WEBVTT 00:01.790 --> 00:03.140 Prof: Good morning. 00:03.140 --> 00:07.240 Today's lecture is entitled "The Prince and the Palace: 00:07.236 --> 00:10.496 Human Made Divine on the Palatine Hill." 00:10.500 --> 00:14.030 And I want to begin essentially where we left off, 00:14.030 --> 00:16.680 and that is with the emperor Vespasian, 00:16.680 --> 00:19.730 the founder of the Flavian dynasty, 00:19.730 --> 00:25.370 and the political shrewdness that Vespasian demonstrated, 00:25.370 --> 00:29.110 when he made the decisions that he did -- 00:29.110 --> 00:33.330 when he made the decision especially to use architecture 00:33.330 --> 00:35.940 to further his political agenda. 00:35.940 --> 00:40.010 And you'll recall that the way in which he did that was that 00:40.006 --> 00:42.636 he-- and I'm going to show you the 00:42.643 --> 00:47.093 site plan once again on the Esquiline and Palatine Hills; 00:47.090 --> 00:50.110 the site plan that shows us how he did this. 00:50.110 --> 00:53.160 How he did this was he recognized that he didn't want 00:53.157 --> 00:57.357 to associate himself with Nero, but it was to his advantage to 00:57.358 --> 01:01.258 associate himself instead with the emperor Claudius. 01:01.259 --> 01:07.349 And he did that by finishing the platform, 01:07.349 --> 01:13.469 and indeed the temple itself that we looked at last time, 01:13.468 --> 01:16.608 and that is the Temple of the Divine Claudius, 01:16.610 --> 01:19.140 the Claudianum, that had been begun by 01:19.138 --> 01:20.778 Agrippina the Younger. 01:20.780 --> 01:23.950 He completed that as a nod to Claudius; 01:23.950 --> 01:26.480 and again, a very smart political move on his part. 01:26.480 --> 01:29.720 He also, as you'll recall, razed the Domus Aurea of Nero 01:29.718 --> 01:32.768 to the ground, covered up what was left of it 01:32.769 --> 01:35.049 otherwise, and then he filled in the 01:35.049 --> 01:38.059 artificial lake, and he used the property that 01:38.055 --> 01:41.545 the artificial lake was on, to build the Colosseum, 01:41.553 --> 01:45.113 which itself was a shrewd gift to the Roman people, 01:45.110 --> 01:49.530 to gain their favor, and he did succeed in that 01:49.525 --> 01:50.385 regard. 01:50.390 --> 01:52.770 Equally important, perhaps even more important, 01:52.769 --> 01:59.289 is the decision that Vespasian made in the year 79 A.D., 01:59.290 --> 02:01.800 and that decision--and we see a portrait once again of 02:01.795 --> 02:03.765 Vespasian, on the right-hand side of the 02:03.768 --> 02:06.488 screen, now in Copenhagen--the decision 02:06.494 --> 02:09.844 he made in 79 was to appoint his elder son, 02:09.840 --> 02:13.110 Titus, as co-regent. 02:13.110 --> 02:16.810 And we see a portrait of Titus on the left-hand side of the 02:16.813 --> 02:18.733 screen, in military costume. 02:18.729 --> 02:23.999 It's a portrait that was found in Herculaneum, 02:24.000 --> 02:27.040 so that we know it needs to date prior to 79: 02:27.044 --> 02:30.094 so very likely sometime in the seventies, 02:30.090 --> 02:32.570 that particular statue was put up. 02:32.568 --> 02:37.218 Now the reason it was smart politically to appoint Titus as 02:37.220 --> 02:41.470 his co-regent was that Titus was extremely capable. 02:41.470 --> 02:45.810 He was also extremely popular in Rome, with the people, 02:45.807 --> 02:49.417 with the Senate, and what it did was to ensure 02:49.424 --> 02:53.044 the succession: to ensure the succession. 02:53.038 --> 02:57.988 And so when Vespasian died of natural causes in 79 A.D., 02:57.990 --> 03:02.350 Titus was prepared to take over, and indeed he did, 03:02.348 --> 03:05.748 and he took over without any contest whatsoever, 03:05.750 --> 03:08.440 which was a great accomplishment. 03:08.438 --> 03:12.518 Titus, however--oh, and Titus, by the way, 03:12.522 --> 03:16.012 was young when he became emperor; 03:16.008 --> 03:18.188 he was in his early thirties, about thirty-two, 03:18.187 --> 03:20.267 full of energy, and he needed it for what lay 03:20.270 --> 03:21.880 ahead, because he was unlucky. 03:21.878 --> 03:26.498 And his reign was affected by three major events, 03:26.501 --> 03:30.931 the first of which you know intimately already, 03:30.929 --> 03:35.839 and that is the eruption of Vesuvius in 79 A.D. 03:35.840 --> 03:38.910 Titus' reign was 79 to 81. 03:38.910 --> 03:42.330 So in 79 A.D., Vesuvius erupts and Titus has 03:42.334 --> 03:46.404 to deal with the consequences of that, covered over, 03:46.395 --> 03:49.975 as you well know, almost all of Campania. 03:49.979 --> 03:54.259 In the year 80 he suffered, or Rome suffered, 03:54.259 --> 03:59.119 a very serious plague, which Titus also had to deal 03:59.123 --> 04:00.003 with. 04:00.000 --> 04:03.850 He had to marshal all of his energy and all his ingenuity to 04:03.846 --> 04:06.646 deal with a very serious plague in Rome, 04:06.650 --> 04:09.490 and that plague was followed by a fire, 04:09.490 --> 04:12.770 also an exceedingly serious fire. 04:12.770 --> 04:15.800 So Titus had his hands full, and perhaps it's not 04:15.804 --> 04:18.814 surprising, given all the stress of those 04:18.805 --> 04:22.375 years that he too died of natural causes in 81, 04:22.379 --> 04:24.269 at a very young age. 04:24.269 --> 04:28.039 But despite what he went through during 79 to 81, 04:28.040 --> 04:32.170 Titus' claim to fame was something that happened much 04:32.165 --> 04:34.905 earlier, and I've mentioned it before, 04:34.911 --> 04:38.401 and that is something that happened already in the year 04:38.399 --> 04:38.659 A.D. 04:38.656 --> 04:39.106 70. 04:39.110 --> 04:41.190 And it was in the year A.D. 04:41.190 --> 04:44.970 70 that Vespasian sent his elder son to Jerusalem, 04:44.966 --> 04:49.046 to Judea, to get involved in a major military war. 04:49.050 --> 04:51.870 And it was Titus, as you'll recall, 04:51.870 --> 04:56.600 who was victorious in the Jewish Wars, and that took place 04:56.598 --> 04:57.758 in 70 A.D. 04:57.759 --> 05:01.329 And it was extremely important, not only in itself, 05:01.327 --> 05:04.967 from Rome's standpoint, but also because it provided 05:04.968 --> 05:07.678 legitimacy to the Flavian dynasty. 05:07.680 --> 05:13.730 I mentioned that when a Roman dynasty came to power in a civil 05:13.726 --> 05:15.546 war-- which was the case, 05:15.545 --> 05:19.335 both for Augustus, after the civil war that Rome 05:19.339 --> 05:22.939 was plunged into after Caesar's death, 05:22.939 --> 05:27.509 and was the case again for Vespasian after the chaos of the 05:27.507 --> 05:30.627 year 68/69-- they needed a foreign victory 05:30.634 --> 05:32.034 to gain legitimacy. 05:32.028 --> 05:35.838 So for the Flavian dynasty, the war over Jerusalem gave 05:35.843 --> 05:40.223 them that legitimacy, and was therefore extremely 05:40.218 --> 05:45.778 important in terms of the art and ideology of the Flavian 05:45.778 --> 05:46.868 dynasty. 05:46.870 --> 05:53.210 I want to turn to an arch that was put up in honor of that very 05:53.214 --> 05:57.514 victory over Jerusalem, sometime after A.D. 05:57.512 --> 05:58.232 81. 05:58.230 --> 06:00.040 It was the so-called Arch of Titus, 06:00.040 --> 06:04.360 one of the most famous Roman monuments of all, 06:04.360 --> 06:06.850 and it was put up, although it bears Titus' name, 06:06.850 --> 06:12.050 it was put up not by him, but by his brother Domitian, 06:12.050 --> 06:13.850 his younger brother Domitian, who succeeded him after Titus' 06:13.853 --> 06:16.303 death, which is why we date it to 06:16.298 --> 06:17.878 sometime after A.D. 06:17.882 --> 06:18.302 81. 06:18.300 --> 06:21.220 I want to show you first its location, because that itself is 06:21.218 --> 06:21.898 significant. 06:21.899 --> 06:26.509 We are looking at the Google Earth view of the Roman Forum. 06:26.509 --> 06:28.739 You see the Roman Forum here. 06:28.740 --> 06:31.610 You see the Colosseum up at the top center. 06:31.610 --> 06:35.680 You see the Capitoline Hill or Campidoglio here; 06:35.680 --> 06:39.450 the Victor Emmanuel Monument here--I've pointed these out 06:39.446 --> 06:43.546 many times before--the Via dei Fori Imperiali of Mussolini; 06:43.550 --> 06:47.490 the Imperial Fora to the left; again the Roman Forum here; 06:47.490 --> 06:50.770 and the Palatine Hill, which we're going to be 06:50.774 --> 06:52.604 concentrating on today. 06:52.600 --> 06:56.320 But you'll remember that Nero's hope was to link the Palatine 06:56.317 --> 07:00.047 Hill with the Esquiline Hill, which is right up to the left 07:00.045 --> 07:03.065 of the Colosseum, and to do that via a spur 07:03.074 --> 07:06.924 hill--a spur hill that's located just right here, 07:06.920 --> 07:10.480 a bit above my finger--a spur hill called the Velia, 07:10.480 --> 07:13.490 V-e-l-i-a, that was to link the two. 07:13.490 --> 07:16.590 And you'll remember Nero's plans for his Domus Transitoria, 07:16.589 --> 07:20.379 this palace that was to serve as a point of transit between 07:20.377 --> 07:23.547 those two hills, and you'll recall also the 07:23.548 --> 07:27.778 remains of some of the rooms from the Domus Transitoria. 07:27.778 --> 07:32.048 So this was again land that had been built up by Nero. 07:32.050 --> 07:35.040 So it's not surprising to see the Flavians-- 07:35.040 --> 07:38.180 once again Titus following suit, and then his younger 07:38.182 --> 07:40.302 brother Domitian following suit-- 07:40.300 --> 07:44.350 to use land that had earlier been used by Nero for new 07:44.353 --> 07:48.403 Flavian monuments, in this case an arch put up to 07:48.404 --> 07:52.484 the victory that Titus celebrated over Jerusalem. 07:52.480 --> 07:54.750 And if you look very carefully, again just a bit, 07:54.750 --> 07:56.550 a few inches above where my finger is, 07:56.550 --> 08:01.210 you will see the Arch of Titus standing on that spur hill, 08:01.209 --> 08:05.189 on the Velia, between the Palatine and the 08:05.190 --> 08:06.940 Esquiline Hills. 08:06.939 --> 08:10.979 The Arch of Titus, again which dates to after A.D. 08:10.976 --> 08:14.516 81, was placed right next to the Sacred Way, 08:14.519 --> 08:16.249 or the Via Sacra. 08:16.250 --> 08:19.570 It doesn't span the street, but it's placed right next to 08:19.572 --> 08:20.812 it, adjacent to it, 08:20.805 --> 08:24.065 and I think you can see that very well in these two views 08:24.074 --> 08:26.044 here, which also show that quite a 08:26.040 --> 08:28.100 bit of ancient road actually survives, 08:28.100 --> 08:30.840 or a piece of ancient road actually survives, 08:30.839 --> 08:32.619 in the Roman Forum. 08:32.620 --> 08:36.420 It's on the slope that you see here, and you can see the way in 08:36.419 --> 08:40.039 which it goes right by the Arch of Titus that you see to its 08:40.037 --> 08:40.647 right. 08:40.649 --> 08:44.079 This is a view up the hill, up the Sacred Way, 08:44.077 --> 08:46.437 toward the Velia, and here down, 08:46.438 --> 08:50.098 from the Arch of Titus, down into the rest of the 08:50.095 --> 08:51.005 Forum. 08:51.009 --> 08:54.759 And again you can see the polygonal masonry of the ancient 08:54.756 --> 08:56.266 road still preserved. 08:56.269 --> 08:58.179 The ancient way, the Via Sacra, 08:58.184 --> 09:01.504 was the road that the triumphant general took when he 09:01.504 --> 09:04.894 returned to Rome, after a great military victory; 09:04.889 --> 09:08.549 so this is exactly the road that Titus himself would've 09:08.551 --> 09:12.621 taken when he came back from Judea and walked in triumph, 09:12.620 --> 09:15.750 or rode in triumph, in his chariot, 09:15.750 --> 09:19.270 along the Sacred Way and up to the Capitoline Hill. 09:19.269 --> 09:23.469 Because the triumphant general, who was garbed with the 09:23.466 --> 09:26.636 attributes of Jupiter, in this procession, 09:26.640 --> 09:29.300 made his way up to the Capitoline Hill, 09:29.298 --> 09:31.528 would get off his chariot up there, 09:31.528 --> 09:34.098 right at the altar, in front of the Temple of 09:34.095 --> 09:37.825 Jupiter OMC, and make a sacrifice to Jupiter. 09:37.830 --> 09:40.480 So you have to imagine Titus doing this; 09:40.480 --> 09:42.450 along with Vespasian, because you'll remember I 09:42.448 --> 09:44.888 mentioned to you that they celebrated a joint triumph, 09:44.889 --> 09:48.539 that Titus was willing to share his triumph with his father 09:48.543 --> 09:49.303 Vespasian. 09:49.298 --> 09:52.678 So they both would've come in, in triumph, into Rome, 09:52.676 --> 09:54.426 after this great victory. 09:54.428 --> 09:57.408 Once again you can see the arch in the view on the right. 09:57.408 --> 10:01.148 Another view of the arch here, which shows it on the Velia; 10:01.149 --> 10:03.869 and here you can get a very good sense of the way in which 10:03.868 --> 10:06.538 that spur hill unites the Palatine and the Esquiline, 10:06.538 --> 10:10.768 as well as the proximity of the Arch of Titus to the Colosseum. 