WEBVTT 00:01.540 --> 00:03.020 Prof: Good morning. 00:03.020 --> 00:08.480 From the time of Julius Caesar, we have seen the rulers of Rome 00:08.484 --> 00:13.864 brag about building buildings that were bigger than any others 00:13.861 --> 00:15.361 in the world. 00:15.360 --> 00:19.960 You'll remember Caesar referred to his Temple of Mars in that 00:19.958 --> 00:24.398 way, that he was building the largest Temple of Mars in the 00:24.403 --> 00:25.173 world. 00:25.170 --> 00:28.960 And we also saw the same for Domitian, with his palace on the 00:28.959 --> 00:31.869 Palatine Hill; for Trajan with his enormous 00:31.874 --> 00:33.494 forum; for Hadrian, 00:33.486 --> 00:37.416 building the greatest-- largest dome that had been 00:37.415 --> 00:40.365 built up until that time and, as we discussed, 00:40.373 --> 00:44.003 still the largest diameter dome in the city of Rome today; 00:44.000 --> 00:47.810 and Hadrian's Villa at Tivoli, just as a selection of 00:47.805 --> 00:48.605 examples. 00:48.610 --> 00:53.080 We are going to see today that if bigger was better, 00:53.080 --> 00:56.390 biggest is best, and in the case of the emperor 00:56.385 --> 00:59.865 Caracalla, an emperor who was a 00:59.868 --> 01:05.088 megalomaniac, in the tradition of Nero and 01:05.093 --> 01:08.513 Domitian, that he built the largest 01:08.507 --> 01:10.827 imperial bath structure to date. 01:10.828 --> 01:14.578 And we're going to be looking at that bath structure today, 01:14.578 --> 01:17.408 and we're going to see it as really a colossal and 01:17.412 --> 01:20.422 fascinating building, in all kinds of ways. 01:20.420 --> 01:22.260 But before I get to that--in fact, 01:22.260 --> 01:25.250 we'll end with that bath structure today-- 01:25.250 --> 01:28.910 before I get to that, I would like to look with you 01:28.912 --> 01:32.882 at architecture in Rome, in the second and third 01:32.879 --> 01:36.329 centuries A.D., and we'll see that architecture 01:36.327 --> 01:39.577 is quite varied in terms of whether it's private, 01:39.580 --> 01:44.440 it's civic, it's also funerary. 01:44.440 --> 01:48.510 I want to begin though by just reminding you of what we talked 01:48.509 --> 01:49.709 about last time. 01:49.709 --> 01:53.189 We looked at the city of Ostia, and we looked at the city of 01:53.186 --> 01:55.716 Ostia, the port of Rome, in its entirety; 01:55.720 --> 02:00.460 once again, its public buildings, its civic structures, 02:00.462 --> 02:03.012 its commercial enterprises. 02:03.010 --> 02:07.050 And we also went, at the very end of the lecture, 02:07.054 --> 02:11.014 out to Isola Sacra, where the tombs of those who 02:11.013 --> 02:13.713 lived in Ostia were located. 02:13.710 --> 02:17.190 And I show you a couple of those again now on the screen; 02:17.188 --> 02:19.988 these brick-faced tombs, these tombs that are made of 02:19.992 --> 02:21.812 concrete, at Isola Sacra, 02:21.810 --> 02:25.010 that were put up for the professionals, 02:25.008 --> 02:27.328 for the traders, the commercial merchants and so 02:27.331 --> 02:29.161 on that lived in the city of Ostia. 02:29.158 --> 02:32.318 They were made of brick-faced concrete construction. 02:32.318 --> 02:35.118 They had barrel vaults or groin vaults inside. 02:35.120 --> 02:38.010 And you can see also that they were faced with brick, 02:38.014 --> 02:40.634 and they were faced with brick, as we discussed, 02:40.631 --> 02:43.101 that was exposed; the idea of brick being 02:43.097 --> 02:47.277 attractive in its own right, a fabulously beautiful facing, 02:47.279 --> 02:52.009 that they take advantage of in the second century A.D., 02:52.008 --> 02:57.378 and decide not to stucco it over, as you can see so well 02:57.384 --> 02:58.074 here. 02:58.068 --> 03:01.448 The doorways into those tombs, surrounded by travertine jambs 03:01.454 --> 03:04.094 and lintels, the inscription in the center, 03:04.088 --> 03:08.178 the small slit windows, and then a pediment at the top. 03:08.180 --> 03:11.580 We saw, when we looked at funerary architecture in the age 03:11.579 --> 03:14.679 of Augustus, for example, that is was very varied; 03:14.680 --> 03:16.040 very varied. 03:16.038 --> 03:22.008 Tombs in the shape of pyramids, in the shape of circular tombs. 03:22.008 --> 03:24.658 Tombs that made reference to bakeries, like the Tomb of the 03:24.657 --> 03:25.477 Baker Eurysaces. 03:25.479 --> 03:29.239 There is still a certain amount of variety in tomb architecture 03:29.240 --> 03:33.030 in the second century A.D., but they tend to hone in on one 03:33.032 --> 03:37.332 type in particular, and that type is the so-called 03:37.330 --> 03:40.640 house tomb type; which is exactly what we see 03:40.639 --> 03:44.129 here, a tomb that is rectangular in shape, for the most part, 03:44.133 --> 03:46.463 boxlike, and does resemble, very closely, 03:46.462 --> 03:48.772 a house; this close relationship that 03:48.770 --> 03:52.260 we've talked about so many times this semester between houses of 03:52.259 --> 03:54.309 the living and houses of the dead. 03:54.310 --> 03:55.730 So we looked at those last time. 03:55.729 --> 04:00.229 And where I want to begin today is just to demonstrate to you 04:00.231 --> 04:04.731 that these same kinds of house tombs that we see in Ostia and 04:04.734 --> 04:07.674 Isola Sacra, in the second century A.D., 04:07.669 --> 04:08.959 we also see in Rome. 04:08.960 --> 04:13.340 And in some cases they are commissioned by individuals of 04:13.340 --> 04:16.770 comparable social status, to those in Ostia, 04:16.771 --> 04:20.571 but sometimes they are commissioned by the most elite. 04:20.569 --> 04:23.789 And I'd like to begin with an example of a similar tomb 04:23.785 --> 04:25.745 commissioned by the most elite. 04:25.750 --> 04:29.120 This is the so-called Tomb of Annia Regilla, 04:29.115 --> 04:29.895 in Rome. 04:29.899 --> 04:33.509 It was put up on the famous via Appia, or the Appian Way. 04:33.509 --> 04:37.319 It dates to around A.D. 161. 04:37.319 --> 04:39.879 In this case we know who the commissioner was, 04:39.880 --> 04:42.670 and I can show you what he looked like as well. 04:42.670 --> 04:45.150 You see him here, on the right-hand side of the 04:45.154 --> 04:45.644 screen. 04:45.639 --> 04:51.009 He was a man by the name of Herodes Atticus; 04:51.009 --> 04:52.319 I've put his name on the Monument List for you, 04:52.317 --> 04:52.827 Herodes Atticus. 04:52.829 --> 04:55.739 Herodes Atticus was actually a Greek. 04:55.740 --> 04:59.280 He was Athenian, from the Greek part of the 04:59.281 --> 05:00.041 Empire. 05:00.040 --> 05:01.850 He lived in Athens, for the most part, 05:01.850 --> 05:04.010 and he commissioned a very famous music hall, 05:04.005 --> 05:05.715 an odeon, which still survives. 05:05.720 --> 05:07.750 You can see it over here. 05:07.750 --> 05:11.040 It's without its roof today, but it was originally one of 05:11.043 --> 05:13.223 these roofed music halls, an odeon. 05:13.220 --> 05:19.010 It is located on the slope of the Acropolis in Athens; 05:19.009 --> 05:22.259 the Acropolis that of course we know primarily for its great 05:22.262 --> 05:24.692 architectural feats of the fifth century B.C. 05:24.687 --> 05:25.457 in Greece. 05:25.459 --> 05:28.669 This is the Roman building, put up by Herodes in the second 05:28.670 --> 05:31.550 century, and we see it on the slope of the Acropolis, 05:31.550 --> 05:32.880 very well preserved. 05:32.879 --> 05:37.729 In modern times its greatest fame is the fact that Yanni 05:37.730 --> 05:41.790 performed his "Live at the Acropolis" 05:41.788 --> 05:45.668 concert at the Odeon of Herodes Atticus. 05:45.670 --> 05:48.550 And even if you don't like Yanni, it's actually quite an 05:48.547 --> 05:52.437 interesting concert to view-- and one can view it in video 05:52.437 --> 05:55.377 and so on-- because it does take such 05:55.375 --> 06:00.245 wonderful advantage of this extraordinary ancient structure, 06:00.250 --> 06:03.460 as Yanni presents his music. 06:03.459 --> 06:06.169 At any rate, at one point Herodes Atticus, 06:06.170 --> 06:09.750 who had a lot of connections, not only in Athens but around 06:09.754 --> 06:11.394 the Empire, at one point, 06:11.389 --> 06:15.259 through those connections, he gets himself appointed a 06:15.257 --> 06:18.557 senator in Rome, and in order to take up that 06:18.560 --> 06:22.290 position he needs to leave Athens behind and go spend some 06:22.288 --> 06:24.578 time in Rome, and he and his wife, 06:24.577 --> 06:27.947 Annia Regilla, set up house in Rome. 06:27.949 --> 06:30.049 Annia Regilla, unfortunately, 06:30.050 --> 06:33.570 dies in Rome, and he needs to bury her, 06:33.572 --> 06:37.012 and he decides to bury her in Rome, 06:37.009 --> 06:39.679 instead of in Athens, and he builds for her a tomb on 06:39.675 --> 06:42.305 the Appian Way, on the Via Appia, 06:42.309 --> 06:46.659 in around 161 A.D.; that's the date that we believe 06:46.656 --> 06:47.406 she died. 06:47.410 --> 06:54.090 And we see a view of that tomb here. 06:54.089 --> 06:57.019 What we're looking at--and you probably recognize this already 06:57.023 --> 06:59.963 because we've looked at a number of models from this museum of 07:02.769 --> 07:05.309 Romana, in EUR in Rome. 07:05.310 --> 07:08.440 And I show you two views of this model of the Tomb of Annia 07:08.439 --> 07:10.879 Regilla; one that we see from the front 07:10.882 --> 07:14.562 and another that we see from, if we're facing the monument, 07:14.560 --> 07:16.400 the left side of the tomb. 07:16.399 --> 07:19.169 And these are extremely helpful, because they give us a 07:19.172 --> 07:21.792 very good sense of what we are dealing with here. 07:21.790 --> 07:26.540 It is clear that we are dealing with a tomb type that is not 07:26.543 --> 07:30.013 that different from what we saw in Ostia; 07:30.009 --> 07:31.909 although this looks more like a temple than it looks like a 07:31.908 --> 07:32.168 house. 07:32.170 --> 07:34.350 And you can see that right off. 07:34.350 --> 07:37.000 It looks exactly like a typical Roman temple. 07:37.000 --> 07:38.990 We see that it is on a high podium; 07:38.990 --> 07:42.070 it has a deep porch; it has freestanding columns in 07:42.074 --> 07:44.774 that porch; it has a single staircase on 07:48.529 --> 07:51.229 then an entranceway into the structure. 07:51.230 --> 07:54.810 It also has freestanding columns that support a pediment. 07:54.810 --> 07:57.770 So if I were to show you this, and not identify it and say to 07:57.766 --> 08:00.276 you: "What kind of a building is this?" 08:00.278 --> 08:01.898 I'm sure you would have said it was a temple; 08:01.899 --> 08:05.049 and you would've been right in the sense that it looks most 08:05.050 --> 08:05.920 like a temple. 08:05.920 --> 08:11.230 But it is a tomb in the form of a temple, as you can well see 08:11.230 --> 08:11.850 here. 08:11.850 --> 08:15.310 Looking on the side of the monument, you can also see those 08:15.305 --> 08:17.745 same features that I've just described. 08:17.750 --> 08:20.640 And while we are looking at this view-- 08:20.639 --> 08:22.119 because I'm not going to bring it back-- 08:22.120 --> 08:25.730 I want to point out one detail that will loom large as we look 08:25.732 --> 08:27.392 further at this structure. 08:27.389 --> 08:34.519 You will see on the left side of the tomb that the architect 08:34.517 --> 08:38.907 has created, has kind of scalloped out the 08:38.910 --> 08:41.570 side on either side, creating niches, 08:41.573 --> 08:45.723 tall niches on the side, and placed columns into that 08:45.720 --> 08:48.310 space; which is a very unusual thing 08:48.313 --> 08:48.763 to do. 08:48.759 --> 08:51.299 It's not true on the other side of the monument, 08:51.304 --> 08:53.314 only on this side of the structure. 08:53.309 --> 08:55.639 Why has the architect done that? 08:55.639 --> 08:58.039 I think it might have something to do with the siting, 08:58.043 --> 09:00.043 perhaps how you viewed it from the street. 09:00.038 --> 09:03.238 Maybe it was skewed in such a way that you would see not only 09:05.320 --> 09:11.270 and he wanted to emphasize the columns on that particular side 09:11.267 --> 09:13.117 of the structure. 09:13.120 --> 09:16.060 But it may also have just had to do with a quirk, 09:16.058 --> 09:20.688 with a particular interest that the architect or the patron had 09:20.687 --> 09:24.567 in doing something different than any other tomb, 09:24.570 --> 09:27.090 and I want to return to that point in a moment. 09:27.090 --> 09:31.110 But most significant of all is that in terms of the building 09:31.113 --> 09:33.733 technique, the use of concrete faced with 09:33.727 --> 09:37.067 exposed brick, this is exactly what we saw in 09:37.066 --> 09:37.626 Ostia. 09:37.629 --> 09:40.189 And you can see that just as in Ostia, 09:40.190 --> 09:43.210 they have taken that brick as far as it can go, 09:43.210 --> 09:47.090 in terms of its aesthetic value, by respecting the texture 09:47.090 --> 09:51.160 of the brick, playing that texture off, 09:51.160 --> 09:53.830 playing color, different colored bricks, 09:53.831 --> 09:55.571 a reddish brick against a more yellowish colored brick, 09:55.570 --> 09:59.010 playing those off against one another, 09:59.009 --> 10:02.719 and then adding certain very highly decorative details like a 10:02.716 --> 10:05.156 meander pattern, that we're going to see in a 10:05.160 --> 10:07.690 moment, and decoration around the 10:07.692 --> 10:11.662 windows of the tomb, done in stucco. 