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  • Prof: Last time I introduced you to some of Rome's

  • greatest buildings, and I remind you of two of them

  • here: the Pantheon, on the left-hand side of the

  • screen, the temple to all the gods,

  • and then, of course, the Colosseum,

  • on the right-hand side of the screen.

  • These are two of the greatest masterworks of Roman

  • architecture, and we will gain momentum and

  • work our way up to those in the course of the semester,

  • but it's not where we're going to begin.

  • We're not going to begin with these masterworks;

  • we're going to begin at the beginning.

  • And the beginning goes way, way back, in fact all the way

  • to the Iron Age, indeed to the eighth century

  • B.C.

  • And we know on precisely what day,

  • not only the history of Rome but the history of Roman

  • architecture began, and that was specifically on

  • the 21^(st) of April in 753 B.C.,

  • because it was on the 21^(st) of April in 753 B.C.

  • that, according to legend, Romulus founded the city of

  • Rome.

  • Romulus founded the city of Rome on one of Rome's seven

  • hills, the Palatine Hill.

  • And I show you here a view of the Palatine Hill.

  • This is taken from Google Earth.

  • I urged you last time to make sure that you have Google Earth

  • downloaded on your computer and to take advantage of using

  • Google Earth in the course of this semester in order to really

  • get to know the city of Rome and the location of the various

  • buildings that we'll be talking about within the city fabric.

  • So I show you one of these views of the Palatine Hill in

  • Rome, from Google Earth,

  • and you can see the relationship of that hill to the

  • part of Rome in which it finds itself.

  • You're going to be able to pick all of these buildings out by

  • yourselves in the very near future, but let me just do that

  • for you here this morning.

  • You can see, of course, the Colosseum,

  • in the upper right corner.

  • You can see the Roman Forum lying in front of it.

  • You can see the great--that modern street that you see right

  • behind the Forum is the Via dei Fori Imperiali,

  • commissioned by Mussolini, Il Duce.

  • We can also see in this view the Capitoline Hill with the

  • oval piazza designed by Michelangelo,

  • and down here the famous Circus Maximus,

  • as you can see, the great stadium,

  • the greatest stadium of Rome.

  • It wasn't the only stadium of Rome but it was the largest,

  • and you can see its hairpin shape right down here.

  • The hill in question right now is the Palatine Hill,

  • and this is the Palatine Hill, all of this area here.

  • And as you look down on it, as you gaze down on it,

  • you will see the remains of a colossal structure,

  • which is actually a late first-century A.D.

  • palace that was designed under the direction of the emperor of

  • Rome at that particular time, a very colorful character that

  • we'll talk about in some detail later in the term,

  • by the name of Domitian.

  • This is Domitian's Palace on the Palatine Hill.

  • But that discussion of that palace lies in the future.

  • What I want to say today is miraculously the remains of

  • Romulus' village on the Palatine Hill,

  • founded in the eighth century B.C.,

  • actually lie beneath the remains of the Palace of

  • Domitian in Rome, and it's to Romulus' huts on

  • the Palatine Hill that I want to turn to today.

  • Believe it or not, remains of those huts from the

  • Iron Age are still there.

  • Now they don't look like much.

  • I'm showing you what remains of Romulus' huts right there,

  • and you're probably having a hard time figuring out exactly

  • what we're looking at.

  • But what we're looking at--the architects that were working for

  • the designers, that were working for Romulus,

  • were very clever indeed, and they realized that the best

  • way to create a foundation or a pavement for their huts was to

  • use the natural rock of the Palatine Hill.

  • And that's exactly what they did.

  • What you're looking at here is the tufa, t-u-f-a,

  • the natural tufa rock of the Palatine Hill.

  • And what they did was they created a rectangular plan.

  • They gave it rounded corners and they cut the stone back

  • about twenty inches down, to create that rectangular

  • shape; they rounded the corners,

  • and then they put holes in the tufa rock.

  • The holes were to support wooden poles that served to

  • support the superstructure of the hut and also to support the

  • walls of the hut.

  • So the pavement of the tufa rock of the Palatine is the

  • floor of the hut, and then these holes support

  • the wooden poles that supported, in turn, the superstructure.

  • I now show you a restored view, on the left.

  • And you should all have your Monument Lists and should be

  • able to follow along with the major monuments.

  • You won't see every image that I'm going to be showing here,

  • but you'll see a selection there of the ones that you'll

  • need to learn and be able to talk about for the midterm,

  • the two midterm exams in this course.

  • But you'll see there this restored view of one of these

  • Palatine huts, as well as a view of the model

  • that one can actually see in the archaeological museum that's on

  • the Palatine Hill today.

  • You can see, as you look at this restored

  • view on the left, you can see that rectangular

  • plan that we talked about here; you can see the rounded

  • corners, and you can see the wooden poles that were placed

  • into those holes to support the walls and the superstructure of

  • the building.

  • You can see over here the same, the wooden poles.

  • This gives you a better sense of what they looked like in

  • actuality, the wooden poles and also the superstructure.

  • We also know what the walls were made out of.

  • They were made out of something--and I put some of the

  • keywords that might be unfamiliar to you on the

  • Monument List as well-- they were made out of wattle

  • and daub.

  • Well what is wattle and daub?

  • Wattle and daub is twigs and rods that are covered and

  • plastered with clay; twigs and rods covered and

  • plastered with clay.

  • That served as the walls of the structure, and then the sloping

  • roof, as you see it here, was thatched.

  • Now it's very hard--there are no huts that look like this in

  • Rome still today that I can show you to give you a better sense

  • of what these would've looked like in antiquity.

  • But I'm sure you, like I, have seen huts like

  • this on your travels around the world.

  • And one example I can show you--and would that we were all

  • down there right now.

  • This is a view of a small village in the Maya Riviera,

  • near Cancun, where one sees,

  • if you take the bus or a car from Maya to Chichen Itza,

  • which I hope some of you have had a chance to do.

  • If you haven't, it's a great trip.

  • And you can see all along the road huts that look very much

  • like the huts of Romulus' village,

  • made out of wood and then with thatched roofs,

  • as you can see here.

  • So this is the best I can do in terms of conjuring up for you

  • Romulus' village.

  • We also have information with regard to what these huts looked

  • like in ancient Roman times or-- not in ancient Roman,

  • in the Iron Age, as I mentioned before.

  • We have not only the pavement stone that's still preserved,

  • but we also have these urns.

  • We call them hut urns, hut urns, because they're urns

  • in the shape of huts.

  • And these hut urns were used for cremation,

  • in the eighth century B.C.--these date also to the

  • Iron Age-- and the cremated remains of the

  • individual were placed inside the door of the hut.

  • And if you look at this hut urn, you'll see that it looks

  • very similar to the huts of Romulus that we've already been

  • talking about.

  • It is either sort of square or rectangular in shape.

  • It has rounded corners, as you can see here,

  • and the roof of the hut urn is sloping.

  • So we do believe we use this, along with the surviving

  • pavement, to restore what these huts of Romulus looked like in

  • the eighth century B.C.

  • Let me also note--it's interesting just to see the

  • status of men and women in any given civilization at any given

  • time.

  • There are essentially two kinds of hut urns from the eighth

  • century B.C.

  • Excuse me, there are two kinds of urns in the eighth century

  • B.C.

  • One of them is hut urns and the other is helmet urns,

  • and you can guess, as well as anyone,

  • as to who was buried in which.

  • The men were buried in the helmet urns and the women's

  • remains were placed in the hut urns.

  • So men's domain was considered the battlefield;

  • women's domain was considered the house.

  • But the houses are actually more important in terms of

  • giving us a sense again of what Romulus' village looked like in

  • the eighth century.

  • And if you take one of those huts and you combine it with

  • another set of huts, you can get a sense of what the

  • village of Romulus would have looked like in the eighth

  • century B.C.

  • This is a model that is on view in the archaeological museum,

  • on the Palatine Hill today, and it gives you a very good

  • sense of the village of Romulus in the eighth century.

  • And of course it was from this village that the great city of

  • Rome grew, and of course there's a quite

  • significant difference between Rome as it is now and Rome as it

  • was in the eighth century B.C.

