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  • Prof: Good morning everybody.

  • We will be returning the exams on Thursday.

  • They're being graded now and we'll return them to you on

  • Thursday.

  • And I've always found, I've found in the past,

  • that having--once we finish the midterm exam,

  • and all of you have had a chance to go back over the

  • material, mastered it,

  • is the ideal time to begin to talk about a selection of a

  • paper topic, a term paper topic.

  • And I'm going to concentrate on that particular issue in today's

  • class, the choice of a paper topic.

  • Right before Spring Break is also a good time to begin

  • thinking about this, because there are a lucky few

  • of you in here who are actually going to Rome,

  • for Spring Break, and there are others that are

  • heading home to California, possibly near Malibu -- might

  • have a chance to go to the Getty Museum,

  • in Malibu, which is based on an important villa,

  • ancient Roman villa at Herculaneum,

  • as well as other travels that may give you some ideas about

  • potential paper topics.

  • And don't underestimate just the experience of architecture

  • of any period, in terms of inspiring you,

  • as you go to whatever city you're headed toward,

  • or even whatever small town you're headed toward.

  • Looking at what's around you can be a stimulation to making a

  • selection on a paper topic.

  • So I want to go over that with you today.

  • Also I'm going to show you some magnificent parts of the Roman

  • Empire, as a prelude to what we'll be doing when we get back

  • after Spring Break.

  • And that is, although we'll spend--we'll do

  • one lecture on Hadrian and the Pantheon,

  • and Hadrian's Villa at Tivoli, and one on a colony in Italy,

  • namely Ostia, the port of Rome.

  • From that point on we'll make our way around the rest of the

  • Roman Empire.

  • We'll go to North Africa, we'll go to Jordan.

  • We'll go to other parts of the Middle East.

  • We'll go to France and Spain.

  • So we'll be spending spring going around the Roman Empire to

  • some extraordinary spots.

  • And I think by introducing you to some of those today,

  • vis-à-vis the paper topics,

  • will get you in the mood, I hope, for that kind of

  • whirlwind tour that we're going to take in the second half of

  • this semester.

  • Now I'd like to spend the rest of the time again showing you

  • some magnificent places, giving you a sense of the three

  • options for the paper topics, and specific monuments and

  • sites that I hope you'll consider as possibilities for

  • your paper.

  • And again, as I mentioned, it's also a good chance for us

  • to begin to experience the provinces of the Roman Empire.

  • Obviously I've chosen topics that are ones that for the most

  • part-- there's one or two

  • exceptions--but for the most part are not topics that I'm

  • going to be going over in class, to give you an opportunity to

  • look into a part of the world that we may not cover in class,

  • but also to be able to use what you have learned about Roman

  • buildings in general to decipher buildings that you haven't yet

  • seen before.

  • The first of these--well the first option;

  • there are three options, as I mentioned before--

  • and Option 1 is a straightforward research paper

  • that is comparable, obviously, to research papers

  • that you've done, not only in other Art History

  • courses, but in other History courses

  • and other-- whatever courses,

  • even science courses-- a straight research paper in

  • which you have a topic that you do a considerable amount of

  • reading on, focused reading,

  • on that particular topic, and I give you bibliography for

  • all of these.

  • And, by the way, all of these,

  • pretty much all of these bibliographical sources are on

  • reserve, in the Art and Architecture Library,

  • for this course.

  • With a group this size, obviously if a number of you

  • choose the same topic, I don't want a situation and

  • whoever-- the early bird catches the

  • worm--whoever gets the book out of Sterling has it and nobody

  • else can get to it.

  • So I have put the books on reserve for this course.

  • I know that creates other challenges,

  • because you can't take it home with you,

  • but--and it means you do need to share--

  • but it will mean that it will be there for you,

  • in the library.

  • In some instances there are second copies at the University.

  • So again, in that sense, the early bird can catch the

  • worm, if there is a second or third copy that can be checked

  • out.

  • So I do urge you, if you have a pretty good sense

  • of what it is that you may want to work on,

  • and want to pick up a book or two before you leave for Spring

  • Break, the next couple of days would

  • be the time to do that.

  • So the first topic--so under Research Paper,

  • again a straightforward research paper in which you do

  • some reading, you do some looking,

  • you think about this monument; you think about its own special

  • characteristics, as well as where it fits into

  • in the evolution of Roman architecture.

  • And one hopes, of course, that you'll do both

  • synthetic -- once you've done your reading

  • and your research, that you will present this work

  • of architecture synthetically.

  • But at the same time I hope that you will have a thesis,

  • that there will be something that you will come up with on

  • your own, a major point,

  • a major focus, that you'll want to have and

  • that you'll want to make.

  • And that you'll want to use the paper toward arguing some thesis

  • of your own-- even though,

  • for the most part, it will be a synthesis of what

  • you read, what's understood--and a

  • placement of it.

  • Since you now know Rome itself particularly well,

  • if you choose a topic of a building,

  • or a group of buildings that are outside Rome,

  • the relationship of what's going on,

  • on the periphery, to what is going on in the

  • center, and the relationship of center

  • to periphery.

  • So the first topic I give you under Research Paper is the

  • Roman city of Corinth, which is in Greece.

  • This would be a good paper topic for the classicists among

  • you; and I know there are some.

  • Anyone who's into--who's fairly well steeped in Greek culture,

  • as well as Roman culture and civilization,

  • who might want to look back at a Greek city,

  • a city that was already very built up under the Greeks,

  • as early as the Archaic Period.

  • This is a view, for example,

  • of the Greek Archaic Temple at Corinth.