10:11.658 --> 10:13.798 The columns, however, are marble; 10:13.798 --> 10:16.388 the columns are marble, and in that sense again 10:16.394 --> 10:19.614 something somewhat different than what we saw at Ostia. 10:19.610 --> 10:23.090 This is a view of the tomb as it looks today. 10:23.090 --> 10:25.940 The porch is not well preserved, and I can't show you 10:25.942 --> 10:26.712 any of that. 10:26.710 --> 10:28.930 But I can show you the rest of the structure, 10:28.927 --> 10:31.747 and you can see it quite well in this particular view. 10:31.750 --> 10:34.550 And again, you see that it is indeed well preserved. 10:34.548 --> 10:37.158 Concrete construction, faced with brick, 10:37.163 --> 10:40.183 the brick left exposed, respected and enjoyed, 10:40.182 --> 10:41.592 in its own right. 10:41.590 --> 10:44.730 What I've already described: the playing off of one color of 10:44.730 --> 10:47.810 brick against another; this meander pattern done in 10:47.813 --> 10:49.843 stucco; the stucco decoration, 10:49.837 --> 10:53.127 very elaborate decoration, as we're going to see, 10:53.130 --> 10:55.430 around the windows; tall podium, 10:55.432 --> 10:57.152 we see that here as well. 10:57.149 --> 11:00.469 An extraordinary structure. 11:00.470 --> 11:02.620 And what's interesting I think to note, 11:02.620 --> 11:06.460 at least culturally and in terms of social status, 11:06.460 --> 11:10.960 is the fact that although this structure was put up for one of 11:10.957 --> 11:14.587 the most wealthy men in-- or the wife of one of the most 11:14.587 --> 11:17.097 wealthy men in Rome at this particular time, 11:17.100 --> 11:20.350 the general aesthetic is very similar to what we saw for 11:20.354 --> 11:23.494 professional people in the city of Ostia: that is, 11:23.490 --> 11:26.110 a concrete tomb, in the form of a house, 11:26.110 --> 11:31.050 or a temple in this case, that has as its facing brick, 11:31.048 --> 11:34.918 and a respect for that brick in its own right. 11:34.919 --> 11:36.379 Here are a couple of details. 11:36.379 --> 11:40.689 I show you once again a detail of the warehouse or the Horrea 11:40.691 --> 11:43.711 Epagathiana at Ostia that we looked at, 11:43.710 --> 11:49.560 and also a detail of the Tomb of Annia Regilla in Rome. 11:49.558 --> 11:51.358 And I think you can see here what I mean. 11:51.360 --> 11:54.330 Again, the different coloration of brick, the yellowish brick, 11:54.330 --> 11:56.470 the reddish brick, played off one against the 11:56.472 --> 11:59.482 other; the use of stucco decoration, 11:59.484 --> 12:04.364 in this case for the volutes of the composite capitals. 12:04.360 --> 12:07.800 In this case--and in fact you'll remember I pointed out 12:07.802 --> 12:11.692 what was interesting about these capitals at the warehouse was 12:11.693 --> 12:15.573 that they were-- that the brick was used to make 12:15.566 --> 12:18.326 up the main body of the capital. 12:18.330 --> 12:21.950 And this is not one of them, but I also showed you one where 12:21.947 --> 12:25.497 you could see the way in which that brick formed the actual 12:25.501 --> 12:29.331 acanthus leaves of the capital, and then the volutes added in 12:29.331 --> 12:29.781 stucco. 12:29.778 --> 12:32.868 We see the same thing at the Tomb of Annia Regilla. 12:32.870 --> 12:35.240 We see those--and here I think you can see it well -- 12:35.240 --> 12:38.190 the brick used to create the lower part of the acanthus 12:38.192 --> 12:40.252 leaves, and then stucco added for the 12:40.249 --> 12:42.909 curving part, and for some of the additional 12:42.905 --> 12:45.765 decoration, the flower and so on up above. 12:45.769 --> 12:50.989 And so we see--and here again very elaborate decoration around 12:50.985 --> 12:56.025 the windows, which we also saw at the warehouse in Ostia. 12:56.029 --> 12:58.319 Two more details of the Tomb of Annia Regilla. 12:58.320 --> 12:59.920 Here you see what I was talking about before, 12:59.918 --> 13:04.748 the way the architect has scooped out two areas on the 13:04.750 --> 13:09.090 left side of the tomb, and placed the columns inside 13:09.089 --> 13:11.419 of those, which is a unique--I don't know 13:11.416 --> 13:14.056 of any other example of this in Roman architecture, 13:14.058 --> 13:16.548 and it underscores, once again, that when it came 13:16.552 --> 13:20.072 to tomb architecture, that the patron could pretty 13:20.068 --> 13:23.778 much do whatever he wanted, as long as the architect could 13:23.783 --> 13:24.243 build it. 13:24.240 --> 13:28.480 It could be quite idiosyncratic as a form of architecture. 13:28.480 --> 13:31.720 And we see not only has he scooped out these niches in 13:31.722 --> 13:34.782 which to place the columns, but if you look at those 13:34.783 --> 13:37.413 columns very carefully, and at the bases of those 13:37.409 --> 13:39.949 columns, you will see that they are not round. 13:39.950 --> 13:44.520 They are multi-sided, and the bases are also 13:44.520 --> 13:46.010 multi-sided. 13:46.009 --> 13:49.079 So doing something very unique in the context of this 13:49.076 --> 13:51.136 particular tomb of Annia Regilla. 13:51.139 --> 13:52.289 So two main points. 13:52.288 --> 13:56.178 One, that there is clearly an aesthetic that is used for tomb 13:56.182 --> 13:59.072 architecture, concrete faced with brick that 13:59.067 --> 14:02.207 is used in the uppermost levels of Roman society, 14:02.210 --> 14:04.530 and then further down in Roman society, 14:04.528 --> 14:07.068 not only in Rome but also in Ostia. 14:07.070 --> 14:10.150 But at the same time individuality, 14:10.149 --> 14:13.449 eccentricity is valued in tomb architecture, 14:13.450 --> 14:17.340 allowed in tomb architecture in a way that perhaps it isn't in 14:17.340 --> 14:19.700 other forms of Roman architecture, 14:19.700 --> 14:22.790 and we see it taken to its limit in this particular 14:22.789 --> 14:23.469 building. 14:23.470 --> 14:25.020 Just a few more details. 14:25.019 --> 14:28.679 We see a niche from the Tomb of Annia Regilla. 14:28.678 --> 14:32.108 We also see here both the meander pattern and this very 14:32.110 --> 14:34.780 elaborate decoration around the windows; 14:34.779 --> 14:39.139 a frame around the windows and then a projecting element up 14:39.144 --> 14:43.364 above, with these great spiral volutes on either side; 14:43.360 --> 14:46.800 very similar to the same sort of thing that was happening at 14:46.803 --> 14:47.273 Ostia. 14:47.269 --> 14:50.799 I remind you of the niche in the courtyard of the Horrea 14:50.804 --> 14:53.844 Epagathiana, the warehouses at Ostia, 14:53.835 --> 14:59.075 where you see the same sort of thing: these pilasters added in 14:59.082 --> 15:02.482 stucco, the brickwork creating 15:02.477 --> 15:06.297 triangles and lozenges, as you can see here. 15:06.298 --> 15:09.828 Same idea over here, in the Tomb of Annia Regilla. 15:09.830 --> 15:13.470 And if you look very closely at the pediment that is located 15:13.469 --> 15:15.809 above the niche, from the tomb in Rome, 15:15.812 --> 15:18.282 you see the projecting entablatures; 15:18.278 --> 15:21.118 you see where the capitals would have been. 15:21.120 --> 15:24.420 There would also have been probably columns added here, 15:24.423 --> 15:27.613 on either side of the niche, making it look much more 15:27.605 --> 15:28.825 similar to here. 15:28.830 --> 15:30.330 But look closely at the pediment. 15:30.330 --> 15:33.990 You will see that there is projecting entablature above 15:33.991 --> 15:36.611 each column, but then in the center the 15:36.613 --> 15:40.453 triangular pediment is cut back, and that playing around with 15:40.452 --> 15:44.122 the traditional vocabulary of architecture is something that 15:44.124 --> 15:47.804 I've noted is going to be a part of what we call the baroque 15:47.796 --> 15:49.846 trend in Roman architecture. 15:49.850 --> 15:53.230 I'm going to devote an entire lecture to the baroque trend in 15:53.232 --> 15:55.322 Roman architecture, around the Empire, 15:55.320 --> 15:58.140 not just in Rome, but mostly in the provinces. 15:58.139 --> 16:02.649 And we'll see that same sort of thing, which creates a kind of 16:07.015 --> 16:08.565 of that approach. 16:08.570 --> 16:11.180 The tomb itself again. 16:11.178 --> 16:14.008 And just to point out, interestingly enough, 16:14.009 --> 16:18.139 a couple of female figures with capitals on the top of their 16:18.139 --> 16:20.149 head, or what look maybe more like 16:20.149 --> 16:23.389 vases on the top of their head, but looking very much like 16:23.392 --> 16:26.452 caryatids, like the caryatids that we saw 16:26.446 --> 16:30.176 from the Erectheion in Athens, fifth century B.C., 16:30.177 --> 16:34.117 from the Forum of Augustus and from Hadrian's Villa around the 16:34.123 --> 16:34.903 Serapeum. 16:34.899 --> 16:37.769 They are not duplicates of those in Athens, 16:37.774 --> 16:40.994 like the other two are, but they do seem to make 16:40.993 --> 16:42.503 reference to them. 16:42.500 --> 16:43.770 They're a bit more casual. 16:43.769 --> 16:46.599 When I look at this pair, they always look to me like 16:46.601 --> 16:49.651 they're kind of standing at a cocktail party together and 16:49.652 --> 16:53.202 conversing with one another, using the usual gestures that 16:53.195 --> 16:54.875 Italians are so famous for. 16:54.879 --> 16:57.389 We see them doing that sort of thing here. 16:57.389 --> 17:00.049 But they do seem to have that same pedigree, 17:00.049 --> 17:03.019 going back to the whole idea of the caryatids. 17:03.019 --> 17:05.469 And I only mention it to you, they were found right near this 17:05.471 --> 17:07.281 tomb, and so it has been speculated, 17:07.277 --> 17:09.097 although it is by no means certain, 17:09.098 --> 17:11.258 that they might have belonged to the tomb. 17:11.259 --> 17:14.359 They might have been located in front of the tomb, 17:14.355 --> 17:18.085 or have been part of some kind of forecourt or fore space to 17:18.085 --> 17:18.965 that tomb. 17:18.970 --> 17:21.960 It's pure conjecture, but it would be interesting if 17:21.963 --> 17:23.083 it were the case. 17:23.078 --> 17:25.778 Because remember Herodes Atticus comes from Athens. 17:25.778 --> 17:29.628 We see that the tomb is a thoroughly Roman tomb of the 17:29.625 --> 17:31.145 second century A.D. 17:31.150 --> 17:34.290 But it would be interesting to think that he might have added 17:34.285 --> 17:37.415 some touches that might have made some reference for him, 17:37.420 --> 17:39.830 and also especially for his wife whose tomb it was, 17:39.829 --> 17:44.409 to the Athens of his birth. 17:44.410 --> 17:51.110 With regard to tomb interiors in the second century A.D. 17:51.108 --> 17:53.448 in Rome, there are two major types, and I want to treat both 17:53.445 --> 17:54.115 of those today. 17:54.118 --> 17:57.048 One of them is a type that we've seen before, 17:57.048 --> 18:01.108 and that is where you stucco over the interior of the tomb; 18:01.108 --> 18:04.958 you stucco it over, and then you add additional 18:04.955 --> 18:08.375 stucco, in relief, to form the decoration, 18:08.384 --> 18:10.564 and then you paint it. 18:10.559 --> 18:11.979 That's one type. 18:11.980 --> 18:16.020 And the second type, which might also use that for 18:16.019 --> 18:18.169 the vault; but for the walls, 18:18.170 --> 18:21.910 the second type is to use instead architectural members-- 18:21.910 --> 18:26.430 columns, pediments and the like--to enliven the wall and to 18:26.430 --> 18:29.470 create a much more sculptural effect. 18:29.470 --> 18:33.420 Both of these types are used in Rome, in the second century A.D. 18:33.420 --> 18:34.660 in tomb architecture. 18:34.660 --> 18:38.110 And I want to show you examples of both of them today. 18:38.108 --> 18:40.288 The first, type 1, with stucco, 18:40.290 --> 18:43.640 painted stucco, we see in the so-called Tomb of 18:43.635 --> 18:47.555 the Valerii; the Tomb of the Valerii which 18:47.561 --> 18:49.471 dates to around A.D. 18:49.467 --> 18:54.037 159, and is located on the Via Latina in Rome. 18:54.038 --> 18:56.808 We haven't looked at the Via Latina before, 18:56.808 --> 19:00.458 but it is one of Rome's main streets, 19:00.460 --> 19:03.850 that had along it cemeteries, and there are a fair number of 19:03.854 --> 19:05.684 concrete tombs, faced with brick, 19:05.681 --> 19:09.111 that are preserved, very well preserved on the Via 19:09.114 --> 19:10.264 Latina today. 19:10.259 --> 19:14.239 And what makes them particularly special is the 19:14.240 --> 19:17.010 interiors are almost pristine. 19:17.009 --> 19:19.639 It's quite extraordinary to go into these and see how well they 19:19.637 --> 19:20.907 have stood the test of time. 19:20.910 --> 19:24.300 The Tomb of the Valerii, you see the lunette and the 19:24.298 --> 19:27.488 vault of the interior of that tomb right here. 19:27.490 --> 19:32.580 And as you look at the acanthus leaves growing up in the 19:32.580 --> 19:35.960 lunette, all done in stucco relief, 19:35.961 --> 19:41.051 and the barrel vault with its individual compartments, 19:41.048 --> 19:43.118 round and square compartments, with floating figures inside, 19:43.118 --> 19:46.128 you should certainly be reminded of things we've already 19:46.125 --> 19:46.885 seen before. 