  • I'm going to skip a couple of centuries and take us from the

  • eighth century B.C.

  • to the sixth century B.C., and talk about what was the

  • greatest architectural project in the sixth century B.C.

  • Just a few words about what was going on in the sixth century

  • B.C.

  • Those who were ascendant in the sixth century B.C.

  • were essentially the Etruscans.

  • The Etruscans lived in what is known as Etruria.

  • They were a quite advanced civilization prior to the Roman

  • period, lived in Etruria, which is essentially Tuscany

  • today.

  • Etruscan, Tuscany -- Tuscany today.

  • So the area around Florence and so on and so forth is where many

  • of these individuals lived.

  • They became a quite powerful civilization and they were able

  • to use that power to gain ascendancy also in Rome itself.

  • And there's a period in which there was a succession of

  • Etruscan kings who were leading Rome,

  • and these Etruscan kings eventually kicked out by the

  • Romans.

  • But at this time, in the sixth century,

  • they were extremely important.

  • And it was under Etruscan supervision and patronage that a

  • major temple began to be put up in Rome in the sixth century

  • B.C.; precisely in 509.

  • It was dedicated in the year 509 B.C., as you can see from

  • the Monument List.

  • The temple in question was the Temple of Jupiter Optimus

  • Maximus Capitolinus.

  • Now that is a mouthful, and I don't want you to have to

  • necessarily remember all of that: Jupiter Optimus Maximus

  • Capitolinus.

  • So we will call this temple, for all intents and purposes,

  • the Temple of Jupiter OMC, Jupiter OMC -- Optimus Maximus

  • Capitolinus.

  • The Temple of Jupiter OMC was dedicated,

  • again, in the year 509 B.C., and it was dedicated to

  • Jupiter, but also to his female

  • companions, Juno and Minerva.

  • And when we think of those three, or when those three are

  • joined together, Jupiter, Juno and Minerva,

  • they are known as the Capitoline Triad,

  • because their main temple was on the Capitoline Hill in Rome.

  • And we will see the Capitoline Triad, not only honored in this

  • temple, but in other temples.

  • I showed you one on Tuesday in Pompeii, for example,

  • the so-called Capitolium in Pompeii that honored Jupiter,

  • Juno and Minerva.

  • You'll see that when a temple honors the three of them,

  • it has implications for the architecture of that building,

  • for the design of that building.

  • We'll talk about that right now, in a few minutes.

  • But I want you to be aware of what the Capitoline Triad is.

  • So it's all three of them, honored together;

  • although Jupiter is always considered supreme whenever

  • those three get together.

  • So we have a temple here that we have to think of in large

  • part as an Etruscan temple, put up during the time of the

  • Etruscan kings, dedicated in 509,

  • but one that is beginning to have the impact of Rome and will

  • itself have a very strong impact on Roman temple architecture.

  • And we're going to focus quite heavily today on Roman temple

  • architecture, and then of course return to it

  • sporadically in the course of the semester,

  • as we move through and look at other temples,

  • like the Pantheon and like others that were put up in the

  • Roman provinces.

  • The Temple of Jupiter OMC was built on the Capitoline Hill in

  • Rome, so one of the other major seven hills.

  • So while the hill of the Palatine was basically the

  • residential section of Rome at this juncture,

  • the Capitoline Hill became its religious center where its main

  • temple was placed.

  • The Temple of Jupiter was located on the hill,

  • at about the position of one of the palaces that's there now.

  • We mentioned last time--and any of you who've been to Rome know

  • this well-- that the Capitoline Hill was

  • redesigned in the Renaissance by none other than Michelangelo

  • himself.

  • It was Michelangelo who was responsible for creating the

  • oval piazza that is at the center of the Capitoline Hill,

  • which was then renamed the Campidoglio of Rome,

  • and there are these three palaces, designed also by

  • Michelangelo, the Capitoline,

  • the Conservatori, and the Senatorial Palaces,

  • that serve today as two museums, or a joined museum,

  • one on either side, and a governmental building in

  • the back.

  • And you can see that very well here.

  • So this is the Capitoline Hill as it looks today,

  • as redesigned by Michelangelo.

  • But in Roman times it was the location, or from the sixth

  • century B.C.

  • on, it was the location of the Temple of Jupiter OMC,

  • the chief temple of ancient Rome, the most important temple

  • of ancient Rome.

  • What did that temple look like?

  • And again, this is extremely important, not only for it,

  • but for the rest of Roman temple architecture over time.

  • Believe it or not, we have quite a bit of

  • evidence.

  • It's complicated by the fact that this temple burned down

  • quite a number of times throughout its history.

  • We know it was still standing, by the way, in the fourth

  • century A.D., when it was described by a very

  • famous writer.

  • So it had a very long history.

  • But it burned down several times and it was rebuilt several

  • times, and each time it was rebuilt it

  • obviously was rebuilt in a new style,

  • whatever was au courant at that time.

  • So it changed considerably.

  • And nonetheless we do have quite a bit of information about

  • it.

  • As far as we can tell, when it was put up in 509 B.C.

  • it looked something like this.

  • What you're seeing here is a restored view and a plan of the

  • temple in 509 B.C.

  • And it's never too soon in a course on architecture to learn

  • how to read a plan and how to read a restored view or a

  • so-called axonometric view.

  • And I have put on--you probably haven't had a chance to look

  • yet-- but I've put up on the website

  • for this course, both under Announcements and

  • also in the Online Forum section,

  • a couple of sheets that I think will be very helpful to you,

  • that have terms and concepts.

  • It has different kinds of vaulting and different kinds of

  • masonry, and also tells you the

  • difference between an axonometric view and a plan,

  • and so on and so forth.

  • I really urge you to print those out, look through them.

  • In the beginning of this semester we do have to spend a

  • lot of time on what things are called,

  • but once we do that for a couple of weeks,

  • we'll be done with it and you'll know all the basic terms

  • and we'll be able to go on from there.

  • But I think you'll find those handouts extremely helpful.

  • So as we look at what we have here, I think you can see by

  • looking at the plan that what we are dealing with here is a

  • rectangular structure.

  • The rectangular structure has a deep porch, and these circles

  • are columns -- so with freestanding columns in that

  • porch.

  • It has a single staircase at the front.

  • Having a single staircase, rather than one that encircles

  • the building, gives the building a focus;

  • there's a focus on the façade for this

  • structure.

  • You can also see that the back wall is plain;

  • the back wall is plain.

  • And the cella, c-e-l-l-a, which is the central

  • space of the inside of a temple, is divided into three parts.

  • So a tripartite cella.

  • And why was there a tripartite cella?

  • You know the answer, because there were three gods;

  • there was Jupiter, Juno and Minerva,

  • the Capitoline Triad.

  • Each one had his own little cella, with Jupiter obviously in

  • the center, flanked by his two ladies, one on either side.

  • So whenever you see a building with a triple cella,

  • you're going to know that's a temple of the Capitoline Triad.

  • We can see from the outside of the structure,

  • the restored view, that it had a quite tall

  • podium.

  • The podium was in fact thirteen feet tall -- pretty significant,

  • thirteen-foot tall podium right here.

  • And here you also see again the single staircase in the front,

  • the façade orientation, the deep porch,

  • the freestanding columns in that porch,

  • and the triple entranceway into the three cellas of the

  • structure.

  • So that's the basic plan.

  • Let me also mention the materials for the Temple of

  • Jupiter OMC, in the sixth century B.C.,

  • because technology is important in any course on architecture.

  • We know--and think back to what we already know about the huts--

  • the building material used here was wood for the columns and the

  • superstructure, just as we saw in the Palatine

  • huts, wood for the columns and the

  • superstructure.

  • Mud-brick, not wattle and daub, but mud-brick for the podium

  • and for the walls, and then the structure had

  • quite a bit of decoration -- you don't see it here,

  • but quite a bit of decoration, sculptural decoration,

  • in ancient times, and this was made out of

  • terracotta.

  • So wood, mud-brick and terracotta were the materials

  • used for this particular building.

