> 13:32.761 style, is not something that happened by happenstance. 13:32.759 --> 13:36.639 It is likely because of Claudius' own predilection as a 13:36.640 --> 13:39.410 patron, so that when Agrippina decided 13:39.412 --> 13:42.972 how it would be best to honor him architecturally, 13:42.970 --> 13:46.890 she wanted to honor him in the style that he himself liked. 13:46.889 --> 13:51.109 So she uses again this combination of rusticated and 13:51.107 --> 13:52.677 finished masonry. 13:52.678 --> 13:57.378 I can show you again some preserved sections of the podium 13:57.380 --> 14:02.000 of the Temple of Divine Claudius that will make this even 14:02.000 --> 14:02.990 clearer. 14:02.990 --> 14:06.390 Before I do--and you see it on the right-hand side of the 14:06.392 --> 14:07.882 screen-- just to remind you, 14:07.884 --> 14:09.894 at the left, of some of the great podia that 14:09.889 --> 14:11.659 we looked at earlier this semester. 14:11.658 --> 14:14.308 And since the exam is coming up, there's no time like the 14:14.307 --> 14:16.197 present to see if you know your stuff. 14:16.200 --> 14:21.440 Can anyone identify this podium here on the left-hand side of 14:21.442 --> 14:22.582 the screen? 14:22.580 --> 14:26.410 Student: Is that the Sanctuary of Jupiter Anxur? 14:26.409 --> 14:27.119 Prof: Excellent. 14:27.120 --> 14:30.210 The Sanctuary of Jupiter Anxur at Terracina; 14:30.210 --> 14:31.410 that's the podium. 14:31.408 --> 14:34.068 And you'll remember what was characteristic of it is that it 14:34.071 --> 14:35.291 was made out of concrete. 14:35.288 --> 14:37.938 It was faced with opus incertum. 14:37.940 --> 14:41.320 It had travertine at the corners and over the arches, 14:41.322 --> 14:44.192 and it had lateral arches, as well as others, 14:44.187 --> 14:46.527 to allow the free flow of space. 14:46.529 --> 14:50.639 So this idea of these great concrete podiums that served as 14:50.642 --> 14:54.332 the base for sanctuaries, it's the same idea here. 14:54.330 --> 14:59.410 We see again a podium that also has arches, as you can see, 14:59.409 --> 15:03.879 and then on the front of those arches, in this case, 15:03.878 --> 15:05.628 great pilasters. 15:05.629 --> 15:09.529 And if you look at those pilasters very carefully-- 15:09.528 --> 15:12.418 and again it's done out of travertine in this case-- 15:12.418 --> 15:14.038 when you look at those very carefully, 15:14.038 --> 15:16.938 you see something very interesting here, 15:16.940 --> 15:19.420 that makes these slightly different from the other two 15:19.423 --> 15:20.083 that we saw. 15:20.080 --> 15:23.870 Because you can see that the capital is finished; 15:23.870 --> 15:26.410 you can see the upper part of the pilaster; 15:26.408 --> 15:28.508 and then if you look very--and then below that, 15:28.511 --> 15:30.571 of course, you see these rusticated blocks. 15:30.570 --> 15:35.700 But if you look at the--in between each of those rusticated 15:35.703 --> 15:37.793 blocks, very carefully--and I'll show 15:37.785 --> 15:40.335 you a better image in a moment where you can see this even more 15:40.344 --> 15:43.454 clearly-- you will see that part of the 15:43.452 --> 15:49.042 pilaster emerges in between each of those rusticated blocks, 15:49.038 --> 15:53.908 giving us even more the sense that that finished pilaster is 15:53.913 --> 15:57.223 somehow inside the rusticated blocks, 15:57.220 --> 16:01.140 waiting to emerge, in a very interesting way. 16:01.139 --> 16:04.019 And we could psychoanalyze Claudius. 16:04.019 --> 16:07.789 We've talked about his past and how he was not--he was ignored 16:07.791 --> 16:11.501 as a child, and he was shunted aside because he stammered and 16:11.500 --> 16:12.120 so on. 16:12.120 --> 16:17.000 One could go very far and say that's Claudius waiting inside 16:17.001 --> 16:20.641 to emerge sometime; it's like a cocoon that allows 16:20.640 --> 16:24.000 the butterfly to emerge at some point later in life. 16:24.000 --> 16:26.050 We could try that. 16:26.048 --> 16:27.658 I don't know whether you would buy that. 16:27.658 --> 16:31.488 But it's one way in which one can think about this sort of 16:31.491 --> 16:32.031 thing. 16:32.028 --> 16:33.198 But clearly, whatever it meant, 16:33.197 --> 16:35.337 if it was just to point to his antiquarian interest, 16:35.340 --> 16:38.200 his interest in more old-fashioned stone construction 16:38.200 --> 16:42.060 at this particular point, it does seem to have something 16:42.061 --> 16:46.321 to do with the particular personality of this particular 16:46.316 --> 16:47.086 patron. 16:47.090 --> 16:52.410 Here's another--here's just comparing the podium of the 16:52.412 --> 16:56.752 Claudianum to the Porta Maggiore in Rome, 16:56.750 --> 17:00.010 just to remind you of the rusticated columns there, 17:00.009 --> 17:03.129 the rusticated drums of these engaged columns, 17:03.129 --> 17:07.869 and then at the uppermost part the way in which the upper part 17:07.874 --> 17:12.464 of the column and the capital are dressed smooth and seem to 17:12.463 --> 17:13.323 emerge. 17:13.318 --> 17:17.098 And that's when I first made that point about the likelihood 17:17.102 --> 17:19.642 that the column-- that we're supposed to read 17:19.635 --> 17:21.485 this as the column completed inside, 17:21.490 --> 17:26.140 just waiting to break free; and we see the same thing, 17:26.143 --> 17:28.413 but a further elaboration of that here. 17:28.410 --> 17:32.740 And I think you can see that much better in this particular 17:32.739 --> 17:37.289 detail, where you can again see the entire pilaster behind the 17:37.292 --> 17:39.012 rusticated masonry. 17:39.009 --> 17:43.299 You see the finished capital, the finished entablature up 17:43.299 --> 17:46.749 above, and then you can make out the 17:46.748 --> 17:51.218 entire pilaster all the way down to the base, 17:51.220 --> 17:53.550 and then superimposed, or so it seems-- 17:53.548 --> 17:56.618 it's not really superimposed, it's just carved in this way-- 17:56.618 --> 18:00.548 but in between those, these rusticated blocks. 18:00.548 --> 18:04.048 Again giving me, at least, the sense that the 18:04.054 --> 18:08.284 pilaster is done inside, it's just waiting somehow for 18:08.275 --> 18:11.695 its debut out of this travertine block. 18:11.700 --> 18:14.930 Now what about the rest of the complex? 18:14.930 --> 18:18.800 We don't know exactly, but we have some general sense 18:18.797 --> 18:23.327 that it is quite likely that it was similar to the sanctuaries 18:23.334 --> 18:27.254 that we looked at earlier, the Sanctuary of Jupiter Anxur 18:27.252 --> 18:32.042 at Terracina, and Hercules at Tivoli. 18:32.038 --> 18:33.108 And, in fact, we do have some fragments of 18:33.106 --> 18:34.406 this, on what is called the Marble Plan of Rome. 18:34.410 --> 18:37.250 I've referred to that before, the so-called Forma 18:37.246 --> 18:39.466 Urbis-- Forma Urbis, 18:39.465 --> 18:42.765 F-o-r-m-a, new word, U-r-b-i-s, the Forma 18:42.771 --> 18:45.851 Urbis--which was a marble plan of Rome, 18:45.848 --> 18:48.558 that was made in the early third century A.D., 18:48.558 --> 18:51.728 which was housed in a building that I'm going to show you later 18:51.730 --> 18:52.140 today. 18:52.140 --> 18:55.590 And there are fragments of this structure there that give us a 18:55.585 --> 18:58.065 sense of what it looked like in antiquity. 18:58.069 --> 18:59.949 So we would've had the podium. 18:59.950 --> 19:02.430 It's mis-restored here; you have to imagine the two 19:02.433 --> 19:05.453 tiers that we just looked at before, not this sort of thing. 19:05.450 --> 19:08.660 But those beneath, serving as the podium, 19:08.660 --> 19:11.720 or the decoration of the podium, and then above a large 19:11.723 --> 19:15.253 rectangular space with a temple, pushed not quite to the edge of 19:15.252 --> 19:18.092 the back wall, but toward one of the walls, 19:18.094 --> 19:20.874 dominating the space in front of it, 19:20.869 --> 19:21.979 as you can see. 19:21.980 --> 19:24.140 We don't know exactly what that temple looked like, 19:24.140 --> 19:26.710 but it was probably a fairly conventional temple, 19:26.710 --> 19:29.860 on the order of so many that we've looked at this semester. 19:29.858 --> 19:33.208 What's interesting about this, that's different from the other 19:33.213 --> 19:37.033 sanctuaries that we saw, is that in the rectangular 19:37.027 --> 19:42.037 space above they seem to have planted a lot of bushes, 19:42.038 --> 19:45.088 as you can see here, and that becomes a very popular 19:45.090 --> 19:49.100 way of decorating these kinds of complexes in the Flavian period. 19:49.098 --> 19:52.858 We'll see another example later today. 19:52.858 --> 19:57.128 The greatest, the most famous building that 19:57.125 --> 20:01.535 was put up by Vespasian, in the Flavian period, 20:01.536 --> 20:06.636 was the so-called Colosseum, which he began in the year 70 20:06.644 --> 20:12.904 A.D.: so contemporaneous to the construction of the Claudianum. 20:12.900 --> 20:16.880 But it wasn't finished until after his death--he died in 79; 20:16.880 --> 20:20.120 he was emperor for nine years; died of natural causes--it 20:20.124 --> 20:23.574 wasn't completed until his son Titus became emperor, 20:23.566 --> 20:27.476 and Titus completed it and dedicated it in the year 80. 20:27.480 --> 20:32.880 We see a view of the Colosseum from above, a Google Earth image 20:32.880 --> 20:35.580 of the Colosseum, from above. 20:35.578 --> 20:38.958 It was a very large amphitheater that could hold 20:38.959 --> 20:40.109 50,000 people. 20:40.108 --> 20:43.458 It was made of concrete, as we shall see. 20:43.460 --> 20:47.380 And this aerial view is very helpful because it shows its 20:47.380 --> 20:48.640 scale, its size. 20:48.640 --> 20:52.100 It shows that in Rome today it serves as a kind of giant 20:52.098 --> 20:54.488 traffic circle, as you can see here. 20:54.490 --> 20:57.760 The Romans love the Colosseum, because it is an icon of their 20:57.758 --> 21:00.518 civilization, but at the same time they hate 21:00.520 --> 21:03.610 it, and they're always saying, "Would that we could just 21:03.608 --> 21:05.488 get rid of it, so that traffic would be 21:05.490 --> 21:07.510 smoother in this part of Rome." 21:07.509 --> 21:09.639 And, in fact, there was a scheme a number of 21:09.644 --> 21:12.694 years ago now-- probably several decades ago by 21:12.692 --> 21:14.972 now-- there was a Texan who was 21:14.968 --> 21:19.478 actually interested in buying the Colosseum and bringing it to 21:19.479 --> 21:21.919 Texas > 21:21.920 --> 21:23.840 to display on his ranch. 