  • So a Greek city, a very well developed Greek

  • city, that is eventually taken over by the Romans,

  • and the Romans remake it in the Roman manner.

  • They add typical Roman buildings to it,

  • create a kind of mini Rome, in Greece.

  • But it's interesting to see the way in which those new buildings

  • blend with those that were built there earlier.

  • I also mention here not only the Archaic Temple at Corinth,

  • but also the so-called Isthmus at Corinth.

  • You might remember, from our conversation about

  • Julius Caesar and the architecture that he built,

  • that Julius Caesar was the one who built a canal at the Isthmus

  • of Corinth.

  • And the canal that is still visible and used at Corinth

  • today-- which you see an excellent view

  • of on the left-hand side of the screen--

  • is essentially the same canal that was built initially,

  • or begun initially, by Julius Caesar.

  • So that gives you some sense of a Roman addition to the scene.

  • And I show you just one other example.

  • There are quite a number of buildings preserved from

  • Corinth, Roman buildings.

  • So one could do--for a paper like this,

  • one could do an overview of the Roman city,

  • all the pieces of the Roman city, how the urban fabric

  • worked, or you could choose one or two

  • buildings at Corinth, at Roman Corinth,

  • to concentrate on.

  • I show you, for example, a view of the remains of the

  • Roman Baths at Corinth.

  • And what's interesting about these--

  • and you can pick this out on your own already,

  • just by looking at this one view--what's interesting about

  • these is although they look back to Roman bath architecture,

  • in Italy, you can see that this bath is made entirely of

  • cut-stone construction, which is quite different from

  • either the small baths we saw at Pompeii,

  • the Stabian Baths or the Forum Baths,

  • or the later imperial baths -- the Baths of Titus,

  • for example, that we've already explored,

  • where concrete construction was used.

  • Here stone was used.

  • Why was stone used?

  • Because there was a very long tradition,

  • already begun in Greece, from the Archaic Period through

  • the Classical Period to the Hellenistic Period,

  • of using stone for architecture.

  • And the architects, in this particular part of the

  • world, because stone was so readily

  • available-- and especially marble,

  • but other kinds of stone as well--

  • so readily available, and because the architects and

  • designers in this part of the world were so skilled at carving

  • stone, it was natural for them to use

  • stone in their construction.

  • So we see that they are not seduced by concrete domes and

  • the like-- don't use concrete in their

  • architecture, which you're going to see,

  • not only today but in the future,

  • is really an Italian phenomenon.

  • Concrete is picked up very sparingly in the Roman

  • provinces.

  • Stone construction tends to be the norm, for the most part,

  • and we see that at Corinth.

  • So the whole question of building materials becomes very

  • important.

  • But one would ask oneself, if one looked at the Baths at

  • Corinth for example, what is the plan like?

  • How similar is it to the small baths that we saw at Pompeii?

  • How similar is it to the imperial bath building,

  • that we saw the symmetrical and axial--imperial bath building

  • that we saw, for example, under Titus.

  • What kinds of materials was it made of?

  • What is the layout of rooms; the men's section,

  • women's section?

  • All the obvious questions that you would want to put to this

  • particular structure.

  • Also in the eastern part of the Empire, the city of Ephesus,

  • in what was ancient Asia Minor, modern Turkey,

  • on the western coast of Turkey.

  • An extraordinary place.

  • It too had a very long history, not only historical and

  • cultural and political, but also in terms of its

  • architecture; built up already in the Greek

  • period, just as Greece itself was.

  • And one of the most famous temples at Ephesus was the

  • Temple of Artemis, at Ephesus.

  • And I show you a coin of that temple here.

  • It was renowned worldwide, and pilgrims came from all over

  • the Hellenistic and Roman world, to see it.

  • And I show you a representation on this coin of what the Temple

  • of Artemis, in Ephesus, looked like.

  • And you can see here that it had eight columns across the

  • front.

  • They were Ionic columns; at least at one point.

  • It was rebuilt over a number of years and that got changed over

  • time.

  • But we see it here, with its Ionic columns,

  • with its pedimental decoration, and with the columns spread out

  • in the center, in order to reveal the cult

  • statue of Artemis.

  • And what a statue it was.

  • I show it to you, a copy of it.

  • A very well endowed Artemis, as you can see here,

  • on the left-hand side of the screen.

  • And there are tons and tons of copies of these,

  • and this is one of those that gives us a very good sense of

  • what this cult statue of Artemis,

  • in this famous temple, looked like.

  • And you can see that she's had a very long afterlife.

  • It's very tempting to use her in all kinds of later ways.

  • And as you can see in this wonderful view of the Villa

  • d'Este, at Tivoli, in Italy--which is

  • very close to Hadrian's Villa at Tivoli--

  • a Renaissance area with lots of fountains and so on,

  • and you can see how they've taken Artemis,

  • or Diana of Ephesus, and made her into a fountain.

  • So she comes up in all kinds of later contexts,

  • as you can see.

  • With regard to the Roman city, the city of--the Roman city of

  • Ephesus is extremely well preserved.

  • It's one of the best preserved Roman cities today,

  • up there with places like Pompeii and Herculaneum.

  • But, as you can see from two buildings from Ephesus,

  • it is very different from either Pompeii or Herculaneum.

  • It is essentially a marble city, and it's another example

  • of the fact that in Greece and in Asia Minor,

  • marble construction and using the traditional language of

  • architecture, as developed by the

  • Greeks--columns and pediments and walls and the roofs that

  • they support-- remains the way of going about

  • construction.

