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Roman architecture comparative analysis
Greek and roman architecture
Greek and roman architecture
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Discovered in 1889 during the demolition of an ancient tomb along a Roman road from Capranica to Vetralla, the marble garland sarcophagus depicts in “the best style of Roman art” (American Journal 220) a scene from the myth of Theseus and Ariadne. After acquisition by the Metropolitan Museum of Art a year later, a general background concerning the artifact was established. Originating sometime in the middle second century C.E during the Hadrianic or early Antonine period of the Roman Empire, the sarcophagus medium exists in Luni and Pentellic marble and stands 31 by 85 by 28 inches (McCann 27). The adornments upon the marble are many: the lid features winged erotes on chariots led by four different animals to represent the four seasons-bear for spring, bull for fall, lion for summer, and boar for winter (Hanfmann 180)-the front displays more erotes with “seasonal garlands composed of flowers, wheat, grapes, pomegranates, and laurel (McCann 33),” and the various scenes from the myth of Theseus above the swags but below the garlands from left to right show Ariadne giving Theseus the thread to navigate through the labyrinth, Theseus in battle with the minotaur of Crete, and Theseus gazing back at Ariadne as he leaves Naxos. In addition, a comic mask and a young satyr call the right side of the sarcophagus their home.
The difference between an archaic statue such as Kroisos (fig. 5-11) and a classical statue such as Doryphoros (fig. 5-42) may not seem very great in a single glance. In fact, you may not notice any differences in that one glance. Yet, if you were to look at them closely, you can see that these two statues actually have very little in common.
Kleiner, Fred S. A History of Roman Art. Boston, MA: Wadsworth, Cengage Learning, 2010. Print.
An analysis of Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, reveals that there are many similarities, but also many differences between these two pieces of sculpture. These similarities and differences are found in the subject, style, and function of both works of art.
The controversy began almost one hundred years ago. Between 1801 and 1812, Thomas Bruce, 7th Earl of Elgin and British Ambassador to the Ottoman Empire, removed several sculptures from the Parthenon in Athens and shipped them to England, where he sold them to the British Museum in 1816. 167 years later, Melina Mercouri, Greek Minister of Culture, requested that the “Elgin” Marbles be returned. This request sparked one of the greatest debates the art world has ever known. For the past two decades, people have argued over who has the rights to these Marbles. The Greek position is certainly understandable from a cultural and emotional point of view. However, from the standpoint of legality and logic, it is hard to make a solid case against the Marbles’ continued presence in Britain.
The “Equestrian Statue of Marcus Aurelius” was one of the lucky bronze pieces from Ancient Rome. It was lucky because the Ancient Romans often melted their bronze creations to make new ones. While this helped supply artists with material for new statues, the melting of statues has left modern cultures without knowledge of possibly hundreds of Ancient Rome’s finest pieces. Thankfully this statue survived is now at the Museo Capitolino in Rome, where it is an inside exhibit to keep safe from the harsh elements and pollution.
Sculpture is a medium that artists in ancient Greek commonly used to express spoken truths in an unspoken form. Every piece of ancient Greek sculpture has more than what the eye sees to explain the story behind the [in this case] marble.
The Romans believed in the afterlife and most scenes, for those who could afford it, was a reflection of this type of belief system. Using the Endymion sarcophagus as an example, it was made during the Mid–Imperial period during the time of Severan Dynasty, and in the early 3rd century AD. The Endymion sarcophagus is created, in lenos form, out of marble and was acquired by the Metropolitan Museum of Art through the Rogers fund 1947. Across the front of the Endymion sarcophagus we have the mythos of Endymion. Like the Badminton Sarcophagus, the facing scene depicts the conquering of death in the cycle of immortality and eternal sleep. In the middle of the sarcophagus we have Endymion, the most beautiful of men, being visited by a Selene who
Ridgway, Brunilde S. Hellenistic Sculpture II: The Styles of ca. 200-100 B.C. Madison, Wisc.: The University of Wisconsin Press, 2000.
It is obvious in this photograph that this soldier is taking great pride in guarding the Tomb of the Unknown. The first thing noticed when looking at this photograph from D. Myles Cullen is the white marble sarcophagus, or stone coffin. This is located in the very center of the photograph and is an important and well-respected monument. Engraved on the sarcophagus are the words
This is a copy of the sculpture of Athena Parthenos, dressed in battle attire, that was originally created by Phidias during the period of 447-39 B.C. The statue of Athena Parthenos was to be constructed, not of bronze, but of gold and ivory. The face, arms, and feet of the statue were to be made of ivory and the clothing, of thickly plated gold. The statue was an enormous size that towered thirty-three feet tall. The costly nature of the materials out of which it was designed was intended to overwhelm the viewer, creating a sense of religious awe.
The works of art from the Archaic Period, Classical Period, and Hellenic Period developed physically and mentally, and the study of their aesthetic differences from period to period allow for a decided contrast and comparability. This interpretation has had a profound effect on the art world and that continues even in today’s world. The importance of Greek sculptures is evident in the storytelling of the gods, the people, and the culture. We use these sculptures as a tool to go back into the past of the Greek people, letting us admire how far mankind has truly come, whether it is in art or intelligence. Generation after generation has been and will continue to be able to see for themselves the society, culture and uniqueness of these periods through the wonderful sculptures that came out of ancient
The Marble Grave Stele is a horizontal piece that was embedded in a larger piece of marble. The inscriptions of the names of who died have long been lost. Thus, we must interpret for ourselves what the full meaning of the piece is. The artist of the piece is unknown, but it was constructed in Greece in around 360 B.C. during the Classical Era and stands at 171.1 centimeters in height. Its original location, as its name suggests, was at a gravesite; currently, it is located in New York City at the Metropolitan Museum of Art. The Stele was carved from marble. Overall, it is in good condition; however, the body of the woman on the left is missing with only her head surviving. Its stone frame in which it was set is also missing. This frame more than lik...
The whole structure also consists of two porches, the north porch at the northwest corner is supported by six tall Ionic columns, stands at a lower level and gives access to the western cella, while below its floor it was believed to be the spot where Zeus killed the legendary King Erechteus with a thunderbolt. (theacropolismuseum.gr) In the south-west corner, there stands a uniquely projecting porch which is the most well-known part of the Erechtheion. It is supported by six massive female statues, and hence named the Porch of the Maidens, with the supporting figures known as caryatids. Below it stood the grave of Kekrops, another legendary King of Athens. (theacropolismuseum.gr) The se...
Here, we will be looking at a rendition of the high marble statue of Augustus Caesar known as “Augustus of Prima Porta.” Originating from 1st Century A.D., it is said that there is a possibility that the original sculpture could have been of greek descent. Upon a general overview of the sculpture, one can see that Augustus fulfils a millitarial role of some kind. From his very stance to the garments portrayed on him, Augustus is draped in a decorative cuirass and a tunic, accompanied by a figure of Cupid clutching on to his right calf. After taking the general themes of the work into account, one can then began to start unraveling the many symbolic elements embedded into the sculpture that allude to godly themes. Starting from the crown of his head, the very chiselment and structure of his face gives the work a youthful element to it, even though some say that Augustus was around 40 years old. A recurring theme within Greek and Roman culture is the matter of godliness and immortality amongst idolized figures themselves. This idea is usually depicted by displaying powerful human being in a younger light. This
Honour, Hugh, and John Fleming. "Hellenistic and Roman Art." A World History of Art. London: Laurence King, 1999. 179-213. Print.