  • Oh I meant to show you--sorry, let me just go back for a

  • second.

  • The reason that the other plan is on the screen,

  • the one at the left, this is a plan of an Etruscan

  • tomb, the Tomb of the Shields and

  • Seats from Cerveteri, second half of the sixth

  • century B.C., which is on your Monument List.

  • I only bring it to your attention because it's

  • interesting that the Etruscans also divided the main space of

  • that tomb into three spaces, three separate spaces,

  • up at the top, tripartite, and also gave it a

  • single staircase, which gave it a façade

  • orientation.

  • I just mention that because we'll see that those,

  • especially that focus on the façade,

  • is an Etruscan element that is picked up by the Romans.

  • Roman architecture is very much an architecture of facades,

  • of the front of buildings, with a focus on the front of

  • buildings, and I wanted to make sure that

  • you knew that not only in temple architecture,

  • but also in tomb architecture, under the Etruscans,

  • that was an approach that they already took and that was

  • adopted from them by the Romans.

  • Another view also of the plan, just so that you can see it

  • again straight up, with the focus on the

  • façade, the single staircase,

  • the deep porch, the freestanding columns in

  • that porch, and then the tripartite

  • division and the flat back wall.

  • Now I think it's important at this juncture to make a

  • distinction between the most important Etruscan temple,

  • namely the Temple of Jupiter OMC--and you see a model of that

  • here-- and the most important Greek,

  • ancient Greek temple, the Parthenon in Athens.

  • The Parthenon in Athens dates, as you probably know,

  • to the fifth century B.C., this to the sixth century B.C.

  • So they are not exactly contemporary but roughly

  • contemporary to one another.

  • And as you look at this, I think you can see for

  • yourselves, although I will point out, the major

  • distinctions between the two.

  • And this is going to be very, very important for today,

  • for today's lecture, but also in the future,

  • because what we're going to see is that the Romans --

  • when the Romans began to build their own religious

  • architecture, they looked back to what had

  • been done by the Greeks and what had been done by the Etruscans.

  • They picked and chose what they liked in each,

  • and they brought that together in an entirely new creation.

  • They mixed it up with their own culture,

  • their own religion, brought it together,

  • an entirely new creation, and created something

  • distinctive that we know of as the Roman temple.

  • So what are the differences between the two?

  • We've already talked about the main features of the Etruscan

  • temple, but what are the main features of the Greek temple,

  • of the Parthenon?

  • I think you can see that while superficially they look alike,

  • they have columns that support a triangular pediment and so on

  • and so forth, the major differences are--and

  • you can't see all of those here--

  • but the major differences are that instead of sitting on a

  • high podium, Greek temples sit on a much

  • lower podium.

  • They have a staircase that encircles the entire building;

  • no façade orientation there, no single staircase on

  • the front.

  • The stairs encircle the entire building,

  • as you can kind of see here, and there is a single cella--

  • they never used a triple cella, as we see in the Capitoline

  • temple.

  • And the major difference between the two perhaps is the

  • fact that this building is built out of stone,

  • out of marble.

  • The Greek building is built out of marble.

  • The Greeks are using marble magnificently in the fifth

  • century B.C., and even before that.

  • So no ordinary old wood columns and mud-brick for them,

  • they were using marble.

  • So when we begin to see the Romans--

  • and we'll see that today--using stone for their temple

  • architecture, they are doing that under the

  • very strong influence of Greece, and that's extremely important

  • in any assessment of early Roman religious architecture.

  • Another view, and it's one that you have also

  • on your Monument List, showing the Capitoline Hill in

  • Roman times, showing you the situation of

  • the Temple of Jupiter OMC in relationship to the other

  • buildings that were up on top of the Capitoline Hill;

  • mostly religious structures, but I just wanted you to see it

  • did not stand alone.

  • Not all of these were built in the sixth century B.C.

  • already, but over time, an accretion of other

  • buildings.

  • Here you actually see the temple in a somewhat later

  • version, because, as I mentioned,

  • it burned down and it was rebuilt many,

  • many times.

  • But you also can see here--this is just useful in terms of Roman

  • religious practice--the altar is located not inside the temple

  • but outside; the religious service actually

  • took place outside.

  • The priest would officiate outside the temple,

  • and in fact very few were allowed to go inside to see the

  • sacred cult statues -- that was pretty much left for

  • the priest and the priesthood.

  • Just again to underscore the importance of Google Earth,

  • for anyone who was not here on Tuesday,

  • I mentioned at that time that you cannot only go and fly over

  • Rome as it looks today via Google Earth,

  • but they have just recently, in the last few months,

  • introduced an ancient Rome version.

  • So you can go, and you click the right button,

  • you click your mouse in such a way,

  • you can find that the whole city will be completely

  • recreated into the ancient city.

  • And I just wanted you--it's much more abstract,

  • but nonetheless it gives you a sense of what many of these

  • buildings looked like in ancient Roman times.

  • And this is a screenshot of the Capitoline Hill,

  • as it appears in the Google ancient Rome version of Rome.

  • You can't do this for the other cities at this juncture,

  • just for the city of Rome.

  • But it's great fun to do, and also very informative.

  • Now what is actually left of the temple?

  • We've looked at the Campidoglio; we see Michelangelo's buildings

  • are up there now.

  • What is actually left of the Temple of Jupiter OMC?

  • Well you're looking at it right here.

  • It's the podium of the temple -- still survives -- that

  • thirteen foot tall podium of the Temple of Jupiter.

  • We think this is a quite early podium,

  • maybe not as early as the sixth century B.C.,

  • but a very early podium from the temple upon which the

  • structure was built.

  • You can get a sense of the height of these things.

  • And again a characteristic of Etruscan temple architecture,

  • and as we shall see of most Roman temple architecture,

  • is to have a very high podium.

  • We can see that podium here and we can see how it is made

  • technically.

  • You can see it is made up of a series of rectangular blocks

  • that are placed one next to one another and on top of one

  • another.

  • This is technically called ashlar masonry,

  • a-s-h-l-a-r, ashlar masonry,

  • to build a wall with these kinds of rectangular blocks

  • piled one on top of another.

  • It's tufa stone in this particular case once again,

  • which was natural, a tufa stone natural to Rome,

  • t-u-f-a.

  • And this ashlar masonry; again, a building technique

  • that was particularly popular in the fifth and fourth and third

  • centuries B.C.

  • in Rome.

  • Now what went up after the Temple of Jupiter OMC in Rome?

  • Quite a bit.

  • This was a very inspiring project, a very major project,

  • and obviously it spawned a lot of other building projects in

  • the city.

  • Very few of those survive--I can't show you much else from

  • this particular period--and this is for a variety of reasons.

  • It has to do in part with those fires that I mentioned.

  • A lot of things burned and no longer survive.

  • It has to do with something I mentioned also on Tuesday,

  • and that is that some of these buildings became quarries in

  • later times, with later patrons and

  • architects using them as a source of stone that could be

  • used in later structures.

  • So many of them were dismantled to be used for other buildings.

  • And also any city that is inhabited,

  • as Rome has been, for two-and-a-half millennia,

  • is obviously going to lose a certain amount of its structures

  • over time.

  • They're going to be torn down, they're going to be rebuilt,

  • they're going to be incorporated into other

  • buildings.

  • Some of those that have survived best are those that

  • were actually incorporated into other buildings.

  • And indeed, that's what happened here.

  • The wall was incorporated into something else and built on top

  • of, and that's why it still survives.

  • So we don't have all that much again besides this.

  • But even if we had, whatever was standing in the

  • fifth and fourth centuries, or early fourth century B.C.,

  • would have been destroyed in the year 386.

  • Because in the year 386 B.C., a group of tribes,

  • the Gallic tribes, the Gauls, came down,

  • from the north.

  • They destroyed everything in their path.

  • They did a lot of damage to the Etruscan settlements around

  • Florence and so on.

  • They destroyed those.

  • They came into Rome and they set the city of Rome ablaze.

  • And when the smoke cleared, and it did eventually clear,

  • the only building that was still standing was the Temple of

  • Jupiter Optimus Maximus Capitolinus.