  • And I show you here, for example,

  • the very well-preserved Arch of Augustus at Ephesus,

  • which gives you the sense of the kind of stone construction

  • that was used for that.

  • And perhaps more interesting is the shrine that I show you--

  • the shrine or the temple--that I show you here on the right,

  • which is the Temple of Hadrian, the emperor Hadrian,

  • at Ephesus, that was put up in honor of Hadrian.

  • It's a very small temple, more a shrine.

  • And what's interesting about it is again that it is made out of

  • stone; think of this in relationship

  • to the-- we haven't looked at it,

  • but I know it's a building you all know well--

  • the Pantheon in Rome, which of course is one of the

  • greatest concrete buildings the Romans produced,

  • or is the greatest concrete building the Romans produced.

  • If you compare that with its very large scale,

  • with its concrete construction, to this,

  • you get a very good sense of the difference between Rome and

  • Ephesus, in the Hadrianic period.

  • This is again a very small building.

  • You can see it's made entirely of stone.

  • It has columns, it has pilasters.

  • It is very highly decorated; in fact, almost overly ornate,

  • with that decoration almost dematerializing the

  • architectural members.

  • And you can also see a motif that we have seen before in

  • painting, but never before in built

  • architecture, and that is a straight lintel,

  • and then the arcuation of the lintel,

  • and then the straight lintel again;

  • and that is housed in a pediment, or least part of a

  • pediment.

  • We can't tell, but you can see on both sides

  • the pediment begins to rise, but it's not completed.

  • Now whether it's just broken off, or whether it was what we

  • would call a partial or broken triangular pediment,

  • we're not absolutely certain.

  • My guess is it was a broken triangular pediment.

  • So we have this arcuated lintel emerging from the broken

  • triangular pediment.

  • We're going to see that this motif of straight,

  • arcuated lintel is very popular in the Hadrianic period,

  • and even brought to Italy from these experiments in the East.

  • But again we saw this in painting.

  • We saw this in that painting that was on the midterm,

  • Cubiculum 16, for example,

  • already in paint.

  • Now we see it in built architecture.

  • But what we see in the eastern part of the Empire is the way in

  • which architects used the traditional language of Greek

  • architecture-- columns, pediments,

  • lintels--and do something entirely different with them.

  • And it's very different from built architecture in Rome,

  • of the same period.

  • Now the building that I recommend,

  • if you want to work on Ephesus -- there are other

  • possibilities, you could work on that Temple

  • of Hadrian, for example--but the one that I

  • think has the richest opportunities for an outstanding

  • paper, and an interesting paper as

  • well, and an interesting research adventure,

  • is the Library of Celsus in Ephesus.

  • You're students, you spend a lot of time,

  • I hope, in libraries, and so you have a sense of

  • Sterling and the way it works; if you're not always online,

  • instead of going to the library these days,

  • which is a temptation that even I fall into the trap of,

  • on a fairly regular basis but--using the Internet instead

  • of taking that extra step to get to the library.

  • But I really urge you, it's very important for this

  • topic.

  • You will not find--for these papers, you will not find--you

  • will find a lot of interesting things on the Internet,

  • and I really do urge you to use it.

  • But, at the same time, you will find that you really

  • do need to go to the library and get out a variety of books to

  • help you do a good job on this paper.

  • The Library of Celsus, because of your general

  • interest in libraries and because of the fact that we

  • haven't been able to talk, in this course,

  • about libraries in the ancient world,

  • the most famous of which, of course,

  • was the library at Alexandria, upon which all other ancient

  • libraries appear to have tried-- appear to have measured

  • themselves.

  • But we see lots of libraries in Rome and around Italy and around

  • the Empire; Greek and Latin libraries.

  • Libraries that are either part of private villas sometimes--

  • we'll see that at Hadrian's Villa, for example,

  • or in fora, like Trajan's Forum, which we'll look at on

  • Thursday.

  • But also large enterprises that served a city,

  • such as this one.

  • This is the Library of Celsus, in Ephesus.

  • It is called after Celsus, because Celsus--a man by the

  • name of Celsus, C-e-l--s-u-s--was the patron of

  • this particular library that bears his name.

  • He was the benefactor who wanted to splash his own name on

  • this library, the purpose of the library

  • being a library for everybody who lived in Ephesus.

  • We see a plan--these are both from Ward-Perkins--a plan,

  • and also a restored view, of the interior.

  • In the plan you see its inside.

  • It's a rectangular space with a niche, with columns in that

  • niche; columns around the perimeter of

  • the room; and then columns,

  • as well as a staircase, on the front of the structure.

  • In this restored view you get a better sense of what it would've

  • looked like inside.

  • You see that niche here.

  • You can see now that it's a two-storied niche,

  • with columns on two stories, and with a semi-dome with

  • coffers, at the top.

  • And then a series of tiers, with rectangular storage areas

  • here, with shelves, where they placed

  • those--remember, there were scrolls,

  • not books.

  • So they piled the scrolls on these shelves,

  • and then each of these rectangular areas had a wooden

  • door that would cover-- would close and keep those

  • scrolls protected, unless someone wanted to check

  • them out, or consult them, or whatever.

  • We see it also had a flat roof with a coffered ceiling.

  • Now what's also very interesting about this library,

  • and essentially unique, is that Celsus not only wanted

  • to give this as a benefaction to his city,

  • for the public good, he decided he also wanted it to

  • serve as his tomb.

  • Now I've told you that people made strange choices

  • vis-à-vis their last resting places,

  • and Celsus decided that he wanted to be buried in his

  • library.