10:10.769 --> 10:14.519 We are seeing that the Flavians are building up a certain area 10:14.517 --> 10:18.077 of Rome, with their monuments, and this is no exception. 10:18.080 --> 10:20.620 The view that we see here, from the Forum, 10:20.620 --> 10:24.480 of one side of the Arch of Titus, shows a modern 10:24.477 --> 10:27.577 inscription, but we'll see that there is an 10:27.582 --> 10:30.022 ancient inscription on the other side. 10:30.019 --> 10:33.389 And we're also going to see that although the arch looks 10:33.389 --> 10:37.059 very well preserved, it was actually quite heavily 10:37.063 --> 10:41.753 restored by an architect by the name of Giuseppe Valadier, 10:41.750 --> 10:44.480 and that happened in the nineteenth century that 10:44.481 --> 10:46.641 Valadier-- V-a-l-a-d-i-e-r; 10:46.639 --> 10:49.919 Giuseppe Valadier--restored the Arch of Titus. 10:49.918 --> 10:54.468 And the part of the arch that is ancient is essentially the 10:54.470 --> 10:58.160 central section, right here--mostly on the other 10:58.157 --> 11:01.377 side actually; on this side just the spandrels 11:01.383 --> 11:04.483 and the inner panels here, and on the other side we'll 11:04.484 --> 11:07.824 see--well I'll show you when we get to the other side. 11:07.820 --> 11:10.740 So this side important to know that the inscription is a modern 11:10.736 --> 11:11.016 one. 11:11.019 --> 11:14.589 Here's the other side of the arch, where you can see again 11:14.586 --> 11:17.716 the central section is ancient, with the spandrels, 11:17.716 --> 11:21.816 these triangular areas here; the columns on this side are 11:21.816 --> 11:23.926 ancient; the keystone is ancient; 11:23.928 --> 11:27.888 the frieze up above the keystone is ancient; 11:27.889 --> 11:29.959 the inscription is ancient on this side. 11:29.960 --> 11:33.350 But all the rest was restored by Valadier, as I said in the 11:33.351 --> 11:34.581 nineteenth century. 11:34.580 --> 11:36.750 And Valadier did something very interesting, 11:36.750 --> 11:40.960 and archaeologically very forward thinking, 11:40.960 --> 11:45.210 in that since the center of the arch was made out of Greek 11:45.205 --> 11:47.935 marble, pentelic marble--p-e-n-t- 11:47.943 --> 11:52.653 e-l-i-c--pentelic marble from Mount Pentelikon in Greece-- 11:52.649 --> 11:56.109 which in itself is interesting because we saw that the Flavians 11:56.113 --> 11:58.853 were using imported marbles in their buildings; 11:58.850 --> 12:02.010 I've mentioned that already before. 12:02.009 --> 12:04.599 So we see a continuation of that trend here, 12:04.600 --> 12:06.890 use of pentelic marble for the arch. 12:06.889 --> 12:09.619 But when Valadier did the restorations, 12:09.620 --> 12:13.040 or the reconstruction, he used travertine for the 12:13.035 --> 12:16.325 modern parts of the arch, so that when you--it probably 12:16.326 --> 12:18.156 isn't so evident to you from this view, 12:18.158 --> 12:21.568 but when you stand in front of the arch you can see the 12:21.565 --> 12:24.945 difference in the materials, and he wanted to point out to 12:24.952 --> 12:27.922 the spectator that there was a difference between the ancient 12:27.916 --> 12:30.926 part of the monument and the modern part of the monument, 12:30.929 --> 12:33.939 as restored by him. 12:33.940 --> 12:37.150 This view on the left, there are quite a number of 12:37.150 --> 12:40.560 preserved paintings and engravings that show the arch 12:40.557 --> 12:43.177 before the Valadier reconstruction, 12:43.178 --> 12:44.938 and you see one of those over there. 12:44.940 --> 12:47.570 And you can see we're looking at the same side of the arch 12:47.566 --> 12:48.576 here as we are here. 12:48.580 --> 12:52.570 So once again you can see the ancient -- what survived of the 12:52.567 --> 12:54.757 ancient arch: the central part; 12:54.759 --> 12:58.269 the two columns on bases; the keystone; 12:58.269 --> 13:01.739 the spandrels; the frieze; 13:01.740 --> 13:05.830 and then the inscription. 13:05.830 --> 13:13.400 13:13.399 --> 13:15.999 So, and we see that here. 13:16.000 --> 13:19.090 And this is another one of those Roman monuments that was 13:19.086 --> 13:22.006 essentially preserved because of re-use over time, 13:22.009 --> 13:24.609 or at least the part of it that still exists. 13:24.610 --> 13:27.430 And this was turned into, as so many other monuments, 13:27.428 --> 13:30.518 was turned into a fortress at one point, 13:30.519 --> 13:34.249 a fortress that was owned by the Frangipani family in Italy. 13:34.250 --> 13:37.880 So that's the ancient part; the rest restored by Valadier. 13:37.879 --> 13:41.159 And you have to also reconstruct in your mind's eye 13:41.155 --> 13:45.085 that this arch would've served as a kind of statue base for a 13:45.089 --> 13:48.469 representation, or for a sculptural group, 13:48.466 --> 13:51.156 in bronze, that would've represented 13:51.160 --> 13:53.670 Titus, and perhaps Vespasian also, 13:53.668 --> 13:57.948 together, seated in a chariot, being led by four horses, 13:57.950 --> 14:02.710 a great quadriga group that was customarily placed on the top of 14:02.711 --> 14:03.771 such arches. 14:03.769 --> 14:05.869 Below that the inscription plaque, below that, 14:05.866 --> 14:08.516 as I've already described, a frieze--I'm going to show you 14:08.524 --> 14:09.834 that frieze in a moment. 14:09.830 --> 14:12.840 Then the spandrels, and then in the center here, 14:12.839 --> 14:15.339 two great panels, one on either--figural 14:15.336 --> 14:18.086 panels--one on either side of the arch. 14:18.090 --> 14:19.770 You see the inscription here. 14:19.769 --> 14:22.899 It's interesting because it tells us that it was the Senate 14:22.902 --> 14:26.152 and People of Rome, the SPQR, the Senate and People 14:26.145 --> 14:29.765 of Rome, who put this up to the Divine 14:29.772 --> 14:31.742 Titus, Divo Tito, 14:31.740 --> 14:34.930 as you can see here, and--the Divine Titus, 14:34.933 --> 14:37.753 who was the son-- there's an F for filius 14:37.754 --> 14:41.274 right over here-- the son of the Divine Vespasian. 14:41.269 --> 14:44.539 So the divinity of both of these men, both of whom were 14:44.535 --> 14:47.375 made gods at their death, is alluded to here. 14:47.379 --> 14:51.549 So the Senate and People of Rome put this up to the Divine 14:51.549 --> 14:54.549 Titus, the son of the Divine Vespasian. 14:54.548 --> 14:58.248 And you can see all of these little holes that are located in 14:58.245 --> 14:59.595 some of the letters. 14:59.600 --> 15:03.590 The reason for those is that those were where bronze letters 15:03.589 --> 15:05.279 were actually attached. 15:05.278 --> 15:08.948 So these letters were inscribed and then bronze letters were 15:08.950 --> 15:12.560 attached to them so that the inscription would gleam in the 15:12.558 --> 15:15.878 sunshine, and so that you could see it 15:15.875 --> 15:18.315 from considerable distance. 15:18.320 --> 15:21.090 Down below the inscription plaque we see the frieze, 15:21.090 --> 15:25.600 which purports to represent this great procession or parade 15:25.595 --> 15:29.785 that took place when Titus returned from Jerusalem, 15:29.788 --> 15:33.618 and had his triumphal procession along the Sacred Way, 15:33.620 --> 15:37.630 and up to the Capitoline Hill and the Temple of Jupiter. 15:37.629 --> 15:41.919 And you can see that the artist has made the figures fairly 15:41.923 --> 15:44.513 small, but at the same time has made 15:44.514 --> 15:46.844 each one distinct from the other, 15:46.840 --> 15:51.030 so that this is more readable from the ground. 15:51.029 --> 15:54.009 And then below that, the decoration of the keystone. 15:54.009 --> 15:56.429 And then in either spandrel, or triangular area at either 15:56.428 --> 15:58.628 side of the keystones, we see victories, 15:58.634 --> 16:00.954 flying female figures of victory, 16:00.950 --> 16:03.010 that are of course making reference, 16:03.009 --> 16:06.519 in a general way, to this great victory that 16:06.517 --> 16:08.717 Titus had over Jerusalem. 16:08.720 --> 16:11.810 Important from the architectural standpoint are the 16:11.809 --> 16:14.159 columns and especially the capitals. 16:14.158 --> 16:18.998 I show you a detail of one of the preserved-- 16:19.000 --> 16:22.130 there are two again--but one of the two preserved capitals from 16:22.128 --> 16:25.858 this side of the arch, the side that faces the 16:25.859 --> 16:27.039 Colosseum. 16:27.038 --> 16:29.188 And you see it here, and it's a distinctive capital 16:29.193 --> 16:30.533 that we have not seen before. 16:30.528 --> 16:35.348 It's a capital that actually combines the Corinthian and the 16:35.345 --> 16:37.795 Ionic, because you can see the 16:37.803 --> 16:40.953 Corinthian acanthus leaves growing up here: 16:40.950 --> 16:43.430 flowers, as we see, in the usual 16:43.427 --> 16:47.247 Corinthian order, and then prominent volutes of 16:47.250 --> 16:49.510 the Ionic order up above. 16:49.509 --> 16:52.549 We refer to this as the composite capital; 16:52.548 --> 16:56.128 the composite capital, combining Corinthian and Ionic. 16:56.129 --> 16:59.329 We see it quite infrequently in Roman architecture, 16:59.327 --> 17:01.307 but we do see it on occasion. 17:01.308 --> 17:06.038 So it's good for you to know about. 17:06.038 --> 17:07.918 In the center of the bay I mentioned that there were two 17:07.919 --> 17:11.379 great figural panels, and these figural panels make 17:11.384 --> 17:15.494 reference to Titus' victory over Jerusalem, 17:15.490 --> 17:18.230 to this important event, from the point of view of the 17:18.229 --> 17:20.189 Flavians, that gave their dynasty 17:20.190 --> 17:20.890 legitimacy. 17:20.890 --> 17:22.730 And we see one of those here. 17:22.730 --> 17:25.620 We actually see an image of Titus in his chariot, 17:25.619 --> 17:28.269 and he's riding alone, without his father. 17:28.269 --> 17:31.879 He's riding alone in his chariot, with the exception of a 17:31.884 --> 17:34.214 female figure who accompanies him. 17:34.210 --> 17:37.420 And you can see that female figure is winged, 17:37.420 --> 17:39.880 and she is a personification of victory-- 17:39.880 --> 17:43.870 so she is heralding the victory that he has had in Jerusalem-- 17:43.868 --> 17:46.658 and, in fact, she holds a laurel wreath above 17:46.659 --> 17:48.169 his head, crowning him, 17:48.169 --> 17:49.609 because of that victory. 17:49.608 --> 17:52.188 The chariot is led by four horses, 17:52.190 --> 17:54.520 who are whizzing by, as you can see here, 17:54.519 --> 17:56.649 and they are led, at the front, 17:56.651 --> 17:59.991 by a woman in a helmet and military costume, 17:59.990 --> 18:03.370 who might well be Roma, the personification of Rome 18:03.373 --> 18:04.053 herself. 18:04.049 --> 18:05.309 And what is she doing? 18:05.308 --> 18:10.508 She's welcoming Titus back to Rome, after his great victory 18:10.506 --> 18:12.026 over Jerusalem. 18:12.028 --> 18:15.398 Over here, two other figures, two other male figures, 18:15.400 --> 18:18.910 both headless today, but one of them in a toga, 18:18.910 --> 18:22.520 and the other figure with a bare chest and a mantle wrapped 18:22.516 --> 18:24.626 over the lower part of his body. 18:24.630 --> 18:27.570 Because we have the same figures in other reliefs, 18:27.568 --> 18:30.448 we know, despite the fact that they are headless, 18:30.450 --> 18:33.450 that these are personifications of the Senate. 18:33.450 --> 18:35.470 The dressed person, the person in toga, 18:35.470 --> 18:38.550 is the Senate, the Genius--g-e-n-i-u-s, 18:38.548 --> 18:40.468 like genius--the Genius Senatus, 18:40.470 --> 18:41.790 or the Spirit of the Senate. 18:41.788 --> 18:45.688 And this, the Genius Populi Romani, which was the 18:45.686 --> 18:48.306 representative of the Roman People. 18:48.308 --> 18:51.858 So keep in mind again, it was the Senate and People of 18:51.864 --> 18:55.624 Rome that put up the arch to Titus, the son of the divine 18:55.619 --> 18:58.179 Vespasian; and we see themselves, 18:58.182 --> 19:02.172 or their personifications, represented in this scene. 19:02.170 --> 19:03.770 More interesting from our standpoint, 19:06.548 --> 19:08.908 on the other side of the central bay, 19:08.910 --> 19:13.130 where we see the Roman soldiers, or a group of Roman 19:13.126 --> 19:16.236 soldiers, bringing back spoils or booty, 19:16.240 --> 19:18.050 trophies, from Jerusalem, 19:18.050 --> 19:22.110 things that they have stolen from the temple in Jerusalem. 