  • That's how much destruction there was.

  • And so there's very little else that we can look at from this

  • particular period.

  • What the sack of the Gauls did was also convince the Romans

  • that they had not protected their city well enough.

  • Right?

  • They were completely exposed, and the entire city was burned,

  • except for that one temple.

  • So they realized that they better get smart and they better

  • start to wall their cities, to begin to put protective

  • walls around the perimeter of those cities.

  • And we see a great efflorescence of wall building

  • therefore after the sack of 386 B.C.

  • And I want to turn to that wall construction right now.

  • I want to begin with the most important wall that was put up

  • in the fourth century B.C., right after the Gallic sack,

  • and this was the wall around Rome itself.

  • Rome was encircled with a stone circuit;

  • a stone circuit that went around the entire seven hills,

  • the famous Seven Hills of Rome, enclosing it in this stone

  • circuit.

  • And fortunately some parts of that wall are still preserved

  • today.

  • And I show you the most extensive section here.

  • This is called the Servian Walls--you can see this on your

  • Monument List-- Servian Walls in Rome -- dates

  • to 378 B.C., right after the sack,

  • not long after the sack, 378 B.C.

  • And some extensive sections of that wall are preserved.

  • The most extensive is the section near Rome's main train

  • station, the Stazione Termini.

  • You can see the Stazione--a modern building--you can see the

  • Stazione Termini in the upper right corner.

  • And here is a view of this extensive section of the Servian

  • Walls in Rome.

  • The Romans didn't want to take any chances.

  • They decided, even though their tufa was

  • pretty good, they decided they wanted to use

  • the finest tufa possible, and so they brought it in from

  • the Etruscan city of Veii, V-e-i-i.

  • Veii was a famous and important Etruscan city,

  • that the Romans had just made their own.

  • So it was a perfect source for them of outstanding building

  • materials, and they brought in an imported

  • yellowish tufa, from the Etruscan town of Veii,

  • to use for this very significant,

  • very important wall that was going to protect them from this

  • time forth.

  • And you see that wall again here.

  • It is very weathered; even though it still stands,

  • it's very weathered.

  • So the stones don't look as expertly carved as they would've

  • been in ancient Roman times.

  • And what you can--it's hard to see here,

  • and I'll show you better in a different wall shortly,

  • but what it's hard to see is the system of what are called

  • headers and stretchers; headers and stretchers that

  • they used for this wall.

  • What a header is, you take the same size

  • rectangular block, but when you put the short side

  • out, facing out, that's a header,

  • and when you put the long side of the rectangle facing out,

  • that's a stretcher.

  • So it was an alternating headers and stretchers.

  • Again, I'll show you that better in another wall

  • momentarily, but use of headers and stretchers here.

  • And we can also see that the blocks are quite regular.

  • We are dealing with what we call ashlar masonry,

  • once again, the same kind of construction,

  • this placement of these fairly regular blocks,

  • one next to one another and one on top of one another,

  • ashlar masonry.

  • In Latin the term is opus, o-p-u-s,

  • quadratum, q-u-a-d-r-a-t-u-m:

  • opus quadratum.

  • So you can call this either ashlar masonry or opus

  • quadratum: squared work.

  • The same sort of thing as we saw in the podium of Jupiter

  • OMC, being used for the Servian Walls in Rome,

  • in 378.

  • I showed you last time this section of the Servian Walls.

  • Here you can get a much better sense of the coloration of that

  • yellowish tufa from Veii.

  • This is also very weathered, so it's hard to see the headers

  • and stretchers, but it's another section of

  • wall--just in case any of you are going to Rome anytime soon--

  • that one can see on the Aventine Hill,

  • which is a beautiful residential hill in Rome,

  • one of the most lovely places to wander in the entire city.

  • You will come across another section--you never know when

  • little pieces of antiquity will crop up.

  • They come up in the most unusual places as one wanders

  • the city, which is one of the reasons it's such a fascinating

  • place to visit.

  • Now the Romans realized--what was going on at the same time is

  • the Romans were beginning to extensively colonize--

  • well they had these imperialistic ambitions.

  • They wanted to colonize the world, but they began with the

  • places closest to them, and they began to build

  • extensive colonies in Italy, especially in an area very

  • close to the city of Rome itself.

  • And they recognized, as they began to build,

  • what I mentioned to you last time I like to call mini-Romes,

  • because these are little cities in the version of the capital

  • city itself.

  • As they began to build these mini-Romes,

  • they recognized that these mini-Romes also needed security,

  • also needed to be protected by walls that were comparable to

  • the Servian Walls.

  • So we see this great efflorescence,

  • not only of colonization, but also of wall building in

  • the period following the sack and the period following the

  • construction of Rome's own Servian Walls.

  • And I want to show you a few examples of that.

  • This is a map that was custom-made for this course.

  • You can find it on the web portal, and I think you'll find

  • it very useful, because what I've done here

  • obviously is focus on-- I don't clutter it up with a

  • lot of places we're not looking at--

  • I focus on the towns that we are actually going to be looking

  • at buildings in.

  • So I think you'll find it extremely helpful.

  • Rome is here at the star.

  • You can actually click on the map and that will take you to a

  • map of Rome itself.

  • But we see the star where Rome is, and the towns that I'm going

  • to take you to, that have walls,

  • are the city of Cosa, the town, the village really at

  • that time, of Cosa; the town of Norba,

  • that you see over here; and the town of Falerii Novi.

  • But I wanted to show you the map, because you see how close,

  • how proximate they are to the city of Rome itself.

  • I'm going to show you these fairly rapidly,

  • just to give you a sense again of the kind of wall construction

  • that was going on in the colonies,

  • in the Italian colonies, at this time.

  • This is--we'll look first at the city walls of the town of

  • Norba.

  • And you can see from the Monument List that dates to the

  • second half of the fourth century B.C.

  • And as you look at these walls, these are not done out of tufa

  • but a local stone to Norba, more grayish in color,

  • as you can see here.

  • But you can tell me yourselves right off, that's not opus

  • quadratum, that's not ashlar masonry.

  • The blocks are not rectangular and they're not that even;

  • in fact, they're multi-sided blocks, some of them are

  • polygonal blocks.

  • And we technically call this polygonal masonry.

  • And they've taken these multi-sided blocks,

  • piled them up, in a very interesting way,

  • to create a very handsome wall--I like this wall a lot

  • myself-- a very handsome wall to

  • encircle the town of Norba.

  • So polygonal masonry in this particular instance.

  • And we see the same use of polygonal masonry at the town of

  • Cosa, which is north of Norba, as you'll remember from the

  • custom map, the town of Cosa.

  • The walls date to 273 B.C.

  • at Cosa, and you see glimpses of them here.

  • And I think you can see once again a grayish stone used for

  • these walls, and you can see that the construction is once

  • again polygonal masonry.

  • The pièce desistance,

  • the greatest masterwork of Roman wall design in this early

  • period is the wall that you see here.

  • This is the wall at Falerii Novi.

  • Falerii Novi was founded as a colony in 241 B.C.,

  • and the walls were put up sometime between 241 and 200

  • B.C.

  • And we see them here, and you can see that the wall

  • also had a quite spectacular, at least for its date,

  • quite spectacular gate.

  • Now if we look at the walls first--

  • actually, first of all I want to point out that they have

  • chosen to use two different kinds of materials here,

  • as is immediately apparent as you look at this color view.

  • They chose to use a grey peperino stone,

  • p-e-p-e-r-i-n-o, a grey peperino stone,

  • from the Alban Hills, for the arch of the gateway,

  • and to use a reddish-brown tufa for the walls themselves.

  • A reddish-brown tufa, peperino, grey peperino stone,

  • from the Alban Hills.

  • So they were very careful about their selection of materials,

  • in part to emphasize this distinction in texture and in

  • color.

  • If you look at the wall you can see we're dealing here clearly

  • with ashlar masonry, with opus quadratrum,

  • and here you can see much more clearly,

  • than any of the other walls I've shown you because they're

  • so well preserved, the headers and the stretchers,

  • the alternating square and rectangular blocks,

  • the scheme of headers and stretchers that is used for this

  • wall.