  • So he provided--beneath that central niche there was a burial

  • chamber, and he was indeed buried in his library.

  • So this is not only a library, it's also a tomb,

  • which again makes it a particularly interesting topic,

  • I believe.

  • It had fallen, the building had fallen down,

  • and about in the 1970s it was still on the ground,

  • in bits and pieces.

  • In more recent decades they have taken those pieces--

  • there were tons of them, hundreds and hundreds of

  • pieces-- and the authorities,

  • the archaeological authorities, have put this building back

  • together.

  • But they've put it back together with its own

  • architectural members and so on.

  • And this is what you see today, if you go to Ephesus.

  • It's an extraordinary structure.

  • You can see that it's entirely made out of marble.

  • This is the façade of the Library of Celsus;

  • it's entirely made out of marble.

  • We can see that it is two-tiered, with columns

  • supporting straight lintels, down below, and then in the

  • upper tier a combination of arched--

  • of arcuated pediments and rectangular pediments up above,

  • to give it some variety.

  • And you'll also see something very interesting here,

  • which is although the architect has used the traditional

  • language of Greek architecture-- columns and pediments and the

  • like, which is very traditional,

  • when you compare it to the sorts of concrete buildings

  • going up Rome-- but at the same time has

  • injected motion into this façade,

  • by having a series of projecting bays,

  • receding bays, projecting bay,

  • receding bay, creating a kind of undulating

  • in-and-out effect, across the façade.

  • And then has done something quite interesting,

  • which is to place the columns in the second tier,

  • not immediately above those in the lower tier,

  • but straddling the spaces in between them,

  • above the receding bays rather than the projecting bays,

  • which injects still more motion into the upper part of the

  • structure, in contrast to the lower part.

  • And you can see also the--again marble construction here,

  • variegated marble used for the columns;

  • so very much a marble building.

  • And marble, very high quality marble was more readily

  • accessible in Greece and in Asia Minor than anywhere else in the

  • Roman world.

  • This is another wonderful view.

  • We're standing below, looking up from the first tier

  • to the second tier of the Library of Celsus.

  • And as you look at this, you probably are thinking:

  • "Hey, architectural cages at the top

  • of Fourth Style Roman wall painting."

  • We've seen this before, but only in painting.

  • We haven't seen anything like it.

  • The closest we got is our look at the Forum Transitorium,

  • or the Forum of Nerva, in Rome, where I showed you

  • those columns that project out of the wall,

  • and have projecting entablatures,

  • and that kind of in-and-out effect.

  • I said that was the first example in Rome of what we might

  • call the "baroque" trend in Roman architecture,

  • where this motion is injected into the façade.

  • But we see this very naturally in Asia Minor,

  • over and over again.

  • We see it here.

  • So an example of something in built architecture that we've

  • seen earlier in painted architecture,

  • and which is going to have--as we'll see,

  • I have an entire lecture on the baroque architecture of Roman

  • antiquity, where we look at a series of

  • buildings around the provinces that all make use of traditional

  • vocabulary, but use it in a very vibrant

  • way, as you can see here.

  • And then there are, as you probably already

  • noticed, statues that are placed in the niches on the

  • façade; in this case of two women.

  • The interesting question, for anyone working on it,

  • who are these?

  • Their names are given, or they have inscriptions down

  • below, identification, in Greek.

  • And you can also see, with these details,

  • how elaborate these were, how they,

  • just like in the shrine, in the Temple of Hadrian,

  • in Ephesus, the use of decoration covers almost every

  • available space and helps to not only decorate or ornament,

  • but dematerialize the architecture elements.

  • Something again we saw in painting, Third Style Roman

  • painting.

  • Here we see it--and on the Ara Pacis;

  • so we have seen it in architecture--here we see it in

  • architecture in the Western Empire.

  • Another very interesting city, and issue, is in the Roman City

  • of Gerasa, or Jerash, in what is today Jordan.

  • I show you--we will look at a couple of buildings in Jordan,

  • later in the term, but not at this particular one.

  • I show you a plan of what the Roman City of Jerash looked

  • like, and where the Roman buildings were located.

  • You can pick out all the obvious components of a

  • miniature Rome.

  • You see a hippodrome, for example,

  • over here, with its hairpin shape.

  • There was an Arch of Hadrian over here.

  • There were two theaters, the North Theater over here,

  • and there's another theater somewhere there,

  • the South Theater, up there.

  • And you can see that they conform to the shape of a

  • typical Roman theater.

  • You also see there was a temple to Artemis here as well.

  • There are a couple of tetrapylons.

  • We haven't seen tetrapylons in Rome, and in fact the Romans

  • didn't build tetrapylons in the city.

  • A tetrapylon is a four-sided arch that is made specifically

  • to span two streets, so that you can go through the

  • arch.

  • And the arch is right over the intersection of those two

  • streets, so that you can drive your

  • cart, or walk, right through the arch on

  • either street, either of the two streets.

  • These tetrapylons were very popular in the eastern part of

  • the Empire.

  • We'll see a number--we'll see a couple of them today,

  • and others in the course of the term, and you see that here.

  • And for anybody interested, both in Jerash and in

  • tetrapylons, I recommend--I'm not going over

  • the specific references here, but if you don't--you probably

  • didn't bring this today, but on the web portal you will

  • find bibliography for each one of these topics,

  • and again, as I mentioned, most of these are on reserve

  • for the course.

  • I recommend, in particular,

  • the book by William MacDonald, called The Architecture of

  • the Roman Empire, Volume 2,

  • in which he focuses specifically--

  • anyone working on one of the cities in the East,

  • the eastern provinces, will find this book very

  • valuable.