19:46.890 --> 19:48.260 When one looks at the acanthus leaves, 19:48.259 --> 19:51.629 one can't help but think back to the delicate leaves of the 19:51.633 --> 19:54.063 Ara Pacis, the delicate acanthus leaves of 19:54.060 --> 19:58.220 the Ara Pacis Augustae, which you see on the left-hand 19:58.222 --> 20:00.102 side of the screen. 20:00.098 --> 20:02.138 And I'm sure you are as reminded as I am, 20:02.142 --> 20:04.702 looking at this vault, by other things that we have 20:04.695 --> 20:06.275 seen earlier this semester. 20:06.279 --> 20:09.499 What's this over here? 20:09.500 --> 20:11.450 The Domus Aurea; it's one of the vaults of the 20:11.449 --> 20:11.919 Domus Aurea. 20:11.920 --> 20:14.300 Third style; done, we believe, 20:14.297 --> 20:16.157 by Fabullus himself. 20:16.160 --> 20:18.520 And you'll recall, very delicate, 20:18.523 --> 20:21.253 very light floral motifs; compartments, 20:21.249 --> 20:24.329 in this case rectangular, with floating sea creatures in 20:24.334 --> 20:25.124 the center. 20:25.118 --> 20:28.598 We see exactly the same sort of thing here, although done in 20:28.604 --> 20:30.144 stucco instead of paint. 20:30.140 --> 20:33.250 But this was painted originally in antiquity, 20:33.250 --> 20:37.070 and we see these floating, these Nereids on the back of 20:37.067 --> 20:40.457 sea creatures inside, floating inside these. 20:40.460 --> 20:44.430 And we think the message here, of course, is of the soul of 20:44.426 --> 20:48.046 the deceased being carried to the Iles of the Blessed, 20:48.053 --> 20:49.903 by these sea creatures. 20:49.900 --> 20:53.180 So very much stucco decoration, second century A.D., 20:53.180 --> 20:58.250 but very dependent on Third Style Roman wall painting and 20:58.246 --> 21:02.676 third style stucco decoration of earlier dates. 21:02.680 --> 21:06.990 The Tomb of the Pancratii, in Rome, which dates to 169, 21:06.991 --> 21:11.071 also on the Via Latina, has similarly well preserved 21:11.065 --> 21:13.935 stucco decoration, also painted; 21:13.940 --> 21:17.090 and I'll show you a color view in a moment, for you to get a 21:17.087 --> 21:18.527 sense of that coloration. 21:18.528 --> 21:21.798 But here you get an idea of the scheme of the wall: 21:21.797 --> 21:24.627 very, very elaborate; stuccoed over; 21:24.630 --> 21:26.900 stuccoed, much of the stucco is done in relief. 21:26.900 --> 21:28.230 You can see it here. 21:28.230 --> 21:32.410 If the stucco decoration of the Tomb of the Valerii made 21:32.407 --> 21:36.717 reference to the Third Style, I think the inspiration here 21:36.717 --> 21:40.737 was Fourth Style Roman wall painting and stucco decoration. 21:40.740 --> 21:44.020 Because although you continue to see floating mythological 21:44.017 --> 21:47.407 figures in these rectangular or triangular compartments, 21:47.410 --> 21:50.640 if you look very closely, especially in this zone here, 21:50.640 --> 21:53.550 you will also see these architectural cages, 21:53.548 --> 21:56.568 done in stucco, very similar to the 21:56.573 --> 22:02.183 architectural cages that we saw at the top of Fourth Style Roman 22:02.175 --> 22:03.595 wall design. 22:03.598 --> 22:06.298 So this taking its cue from Fourth Style Roman wall 22:06.304 --> 22:06.904 painting. 22:06.900 --> 22:09.470 And I have mentioned to you a couple of times already this 22:09.472 --> 22:12.202 term that, in fact, most post-Pompeian 22:12.204 --> 22:14.764 painting, and stucco decoration, 22:14.761 --> 22:18.271 post-79 A.D., does seem to be inspired by the 22:18.266 --> 22:21.436 third style, but even more so by the fourth 22:21.443 --> 22:25.713 style of Roman wall painting, and we see that very well here, 22:25.711 --> 22:30.011 with this stucco decorating the lunettes and also the vaulting. 22:30.009 --> 22:34.379 Here's a view in color of the interior of the Tomb of the 22:34.384 --> 22:37.464 Pancratii, where you can see the same sort 22:37.464 --> 22:40.134 of scheme that I've already described, 22:40.130 --> 22:41.540 but with the color. 22:41.538 --> 22:44.518 And you can also see that we are dealing here with a 22:44.519 --> 22:45.979 groin-vaulted interior. 22:45.980 --> 22:50.040 And, what's interesting, is that sometimes the walls 22:50.041 --> 22:55.221 have small niches for urns and the so-called arcosolia-- 22:55.220 --> 22:56.640 I've mentioned those to you before-- 22:56.640 --> 22:59.770 that were used for the placement of bodies, 22:59.769 --> 23:02.969 once inhumation became as popular, indeed even more 23:02.973 --> 23:05.433 popular, than cremation. 23:05.430 --> 23:09.180 But we also sometimes see the sarcophagi themselves, 23:09.182 --> 23:12.642 the freestanding coffins located in these tombs, 23:12.641 --> 23:14.041 as we see here. 23:14.038 --> 23:17.378 And it's interesting to keep in mind that all of the money and 23:17.375 --> 23:20.325 time that was expended on this interior decoration-- 23:20.328 --> 23:23.678 keep in mind that very few people entered into these tombs. 23:23.680 --> 23:26.550 When you looked at a tomb, you saw primarily its exterior. 23:26.548 --> 23:28.968 Some family members, on special occasions, 23:28.967 --> 23:31.677 might go inside, but it was relatively rare. 23:31.680 --> 23:33.030 So all of this, all of this done, 23:33.034 --> 23:36.694 in fact, to give the deceased a pleasant 23:36.689 --> 23:40.139 home in perpetuity, and to help them on their 23:40.144 --> 23:42.064 journey to the Isles of the Blessed. 23:42.058 --> 23:46.358 This structure also has sea creatures depicted in it. 23:46.358 --> 23:48.768 So travel is clearly also alluded to. 23:48.769 --> 23:51.899 And scholars who have worked on this particular monument, 23:51.900 --> 23:54.370 in particular, have noted that they think it 23:54.366 --> 23:57.576 has to do with one of these secret mystery religions, 23:57.578 --> 24:00.658 in this case the Orphic, O-r-p-h-i-c, 24:00.660 --> 24:04.640 the Orphic religion that was practiced in secret initially 24:04.637 --> 24:07.637 and then eventually came up above ground. 24:07.640 --> 24:11.330 Two more details of the Pancratii ceilings, 24:11.326 --> 24:12.376 in stucco. 24:12.380 --> 24:14.700 These, I think, give you a particularly good 24:14.699 --> 24:18.259 sense of the way in which they were built up almost as reliefs, 24:18.259 --> 24:22.769 in some parts of these scenes -- this figure here, 24:22.769 --> 24:24.019 for example. 24:24.019 --> 24:27.009 Some of the rest was painted. 24:27.009 --> 24:29.719 We see heraldic leopards over here, on either side of a vase. 24:29.720 --> 24:33.300 The shell in the niche also done in stucco and raised in a 24:33.296 --> 24:37.406 very sculptural way, and then the whole painted in a 24:37.405 --> 24:41.875 variety of attractive maroons and blues and greens. 24:41.880 --> 24:46.250 The most interesting tomb, from my point of view actually, 24:46.250 --> 24:50.390 is a tomb that is located, a Roman tomb of the second 24:50.394 --> 24:54.544 century that is located beneath the Vatican today. 24:54.538 --> 24:57.928 And I show you a view again of the dome of St. 24:57.932 --> 25:01.702 Peter's Cathedral in Rome, designed by Michelangelo 25:01.703 --> 25:02.613 himself. 25:02.608 --> 25:06.708 Another view over here showing also Michelangelo's dome, 25:06.710 --> 25:10.870 but showing below it the so-called Baldacchino that was 25:10.866 --> 25:14.476 put up by the famous seventeenth-century Italian 25:14.484 --> 25:18.294 architect, Borromini, Francesco Borromini 25:18.290 --> 25:20.240 , the Cathedral of St. 25:20.236 --> 25:21.116 Peter's. 25:21.118 --> 25:23.308 And any of you who've been there will agree with me on 25:23.310 --> 25:25.420 this, it's one of the great wonders of the world; 25:25.420 --> 25:27.040 there's no question it is. 25:27.038 --> 25:29.458 If you want to talk about bigger is better, 25:29.464 --> 25:31.954 or biggest is best, this is a truly colossal 25:31.949 --> 25:35.009 building, as any of you who have been there know. 25:35.009 --> 25:37.219 But it does give me occasion to mention, 25:37.220 --> 25:39.620 as I've mentioned a couple of times already this term, 25:39.618 --> 25:42.398 that one of the really great things to do when you visit Rome 25:42.400 --> 25:44.690 is to climb things, is to climb. 25:44.690 --> 25:46.940 If you're so lucky to climb the Column of Trajan, 25:46.944 --> 25:49.114 or the Pantheon, up to the dome--those you have 25:49.106 --> 25:50.796 to get special permission to do. 25:50.798 --> 25:53.468 But what you don't need special permission to do, 25:53.472 --> 25:56.482 and is one of the great climbs in Rome, is to go up St. 25:56.480 --> 25:57.150 Peter's. 25:57.150 --> 25:58.080 And you can go up St. 25:58.077 --> 26:00.197 Peter's either on the outside of the building, 26:00.200 --> 26:04.200 to various levels from which you can see some of the greatest 26:04.196 --> 26:06.896 views of Rome, including back over central 26:06.898 --> 26:09.238 Rome, ancient Rome, all the buildings that we've 26:09.244 --> 26:10.054 been talking about. 26:10.048 --> 26:12.358 You can see the dome of the Pantheon from the top of St. 26:12.358 --> 26:12.778 Peter's. 26:12.778 --> 26:16.148 You can see the Victor Emmanuel Monument, tall and proud, 26:16.145 --> 26:17.345 from the dome of St. 26:17.347 --> 26:18.007 Peter's. 26:18.009 --> 26:21.559 But you can also climb up to the dome, from the inside, 26:21.564 --> 26:24.464 which is another extraordinary experience. 26:24.460 --> 26:28.510 You can go almost--not quite but almost--to the apex of 26:28.512 --> 26:32.192 Michelangelo's dome, walk around a corridor there, 26:32.192 --> 26:35.422 and look down on Bernini's Baldacchino. 26:35.420 --> 26:39.080 So for those of you who are going to Rome anytime soon, 26:39.077 --> 26:41.787 or in the future, it's a not to be missed 26:41.788 --> 26:44.428 experience to climb the Cathedral of St. 26:44.431 --> 26:48.091 Peter's, on the outside, and also on the inside. 26:48.088 --> 26:49.668 I bring you to St. 26:49.665 --> 26:54.045 Peter's because one can also go down underneath St. 26:54.046 --> 26:55.006 Peter's. 26:55.009 --> 26:57.169 And that's another very interesting experience, 26:57.166 --> 26:58.856 to go down in the depths, beneath St. 26:58.855 --> 27:01.425 Peter's and get a really great sense of the centuries of 27:01.434 --> 27:04.394 civilization that have been piled one on top of another, 27:04.390 --> 27:06.670 from ancient Rome, or from the time of Romulus, 27:06.670 --> 27:09.860 indeed all the way up to today. 27:09.858 --> 27:12.438 And in order to see the Tomb of the Caetennii, 27:12.442 --> 27:14.972 which is the tomb that I want to turn to now, 27:14.969 --> 27:17.039 you do have to go down underneath St. 27:17.036 --> 27:17.836 Peter's. 27:17.838 --> 27:20.568 You have to--this is something you can't just walk it. 27:20.568 --> 27:21.398 You can climb St. 27:21.404 --> 27:23.814 Peter's any day of the week, but if you want to go 27:23.814 --> 27:24.504 underneath St. 27:24.501 --> 27:27.011 Peter's, you have to make special arrangements. 27:27.009 --> 27:29.549 You have to get special tickets to do that. 27:29.549 --> 27:33.519 And now one can do that online; you can plan that online and 27:33.519 --> 27:38.059 you can get tickets to go to the so-called Vatican cemeteries 27:38.059 --> 27:39.119 underneath. 27:39.118 --> 27:42.068 And they don't have them--they have a small number of hours, 27:42.068 --> 27:43.218 on a variety of days. 27:43.220 --> 27:47.140 So it is something one needs to plan for well in advance. 27:47.140 --> 27:48.260 But you can do it. 27:48.259 --> 27:50.819 You go to the left of the Baldacchino, you go down, 27:50.816 --> 27:52.806 and you go down century upon century. 27:52.808 --> 27:56.368 You see primarily the tombs of the popes, the crypts with the 27:56.365 --> 27:57.605 tombs of the popes. 27:57.608 --> 28:00.588 And I show you Pope Boniface here, just to give you an idea 28:00.590 --> 28:05.110 of what some of these look like, lying in eternity here on the 28:05.106 --> 28:09.556 top of his sarcophagus, or a sculptured portrait of him 28:09.558 --> 28:11.668 on the top of his sarcophagus. 28:11.670 --> 28:14.080 But if you go all the way down, all the way down-- 28:14.078 --> 28:16.128 and most tourists don't do this--but if you go all the way 28:16.127 --> 28:18.587 to the bottom, what you end up with is one of 28:18.592 --> 28:20.262 Rome's great tomb streets. 28:20.259 --> 28:23.439 And this tomb street was out in the light of day, 28:23.440 --> 28:25.390 of course, in antiquity, like all the other tomb 28:25.392 --> 28:28.082 streets, but because of the passage of 28:28.080 --> 28:30.150 time, because other buildings that 28:30.153 --> 28:33.613 were built on top, primarily the Cathedral of St. 28:33.605 --> 28:37.605 Peter's, and just the rising ground level over time, 28:37.607 --> 28:39.647 it now is subterranean. 