  • The most important part, of course, is the arch,

  • the stone arch.

  • It's a masonry arch, as you can see.

  • It's not the earliest arch in Roman architecture,

  • but it's one of the earliest.

  • It has been amazingly done, I think quite masterfully done.

  • If you look at it, you will see that what the

  • designer has achieved is to take a series of wedge-shaped blocks.

  • These are called voussoir blocks--

  • I put that word on the Monument List for you--

  • voussoir blocks, these wedge-shaped blocks,

  • and has carved them in such a way that each one fits very

  • effectively and very well into the overall scheme.

  • They're wedged in next to one another.

  • In fact, as you gaze at it, you kind of think:

  • "Gee, I wonder if any of those blocks

  • are going to fall out from where they are?"

  • But they don't because they're wedged in so closely,

  • next to one another.

  • And then they have finished the line of the arch very nicely so

  • that it has a very attractive appearance,

  • and because it is done in a different stone it stands out

  • extremely well from the rest of the wall.

  • This is really again a masterful treatment,

  • in my opinion, of a wall at this particular

  • time, with the wonderful addition of the arch.

  • And I think we begin to see--we talked last time about how

  • important making of arches and vaults and especially the use of

  • concrete-- although here we see a stone

  • arch, clearly a stone arch.

  • But we're going to see that the capacity of the arch to be used

  • for expressive purposes in architecture is capitalized on

  • by the Romans.

  • And I wanted you to be aware--this is not only

  • important as a wall of this period but important in the way

  • that it's prescient of what's to come with regard to the way in

  • which the Romans are going to start to deploy the arch in

  • extraordinarily creative and innovative ways in Roman

  • architecture.

  • It all begins here.

  • The wall and gate of Falerii Novi stand at the beginning of

  • this incredible development in Roman architecture.

  • I want to say something very, very quickly about town

  • planning during this period, because just as I mentioned,

  • Romans were colonizing towns in Italy and they were putting

  • walls around them, but they were also beginning to

  • think about how they thought about city construction in

  • general, or the making of urban spaces

  • and places during this particular period.

  • So I just want to show you fleetingly two examples.

  • The town of Cosa, of which we've already looked

  • at the walls, dating to the third century

  • B.C.

  • And it's worth noting that it was again after the sack of 386

  • that this explosion of town building really began.

  • As we look at the town plan of Cosa,

  • you can see that it is encircled by the wall that we

  • looked at just before, and you can also see it's

  • roughly regular in shape, roughly kind of a square.

  • As you can see here, there are gates in the walls,

  • and then there is a scheme of streets that is comparable to

  • what I mentioned last time was typical for an ideal Roman city

  • plan, and that is the two main

  • streets, the cardo and the decumanus of the

  • city.

  • The cardo being the north-south main street,

  • and the decumanus being the east-west street,

  • and them intersecting very close to the center of the city.

  • And it's usually very close to that same center that you find

  • the forum, or a great open space,

  • meeting and marketplace of the city,

  • as well as a host of other buildings: basilica,

  • market, and so on.

  • And then, on the highest hill of the town of Cosa,

  • a Capitolium, a temple to Jupiter,

  • Juno and Minerva, on that highest spot,

  • the most important religious structure of that town.

  • That's the town of Cosa.

  • And then the other more important one is the town of

  • Ostia, the port of Rome,

  • the town of Ostia which was first founded in 350 B.C.,

  • and it was at that time a military camp or castrum

  • was-- c-a-s-t-r-u-m--a castrum

  • was laid out there.

  • And you can see a plan of that castrum.

  • You see the dark dotted lines here is the original plan of

  • Ostia, 350 B.C.

  • All the rest that you see around it is the city as it grew

  • into the second century A.D., when it had its efflorescence.

  • So we see the original city here.

  • And you can see it is perfectly regular.

  • And I mentioned to you last time that this is very different

  • from what happened in Rome.

  • Rome grew in a very haphazard way over the centuries.

  • There was never any real attempt to plan the city.

  • But when the Romans were left to build the kind of ideal city,

  • the city that they thought was the ideal Roman city,

  • they almost always built it in a very regular fashion,

  • as a square or as a rectangle, as regular as they could make

  • it, and it varied depending upon

  • the terrain.

  • If there were a lot of hills and so on, it might end up with

  • a somewhat more irregular shape.

  • But here you see it at its most regular,

  • planned like a castrum or a military camp,

  • rectangular with the two main streets,

  • the cardo, the north-south street,

  • the decumanus, the east-west street,

  • crossing exactly at the center of the city.

  • And then what's located there?

  • The forum of the city, the great open meeting and

  • marketplace, and then all the other major

  • buildings deployed around that, and then, of course,

  • the residential structures and the shops interspersed among

  • those, in this typical Roman town plan

  • of the fourth century B.C.

  • I want to spend the rest of today's lecture on the three

  • most important buildings, in a sense, that I'm going to

  • show you today, vis-à-vis the

  • development of Roman religious architecture,

  • specifically temple architecture.

  • And I think I'm going to actually call for your help.

  • You've learned a lot already and I think you now know enough

  • to help me along a little bit here on sorting out some of

  • these temples.

  • One of them is located in Rome and the other two are located

  • outside of Rome.

  • I'll show you the map again in a second so that you can see

  • where those other two are.

  • But I'm going to begin with the one in Rome,

  • which takes me back to Google Earth here,

  • to show you the situation of the so-called Temple of Portunus

  • in Rome, that dates to,

  • we believe, sometime-- it was put up sometime between

  • 120 and 80 B.C.

  • in Rome.

  • You're going to get so good at this that you're going to be

  • able to point all these places out, without me.

  • But we're looking back again over--this is the Palatine Hill.

  • We're looking at a slightly different angle,

  • Palatine Hill over here.

  • The very edge of the Colosseum you can see in the upper left.

  • The great Via dei Fori Imperiali of Mussolini over

  • here.

  • The Imperial Fora here.

  • The wedding cake of Victor Emmanuel, the Vittoriano,

  • that I showed you last time, over here -- the more modern

  • building.

  • The Capitoline Hill.

  • You can see the oval piazza of Michelangelo right here.

  • And the Circus Maximus over here.

  • And for any of you who've been to Rome, the Isola Tiberina,

  • that wonderful little island that one can cross the bridge to

  • get to, in Rome, down here.

  • So here's the Tiber River, looking nasty as it usually

  • does.

  • It's very green and not the sort of place you'd want to take

  • a swim in, as you can well imagine.

  • But you see the Tiber River here.

  • And if you look very closely, you will see two temples.

  • This is a round temple, which has a very uninventive--

  • it's called today, very uninventively,

  • the Round Temple by the Tiber, the Round Temple by the Tiber

  • for obvious reasons.

  • And then here a rectangular temple that looks like it has a

  • red roof because it's been undergoing reconstruction and

  • restoration recently.

  • You see that here.

  • This is the Temple of Portunus.

  • So you can see, in conjunction to another

  • temple, it was built very close to the river,

  • to the Tiber River.

  • Now let's look at the plan together of the Temple of

  • Portunus.

  • Based on your understanding now of typical Etruscan religious

  • architecture, typical Greek religious

  • architecture, what would you say about this

  • plan?

  • Is this more like an Etruscan temple or more like a Greek

  • temple?

  • I can't remember if I--I think I forgot to mention,

  • with regard to the Parthenon, that not only does the typical

  • Greek temple of the fifth century B.C.

  • have a staircase that encircles the entire monument,

  • it has a colonnade, a freestanding colonnade,

  • that encircles the entire monument,

  • and that's called a peripteral, p-e-r-i-p-t-e-r-a-l,

  • a peripteral colonnade.

  • So based on what you know about the Temple of Jupiter OMC and

  • the Parthenon in Athens, does this plan--in plan,

  • when we look at this building-- does this look more like an

  • Etruscan plan or like a Greek plan?

  • Okay Mr.***Roma.

  • Student: I'd say it's more of a combination.

  • Prof: Good.