21:23.838 --> 21:30.008 And fortunately--Italy gave some thought to that, 21:30.009 --> 21:32.359 but they decided obviously that they were not going to part with 21:32.364 --> 21:34.684 the Colosseum-- and fortunately it has stayed 21:34.678 --> 21:36.588 intact-- and I don't think the Romans 21:36.586 --> 21:38.516 would have been too happy about that, 21:38.519 --> 21:41.479 at the end of the day, despite the fact that they 21:41.480 --> 21:44.010 curse it out on a fairly regular basis. 21:44.009 --> 21:46.189 But we see it here, and it's a useful view because 21:46.189 --> 21:48.989 it shows it in conjunction to so many of the other buildings and 21:48.991 --> 21:51.751 complexes we've been talking about thus far this semester. 21:51.750 --> 21:54.100 We're looking back from it, toward the later Arch of 21:54.102 --> 21:57.102 Constantine, that we'll look at, at the very end of the course; 21:57.098 --> 21:59.048 the Palatine Hill in the upper left; 21:59.048 --> 22:02.838 the Roman Forum beginning over here, with the Temple of Venus 22:02.839 --> 22:05.809 and Roma that was done in the second century; 22:05.808 --> 22:07.888 we'll talk about that also later. 22:07.890 --> 22:12.750 Here the great Via dei Fori Imperiali, designed at the 22:12.750 --> 22:14.770 behest of Mussolini. 22:14.769 --> 22:17.399 And on the right side, of course, the Imperial Fora, 22:17.400 --> 22:21.240 with the Forum of Julius Caesar and the Forum of Augustus that 22:21.236 --> 22:23.686 we have also looked at this semester. 22:23.690 --> 22:26.510 So here you see it here. 22:26.509 --> 22:32.169 And I'm going to show you once again the site plan of Nero. 22:32.170 --> 22:35.230 Because it's important to know--one of the most important 22:35.228 --> 22:38.448 things to know about this monument is where it was sited. 22:38.450 --> 22:42.560 And where it was sited shows us again how incredibly shrewd 22:42.560 --> 22:47.170 Vespasian was when it came to establishing a political agenda, 22:47.170 --> 22:51.300 and when it came to trying to court the favor of the public. 22:51.298 --> 22:55.798 He decided to raze--I mentioned this before-- 22:55.798 --> 22:59.788 he razed to the ground Nero's Domus Aurea: destroyed it, 22:59.788 --> 23:01.978 destroyed it, despite the fact that it had 23:01.982 --> 23:04.072 been done by these great architects, 23:04.068 --> 23:06.238 despite the fact that it had revolving ceilings. 23:06.240 --> 23:09.210 It would've been a really cool place for him to live 23:09.214 --> 23:11.904 himself--think about it--he and his dynasty. 23:11.900 --> 23:14.390 But he decided to raze it to the ground, for political 23:14.387 --> 23:18.027 reasons, to discredit Nero; and he hoped to gain favor with 23:18.029 --> 23:19.059 the populace. 23:19.058 --> 23:20.878 And what he did, smartly, was to say, 23:20.884 --> 23:23.374 "What I am going to do with this property? 23:23.368 --> 23:27.048 I'm going to return this property to the Roman people. 23:27.048 --> 23:29.648 I'm going to build on it something that they would really 23:29.653 --> 23:30.633 like to have." 23:30.630 --> 23:34.630 So what he does is he fills in the artificial lake, 23:34.633 --> 23:38.803 and he uses the area on which the artificial lake was 23:38.796 --> 23:42.476 originally located to build the Colosseum; 23:42.480 --> 23:47.410 he puts the Colosseum right on the location of the artificial 23:47.413 --> 23:47.993 lake. 23:47.990 --> 23:49.460 And the message is clear. 23:49.460 --> 23:52.930 What did the Roman people want more than anything else? 23:52.930 --> 23:56.020 They wanted another--they wanted an amphitheater where 23:56.019 --> 23:58.069 they could go, a large amphitheater, 23:58.074 --> 24:00.814 where 50,000 of them could pack in and watch animal and 24:00.813 --> 24:02.033 gladiatorial combats. 24:02.028 --> 24:05.148 There is no better way to gain favor with the Roman populace 24:05.152 --> 24:07.112 than to build a building like this. 24:07.108 --> 24:10.758 And to build it on top of Nero's pleasurable artificial 24:10.763 --> 24:14.623 lake--pleasurable only for himself--was a huge coup on the 24:14.621 --> 24:16.111 part of Vespasian. 24:16.108 --> 24:20.368 And we see that happening here, and right in proximity to the 24:20.371 --> 24:22.361 Temple of Divine Claudius. 24:22.358 --> 24:25.798 Notice the fact also, the location of the Colosseum, 24:25.796 --> 24:27.746 very close to the Colossus. 24:27.750 --> 24:32.820 The name of the Colosseum was really the Flavian Amphitheater, 24:32.824 --> 24:37.654 after the family name Flavius, the Flavian Amphitheater. 24:37.650 --> 24:39.400 That's how it was known in antiquity. 24:39.400 --> 24:43.980 But it came quickly to be known as the Colosseum, 24:43.980 --> 24:47.390 not because of its colossal scale, which is what most people 24:47.388 --> 24:50.168 think, but because of the Colossus, 24:50.170 --> 24:54.530 because of the statue of Zenodorus that stood nearby. 24:54.529 --> 24:57.299 And, by the way, the other thing that Vespasian 24:57.304 --> 25:00.144 did was to have the features of Nero erased, 25:00.140 --> 25:03.600 on that portrait, and to make them into the more 25:03.596 --> 25:06.976 generic features of the sun god Sol himself. 25:06.980 --> 25:10.330 So the statue continued to stand, but it was fixed up, 25:10.330 --> 25:13.050 it was redone, remade, so that it would look 25:13.048 --> 25:15.008 like Sol and not like Nero. 25:15.009 --> 25:17.849 But again the Colosseum takes its name from that. 25:17.848 --> 25:20.078 So if you are in any--we used to have a Colosseum here, 25:20.078 --> 25:25.168 in New Haven--but if you are, in the future, 25:25.170 --> 25:27.390 in any arenas that are called Colosseums, 25:27.390 --> 25:32.370 you'll know that that name goes back to the Colossus of Nero, 25:32.368 --> 25:35.628 the Colossus of Sol, not to the Colosseum itself, 25:35.626 --> 25:36.506 ultimately. 25:36.509 --> 25:39.759 Although I think those who named those arenas were 25:39.759 --> 25:43.009 obviously thinking about the Colosseum in Rome. 25:43.009 --> 25:45.959 So the location of the Colosseum, extremely important, 25:45.963 --> 25:48.643 and a political statement on Vespasian's part. 25:48.640 --> 25:52.790 And we see this man, this emperor of Rome, 25:52.794 --> 25:58.974 Vespasian, very cleverly using architecture to further his own 25:58.973 --> 26:02.423 personal and political agenda. 26:02.420 --> 26:06.570 This view, also this plan--a cross-section and axonometric 26:06.574 --> 26:09.494 view that all come from Ward-Perkins-- 26:09.490 --> 26:12.860 are also very helpful in us getting a sense of this 26:12.857 --> 26:13.597 building. 26:13.598 --> 26:15.988 And I think you can see very quickly that, 26:15.989 --> 26:19.479 like all other amphitheaters, it had an oval or an elliptical 26:19.484 --> 26:20.014 plan. 26:20.009 --> 26:24.189 It was built up with concrete: a series of barrel and annular 26:24.192 --> 26:24.822 vaults. 26:24.818 --> 26:30.358 And that elliptical plan included essentially radiating 26:30.355 --> 26:34.105 barrel vaults that-- barrel vaulted ramps and 26:34.105 --> 26:37.225 passageways, and a series of annular vaulted 26:37.227 --> 26:41.137 corridors that provide lateral circulation and that are 26:41.142 --> 26:44.262 buttressed by the thrust of the seating. 26:44.259 --> 26:48.859 So it's a scheme that we know already from the Amphitheater at 26:48.855 --> 26:49.605 Pompeii. 26:49.608 --> 26:52.638 We know it also particularly well from the Theater of 26:52.635 --> 26:53.795 Marcellus in Rome. 26:53.798 --> 26:56.468 The Theater of Marcellus in Rome was just down the street 26:56.474 --> 26:59.254 practically--I'll show you an aerial view later to show you 26:59.247 --> 27:01.867 its proximity to the Colosseum; it's not right next to it, 27:01.865 --> 27:03.135 but it's within striking distance. 27:03.140 --> 27:07.400 And clearly the experiments, the architectural experiments 27:07.396 --> 27:11.356 in the Augustan period, at the Theater of Marcellus, 27:11.358 --> 27:15.398 were very important in terms of this particular design; 27:15.400 --> 27:19.050 it basically follows the same general scheme. 27:19.048 --> 27:20.288 The major difference, of course, is that since the 27:20.288 --> 27:21.248 Theater of Marcellus was a theater, 27:21.250 --> 27:24.500 it was semi-circular in plan, whereas amphitheater 27:24.501 --> 27:27.491 architecture is always elliptical in plan, 27:27.490 --> 27:31.970 and that is the case also for the Colosseum. 27:31.970 --> 27:36.610 If we look at the--I mentioned that there are annular vaulted 27:36.611 --> 27:37.541 corridors. 27:37.538 --> 27:40.558 We're looking at the corridor on the first floor of the 27:40.558 --> 27:41.228 Colosseum. 27:41.230 --> 27:44.290 And you can see very quickly that it is of course made of 27:44.288 --> 27:44.888 concrete. 27:44.890 --> 27:47.790 How else would you get these annular vaults that you see 27:47.789 --> 27:48.159 here? 27:48.160 --> 27:50.860 They're very well preserved; they're easy to study. 27:50.858 --> 27:55.438 And you can see that those annular vaults rest on great 27:55.444 --> 28:00.204 stone piers, these stone piers made out of travertine. 28:00.200 --> 28:04.780 Again, you can see that extremely well in this 28:04.778 --> 28:06.608 particular view. 28:06.609 --> 28:08.709 That's the first floor. 28:08.710 --> 28:11.700 On the second floor, however, we see something 28:11.701 --> 28:15.091 entirely innovative, and that is the introduction of 28:15.092 --> 28:18.552 a new form of vault that we haven't seen before. 28:18.548 --> 28:23.288 This is the so-called groin or ribbed vault--spelled exactly as 28:23.291 --> 28:25.971 you think it would be, g-r-o-i-n; 28:25.970 --> 28:27.690 the groin vault or the ribbed vault. 