28:39.650 --> 28:40.890 But when you--it's amazing. 28:40.890 --> 28:42.950 You go down, you walk along it, 28:42.945 --> 28:46.845 it is like you are--it's a dark street, but nonetheless--I 28:46.852 --> 28:49.802 wouldn't want to record in that street. 28:49.799 --> 28:52.189 But you go down under. 28:52.190 --> 28:55.540 It's a dark street but it is--you feel like you are 28:55.540 --> 28:58.490 walking along a major tomb street in Rome; 28:58.490 --> 28:59.510 and indeed you are. 28:59.509 --> 29:04.069 And I show you a plan of it here, so that you can see. 29:04.068 --> 29:05.538 It is very much like walking along the tomb street in Isola 29:05.537 --> 29:05.737 Sacra. 29:05.740 --> 29:08.950 You see at your left and right these concrete, 29:08.950 --> 29:11.880 brick-faced tombs, that look very much like the 29:11.877 --> 29:15.527 Tomb of Annia Regilla, or the ones that we saw in 29:15.528 --> 29:20.278 Isola Sacra: typical house tombs of the second century A.D. 29:20.278 --> 29:25.198 One of the tombs that is located down there has long been 29:25.204 --> 29:28.194 thought by scholars, and believers, 29:28.194 --> 29:30.044 to be the Tomb of St. 29:30.041 --> 29:31.011 Peter. 29:31.009 --> 29:34.199 No one has been able to prove this incontrovertibly, 29:34.199 --> 29:37.889 but there is some interesting evidence, both pro and con. 29:37.890 --> 29:41.440 And it has been thought--and you know Peter's famous 29:41.439 --> 29:45.469 statement, Upon this rock I shall build this church, 29:45.474 --> 29:47.144 namely the Church of St. 29:47.144 --> 29:48.054 Peter's. 29:48.048 --> 29:51.958 We believe that when Constantine, the last pagan 29:51.962 --> 29:54.122 emperor-- and we're going to talk about 29:54.124 --> 29:55.844 him in the last lecture this semester-- 29:55.838 --> 29:59.018 when Constantine built the first basilica, 29:59.019 --> 30:03.469 Christian basilica on this site, the basilica that we refer 30:03.474 --> 30:04.474 to as Old St. 30:04.472 --> 30:07.472 Peter's, that obviously predated New St. 30:07.469 --> 30:11.999 Peter's, we think he may have built it on that very rock and 30:12.000 --> 30:13.840 on that very tomb of St. 30:13.844 --> 30:14.924 Peter. 30:14.920 --> 30:19.590 And that's what this restored view shows you here. 30:19.588 --> 30:22.128 If you walk along though and look at these tombs, 30:22.130 --> 30:25.030 for the most part they look like typical Roman tombs from 30:25.028 --> 30:27.048 the second century: brick-faced concrete 30:27.048 --> 30:29.978 construction, with interesting decoration 30:29.978 --> 30:30.568 inside. 30:30.568 --> 30:33.608 And I show you just the most famous mosaic that is located 30:33.611 --> 30:36.441 down there, which you see is a figure in a chariot. 30:36.440 --> 30:39.470 We think it's a representation of the Sun God Sol or Helios, 30:39.472 --> 30:41.732 in the chariot, because you can see the rayed 30:41.734 --> 30:42.254 crown. 30:42.250 --> 30:45.930 But some believe it is a representation of Christ as 30:45.930 --> 30:46.580 Helios. 30:46.578 --> 30:49.698 And I show it to you only because it is the single most 30:49.701 --> 30:52.431 famous mosaic down there, and one of the most famous 30:52.430 --> 30:54.950 mosaics in Rome, but also because it heralds 30:54.953 --> 30:57.883 what we're going to begin to see happening, 30:57.880 --> 31:01.210 especially in the last lecture, and that is this transition 31:01.207 --> 31:03.557 from paganism to Christianity in Rome-- 31:03.558 --> 31:06.508 Constantine being the last pagan, first Christian emperor-- 31:06.509 --> 31:11.069 and this interesting way in which pagan imagery elides into 31:11.068 --> 31:14.378 Christian imagery, both in terms of figural 31:14.380 --> 31:17.320 decoration, but also in terms of 31:17.315 --> 31:18.735 architecture. 31:18.740 --> 31:22.210 I can't, because it's so poorly lighted down there, 31:22.210 --> 31:26.030 I can't show you a good picture of the tombs beneath St. 31:26.027 --> 31:26.857 Peter's. 31:26.858 --> 31:30.758 But I can show you another set of tombs beneath a-- 31:30.759 --> 31:33.519 that are very well lighted and can be photographed better-- 31:33.519 --> 31:37.189 beneath a columbarium, an underground-- 31:37.190 --> 31:41.120 a catacomb actually, an underground burial area that 31:41.117 --> 31:44.427 was used by the early Christians in Rome. 31:44.430 --> 31:47.270 And you see it's called--you don't have to worry about 31:47.269 --> 31:49.739 this--it's called the Church of San Sebastiano, 31:49.736 --> 31:51.876 and these tombs are underneath that. 31:51.880 --> 31:54.230 But I show them to you here, just to give you a sense of 31:54.229 --> 31:55.809 what that tomb street looked like, 31:55.808 --> 31:58.188 underneath the Vatican, or looks like underneath the 31:58.186 --> 32:00.776 Vatican, with the concrete brick-faced 32:00.784 --> 32:03.144 tombs, looking very similar to those 32:03.144 --> 32:04.564 we saw at Isola Sacra. 32:04.558 --> 32:07.948 The same travertine door jambs, inscriptions, 32:07.952 --> 32:09.112 slit windows. 32:09.108 --> 32:13.008 And if you look through the entranceway of this one, 32:13.009 --> 32:15.439 you will see it's barrel vaulted, and it has a scheme 32:15.439 --> 32:18.189 that is very similar to the stucco decoration of the Tomb of 32:18.194 --> 32:21.224 the Valerii, with these circles done in 32:21.221 --> 32:25.771 raised stucco and with the floating figures in between 32:25.772 --> 32:26.462 them. 32:26.460 --> 32:30.210 And this is exactly what it looks like beneath the Vatican. 32:30.210 --> 32:33.230 I can show you some views of the interiors of some of the 32:33.234 --> 32:35.504 Vatican tombs, because those have lights in 32:35.502 --> 32:36.922 them; they're better lighted. 32:36.920 --> 32:38.360 You can see them here. 32:38.358 --> 32:40.348 We see this interesting combination, 32:40.348 --> 32:44.448 that we also saw at Isola Sacra, of the smaller niches 32:44.454 --> 32:48.274 that are used for urns, and the larger arcosolia 32:48.267 --> 32:50.757 that are used for the placement of bodies. 32:50.759 --> 32:53.129 And then you can see, in this view on the right, 32:53.130 --> 32:55.650 the way in which they have closed off those 32:55.652 --> 32:58.902 arcosolia by placing marble plaques on them that 32:58.895 --> 33:02.375 either have inscriptions or sometimes figural scenes, 33:02.380 --> 33:06.390 and then again here a freestanding sarcophagi on these 33:06.394 --> 33:07.914 interiors as well. 33:07.910 --> 33:11.340 This is an axonometric view from Ward-Perkins of the Tomb of 33:11.338 --> 33:12.268 the Caetennii. 33:12.269 --> 33:15.719 It dates to 160 A.D., in the Vatican Cemetery in 33:15.715 --> 33:16.225 Rome. 33:16.230 --> 33:20.530 And I think you can see here both the brick-faced concrete 33:20.531 --> 33:23.321 construction, the way in which the windows 33:23.324 --> 33:26.664 have similar stucco decoration to what we saw on the Tomb of 33:26.661 --> 33:29.761 Annia Regilla, on the Via Appia in Rome. 33:29.759 --> 33:33.559 But most interesting for us is the way in which the interior is 33:33.555 --> 33:35.815 treated, because this is my type 2. 33:35.818 --> 33:39.468 Here we will see some stucco, but you will see here that the 33:39.471 --> 33:42.011 walls are enlivened in a different way. 33:42.009 --> 33:45.419 They are enlivened through architectonic means, 33:45.420 --> 33:47.750 through the use of columns, through the use of niches, 33:47.750 --> 33:50.380 through the use of pediments, triangular pediments, 33:50.380 --> 33:53.630 but also broken triangular pediments. 33:53.630 --> 33:56.660 Here you see a pediment that has been split apart, 33:56.660 --> 34:00.310 a triangular pediment split apart to show what is inside. 34:00.308 --> 34:04.068 This is the same scheme that we saw in Second Style Roman wall 34:04.067 --> 34:07.777 painting, way back when; this whole idea of taking the 34:07.784 --> 34:11.944 traditional vocabulary of architecture and dealing with it 34:11.940 --> 34:15.950 in a very different way than had been done before -- 34:15.949 --> 34:19.019 breaking the rules so to speak. 34:19.019 --> 34:20.519 We see that happening here. 34:20.518 --> 34:24.208 But the main thing is that we're looking at this designer 34:24.206 --> 34:28.086 using architectural members to create the visual interest of 34:28.088 --> 34:30.128 the walls of the structure. 34:30.130 --> 34:33.440 You can also see in this axonometric view this 34:33.443 --> 34:36.763 combination of small niches for cinerary urns, 34:36.757 --> 34:41.027 and then these larger arcosolia for the bodies. 34:41.030 --> 34:45.030 So cremation and inhumation still going on hand in hand, 34:45.030 --> 34:47.360 during the second century A.D. 34:47.360 --> 34:51.030 This is a spectacular view of the interior of the Tomb of the 34:51.034 --> 34:54.284 Caetennii, and here you can really see what I mean. 34:54.280 --> 34:55.530 Yes, there is some stucco. 34:55.530 --> 34:57.190 If you look at the vaults you will see that those-- 34:57.190 --> 35:00.790 this is again a groin vault that has been stuccoed over, 35:00.789 --> 35:06.569 and it had the same kind of compartments and painted 35:06.572 --> 35:09.412 decoration, relief decoration, 35:09.411 --> 35:12.331 that we saw in the Tomb of the Pancratii. 35:12.329 --> 35:15.719 But you can see that most of the effects have been done 35:15.724 --> 35:17.614 through architectural means. 35:17.610 --> 35:20.160 If you look carefully you will see that there is a 35:20.161 --> 35:22.141 black-and-white mosaic on the floor; 35:22.139 --> 35:24.469 not so different from what we see in Ostia. 35:24.469 --> 35:28.429 There are niches on the walls, these niches used for cinerary 35:28.427 --> 35:30.967 urns; arcosolia down here for 35:30.967 --> 35:31.797 the bodies. 35:31.800 --> 35:35.820 And there are stuccoed decoration and the use of the 35:35.817 --> 35:38.257 shells that you can see here. 35:38.260 --> 35:41.400 But if you look very carefully at the combination of sort of 35:41.400 --> 35:44.880 maroon and cherry red walls, you will see the remains of the 35:44.878 --> 35:48.238 architectural members that served to enliven this space. 35:48.239 --> 35:50.829 Look up here; you will see that there was a 35:50.826 --> 35:52.896 triangular pediment over the central niche. 35:52.900 --> 35:57.390 You can see parts of the broken triangular pediments on either 35:57.393 --> 35:57.913 side. 35:57.909 --> 36:00.999 You can see the remains of capitals, and beneath those 36:00.998 --> 36:04.258 would have been the projecting columns that we saw in the 36:04.262 --> 36:06.422 axonometric view in Ward-Perkins. 36:06.420 --> 36:09.390 So this again the second type, where the walls are enlivened 36:09.389 --> 36:12.099 with architectural members, and those architectural 36:12.099 --> 36:15.039 members, when intact, would have created a scheme in 36:15.036 --> 36:17.866 which you had progression, recession, progression, 36:17.867 --> 36:19.597 recession, all along the wall -- 36:19.599 --> 36:23.179 this in and out scheme that we're going to see becomes the 36:23.175 --> 36:26.685 hallmark of what I'm going to term here this semester the 36:26.690 --> 36:29.200 baroque element in Roman antiquity, 36:29.199 --> 36:31.109 in Roman architecture. 36:31.110 --> 36:35.090 All of these buildings were being put up during the reign of 36:35.094 --> 36:36.584 Hadrian's successor. 36:36.579 --> 36:41.679 Hadrian had died in 138 A.D., and he was succeeded by a man 36:41.681 --> 36:46.961 by the name of Antoninus Pius, whose portrait you see here on 36:46.960 --> 36:48.720 the upper right. 36:48.719 --> 36:54.749 Antoninus Pius again was--he reigned for a quite long time. 36:54.750 --> 36:58.840 He reigned between 138 and 161 A.D. 36:58.840 --> 37:01.540 It was a period of extraordinary peace. 37:01.539 --> 37:03.989 He, like Hadrian, was a peace loving man, 37:03.994 --> 37:07.374 and he was able to maintain that peace exceedingly well, 37:07.371 --> 37:10.441 and Rome really thrived under his emperorship. 37:10.440 --> 37:14.450 He's also interesting because he seems to have had more of a 37:14.449 --> 37:18.459 love relationship with his wife than any other Roman emperor 37:18.460 --> 37:21.930 that I can think of, a relationship that was so 37:21.931 --> 37:25.571 strong that when his wife died-- he became emperor--here's his 37:25.572 --> 37:27.652 wife, Faustina the Elder. 37:27.650 --> 37:32.600 He became emperor in 138, but she died already in 141, 37:32.601 --> 37:37.181 and as I mentioned he stayed emperor until 161; 37:37.179 --> 37:39.629 so he was emperor for twenty more years after her death. 37:39.630 --> 37:41.070 He never forgot her. 37:41.070 --> 37:44.590 He stayed completely enamored of her. 37:44.590 --> 37:45.800 He never remarried. 37:45.800 --> 37:49.740 We don't even have any rumors that he had any concubines or 37:49.742 --> 37:51.172 anything like that. 37:51.170 --> 37:54.860 He seems to have stayed completely true to her. 37:54.860 --> 37:58.970 And what's interesting is that when the two of them died, 37:58.972 --> 38:02.132 their successors, Marcus Aurelius and Lucius 38:02.132 --> 38:04.852 Verus, put up a monument to them. 38:04.849 --> 38:07.179 And it's not on your Monument List and I'm not holding you 38:07.179 --> 38:09.509 responsible for it, but I just want to show it to 38:09.512 --> 38:12.472 you, because it will illuminate a monument that I am going to 38:12.474 --> 38:13.664 show you in a moment. 