  • Because he, in very poetic language,

  • he is able to conjure up the way in which these cities were

  • planned, the way in which these

  • buildings interacted with the streets of the city,

  • and the kind of vistas and visual kind of views that were

  • carefully orchestrated by the designers of these cities,

  • as well as the ways in which they wanted to move people

  • around those cities.

  • I think you'll find that book particularly valuable.

  • Let me just go back for a moment.

  • I just want to show you that plan one more time,

  • because eventually I am going to show you the Forum of Gerasa,

  • which you see is located right over here,

  • and the shape of that forum is particularly interesting,

  • as we shall see.

  • Just a couple of buildings from Gerasa.

  • On the left-hand side of the screen, the Arch of Hadrian,

  • which you can see, once again, stone construction

  • here; with large projecting columns;

  • niches on the second story; contrast between larger order

  • and smaller order.

  • Here we again see projecting columns with projecting

  • entablature, but then a pediment that is recessed.

  • So again, this playing around with the traditional language of

  • architecture, in a way the Greeks themselves

  • would not have done.

  • Same happens up here.

  • You have tall projecting columns with a triangular

  • pediment, but a triangular pediment that

  • is made up of projecting wings on either side,

  • and then the central part of the pediment is placed in depth.

  • Here a view of the fountain, or the nymphaeum,

  • of the city of Gerasa, where you can see again the

  • use-- just as the Library of

  • Celsus--the use of columns, in this case sets of columns

  • that are placed one on top of the other,

  • in two tiers.

  • There would've been a columnar display here,

  • probably--certainly also in two stories, on the interior of this

  • building.

  • Now this is the part of Gerasa that I think is most

  • interesting, and that is that it has an oval forum;

  • an oval forum, a forum in an oval shape.

  • Now we've seen ovals before, for amphitheater architecture,

  • the elliptical plan of an amphitheater,

  • but we have not seen--and we've seen octagonal rooms,

  • and we've seen round rooms--but we have not seen the Romans in

  • Italy use the oval for anything other than amphitheater

  • architecture.

  • And yet we see here this wonderful forum in Gerasa that

  • consists of an oval, which is defined essentially by

  • a series of columns on a curve.

  • So placing of columns, placing of the traditional

  • language of Greek architecture along a curve,

  • which we've seen before.

  • We saw that at Palestrina, for example,

  • but we see it here, with this oval shape.

  • And the other thing that you see in this view,

  • that is so interesting, is the fact that many--

  • most of the streets in the cities in the eastern provinces

  • are colonnaded streets, are streets that have columns

  • all along them.

  • We never, ever see this in Italy.

  • There is no ancient Roman town in Italy that has a colonnaded

  • street.

  • So we begin to see these interesting differences between

  • Rome and the provinces.

  • Why is this?

  • It's interesting to ask ourselves why this might be.

  • I think again it probably has to do with the fact that there

  • was a long tradition, in Greece and in Asia Minor,

  • for Greek architecture: Greek architecture made out of

  • stone, using columns,

  • for the most part.

  • And that was something that they were used to.

  • They liked it, and they continued it on.

  • But they began to do it in a different way.

  • The Greeks would never have built an oval meeting or

  • marketplace, but here we see the oval.

  • So this combination of the idea of the oval,

  • probably from amphitheater architecture,

  • combined with the traditional language,

  • the traditional vocabulary, of Greek marble architecture.

  • Another extraordinary site is the site of Palmyra,

  • which is in--P-a-l-m-y-r-a--which is in

  • modern Syria.

  • And I show you a view of the ancient remains of Palmyra,

  • as they look today.

  • And you can immediately see that Palmyra,

  • just like Gerasa, has colonnaded streets.

  • Here's the street.

  • You can see all of the columns along it,

  • as well as a series of large buildings that are part of the

  • Roman structures that were added to the city of Palmyra,

  • in Roman times.

  • Here's an example of one.

  • This is a stone arch at Palmyra, and you can see that

  • the stone arch has been made part of that colonnaded street.

  • And the columns that lead up to it create a very interesting

  • vista toward the arch.

  • And then you can see--this is very interesting,

  • we also see this quite commonly in the eastern part of the

  • Empire-- not only do they have columns,

  • but they place brackets on those columns,

  • that project out from them, and those brackets were meant

  • to hold honorific statuary: so statues of some of the

  • famous people of the city, or magistrates or whatever,

  • of the city of Roman Palmyra.

  • I mentioned a tetrapylon, a four-sided arch that would

  • span two streets.

  • We see one of those here, a very well-preserved

  • tetrapylon, in Palmyra.

  • And you see that once again they've used the traditional

  • language of architecture: made out of stone,

  • with columns supporting straight lintels,

  • that serve--and placed on stone bases,

  • as you can see here--that serve as the four sides of that

  • tetrapylon.

  • There would've been some roof on top of this,

  • of some sort; or maybe not,

  • I've forgotten whether that was the--

  • I've forgotten what people think about this particular

  • arch, whether there was--some of them

  • have roofs and some of them do not.

  • I don't actually recall what the case is with this one.

  • But it gives you again a very good idea of this tetrapylon

  • arch that was so popular in the eastern part of the Empire.

  • But the building again in Palmyra,

  • that I think is by far the most intriguing,

  • and makes a perfect paper topic--because one can try to

  • decode which aspects of this are Roman and which aspects of this

  • are local, and that's essentially the name

  • of the game when you try-- when you go out into the Roman

  • provinces, to try to determine what it is;

  • in what ways has what's going on in the capital had impact on

  • what's happening in the provinces,

  • and what local traditions are so strong that they continue to

  • exist, and even resurface,

  • in some of these buildings?