28:27.690 --> 28:31.640 And you get--when you take two barrel vaults and make them 28:31.643 --> 28:35.743 intersect, the angles that you get create this kind of groin 28:35.736 --> 28:38.486 vault; and I show you a diagram here, 28:38.487 --> 28:41.297 which makes that clear, I think, to you. 28:41.298 --> 28:44.108 And then a view of the second story corridors, 28:44.108 --> 28:47.438 to show you these actual groin vaults, 28:47.440 --> 28:49.240 these ribbed vaults that you see here, 28:49.240 --> 28:52.070 which are very interesting and add something, 28:52.069 --> 28:55.029 I think, to these structures. 28:55.029 --> 28:57.139 And they become very, very popular. 28:57.140 --> 29:00.260 After they begin to be used in the Flavian period, 29:00.262 --> 29:03.832 they become very popular, and we'll see the proliferation 29:03.833 --> 29:06.323 of groin vaults, from this time on. 29:06.318 --> 29:10.968 So we talk--I talked at the beginning about what are the 29:10.971 --> 29:15.371 innovations of Nero's Domus Aurea continued under the 29:15.369 --> 29:16.469 Flavians? 29:16.470 --> 29:20.090 Well we know that the architects of Nero did not use 29:20.093 --> 29:22.673 groin vaults, but they were very interested 29:22.673 --> 29:26.013 in the free flow of space, and that interest in the free 29:26.008 --> 29:31.648 flow of space continues here, as does experimentation with 29:31.654 --> 29:34.624 concrete, and we see it in the use of 29:34.621 --> 29:38.381 these groin vaults on the second story of the Colosseum in Rome. 29:38.380 --> 29:41.610 When you visit the Colosseum in Rome today, you'll note that it 29:41.605 --> 29:44.045 does seem quite stripped bare, unfortunately. 29:44.048 --> 29:47.778 But it's important for you to be aware of the fact that it too 29:47.781 --> 29:50.411 was highly decorated, as so many other Roman 29:50.413 --> 29:51.273 buildings. 29:51.269 --> 29:53.259 And we do have engravings that were made, 29:53.259 --> 29:56.609 engravings and paintings, that were made when the 29:56.614 --> 29:59.204 Colosseum was in better condition, 29:59.200 --> 30:02.900 and when some of that stucco and painted decoration still 30:02.898 --> 30:03.558 existed. 30:03.558 --> 30:06.978 And I show you two drawings here that give you some sense of 30:06.976 --> 30:09.126 that, and you can see that all the 30:09.133 --> 30:12.443 surface was covered with stucco, and then with figural 30:12.439 --> 30:14.759 decoration, all of which was painted, 30:14.759 --> 30:18.719 both the vaults themselves, as you can see above, 30:18.720 --> 30:23.490 and the corridors, all of that very elaborately 30:23.490 --> 30:27.120 decorated in ancient Roman times. 30:27.118 --> 30:31.048 This is obviously an exterior view of the Colosseum in Rome. 30:31.048 --> 30:34.718 The exterior of the building is actually quite well preserved, 30:34.720 --> 30:39.270 and I think as you gaze at it, you certainly are struck by the 30:39.268 --> 30:43.368 similarity of the scheme to the scheme of the Theater of 30:43.368 --> 30:45.008 Marcellus in Rome. 30:45.009 --> 30:46.359 In this case, the Theater of Marcellus 30:46.363 --> 30:48.383 appears to have had three stories, only two of which are 30:48.375 --> 30:49.285 currently persevered. 30:49.288 --> 30:52.648 This had four stories, four tiers, as you can see 30:52.650 --> 30:53.140 here. 30:53.140 --> 30:56.120 Again, the structure itself is concrete; 30:56.119 --> 30:57.669 the facing is travertine. 30:57.670 --> 31:00.630 We see these great arches, these great arcades, 31:00.625 --> 31:03.835 just as we saw them in the Theater of Marcellus. 31:03.838 --> 31:06.508 And then also, just like the scheme of the 31:06.505 --> 31:09.555 Theater of Marcellus, columns that are placed in 31:09.558 --> 31:12.938 between those arches on the first three stories. 31:12.940 --> 31:17.640 The columns in between those arches on the first three 31:17.643 --> 31:22.973 stories, just as the Theater of Marcellus, have no structural 31:22.968 --> 31:25.008 purpose whatsoever. 31:25.009 --> 31:27.579 They do not hold the building up, as they would have in a 31:27.576 --> 31:28.856 Greek or Etruscan context. 31:28.858 --> 31:34.178 The building is held up by the barrel and annular vaults that 31:34.183 --> 31:36.583 are made out of concrete. 31:36.578 --> 31:41.458 So these columns have no structural purpose whatsoever, 31:41.460 --> 31:46.010 and they are here essentially as the icing on the cake, 31:46.009 --> 31:49.649 as ornamentation or decoration, but ornamentation or decoration 31:49.645 --> 31:52.865 that has certain meaning to it: a meaning that certainly 31:52.871 --> 31:54.691 conjures up ancient Greece. 31:54.690 --> 31:58.030 Because you can see here that they have used all the Greek 31:58.028 --> 32:01.348 orders: the Doric order, the Ionic order in the second 32:01.348 --> 32:03.298 story, the Corinthian order--all of 32:03.298 --> 32:06.168 these are engaged columns-- the Corinthian order in the 32:06.172 --> 32:08.842 third story, and then in the fourth story we 32:08.836 --> 32:12.756 see they used pilasters; these are Corinthian pilasters 32:12.757 --> 32:13.697 once again. 32:13.700 --> 32:17.210 So Doric, Ionic, Corinthian, Corinthian again at 32:17.211 --> 32:21.011 the uppermost part; columns that have no structure, 32:21.006 --> 32:25.096 that are used here as pure decoration, but decoration that 32:25.098 --> 32:27.898 again has an ideological connection. 32:27.900 --> 32:31.350 At the very top you can see the detail of the pilasters. 32:31.348 --> 32:36.498 Between them you see some travertine blocks that are 32:36.496 --> 32:39.116 brackets that stick out. 32:39.118 --> 32:41.638 Those were to support the wooden poles that you'll 32:41.644 --> 32:44.484 remember from our conversation about the Amphitheater at 32:44.480 --> 32:48.220 Pompeii, supported the awning that was 32:48.218 --> 32:50.968 used when there was rain. 32:50.970 --> 32:54.690 Two more views of the exterior of the Colosseum, 32:54.690 --> 32:57.500 a little bit closer up, where you can see very well 32:57.496 --> 32:59.906 here the Doric order in the first story, 32:59.910 --> 33:03.390 the travertine facing, the Ionic order in the second 33:03.394 --> 33:06.444 story, and then the Corinthian engaged 33:06.435 --> 33:09.575 columns here, and the Corinthian pilasters, 33:09.578 --> 33:14.908 and then also the brackets, extremely well preserved, 33:14.912 --> 33:18.412 on the Colosseum in Rome. 33:18.410 --> 33:20.960 The interior is a different story entirely. 33:20.960 --> 33:23.650 It is not as well preserved as the exterior. 33:23.650 --> 33:26.160 It is fascinating however to see. 33:26.160 --> 33:30.760 And I think you can tell from this particular view of the 33:30.762 --> 33:34.212 interior, where, as always, we have so many 33:34.214 --> 33:37.014 tourists inside the Colosseum. 33:37.009 --> 33:40.819 I think they are very useful because they give you a very 33:40.816 --> 33:43.936 good sense of scale, of how truly enormous this 33:43.942 --> 33:45.032 building is. 33:45.029 --> 33:48.099 They also show you that much of what was once there is no longer 33:48.096 --> 33:50.136 there, in the interior of the structure. 33:50.140 --> 33:54.710 As we look down on it, we can see the elliptical shape 33:54.714 --> 33:56.014 of the arena. 33:56.009 --> 33:57.789 We can see the substructures here, all made of concrete. 33:57.788 --> 34:02.758 The ones that are below the arena itself were used for the 34:02.757 --> 34:06.927 storage of props, but also for the housing of the 34:06.928 --> 34:10.688 animals that were brought up for animal combat. 34:10.690 --> 34:13.400 There were small and larger cages down here, 34:13.402 --> 34:17.382 and I'm going to show you what those looked like in a moment. 34:17.380 --> 34:20.910 So that's the location of those, but again not in very 34:20.914 --> 34:22.454 good condition today. 34:22.449 --> 34:27.079 Even more striking is the fact that although you can see again 34:27.077 --> 34:31.017 the concrete substructures for the seats on which the 34:31.023 --> 34:34.513 cavea rested, if you look very carefully you 34:34.512 --> 34:37.542 will see there's only a single cuneus that is still 34:37.536 --> 34:41.636 preserved, with a small number of marble 34:41.639 --> 34:42.449 seats. 34:42.449 --> 34:46.029 The whole thing was sheathed in marble in antiquity. 34:46.030 --> 34:49.050 All of the seats would have been marble. 34:49.050 --> 34:51.380 Only that small section is preserved, and I can show you 34:51.375 --> 34:52.935 another view where we see the same. 34:52.940 --> 34:55.870 Here we're looking at that one cuneus over here, 34:55.869 --> 34:59.909 with that one set of marble seats, the only marble seats 34:59.907 --> 35:03.577 that are still preserved in the Colosseum today. 35:03.579 --> 35:04.919 "Why is that?" 35:04.920 --> 35:07.460 you ask yourselves, and you might ask me. 35:07.460 --> 35:13.680 The reason for that is that the Colosseum was used as a marble 35:13.679 --> 35:17.359 quarry, practically from the time--not 35:17.360 --> 35:21.110 too long after it was built, but certainly in the 35:21.112 --> 35:24.442 post-antique period it was used very significantly as a marble 35:24.443 --> 35:24.993 quarry. 35:24.989 --> 35:25.929 By whom? 35:25.929 --> 35:28.749 By the great princes and even by the popes; 35:28.750 --> 35:32.140 the popes did not hesitate to plunge the Colosseum for the 35:32.137 --> 35:35.877 marble that they needed for the buildings that they were putting 35:35.880 --> 35:37.010 up around Rome. 35:37.010 --> 35:39.550 The Colosseum ended up in some extraordinary buildings. 35:39.550 --> 35:44.070 So it was not for naught, but at the same time obviously 35:44.074 --> 35:48.274 it changed the face of the interior of the Colosseum 35:48.268 --> 35:51.558 forever, as we can see so well here. 35:51.559 --> 35:55.859 Two models of what the substructures would have looked 35:55.862 --> 36:00.332 like in the area of the Colosseum where the animals were 36:00.329 --> 36:01.059 kept. 36:01.059 --> 36:06.299 And they had a system of ramps and pulleys, and they took the 36:06.300 --> 36:11.630 animals either up the ramps or by pulley, from these cages. 