  • Student: With the peripteral colonnade and also

  • the -- Prof: All right,

  • all right.

  • Okay. Yes.

  • It looks like it might be a combination.

  • Give me what the Etruscan characteristics are first.

  • Student: Well I think the Etruscan would be the single

  • staircase, of course, and also the three entrances;

  • so you've got a triad maybe.

  • Prof: All right.

  • The single staircase, absolutely, which gives it a

  • façade orientation.

  • Is there a triple entranceway?

  • There are spaces between the columns.

  • These are columns here.

  • Student: >

  • Prof: But look at the cella.

  • Student: Over there the cella's a single cella.

  • Prof: The cella's a single cella.

  • So this is not a Capitolium.

  • But there are spaces, you're right,

  • between the columns.

  • So take us a little further with the columns.

  • You can see the columns in a deep porch, deep porch,

  • freestanding; columns in the front are

  • freestanding.

  • So façade orientation, single staircase,

  • deep porch, freestanding columns in that porch,

  • in this case a single cella--those are all Etruscan

  • characteristics.

  • So it looks as if we are dealing here essentially with an

  • Etruscan plan.

  • But you're right--what's your name?

  • Student: >

  • Prof: Neil was right, however, that this is a

  • combination in that there are columns that go around the

  • monument.

  • But is it a peripteral colonnade?

  • Student: Probably not.

  • Prof: Probably not.

  • Why not?

  • Because what's different about these columns?

  • You can see it in plan.

  • They go all the way around but--

  • Student: They're not freestanding.

  • Prof: They're not freestanding.

  • They're attached or engaged into the wall.

  • They're attached to the wall.

  • What do we call that?

  • We call that a pseudo-peripteral colonnade.

  • So yes, it kind of looks like it goes around,

  • but it doesn't really because it's attached into the wall and

  • it kind of gives that sense of flatness that we got in the

  • Etruscan temple.

  • So you were absolutely on the mark.

  • It's a combination of the two.

  • And that is exactly what we see coming together at this

  • particular time in Roman temple architecture,

  • this wonderful way in which the Romans have looked at Etruscan

  • precedents, they've looked at Greek

  • precedents.

  • They decide what they like.

  • They mix it up, as I said before,

  • in a way in which it best represents their own culture,

  • their own religion, and create something that we're

  • going to see becomes distinctively Roman.

  • The building is very well preserved, so we can go on to

  • actually look at it.

  • Here it is.

  • It stands in almost pristine shape in Rome today,

  • right near the Tiber River, as I mentioned.

  • A wonderful temple in which we see some of those features that

  • Neil has already pointed to, and that is the façade

  • orientation, the single staircase,

  • the deep porch, the freestanding columns in

  • that porch.

  • From a distance it does indeed look peripteral.

  • It looks like there are columns all the way around.

  • But as you look closely you will see that the columns are

  • indeed attached to the wall, on the side,

  • and around the other side.

  • Now that you see the actual view, there are some other

  • things that give this away, as a temple that has clearly

  • also been built under very strong Greek influence.

  • And what are those?

  • Student: Stone.

  • Prof: Stone -- yes absolutely.

  • This is not made--this is not a wooden, mud-brick,

  • terracotta temple.

  • This is a temple that is made out of stone.

  • It's not made out of marble, it's made out of travertine.

  • It has travertine, t-r-a-v-e-r-t-i-n-e.

  • Travertine is an Italian stone brought from or quarried at town

  • of Tivoli, T-i-v-o-l-i, which we'll talk about a lot in

  • the course of this semester.

  • Travertine brought--Tivoli's about an hour's high-speed drive

  • today from Rome, obviously longer in antiquity,

  • but it's fairly proximate to Rome.

  • So this wonderful stone, travertine, from Tivoli,

  • brought to serve as a facing for the podium,

  • and for the columns, used in the columns.

  • So it is essentially a stone structure.

  • We'll see that the walls are made of tufa,

  • but those walls were stuccoed over with white stucco,

  • so that the impression that you would've gotten,

  • if you were in ancient times when this was in more pristine

  • condition, was that you were looking at a

  • white marble temple, which would've certainly

  • conjured up the idea that you were looking at a temple that

  • was made à la Greque;

  • that was made in the Greek style.

  • Anything else that gives away the influence of Greek

  • architecture?

  • Do any of you know your orders?

  • Student: Ionic order columns.

  • Prof: Ionic order. Good; I-o-n-i-c, Ionic.

  • The three major--and you'll find this in your Terms and

  • Concepts.

  • So bone up on those there.

  • The Doric, the Ionic and the Corinthian, and we'll look at

  • all of them today.

  • The Ionic order, what characterizes the Ionic

  • order are these what are called spiral volutes,

  • v-o-l-u-t-e-s; spiral volutes.

  • And you can see those here.

  • This is a typical Ionic column clearly made--

  • we don't see the Etruscans using this--

  • clearly made under the influence, the very strong

  • influence, of Greek architecture,

  • Greek temple architecture.

  • Here's a view of the Temple of Portunus, from the side,

  • and from the rear.

  • We once again see the way those columns encircle the structure

  • but are engaged into the wall.

  • You can also see the blocks of tufa stone, ashlar blocks,

  • just as we saw them in the walls, of tufa stone used here.

  • And you can get some sense there're some remains of some of

  • the stucco that was stuccoed over in white,

  • so that from a distance, at least, you would have the

  • impression that the whole building was made out of stone.

  • And even stone--you might even be fooled into thinking it

  • wasn't travertine, it was marble,

  • if you were far enough away.

  • I also need to mention something very important for the

  • future of Roman architecture, and that is that concrete

  • construction was used in the podium.

  • You don't see it.

  • It was only used inside the podium.

  • The reason it was used inside the podium is concrete is very

  • strong.

  • It can sustain great weight and the Romans recognized very early

  • on that they could use it in utilitarian ways to help support

  • buildings.

  • At this particular time the concrete was made up of rubble

  • and liquid mortar and a kind of a dash of volcanic dust,

  • and they brought all of that together to create a material

  • that could sustain great weight.

  • So they used it here for utilitarian purposes.

  • But we're going to see already next Tuesday the Romans

  • beginning to take advantage of concrete for very expressive

  • purposes -- and how well they do it --

  • which culminates ultimately, obviously, in buildings like

  • the Pantheon and its incredible dome.

  • Here's a detail of the Ionic capitals of the Temple of

  • Portunus.

  • You can also see this building has, as it would have if it were

  • made in Greece, what's called an Ionic frieze;

  • an Ionic frieze, which if you look very

  • carefully, there's some remains of the

  • candelabra and the garlands that hung from those candelabra in

  • the original design of this temple.

  • I also think it's interesting to look--here's a view again of

  • the Temple of Portunus as it looks today.

  • This is a nineteenth-century painting of the Temple of

  • Portunus, as it looked at the time it was done,

  • by that artist.

  • And what you see is something that I have already alluded to,

  • but which is extremely important for the preservation

  • of buildings like this.

  • And that is that this building, the Temple of Portunus,

  • like so many in Rome, was reused in later times and

  • transformed into something else, and it is probably only because

  • it was transformed into something else that it's

  • survived as well as it did.

  • Because you can see that what happened is that they walled in

  • the front.

  • They gave it a real façade,

  • a doorway, three windows, a medallion with the Madonna,

  • a cross, at the top, a bell tower,

  • and they turned it into a church.

  • And because it was an active church it was kept in good

  • shape.

  • You can see those Ionic capitals and the frieze with the

  • garlands and so on, of the Temple of Portunus.

  • And you can also see the Round Temple, by the way,

  • which still does stand also, over here, right near it,

  • near the Tiber River.

  • So this is the reason that we are fortunate that the Temple of

  • Portunus survives.

  • And it does survive, in large part,

  • because again it was transformed into a church in

  • later times.

  • And this is one of the fascinations of Rome,

  • by the way; you never know--so many

  • churches mask earlier buildings.

  • There's one right near, not too far from these,

  • where you can actually see three Roman temples that stood

  • side by side were incorporated into the Church of San Nicolo in

  • Carcere.