  • It's usually a coming together of both of those elements--

  • elements from Rome and local elements--

  • and the way in which those co-exist and end up creating an

  • entirely different architectural phenomenon;

  • which is what we see in this building here.

  • This is called the Temple of Bel, B-e-l, at Palmyra,

  • again in modern Syria.

  • And you say to yourself, "Well who is Bel?"

  • Well Bel is a god, and that tells you something

  • already.

  • Bel is a local god.

  • So this is not a temple to Jupiter or to Jupiter,

  • Juno, and Minerva.

  • This is a temple to Bel.

  • So that already tells us something about this structure,

  • as it goes up in Rome, that they are--

  • as it goes up in Palmyra, during Roman times,

  • that they are interested in commemorating and honoring a

  • local god.

  • If we look at the plan--and maybe you can help me here with

  • this-- if we look at the plan,

  • and we think back to what we know of typical Greek,

  • Etruscan, and Roman temple architecture,

  • we should be struck by this plan.

  • What is it that strikes us?

  • What elements strike us about this particular plan?

  • Anyone? Yes?

  • Student: The porch goes all the way around.

  • Prof: The porch, the staircase?

  • The podium you mean?

  • The podium.

  • Student: The podium.

  • Prof: The podium.

  • The podium goes all the way around,

  • and the columns go all the way around,

  • and--you can see in this restored view--

  • the staircase goes all the way around.

  • So the podium, the staircase and the

  • columns--which are freestanding, as you can see here--go all the

  • way around.

  • So that is characteristic of what kind of temple

  • architecture?

  • Greek: Greek temple architecture.

  • However, what else do we see that's curious?

  • This is not entirely a Greek temple type, it's--yes?

  • Student: The side entrance into the

  • >

  • Prof: The cella.

  • Student: The cella.

  • Prof: The cella is here.

  • We have a single cella.

  • We have a staircase, an additional staircase,

  • on one side, which leads into the cella,

  • from the side; not from the end,

  • as we usually see.

  • You usually enter from one end, one short end,

  • and you have the apse, or the place where the god's

  • statue was kept, on the other side.

  • But here we see a staircase that's placed in the center--

  • and it isn't even quite in the center,

  • it's actually slightly off-center--on one of the long

  • sides of the temple, which we have never seen before.

  • So we have this interesting location of the other staircase,

  • but also this combination of a staircase that goes all the way

  • around, in the Greek manner,

  • but then a kind of façade-orientation,

  • by the placement of an additional staircase on one side

  • of the monument.

  • So a very schizophrenic building, in that regard.

  • And the list goes on and on.

  • Let's look at the restored view.

  • What do we see here that's curious?

  • Anyone?

  • We have tall columns, with capitals.

  • Look at the doorway.

  • Can you see?

  • I don't know how clear it is to you, from where you sit.

  • What's happening above the doorway?

  • We have additional--we have the upper part of the column and the

  • capital, truncated, placed on top of the doorway.

  • That's strange.

  • How are we meant to read that exactly?

  • We've never seen that before.

  • And look at the top.

  • We have crenulations on the top of the monument.

  • And at the very top we have some kind of a deck up there,

  • that may have been used for something having to do with the

  • worship of Bel.

  • So one asks--so we see this interesting combination of the

  • influence of Greek temple architecture,

  • Roman temple architecture, and local practice.

  • And so one would want to ask oneself,

  • or one would try to find out what one could,

  • about the worship of Bel, and about whether there were

  • any earlier temples of Bel here, and whether any of these

  • features have to do with local practice.

  • The building still stands, or part of it,

  • and you can see it here.

  • Here you see that doorway that we were looking at just before,

  • some of the columns, and you can see the kind of

  • very nice honey-colored stone, out of which the Temple of Bel

  • was made.

  • Another terrific topic--and for anybody who lives on the West

  • Coast and is going home to the LA area for break.

  • You probably have already been to the Getty Museum.

  • You can go again.

  • But if you have never been, it's an extraordinary--this

  • would be a perfect time to go.

  • The Villa of the Papyri in Herculaneum,

  • a villa comparable to some of the villas that we've looked at

  • this semester, whether it's Boscotrecase,

  • or the Villa Jovis on Capri, a very important villa in

  • Campania, of the early Roman period.

  • The Villa of the Papyri is so-called because of papyrus

  • fragments that were found there.

  • The owner of this particular villa had his own library--we're

  • back to libraries again.

  • And by the way, on the bibliography,

  • there's a particularly good book by Lionel Casson,

  • C-a-s-s-o-n, on the libraries of the ancient

  • world, that anybody who works either

  • on Ephesus or this will probably want to take a look at.

  • He has his own library here, and there were scrolls from

  • that library, especially from one specific

  • author, that were found there,

  • and it is because of those papyrus fragments that the villa

  • got its name, the Villa of the Papyri,

  • in Herculaneum.

  • The excavations--excavations were done some time ago of this

  • villa.

  • A plan was drawn of the villa at that particular time,

  • but the excavators found that noxious gasses were starting to

  • be emitted from the ground, and there was a great--it was a

  • health hazard.

  • And so after they unearthed it, after they drew it,

  • they covered it back over again.

  • And it's only been in very recent years that excavation has

  • again begun on the site.

  • And I show you a couple of views of the excavation that is

  • currently underway, that is once again revealing

  • some of the original walls, as well as some of the stucco

  • and paintings of the original villa.