36:11.630 --> 36:14.020 You can see they had metal grills in front of them. 36:14.018 --> 36:18.258 Diverse animals, kept down here below and then 36:18.262 --> 36:22.602 brought up when needed, through openings in the 36:22.597 --> 36:25.047 pavement of the arena. 36:25.050 --> 36:28.020 The arena would have been paved with concrete--we have other 36:28.019 --> 36:31.139 examples of that elsewhere; I'm going to show you one 36:31.144 --> 36:34.214 today--and there would have been holes in that, 36:34.208 --> 36:37.938 by which you could bring the animals up to the arena. 36:37.940 --> 36:41.410 This is a restored view of what the Colosseum would have-- 36:41.409 --> 36:45.319 the interior of the Colosseum would have looked like in 36:45.322 --> 36:47.932 antiquity when a performance was-- 36:47.929 --> 36:50.039 when a gladiatorial performance was taking place. 36:50.039 --> 36:53.659 We see that what they did was they covered over the arena with 36:53.664 --> 36:56.284 some kind of ancient version of Astroturf. 36:56.280 --> 37:00.450 They planted--they put trees that they probably--I don't 37:00.447 --> 37:04.007 know, real or fake trees, I'm not sure which; 37:04.010 --> 37:06.730 props that took the shape of mountains, as you can see here; 37:06.730 --> 37:10.720 and then the gladiatorial--the animal combat would take place 37:10.715 --> 37:12.305 against that backdrop. 37:12.309 --> 37:14.839 You can also see the seats, the cavea, 37:14.840 --> 37:18.350 the wedge-shaped sections of those seats, the cunei; 37:18.349 --> 37:22.659 the 50,000 people packed in for this special event. 37:22.659 --> 37:25.439 And then at the uppermost part you see the awning, 37:25.443 --> 37:28.513 or this particular artist's rendition of the awning. 37:28.510 --> 37:31.620 I think it's very amusing that the artist has rendered it like 37:31.621 --> 37:33.971 an oculus, which is pretty unlikely that 37:33.969 --> 37:36.909 it looked quite like that; but I guess that's a very Roman 37:36.909 --> 37:38.229 thing to do, so he did that. 37:38.230 --> 37:42.170 But it looks probably in antiquity quite a bit more like 37:42.172 --> 37:45.972 the awning that we saw in the painting in Pompeii that 37:45.971 --> 37:50.631 represented a characteristic awning for a Roman amphitheater. 37:50.630 --> 37:53.030 The Colosseum, extremely famous in its own 37:53.030 --> 37:55.550 day, continued to be famous in antiquity. 37:55.550 --> 38:00.270 I show you here a coin, the reverse of a coin of a boy 38:00.273 --> 38:03.663 emperor by the name of Gordian III-- 38:03.659 --> 38:07.639 you see Gordian up there--the reverse of his coin in the early 38:07.635 --> 38:10.695 third century A.D., showing the Colosseum. 38:10.699 --> 38:13.399 So we certainly know from that, that it was still in good 38:13.402 --> 38:15.722 condition and being used in the third century. 38:15.719 --> 38:18.559 We see the outside, with its tiers of columns. 38:18.559 --> 38:21.219 We see something, an event going on inside. 38:21.219 --> 38:24.859 We see people in the seats, and we see those poles that 38:24.860 --> 38:26.750 supported the awning here. 38:26.750 --> 38:31.010 And, most interestingly, we see the Colossus, 38:31.010 --> 38:33.800 which was clearly still standing also in the third 38:33.800 --> 38:35.960 century A.D.: the Colossus in which the 38:35.963 --> 38:39.783 features have been changed from those of Nero to those of Sol, 38:39.780 --> 38:41.590 with the rayed crown. 38:41.590 --> 38:44.170 It was very easy to do that because, as I had mentioned, 38:44.172 --> 38:46.292 Nero had been shown originally himself as Sol, 38:46.286 --> 38:47.456 with the rayed crown. 38:47.460 --> 38:50.320 So all they had to do was change the features of the face. 38:50.320 --> 38:55.020 They could leave the crown, and that crown clearly still 38:55.018 --> 38:58.008 there, in the third century A.D.. 38:58.010 --> 39:00.650 But just again as a reminder that the Colosseum gets its name 39:00.652 --> 39:02.812 from that colossal statue that stood next door. 39:02.809 --> 39:05.729 And this one last view of the Colosseum. 39:05.730 --> 39:09.460 This is a model--which you have on your Monument List-- 39:09.460 --> 39:13.110 a model that probably gives you as good an idea as any of what 39:13.108 --> 39:16.458 the exterior of the building looked like in antiquity. 39:16.460 --> 39:19.200 And I use it here to show you two things. 39:19.199 --> 39:22.229 One: That we do believe, on the second and third 39:22.226 --> 39:25.766 stories, there were statues; statues placed in the niches 39:25.768 --> 39:26.918 beneath the arches. 39:26.920 --> 39:30.620 And this also shows you very well the way in which the wooden 39:30.617 --> 39:35.407 poles rested on the brackets, those wooden poles to serve to 39:35.405 --> 39:38.875 support the awning of the structure. 39:38.880 --> 39:43.530 Anything and everything goes on at the Colosseum. 39:43.530 --> 39:47.360 When I started going to the Colosseum more years ago than I 39:47.364 --> 39:51.004 want to say, the Colosseum was very easy to get into. 39:51.000 --> 39:53.040 You popped over there, you could walk in, 39:53.036 --> 39:54.756 in a flash; never a problem. 39:54.760 --> 39:57.300 It's become one of the greatest tourist sites in Rome. 39:57.300 --> 39:59.650 And, in fact, a warning, if you're going to 39:59.648 --> 40:02.378 be making your way-- I think at least one of you 40:02.375 --> 40:04.475 mentioned to me a Spring Break trip-- 40:04.480 --> 40:06.200 but if you're going to be making your way to the Colosseum 40:06.197 --> 40:07.737 anytime soon, or in the future, 40:07.735 --> 40:10.405 it's actually not a bad idea to go online; 40:10.409 --> 40:13.319 you can now go online and you can get tickets online for 40:13.324 --> 40:14.814 places like the Colosseum. 40:14.809 --> 40:15.929 You don't need it for most places, 40:15.929 --> 40:17.839 but for the Vatican, the Colosseum, 40:17.840 --> 40:20.660 the most popular, it's not a bad idea to get 40:20.657 --> 40:23.287 tickets in advance, because then you can go on the 40:23.286 --> 40:25.256 short line, instead of the line that you're 40:25.257 --> 40:27.277 going to have to wait for hours to get in. 40:27.280 --> 40:29.300 But while you're outside, there's always something going 40:29.304 --> 40:29.494 on. 40:29.489 --> 40:33.949 This also never used to happen, but recently the Romans have 40:33.952 --> 40:38.722 gotten smart about realizing that everyone wants a photo op, 40:38.719 --> 40:42.509 and so they supply a host of gladiators outside the 40:42.509 --> 40:43.569 entranceway. 40:43.570 --> 40:46.600 And especially since everyone is on line for so many hours, 40:46.603 --> 40:48.753 you might as well have something to do. 40:48.750 --> 40:51.460 So they stock the place with modern gladiators, 40:51.463 --> 40:54.773 who are more than willing, for a certain number of euros, 40:54.768 --> 40:56.478 to pose in your pictures. 40:56.480 --> 40:59.310 And you see a young woman here taking her boyfriend or her 40:59.313 --> 41:01.803 husband, whomever, a picture of him 41:01.798 --> 41:05.378 playing the gladiatorial role with this sword, 41:05.380 --> 41:06.600 as you can see. 41:06.599 --> 41:09.779 And lots of fun--it's fun just to stand there and watch 41:09.777 --> 41:12.837 everybody posing for these extraordinary pictures. 41:12.840 --> 41:18.170 We saw that in the Colosseum the substructures were very 41:18.168 --> 41:20.008 poorly preserved. 41:20.010 --> 41:22.470 And so I wanted to show you another amphitheater where they 41:22.474 --> 41:25.054 are well preserved, so you can get a better sense 41:25.050 --> 41:27.990 of what those substructures would have looked like in 41:27.994 --> 41:28.734 antiquity. 41:28.730 --> 41:32.210 And so I take us, back south, we go down south to 41:32.210 --> 41:36.100 Campania once again, to a place called Pozzuoli--and 41:36.103 --> 41:39.873 Pozzuoli is very near to Baia, and near to Naples, 41:39.873 --> 41:43.603 and near to Pompeii and Herculaneum and so on-- 41:43.599 --> 41:48.389 a town that has one of the best preserved Roman amphitheaters 41:48.385 --> 41:50.855 from the ancient Roman world. 41:50.860 --> 41:53.880 It dates to the late first century A.D. 41:53.880 --> 41:57.650 And I show you a view here of the substructures of the 41:57.650 --> 42:00.360 amphitheater, the Roman Amphitheater at 42:00.355 --> 42:01.275 Pozzuoli. 42:01.280 --> 42:06.150 And you can see what I mean: the annular vaulted corridors 42:06.148 --> 42:10.928 down below, well preserved, as are the cages in which the 42:10.929 --> 42:13.919 animals were kept in antiquity. 42:13.920 --> 42:18.520 The grates are gone, but the cages are still there, 42:18.516 --> 42:21.086 as is much of the ceiling. 42:21.090 --> 42:23.560 And it's actually a fun place to wander through, 42:23.559 --> 42:25.819 because the light effects are incredible; 42:25.820 --> 42:28.740 the light effects through the openings in that ceiling, 42:28.739 --> 42:32.009 that were the openings through which the animals were 42:32.007 --> 42:34.487 transported, by ramp or by pulley, 42:34.490 --> 42:35.740 up to the arena. 42:35.739 --> 42:39.849 Here's another view where you can also get a great sense of 42:39.849 --> 42:42.959 these substructures, of the places where the animals 42:42.956 --> 42:45.256 were kept, and also of those openings in 42:45.255 --> 42:48.465 the ceiling that allowed them to be brought up above. 42:48.469 --> 42:51.209 And you can also notice very well here the fact that the 42:51.211 --> 42:52.901 construction-- in this case, 42:52.900 --> 42:56.750 late first century A.D.-- is concrete faced with brick, 42:56.746 --> 42:58.026 faced with brick. 42:58.030 --> 43:01.120 And we talked about another important part of Nero's 43:01.119 --> 43:04.819 architectural revolution was the fact that they began to build 43:04.817 --> 43:08.147 buildings that were brick-faced concrete buildings. 43:08.150 --> 43:10.220 We talked about the fact that that had to do with the fire, 43:10.219 --> 43:13.509 and the decision taken that brick was more fireproof than 43:13.510 --> 43:16.270 stone, and they began to use it, 43:16.266 --> 43:19.026 and we see it being used here. 43:19.030 --> 43:23.940 So another important facet of Nero's architectural revolution 43:23.943 --> 43:27.633 that was not lost with the emperor's death. 