19:22.108 --> 19:26.018 And you can see the famous seven-branched candelabrum that 19:26.016 --> 19:27.726 they are carrying here. 19:27.730 --> 19:32.180 The weight is so great that their shoulders bend under that 19:32.179 --> 19:32.869 weight. 19:32.868 --> 19:36.428 And we also see them with a table over here that has a 19:36.433 --> 19:40.673 number of sacrificial implements and so on, that were taken also 19:40.670 --> 19:42.890 from the Temple in Jerusalem. 19:42.890 --> 19:45.390 So they carry these along in this parade, 19:45.390 --> 19:49.520 for the people to see, for those in Rome to see, 19:49.519 --> 19:53.219 to get a real palpable sense of what it meant to have this 19:53.223 --> 19:55.143 victory, and of the spoils that are 19:55.143 --> 19:56.073 being brought back. 19:56.068 --> 19:58.388 And you can see that--this is represented very 19:58.387 --> 20:01.517 illusionistically-- and you can see that they seem 20:01.516 --> 20:05.876 to be walking through an arch, that is also represented here: 20:05.880 --> 20:08.280 a very interesting scene indeed. 20:08.278 --> 20:11.468 And you'll recall what they did with those spoils. 20:11.470 --> 20:14.920 They took those spoils and they put them in the Templum Pacis 20:14.915 --> 20:18.105 that we talked about last time, or the Forum Pacis that we 20:18.107 --> 20:21.447 talked about last time, that served essentially as a 20:21.451 --> 20:26.371 kind of museum where the people of Rome could see these images. 20:26.368 --> 20:29.918 So once again the Flavians always showing an affinity for, 20:29.920 --> 20:33.040 and an interest in, the people of the city -- 20:33.038 --> 20:35.348 the people of the city that they were trying, 20:35.349 --> 20:37.009 of course, to court favor from. 20:37.009 --> 20:40.339 So we're seeing Domitian, who again was the commissioner 20:40.338 --> 20:43.868 of this monument, continuing on in the same vein 20:43.873 --> 20:48.283 as Vespasian and Titus, honoring this victory that gave 20:48.279 --> 20:51.149 legitimacy to the Flavian dynasty, 20:51.150 --> 20:55.400 but also always acknowledging and thinking of the impact that 20:55.404 --> 20:59.524 it's going to have on the Senate and the People of Rome. 20:59.519 --> 21:03.069 The central bay, if you stand right below it and 21:03.068 --> 21:06.188 look up, you will see the vault of the 21:06.185 --> 21:09.795 interior of the arch, and you can see that it has a 21:09.799 --> 21:12.629 coffered ceiling, as we've seen so often in Roman 21:12.633 --> 21:14.623 monuments; quite well preserved, 21:14.618 --> 21:18.218 with the coffers and then the rosettes in the center. 21:18.220 --> 21:20.900 And if I show you another detail of that, 21:20.897 --> 21:24.917 you'll get an even better sense of it, and also of how ornate 21:24.915 --> 21:26.385 the decoration is. 21:26.390 --> 21:29.090 We've talked about the fact that the Flavians had a 21:29.088 --> 21:31.518 particular interest in very ornate decoration, 21:31.518 --> 21:33.568 and you can see that as well here. 21:33.568 --> 21:37.498 In fact, the drill has been used so extensively that it 21:37.500 --> 21:41.630 almost dematerializes the vault, I think, in a very interesting 21:41.633 --> 21:44.283 way, creating a kind of overall 21:44.275 --> 21:46.775 tapestry of dark and light. 21:46.779 --> 21:50.449 And then in the center a panel that is surrounded by a garland, 21:50.450 --> 21:53.680 and in the center of that panel a depiction-- 21:53.680 --> 21:55.860 you can probably barely see it from where you sit-- 21:55.858 --> 22:00.558 but a depiction of Titus being carried to heaven on the back of 22:00.556 --> 22:01.386 an eagle. 22:01.390 --> 22:04.980 In this case Titus is not in military dress but in a toga. 22:04.980 --> 22:07.590 He's on the back of an eagle, with outstretched wings, 22:07.593 --> 22:10.013 and that eagle is taking him up to the heavens. 22:10.009 --> 22:12.489 What this is, is a representation of 22:12.494 --> 22:15.184 apotheosis-- a-p-o-t-h-e-o-s- 22:15.180 --> 22:18.560 i-s--apotheosis, or divinization: 22:18.560 --> 22:22.040 the divinization-- because the Romans believed 22:22.037 --> 22:23.897 that they could make humans into gods, 22:23.900 --> 22:28.380 after their death--the making of Titus into a god after his 22:28.384 --> 22:30.614 death, and the depiction of--the 22:30.614 --> 22:34.114 material depiction of him actually being carried to heaven 22:34.111 --> 22:37.061 on the back of an eagle, a very powerful image. 22:37.058 --> 22:42.288 And the fact that it is in the archivolt of this vault here has 22:42.285 --> 22:47.255 led scholars to suggest that it is possible that the Arch of 22:47.258 --> 22:50.628 Titus in Rome served as Titus' tomb. 22:50.630 --> 22:54.170 And that seems to be corroborated by the fact that 22:54.165 --> 22:58.485 behind the attic, or inside the attic of the 22:58.490 --> 23:02.220 arch, is a staircase, as well as a chamber, 23:02.218 --> 23:05.588 and I show both of them to you here: a spiral staircase and a 23:05.586 --> 23:08.396 chamber, a chamber that might well have 23:08.397 --> 23:11.817 served as a burial chamber for an urn of Titus. 23:11.818 --> 23:14.708 The urn was never found--was not found in the excavation of 23:14.711 --> 23:17.651 this monument, so we can't prove this, 23:17.647 --> 23:23.187 but I think it's very possible that this arch served as a tomb 23:23.189 --> 23:25.459 for the emperor Titus. 23:25.460 --> 23:30.070 Titus was succeeded, as I've already mentioned, 23:30.068 --> 23:32.978 by his younger brother Domitian, whom you see in two 23:32.976 --> 23:35.366 portraits here: a portrait from Munich, 23:35.368 --> 23:37.358 on the left, in military garb, 23:37.358 --> 23:40.308 and then a bust-length portrait in Rome, 23:40.308 --> 23:42.948 on the right-hand side of the screen. 23:42.950 --> 23:46.460 Domitian was born in A.D. 51. 23:46.460 --> 23:49.970 So he was only your age, about nineteen, 23:49.970 --> 23:53.660 when Titus went off to the Jewish Wars. 23:53.660 --> 23:57.510 There was never any question that Domitian would succeed his 23:57.507 --> 23:58.157 brother. 23:58.160 --> 24:00.230 Vespasian was in this for the long haul. 24:00.230 --> 24:03.010 He created a dynasty and expected both of his sons, 24:03.008 --> 24:04.448 first Titus, his older son, 24:04.452 --> 24:07.512 and then his younger son, Domitian, to succeed him. 24:07.509 --> 24:11.009 So Domitian's eventual rise to power was never in question. 24:11.009 --> 24:14.059 And yet Domitian was jealous of his brother, 24:14.058 --> 24:16.678 who was very popular in Rome, as I've already mentioned, 24:16.680 --> 24:20.780 and who had this great military victory on which the Flavians 24:20.777 --> 24:22.687 based their claim to rule. 24:22.690 --> 24:25.180 And Domitian was very jealous of his brother. 24:25.180 --> 24:29.630 He felt out of the loop, and so when he succeeded 24:29.634 --> 24:31.764 Titus-- quicker than he thought, 24:31.761 --> 24:33.971 because Titus died way before his time, 24:33.970 --> 24:35.890 in his thirties, as you know--when Domitian 24:35.890 --> 24:38.710 succeeded Titus, he came to power as a very 24:38.712 --> 24:41.962 embittered man, and he never got over that 24:41.960 --> 24:42.870 bitterness. 24:42.868 --> 24:46.108 And, in fact, what we see Domitian doing is 24:46.113 --> 24:50.203 really reverting to the megalomaniacal way of thinking 24:50.204 --> 24:53.144 of people like Caligula and Nero, 24:53.140 --> 24:58.240 exercising his imperial prerogatives to the fullest and, 24:58.240 --> 25:04.610 in fact, even insisting that he be addressed as "lord and 25:04.609 --> 25:08.369 god," dominus et deus; 25:08.368 --> 25:10.778 which I've put on your Monument List for you, 25:10.775 --> 25:13.285 dominus et deus, that's lord and god. 25:13.288 --> 25:15.798 And he, not surprisingly, given his bent, 25:15.798 --> 25:19.898 he not surprisingly moved away from the public architecture 25:19.901 --> 25:22.731 that Vespasian and Titus had favored-- 25:22.730 --> 25:24.990 for Vespasian, of course, buildings like the 25:24.994 --> 25:27.104 Colosseum, for Titus, the Baths of 25:27.096 --> 25:30.666 Titus--the public architecture that had been favored by his 25:30.667 --> 25:32.267 father and his brother. 25:32.269 --> 25:36.009 He moved back to being interested in building palatial 25:36.011 --> 25:39.191 architecture, essentially to his own glory. 25:39.190 --> 25:42.440 And we're going to see that the major monument that he 25:42.439 --> 25:46.179 commissioned was the Imperial Palace on the Palatine Hill, 25:46.180 --> 25:49.540 that had been begun by Tiberius and Caligula; 25:49.538 --> 25:53.838 he completed that palace in the nineties A.D. 25:53.838 --> 25:56.408 Before we get to that, which will be our main focus 25:56.406 --> 25:58.126 today, I would like--because it's 25:58.132 --> 25:59.932 extensive and there's a lot to see-- 25:59.930 --> 26:05.320 I would like to say a few words about another commission of 26:05.324 --> 26:08.074 Domitian, because he wasn't without the 26:08.067 --> 26:10.817 desire to at least build some public buildings, 26:10.818 --> 26:13.348 and I'd like to begin with one of those here. 26:13.348 --> 26:18.508 This is a model of the so-called Stadium of Domitian, 26:18.507 --> 26:23.367 a stadium or a race course, that was put up during 26:23.366 --> 26:27.496 Domitian's reign; we date it usually to the 26:27.502 --> 26:30.792 latter part of his reign, 92 to 96 A.D. 26:30.788 --> 26:33.518 And you see that model again here. 26:33.519 --> 26:38.409 And you can tell a lot about this building from both the 26:38.409 --> 26:41.949 scanty remains, but also from other evidence 26:41.945 --> 26:45.605 that allows us to be able to reconstruct it relatively 26:45.611 --> 26:46.581 accurately. 26:46.579 --> 26:47.829 You see it here. 26:47.828 --> 26:51.388 These stadia were hairpin in shape-- 26:51.390 --> 26:53.760 as you can see, a straight end on one side, 26:53.759 --> 26:56.969 a curved end on the other--but long, 26:56.970 --> 27:01.630 elongated, a kind of elongated oval with one straight side, 27:01.630 --> 27:03.320 as you can see. 27:03.318 --> 27:05.978 It was put up in very similar fashion to theaters and to 27:05.978 --> 27:09.318 amphitheaters, in that they built a concrete 27:09.317 --> 27:13.917 hill and lined that concrete hill with stone seats, 27:13.920 --> 27:16.080 and then buttressed it with a wall, 27:16.078 --> 27:18.778 as you can see here, that was decorated, 27:18.778 --> 27:20.348 just like the Theater of Marcellus, 27:20.348 --> 27:23.648 or like the Colosseum, with in this case two tiers of 27:23.653 --> 27:25.713 arches, two sets of arcades, 27:25.712 --> 27:29.702 with columns in between them, those columns again having no 27:29.698 --> 27:34.208 structural purpose whatsoever, just used as decoration for the 27:34.208 --> 27:35.028 monument. 27:35.029 --> 27:37.799 And then the exits and entrances, again done very 27:37.797 --> 27:40.617 similarly to amphitheater or theater architecture, 27:40.622 --> 27:42.642 as we've discussed it thus far. 27:42.640 --> 27:45.460 So the main difference is it's not quite as tall as 27:45.461 --> 27:46.931 amphitheaters, for example, 27:46.930 --> 27:49.300 or theaters, and just two tiers of columns, 27:49.301 --> 27:50.771 as you can see here. 27:50.769 --> 27:56.079 And the main difference in plan is that it's a hairpin shape, 27:56.083 --> 28:00.603 again with one straight side and one curved side. 28:00.598 --> 28:03.458 Only a small--one can see today, and this is essentially 28:03.455 --> 28:06.205 underground or what survives of it is underground, 28:06.210 --> 28:09.360 although there's one section that can still be seen, 28:09.359 --> 28:12.009 as I'll show you in a moment. 28:12.009 --> 28:15.309 But what's absolutely miraculous is the fact that the 28:15.313 --> 28:18.433 actual hairpin shape of the Stadium of Domitian is 28:18.425 --> 28:20.535 preserved, in its entirety, 28:20.544 --> 28:24.334 in the shape of one of Rome's most famous piazzas, 28:24.328 --> 28:27.228 and my favorite, by far, the Piazza Navona, 28:27.230 --> 28:30.830 which you see from the air here, in a Google Earth image. 28:30.828 --> 28:36.348 And you can see again the exact shape: the straight side and the 28:36.353 --> 28:41.353 curved side, of Domitian's Stadium, still preserved in the 28:41.349 --> 28:43.629 Piazza Navona in Rome. 28:43.630 --> 28:45.720 It's a wonderful piazza. 28:45.720 --> 28:49.660 For those of you who've been there, I'm sure you have enjoyed 28:49.663 --> 28:51.113 spending time there. 