38:13.659 --> 38:19.549 This base, which served as the base for a porphyry column, 38:19.550 --> 38:24.880 that was located on top, represents a scene in which we 38:24.876 --> 38:29.676 see Antoninus Pius and his wife, Faustina the Elder, 38:29.679 --> 38:34.159 being carried to heaven on the back of a male personification. 38:34.159 --> 38:36.219 We see Roma, in the bottom right, 38:36.221 --> 38:40.321 and she is saluting them; she is bearing witness to what 38:40.324 --> 38:44.194 is a representation of their joint divinization. 38:44.190 --> 38:46.800 The two of them, Faustina the Elder, 38:46.795 --> 38:51.885 divinized at her death in 141; Antoninus Pius divinized at his 38:51.887 --> 38:53.107 death in 161. 38:53.110 --> 38:56.450 And yet we see them being carried to heaven as if their 38:56.452 --> 38:59.552 divinizations happened exactly at the same time. 38:59.550 --> 39:01.130 This is obviously a fiction. 39:01.130 --> 39:03.310 It is a conflation of time. 39:03.309 --> 39:07.649 It is a fiction of which the Romans were particularly adept 39:07.646 --> 39:10.486 in their sculptural representations. 39:10.489 --> 39:15.089 But I show it to you here because it has some bearing on a 39:15.085 --> 39:18.225 temple that I now want to talk about. 39:18.230 --> 39:22.110 This is the so-called Temple of Antoninus Pius and Faustina the 39:22.108 --> 39:22.608 Elder. 39:22.610 --> 39:26.930 It is a temple that Antoninus Pius put up in honor of his wife 39:26.929 --> 39:31.109 in 141, to her as a diva, after she was divinized. 39:31.110 --> 39:34.370 But at his own death, twenty years later, 39:34.369 --> 39:38.219 in 161, his successors--again, Marcus Aurelius and Lucius 39:38.221 --> 39:41.081 Verus-- rededicated it to the two of 39:41.079 --> 39:46.119 them, to the divine Antoninus Pius and to the divine Faustina. 39:46.119 --> 39:49.819 It is quite well preserved today, and it is important for 39:49.815 --> 39:51.065 two main reasons. 39:51.070 --> 39:55.860 It is important because it is our best surviving temple that 39:55.860 --> 39:59.270 was put up to an emperor and an empress. 39:59.268 --> 40:02.148 It wasn't the only one, but it's the best surviving 40:02.152 --> 40:03.192 example of that. 40:03.190 --> 40:07.930 And it is another example of the way in which antiquities are 40:07.929 --> 40:12.059 reused over time, in other contexts and at later 40:12.059 --> 40:15.399 times, and how that reuse sometimes 40:15.400 --> 40:17.680 helps to preserve them. 40:17.679 --> 40:20.309 What I show you now on the screen is a coin, 40:20.309 --> 40:23.549 on the upper left, representing Faustina the Elder 40:23.547 --> 40:26.547 on the obverse of the coin, on the left, 40:26.554 --> 40:29.634 her portrait, and it refers to her as 40:29.630 --> 40:32.110 "Diva Faustina." 40:32.110 --> 40:35.610 So it is a coin that Antoninus Pius struck after her death and 40:35.606 --> 40:37.036 after her divinization. 40:37.039 --> 40:39.469 And we see on the back the temple that Antoninus Pius 40:39.465 --> 40:40.955 originally made, in her honor. 40:40.960 --> 40:44.090 Over here we see a series of drawings, 40:44.090 --> 40:46.600 that come from the Ward-Perkins textbook, 40:46.599 --> 40:50.099 that show once again a depiction of that original 40:50.097 --> 40:53.107 temple on the coin, and with a legend that says 40:53.112 --> 40:55.072 aeternitas, for eternity, 40:55.067 --> 40:57.857 because now she is a diva for eternity. 40:57.860 --> 41:01.640 And then a restored view, over here, of what the temple 41:01.643 --> 41:05.923 would've looked like after it was rededicated to Antoninus and 41:05.918 --> 41:07.388 Faustina, in 161. 41:07.389 --> 41:11.639 And then over here, the Baroque building that was 41:11.635 --> 41:15.005 built into it, in the seventeenth century 41:15.009 --> 41:19.109 A.D., when it was turned into the Church of San Lorenzo in 41:19.106 --> 41:21.786 Miranda, and I've put the name San 41:21.793 --> 41:24.863 Lorenzo in Miranda on your Monument List. 41:24.860 --> 41:28.270 If we look at the view of it, as it was after it was 41:28.271 --> 41:31.151 re-dedicated to Antoninus Pius and Faustina, 41:31.150 --> 41:33.760 we will see a typical Roman temple. 41:33.760 --> 41:37.390 All the features that we have described so very often in the 41:37.393 --> 41:39.983 course of this semester--the deep porch; 41:39.980 --> 41:42.130 the freestanding columns in the porch; 41:42.130 --> 41:45.460 the very tall podium; the single staircase; 41:50.070 --> 41:54.200 A very conventional Roman temple, with sculpture in the 41:54.202 --> 41:58.872 pediment and decoration on the eaves of the temple as well. 41:58.869 --> 42:02.389 What we see on the bottom left is what happened to this temple 42:02.387 --> 42:04.057 in the seventeenth century. 42:04.059 --> 42:06.959 Part of it was preserved--maybe more of it was preserved, 42:06.963 --> 42:09.713 we're not absolutely sure--but at least part of it was 42:09.713 --> 42:10.443 preserved. 42:10.440 --> 42:15.410 The walls, the sidewalls, and also the columns and the 42:15.409 --> 42:19.479 front of the-- well the sidewalls primarily, 42:19.481 --> 42:23.231 and the columns, and the lintel over here that 42:23.228 --> 42:26.708 has the inscription that dedicates the temple to 42:26.711 --> 42:29.011 Antoninus Pius and Faustina. 42:33.324 --> 42:35.504 has buttresses-- and I'm going to show it to you 42:35.501 --> 42:38.061 in actuality in a moment-- that has buttresses on either 42:38.063 --> 42:40.403 side, that has this wonderful split, 42:40.404 --> 42:43.304 arcuated pediment-- a split, arcuated pediment that 42:43.304 --> 42:45.304 would've been impossible to conceive, 42:45.300 --> 42:47.500 I believe, without these architects, 42:47.500 --> 42:49.710 Baroque architects of seventeenth century, 42:49.710 --> 42:53.450 looking back to the baroque element in Roman antiquity. 42:53.449 --> 42:57.399 The cross is added in the center, of course. 42:57.400 --> 42:59.910 But there's one major difference between this building 42:59.911 --> 43:00.861 and this building. 43:00.860 --> 43:05.630 Does anyone see what that is, besides the addition of the 43:07.679 --> 43:08.579 Student: Podium. 43:08.579 --> 43:09.189 Prof: What? 43:09.192 --> 43:09.772 A little louder. 43:09.769 --> 43:10.619 Student: The podium. 43:10.619 --> 43:13.989 Prof: The podium, exactly. 43:13.989 --> 43:15.739 The podium is not there. 43:15.739 --> 43:16.819 The podium is not there. 43:16.820 --> 43:19.220 The staircase is not there. 43:19.219 --> 43:21.899 Why is that? 43:21.900 --> 43:26.720 Student: I don't know if it's because like the land is 43:26.724 --> 43:27.534 filling. 43:27.530 --> 43:28.120 Prof: Yes. 43:28.119 --> 43:30.739 Student: > 43:30.739 --> 43:32.889 Prof: Yes, the ground level has risen, 43:32.889 --> 43:36.699 so that at the time that they decide to turn the Temple of 43:36.697 --> 43:40.637 Antoninus Pius and Faustina into San Lorenzo in Miranda-- 43:40.639 --> 43:42.829 this is where the ground level is. 43:42.829 --> 43:45.999 There's no podium anymore. 43:46.000 --> 43:47.950 The podium is completely underground, as are part of the 43:47.945 --> 43:50.525 columns; we see only the part of the--so 43:50.527 --> 43:54.687 they put the door at the bottom, what is the bottom at that 43:54.693 --> 43:56.063 particular time. 43:56.059 --> 43:58.199 Now let me show you the building today. 43:58.199 --> 43:59.959 It's very well preserved. 43:59.960 --> 44:03.070 So you see what I mean by the best-preserved monument to--the 44:03.074 --> 44:06.084 best-preserved temple to an emperor and an empress in Rome: 44:06.083 --> 44:07.593 extremely well preserved. 44:07.590 --> 44:11.170 You see its location is in the Roman Forum, with the backdrop 44:11.172 --> 44:14.342 of the Imperial Fora behind it: the Forum of Augustus, 44:14.336 --> 44:15.766 the Forum of Trajan. 44:15.769 --> 44:17.039 In the Roman Forum. 44:17.039 --> 44:20.789 So prime real estate for this temple, when Antoninus Pius 44:20.791 --> 44:23.071 decides to build it to his wife. 44:23.070 --> 44:26.980 We see here the original podium, the original staircase, 44:26.978 --> 44:29.958 the original columns: grey granite columns, 44:29.961 --> 44:31.811 white marble capitals. 44:31.809 --> 44:35.159 We see the original lintel with the inscription still preserved: 44:35.159 --> 44:38.029 To Divine Antoninus Pius, to Divine Faustina. 44:38.030 --> 44:41.360 We see the original tufa walls of the side. 44:41.360 --> 44:45.500 We see the lintel on this side that also has a frieze that is 44:45.503 --> 44:47.373 preserved from antiquity. 44:47.369 --> 44:50.509 And then we see, growing up behind it, 44:50.512 --> 44:55.782 the seventeenth-century Baroque church, with its buttresses and 44:55.780 --> 44:59.010 with its broken arcuated pediment. 44:59.010 --> 45:01.850 And if you look very carefully, you will see this was ground 45:01.847 --> 45:03.577 level, in the seventeenth century. 45:03.579 --> 45:05.789 This is the seventeenth-century door. 45:05.789 --> 45:09.089 This is the ancient door down here. 45:09.090 --> 45:11.510 I'll show you a couple of views where you can see that even more 45:11.505 --> 45:11.885 clearly. 45:11.889 --> 45:15.449 Here's another view showing you those grey granite columns, 45:15.454 --> 45:18.594 the white capitals, the seventeenth-century door. 45:18.590 --> 45:21.580 And then down here the ancient door, 45:21.579 --> 45:23.779 which shows you more dramatically than anything else 45:23.775 --> 45:25.665 I've been able to show you this semester, 45:25.670 --> 45:27.790 this change in ground level. 45:27.789 --> 45:31.129 And two more views that I took that show you the same here, 45:31.126 --> 45:32.906 the seventeenth-century door. 45:32.909 --> 45:35.339 So you have to think of all of this underground in the 45:35.335 --> 45:38.995 seventeenth century, and then only in more modern 45:38.996 --> 45:44.406 times was the temple excavated, temple and church excavated 45:44.409 --> 45:47.009 down to their original level. 45:47.010 --> 45:49.090 Here's another view showing you again the seventeenth-century 45:49.086 --> 45:50.676 doorway, the earlier doorway, the staircase. 45:50.679 --> 45:54.029 A little baby down here, which I was happy to have for 45:54.025 --> 45:54.525 scale. 45:54.530 --> 45:58.680 It gives you a sense once again of how--and that makes it even 45:58.679 --> 46:01.739 more dramatic, because--I don't know if it's a 46:01.740 --> 46:04.740 he or a she; she, she, sitting there, 46:04.742 --> 46:09.602 that she--it makes it even more dramatic to demonstrate to you 46:09.603 --> 46:11.433 again, since this is a lecture on 46:11.434 --> 46:14.184 bigger is better, that this Temple to Antoninus 46:14.179 --> 46:18.579 and Faustina was also very, very--also is very, 46:18.583 --> 46:21.253 very large in scale. 46:21.250 --> 46:26.490 When Antoninus Pius died, in 161, he was succeeded by 46:26.485 --> 46:30.005 Marcus Aurelius and Lucius Verus; 46:30.010 --> 46:31.600 Marcus Aurelius, one of the most famous of the 46:31.597 --> 46:33.107 Roman emperors, the great stoic philosopher, 46:33.114 --> 46:34.494 and you see him in a portrait here. 46:34.489 --> 46:37.389 You see Lucius Verus on the left-hand side. 46:37.389 --> 46:42.279 The two of them were co-emperors between 161 and 169. 46:42.280 --> 46:45.660 Lucius Verus died in battle in 169. 46:45.659 --> 46:51.929 Marcus Aurelius continued on alone, until the year 180 A.D. 46:51.929 --> 46:54.849 So he too had a very long reign. 46:54.849 --> 46:57.929 Marcus spent most of his reign, however, on the front. 46:57.929 --> 47:01.709 During the period that he was emperor, the barbarians were 47:01.710 --> 47:03.370 literally at the gates. 47:03.369 --> 47:05.929 There was concern that they were going to, 47:05.929 --> 47:08.659 in fact, overrun the city completely, 47:08.659 --> 47:11.949 overrun the Empire completely, and he had to spend most of his 47:11.954 --> 47:15.254 reign on the frontiers, and he did, beating back those 47:15.251 --> 47:16.011 barbarians. 47:16.010 --> 47:18.480 For that reason, there was very little 47:18.481 --> 47:20.421 architectural construction. 47:20.420 --> 47:22.810 Even though he had a very long reign, 47:22.809 --> 47:25.039 there was very little architectural construction 47:25.038 --> 47:26.838 during the time of Marcus Aurelius, 47:26.840 --> 47:32.310 because of the time that he had to spend in war. 47:32.309 --> 47:35.429 He was succeeded by his son, Commodus, whose portrait you 47:35.427 --> 47:38.187 see down here; Commodus in the line, 47:38.190 --> 47:42.820 also in the megalomaniacal line of Nero and Domitian: 47:42.820 --> 47:46.740 a man who saw himself as a god on earth, 47:46.739 --> 47:50.189 who saw himself as the Greek hero Hercules. 47:50.190 --> 47:53.250 He called himself Hercules Romanus. 