43:27.630 --> 43:32.500 And here you can see the very well-preserved pavement of the 43:32.496 --> 43:34.396 arena, done in concrete, 43:34.402 --> 43:37.692 with these openings in it, the same openings that you saw 43:37.690 --> 43:39.200 just before, from down below, 43:39.202 --> 43:40.842 through which the light came. 43:40.840 --> 43:43.770 These are the openings through which props, animals--some of 43:43.768 --> 43:46.958 them are very small; some of them are larger--would 43:46.956 --> 43:50.376 allow some things to be brought up through them. 43:50.380 --> 43:53.670 But you can also see there was a big open area in the center 43:53.672 --> 43:55.752 that was also used-- covered over, 43:55.750 --> 43:59.420 when there was an event-- but that was also there in 43:59.418 --> 44:04.258 order to allow a freer flow, and allow the attendants to 44:04.255 --> 44:07.385 bring the animals up to the top. 44:07.389 --> 44:11.179 So again, a very well-preserved pavement of the arena. 44:11.179 --> 44:13.759 And you can also see in this view that the seats, 44:13.755 --> 44:17.135 the cavea of the Theater at Pozzuoli, also extremely well 44:17.137 --> 44:17.887 preserved. 44:17.889 --> 44:20.359 You can't tell here, but the division into 44:20.356 --> 44:21.796 cunei the same. 44:21.800 --> 44:25.590 So we look to this amphitheater to give us a better sense of 44:25.588 --> 44:29.178 what the interior of the Colosseum would have looked like 44:29.184 --> 44:30.924 in ancient Roman times. 44:30.920 --> 44:34.670 We talked about the Temple of Divine Claudius. 44:34.670 --> 44:37.910 I remind you of a model of it here again, 44:37.909 --> 44:41.479 and the relationship of that Temple of Divine Claudius with 44:41.478 --> 44:43.668 the temple, conventional temple, 44:43.672 --> 44:45.672 on top of a very tall podium. 44:45.670 --> 44:48.620 The fact that that looked back to the architectural 44:48.615 --> 44:50.445 experiments, very early on, 44:50.445 --> 44:54.565 second, first centuries B.C., at the Sanctuaries of Jupiter 44:54.570 --> 44:58.600 Anxur at Terracina, and of Hercules Victor at 44:58.599 --> 45:01.259 Tivoli; it was that kind of thing that 45:01.262 --> 45:02.862 was being looked back to. 45:02.860 --> 45:06.400 And it's interesting to see that it was that same plan, 45:06.400 --> 45:09.330 that idea of a great open rectangular space, 45:09.329 --> 45:11.669 with a temple as part of it, that was used-- 45:11.670 --> 45:15.700 and with the temple put along one of the longer ends-- 45:15.699 --> 45:20.429 that was used by Vespasian for his own forum in Rome, 45:20.429 --> 45:23.909 the so-called Forum Pacis; it's sometimes referred to as 45:23.909 --> 45:26.269 the Templum Pacis, because we're not actually sure 45:26.273 --> 45:27.193 how it was used. 45:27.190 --> 45:31.260 We don't think it was actually used as a typical forum with 45:31.255 --> 45:34.655 shops and a law court and so on, but may have been used in a 45:34.664 --> 45:37.374 different way, and I'll speak to that in a 45:37.373 --> 45:38.013 moment. 45:38.010 --> 45:40.410 So we don't quite know what to call it, and we call it either 45:40.409 --> 45:41.969 the Forum Pacis or the Templum Pacis. 45:41.969 --> 45:45.789 In order to see its location, I show you this view of all of 45:45.791 --> 45:49.861 the Imperial Fora in Rome, those fora that line the Via 45:49.858 --> 45:53.528 dei Fori Imperiali, across from the Roman Forum. 45:53.530 --> 45:56.290 We've already looked at--here's the tail-end, 45:56.289 --> 45:59.899 or the side of the Roman Forum here, 45:59.900 --> 46:02.730 and right next to it, two fora that we've already 46:02.726 --> 46:06.136 discussed: The Forum of Julius Caesar and then the Forum of 46:06.143 --> 46:06.913 Augustus. 46:06.909 --> 46:08.809 Nothing else; this wasn't there then; 46:08.809 --> 46:09.909 this wasn't there then. 46:09.909 --> 46:13.359 But Vespasian decides to build a forum himself, 46:13.360 --> 46:16.810 in close proximity to the Forum of Augustus. 46:16.809 --> 46:20.269 In fact, it's interesting to see that it faces--the temple is 46:20.269 --> 46:23.499 actually on this end--so in a sense it faces the Forum of 46:23.500 --> 46:24.250 Augustus. 46:24.250 --> 46:28.330 So another smart, strategic move on the part-- 46:28.329 --> 46:31.759 a smart political move on the part of Vespasian to associate 46:31.762 --> 46:35.362 himself not just with Claudius, a good emperor who was 46:35.358 --> 46:38.008 divinized, but also with Augustus, 46:38.010 --> 46:41.040 the founder of the Julio-Claudian dynasty and the 46:41.039 --> 46:44.009 first emperor of Rome: so to build his structure 46:44.005 --> 46:47.315 facing that of Augustus'-- his temple--facing that of 46:47.318 --> 46:47.918 Augustus'. 46:47.920 --> 46:51.210 But you can see that he wants to outdo Augustus, 46:51.210 --> 46:54.010 so he makes his larger than Augustus'. 46:54.010 --> 46:57.580 This area here, that's labeled as the Forum of 46:57.579 --> 47:00.989 Nerva, wasn't a forum at all, at this point, 47:00.989 --> 47:05.749 it was a street called the Argiletum--A-r-g-i-l-e-t-u-m. 47:05.750 --> 47:08.800 And that street, the Argiletum--and you can see 47:08.795 --> 47:12.395 it labeled up there-- that street led into a part of 47:12.402 --> 47:14.162 Rome, a residential area of Rome, 47:14.159 --> 47:18.959 that I've referred to before, called the Subura, S-u-b-u-r-a. 47:18.960 --> 47:22.300 The Subura was again a place where there were a lot of--I've 47:22.300 --> 47:25.290 mentioned it again; there were there, 47:25.291 --> 47:29.581 a lot of apartment houses, mostly made out of wood: 47:29.579 --> 47:32.879 rickety apartment houses that were lived in by a large number 47:32.880 --> 47:34.840 of people, with lesser means. 47:34.840 --> 47:40.010 And there were consequently always fires there. 47:40.010 --> 47:42.490 And you'll remember that Augustus' architects had to 47:42.485 --> 47:45.155 build that large precinct wall out of peperino to 47:45.157 --> 47:48.017 protect the Temple of Mars Ultor from the fires that used to 47:48.021 --> 47:50.111 break out all the time in the Subura. 47:50.110 --> 47:54.330 So you have to imagine this as a street, in between the Forum 47:54.329 --> 47:58.269 of Augustus and Vespasian's Forum Pacis, in ancient Roman 47:58.266 --> 47:58.966 times. 47:58.969 --> 48:03.919 Also interesting is again the plan: a rectangle with a temple 48:03.916 --> 48:08.036 on one end, dominating the space in front of it. 48:08.039 --> 48:11.229 You can see that there are columns all the way around. 48:11.230 --> 48:16.490 There are these alcoves that open off the center space, 48:16.492 --> 48:21.272 and you can see they're screened, from that center 48:21.268 --> 48:23.898 space, also by columns. 48:23.900 --> 48:27.060 We know that some exotic materials were used here: 48:27.063 --> 48:30.683 marble that was brought from other parts of the world. 48:30.679 --> 48:34.399 We saw that beginning already under Nero -- bringing marble 48:34.402 --> 48:37.362 from Asia Minor and Africa and Egypt and so on, 48:37.356 --> 48:38.766 for his buildings. 48:38.768 --> 48:40.898 That also continues under the Flavians. 48:40.900 --> 48:44.560 So another Neronian innovation that remains important. 48:44.559 --> 48:45.929 We see it here. 48:45.929 --> 48:48.619 We see red granite columns used for the colonnade. 48:48.619 --> 48:53.039 We see yellow columns from Africa, used for the columns 48:53.038 --> 48:57.128 that screen these alcoves from the larger space. 48:57.130 --> 49:00.890 And then we see white marble for the rest. 49:00.889 --> 49:06.019 So this combination of imported marbles used for the Forum Pacis 49:06.023 --> 49:06.843 in Rome. 49:06.840 --> 49:09.090 The Forum Pacis no longer survives. 49:09.090 --> 49:10.890 You can't see any of it today. 49:10.889 --> 49:14.569 We do know its location though, and we do have a good sense of 49:14.574 --> 49:16.814 its plan, once again from the so-called 49:16.806 --> 49:21.106 Forma Urbis, from this marble map of Rome 49:21.110 --> 49:26.270 that has a few fragments of the Forum Pacis. 49:26.268 --> 49:29.308 You can see one fragment here, one fragment here, 49:29.307 --> 49:31.647 and then a third fragment up there. 49:31.650 --> 49:34.350 And those fragments are enough, when we look at those, 49:34.353 --> 49:36.803 study those and compare those to other buildings, 49:36.804 --> 49:39.054 to allow a very accurate reconstruction. 49:39.050 --> 49:41.690 It tells us the shape of the temple, 49:41.690 --> 49:43.710 and it shows us, without any question-- 49:43.710 --> 49:46.530 because one of the fragments includes lots of this-- 49:46.530 --> 49:48.970 that this too, like the Claudianum in Rome, 49:48.969 --> 49:53.179 had bushes, had bushes as a kind of garden, 49:53.179 --> 49:55.849 that decorated the center of the structure. 49:55.849 --> 49:59.599 So bringing the country, in a sense, into the city, 49:59.596 --> 50:02.066 for these incredible complexes. 50:02.070 --> 50:04.900 This is a restored view--and you see it also on your Monument 50:04.900 --> 50:07.450 List--of what the Forum Pacis would have looked like in 50:07.449 --> 50:08.109 antiquity. 50:11.434 --> 50:14.034 with a number of entranceways. 50:14.030 --> 50:16.840 The temple pushed up--in fact, not only pushed up against the 50:16.842 --> 50:19.332 back wall, but part of the colonnade that flanks it on 50:19.329 --> 50:20.079 either side. 50:20.079 --> 50:22.389 You can see the red granite columns. 50:22.389 --> 50:26.799 You can't see the yellow columns that would have been 50:26.802 --> 50:31.472 further in, screening the alcoves from the colonnade. 50:31.469 --> 50:35.879 You see an altar right in front of the temple. 50:35.880 --> 50:39.880 You see the bushes that were part of the plantings that made 50:39.876 --> 50:44.276 this look like a kind of garden complex in front of the temple. 50:44.280 --> 50:46.470 We don't actually know if it was used as a temple. 