28:51.108 --> 28:54.268 For those of you haven't, it really is a mecca within 28:54.273 --> 28:54.703 Rome. 28:54.700 --> 28:58.110 And you can see not only is it a pleasant place to walk but 28:58.107 --> 29:00.397 also a place to see great buildings, 29:00.400 --> 29:02.800 for example, Francesco Borromini's 29:02.801 --> 29:06.431 Sant'Agnese in Agone, and Bernini's Four Rivers, 29:06.433 --> 29:10.363 famous Four Rivers Fountain, in the center of the piazza, 29:10.362 --> 29:12.242 in dialogue with one another. 29:12.240 --> 29:14.380 And as we look at this from the air, 29:14.380 --> 29:18.610 and we look at the curved end of the Piazza Navona, 29:18.608 --> 29:22.258 you can see there's one street that you can take out of that 29:22.255 --> 29:24.425 curved end, one small street. 29:24.430 --> 29:27.070 If you take a left, and then a left again, 29:27.066 --> 29:30.536 you will see the remains of the Stadium of Domitian; 29:30.538 --> 29:32.318 I'm going to show those to you in a moment. 29:32.318 --> 29:35.008 And if you stay in the center of the piazza, 29:35.009 --> 29:37.859 near the Four Rivers Fountain, and you go sort of diagonally 29:37.855 --> 29:41.075 across from that, you will end up at one of the 29:41.077 --> 29:43.877 four best ice cream places in Rome; 29:43.880 --> 29:46.470 you can get some of the best gelato in Rome. 29:46.470 --> 29:48.930 You can get good gelato almost anywhere in Rome, 29:48.932 --> 29:50.562 and in Italy, but the very best, 29:50.557 --> 29:53.727 this is one of those four; I'll say something more about 29:53.728 --> 29:54.718 that in a moment. 29:54.720 --> 29:58.800 Here are the remains of the Stadium of Domitian that can 29:58.801 --> 29:59.991 still be seen. 29:59.990 --> 30:03.440 Very few tourists notice this, but it's well worth looking at, 30:03.440 --> 30:06.870 because you can see the brick-faced cement construction 30:06.868 --> 30:09.908 that served for the-- that was how the substructures 30:09.913 --> 30:12.743 of this building were built-- and I think you can even see 30:12.743 --> 30:15.203 that from a distance here-- made out of concrete, 30:15.198 --> 30:18.078 faced with brick -- but the arcades and the 30:18.084 --> 30:20.804 columns, that I showed you before, 30:20.798 --> 30:24.488 out of travertine, ashlar masonry travertine, 30:24.490 --> 30:28.770 which was one of the last buildings actually in Rome to be 30:28.773 --> 30:31.483 made of travertine ashlar masonry. 30:31.480 --> 30:35.660 Just to show you also that again--just as when we were in 30:35.655 --> 30:38.485 Capri I showed you the Bar Tiberio, 30:38.490 --> 30:41.610 and its reference to Tiberius--it's amazing what 30:41.606 --> 30:44.986 those who put up restaurants and bars and so on, 30:44.990 --> 30:48.140 around Rome, it's amazing--it demonstrates 30:48.142 --> 30:51.912 the strong sense of history that Italians have. 30:51.910 --> 30:56.440 Because just the fact that they recognize that these are remains 30:56.439 --> 30:59.639 from the Stadium of Domitian-- everyone thinks of this 30:59.638 --> 31:02.688 structure as the Piazza Navona-- but the fact that they are well 31:02.694 --> 31:05.604 aware of the fact that it was Domitian's Stadium, 31:05.598 --> 31:07.038 so that the wine bar across the street-- 31:07.038 --> 31:09.098 and this is one that was just opened the last couple of 31:09.096 --> 31:11.536 years-- the wine bar across the street 31:11.544 --> 31:14.424 is called the Domiziano: the Domiziano, 31:14.420 --> 31:17.700 after Domitian, because it's right across the 31:17.702 --> 31:20.542 street from the Stadium of Domitian. 31:20.538 --> 31:23.518 With regard to ice cream--I take my gelato seriously, 31:23.517 --> 31:27.237 and I'm sure all of you who've been to Italy feel the same way. 31:27.240 --> 31:30.660 It's not like American ice cream--not that American ice 31:30.661 --> 31:33.831 cream isn't good--but it's absolutely fantastic. 31:33.828 --> 31:37.278 And so I will make some recommendations this semester. 31:37.279 --> 31:40.139 And this is the first one that I'm going to make, 31:40.140 --> 31:42.540 because it's one of my favorites, and everyone agrees 31:42.535 --> 31:44.925 this is one of the best ice cream parlors in Rome. 31:44.930 --> 31:46.010 It's called Tre Scalini. 31:46.009 --> 31:49.409 It's also a restaurant, a restaurant you can pass on. 31:49.410 --> 31:52.490 Like so many restaurants in the center of famous piazzas, 31:52.490 --> 31:55.280 it's not the best, but--and you don't have to sit 31:55.279 --> 31:57.059 outside, although they will try to 31:57.056 --> 31:59.556 beckon you to sit outside, because it costs more to eat 31:59.556 --> 32:02.136 the ice cream outside than it does if you just walk into-- 32:02.140 --> 32:05.190 walk through the door--there are actually two doors, 32:05.190 --> 32:06.280 one on that side, one on this side-- 32:06.278 --> 32:08.998 go right up to the counter, take a look at what's there, 32:09.000 --> 32:10.920 and make your order. 32:10.920 --> 32:15.770 And my recommendation for this particular gelateria is the 32:15.771 --> 32:18.331 tartufi; they are very famous. 32:18.328 --> 32:21.308 This is the best tartufo in Rome, without question, 32:21.313 --> 32:22.573 if you like chocolate. 32:22.568 --> 32:25.788 It's a chocolate bomb essentially, as you can see in 32:25.788 --> 32:27.048 these images here. 32:27.048 --> 32:31.058 It is one big, well fairly large, 32:31.064 --> 32:35.784 very rich chocolate, with big, the biggest chocolate 32:35.782 --> 32:38.562 chips you ever saw on it, and then they put a dollop--I 32:38.563 --> 32:41.603 don't even like whipped cream, but when it's panna on 32:41.598 --> 32:44.618 top of the tartufo, I go the whole way. 32:44.618 --> 32:47.558 So you have the panna on top of the tartufo. 32:47.558 --> 32:50.198 And if you sit outside and are willing to pay extra, 32:50.198 --> 32:52.008 they'll throw a pirouette on top; 32:52.009 --> 32:54.239 if not, you have to forego the pirouette. 32:54.240 --> 32:56.740 But I really highly--whether you like chocolate or you don't 32:56.737 --> 32:59.757 like chocolate-- I've gone with people who are 32:59.763 --> 33:03.933 not the kind of chocoholic I am, who like this anyway. 33:03.930 --> 33:07.250 So it's really a treat, and at least once when you're 33:07.253 --> 33:11.413 in Rome you have to indulge in a tartufo at Tre Scalini. 33:11.410 --> 33:15.660 I want to move from Domitian's Stadium to the building that 33:15.661 --> 33:18.521 we're going to concentrate on today, 33:18.519 --> 33:21.909 because again it is so extensive, and that is 33:21.910 --> 33:25.070 Domitian's Palace on the Palatine Hill. 33:25.068 --> 33:28.168 We usually refer to it as Domitian's Palace on the 33:28.170 --> 33:30.890 Palatine Hill, or the Imperial Palace on the 33:30.891 --> 33:32.031 Palatine Hill. 33:32.028 --> 33:36.738 But the nomenclature is complex, because in antiquity it 33:36.739 --> 33:42.539 was referred to as the Domus, the Domus Augustana--like the 33:42.535 --> 33:45.025 Domus Aurea, the Golden House of Nero--the 33:45.034 --> 33:46.274 Domus Augustana: Augustus' House, 33:46.269 --> 33:47.459 essentially. 33:47.460 --> 33:50.770 Because by this point the word Augustus had become 33:50.765 --> 33:54.015 synonymous with emperor; so every emperor was the 33:54.015 --> 33:54.725 Augustus. 33:54.730 --> 34:00.380 So this is the Domus Augustana, which again continues 34:00.380 --> 34:02.010 construction. 34:02.009 --> 34:05.039 We talked about the fact that Tiberius had begun a palace on 34:05.039 --> 34:07.399 the Palatine Hill, on the slope of the Palatine 34:07.403 --> 34:09.513 Hill that Caligula had added to that. 34:09.510 --> 34:12.010 His successors: Claudius was not that 34:12.007 --> 34:14.427 interested in palatial architecture, 34:14.434 --> 34:18.084 as you'll remember; Nero had other plans for the 34:18.083 --> 34:21.313 Domus Transitoria, and for the Domus Aurea. 34:21.309 --> 34:24.599 So it was left to the Flavians, specifically to Domitian, 34:24.599 --> 34:28.679 to complete the Imperial Palace, which he does, 34:28.679 --> 34:32.399 and then it is dedicated, as you can see from the 34:32.400 --> 34:34.030 monument list, in A.D. 34:34.027 --> 34:34.567 92. 34:34.570 --> 34:39.510 We also know the architect of the Domus Augustana, 34:39.505 --> 34:45.745 and that was a man by the name of Rabirius, R-a-b-i-r-i-u-s; 34:45.750 --> 34:48.910 a very important Roman architect by the name of 34:48.913 --> 34:49.673 Rabirius. 34:49.670 --> 34:51.770 To get back to the nomenclature for a moment. 34:51.768 --> 34:55.708 So the actual name of the palace was the Domus Augustana. 34:55.710 --> 35:00.010 But here's where it gets complicated. 35:00.010 --> 35:03.280 There's also a public wing of the house and a private wing of 35:03.275 --> 35:03.925 the house. 35:03.929 --> 35:07.409 The public wing--and you can see it in this Google Earth 35:07.414 --> 35:10.524 image from the air-- the public wing is on one 35:10.521 --> 35:12.921 story--and we see that over here-- 35:12.920 --> 35:16.490 and that was referred to in ancient times as the Flavian 35:16.485 --> 35:18.535 House, the Domus Flavia, 35:18.541 --> 35:20.101 the Domus Flavia. 35:20.099 --> 35:25.579 The private wing was on two stories, or part of it was on 35:25.583 --> 35:29.013 two stories--you can see it here; 35:29.010 --> 35:32.240 it's even larger, more extensive--and that was 35:32.237 --> 35:36.037 called, in ancient times, also the Domus Augustana. 35:36.039 --> 35:37.929 So this word, the Domus Augustana, 35:37.927 --> 35:41.187 referred both to the private wing, as opposed to the Domus 35:41.188 --> 35:43.818 Flavia, but also to the palace as a whole. 35:43.820 --> 35:46.100 So I just wanted you to be aware of that, 35:46.097 --> 35:49.337 because as you do your reading in the textbooks and so on, 35:49.342 --> 35:52.022 you might find that a little bit confusing. 35:52.018 --> 35:54.358 But we can simplify it completely and just call it the 35:54.362 --> 35:56.092 Palace of Domitian on the Palatine Hill, 35:56.085 --> 35:57.585 which is what I suggest we do. 35:57.590 --> 36:02.240 So once again we can see quite good , in this view from the 36:02.237 --> 36:06.887 air, the way in which this Domitianic structure was planned 36:06.887 --> 36:08.007 and built. 36:08.010 --> 36:10.860 We see over here, for example--and I'm going to 36:10.855 --> 36:13.515 show you these in plan, and also the remains 36:13.516 --> 36:17.286 shortly--we can see on the upper left what is a basilica; 36:17.289 --> 36:21.769 next to that an audience hall; a great fountain court over 36:21.771 --> 36:23.931 here; a triclinium or dining 36:23.931 --> 36:27.321 room over here; and then fountains on other 36:27.320 --> 36:32.570 side that belong to the Domus Flavia or the public section of 36:32.565 --> 36:33.785 the palace. 36:33.789 --> 36:36.009 And then over here the private area, 36:36.010 --> 36:37.870 as I said larger, on two stories, 36:37.867 --> 36:40.637 right here, with a court in the center and 36:40.635 --> 36:43.695 a whole host of small rooms surrounding that, 36:43.699 --> 36:46.139 living quarters and so on, for Domitian and others; 36:46.139 --> 36:49.199 a peristyle court; another peristyle court; 36:49.199 --> 36:53.539 and then a great sunken stadium over here on the right. 36:53.539 --> 36:57.889 This was a far cry from Romulus' huts, 36:57.891 --> 37:01.331 as you see them; Romulus' village, 37:01.329 --> 37:05.829 of the eighth century B.C., that I remind you of over here, 37:05.831 --> 37:09.791 and show you what has happened in the interlude. 37:09.789 --> 37:11.899 But what's extremely important I think, 37:11.900 --> 37:15.130 given Domitian's view of himself as lord and god, 37:15.130 --> 37:19.410 as dominus et deus, it's interesting to see what he 37:19.413 --> 37:20.093 builds. 37:20.090 --> 37:22.920 And he certainly felt that he was very much in the tradition 37:22.916 --> 37:25.296 of Romulus; he wants to associate himself 37:25.304 --> 37:27.314 with Romulus, and also, of course, 37:27.313 --> 37:29.573 with Augustus, who lived, as you know, 37:29.567 --> 37:31.147 on the Palatine Hill. 37:31.150 --> 37:35.140 But at the same time he wants to inject his living space with 37:35.143 --> 37:37.943 the kind of grandeur that had not been-- 37:37.940 --> 37:42.000 that was certainly true under Nero in his Domus Aurea, 37:42.000 --> 37:45.380 but that had not been true for any of the other earlier Roman 37:45.380 --> 37:46.000 emperors. 37:46.000 --> 37:48.120 So the Domus Aurea, the impact of the Domus Aurea 37:48.117 --> 37:50.717 once again, is something we should think about as we look at 37:50.719 --> 37:51.909 this incredible palace. 37:51.909 --> 37:55.529 This is a plan from the Ward-Perkins textbook that 37:55.529 --> 37:59.809 perhaps shows you better than the view from the air exactly 37:59.813 --> 38:02.623 what this structure was all about. 