47:53.250 --> 47:56.240 And we see him in his most famous and most fabulous--this 47:56.244 --> 47:59.244 is about one of the best portraits preserved from ancient 47:59.237 --> 47:59.717 Rome. 47:59.719 --> 48:01.349 It's in the Capitoline Museums today, 48:01.349 --> 48:04.569 and you see him masquerading here as Hercules, 48:04.570 --> 48:08.780 with the lion's skin around his head, 48:08.780 --> 48:11.190 holding the club, holding the apples of the 48:11.186 --> 48:13.666 Hesperides, demonstrating that he has 48:13.668 --> 48:17.308 completed that last labor, just as Hercules had done, 48:17.306 --> 48:21.086 and is going to become a god in the manner of Hercules. 48:21.090 --> 48:23.890 He used to parade around in Rome openly in this way, 48:23.889 --> 48:26.619 and actually struck coins showing himself as Hercules 48:26.621 --> 48:28.981 Romanus, just to give you a sense of how 48:28.980 --> 48:29.900 extreme it was. 48:29.900 --> 48:35.580 And he was always challenging people to hand-to-hand combat. 48:35.579 --> 48:37.619 And, in fact, he eventually got his 48:37.619 --> 48:41.279 comeuppance because although he himself also reigned for quite 48:41.280 --> 48:43.800 awhile, between 180 and 192--so he 48:43.804 --> 48:47.554 lasted for twelve years-- but nonetheless even his 48:47.554 --> 48:52.174 closest advisors eventually turned against him and plotted 48:52.173 --> 48:56.553 behind his back and arranged for one of the most famous 48:56.550 --> 49:00.480 gladiators of the day, Narcissus, interestingly called 49:00.478 --> 49:04.018 Narcissus, to take up Commodus' offer to 49:04.018 --> 49:09.618 fight anybody who wanted to fight him in the Colosseum. 49:09.619 --> 49:12.649 And, of course, he thought that being emperor 49:12.648 --> 49:14.468 protected him, and that he, 49:14.469 --> 49:17.399 like Nero, who fixed the Olympic Games in his favor, 49:17.400 --> 49:21.440 that Commodus would also never lose in a contest like this, 49:21.440 --> 49:25.010 because he was by definition emperor. 49:25.010 --> 49:28.300 But his advisors turned against him, let Narcissus loose, 49:28.304 --> 49:31.544 and Commodus was slain by Narcissus in the Colosseum. 49:31.539 --> 49:34.339 But he did--I do want to just mention, 49:34.340 --> 49:38.000 and only in passing--Commodus did put up a column to his 49:38.003 --> 49:39.703 father, Marcus Aurelius, 49:39.697 --> 49:43.547 that is based very closely on the Column of Trajan in Rome. 49:43.550 --> 49:45.590 I'm not going to go into it with you today, 49:45.590 --> 49:47.930 because the architectural complex in which it was 49:47.925 --> 49:49.865 originally found no longer survives. 49:49.869 --> 49:53.819 But I just wanted you to be aware that the Column of Trajan 49:53.815 --> 49:57.145 was succeeded by the Column of Marcus Aurelius. 49:57.150 --> 50:00.190 I want to however turn, for the rest of the lecture, 50:00.188 --> 50:03.638 to a new dynasty that came to the fore after the end of the 50:03.643 --> 50:05.553 so-called Antonine emperors. 50:05.550 --> 50:09.050 When Commodus died, there were no more Antonines to 50:09.050 --> 50:12.540 succeed him, and Rome once again fell into a 50:12.543 --> 50:15.263 civil war, and there were rivals warring 50:15.264 --> 50:17.474 with one another for supreme power. 50:17.469 --> 50:21.159 And the man who came to the fore was a man by the name of 50:21.155 --> 50:22.995 Pertinax, P-e-r-t-i-n-a-x. 50:23.000 --> 50:26.740 But he had other rivals, and one of them was the man who 50:26.735 --> 50:30.605 eventually really came out on top, and his name was Lucius 50:30.605 --> 50:32.095 Septimius Severus. 50:32.099 --> 50:37.039 Lucius Septimius Severus was within that year, 50:37.039 --> 50:38.699 between 92 and 93 , able to get rid of not only 50:38.702 --> 50:41.942 Pertinax but other rivals, and become supreme ruler of 50:41.942 --> 50:42.432 Rome. 50:42.429 --> 50:45.689 And because he, like Vespasian before him, 50:45.690 --> 50:48.470 had two sons to succeed him, Caracalla and Geta, 50:48.469 --> 50:50.989 he was able to set up a new dynasty, 50:50.989 --> 50:53.359 the so-called Severan, what we call the Severan, 50:53.360 --> 50:57.500 S-e-v-e-r-a-n, the Severan dynasty in Rome. 50:57.500 --> 51:00.060 The Severan dynasty in Rome, extremely important, 51:00.059 --> 51:03.809 because Septimius Severus commissioned some important 51:03.809 --> 51:06.509 structures, both public structures and 51:06.505 --> 51:08.715 private; he was an interesting emperor 51:08.722 --> 51:11.202 because he combined an interest in the two. 51:11.199 --> 51:14.559 And then his son, Caracalla, who epitomizes, 51:14.561 --> 51:18.001 as I began today, the whole bigger is better, 51:18.003 --> 51:22.933 or biggest is best philosophy, in life and in architecture. 51:22.929 --> 51:26.819 I want to show you first, just to introduce you to these 51:26.818 --> 51:30.918 two patrons, this wonderful painted tondo that is preserved 51:30.920 --> 51:31.910 from Rome. 51:31.909 --> 51:35.819 It was found--excuse me, not in Rome but in Egypt, 51:35.824 --> 51:38.624 and is now in a museum in Berlin. 51:38.619 --> 51:43.809 But it is important because it is our only surviving painting 51:43.809 --> 51:46.599 of an emperor, and not only an emperor but an 51:46.597 --> 51:49.317 emperor and his whole family, his wife and his children; 51:49.320 --> 51:52.590 the only surviving painting of an emperor today. 51:52.590 --> 51:55.750 But there were obviously many of these in antiquity. 51:55.750 --> 51:57.200 It's a fascinating painting. 51:57.199 --> 52:00.239 We see Septimius Severus with his grey hair and beard, 52:00.239 --> 52:02.189 and his wonderful jeweled crown. 52:02.190 --> 52:04.300 We see his wife, Julia Domna, 52:04.297 --> 52:07.617 who--and by the way, I neglected to mention, 52:07.623 --> 52:11.583 but one of the interesting things about Septimius Severus' 52:11.576 --> 52:15.386 biography is the fact that he was born not in Rome, 52:15.389 --> 52:17.879 and not in Spain, as Trajan and Hadrian had been, 52:17.880 --> 52:22.170 but rather in North Africa, in a place called Leptis Magna, 52:22.170 --> 52:24.730 L-e-p-t-i-s, new word, M-a-g-n-a, 52:24.730 --> 52:30.010 in Leptis Magna, born in North Africa. 52:30.010 --> 52:33.530 He hooked up with a woman from Syria, whose name was Julia 52:33.525 --> 52:34.015 Domna. 52:34.018 --> 52:36.708 She was the daughter of an important priest in Syria called 52:36.711 --> 52:37.271 Bassianus. 52:37.268 --> 52:41.268 She was famous in Rome for her wigs; 52:41.268 --> 52:44.788 she used to wear wigs, and you can see her wearing one 52:44.786 --> 52:48.036 of her wigs in this wonderful painted portrait. 52:48.039 --> 52:51.409 She also clearly liked jewelry, because you can see her with 52:51.411 --> 52:54.671 these fabulous triple pearl earrings and a wonderful pearl 52:54.668 --> 52:57.938 necklace here also, looking very vibrant in this 52:57.940 --> 52:58.620 portrait. 52:58.619 --> 53:00.639 And then the two of them with their sons; 53:00.639 --> 53:02.869 their elder son, Caracalla over her, 53:02.865 --> 53:05.725 and their younger son, or what remains of him, 53:05.730 --> 53:07.130 Geta, on the left. 53:07.130 --> 53:13.110 Geta and Caracalla succeeded their father together, 53:13.114 --> 53:14.914 as co-rulers. 53:14.909 --> 53:17.449 But Caracalla, very jealous of his brother, 53:17.454 --> 53:20.664 who was much more popular with the Roman populace than 53:20.664 --> 53:22.244 Caracalla himself was. 53:22.239 --> 53:25.649 And Caracalla eventually had his brother murdered, 53:25.650 --> 53:27.390 and after his brother was murdered, 53:27.389 --> 53:30.909 he convinced--that is, Caracalla--convinced the Roman 53:30.907 --> 53:34.017 Senate to issue a damnatio memoriae, 53:34.018 --> 53:37.208 or a damnation of the memory of Geta, 53:37.210 --> 53:40.130 and an attempt was made to eradicate Geta from history by 53:40.130 --> 53:41.540 eradicating him from art. 53:41.539 --> 53:43.389 And you can see that he was snuffed out; 53:43.389 --> 53:48.069 his face was removed on this. 53:48.070 --> 53:50.310 But then it was left to stand, to show the power that 53:50.311 --> 53:52.901 Caracalla had to destroy his brother, as you can see here. 53:52.900 --> 53:56.720 This gives you a glimpse into the mind and psyche of 53:56.719 --> 53:57.619 Caracalla. 53:57.619 --> 54:00.479 I want to show you first though two buildings; 54:00.480 --> 54:02.640 before we look at the Baths of Caracalla, 54:02.639 --> 54:07.029 I do want to show you two buildings of Septimius Severus: 54:07.025 --> 54:10.545 a public building first, the so-called Arch of Septimius 54:10.554 --> 54:13.874 Severus in the Roman Forum, and then an extension to the 54:13.871 --> 54:15.081 Palatine Palace. 54:15.079 --> 54:20.589 The Arch of Septimius Severus in the Roman Forum dates to A.D. 54:20.592 --> 54:25.742 203, and it commemorates the Parthian victory of Septimius 54:25.744 --> 54:26.834 Severus. 54:26.829 --> 54:29.219 Septimius Severus, I already mentioned to you, 54:29.215 --> 54:30.855 came to power in a civil war. 54:30.860 --> 54:36.040 So like Augustus, and like Vespasian before him, 54:36.039 --> 54:39.139 he needed to gain legitimacy by having an important foreign 54:39.141 --> 54:41.251 victory, and he does this by looking 54:41.253 --> 54:43.513 East, as Augustus had done before him, 54:43.510 --> 54:48.210 looking to Parthia, and does war with Parthia, 54:48.210 --> 54:49.680 and in fact has an important victory, 54:49.679 --> 54:53.719 and celebrates that important victory in this triumphal arch 54:53.717 --> 54:56.657 that is put up in his honor in 203 A.D., 54:56.659 --> 54:59.839 in once again the choicest spot of real estate in Rome, 54:59.840 --> 55:02.880 the Forum Romanum, the Roman Forum. 55:02.880 --> 55:05.580 I show you a Google Earth view over here. 55:05.579 --> 55:08.529 We've seen this one before, so you've undoubtedly got this 55:08.527 --> 55:11.607 one memorized by now, this Google Earth image of the 55:11.608 --> 55:15.258 Roman Forum as it looks today, with the Colosseum up there, 55:15.262 --> 55:17.322 with the Via dei Fori Imperiali, 55:17.320 --> 55:19.770 Imperial Fora, over here, the Circus Maximus, 55:19.768 --> 55:23.158 the Palatine Hill, the Campidoglio, 55:23.159 --> 55:25.759 Capitoline Hill as redesigned by Michelangelo, 55:25.760 --> 55:29.750 the wedding cake of Victor Emmanuel here, 55:29.750 --> 55:34.030 between the Campidoglio and the Colosseum. 55:34.030 --> 55:36.570 We see, of course, the remains of the ancient 55:36.568 --> 55:40.028 Roman Forum -- much lower ground level than the modern ground 55:40.032 --> 55:40.612 level. 55:40.610 --> 55:44.910 You'll recall the location of the Temple of Venus and Roma, 55:44.914 --> 55:47.294 just underneath the Colosseum. 55:47.289 --> 55:49.629 The Arch of Titus on the Velia. 55:49.630 --> 55:52.260 And you should remember also that we talked, 55:52.260 --> 55:54.610 way in the beginning of the term, about two arches, 55:54.610 --> 55:58.000 two successive arches, built in honor of Augustus: 55:58.001 --> 56:00.921 first his Actian victory, victory in Actium, 56:00.918 --> 56:03.198 and then his victory over the Parthians, 56:03.199 --> 56:04.539 which is over here. 56:04.539 --> 56:06.979 And then if we look very close--it's a little hard to see 56:06.978 --> 56:09.268 when I'm up this close-- but we look very closely, 56:09.273 --> 56:12.313 we will see the location-- I think it's roughly around 56:12.311 --> 56:14.951 here--of the Arch of Septimius Severus. 56:14.949 --> 56:18.999 We can see it better in this plan of the Roman Forum as it 56:19.000 --> 56:22.980 developed between the third and seventh centuries A.D. 56:22.980 --> 56:27.130 We see the Tabularium at the top, which means we're close to 56:27.130 --> 56:28.680 the Capitoline Hill. 56:28.679 --> 56:31.709 We see two basilicas that were put up in the Republican period. 56:31.710 --> 56:36.030 We see a temple that we did not study, that was put up in honor 56:36.032 --> 56:39.032 of the divine Julius Caesar, by Augustus. 56:39.030 --> 56:43.070 We see the Speaker's Platform. 56:43.070 --> 56:45.300 We see the Senate House, which I will show you in a 56:45.297 --> 56:46.007 later lecture. 56:46.010 --> 56:47.770 And over here we see the location of what was originally 56:47.773 --> 56:49.603 the Actian Arch of Augustus, and then the Parthian Arch of 56:49.601 --> 56:50.021 Augustus. 56:50.018 --> 56:55.348 And remember that the Parthian Arch of Augustus had a triple 56:55.347 --> 56:56.247 opening. 56:56.250 --> 57:01.010 And then if you look at the rest of the plan, 57:01.010 --> 57:02.900 you will see the location of the Arch of Septimius Severus, 57:02.900 --> 57:06.770 over there, diagonally across, in dialogue, 57:06.768 --> 57:10.638 with the Parthian Arch of Augustus. 57:10.639 --> 57:11.549 Was this coincidence? 57:11.550 --> 57:12.830 Absolutely not. 57:12.829 --> 57:17.409 This was clearly very carefully orchestrated by Septimius 57:17.405 --> 57:21.735 Severus and his advisors to build his Parthian Arch in 57:21.737 --> 57:25.657 dialogue with the Parthian Arch of Augustus. 57:25.659 --> 57:28.719 With regard to its form, it also made reference to the 57:28.724 --> 57:29.654 Augustan arch. 57:29.650 --> 57:32.970 I show you here the Arch of Septimius Severus as it looks 57:32.974 --> 57:33.454 today. 