50:46.469 --> 50:49.389 We have no divinity that's been associated with it. 50:49.389 --> 50:52.799 We actually think it may have been used as a museum, 50:52.804 --> 50:55.684 as a museum, and I'm going to say more about 50:55.682 --> 50:57.092 that in a moment. 50:57.090 --> 50:58.530 Here's another reconstruction. 50:58.530 --> 51:00.070 This one is from Ward-Perkins. 51:00.070 --> 51:03.090 You can see that it is roughly the same as-- 51:03.090 --> 51:06.350 it is the same as the other, with one exception, 51:06.349 --> 51:09.349 and that is it shows an entranceway that's made up of 51:09.353 --> 51:11.553 three doors and a number of columns. 51:11.550 --> 51:13.060 This was thought, for a very long time, 51:13.059 --> 51:18.939 to be the case that there was an elaborate entranceway, 51:18.940 --> 51:21.440 with columns and projecting entablatures, 51:21.440 --> 51:23.860 the sort of thing that we haven't seen yet in built 51:23.864 --> 51:26.564 architecture, but we did see in Second Style 51:26.563 --> 51:27.913 Roman wall painting. 51:27.909 --> 51:30.459 But that idea has been discredited, and now people 51:33.630 --> 51:34.150 plain. 51:34.150 --> 51:39.330 The reason that this idea came to the fore is that eventually, 51:39.329 --> 51:44.109 when the Argiletum was filled in with a forum by Vespasian's 51:44.114 --> 51:49.134 second son Domitian, Domitian did build a forum that 51:49.130 --> 51:53.160 is in part preserved, and which we will look at next 51:53.159 --> 51:54.059 week I believe. 51:54.059 --> 51:58.589 But that forum had on the walls a series of columns with 51:58.594 --> 52:00.744 projecting entablatures. 52:00.739 --> 52:04.249 And that does still exist now, or part of it does still exist. 52:04.250 --> 52:07.570 So I think that's what originally gave archaeologists 52:07.565 --> 52:10.815 the idea that that was there before, and was part of 52:10.818 --> 52:12.348 Vespasian's complex. 52:12.349 --> 52:16.469 But that seems not to have been the case, and the reconstruction 52:16.467 --> 52:20.457 that you have on your Monument List is the one that you should 52:20.456 --> 52:21.106 go by. 52:21.110 --> 52:24.980 Let's get back to the whole point about the museum, 52:24.976 --> 52:29.386 whether this served as a kind of museum in the time of the 52:29.385 --> 52:31.005 Flavian emperors. 52:31.010 --> 52:33.770 I mentioned the great victory that Titus had over Jerusalem, 52:33.768 --> 52:36.288 a victory--at least from the Roman point of view it was 52:36.291 --> 52:38.891 great; obviously it was not great for 52:38.885 --> 52:43.065 Judea, because the area was taken over by the Romans and the 52:43.067 --> 52:45.757 famous Jewish Temple was destroyed. 52:45.760 --> 52:51.530 And Titus also did not hesitate to ramble through the-- 52:51.530 --> 52:54.150 with his men, with his soldiers--go through 52:54.148 --> 52:57.948 the Temple and pick and choose what he wanted to bring back to 52:57.954 --> 52:59.144 Rome as spoils. 52:59.139 --> 53:02.119 He took the great seven-branched candelabrum from 53:02.121 --> 53:02.931 the temple. 53:02.929 --> 53:06.219 He took the Ark of the Covenant from the Temple; 53:06.219 --> 53:09.079 he took a whole host of other items from the Temple, 53:09.081 --> 53:11.721 and he brought them back to Rome as trophies. 53:11.719 --> 53:14.609 And we see this famous scene on the Arch of Titus, 53:14.610 --> 53:18.270 an arch that Domitian put up in honor of his brother--and we'll 53:18.268 --> 53:19.918 look at that on Tuesday. 53:19.920 --> 53:24.050 The Arch of Titus has a scene that depicts the Roman soldiers 53:24.050 --> 53:27.010 bringing the seven-branched candelabrum, 53:27.010 --> 53:29.650 and a table with other objects on it, 53:29.650 --> 53:31.700 from that temple, back to Rome, 53:31.704 --> 53:34.584 and parading with those through an arch. 53:34.579 --> 53:37.949 Those spoils we know were placed by Vespasian, 53:37.951 --> 53:41.021 by his father, with whom he shared a joint 53:41.023 --> 53:44.923 triumph, because of this victory over Jerusalem; 53:44.920 --> 53:49.500 it was placed in the Forum Pacis, once that was built. 53:49.500 --> 53:54.070 So it was in part a place where he could display the spoils of 53:54.065 --> 53:56.645 war, because of the fact that the 53:56.648 --> 54:00.548 legitimacy that he gained through this conquest was so 54:00.547 --> 54:04.277 important to his dynasty, to the right of his dynasty to 54:04.277 --> 54:06.507 rule, and to the right of his sons to 54:06.510 --> 54:07.470 rule after him. 54:07.469 --> 54:09.639 So he wants to make that point clear. 54:09.639 --> 54:13.759 But again he's very shrewd politically and he also wants to 54:13.764 --> 54:17.184 make sure that the people have access to this. 54:17.179 --> 54:20.309 He wants to remind them when Nero was emperor of Rome, 54:20.307 --> 54:23.907 he had things in his villa that he would never have dreamed of 54:23.909 --> 54:25.149 sharing with you. 54:25.150 --> 54:28.520 You weren't able to come in and dine there and have petals and 54:28.516 --> 54:30.776 fragrances fall on you while you dined; 54:30.780 --> 54:33.550 you were not allowed into this space. 54:33.550 --> 54:36.670 "But now you can come to the Colosseum and you can go to 54:36.670 --> 54:37.400 this museum. 54:37.400 --> 54:40.510 And while you're in the museum, you might as well look at these 54:40.505 --> 54:42.855 great spoils that I captured from Jerusalem, 54:42.860 --> 54:46.940 that bring credit to me and legitimacy to my dynasty." 54:46.940 --> 54:50.080 He also took--what's also interesting and makes this more 54:50.079 --> 54:53.129 museum-like, is that he also took some of 54:53.134 --> 54:56.934 the statuary that Nero had stolen from Greece, 54:56.929 --> 55:00.019 when he went there to compete in those Olympic Games and so 55:00.019 --> 55:01.609 on, that he had stolen from Greece, 55:01.606 --> 55:04.076 and elsewhere, and put up in his villa, 55:04.079 --> 55:08.779 he also put those in the museum and opened that collection also 55:08.784 --> 55:10.534 to the Roman people. 55:10.530 --> 55:13.290 And we even know some of the statues that were there, 55:13.293 --> 55:16.323 that were taken from Nero's Domus Aurea, and put into this 55:16.324 --> 55:16.914 museum. 55:16.909 --> 55:21.969 One of them was a famous cow; a cow that had been done by the 55:21.969 --> 55:24.929 well-known Greek artist, Myron, M-y-r-o-n, 55:24.934 --> 55:26.384 the Cow of Myron. 55:26.380 --> 55:33.620 And the second was an image, a sculpted image--we're not 55:33.617 --> 55:35.527 sure; I don't think we know whether 55:35.530 --> 55:39.240 it was in marble or bronze, the original--but an image of a 55:39.240 --> 55:42.990 reclining Nile River, who is surrounded by sixteen 55:42.987 --> 55:46.487 kids, who are running around, up and down on top of him and 55:46.490 --> 55:47.150 around him. 55:47.150 --> 55:51.300 Another famous statue that was in Nero's possession, 55:51.304 --> 55:56.194 that gets put into what appears to have been a very important 55:56.193 --> 55:57.093 museum. 55:57.090 --> 56:04.360 You see here another Google--an excellent Google Earth view, 56:04.362 --> 56:09.542 aerial view, of part of the Roman Forum. 56:09.539 --> 56:12.629 The Colosseum, of course, is way over here, 56:12.628 --> 56:16.598 and we can see the central part, or part of the central 56:16.601 --> 56:18.221 part of the Forum. 56:18.219 --> 56:20.969 We're looking back toward the Victor Emmanuel Monument. 56:20.969 --> 56:24.529 We're looking back toward the Campidoglio, as redesigned by 56:24.527 --> 56:26.487 Michelangelo, the oval piazza. 56:26.489 --> 56:28.619 And, in fact, here we can even see, 56:28.619 --> 56:31.499 in the upper left, the Theater of Marcellus. 56:31.500 --> 56:35.910 So you can see that the Theater of Marcellus was basically in a 56:35.914 --> 56:39.414 diagonal dialogue, in a sense, with the Colosseum, 56:39.405 --> 56:41.965 that was located back over here. 56:41.969 --> 56:45.739 The reason that I show this view to you now is to point out 56:45.737 --> 56:49.177 also the Tabularium, which we've already looked at. 56:49.179 --> 56:53.609 The archive sits on the back of the Senatorial Palace, 56:53.612 --> 56:56.042 redesigned by Michelangelo. 56:56.039 --> 57:00.229 But right in front of it there was a temple that was put up in 57:00.228 --> 57:02.428 honor of Vespasian, at his death, 57:02.427 --> 57:03.867 by his son Titus. 57:03.869 --> 57:06.479 And then when Titus died only a few years later, 57:06.480 --> 57:09.180 also of natural causes, his brother, 57:09.179 --> 57:11.799 Domitian, became emperor, and Domitian decided to 57:11.800 --> 57:14.040 rededicate the temple to both of them, 57:14.039 --> 57:18.429 to Vespasian and also to Titus. 57:18.429 --> 57:21.859 So it became the Temple of the two divi, 57:21.864 --> 57:25.454 because Titus was also divinized at his death. 57:25.449 --> 57:28.199 And there were statue bases that were found, 57:28.199 --> 57:30.769 that stood in front of this temple, 57:30.768 --> 57:33.868 with inscriptions indicating that they honored those two 57:33.873 --> 57:36.653 individuals, and that they were depicted, 57:36.652 --> 57:39.852 undoubtedly, in statues in front of this 57:39.849 --> 57:40.509 temple. 57:40.510 --> 57:44.460 Only three columns of that temple still survive; 57:44.460 --> 57:46.790 some of the foundations as well, of course. 57:46.789 --> 57:51.989 And you can see it in the Roman Forum, right near the Tabularium 57:51.992 --> 57:52.822 in Rome. 57:52.820 --> 57:55.090 If you look at it, you can see that these are 57:55.090 --> 57:56.640 Corinthian fluted capitals . 57:56.639 --> 58:02.009 It was probably a quite conventional temple. 58:02.010 --> 58:06.840 But you do see that there is a frieze that seems to represent a 58:06.844 --> 58:10.904 number of sacrificial implements: a libation dish and 58:10.900 --> 58:13.700 a pitcher, and so on and so forth. 58:13.699 --> 58:17.739 A very large chunk of that frieze and entablature is still 58:17.742 --> 58:19.022 preserved today. 