38:02.619 --> 38:08.179 We see the public wing on the left-hand side, 38:08.181 --> 38:15.011 the Domus Flavia of the palace on the Palatine Hill. 38:15.010 --> 38:17.900 And it includes, as you can see in the upper 38:17.903 --> 38:21.203 left corner, a basilica: a basilica, a room with a 38:21.202 --> 38:24.102 central space, divided by two side aisles by 38:24.097 --> 38:25.037 columns. 38:25.039 --> 38:29.469 And that was a basilica that Domitian himself sat in and 38:29.471 --> 38:31.971 tried cases in, as the judge. 38:31.969 --> 38:34.519 Then, next to that, an audience hall, 38:34.516 --> 38:36.566 or an aula, a-u-l-a; 38:36.570 --> 38:39.260 that was the place where Domitian met with visiting 38:39.264 --> 38:40.024 dignitaries. 38:40.018 --> 38:46.008 Then on axis with the--up in the upper right, 38:46.010 --> 38:47.290 a lararium, which was a place where they 38:47.291 --> 38:50.301 kept household gods and so on-- then on axis with the audience 38:50.300 --> 38:52.980 hall, the peristyle, the peristyle. 38:52.980 --> 38:55.590 And if you look at that in plan, it's got columns, 38:55.585 --> 38:57.175 of course, as peristyles do. 38:57.179 --> 38:59.199 But look at what's in the center of it. 38:59.199 --> 39:02.499 It actually is a fountain, and it is a fountain that is 39:02.503 --> 39:03.793 octagonal in shape. 39:03.789 --> 39:07.809 So the impact of Nero's Domus Aurea immediately clear, 39:07.809 --> 39:11.659 the impact of that remarkable octagonal room on the 39:11.663 --> 39:15.823 architecture of Domitian and on the architect Rabirius: 39:15.824 --> 39:18.064 so an octagonal fountain. 39:18.059 --> 39:21.009 And then on axis with the aula or audience hall, 39:21.010 --> 39:23.510 the peristyle, is the triclinium or 39:23.507 --> 39:26.797 dining room of the house: a very large dining room with 39:26.797 --> 39:29.897 panoramic windows through which one could see a very 39:29.903 --> 39:32.953 interestingly elliptically shaped fountain, 39:32.949 --> 39:35.019 one on either side. 39:35.018 --> 39:38.348 Now as you look at that plan of the Domus Flavia, 39:38.349 --> 39:41.529 and especially at the basilica, the audience hall and the 39:41.534 --> 39:44.244 triclinium, there is one feature that all 39:44.237 --> 39:47.927 three of those have in common, that I haven't yet mentioned, 39:47.929 --> 39:48.979 which is what? 39:48.980 --> 39:53.070 39:53.070 --> 39:54.900 All three of them have what? 39:54.900 --> 40:02.530 40:02.530 --> 40:04.830 No one? 40:04.829 --> 40:06.519 Student: A half circle. 40:06.519 --> 40:08.429 Prof: A half circle; okay, exactly, 40:08.429 --> 40:12.699 an apse, an apse on one end, and all of those apses face in 40:12.699 --> 40:14.319 the same direction. 40:14.320 --> 40:17.160 The basilica has an apse; the audience hall has an apse; 40:17.159 --> 40:18.559 the triclinium has an apse. 40:18.559 --> 40:20.259 Those were Domitian's apses. 40:20.260 --> 40:23.570 That's where Domitian sat, dominus et deus; 40:23.570 --> 40:25.030 he wanted to be honored and, in fact, 40:25.030 --> 40:28.640 worshipped, as lord and god, and he needed a space to do it 40:28.635 --> 40:30.545 in, and he wanted to sit on a 40:30.552 --> 40:33.022 throne, underneath the dome of heaven, 40:33.019 --> 40:34.029 in a sense. 40:34.030 --> 40:35.700 So the dome of heaven was a vault, 40:35.699 --> 40:38.999 made out of concrete and decorated in some way in 40:38.996 --> 40:40.986 antiquity, probably with mosaic, 40:40.994 --> 40:43.204 or whatever, to give it the sense of a dome 40:43.204 --> 40:43.894 of heaven. 40:43.889 --> 40:47.329 He wanted to sit in that space in every one of those rooms. 40:47.329 --> 40:48.809 So whether he was trying a law case, 40:48.809 --> 40:52.629 welcoming visiting dignitaries, or eating in his 40:52.632 --> 40:56.432 triclinium, he wanted to sit beneath at 40:56.427 --> 40:58.667 least a semi-dome of heaven. 40:58.670 --> 41:02.210 And that's indeed what he did, as he was again worshipped as 41:02.210 --> 41:03.710 dominus et deus. 41:03.710 --> 41:06.000 So this is a very important, I think, 41:06.000 --> 41:09.320 phenomenon in this particular monument, 41:09.320 --> 41:12.140 and one that is well worth thinking about, 41:12.139 --> 41:16.689 in terms of the way in which architecture is used by given 41:16.693 --> 41:19.573 individuals to define themselves, 41:19.570 --> 41:22.640 to define their lives, and to define their era. 41:22.639 --> 41:25.019 Over here again the private wing; 41:25.018 --> 41:28.128 I'm going to hold on that for a moment and we'll come back to 41:28.132 --> 41:28.912 that shortly. 41:28.909 --> 41:32.889 This is a detail of the basilica, where we see the plan 41:32.891 --> 41:36.361 of the basilica, and also a cross-section of the 41:36.358 --> 41:37.758 same structure. 41:37.760 --> 41:41.500 And you can see it is completely in keeping with other 41:41.496 --> 41:45.156 basilican architecture we've looked at, both in civic 41:45.164 --> 41:47.144 locations and elsewhere. 41:47.139 --> 41:49.709 A central nave with an apse on one end--again, 41:49.708 --> 41:51.818 imagine Domitian sitting over here; 41:51.820 --> 41:56.960 the central nave divided from the side aisles by columns, 41:56.960 --> 42:01.550 fairly simple but very interesting structure in the 42:01.550 --> 42:05.040 context of this particular palace. 42:05.039 --> 42:08.529 Over here an outstanding restored view that probably 42:08.530 --> 42:12.570 gives you a better sense than almost anything I can show you 42:12.570 --> 42:16.130 of the Domus Flavia or the public space of Domitian's 42:16.130 --> 42:17.020 Palace. 42:17.018 --> 42:20.178 Here's, of course, the basilica over here, 42:20.179 --> 42:22.839 and you can see that this room, like all of the rooms in this 42:22.836 --> 42:24.976 palace, were done in marble, 42:24.983 --> 42:28.393 and that marble was of various colors, 42:28.389 --> 42:30.659 as you can see here, and it was marble that was 42:30.655 --> 42:32.325 brought from all over the world. 42:32.329 --> 42:34.419 We've talked about the fact that the Flavians did this. 42:34.420 --> 42:36.910 We've talked about this as the case for the Templum Pacis, 42:36.909 --> 42:40.549 for example, bringing marble from Egypt and 42:40.554 --> 42:45.594 Asia Minor and Greece and elsewhere in the Roman world, 42:45.590 --> 42:49.870 bringing it all here and using it, using that variegated marble 42:49.869 --> 42:51.929 to make-- to ornament, 42:51.927 --> 42:55.387 obviously, this palace in Rome. 42:55.389 --> 42:59.439 Over here the aula or the great audience hall; 42:59.440 --> 43:03.460 the Aula Regia we call it, over here, also with the marble 43:03.458 --> 43:06.278 on the floor, as well as on the walls. 43:06.280 --> 43:08.290 You can see that this particular room-- 43:08.289 --> 43:10.119 and it was apparent in plan as well-- 43:10.119 --> 43:15.219 has scalloping around the perimeter of the room: 43:15.215 --> 43:18.975 a series of niches, as you can see, 43:18.980 --> 43:22.910 with statuary in them, surrounded by columns, 43:22.907 --> 43:26.027 two tiers with other windows up above, 43:26.030 --> 43:29.010 as you can see. 43:29.010 --> 43:31.610 And here you get a sense of that space in which Domitian 43:31.614 --> 43:33.514 would have sat: the apse of the room, 43:33.510 --> 43:36.090 the curvature of the wall, made, of course, 43:36.090 --> 43:38.470 out of concrete--as this entire structure was-- 43:38.469 --> 43:40.779 made out of concrete, with a semi-dome. 43:40.780 --> 43:44.830 And you have to again imagine Domitian sitting beneath that, 43:44.831 --> 43:48.541 or inside that apse and beneath that semi-dome here. 43:48.539 --> 43:50.739 The peristyle court, open to the sky; 43:50.739 --> 43:53.539 columns all around, covered colonnade, 43:53.543 --> 43:56.503 two stories, and then in the center this 43:56.496 --> 43:58.236 octagonal fountain. 43:58.239 --> 44:01.149 Leave it to Domitian, leave it to Rabirius, 44:01.150 --> 44:04.610 to transform Nero's octagonal room into a fountain, 44:04.614 --> 44:06.974 in the context of this palace. 44:06.969 --> 44:09.969 And then on axis again, with the Aula Regia, 44:09.969 --> 44:13.529 and with the peristyle, is the triclinium. 44:13.530 --> 44:16.260 And this restored view again gives you a very good sense of 44:16.262 --> 44:18.902 that apse in which Domitian would have sat enthroned, 44:18.900 --> 44:21.950 with the semi-dome above his head, two tiers; 44:21.949 --> 44:25.709 again, the walls decorated with variegated marbles brought from 44:25.708 --> 44:27.828 all different parts of the world; 44:27.829 --> 44:29.279 as well as with columns. 44:29.280 --> 44:32.570 And then picture windows, through which you would see 44:32.570 --> 44:35.290 these very interesting elliptical fountains, 44:35.291 --> 44:37.701 as you dined, one on either side of the 44:37.697 --> 44:38.707 structure. 44:38.710 --> 44:42.180 There's a lot of controversy as to how the rooms that were 44:42.177 --> 44:46.007 roofed, were roofed -- whether they had barrel vaults or not. 44:46.010 --> 44:48.260 You can see this particular restored view shows one flat 44:48.264 --> 44:49.704 roof and one barrel vaulted roof. 44:49.699 --> 44:53.779 We're not absolutely sure about that, and again scholars 44:53.782 --> 44:57.052 continue to argue which was the case here. 44:57.050 --> 45:00.390 I mentioned statuary in the Aula Regia, 45:00.389 --> 45:04.219 and we have some evidence for what that statuary might have 45:04.221 --> 45:06.311 been like, and the way in which it was 45:06.309 --> 45:07.129 used by Domitian. 45:07.130 --> 45:08.350 I show you two examples. 45:08.349 --> 45:11.549 These are two statues, one representing Hercules, 45:11.550 --> 45:13.280 on the left, and the other, 45:13.284 --> 45:15.824 on the right, representing Apollo. 45:15.820 --> 45:20.140 And these are truly colossal in scale, 45:20.139 --> 45:23.589 and they are made of beautiful materials, 45:23.590 --> 45:26.860 again imported materials -- in this case a kind of maroon 45:26.856 --> 45:29.826 colored stone, and in this case a greenish 45:29.829 --> 45:30.929 colored stone. 45:30.929 --> 45:33.869 Again, they're very large in scale, colossal in scale, 45:33.869 --> 45:37.139 and you can see the exaggerated musculature of both of these 45:37.143 --> 45:37.813 figures. 45:37.809 --> 45:41.059 And I think they are very telling in terms of-- 45:41.059 --> 45:44.989 as we think about Domitian sitting in rooms like the Aula 45:44.987 --> 45:46.857 Regia, greeting visitors, 45:46.864 --> 45:49.704 and when you think about what this man, 45:49.699 --> 45:52.939 who wanted to be worshipped as lord and god thought of himself, 45:52.940 --> 45:55.820 and you see the kind of statuary that he surrounded 45:55.818 --> 45:58.168 himself with-- this is a very different man 45:58.168 --> 46:01.388 than his predecessor Claudius-- the kind of imagery that he 46:01.393 --> 46:02.873 associated himself with. 46:02.869 --> 46:08.179 It's a way of pumping himself up, I think, by having himself 46:08.179 --> 46:13.219 surrounded by these very athletic figures of Hercules and 46:13.219 --> 46:14.929 also of Apollo. 46:14.929 --> 46:18.069 What do you think this is, just from looking at it? 46:18.070 --> 46:21.070 The remains--you can see the remains are not as extensive as 46:21.074 --> 46:23.674 one wishes they were, but enough is there to allow a 46:23.670 --> 46:25.300 reconstruction of the whole. 46:25.300 --> 46:27.720 What are we looking at here? 46:27.719 --> 46:29.119 Student: The octagonal fountain.. 46:29.119 --> 46:31.149 Prof: The octagonal fountain, the octagonal fountain 46:31.150 --> 46:32.130 of the peristyle court. 46:32.130 --> 46:32.730 Excellent. 46:32.726 --> 46:35.836 See it's really--most people, who wander around these 46:35.836 --> 46:39.126 remains, would not be able to figure out for the life of 46:39.126 --> 46:40.916 themselves what this was. 46:40.920 --> 46:44.520 But you'll be glad when you go up on the Palatine Hill to know, 46:44.518 --> 46:47.278 as you stand here, that this was once an octagonal 46:47.275 --> 46:49.975 fountain, with a spectacular water 46:49.976 --> 46:51.746 display undoubtedly. 46:51.750 --> 46:55.840 This is the triclinium, or what survives--sad--what 46:55.835 --> 46:58.915 survives of Domitian's triclinium. 46:58.920 --> 47:01.880 This is his apse; this is the very apse in which 47:01.882 --> 47:04.942 Domitian would have sat enthroned, as he ate with 47:04.940 --> 47:08.190 special invited guests, as he held a state dinner in 47:08.192 --> 47:08.832 Rome. 47:08.829 --> 47:11.029 And you can see, if you look very carefully, 47:11.032 --> 47:13.342 again the construction is brick-faced concrete 47:13.338 --> 47:14.208 construction. 