57:33.449 --> 57:38.069 It is our first example that we've seen this semester of a 57:38.074 --> 57:41.404 Roman arch with a triple arcuated opening: 57:41.400 --> 57:44.970 a large arcuated opening in the center, 57:44.969 --> 57:49.119 flanked by two smaller, lower arcuated entrances. 57:49.119 --> 57:52.279 We have not seen that before -- first surviving example in Rome. 57:52.280 --> 57:55.210 We remember, if we think back to the arches 57:55.213 --> 57:58.433 we have explored, from the time of Augustus on, 57:58.427 --> 58:02.197 you'll remember that they are single-bayed arches. 58:02.199 --> 58:04.829 Augustus' Actian arch, the Arch of Titus, 58:04.831 --> 58:08.651 and even the second-century Arch of Trajan at Benevento. 58:08.650 --> 58:15.100 But, as I've already said today, if we look back to the 58:15.103 --> 58:17.143 coin-- the arch no longer exists--but 58:17.143 --> 58:19.133 we look back to a coin depiction of the Parthian Arch of 58:19.130 --> 58:21.090 Augustus, it had three openings: 58:21.090 --> 58:25.360 a central arcuated opening and then two rectangular openings, 58:25.360 --> 58:28.910 trabeated openings, with pediments on either side, 58:28.905 --> 58:29.915 flanking it. 58:29.920 --> 58:34.050 So this is not--the Parthian arch of Augustus is not a triple 58:34.052 --> 58:37.362 arcuated arch, but it is a three opening arch. 58:37.360 --> 58:39.540 And I think there is no question that those three 58:39.541 --> 58:41.951 openings are being alluded to in the Severan arch, 58:41.949 --> 58:45.859 and being transformed into something that was new, 58:45.860 --> 58:49.020 which was the idea of the triple-arcuated bay. 58:49.018 --> 58:51.338 Or maybe it wasn't so new, because there's an arch-- 58:51.340 --> 58:54.930 the arch that you see down here--in the south of France, 58:54.929 --> 58:58.359 at Orange -- and we'll look at this arch when we make our 58:58.358 --> 59:02.108 journey to the south of France; in an upcoming lecture we will 59:02.106 --> 59:03.196 look at this arch. 59:03.199 --> 59:06.659 And it's a triple-bayed arch, just like the Arch of Septimius 59:06.661 --> 59:07.241 Severus. 59:07.239 --> 59:09.629 It's covered with sculpture, just like the Arch of Septimius 59:09.634 --> 59:10.044 Severus. 59:10.039 --> 59:13.439 So for a while there were scholars who dated this to the 59:13.443 --> 59:16.413 time of Septimius Severus, although put up in the 59:16.413 --> 59:17.283 provinces. 59:17.280 --> 59:20.480 But recent scholarship, more recent scholarship, 59:20.480 --> 59:24.470 has demonstrated--scholars have looked at the piles of arms and 59:24.465 --> 59:27.165 armor on here, and identified it as piles of 59:27.168 --> 59:30.498 arms and armor that had to do with battles that took place in 59:30.498 --> 59:33.158 the south of France, or what is now the south of 59:33.164 --> 59:36.014 France, in the age of Augustus. 59:36.010 --> 59:38.240 There's also an inscription referring to a specific 59:38.235 --> 59:40.325 historical figure who lived during the time, 59:40.329 --> 59:43.099 the late period of Augustus, and into the time of Tiberius. 59:43.099 --> 59:46.829 So it seems very likely that this is not a Severan arch but a 59:46.826 --> 59:47.816 Tiberian arch. 59:47.820 --> 59:53.010 And I show it to you here only because while we usually-- 59:53.010 --> 59:55.290 and this may be helpful to some of you who are doing paper 59:55.289 --> 59:56.929 topics or city plans in the provinces-- 59:56.929 --> 1:00:00.699 we usually think of ideas flowing from the center to the 1:00:00.697 --> 1:00:01.517 periphery. 1:00:01.518 --> 1:00:05.288 But here we seem to have an idea that comes to the fore 1:00:05.286 --> 1:00:08.976 first in the periphery, and then ends up ultimately in 1:00:08.983 --> 1:00:11.083 the center; although, of course, 1:00:11.077 --> 1:00:14.007 there are lots of missing pieces to the ancient puzzle. 1:00:14.010 --> 1:00:16.030 There are lots of monuments that have not come down to us. 1:00:16.030 --> 1:00:18.490 So it is not inconceivable that a triple-bayed arch was built in 1:00:18.494 --> 1:00:20.104 Rome earlier, but we just have no evidence 1:00:20.099 --> 1:00:20.529 for it. 1:00:20.530 --> 1:00:22.870 I want to show you the arch itself very quickly, 1:00:22.869 --> 1:00:24.959 because it's mainly a work of sculpture. 1:00:24.960 --> 1:00:27.400 But just to show you the three bays. 1:00:27.400 --> 1:00:30.700 Victories in the spandles; river gods down here; 1:00:30.699 --> 1:00:32.099 inscription at the top. 1:00:32.099 --> 1:00:35.049 You'll have to imagine the great bronze quadriga of the 1:00:35.047 --> 1:00:36.247 emperor at the apex. 1:00:36.250 --> 1:00:38.770 Decorated bases down here. 1:00:38.768 --> 1:00:41.948 But most interesting are the panels that we see, 1:00:41.947 --> 1:00:45.867 four panels that we see, two on either side of the arch. 1:00:45.869 --> 1:00:48.049 And I show you a detail, a very good detail, 1:00:48.052 --> 1:00:50.202 of one of them here; although it's weathered, 1:00:50.199 --> 1:00:51.359 you can see it quite well. 1:00:51.360 --> 1:00:54.240 You can see that this panel, instead of having full-length 1:00:54.237 --> 1:00:56.457 figures standing on a single ground line, 1:00:56.460 --> 1:01:00.720 as we saw, for example, in the frieze of the Ara Pacis, 1:01:00.719 --> 1:01:04.039 we see figures on a number of tiers here, 1:01:04.039 --> 1:01:05.869 small figures on a number of tiers. 1:01:05.869 --> 1:01:11.009 It should remind you of the scenes on the Column of Trajan, 1:01:11.010 --> 1:01:12.380 those spiral, the spiral frieze, 1:01:12.380 --> 1:01:14.860 with the individual figures telling the story of war, 1:01:14.860 --> 1:01:19.730 and in this case the Parthian War of Septimius Severus. 1:01:19.730 --> 1:01:22.270 And so what I think happened here-- 1:01:22.268 --> 1:01:25.248 my theory, and there are others who've said the same-- 1:01:25.250 --> 1:01:28.600 is that what happened here is that the designer of this got 1:01:28.603 --> 1:01:31.883 the idea to take excerpts, in a sense, from the Columns of 1:01:31.884 --> 1:01:33.634 Trajan, or the Column of Marcus 1:01:33.632 --> 1:01:35.922 Aurelius, and put them in panel format, 1:01:35.920 --> 1:01:38.570 on this monument. 1:01:38.570 --> 1:01:41.450 I don't know whether--you can think to yourselves whether you 1:01:41.454 --> 1:01:43.094 think this is successful or not. 1:01:43.090 --> 1:01:45.780 I think it probably was not deemed to be particularly 1:01:45.777 --> 1:01:48.927 successful, because it is the only arch design of its type. 1:01:48.929 --> 1:01:54.369 No one picked up afterwards and imitated this particular idea. 1:01:54.369 --> 1:01:56.769 The bases down below representing Romans, 1:01:56.768 --> 1:01:58.868 bringing back Parthian prisoners. 1:01:58.869 --> 1:02:03.559 I want to speak very briefly also about Septimius Severus' 1:02:03.556 --> 1:02:08.156 extension of the Imperial Palace on the Palatine Hill. 1:02:08.159 --> 1:02:09.659 He extended it to the south. 1:02:09.659 --> 1:02:11.949 He lived there, just like every emperor since 1:02:11.947 --> 1:02:12.517 Domitian. 1:02:12.518 --> 1:02:14.258 He extended it on the southern side-- 1:02:14.260 --> 1:02:18.530 that's the side nearest the forum--and he added a 1:02:22.577 --> 1:02:24.107 that does not survive. 1:02:24.110 --> 1:02:28.280 It doesn't survive because we know it was torn down in 1588 to 1:02:28.280 --> 1:02:32.040 1589 by one of the popes, because the pope wanted to use 1:02:32.043 --> 1:02:35.473 it in his own papal building; wanted to use the building 1:02:35.467 --> 1:02:37.127 materials in his own papal building. 1:02:37.130 --> 1:02:40.890 But fortunately the artist, Marten van Heemskerck, 1:02:40.889 --> 1:02:42.949 the Renaissance artist--and I've put his name on the 1:02:42.949 --> 1:02:46.589 Monument List for you-- Marten van Heemskerck drew some 1:02:46.594 --> 1:02:49.744 of it while it was being dismantled. 1:02:49.739 --> 1:02:53.279 And you see a piece of it over here in the Marten Van 1:02:53.280 --> 1:02:54.710 Heemskerck drawing. 1:02:54.710 --> 1:03:00.450 There's also the plan of the structure, also preserved on the 1:03:00.451 --> 1:03:06.191 Forma Urbis, and we can see that marble plan of Rome from the 1:03:06.192 --> 1:03:08.012 Severan period. 1:03:08.010 --> 1:03:09.990 If we take both of those--that evidence together, 1:03:09.994 --> 1:03:11.734 we can reconstruct it quite effectively. 1:03:14.759 --> 1:03:18.369 much like a theater, with wings on either side, 1:03:18.365 --> 1:03:21.495 with apses here, three large apses, 1:03:21.501 --> 1:03:25.921 and columns inside those apses, with other elements that have 1:03:25.916 --> 1:03:28.516 columns in three tiers: looking very much like a 1:03:28.521 --> 1:03:30.881 theater stage set, all done in marble. 1:03:30.880 --> 1:03:33.440 It might have been also a fountain. 1:03:33.440 --> 1:03:36.770 There might have been a basin down here with a water display. 1:03:40.135 --> 1:03:41.935 Palace on the Palatine Hill. 1:03:41.940 --> 1:03:44.950 It's important because it's another example of this use of 1:03:44.947 --> 1:03:46.887 progression, recession, progression, 1:03:48.780 --> 1:03:51.320 to give an in-and-out, undulating movement, 1:03:51.320 --> 1:03:54.720 using the traditional vocabulary of architecture in a 1:03:54.719 --> 1:03:58.639 way that is striking and in a way that again heralds this new 1:03:58.643 --> 1:04:01.263 baroque style in Roman architecture. 1:04:01.260 --> 1:04:03.670 I also mention, just as the last point about 1:04:03.668 --> 1:04:06.538 this monument, that we also--the reason it's 1:04:06.541 --> 1:04:09.461 called the Septizodium or the Septizonium-- 1:04:09.460 --> 1:04:11.520 and you see that name on the Monument List for you-- 1:04:11.518 --> 1:04:14.958 the reason it's referred to as the Septizodium is because it 1:04:14.958 --> 1:04:18.288 was thought to honor the-- or to commemorate the seven 1:04:18.289 --> 1:04:21.319 planets, which is not surprising in the 1:04:21.320 --> 1:04:25.000 orbits of Septimius Severus and Julia Domna, 1:04:25.000 --> 1:04:27.030 because we know that Julia Domna was an avid follower of 1:04:27.027 --> 1:04:29.437 astrological signs, used to predict what was going 1:04:29.436 --> 1:04:31.296 to happen in her husband's reign, 1:04:31.300 --> 1:04:35.390 through those signs, and this is likely a nod to her 1:04:35.391 --> 1:04:38.281 particular astrological interests. 1:04:38.280 --> 1:04:42.290 In the nine or ten minutes that remain, 1:04:42.289 --> 1:04:47.409 I want to end today with this extraordinary imperial bath 1:04:47.414 --> 1:04:52.454 structure that was designed at the behest of the emperor 1:04:52.447 --> 1:04:53.727 Caracalla. 1:04:53.730 --> 1:04:57.850 When Septimius Severus died in 211, he was succeeded by 1:04:57.849 --> 1:04:59.679 Caracalla and by Geta. 1:04:59.679 --> 1:05:03.209 I've already told you what Caracalla did to get rid of 1:05:03.206 --> 1:05:06.926 Geta, and Caracalla became sole 1:05:06.931 --> 1:05:13.321 emperor in 212 A.D., and remained emperor until his 1:05:13.315 --> 1:05:15.455 death in 217 A.D. 1:05:15.460 --> 1:05:18.790 And one of his major commissions was this imperial 1:05:18.793 --> 1:05:19.953 bath structure. 1:05:19.949 --> 1:05:23.519 He wanted to ape his father, because we know that Septimius 1:05:23.523 --> 1:05:26.603 Severus had also built a major public bath in Rome, 1:05:26.603 --> 1:05:28.333 the Thermae Septimianae. 1:05:28.329 --> 1:05:31.009 They do not survive. 1:05:31.010 --> 1:05:33.140 We have very little knowledge of them, so there isn't anything 1:05:33.139 --> 1:05:34.709 that I can show you or tell you about them. 1:05:34.710 --> 1:05:35.900 But we know he built it. 1:05:35.900 --> 1:05:39.000 So like father like son. 1:05:39.000 --> 1:05:41.720 He wanted to outdo his father--this is like Bush One, 1:05:41.719 --> 1:05:44.699 Bush Two--wanted to outdo his father, and to build an even 1:05:44.702 --> 1:05:46.432 larger bathing establishment. 1:05:46.429 --> 1:05:49.229 And he does it here, in Rome, a bathing 1:05:49.226 --> 1:05:52.386 establishment called the Baths of Caracalla, 1:05:52.393 --> 1:05:54.753 or the Thermae Antoninianae. 1:05:54.750 --> 1:06:00.420 Baths of Caracalla: dates to 212 to 216 A.D. 1:06:00.420 --> 1:06:03.680 Any of you who have seen it will agree with me this is one-- 1:06:03.679 --> 1:06:07.179 if we had, if Trajan's Forum was the mother of all forums, 1:06:07.179 --> 1:06:10.479 this is certainly the mother of all imperial bath structures. 1:06:10.480 --> 1:06:12.170 This is quite something. 1:06:12.170 --> 1:06:14.300 Fortunately, much of it survives, 1:06:14.304 --> 1:06:18.044 mainly the concrete shell, a concrete shell of itself. 