58:19.018 --> 58:24.258 It's not with the temple but rather in the Tabularium itself, 58:24.255 --> 58:26.695 and I show it to you here. 58:26.699 --> 58:32.639 An extremely well-preserved section of the decorative frieze 58:32.639 --> 58:37.409 of the Temple of Vespasian, the Temple of Divine Vespasian 58:37.414 --> 58:40.624 in Rome, which you see again dates to 58:40.617 --> 58:42.577 around 79 to 81 A.D. 58:42.579 --> 58:48.009 And it's very instructive, not only in terms of the way in 58:48.009 --> 58:50.629 which Titus first, and then his brother, 58:50.628 --> 58:52.158 were thinking of honoring members of their family, 58:52.159 --> 58:59.839 but also in how ornamental this is. 58:59.840 --> 59:03.750 This is decoration that is more richly textured than any that 59:03.753 --> 59:07.213 we've seen thus far, and also more richly undercut. 59:07.210 --> 59:11.270 The artists are beginning to use the drill to create very 59:11.268 --> 59:14.168 deep shadows among the decorative motifs, 59:14.168 --> 59:16.848 to make them stand out even more. 59:16.849 --> 59:20.519 And you might remember--I didn't bring it back to show 59:20.523 --> 59:22.363 you-- but you might remember that 59:22.356 --> 59:25.396 section that I showed you from the Temple of Venus Genetrix in 59:25.402 --> 59:29.592 the Forum of Julius Caesar, where I mentioned that that had 59:29.594 --> 59:33.014 been restored in the time of Domitian, 59:33.010 --> 59:34.420 second son of Vespasian, and also in the Trajanic 59:34.416 --> 59:34.676 period. 59:34.679 --> 59:40.969 And that the very deep carving indicated to us not only that it 59:40.974 --> 59:44.914 had been done later, but also the fact that the 59:44.905 --> 59:47.905 Flavians were particularly interested in this very 59:47.913 --> 59:51.203 ornamental decoration, very deeply undercut 59:51.201 --> 59:52.471 ornamentation. 59:52.469 --> 59:53.869 And we see that so well here. 59:53.869 --> 59:56.489 We see also the interesting--the variety of 59:56.489 --> 59:59.669 motifs in this frieze, and in the decorative part of 59:59.672 --> 1:00:00.112 it. 1:00:00.110 --> 1:00:04.050 And then the frieze itself is very interesting. 1:00:04.050 --> 1:00:06.460 If we look at the objects, we see that they are mainly 1:00:06.458 --> 1:00:08.458 objects that are used in ritual sacrifice. 1:00:08.460 --> 1:00:11.450 We see the skulls of bulls, just as we saw them in the 1:00:11.451 --> 1:00:14.501 inner precinct of the Ara Pacis, one on either side. 1:00:14.500 --> 1:00:16.070 We see a libation dish. 1:00:16.070 --> 1:00:20.410 We see an axe, over here; that's to knock out the animals. 1:00:20.409 --> 1:00:24.409 Here's the knife to slit the throat of the animals; 1:00:24.409 --> 1:00:27.679 the pitcher to pour wine on an altar; 1:00:27.679 --> 1:00:30.019 a whip, for whatever purpose that had; 1:00:30.018 --> 1:00:33.968 and then over here a helmet, as you can see. 1:00:33.969 --> 1:00:37.459 So all of these implements that were used in sacrifice, 1:00:37.456 --> 1:00:41.006 regularly used in sacrifice, arranged like a still life, 1:00:41.007 --> 1:00:43.007 against a blank background. 1:00:43.010 --> 1:00:46.940 And I don't know about you, but when I look at this I am 1:00:46.938 --> 1:00:51.008 reminded of some of Fourth Style Roman wall decoration; 1:00:51.010 --> 1:00:53.800 of the still life paintings that we saw in the Third and the 1:00:53.795 --> 1:00:55.585 Fourth Style, where you have individual 1:00:55.588 --> 1:00:57.428 objects against a blank background. 1:00:57.429 --> 1:01:03.149 And also the decorative nature of this conjures up some of the 1:01:03.150 --> 1:01:06.410 decoration that we see, the profusion, 1:01:06.407 --> 1:01:09.737 the almost overly decorative element of Fourth Style Roman 1:01:09.737 --> 1:01:10.727 wall painting. 1:01:10.730 --> 1:01:14.290 And since this dates to 79 to 81, and you'll remember the 1:01:14.291 --> 1:01:17.981 Fourth Style is 62 to 79 at Pompeii -- but we know that the 1:01:17.981 --> 1:01:21.921 Fourth Style continued on; it was the Fourth Style that 1:01:21.918 --> 1:01:26.408 was the most popular style post 79, obviously not in Pompeii or 1:01:26.409 --> 1:01:29.959 Herculaneum, but elsewhere in the Roman world. 1:01:29.960 --> 1:01:32.990 So this very much in keeping; we're seeing in architecture 1:01:36.213 --> 1:01:38.943 as we see in Fourth Style Roman wall painting. 1:01:38.940 --> 1:01:43.550 The last monument that I want to show you today is in many 1:01:43.552 --> 1:01:45.982 respects the most important. 1:01:45.980 --> 1:01:48.820 That seems like a strange thing to say, because what could be 1:01:48.815 --> 1:01:51.365 more important than the icon of Rome, the Colosseum? 1:01:51.369 --> 1:01:53.559 But when we think about it, the Colosseum was actually a 1:01:53.556 --> 1:01:54.786 fairly conservative building. 1:01:54.789 --> 1:01:55.239 Right? 1:01:55.242 --> 1:01:58.942 It goes back to the Amphitheater at Pompeii in its 1:01:58.936 --> 1:02:01.536 general plan, and it is quite similar to, 1:02:01.539 --> 1:02:04.229 in fact very similar to, the Theater of Marcellus, 1:02:04.233 --> 1:02:06.513 which was done at the time of Augustus. 1:02:06.510 --> 1:02:09.240 And Augustus was trying to connect his reign to that of 1:02:09.244 --> 1:02:11.074 Periclean Athens, and was using stone 1:02:11.068 --> 1:02:11.928 construction. 1:02:11.929 --> 1:02:15.009 And the Colosseum is of stone construction, 1:02:15.010 --> 1:02:18.250 although it also, of course, makes use of annular 1:02:18.253 --> 1:02:22.743 vaults made out of concrete, and also innovates with the new 1:02:22.739 --> 1:02:23.819 groin vaults. 1:02:23.820 --> 1:02:26.380 But for all intents and purposes a relatively 1:02:26.376 --> 1:02:29.626 conservative building at this time, the Colosseum was. 1:02:29.630 --> 1:02:32.590 The building that I'm now going to show you was not that way at 1:02:32.594 --> 1:02:34.404 all, even though it's a building 1:02:34.398 --> 1:02:37.118 that is much less well known than the Colosseum, 1:02:37.119 --> 1:02:38.779 and it also doesn't exist any longer, 1:02:38.780 --> 1:02:39.820 unfortunately. 1:02:39.820 --> 1:02:42.690 And those are the Baths of Titus. 1:02:42.690 --> 1:02:46.660 A very important structure for us, the Baths of Titus--the 1:02:46.657 --> 1:02:50.137 Thermae Titi--the Baths of Titus, that date to A.D. 1:02:50.137 --> 1:02:54.237 80, right smack in the middle of Titus' brief reign of 79 to 1:02:54.242 --> 1:02:54.872 81. 1:02:54.869 --> 1:02:58.709 They were put up in Rome, and they were put up in Rome, 1:02:58.710 --> 1:03:01.600 not surprisingly--you know the narrative here-- 1:03:01.599 --> 1:03:04.969 not surprisingly on that land that had earlier been 1:03:04.965 --> 1:03:08.465 expropriated by Nero: another instance of the Flavian 1:03:08.465 --> 1:03:11.085 emperors giving back to the people. 1:03:11.090 --> 1:03:13.700 You've given them a museum, you've given them an 1:03:13.702 --> 1:03:15.982 amphitheater, and now you're going to give 1:03:15.980 --> 1:03:16.870 them a bath. 1:03:16.869 --> 1:03:18.839 Next to an amphitheater, the bath is what they wanted 1:03:18.842 --> 1:03:20.472 most of all -- a place where they could go to 1:03:20.467 --> 1:03:22.527 bathe, but also hang out with their 1:03:22.530 --> 1:03:23.810 family and friends. 1:03:23.809 --> 1:03:27.429 So again, giving back to the people what they wanted; 1:03:27.429 --> 1:03:30.869 a wise, shrewd political move on the part of Vespasian, 1:03:30.871 --> 1:03:34.061 being followed by his equally shrewd son, Titus. 1:03:34.059 --> 1:03:38.289 The location of the Baths of Titus was next to-- 1:03:38.289 --> 1:03:40.859 actually what you see here, on top of the Golden House, 1:03:40.860 --> 1:03:43.510 is actually the plan of a later bath, 1:03:43.510 --> 1:03:45.990 the Baths of the emperor Trajan, which we'll look at in 1:03:45.992 --> 1:03:46.592 the future. 1:03:46.590 --> 1:03:51.200 But the smaller Baths of Titus were put to the--I believe it 1:03:51.202 --> 1:03:55.352 was, yes--the west of the Esquiline Wing of the Golden 1:03:55.347 --> 1:03:56.127 House. 1:03:56.130 --> 1:03:59.420 Right just between the Golden House and where you see 1:03:59.422 --> 1:04:03.102 'Esquiline' written up there, was the location of the Baths 1:04:03.096 --> 1:04:03.916 of Titus. 1:04:03.920 --> 1:04:08.140 All that survives of the Baths of Titus is part of one wall, 1:04:08.139 --> 1:04:10.139 a brick-faced, concrete wall, 1:04:10.143 --> 1:04:13.223 with some engaged columns; that's all we have. 1:04:13.219 --> 1:04:15.239 But the building was still standing-- 1:04:15.239 --> 1:04:18.029 the building was still much better preserved in the 1:04:18.034 --> 1:04:20.734 sixteenth century, when it was drawn by 1:04:20.733 --> 1:04:24.523 Renaissance architects, most specifically by Andrea 1:04:24.521 --> 1:04:26.871 Palladio-- his name I put on the Monument 1:04:26.871 --> 1:04:27.611 List for you. 1:04:27.610 --> 1:04:31.090 Andrea Palladio drew a very complete plan of it, 1:04:31.092 --> 1:04:35.612 and it is on the basis of that plan that modern plans are made 1:04:35.612 --> 1:04:37.542 of the Baths of Titus. 1:04:37.539 --> 1:04:38.709 And I show it to you here. 1:04:38.710 --> 1:04:42.100 And we believe this is a very accurate plan of the Baths of 1:04:42.101 --> 1:04:42.571 Titus. 1:04:42.570 --> 1:04:46.450 And I compare it for you here with? 1:04:46.449 --> 1:04:50.939 Again, those of you studying for the midterm, 1:04:50.940 --> 1:04:52.370 what's this? 1:04:52.369 --> 1:04:52.569 Student: Stabian--. 1:04:52.572 --> 1:04:52.822 Prof: The Stabian Baths; 1:04:52.820 --> 1:04:56.210 Stabian Baths in Pompeii, second century B.C. 1:04:56.210 --> 1:04:57.410 Very good. 1:04:57.409 --> 1:05:01.579 And we talked about that as the typical earlier bath structure. 1:05:01.579 --> 1:05:04.649 And just a very quick review, to remind ourselves of its 1:05:04.650 --> 1:05:05.600 major features. 1:05:05.599 --> 1:05:09.309 It had the palaestra over here, surrounded by columns 1:05:09.309 --> 1:05:11.809 on three sides; the piscina or the 1:05:11.809 --> 1:05:14.269 natatio, swimming pool at the left. 1:05:14.268 --> 1:05:17.858 And then most importantly the bathing block on the right side 1:05:17.862 --> 1:05:19.002 of the structure. 