47:14.210 --> 47:17.720 We talked about the fact that after the fire of 64, 47:17.719 --> 47:23.559 a decision was made to begin to use brick as a facing, 47:23.559 --> 47:26.419 because brick was more fireproof than stone. 47:26.420 --> 47:30.080 And we see that borne out; the entire Imperial Palace on 47:30.083 --> 47:33.373 the Palatine Hill was made of brick-faced concrete 47:33.367 --> 47:34.437 construction. 47:34.440 --> 47:37.630 But if you look very carefully, you will see some stucco and 47:37.628 --> 47:39.898 you will also see some marble revetment. 47:39.900 --> 47:42.840 So, in this case, that brick was covered over 47:42.835 --> 47:46.635 with marble, to give it a much more luxurious look for the 47:46.637 --> 47:48.437 dominus et deus. 47:48.440 --> 47:52.530 Also interesting here--actually there's a tarp on top of 47:52.532 --> 47:56.042 preserved mosaic, and I'll show you that mosaic 47:56.036 --> 47:58.626 in a moment-- but what's interesting here is 47:58.628 --> 48:01.758 that the pavement rests on something that should remind you 48:01.759 --> 48:04.349 of something we saw earlier in the semester, 48:04.349 --> 48:06.019 which is what? 48:06.019 --> 48:07.139 You're nodding, so. 48:07.139 --> 48:07.579 Student: The hypocaust.. 48:07.577 --> 48:07.997 Prof: The hypocaust. 48:08.000 --> 48:11.280 It's a hypocaust system; just as we saw in the Stabian 48:11.282 --> 48:14.392 Baths in Pompeii, they have raised the pavement 48:14.385 --> 48:18.915 up on these piles of brick, and then in between them would 48:18.918 --> 48:24.058 have placed terracotta pipes and also braziers with hot, 48:24.059 --> 48:27.179 hot coals, and so on and so forth, to heat the floor of the 48:27.184 --> 48:29.724 triclinium, so that Domitian could not only 48:29.724 --> 48:32.804 sit in his apse, but could have his feet warm 48:32.800 --> 48:33.820 while he ate. 48:33.820 --> 48:37.960 This gives you again I think a really good window into the kind 48:37.960 --> 48:41.580 of man we are dealing with here, and what he was trying to 48:41.579 --> 48:43.779 achieve, once again through architecture, 48:43.780 --> 48:45.690 through architecture. 48:45.690 --> 48:50.010 This is another view of the apse in which Domitian sat, 48:50.010 --> 48:52.770 and here we do see--without the tarp we can see that the mosaic 48:52.768 --> 48:54.368 is actually pretty well preserved. 48:54.369 --> 49:00.009 And it is the colors that we so often find in Roman mosaics , 49:00.010 --> 49:02.160 especially in major public buildings and in private 49:02.163 --> 49:03.803 palaces: this combination of green, 49:03.800 --> 49:06.030 maroon and white, as you see here, 49:06.032 --> 49:09.622 with a variety of very attractive geometric shapes. 49:09.619 --> 49:12.069 Again, you can see the concrete construction, 49:12.070 --> 49:15.040 faced with brick, and you can see the remains of 49:15.043 --> 49:18.523 some of the marble revetment that would have covered the 49:18.521 --> 49:21.881 walls and made this all that much more ostentatious in 49:21.875 --> 49:23.515 ancient Roman times. 49:23.519 --> 49:25.499 This fountain is a marvel. 49:25.500 --> 49:26.510 I love this fountain. 49:26.510 --> 49:30.610 This is the fountain that you see, or one of the two that you 49:30.612 --> 49:34.992 would see, through the panoramic windows of the triclinium 49:34.989 --> 49:36.699 in Domitian's Palace. 49:36.699 --> 49:42.879 And this is where I think the genius of Rabirius shows 49:42.882 --> 49:44.742 through; and Rabirius shows, 49:44.744 --> 49:46.794 in a sense, himself to be the Frank Gehry of his day -- 49:46.789 --> 49:51.239 somebody who really enjoyed undulating forms, 49:51.239 --> 49:55.279 and the way in which concavity and convexity can be played off 49:55.277 --> 49:58.217 against one another, to great result. 49:58.219 --> 49:59.999 It's an elliptical fountain. 50:00.000 --> 50:01.360 It's fairly small in scale. 50:01.360 --> 50:03.170 It's elliptical, as you can see here, 50:03.170 --> 50:09.380 and the convexity of that ellipse played off-- 50:09.380 --> 50:11.080 and you see it repeated again here-- 50:11.079 --> 50:14.579 played off against these interesting undulating walls; 50:14.579 --> 50:17.859 all of this created again out of concrete and faced with 50:17.862 --> 50:18.342 brick. 50:18.340 --> 50:22.460 So you imagine the bricks have to be very carefully molded to 50:22.456 --> 50:26.366 fit where they need to fit into this incredible scheme. 50:26.369 --> 50:28.299 And, of course, in antiquity this would have 50:28.295 --> 50:30.395 been stuccoed over, and probably had some marble 50:30.398 --> 50:32.368 revetment on it, and so on and so forth. 50:32.369 --> 50:34.869 But the shape is absolutely marvelous, 50:34.869 --> 50:38.139 and I think we are definitely in the presence of a great 50:38.135 --> 50:42.045 architectural genius, in the person of Rabirius, 50:42.052 --> 50:44.932 who was working for Domitian. 50:44.929 --> 50:48.619 The private wing of the palace, equally spectacular in its own 50:48.617 --> 50:48.977 way. 50:48.980 --> 50:53.760 I mentioned to you already that it's larger in the space that it 50:53.764 --> 50:56.124 covers than the Domus Flavia. 50:56.119 --> 50:59.009 And part of it is on two stories, the part that you see 50:59.007 --> 50:59.647 over here. 50:59.650 --> 51:04.380 There's a fountain court in the center, and then two stories of 51:04.382 --> 51:07.832 rooms around that; another peristyle back here; 51:07.829 --> 51:11.129 and then a stadium, once again a hairpin shape, 51:11.130 --> 51:15.360 with a curved side and a flat side, just like his stadium in 51:15.364 --> 51:16.014 Rome. 51:16.010 --> 51:19.110 But he already had a stadium, a public stadium, 51:19.114 --> 51:22.424 where one could watch racehorses and races and the 51:22.422 --> 51:23.032 like. 51:23.030 --> 51:24.260 He used this instead. 51:24.260 --> 51:26.560 And it's actually sunken--because remember this 51:26.563 --> 51:29.573 part is two stories--this is sunken, a sunken stadium next to 51:29.568 --> 51:29.918 it. 51:29.920 --> 51:33.980 It was used as a place for pleasurable walks, 51:33.980 --> 51:37.380 as a kind of outdoor garden where Domitian, 51:37.380 --> 51:42.770 and again special visitors, could spend some time, 51:42.768 --> 51:45.008 a pleasant place to walk within the city. 51:45.010 --> 51:51.400 We see here another axonometric view from Ward-Perkins, 51:51.400 --> 51:53.530 where we can also get a very good sense, 51:53.530 --> 51:57.380 not only of the Domus Flavia, as we've already described it: 51:57.378 --> 52:00.378 the basilica and the aula on one end; 52:00.380 --> 52:02.460 the octagonal fountain in the center; 52:02.460 --> 52:06.740 and then over here the dining hall with the two elliptical 52:06.737 --> 52:09.137 fountains, one on either side. 52:09.139 --> 52:14.209 Here we see again the private area with the sunken stadium 52:14.211 --> 52:16.981 over here; with the peristyle court with a 52:16.976 --> 52:20.356 fountain in the center; two stories around that; 52:20.360 --> 52:24.030 and then over here another couple of other peristyle 52:24.032 --> 52:24.682 courts. 52:24.679 --> 52:26.959 There are actually three peristyle courts in total here. 52:26.960 --> 52:29.070 But what's interesting, I think, when you look at this 52:29.072 --> 52:32.012 axonometric view, I think it's interesting to see 52:32.014 --> 52:34.314 that-- or a kind of cutaway view--to 52:34.306 --> 52:38.106 see that from the outside a lot of these spaces didn't look as 52:38.108 --> 52:40.788 interesting as they did from the inside. 52:40.789 --> 52:44.219 We are definitely moving--we've seen that be the case for 52:47.039 --> 52:49.609 Think back to some of the early residences in Pompeii where they 52:49.612 --> 52:51.452 were very plain and severe on the outside, 52:51.449 --> 52:54.129 but when you went inside and saw the atrium and the 52:54.125 --> 52:56.745 impluvium and the compluvium and the 52:56.746 --> 52:58.696 garden, it was something else again; 52:58.699 --> 53:00.209 this whole element of surprise. 53:00.210 --> 53:02.370 And that's true even here, I think, 53:02.369 --> 53:05.479 in this palace, where the structures are less 53:05.481 --> 53:09.511 interesting from the outside and more interesting from the 53:09.512 --> 53:11.072 interiors of them. 53:11.070 --> 53:14.800 Here's a Google Earth image again of just the private part 53:14.795 --> 53:18.845 of the palace where we see this interesting peristyle court; 53:18.849 --> 53:21.009 the other two peristyle courts behind it; 53:21.010 --> 53:24.060 these rooms placed on two stories; 53:24.059 --> 53:26.729 and then once again the sunken stadium. 53:26.730 --> 53:30.010 The sunken stadium is actually quite well preserved. 53:30.010 --> 53:31.900 As you can see here, it's one of the better 53:31.902 --> 53:33.572 preserved parts of the villa today. 53:33.570 --> 53:36.110 You can get a very good sense, not only of its shape but also 53:36.106 --> 53:39.106 of its scale; it's enormous, a huge stadium. 53:39.110 --> 53:43.010 And again you have to imagine Domitian wandering around here. 53:43.010 --> 53:46.290 And you can see the curved end on one side, 53:46.289 --> 53:48.729 but most importantly the concrete construction, 53:48.730 --> 53:52.630 faced with brick, and including columns and other 53:52.634 --> 53:54.184 marble revetment. 53:54.179 --> 53:58.629 This is a view of that first court, the one that has rooms on 53:58.630 --> 54:00.410 two stories around it. 54:00.409 --> 54:05.119 Once again, Rabirius has had a great deal of fun with his 54:05.123 --> 54:06.053 fountain. 54:06.050 --> 54:08.810 He seems to have taken particular pleasure in designing 54:08.813 --> 54:11.883 fountains and in letting his imagination run free with regard 54:11.882 --> 54:13.062 to fountain design. 54:13.059 --> 54:18.829 You see here again he's playing off convex against concave. 54:18.829 --> 54:21.769 He's done all of this out of concrete; 54:21.768 --> 54:26.008 these shapes are done in concrete, faced with brick, 54:26.010 --> 54:28.850 and again the bricks have to be molded very specially to fit the 54:28.851 --> 54:31.891 space within that, that they need to accommodate 54:31.889 --> 54:32.969 themselves to. 54:32.969 --> 54:36.149 And if any of you know anything about those female warriors 54:36.150 --> 54:38.560 called the Amazons, they carry shields called 54:38.563 --> 54:41.633 peltas, p-e-l-t-a; these should remind you--don't 54:41.632 --> 54:43.062 they look like peltae? 54:43.059 --> 54:45.499 They look very much like--that's probably 54:45.498 --> 54:47.878 coincidental, I'm not implying here that 54:47.875 --> 54:51.045 there's any particular iconography to this particular 54:51.045 --> 54:51.955 fountain. 54:51.960 --> 54:52.870 But who knows? 54:52.869 --> 54:55.989 But they do look very much like shields that are carried by 54:55.990 --> 54:56.960 Amazonian women. 54:56.960 --> 54:59.770 But at any rate, this playing off of convex 54:59.773 --> 55:02.803 against concave; Rabirius is clearly enjoying 55:02.795 --> 55:04.605 himself with this monument. 55:04.610 --> 55:08.010 Then the rooms on two stories. 55:08.010 --> 55:10.130 And you see, just as we saw quite some time 55:10.130 --> 55:13.010 ago in the second phase of the Villa of the Mysteries, 55:13.010 --> 55:16.120 where they were beginning to open up the exterior and create 55:16.119 --> 55:19.439 bay windows and more windows and make it less severe than it had 55:19.440 --> 55:21.550 been in the original Domus Italica, 55:21.550 --> 55:24.440 we see that sort of thing here: many more windows used, 55:24.440 --> 55:25.760 the wall being opened up. 55:25.760 --> 55:30.410 They've gotten so sophisticated in their use of concrete that 55:30.414 --> 55:33.754 they are able to open the walls up more, 55:33.750 --> 55:36.520 with these rectangular windows of different shapes-- 55:36.518 --> 55:38.828 as you can see, some large, some smaller, 55:38.829 --> 55:40.189 some on the ground, some higher, 55:40.188 --> 55:43.378 sort of like windows-- and then above additional 55:43.384 --> 55:46.734 openings that are arcuated on the top. 55:46.730 --> 55:51.550 So clearly he's again enjoying opening up this wall and 55:51.550 --> 55:56.640 creating interesting views, from one part of the structure 55:56.639 --> 55:57.979 to another. 55:57.980 --> 56:01.450 Two more images of that wonderful fountain, 56:01.449 --> 56:04.829 where I think you can see even better the way in which this has 56:04.829 --> 56:07.469 all been done out of concrete, faced with brick. 