  • Now what's particularly interesting,

  • and where the Getty Museum comes in,

  • is John Paul Getty, when he designed his villa at

  • Malibu-- which serves,

  • of course, as a museum of antiquities--

  • when he was building that, he used the Villa of the Papyri

  • as a model, and I mean as an exact model,

  • he really duplicated quite precisely the Villa of the

  • Papyri.

  • This is the plan of the Villa of the Papyri,

  • as it was drawn, when it was originally

  • excavated.

  • And you can see--I guess of the structures we looked at,

  • it's probably most like the House of Loreius Tibertinus,

  • where you'll remember there's a small amount of space given to

  • the house on two stories, and most of it given to a large

  • garden.

  • We see the same idea here, where we have--

  • and you can see it better over here--

  • where we have one area around a court,

  • that has living spaces on the second story,

  • and then the rest of the villa is taken up,

  • in this case, by a huge, hugely long pool,

  • that has statuary and the like around it.

  • Now John Paul Getty decided again to use this Villa of

  • Papyri as the model for the Getty Villa.

  • And this is actually the Getty Villa that you're looking at

  • here, from the air: a painting of the Getty Villa

  • that you see from the air here.

  • And you can see that it is almost exactly the same,

  • in plan, as the actual Villa of the Papyri.

  • So going to the Getty Villa--and this is,

  • of course, a view of that long pool at the Getty Villa--

  • going to the Getty Villa is like going back in time,

  • to the Villa of the Papyri.

  • And I know a lot of people think this is sort of Disneyland

  • in Malibu, a Roman version of Disneyland.

  • Yes, to a certain extent.

  • But the truth of the matter is you will get a better sense of

  • what a Roman villa looked like, in Roman antiquity,

  • from going and looking at the Getty Villa than you will get

  • from going and looking at the Villa of the Mysteries at

  • Pompeii -- only because they have

  • restored, and because it is in such good condition and because

  • they have added to it-- the kind of plants that would

  • have been used there.

  • The paintings are in good shape.

  • They've placed statuary, actual copies of the ancient

  • statuary that would have been at the Villa of the Papyri;

  • because hundreds of statues from the Villa of the Papyri

  • have survived, and they have--you can see them

  • all at the Getty.

  • I'm going to show you a few views of this,

  • because I think it's such an interesting topic.

  • I think one could write a very interesting paper on the

  • original villa, as seen through the eyes of the

  • Getty Museum.

  • For those of you who have either been there,

  • or have not been--or have never been there, just a few views.

  • The entranceway into the villa today;

  • one of the ramps.

  • They have just--if you saw this a few years ago and haven't been

  • back, they have made some additions

  • in the last several years, including their version of a

  • theater-- and you can see it here--an

  • ancient theater, which you can see here,

  • with the cavea and with the cunei,

  • or wedge-shaped sections of seats.

  • Two very good restaurants, up above.

  • And then this is a view, standing up on the top of the

  • cavea, looking down toward the

  • orchestra, toward the stage building,

  • which is of course part of the Getty Villa itself.

  • And you see also that it's very accurate--

  • it looks a little too new--but it's very accurate,

  • in that they have even used here the typical columns with

  • the white top and the red bottom,

  • that we saw so characteristic of architecture in Pompeii,

  • and also in Herculaneum.

  • A view of another pool, with some famous copies of some

  • famous bronze dancers from Herculaneum;

  • I'll show you the originals in a moment.

  • This is the Getty's version of First Style Roman wall painting,

  • along the walls, as you can see here.

  • It's not quite the same, but nonetheless it conjures up

  • what one of these walls would've looked like, if you had it all

  • the way along your corridor.

  • And they have Second Style Roman wall painting as well,

  • and these of course based--they looked mostly at the villa,

  • but when it came to the paintings, they certainly used

  • other models.

  • And if you walk around the villa you'll able to say:

  • "Oh yes, that comes from the--".

  • This is a very Ara Pacis like motif, with the garland and the

  • columns and so on here -- so Second Style wall painting,

  • in these particular cases.

  • Here's another example of Second Style wall painting at

  • the Getty, where they have wonderfully

  • incorporated the door and two of the windows,

  • into this Second Style scheme, as you can see here.

  • And here we're dealing with an atrium,

  • in the Getty Museum, which is based,

  • I think, on a building that I'm sure you all know and learned

  • for the exam, which is which house,

  • the atrium of which house?

  • Which?

  • Student: The Vettii.

  • Prof: Vettii, do you think Vettii?

  • What about this second story up here?

  • Student: Samnite.

  • Prof: Samnite, Samnite; the Samnite House,

  • with its second story in the loggia, and then with its

  • impluvium and its compluvium.

  • This is really good stuff.

  • And then here, here you see a view of one of

  • the pools, looking back through the doors.

  • They would've had the wooden door jambs.

  • We saw those in Herculaneum, preserved.

  • Through that, to the pool,

  • with the dancing women.

  • And then at the very end you see a fountain that is based

  • exactly on the large fountain--I showed it to you earlier this

  • term--at Pompeii.

  • And here this whole concept of vista,

  • panorama, from one part of the house to another,

  • taking advantage of light streaming through the

  • compluvium, onto the pool,

  • reflections in that pool, statuary.

  • This really conjures up, as I said, better than anything

  • I can show you, what an ancient Roman villa

  • actually looked like.

  • There are rooms like this at the Getty,

  • with marble incrustation, that is very much like both

  • marble incrustation we've seen, and also like First Style Roman

  • wall painting.