  • And you can actually see the remains of all three of those

  • temples used in that church.

  • And it's one of the fascinations,

  • obviously, of wandering around the city of Rome.

  • The other two temples that I want to show you today--

  • we're looking back at the map of this particular area--

  • are located at Cori, and you can see the proximity

  • of Cori, not just to Rome,

  • but also to Ostia, right here.

  • The city of Cori and the city of Tivoli.

  • And now you see Tivoli from where travertine comes;

  • the location of Tivoli in relationship again to Rome.

  • It's not very far, which is why the building

  • material was so easily transportable from Tivoli to

  • Rome.

  • Let's look first at Cori.

  • Cori is one of those incredibly--those of you who

  • have traveled around Italy, outside of Rome,

  • around Italy, know that one of the glories of

  • traveling in Italy is to go into some of these medieval hill

  • towns.

  • You go into these places and you--whether by car or by bus or

  • cab--you make your way up to the very peak of that hill town.

  • It's very picturesque, and then ultimately you get to

  • the top and you stand up there and you get this incredible

  • panorama over the city and over the landscape.

  • That's the kind of place Cori is.

  • It's a medieval hill town.

  • But leave it to the Romans--and they had a knack for doing this

  • wherever they went--they found the best location in Cori for

  • their temple.

  • And this temple is located almost at the very peak of the

  • hill of Cori, and you have to drive all the

  • way up to see the temple, the so-called Temple of

  • Hercules at Cori.

  • We don't really know if this was put up to Hercules,

  • but it's been called the Temple of Hercules for a long time.

  • So we continue to call it that.

  • And you see it here in plan, in restored view,

  • with its little complex in front, and then the temple as it

  • looks today.

  • So looking at this one, then we can see again that we

  • are dealing with an Etruscan plan, with freestanding columns

  • in the porch.

  • You can't see it here, but you can up there.

  • It does have a single staircase.

  • It's a kind of pyramidal staircase.

  • It has a side as well as a front -- or sides as well as

  • fronts.

  • But you can see it does not go all the way around,

  • as a Greek staircase would have.

  • It's focused on the front.

  • So we once again have this idea of single staircase on the

  • front; façade orientation of

  • the temple; deep porch;

  • freestanding columns in that porch;

  • single cella, in this case.

  • Now, Neil, what happens when you go around in this one?

  • Student: Is that for this one?

  • Prof: Yes.

  • Student: Well there's no columns around on this one.

  • Prof: There are no columns.

  • There are no columns.

  • It's not a peripteral colonnade.

  • It's not a pseudo-peripteral because it doesn't have--but

  • what is this?

  • They look sort of like flat columns.

  • They're what are called pilasters, p-i-l-a-s-t-e-r-s,

  • pilasters, which are essentially flat columns.

  • So it does have some articulation--you can see them

  • up there--there is articulation, but it's been flattened out

  • still further.

  • So once again an Etruscan plan with some nod to Greece,

  • in the sense that there's a recognition -- we've got to have

  • something that goes around here.

  • But, they don't want to take it out, they don't want to use an

  • actual column, and they flatten it out,

  • as you can see so well here.

  • Now again, anyone who knows your orders, what Greek order is

  • used here in this building?

  • Yes?

  • Student: Doric.

  • Prof: The Doric, the Doric order.

  • The simplest and most severe order is used here,

  • the Greek Doric order, and the system of Greek

  • triglyphs and metopes; triglyphs and metopes.

  • I'll show you a detail in a moment and I'll explain what

  • those are.

  • So the Greek Doric order, triglyphs and metopes,

  • for this temple.

  • And one thing we couldn't see in that plan is the high podium.

  • So that's another Etruscan feature.

  • So once again we see this very interesting and very eclectic

  • bringing together of Etruscan elements and Greek elements in

  • what we can call early Roman temple architecture.

  • Here's another detail of the Temple at Cori.

  • You can get a--I took this on a very grey day so you don't get

  • the sense of the glory of what it can look like up there.

  • But you get some sense of its situation,

  • right at the edge, with a spectacular--

  • on a beautiful day--a spectacular panorama of the

  • mountains, the other mountains in this

  • area, and of the hill town itself.

  • And here we can see the Doric order better;

  • very simple, with the so-called triglyphs

  • and metopes; t-r-i-g-l-y-p-h and

  • m-e-t-o-p-e-s, triglyphs and metopes.

  • Triglyphs are triple striated bands.

  • And you can see them up there, the triple striated bands,

  • and in between them square panels.

  • So this alteration of triple striated bands,

  • the triglyphs, and the square panels,

  • the metopes, which is typical of the Doric

  • order, the Greek Doric order.

  • You see it in the Parthenon, for example,

  • and it has been taken over here by the Romans.

  • You also see something very interesting about Roman building

  • practice here, because if you look at the

  • columns, you'll see that the upper part

  • of the columns are what is called fluted,

  • fluted -- they have striations in them.

  • But they're not fluted at the bottom.

  • You can see it stops right here, the fluting stops here and

  • the bottom is plain.

  • What's the reason for that?

  • Well we know that even in Greek Hellenistic times,

  • that approach was taken, and we believe it was done for

  • two reasons.

  • One: practical purposes.

  • Why are there no flutes at the bottom?

  • Because people are more likely to lean up against the columns,

  • at the bottom, than they are obviously at the

  • top, and when people lean up against

  • columns, the flutes start to break off.

  • So they decided not to flute the bottom.

  • But it may have been also for decorative reasons,

  • because we'll see, when we get to Pompeii,

  • in the very near future, that there are many columns at

  • Pompeii that have fluting at the top,

  • painted white, and then the bottom,

  • the plain bottom, painted red,

  • for reasons of taste and decoration.

  • And it's very possible--we do know that ancient--

  • I don't want to destroy any illusions here--

  • but ancient buildings were very often painted,

  • and ancient sculpture was always painted.

  • So these might've been a lot more garish looking in ancient

  • times than they are today, which might also have taken

  • away from this sense of having a marble building.

  • So that's something that we probably should keep in mind as

  • we evaluate these structures.

  • The last one I want to show you today is the Temple of Vesta at

  • Tivoli -- also beautifully situated.

  • It's a temple that dates to 80 B.C.

  • Also probably not a Temple of Vesta, but it's a round temple,

  • and temples of Vesta were often round.

  • So it's tended to be called by scholars a Temple of Vesta -- in

  • 80 B.C.

  • Again, beautifully situated out over a particularly verdant area

  • of Tivoli, where you can look down and around this beautiful

  • area.

  • There's a waterfall very nearby.

  • It's just magnificent, and you can see it's not

  • surprising that some enterprising family decided to

  • build the Sybilla Restaurant right here,

  • and there's a patio on which one can go and eat under

  • umbrellas, and so on and so forth, here.

  • Here's the temple, the ancient temple of 80 B.C.

  • And once again we look at a plan over here.

  • And I also show you a view of the so-called Temple of Venus

  • from Hadrian's Villa at Tivoli, just to make the point that

  • this is as Greek as we've gotten thus far,

  • in the sense that the Greeks really loved round temples.

  • They built them a lot.

  • There was a very famous Temple of Venus,

  • in their case Aphrodite, on the island of Knidos,

  • and that Temple of Venus on the island of Knidos is the one that

  • was duplicated by Hadrian for his villa;

  • and we'll talk about this later in the semester.

  • But I show the one at Hadrian's villa because it gives you a

  • very good sense of what this structure was like in ancient

  • Greek times as well, because we think it's a replica.

  • A round structure; freestanding columns encircling

  • the entire building, low podium, a staircase around

  • that podium that encircled the entire building,

  • and then a Temple of Venus in the center.

  • When we look at the plan of this structure we will see it's

  • pretty close.

  • It's round.

  • It has columns that are freestanding,

  • that encircle the entire structure.

  • But it has a higher podium, as we're going to see,

  • and even though it's circular, they've given it a staircase on

  • one side, which gives it--even a round

  • temple, which you think of as something

  • you just keep circling, has a kind of façade

  • orientation, in this instance.

  • So they are applying some of these Etruscan characteristics

  • to an almost pure Greek type.