56:07.469 --> 56:10.739 And you have to imagine, of course, the spectacular 56:10.744 --> 56:13.494 water display, the actually water jets that 56:13.494 --> 56:14.874 would've come up. 56:14.869 --> 56:18.689 The Bellagio it may not have been, but it probably was 56:18.692 --> 56:21.302 something-- sort of the ancient version of 56:21.304 --> 56:25.234 the Bellagio in Las Vegas, the fountains at the Bellagio. 56:25.230 --> 56:29.460 Here you see a restored view of this fountain court, 56:29.460 --> 56:33.140 where you get a sense that once you add a bunch of statuary and 56:33.139 --> 56:35.289 water jets-- which you don't see actually 56:35.291 --> 56:37.401 working here-- and paint the walls, 56:37.396 --> 56:41.516 the whole thing would've been even more spectacular still; 56:41.518 --> 56:44.268 and I think that gives you some general sense of the original 56:44.271 --> 56:45.511 appearance of the palace. 56:45.510 --> 56:50.510 Around the court, the fountain court, 56:50.510 --> 56:52.920 and the private wing that we've just looked at, 56:52.920 --> 56:56.210 there were a series of rooms, and if you look at some of 56:56.213 --> 57:00.553 those rooms in detail, I think you'll be amazed by 57:00.547 --> 57:02.867 what you see; some fantastically shaped 57:02.865 --> 57:04.385 rooms: some of them cruciform, cross-shaped; 57:04.389 --> 57:07.769 some of them going way back to the frigidaria with 57:07.773 --> 57:10.193 circular rooms with radiating alcoves. 57:10.190 --> 57:14.410 And not surprisingly, again given what Severus and 57:14.409 --> 57:18.889 Celer were able to achieve at Nero's Domus Aurea, 57:18.889 --> 57:22.679 given the fact that the octagon is clearly also in the mind of 57:22.684 --> 57:26.824 Rabirius in this building, we see him creating small 57:26.815 --> 57:30.875 octagonal rooms, and exploring and experimenting 57:30.880 --> 57:33.040 with those octagonal rooms. 57:33.039 --> 57:35.819 And you see a couple of them in plan, on the side, 57:35.818 --> 57:38.368 on one of the sides of this fountain court. 57:38.369 --> 57:41.479 I show you here a view from, or several views from the 57:41.481 --> 57:46.831 Ward-Perkins textbook, where we see a cross-section, 57:46.826 --> 57:49.856 a plan, and also an axonometric view of 57:49.864 --> 57:53.364 one of these octagonal rooms that we believe was designed by 57:53.358 --> 57:55.488 Rabirius for the Palatine Palace. 57:55.489 --> 58:00.729 And I compare it down here to the octagonal room of Nero's 58:00.733 --> 58:06.163 Domus Aurea, which was clearly the model for Rabirius' foray 58:06.163 --> 58:08.743 into designing octagons. 58:08.739 --> 58:12.289 It's a much smaller room than Nero's octagonal room, 58:12.293 --> 58:15.643 but he takes the whole concept a step further. 58:15.639 --> 58:18.199 It's an octagon; yes, it's eight sided, 58:18.199 --> 58:19.769 just like the Domus Aurea. 58:19.769 --> 58:21.759 It has radiating alcoves. 58:21.760 --> 58:26.940 Some of them are rectangular, some of them are circular, 58:26.938 --> 58:29.008 as you can see here. 58:29.010 --> 58:30.790 And if you look at the axonometric view, 58:30.786 --> 58:33.606 you will see two interesting things that are a step forward. 58:33.610 --> 58:37.860 One of them is the fact that although in the Domus Aurea the 58:37.858 --> 58:41.438 eight-sided room-- although the room was 58:41.442 --> 58:46.852 eight-sided, the dome was itself essentially curved; 58:46.849 --> 58:48.589 it's a traditional dome. 58:48.590 --> 58:52.820 What we see happening here though is they take the eight 58:52.815 --> 58:57.035 sides and continue that segmented feel into the dome. 58:57.039 --> 59:01.409 So we have an eight-sided segmented dome in this octagonal 59:01.411 --> 59:05.631 room in the Palatine Palace, which is different than the 59:05.632 --> 59:06.862 Domus Aurea. 59:06.860 --> 59:08.800 And the other thing, and perhaps even more 59:08.800 --> 59:10.860 significant, is the fact that if we look at 59:10.864 --> 59:13.444 the individual niches, we will see that they are 59:13.443 --> 59:16.843 envelopes of space, in the same way that Nero's 59:16.842 --> 59:19.842 Domus Aurea was, and that they have--and just 59:19.840 --> 59:24.830 like Nero's Domus Aurea, they have niches within niches. 59:24.829 --> 59:27.909 But what Rabirius has done here is something really quite 59:27.914 --> 59:31.444 extraordinary and very different from anything we've seen earlier 59:31.442 --> 59:35.422 in Roman architecture, and that is he's placed some of 59:35.423 --> 59:39.773 these additional niches or windows or doorways off axis 59:39.768 --> 59:41.778 with the niche itself. 59:41.780 --> 59:44.820 Now we have seen that the Romans cared above all about 59:44.824 --> 59:47.704 axiality and symmetry, and yet we see here--and this 59:47.702 --> 59:50.492 is why I call him the Frank Gehry of Roman architects-- 59:50.489 --> 59:55.879 he is willing to try something entirely different. 59:55.880 --> 1:00:00.440 He is clearly enamored of circles and rectangles and domes 1:00:00.440 --> 1:00:03.390 and the like, but he is also willing to 1:00:03.387 --> 1:00:07.187 dispense with the usual axiality of Roman architecture, 1:00:07.190 --> 1:00:12.290 and explore placing things off axis in a quite inventive way. 1:00:12.289 --> 1:00:16.929 And I can show you that even better by looking quickly at the 1:00:16.929 --> 1:00:20.409 two views of one of these octagonal rooms, 1:00:20.409 --> 1:00:25.029 from the private wing of the Palatine Palace, 1:00:25.030 --> 1:00:27.280 where you can see not only--and I hope you can see it from where 1:00:27.277 --> 1:00:28.747 you are-- you can see not only the 1:00:28.753 --> 1:00:30.653 segments--can you see the segmented dome? 1:00:30.650 --> 1:00:32.070 I think quite clearly here. 1:00:32.070 --> 1:00:34.340 You can see these envelopes of space. 1:00:34.340 --> 1:00:37.610 You can see these openings; this whole idea of creating 1:00:37.612 --> 1:00:40.872 vistas from one building to another but-- 1:00:40.869 --> 1:00:42.769 and you can see the way in which these vary, 1:00:42.768 --> 1:00:45.238 that some are doorways, some are windows-- 1:00:45.239 --> 1:00:48.609 but I think you can also see the way in which he is beginning 1:00:48.614 --> 1:00:51.464 to place-- here's a window that is placed 1:00:51.458 --> 1:00:54.058 completely off axis with the niche. 1:00:54.059 --> 1:00:56.409 This is even more apparent in this other view, 1:00:56.409 --> 1:00:59.369 where you can see one of these radiating niches, 1:00:59.369 --> 1:01:02.579 and in that radiating niche there's an opening that starts 1:01:02.579 --> 1:01:04.769 at the floor, and then there's another 1:01:04.766 --> 1:01:09.006 opening, to the left of it, that's higher up. 1:01:09.010 --> 1:01:11.880 And again you get this sense of asymmetry, rather than symmetry, 1:01:11.882 --> 1:01:12.342 in this. 1:01:12.340 --> 1:01:14.480 And this is again very experimental, 1:01:14.480 --> 1:01:16.930 very different; it really is different than 1:01:16.931 --> 1:01:20.071 almost anything I can show you, not only before but even after 1:01:20.065 --> 1:01:23.815 this great work of architecture, and it gives us some insight 1:01:23.818 --> 1:01:29.078 into the creativity of Rabirius, and the way in which Domitian 1:01:29.081 --> 1:01:31.271 was allowing him to be. 1:01:31.268 --> 1:01:32.878 Because I think this goes above and beyond. 1:01:32.880 --> 1:01:35.280 Clearly Domitian is imaging himself; 1:01:35.280 --> 1:01:38.410 I think especially in the public realm of this building, 1:01:38.407 --> 1:01:41.697 he's very concerned with how he's presenting himself to his 1:01:41.704 --> 1:01:42.334 public. 1:01:42.329 --> 1:01:45.739 Over here I have the sense that he has really let Rabirius be 1:01:45.744 --> 1:01:48.014 Rabirius; that he's let Rabirius do what 1:01:48.007 --> 1:01:51.227 he wanted to do to create an interesting and architecturally 1:01:51.231 --> 1:01:54.841 exciting space, in which he could live and 1:01:54.835 --> 1:02:00.255 could enjoy some of the interesting architectural motifs 1:02:00.264 --> 1:02:05.994 that Rabirius instills in this extraordinary structure. 1:02:05.989 --> 1:02:10.609 Now Domitian was succeeded by John Kerry; 1:02:10.610 --> 1:02:12.980 no, well sort of, in the sense that he was 1:02:12.983 --> 1:02:16.403 succeeded by a man by the name of Nerva, who looks very much 1:02:16.398 --> 1:02:18.538 like John Kerry, don't you think? 1:02:18.539 --> 1:02:22.119 That's a coin of Nerva on the left-hand side of the screen. 1:02:22.119 --> 1:02:25.859 Domitian, by the way--I think I may have forgotten to mention, 1:02:25.864 --> 1:02:28.324 but he ended up just the way Nero did. 1:02:28.320 --> 1:02:31.400 He was--well in his case he was actually assassinated; 1:02:31.400 --> 1:02:34.130 Nero was forced to commit suicide but Domitian was 1:02:34.132 --> 1:02:34.972 assassinated. 1:02:34.969 --> 1:02:38.609 He was issued a damnatio memoriae at his death. 1:02:38.610 --> 1:02:42.950 And he was succeeded by Nerva, Nerva who was appointed by the 1:02:42.949 --> 1:02:43.599 Senate. 1:02:43.599 --> 1:02:47.089 The Senate had had it with despots, and they decided the 1:02:47.090 --> 1:02:49.820 time had come to choose one of their own. 1:02:49.820 --> 1:02:52.950 And they selected Nerva, who was an elderly and very 1:02:52.947 --> 1:02:55.397 highly respected member of the Senate. 1:02:55.400 --> 1:02:57.330 And this was the first time the Senate did this-- 1:02:57.329 --> 1:03:00.219 since Augustus founded the Empire in his reign, 1:03:00.219 --> 1:03:04.879 the first emperor of Rome--this is the first time that an 1:03:04.884 --> 1:03:08.054 emperor was appointed by the Senate. 1:03:08.050 --> 1:03:11.180 And Nerva was a highly respected and pretty 1:03:11.181 --> 1:03:14.691 level-headed guy, and he was able to bring peace 1:03:14.686 --> 1:03:17.516 and prosperity back to the Empire. 1:03:17.518 --> 1:03:21.008 He did not last very long however. 1:03:21.010 --> 1:03:24.490 He had a very brief reign, and therefore very little time 1:03:24.485 --> 1:03:26.715 to have an impact on architecture. 1:03:26.719 --> 1:03:30.079 But again you see him represented on a coin on the 1:03:30.081 --> 1:03:32.211 left-hand side of the screen. 1:03:32.210 --> 1:03:34.090 I'd like to show you one building though; 1:03:34.090 --> 1:03:39.420 I'd like to end today with one building that was actually begun 1:03:39.418 --> 1:03:43.028 by Domitian and then completed by Nerva. 1:03:43.030 --> 1:03:45.600 It began as the so-called Forum Transitorium, 1:03:45.601 --> 1:03:48.231 under Domitian, and became the Forum of Nerva, 1:03:48.233 --> 1:03:49.173 under Nerva. 1:03:49.170 --> 1:03:52.900 In order to do this I need to take you to the general plan of 1:03:52.898 --> 1:03:54.638 the Imperial Fora in Rome. 1:03:54.639 --> 1:03:56.109 We've looked at this before. 1:03:56.110 --> 1:03:59.560 You'll remember the location of the Roman Forum here, 1:03:59.559 --> 1:04:03.279 and obviously down below: the Forum of Julius Caesar that 1:04:03.275 --> 1:04:06.365 we've already studied; the Forum of Augustus built 1:04:06.365 --> 1:04:08.735 right next to that, that we've also looked at in 1:04:08.744 --> 1:04:10.874 detail; and then the Forum Pacis, 1:04:10.871 --> 1:04:13.211 or the Templum Pacis of Vespasian, 1:04:13.210 --> 1:04:17.010 which we have looked at more recently, 1:04:17.010 --> 1:04:20.020 and which you'll recall was built in such a way so that it 1:04:20.019 --> 1:04:23.289 faced the Forum of Augustus and the Forum of Julius Caesar next 1:04:23.293 --> 1:04:23.773 door. 1:04:23.768 --> 1:04:28.438 I mentioned to you I think already that there was a very 1:04:28.442 --> 1:04:32.352 large piece of property over here that was-- 1:04:32.349 --> 1:04:34.809 on which stood essentially one of Rome's Seven Hills, 1:04:34.809 --> 1:04:37.969 the Quirinal Hill--Q-u-i-r-i-n-a-l; 1:04:37.969 --> 1:04:41.219 the Quirinal Hill of Rome occupied this area. 1:04:41.219 --> 1:04:44.109 But it was an area that was being eyed by Domitian. 1:04:44.110 --> 1:04:46.350 You can see from his palace that he had big plans, 1:04:46.349 --> 1:04:48.559 and once the palace was coming to fruition, 1:04:48.559 --> 1:04:52.289 he was thinking again about public architecture and the fact 1:04:52.289 --> 1:04:55.959 that he would really like to build a forum to rival that of 1:04:55.958 --> 1:04:58.628 his father, a forum that was bigger than 1:04:58.632 --> 1:04:59.942 that of his father's. 1:04:59.940 --> 1:05:03.860 And he'd like to put it over here, facing his father's forum, 1:05:03.864 --> 1:05:07.924 across the Forum of Augustus and the Forum of Julius Caesar. 