1:06:18.039 --> 1:06:22.139 But we can see the outlines here in this Google Earth image, 1:06:22.139 --> 1:06:24.589 which shows you not only the bathing block, 1:06:24.590 --> 1:06:27.880 but also part of the precinct that surrounded it. 1:06:27.880 --> 1:06:30.920 Because we shall see, if we look at a plan of the 1:06:30.916 --> 1:06:33.406 Baths of Caracalla-- which you see here in the 1:06:33.405 --> 1:06:36.135 bottom left-- this is a detail of just the 1:06:36.144 --> 1:06:39.364 bathing block, and if we compare the general 1:06:39.360 --> 1:06:42.950 plan with the plan of the Baths of Trajan in Rome, 1:06:42.949 --> 1:06:44.749 we will see that the Baths of Trajan, 1:06:44.750 --> 1:06:46.760 which were very large in their own day, 1:06:46.760 --> 1:06:51.180 have been exceeded here in terms of size, 1:06:51.179 --> 1:06:55.209 but are very much in the same general format. 1:06:55.210 --> 1:06:59.550 By that I mean a large bathing block here, inside a larger 1:06:59.552 --> 1:07:00.392 precinct. 1:07:00.389 --> 1:07:04.089 That precinct has around it a host of rooms that were used as 1:07:04.085 --> 1:07:08.025 lecture halls and seminar rooms and Greek and Latin libraries. 1:07:08.030 --> 1:07:10.550 So a great locus of intellectual, 1:07:10.547 --> 1:07:13.697 as well as wellness, in the city of Rome, 1:07:13.697 --> 1:07:15.977 in the third century A.D. 1:07:15.980 --> 1:07:19.120 We see that in the Baths of Caracalla, 1:07:19.119 --> 1:07:21.389 just as--if we look at the bathing block-- 1:07:21.389 --> 1:07:24.849 just as in the Baths of Trajan, we see that all the main 1:07:24.849 --> 1:07:27.189 bathing rooms, which were used both for men 1:07:27.186 --> 1:07:29.036 and women, but probably at different times 1:07:29.039 --> 1:07:32.079 of day, are aligned with one another. 1:07:32.079 --> 1:07:34.339 We see the great frigidarium here, 1:07:34.340 --> 1:07:37.730 with a triple groin vault over that, buttressed by rooms with 1:07:37.733 --> 1:07:39.603 barrel vaults on either side. 1:07:39.599 --> 1:07:42.399 We see a conventional, vertically oriented 1:07:42.402 --> 1:07:45.392 tepidarium; essentially a rectangle here, 1:07:45.391 --> 1:07:47.351 leading into the caldarium. 1:07:47.349 --> 1:07:48.949 So all of these on axis: frigidarium, 1:07:48.947 --> 1:07:50.357 tepidarium, caldarium. 1:07:50.360 --> 1:07:54.830 Caldarium, a roundish structure, 1:07:54.831 --> 1:08:00.011 with alcoves and--but very large in scale. 1:08:00.010 --> 1:08:03.420 In fact, you'll be interested to hear that the span of the 1:08:03.422 --> 1:08:06.842 dome of the caldarium of the Baths of Caracalla was 1:08:06.836 --> 1:08:10.246 almost as large as the span of the dome of the Pantheon in 1:08:10.251 --> 1:08:12.931 Rome; just to give you a sense of the 1:08:12.925 --> 1:08:16.955 extraordinary bigger is better scale in this particular bath. 1:08:16.960 --> 1:08:20.090 Over here a natatio, located where it usually isn't, 1:08:20.090 --> 1:08:22.880 but here on axis with the other rooms: an interesting 1:08:22.876 --> 1:08:25.016 natatio with a scalloped side, 1:08:25.020 --> 1:08:26.430 screened by columns. 1:08:26.430 --> 1:08:29.640 And then otherwise all the rooms symmetrically disposed 1:08:29.636 --> 1:08:30.346 around it. 1:08:30.350 --> 1:08:33.920 The two palaestrae, one on either side -- matching 1:08:33.917 --> 1:08:37.417 rooms symmetrically disposed around the central building 1:08:37.421 --> 1:08:38.061 block. 1:08:38.060 --> 1:08:40.490 So the same imperial bath structure type, 1:08:40.492 --> 1:08:43.172 that we saw developed under Titus and Trajan, 1:08:43.167 --> 1:08:45.597 but taken to much larger scale here. 1:08:45.600 --> 1:08:49.630 This model shows you the hall here. 1:08:49.630 --> 1:08:53.400 We are looking back at the walls, which were very plain on 1:08:53.395 --> 1:08:55.905 three sides, toward the natatio, 1:08:55.905 --> 1:08:59.205 toward the vaulting of the frigidarium. 1:08:59.210 --> 1:09:01.340 And then the dome, as you can see there, 1:09:01.340 --> 1:09:02.760 of the caldarium. 1:09:02.760 --> 1:09:06.970 Interesting is the front side of the-- 1:09:06.970 --> 1:09:10.540 or the side where you can see the caldarium projecting 1:09:10.537 --> 1:09:13.527 over here, which you can see is opened up 1:09:13.533 --> 1:09:18.133 much more than the other sides, with a series of columns, 1:09:18.132 --> 1:09:21.822 screened columns, and then columns screening and 1:09:21.823 --> 1:09:24.703 opening up the caldarium as well, 1:09:24.698 --> 1:09:27.988 on the southern side of the monument. 1:09:27.988 --> 1:09:30.308 Just a few views, to give you a sense of what 1:09:30.307 --> 1:09:32.097 this structure looks like today. 1:09:32.100 --> 1:09:36.040 Again, it's mainly piles of concrete faced with brick. 1:09:36.038 --> 1:09:39.548 But you can see some of the soaring vaults still there. 1:09:39.550 --> 1:09:43.680 This is in fact--even in this view it's much smaller than it 1:09:43.675 --> 1:09:46.815 would've been, because so much of the ceilings 1:09:46.822 --> 1:09:49.412 and the vaults are missing today. 1:09:49.408 --> 1:09:53.028 But you can get a sense by looking at this family of four, 1:09:53.034 --> 1:09:56.284 standing next to it, the colossal scale of the Baths 1:09:56.279 --> 1:09:57.869 of Caracalla in Rome. 1:09:57.868 --> 1:10:00.288 Here's another view, with some tourists as well, 1:10:00.288 --> 1:10:01.678 to also give you a sense. 1:10:01.680 --> 1:10:05.160 Again, this is very incomplete today, but it still gives you 1:10:05.161 --> 1:10:08.291 some idea of the colossal magnitude of this particular 1:10:08.287 --> 1:10:09.407 bath structure. 1:10:09.408 --> 1:10:12.038 As one walks through it, there's actually very little 1:10:12.037 --> 1:10:14.967 ornamental decoration still preserved, but there was plenty 1:10:14.970 --> 1:10:15.830 in antiquity. 1:10:15.828 --> 1:10:19.358 You can see here and there some fragments of a frieze. 1:10:19.359 --> 1:10:22.529 This is a restored view of what the frigidarium would 1:10:22.533 --> 1:10:25.393 have looked like, the most important room in the 1:10:25.393 --> 1:10:27.253 bath, which would have been 1:10:27.246 --> 1:10:29.996 triple-groin vaulted, as you can see here, 1:10:30.003 --> 1:10:33.023 which would have had grey granite columns with white 1:10:33.024 --> 1:10:36.004 marble capitals, and would have had an 1:10:35.998 --> 1:10:38.638 incredible sculptural display. 1:10:38.640 --> 1:10:43.010 And Caracalla, like Domitian before him-- 1:10:43.010 --> 1:10:45.870 remember Domitian's Aula Regia and those colossal statues of 1:10:45.865 --> 1:10:48.555 Dionysus and Apollo, with whom Domitian wanted to 1:10:48.560 --> 1:10:51.630 associate himself-- Caracalla, of the same ilk, 1:10:51.630 --> 1:10:56.230 who also wanted to ally himself with great heroes of the past, 1:10:56.229 --> 1:10:59.749 great gods of the past, and he follows the lead of 1:10:59.747 --> 1:11:03.337 Commodus, in whose model he kind of--he 1:11:03.341 --> 1:11:08.301 looked back again to Nero, Domitian, to Commodus--and he 1:11:08.300 --> 1:11:10.620 likened himself to Hercules. 1:11:10.618 --> 1:11:13.368 And we have sculpture, that is preserved from the 1:11:13.367 --> 1:11:15.997 frigidarium that represents Hercules; 1:11:16.000 --> 1:11:19.110 Hercules, the weary, the famous weary Hercules type. 1:11:19.109 --> 1:11:21.349 This is now in Naples, in the Archaeological Museum, 1:11:21.350 --> 1:11:23.190 this statue, but it comes from the 1:11:23.190 --> 1:11:25.870 frigidarium of the Baths of Caracalla-- 1:11:25.868 --> 1:11:28.688 we're absolutely sure of that--and it depicts the weary 1:11:28.685 --> 1:11:29.255 Hercules. 1:11:29.260 --> 1:11:31.490 It is a Roman copy. 1:11:31.489 --> 1:11:34.159 The artist, we know his name. 1:11:34.158 --> 1:11:36.698 I've put his name on the Monument List for you, 1:11:36.699 --> 1:11:37.749 Glykon of Athens. 1:11:37.750 --> 1:11:40.700 So an Athenian sculptor, working in the time of 1:11:40.699 --> 1:11:42.559 Caracalla, makes this copy. 1:11:42.560 --> 1:11:45.950 But he makes it of a very famous lost Greek original by 1:11:45.952 --> 1:11:48.772 the Greek sculptor Lysippus, whose name is also on your 1:11:48.771 --> 1:11:51.461 Monument List, a work of art that he 1:11:51.456 --> 1:11:54.826 originally made in the 330s B.C. 1:11:54.828 --> 1:11:59.078 So Glycon of Athens copies Lysippus, also of Greece, 1:11:59.081 --> 1:12:03.001 this statue at the behest again of Caracalla. 1:12:03.000 --> 1:12:05.990 And the fact that this was a theme or a leitmotif that ran 1:12:05.985 --> 1:12:08.815 through all the decoration of the frigidarium is 1:12:08.815 --> 1:12:12.375 underscored by the fact that a composite capital that survives, 1:12:12.380 --> 1:12:14.700 also from the frigidarium, 1:12:14.699 --> 1:12:18.979 shows a figure of that same weary Hercules interspersed with 1:12:18.979 --> 1:12:21.879 the acanthus leaves of that capital. 1:12:21.880 --> 1:12:25.920 So again a very carefully orchestrated program to try to 1:12:25.921 --> 1:12:30.481 underscore the relationships between Caracalla and Hercules. 1:12:30.479 --> 1:12:36.519 Mosaics, geometric mosaics, not unlike those in Ostia, 1:12:36.520 --> 1:12:41.410 found, and still exist, in the Baths of Caracalla today 1:12:41.407 --> 1:12:43.167 -- black and white with a little 1:12:43.171 --> 1:12:44.091 addition of color. 1:12:44.090 --> 1:12:48.540 Here another section that shows you the interest in geometry, 1:12:48.537 --> 1:12:50.537 as well as floral motifs. 1:12:50.538 --> 1:12:53.108 This detail, that you can also see on the 1:12:53.105 --> 1:12:55.815 site still today, showing the sea scenes that 1:12:55.824 --> 1:12:58.534 were not-- were the kind of scenes one 1:12:58.533 --> 1:13:02.323 would expect in a bath, very similar to those at Ostia 1:13:02.323 --> 1:13:05.543 but done in a somewhat more-- a better way. 1:13:07.590 --> 1:13:11.130 I think, of the mosaics of the Baths of Caracalla, 1:13:11.130 --> 1:13:15.010 and well preserved today, was a mosaic that you can see 1:13:15.006 --> 1:13:17.856 is curved, to be placed into a room of 1:13:17.859 --> 1:13:21.989 this shape that depict on the floor all the famous athletes 1:13:21.985 --> 1:13:27.395 and gladiators of the day, either in full-length images or 1:13:27.402 --> 1:13:29.522 in portrait images. 1:13:29.520 --> 1:13:32.340 And I don't doubt that these would have been recognizable 1:13:32.337 --> 1:13:35.347 stars, superstars--the Alex Rodriguez 1:13:35.350 --> 1:13:39.320 of their day-- superstars, flexing their 1:13:39.319 --> 1:13:43.589 muscles for the public, and hoping to be recognized by 1:13:43.587 --> 1:13:45.267 everyone who came to this bath. 1:13:45.270 --> 1:13:48.250 And you can just imagine men and women standing above, 1:13:48.246 --> 1:13:51.276 looking and trying to pick out who is depicted here. 1:13:51.279 --> 1:13:55.079 Here's another view that I took that is in its current location, 1:13:55.082 --> 1:13:57.622 which is in the Vatican Museums in Rome. 1:13:57.618 --> 1:14:00.728 That's where one needs to go to see what survives of this 1:14:00.725 --> 1:14:03.775 wonderful mosaic with the athletes and gladiators of the 1:14:03.775 --> 1:14:04.215 day. 1:14:04.220 --> 1:14:06.210 And I show them to you here as well. 1:14:06.210 --> 1:14:08.890 And if you look at these, you can see that they not only 1:14:08.891 --> 1:14:11.771 are shown--some are already victors, some are taking part in 1:14:11.769 --> 1:14:12.549 their sport. 1:14:12.550 --> 1:14:14.660 But once again, just as in the Alexander 1:14:14.658 --> 1:14:18.118 Mosaic, we see the use of a lot of different colored tesserae. 1:14:18.119 --> 1:14:19.699 We see cast shadows. 1:14:19.698 --> 1:14:22.908 This is very well done: wonderful facial configurations 1:14:22.912 --> 1:14:26.482 done by what must have been the leading mosaicist of the day, 1:14:26.484 --> 1:14:28.334 for the Baths of Caracalla. 1:14:28.328 --> 1:14:32.558 And just in closing today, I thought I would show you one 1:14:32.560 --> 1:14:35.490 of those heads, blown up to poster size, 1:14:35.494 --> 1:14:38.894 as you can see here, but also put it next to an 1:14:38.885 --> 1:14:41.125 actual portrait of Caracalla. 1:14:41.130 --> 1:14:44.130 This is not a course in sculpture, but I wanted to show 1:14:44.134 --> 1:14:47.304 this to you, especially since it's a portrait that you can 1:14:47.304 --> 1:14:47.754 see. 1:14:47.750 --> 1:14:50.610 It's in New York, at the Metropolitan Museum of 1:14:50.608 --> 1:14:54.518 Art -- a very powerful portrait of a very intense Roman emperor, 1:14:54.523 --> 1:14:56.453 as you can see on the left. 1:14:56.448 --> 1:14:59.428 But I think there is some relationship between the way in 1:14:59.434 --> 1:15:01.944 which the sculptors have depicted Caracalla, 1:15:01.939 --> 1:15:04.929 with his very cubic and abstract face, 1:15:04.930 --> 1:15:08.020 his short military hairstyle, and the depictions of the 1:15:08.015 --> 1:15:09.725 athletes and the gladiators. 1:15:09.729 --> 1:15:13.219 So I think he was not only trying to draw a relationship 1:15:13.220 --> 1:15:15.760 between himself and Hercules Romanus, 1:15:15.760 --> 1:15:19.630 but also between himself and some of the greatest athletes 1:15:19.630 --> 1:15:24.360 and gladiators of the day, to underscore his strength as a 1:15:24.358 --> 1:15:25.068 leader. 1:15:25.069 --> 1:15:28.609 It was all for naught ultimately, but nonetheless he 1:15:28.608 --> 1:15:33.048 achieved it, and I think it also speaks to him as a man with that 1:15:33.048 --> 1:15:35.268 bigger is better philosophy. 1:15:35.270 --> 1:15:35.770 Thank you. 1:15:35.770 --> 1:15:41.000