1:05:19.000 --> 1:05:23.030 A men's section and a women's section, with that sequence of 1:05:23.034 --> 1:05:26.664 rooms: the apodyterium or the dressing room; 1:05:26.659 --> 1:05:29.159 the tepidarium, rectangular, 1:05:29.155 --> 1:05:32.255 or the warm room; the caldarium, 1:05:32.255 --> 1:05:36.635 hot room, with an apse and a cold water splash basin; 1:05:36.639 --> 1:05:39.649 and then, most importantly, the frigidarium, 1:05:39.648 --> 1:05:42.778 that small, round building with radiating alcoves. 1:05:42.780 --> 1:05:45.260 That was the typical Roman bath structure, 1:05:45.260 --> 1:05:50.520 until we begin to see our first example in Rome of the so-called 1:05:50.516 --> 1:05:53.766 "imperial bath" structure, 1:05:53.768 --> 1:05:57.898 the plan that is used by the emperors for the baths that they 1:05:57.898 --> 1:05:58.998 build in Rome. 1:05:59.000 --> 1:06:01.770 It is possible that Titus' was not the first. 1:06:01.768 --> 1:06:04.328 There's been some speculation--we know that Nero 1:06:04.329 --> 1:06:06.969 had built a bath-- there has been some speculation 1:06:06.969 --> 1:06:09.669 that Nero's Bath may have been the first example of the 1:06:09.670 --> 1:06:11.970 imperial plan, but we don't know for sure. 1:06:11.969 --> 1:06:16.669 But Titus'--of the ones that we know, have the specifics about, 1:06:16.672 --> 1:06:20.622 we know that Titus' was definitely an example of this 1:06:20.615 --> 1:06:22.735 imperial bath structure. 1:06:22.739 --> 1:06:26.029 And the features that are outstanding here, 1:06:26.030 --> 1:06:29.320 that we need to focus on, are the fact that this imperial 1:06:29.315 --> 1:06:32.305 bath structure had a very elaborate entranceway, 1:06:32.309 --> 1:06:36.229 that consisted either of columns on square bases, 1:06:36.230 --> 1:06:37.900 or piers, in the front. 1:06:37.900 --> 1:06:41.040 There seemed to have been a series of groin vaults -- 1:06:41.043 --> 1:06:44.433 anytime you see an X in plan that means a groin vault. 1:06:44.429 --> 1:06:48.049 An elaborate stairway, some more columns or piers 1:06:48.054 --> 1:06:50.134 here, and more groin vaults, 1:06:50.130 --> 1:06:53.020 and another stairway, leading into a double 1:06:53.018 --> 1:06:55.338 palaestra, in a sense; 1:06:55.340 --> 1:06:57.610 or you could call it a combined palaestra here, 1:06:57.606 --> 1:06:58.586 on the southern side. 1:06:58.590 --> 1:07:03.860 And you can see the cistern; on the outside of the precinct, 1:07:03.856 --> 1:07:06.816 you can see the cistern that fed water into this bath 1:07:06.818 --> 1:07:07.558 structure. 1:07:07.559 --> 1:07:09.869 It's roughly rectangular, as you can see, 1:07:09.869 --> 1:07:13.199 and unlike the Stabian Baths at Pompeii, 1:07:13.199 --> 1:07:16.429 where you have the bath complex on the right side, 1:07:16.429 --> 1:07:21.429 you can see that the rooms that are used for bathing are at the 1:07:21.434 --> 1:07:25.024 center of the plan, which makes sense from the 1:07:25.023 --> 1:07:26.283 Roman standpoint. 1:07:26.280 --> 1:07:29.490 You know the Romans were very focused on axiality and 1:07:29.487 --> 1:07:32.817 symmetry, and that's exactly what they've done here. 1:07:32.820 --> 1:07:35.320 They've placed the bathing block in the center. 1:07:35.320 --> 1:07:39.040 They've lined the rooms up axially with one another. 1:07:39.039 --> 1:07:42.079 They've placed rooms on either side, symmetrical rooms, 1:07:42.077 --> 1:07:44.887 it's the same on the left as it is on the right. 1:07:44.889 --> 1:07:48.429 The rooms are symmetrically disposed around that central 1:07:48.429 --> 1:07:49.459 bathing block. 1:07:49.460 --> 1:07:51.400 And they've taken the frigidarium, 1:07:51.400 --> 1:07:53.960 which was the smallest--albeit the most interesting 1:07:53.956 --> 1:07:56.416 architecturally-- but the smallest room in the 1:07:56.422 --> 1:07:59.412 bath, and they've made it the largest room in the bath. 1:07:59.409 --> 1:08:01.889 Because you can see at F a very large, 1:08:01.889 --> 1:08:04.349 cross-shaped room, with an apse on one end, 1:08:04.349 --> 1:08:08.389 a groin vault over the center, a single large groin vault over 1:08:08.391 --> 1:08:11.301 the center, flanked by and buttressed by, 1:08:11.295 --> 1:08:15.005 two barrel vaults, one on either side. 1:08:15.010 --> 1:08:18.010 And then opening off those barrel vaults a series of 1:08:18.005 --> 1:08:20.285 rectangular alcoves with, as you can see, 1:08:20.287 --> 1:08:23.737 with walls that are scalloped, and then with columns that 1:08:23.735 --> 1:08:28.465 screen those alcoves from the central groin vaulted space. 1:08:28.470 --> 1:08:31.190 So an entirely different way of thinking about the 1:08:31.185 --> 1:08:32.345 frigidarium. 1:08:32.350 --> 1:08:33.760 Then that into the tepidarium from the 1:08:33.756 --> 1:08:36.076 frigidarium, again through a screen of 1:08:36.078 --> 1:08:38.538 columns--that's fairly conventional, 1:08:38.538 --> 1:08:42.478 rectangular--and then into--we see here double caldaria, 1:08:42.479 --> 1:08:45.779 two caldaria, they also in a kind of cross 1:08:45.780 --> 1:08:47.880 shape-- although a cross shape that 1:08:47.882 --> 1:08:50.802 appears a little bit more rounded than the case of the 1:08:50.796 --> 1:08:54.086 frigidarium-- they too screened by columns on 1:08:54.085 --> 1:08:59.435 three sides, very open, allowing a free flow 1:08:59.435 --> 1:09:02.195 of space, in a way that was not true of 1:09:02.202 --> 1:09:04.302 the Pompeian Baths where the entrances were tiny, 1:09:04.300 --> 1:09:08.350 from one room to another; here a great deal of emphasis 1:09:08.346 --> 1:09:10.306 on the free flow of space. 1:09:10.310 --> 1:09:13.850 So what's very important here, the way I want to end today, 1:09:13.847 --> 1:09:15.737 is essentially where I began. 1:09:15.738 --> 1:09:18.388 What innovations of Nero's architecture lived on, 1:09:18.390 --> 1:09:20.380 despite his damnatio memoriae, 1:09:20.380 --> 1:09:23.640 and despite the fact that his buildings were destroyed? 1:09:23.640 --> 1:09:25.100 His buildings no longer stood. 1:09:25.100 --> 1:09:27.280 The Domus Aurea no longer stood, to be studied. 1:09:27.279 --> 1:09:33.319 And yet what we see is some of the innovations did live on. 1:09:33.319 --> 1:09:35.509 And the ones that did include--and let me just 1:09:35.505 --> 1:09:37.635 compare, as the last image, 1:09:37.644 --> 1:09:41.584 compare the octagonal room, an axonometric view of the 1:09:41.583 --> 1:09:45.363 octagonal room, with the Baths of Titus in Rome. 1:09:45.359 --> 1:09:48.749 What we see are some of the experimentations that were 1:09:48.751 --> 1:09:51.051 taking place in private architecture, 1:09:51.054 --> 1:09:52.594 palace architecture. 1:09:52.590 --> 1:09:55.620 And I should make the point that just as we've said that 1:09:55.621 --> 1:09:59.371 tomb architecture was often very eccentric and very experimental, 1:09:59.368 --> 1:10:01.348 the same was true for private architecture; 1:10:01.350 --> 1:10:02.740 not surprisingly. 1:10:02.738 --> 1:10:06.088 These are buildings that people make personal decisions about. 1:10:06.090 --> 1:10:07.230 How do I want to live? 1:10:07.229 --> 1:10:09.409 In what kind of spaces do I want to live? 1:10:09.408 --> 1:10:13.978 And in what kind of building do I want to be buried? 1:10:13.979 --> 1:10:15.879 Those are very personal decisions, 1:10:15.880 --> 1:10:19.180 and they were much more likely to be experimental decisions, 1:10:19.180 --> 1:10:21.440 where public architecture had to toe the line, 1:10:21.439 --> 1:10:24.499 to a certain extent, and had to be more closely 1:10:24.497 --> 1:10:26.887 allied with what had gone before, 1:10:26.890 --> 1:10:29.950 and it was also more referential in terms of looking 1:10:29.948 --> 1:10:32.048 back to other emperors and so on. 1:10:32.050 --> 1:10:34.870 So we see experiments in private palace and tomb 1:10:34.868 --> 1:10:37.208 architecture, villa architecture that we 1:10:37.210 --> 1:10:40.390 don't tend to see as much in public architecture. 1:10:40.390 --> 1:10:44.280 But what we see happening here is very momentous, 1:10:44.279 --> 1:10:47.859 and that is the lessons that were explored first in private 1:10:47.863 --> 1:10:51.633 architecture are being adopted in the most public of all Roman 1:10:51.632 --> 1:10:53.572 buildings, a bath building, 1:10:53.573 --> 1:10:56.813 and it's being done in a very different way from the 1:10:56.805 --> 1:10:57.625 Colosseum. 1:10:57.630 --> 1:11:00.950 Most important, the most important adoptions, 1:11:00.948 --> 1:11:03.578 innovations, that were in Nero's Domus 1:11:03.579 --> 1:11:05.829 Aurea, that are also included in the 1:11:05.832 --> 1:11:07.722 Baths of Titus, are axiality, 1:11:07.719 --> 1:11:11.549 symmetry--and I've described both of those already-- 1:11:11.550 --> 1:11:14.490 new vaulted shapes, which we also did see in the 1:11:14.487 --> 1:11:17.037 Colosseum, the use of the groin vault 1:11:17.042 --> 1:11:18.252 extensively here. 1:11:18.250 --> 1:11:21.940 And then perhaps most importantly this free flow of 1:11:21.944 --> 1:11:24.064 space, the free flow of space, 1:11:24.060 --> 1:11:25.730 the vistas, the panoramas, 1:11:25.728 --> 1:11:28.758 from one part of this bath structure to another, 1:11:28.760 --> 1:11:32.400 that is very different from the bath structure of the past, 1:11:32.399 --> 1:11:35.209 from the bath structures, for example, 1:11:35.210 --> 1:11:36.860 of Pompeii. 1:11:36.859 --> 1:11:40.049 So what we see in sum is the fact that despite Nero's 1:11:40.045 --> 1:11:43.425 damnatio memoriae, despite the fact that that 1:11:43.432 --> 1:11:46.642 allowed authorities, and in fact the new emperor, 1:11:46.640 --> 1:11:48.880 to destroy the portraits of Nero, 1:11:48.880 --> 1:11:51.890 to raze his palace to the ground--which Vespasian did 1:11:51.886 --> 1:11:53.816 after all-- despite that, 1:11:53.818 --> 1:11:59.438 the architectural innovations of Nero's Domus Aurea lived on; 1:11:59.439 --> 1:12:01.429 they lived on in the Baths of Titus. 1:12:01.430 --> 1:12:04.460 And we're going to see they lived on in perpetuity, 1:12:04.460 --> 1:12:09.140 and we're going to see them continuing to have a huge impact 1:12:09.144 --> 1:12:12.404 on the evolution of Roman architecture. 1:12:12.399 --> 1:12:13.369 Thank you. 1:12:13.369 --> 1:12:18.999