1:05:07.920 --> 1:05:12.200 He dreamed those big dreams but he was never able to realize 1:05:12.201 --> 1:05:12.711 them. 1:05:12.710 --> 1:05:18.050 What he did instead was to take this area that was located 1:05:18.048 --> 1:05:23.298 between the Forum of Vespasian and the Forum of Augustus, 1:05:23.295 --> 1:05:29.485 the Forum of Julius Caesar; this area that I mentioned to 1:05:29.494 --> 1:05:35.064 you was called the Argiletum--A-r-g-i-l-e-t-u-m; 1:05:35.059 --> 1:05:36.879 I think I've got it there, the Argiletum. 1:05:36.880 --> 1:05:42.200 That area was a street that connected the Roman Forum with 1:05:42.197 --> 1:05:45.647 an area of Rome called the Subura-- 1:05:45.650 --> 1:05:49.390 S-u-b-u-r-a--the Subura, which was a residential area 1:05:49.391 --> 1:05:53.351 that I mentioned had in it mostly these wooden apartment 1:05:53.347 --> 1:05:56.087 houses; large numbers of people lived 1:05:56.090 --> 1:05:57.100 in the Subura. 1:05:57.099 --> 1:05:59.379 So there was this street, the Argiletum, 1:05:59.376 --> 1:06:02.236 that attached the two, or connected the two to one 1:06:02.239 --> 1:06:02.939 another. 1:06:02.940 --> 1:06:05.820 And Domitian decided to use that as a forum, 1:06:05.822 --> 1:06:09.242 to himself, that would be placed next to that of his 1:06:09.242 --> 1:06:09.982 father. 1:06:09.980 --> 1:06:13.630 And he placed in that forum a temple of his patron goddess 1:06:13.628 --> 1:06:16.808 Minerva; his patron goddess was Minerva, 1:06:16.807 --> 1:06:21.227 and he built a temple to honor her, in this location. 1:06:21.230 --> 1:06:26.010 Because this forum was like a street and was so narrow, 1:06:26.012 --> 1:06:30.442 that had an effect on what could be built there; 1:06:30.440 --> 1:06:32.240 so that you can see, for example, 1:06:32.239 --> 1:06:34.879 in plan, that while the Forums of Julius 1:06:34.876 --> 1:06:38.036 Caesar and Augustus, and the Forum Pacis, 1:06:38.036 --> 1:06:41.536 all had colonnades, covered colonnades in fact, 1:06:41.543 --> 1:06:44.933 there was no space to build a covered colonnade here. 1:06:44.929 --> 1:06:49.259 So what they had to do was place the columns very close to 1:06:49.259 --> 1:06:53.739 the wall and not put any ceiling on top of those columns. 1:06:53.739 --> 1:06:55.829 You can see the same here. 1:06:55.829 --> 1:07:02.019 This is a plan of the original Forum of Domitian, 1:07:02.018 --> 1:07:04.378 or what was called the Forum Transitorium, 1:07:04.380 --> 1:07:08.390 because it served as a point of transit between the Subura and 1:07:08.394 --> 1:07:09.584 the Roman Forum. 1:07:09.579 --> 1:07:12.869 The Temple of Minerva over here, consistent with temple 1:07:12.871 --> 1:07:16.041 architecture as we've seen it thus far this semester: 1:07:16.039 --> 1:07:18.539 a temple with a frontal orientation, 1:07:21.110 --> 1:07:23.470 freestanding columns in the porch, and so on. 1:07:23.469 --> 1:07:25.419 The entranceway over here. 1:07:25.420 --> 1:07:27.160 The Forum Pacis would be here. 1:07:27.159 --> 1:07:30.309 The Forum of Caesar and Augustus at the top. 1:07:30.309 --> 1:07:33.819 And then you can see these bases for the columns, 1:07:33.820 --> 1:07:36.740 very close to the wall -- not attached to it, 1:07:36.739 --> 1:07:39.629 but very close to the wall on either side, 1:07:39.630 --> 1:07:41.480 because there's no space for colonnades. 1:07:41.480 --> 1:07:45.420 Here's a Google Earth image showing the Imperial Fora, 1:07:45.420 --> 1:07:48.160 as it looks today, part of the later Forum of 1:07:48.164 --> 1:07:50.404 Trajan, the Forum of Augustus, 1:07:50.404 --> 1:07:54.514 and what is preserved of the so-called Forum Transitorium 1:07:54.514 --> 1:07:55.474 over here. 1:07:55.469 --> 1:07:58.809 This is a model of what the Forum Transitorium would have 1:07:58.806 --> 1:08:01.066 looked like in ancient Roman times, 1:08:01.070 --> 1:08:04.410 in the time of Domitian, with the Temple of Minerva, 1:08:04.409 --> 1:08:07.009 with these columns on either side. 1:08:07.010 --> 1:08:09.140 And you can see from this model the difference that that makes, 1:08:09.141 --> 1:08:10.791 when you don't have enough space to build covered 1:08:10.793 --> 1:08:11.313 colonnades. 1:08:11.309 --> 1:08:14.679 You've got columns that look like they are projecting out of 1:08:14.679 --> 1:08:17.879 the wall, with projecting entablatures on top of them. 1:08:17.880 --> 1:08:21.030 We have not seen this before in built architecture. 1:08:21.029 --> 1:08:22.839 This is a very important development. 1:08:22.840 --> 1:08:25.520 We have seen it in painting but we haven't seen it in built 1:08:25.524 --> 1:08:26.224 architecture. 1:08:26.220 --> 1:08:28.790 Here's a detail of the Forum Transitorium, 1:08:28.788 --> 1:08:32.318 with these columns placed almost flush with the wall-- 1:08:32.319 --> 1:08:34.469 although not quite, they project a little bit in 1:08:34.469 --> 1:08:36.239 front of the wall-- with the projecting 1:08:36.235 --> 1:08:36.825 entablatures. 1:08:36.828 --> 1:08:41.828 The walls made out of tufa blocks, as you can see here. 1:08:41.828 --> 1:08:44.858 The rest with marble, and a panel at the top; 1:08:44.859 --> 1:08:47.559 and we think there would've been lots of such panels 1:08:47.555 --> 1:08:49.825 representing the goddess Minerva herself. 1:08:49.829 --> 1:08:51.059 So we see that here. 1:08:51.060 --> 1:08:53.480 We have not seen it in built architecture before, 1:08:53.483 --> 1:08:55.203 but we have seen it in painting. 1:08:55.198 --> 1:08:58.408 This is a detail of Cubiculum 16, in the Villa of the 1:08:58.408 --> 1:09:01.058 Mysteries, and you can see one such set of 1:09:01.055 --> 1:09:03.375 columns that project out of the wall, 1:09:03.380 --> 1:09:06.480 with the projecting entablatures up above. 1:09:06.479 --> 1:09:10.589 So it's something again that we think may have been done in 1:09:10.585 --> 1:09:13.765 temporary wooden architecture, for example. 1:09:13.770 --> 1:09:17.130 But keep in mind how early that painting is--you all know the 1:09:17.125 --> 1:09:20.085 date of it, because you've studied it for the exam; 1:09:20.090 --> 1:09:21.200 it's mid B.C. 1:09:21.198 --> 1:09:26.008 So it's way before even the Augustan period, 1:09:26.010 --> 1:09:28.040 and yet we see that there, and now we finally see it in 1:09:28.042 --> 1:09:30.602 built architecture, and it's going to have a real 1:09:30.597 --> 1:09:33.997 history in Roman architecture in a very different way than 1:09:33.996 --> 1:09:35.006 concrete does. 1:09:35.010 --> 1:09:38.240 This whole idea of decorating a wall by placing a series of 1:09:38.244 --> 1:09:41.094 columns that project in and out along that wall, 1:09:41.090 --> 1:09:44.070 giving it a kind of--using the traditional language of 1:09:44.069 --> 1:09:46.479 architecture, columns, to create a kind of 1:09:46.479 --> 1:09:48.799 undulating wall, or what we're going to call 1:09:48.802 --> 1:09:50.912 later in the semester a "baroque" 1:09:50.908 --> 1:09:51.308 wall. 1:09:51.310 --> 1:09:54.790 Two details of one of the surviving capitals, 1:09:54.792 --> 1:09:59.232 with the frieze up above, a frieze that represents scenes 1:09:59.226 --> 1:10:02.186 of women weaving; I'm not going to get into the 1:10:02.194 --> 1:10:03.774 meaning of all of that here today. 1:10:03.770 --> 1:10:06.920 But you can see the way in which the columns project 1:10:06.916 --> 1:10:09.936 somewhat out of the wall: Corinthian capitals, 1:10:09.939 --> 1:10:13.609 projecting entablature, very highly decorated, 1:10:13.609 --> 1:10:17.479 just like all of Flavian architectural ornament, 1:10:17.479 --> 1:10:20.409 as you can see here, very deeply drilled, 1:10:20.409 --> 1:10:23.039 and so on and so forth. 1:10:23.038 --> 1:10:26.008 But this whole idea of decorating a wall in this way, 1:10:26.010 --> 1:10:28.180 and instilling movement in that wall by this undulating 1:10:28.184 --> 1:10:30.804 in-and-out scheme, is going to again have a very 1:10:30.795 --> 1:10:33.225 important future in Roman architecture. 1:10:33.229 --> 1:10:36.189 This is an interesting view because it shows us just what 1:10:36.185 --> 1:10:38.825 we've looked at, some of those remaining columns 1:10:38.827 --> 1:10:40.937 from the so-called Forum Transitorium, 1:10:40.939 --> 1:10:44.859 which was renamed the Forum of Nero after Domitian's death and 1:10:44.855 --> 1:10:46.585 damnatio memoriae. 1:10:46.590 --> 1:10:48.230 Nero just took it over and said, "Okay, 1:10:48.229 --> 1:10:51.299 it's my forum now" and renamed it to himself, 1:10:51.300 --> 1:10:53.920 but didn't add anything architecturally to it. 1:10:53.920 --> 1:10:55.110 We see it here. 1:10:55.109 --> 1:10:58.129 And this is one of those great views in which you can see the 1:10:58.132 --> 1:11:01.462 difference between modern ground level and ancient ground level. 1:11:01.460 --> 1:11:03.480 In order to see the lower part of the forum, 1:11:03.480 --> 1:11:06.250 you've got to go right up to the edge of the street and look 1:11:06.253 --> 1:11:06.963 down on it. 1:11:06.960 --> 1:11:10.850 And this also an interesting engraving by the famous artist 1:11:10.854 --> 1:11:14.554 Piranesi, a Piranesi print of the eighteenth century. 1:11:14.550 --> 1:11:17.180 He did a lot of wonderful prints. 1:11:17.180 --> 1:11:18.690 And if there's any interest in this class, 1:11:18.689 --> 1:11:22.029 by the way, we have plenty of these at Yale, 1:11:22.029 --> 1:11:23.939 and I know one of the teaching fellows, 1:11:23.939 --> 1:11:27.089 if not more than one, would be more than happy to 1:11:27.091 --> 1:11:31.031 find the time to take those of you who might be interested in 1:11:31.032 --> 1:11:33.662 looking at Piranesi prints of Rome, 1:11:33.658 --> 1:11:35.658 over to the British Art Center and so on, 1:11:35.658 --> 1:11:38.588 or elsewhere, to take a look at these. 1:11:38.590 --> 1:11:42.650 But what's interesting about this one is it shows where the 1:11:42.649 --> 1:11:46.359 ground level was at the time that this was engraved by 1:11:46.359 --> 1:11:48.689 Piranesi; that is, in the eighteenth 1:11:48.685 --> 1:11:51.185 century, it was pretty much where it is here. 1:11:51.189 --> 1:11:54.689 It was much higher than it is now, and then when they 1:11:54.692 --> 1:11:56.752 excavated it, in modern times, 1:11:56.747 --> 1:12:00.287 they got us down to ancient ground level and to the bottoms 1:12:00.289 --> 1:12:01.389 of the columns. 1:12:01.390 --> 1:12:03.490 I want to end up with this one last image, 1:12:03.488 --> 1:12:08.068 because--very different, very different-- 1:12:08.069 --> 1:12:12.769 but it allows us to continue on with a point that I made when we 1:12:12.765 --> 1:12:16.265 discussed the Colosseum, and which has already turned up 1:12:16.270 --> 1:12:19.720 in the online forum, and that is the use of Roman 1:12:19.722 --> 1:12:25.112 buildings as quarries for later architects and later patrons, 1:12:25.109 --> 1:12:28.459 namely princes and popes, and the way in which buildings 1:12:28.463 --> 1:12:31.943 like the Colosseum were pirated for later architecture. 1:12:31.939 --> 1:12:34.679 In the case of the Forum Transitorium, 1:12:34.680 --> 1:12:37.740 or the Forum of Nerva, we know that the Temple of 1:12:37.738 --> 1:12:39.998 Minerva, that the material out of which 1:12:40.003 --> 1:12:42.063 it's made-- the reason that it does not 1:12:42.057 --> 1:12:45.017 exist at all today, the Temple of Minerva, 1:12:45.015 --> 1:12:49.795 is that it was taken apart and reused by Pope Paul V for a 1:12:49.797 --> 1:12:55.417 fountain that he wanted to build on the Janiculum Hill in Rome, 1:12:55.420 --> 1:12:58.390 the so-called Acqua Paola, which you see here. 1:12:58.390 --> 1:13:02.740 The Acqua Paola, the temple was torn down in 1:13:02.739 --> 1:13:04.899 1606-- it still stood in 1606, 1:13:04.895 --> 1:13:08.175 it was torn down then-- and it was placed in this 1:13:08.175 --> 1:13:10.395 fountain, or used for the construction of 1:13:10.404 --> 1:13:13.004 this fountain, that was dedicated in 1612, 1:13:12.997 --> 1:13:16.107 and built by the architect Giovanni Fontana. 1:13:16.109 --> 1:13:18.239 And you see it here. 1:13:18.238 --> 1:13:23.058 And it's not easy to determine exactly which parts are from the 1:13:23.064 --> 1:13:24.314 temple itself. 1:13:24.310 --> 1:13:27.340 But much of the building stone that you see here, 1:13:27.342 --> 1:13:30.382 reused in this fountain, comes from the Temple of 1:13:30.376 --> 1:13:31.636 Minerva in Rome. 1:13:31.640 --> 1:13:36.440 So it shows you again the way in which these buildings were 1:13:36.438 --> 1:13:38.008 used as quarries. 1:13:38.010 --> 1:13:39.750 But the way in which Roman buildings live on -- they either 1:13:39.750 --> 1:13:41.130 live on as themselves, or they live on as other 1:13:41.130 --> 1:13:41.550 buildings. 1:13:41.550 --> 1:13:44.850 And I think that's a nice thought and a nice note on which 1:13:44.850 --> 1:13:45.720 to end today. 1:13:45.720 --> 1:13:46.400 Thank you. 1:13:46.399 --> 1:13:51.999