  • Here's a view, it's very well preserved,

  • a view of the Temple of Vesta at Tivoli, as it looks today.

  • And what order is this?

  • Student: Corinthian.

  • Prof: The Corinthian order;

  • the Corinthian, the last of the three great

  • Greek orders.

  • The Corinthian order, which is very ornate and which

  • I'll describe in a moment.

  • We see it here, supporting a frieze once again,

  • in this case a frieze with garlands and libation dishes.

  • We can see here also it is a very tall podium;

  • so an imposition of an Etruscan element on this structure.

  • Greek orders.

  • The building is made out of stone.

  • The columns and the facing of the base are made out of stone,

  • in this case travertine once again.

  • Travertine again was quarried right next door -- this is

  • Tivoli, right there.

  • And you can see the travertine detailing on the doorway and on

  • the windows as well.

  • But what you see here that we haven't seen before--

  • remember I talked about the use of concrete in the podium of the

  • Temple of Portunus in Rome-- here we see concrete used for

  • the wall of the cella.

  • If the Greeks had put up this building,

  • they would've made the walls of the cella out of stone and they

  • would've cut those stones very carefully to create the kind of

  • curvature that was needed.

  • But the Romans were getting really smart,

  • in terms of making things easier for themselves.

  • They realized it was going to be a lot easier to build a round

  • structure with concrete than it was to have to carve all those

  • stones in just those shapes.

  • So they have used concrete here for the cella.

  • We still could argue this is a utilitarian purpose,

  • but at the same time I think it's beginning to demonstrate to

  • us the expressive possibilities of concrete.

  • And we also see, if you look very carefully,

  • the way in which--we'll talk much more about this next week--

  • but concrete, in order to make concrete

  • impermeable to water and so and so forth,

  • you have to face it with something.

  • And they faced it with very small stones of irregular shape,

  • which we call uncertain work, or opus incertum,

  • -o-p-u-s i-n-c-e-r-t-u-m, opus incertum,

  • which is put into the concrete while it is still wet,

  • to give it the ability to withstand water but also to give

  • it an attractive stone-like appearance.

  • And you can see that opus incertum work used here.

  • Here's a detail of the wall, where you can see its curvature

  • and also see that opus incertum work.

  • And here is a detail of the capitals, the Corinthian

  • capitals that are used here.

  • What's characteristic of Corinthian capitals is that they

  • have, like the Ionic,

  • they have volutes, these spiral volutes,

  • but they are much smaller and much more delicate,

  • and they are in a sense incorporated into the flowering

  • plant.

  • This is called an acanthus plant, a-c-a-n-t-h-u-s.

  • Acanthus plants grow all over Italy.

  • You see them everywhere.

  • So they are just copying a plant that is indigenous to

  • Italy.

  • They use those acanthus leaves, that seem to grow out of the

  • column, to incorporate the spirals,

  • and there's always a prominent central flower that is also part

  • of this motif.

  • It's important to note, at the beginning,

  • that while the Greeks used the Doric and the Ionic order almost

  • exclusively, the Greeks did invent the

  • Corinthian order.

  • They used it in very late Hellenistic times,

  • but quite infrequently.

  • The Romans use all three but we are going to see very quickly

  • that they decide pretty early on that the Corinthian capital is

  • their capital, and almost every

  • building--we'll see some exceptions--

  • but almost every building we'll see in the course of the

  • semester uses the Corinthian capital.

  • Why did they take to the Corinthian capital in

  • particular?

  • This is something we can think about in the course of this

  • semester and debate.

  • I think it has to do probably with two major reasons.

  • One: it was particularly decorative, very highly

  • decorative, more so than the others.

  • But maybe even more important than that is the fact that the

  • Corinthian capital, at least in my opinion,

  • looks the best from the most vantage points,

  • because it's pretty much the same all the way around.

  • The Doric is pretty severe.

  • The Ionic looks best from certain angles where you can

  • really see the volutes well, less well from other angles.

  • But this looks pretty much the same wherever you see it.

  • So it's a very flexible and easy to use capital type.

  • We see also here--I referred to this last time but I want to

  • describe it for you just in a second--

  • we see here the coffering, c-o-f-f-e-r-i-n-g,

  • the coffering of the ceiling, which is basically placing a

  • series of receding square elements there,

  • to give a sense of depth in the ceiling.

  • And then in the center you see these flowers that match up

  • nicely with those in the Corinthian capitals,

  • which are called rosettes, r-o-s-e-t-t-e-s;

  • and we'll see coffering and the use of rosettes quite

  • extensively in Roman architecture.

  • I mentioned the restaurant.

  • The Sybilla used to be a horrendous restaurant.

  • When I started taking pictures of Roman buildings I guess I was

  • a little more timid than I am today.

  • So I always thought, "Well gee,

  • if I'm going to go into the terrace and want to take a

  • picture of the temple, I'm kind of going to have to

  • eat there."

  • I would never do that now, but I did that at one point,

  • and I made the mistake of eating in this restaurant twice,

  • and I never went back again.

  • But when I went just a couple of years ago to see the temple

  • once again, I saw that they had really--some new owners must

  • have come along.

  • They've really expanded the restaurant and it looks very

  • pretty now, and this is the terrace on which one can eat.

  • I haven't tried it but I might actually, next time I go.

  • I want to just end with a couple of remarks.

  • One is that one of the interesting things is that,

  • although the temples that we talked about today were in part

  • made out of stone, in all cases travertine,

  • we do know that already in the year 146 B.C.--

  • so earlier than a couple of the temples we looked at just now--

  • in 146 B.C.

  • the Romans had already put up another temple to Jupiter,

  • near the Tiber River, that was made entirely of

  • marble, entirely of marble.

  • So they were already beginning to think, not just of their own

  • local stone or stones that were from local, close places in

  • Italy, but imported marble.

  • And so I want you to know that so that we can talk about it in

  • the future.

  • And we also know that in 142, the ceiling of the Temple of

  • Jupiter OMC was gilded, and we also know that not long

  • after that they re-paved the Temple of Jupiter OMC and gave

  • it multi-colored stone.

  • So what this is telling us is a lot of people in Rome were

  • beginning to think of temples that were more ornate than

  • anything that had come before.

  • There are some very conservative individuals,

  • who did some writing at this particular time,

  • who bemoaned the fact that the Romans had moved away from the

  • Etruscan temples made out of wood and mud-brick and so on,

  • and were becoming too ostentatious in their taste.

  • But I think these new Greek style temples were definitely

  • here to stay.

  • And I just wanted to end up with a quote from Cicero.

  • After one of these fires, these fires that so often raged

  • in Rome, the Great Fire of 83 B.C.,

  • Cicero talks about the rebuilding,

  • still again, of the Temple of Jupiter OMC.

  • And I quote from Cicero when he says: "Let us feel that

  • conflagration to have been the will of heaven and its purpose

  • not to destroy the temple of Almighty Jupiter,

  • but to demand of us one more splendid and magnificent."

  • What did that mean?

  • More Greek, more Greek-looking, more marble.

  • And--the last comment I'm going to make is--to make the Temple

  • of Jupiter OMC even more magnificent.

  • The Roman general Sulla, who was sacking Athens at this

  • particular time, goes into Athens,

  • and after he sacks it, takes it over,

  • conquers it, he goes up to the biggest

  • temple in town, the Temple of Olympian

  • Zeus--Zeus, the Greek counterpart of Jupiter--

  • and he takes some of the columns, actually steals some of

  • the columns from that temple, has them shipped back to Rome,

  • and he incorporates them into the Temple of Jupiter OMC,

  • on the Capitoline Hill.

  • These columns--my last point--these columns were

  • fifty-five and one-half feet tall, and they were made of

  • solid marble.

  • So that gives you some sense of the objectives of the Romans

  • vis-à-vis temple building in the first century B.C.

Prof: Last time I introduced you to some of Rome's

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B1 中級 美國腔

2.2. 《需要一座城市》。羅馬的建立和意大利城市主義的開始。 (2. It Takes a City: The Founding of Rome and the Beginnings of Urbanism in Italy)

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