  • Areas like this, where you can see again columns

  • surrounding a garden, with rooms on the second story;

  • paintings, First Style paintings on the wall;

  • statuary in the center.

  • And all of this, again, based on the actual

  • statuary that was found; a great--a huge collection of

  • statues that this particular owner had,

  • that are now on view in the Archaeological Museum in Naples,

  • were copied for this here.

  • And then just another view showing that they too,

  • at the Getty Villa at Malibu, were very cognizant of the

  • siting of the structure, placing it on a cliff,

  • so that you can have a beautiful panorama down from

  • there: very much in line with the way the Romans sited their

  • buildings.

  • And then just quickly, just to give you a sense of how

  • compelling some of the sculpture is from here.

  • These are the originals.

  • This is the head of an original athlete or gladiatorial figure

  • from Herculaneum.

  • You can see how vivid it is, especially--it's done in

  • bronze--but especially with the inlaid eyes, that were customary

  • for statues of this type.

  • This has got to be the best hair in Roman Art.

  • I love this one.

  • It's a fantastically dramatic photo of this particular head

  • that also comes from the Villa of the Papyri.

  • And here are dancing ladies.

  • These are the original versions of the dancing women that would

  • have surrounded a pool in the actual villa at Herculaneum,

  • extremely well preserved, and in every possible posture,

  • as you can see here.

  • If villa architecture is your thing,

  • but you're not interested in the Getty or in Herculaneum,

  • but are an Anglophile and want to do something in England,

  • I've got two topics, two British topics.

  • We're not going to look at Roman Art in Britain.

  • So for any of you who are particularly interested in art

  • in the British Isles, this might be a good topic for

  • you.

  • I have both a villa and a bath.

  • This is the Roman Villa at Fishbourne, in Sussex,

  • England.

  • It's a model of what that villa would've looked like.

  • And you can see that it has a lot in common with the Templum

  • Pacis in Rome, with its great rectangular

  • space and one of the buildings pushed back against it.

  • But one of the questions one would ask for this,

  • as for any buildings that were done somewhere other than Rome:

  • What is based, and how close is this to what's

  • going on in Rome, contemporaneously?

  • And what is different?

  • What has to do with local practice?

  • If one visits the Fishbourne Villa today, you can still see

  • the mosaic floors that are well preserved here.

  • And you can also--here's a detail of one of them,

  • which is touted as the oldest to be seen,

  • the earliest to be seen anywhere in Britain,

  • as you can see from the label.

  • And you can even see at the Fishbourne Villa,

  • for example, a private bath,

  • with the hypocaust.

  • So clearly the impact of Rome is clear here.

  • And they even have such elements preserved as these roof

  • tiles that you can see here, on the right-hand side.

  • Another British topic is the Roman Bath at Bath,

  • Aquae Sulis, now in Avon,

  • England.

  • This is a view of the magnificent city of Bath itself,

  • as it looks today.

  • And here's a view of part of what is preserved of the Roman

  • Bath at Bath; the water as green as the

  • Tiber, as you can see in this view.

  • But this is part of the bath structure,

  • and again what one would ask oneself is--

  • and there are, there's enough there,

  • that plans of what this bath would've looked like exist--

  • and one would ask oneself, "What is this--

  • how does this compare to baths that we saw in Italy?

  • What is it--how does it compare to the bath at Pompeii,

  • the Forum Baths or the Stabian Baths, to the imperial bath

  • architecture of Titus?

  • Are there similar kinds of rooms?

  • What is the construction technique?

  • Who was this used for?

  • Who did this belong to?

  • Who put this up?

  • And what part did it play in the social and cultural

  • environment of the city of Aquae Sulis in ancient Roman times?

  • Another view of that, where you can see some of the

  • stone construction.

  • And then, once again, a very well-preserved hypocaust

  • at the bath at Bath, as well as a very interesting

  • brick arch, that you can see here.

  • So the whole question of technology.

  • What kind of technology is used in buildings like this is an

  • intriguing question.

  • Another great topic, if you want to make your way to

  • the Middle East, to Masada.

  • This is the famous cliff at Masada.

  • I don't know how many of you have climbed.

  • How many of you have climbed Masada?

  • Anyone climbed Masada?

  • A couple of you.

  • Did you go on the Snake Path?

  • Students: Yes.

  • Prof: See you're so--I didn't go on the--and I was

  • there a long time ago.

  • So I should've gone on the Snake Path, but I didn't.

  • I went on the cable car.

  • So here--this is what you do when you go and you take the

  • easy way out.

  • You take the cable car up.

  • But you can get some good pictures of other cable cars,

  • as well as of the mountain, as you make your way.

  • But the thing to do is definitely to take the Snake

  • Path up to the top of the peak of Masada, which is steeped in

  • history, as we know.

  • The particular aspect that would be at issue here would be

  • to look at the Herod's Palace, the great Herod,

  • about whom much is known -- a very interesting historical

  • character, who was around in the first

  • century B.C., the time of Julius Caesar and

  • Cleopatra and so on.

  • His palace at Masada, which was built on the top of

  • the peak, is particularly interesting.

  • Given its date, it's roughly contemporary to

  • the sorts of things we saw going on in Italy,

  • at Palestrina, and at Tivoli the placement

  • of-- well in that case,

  • the pouring of concrete on a tiered hillside;

  • in this case use of different materials, as you can see here.

  • But two views of what the Palace of Herod on Masada would

  • have looked like.

  • Again, a tiered structure, multi-tiered structure,

  • roughly three tiers.

  • So the question here is, what did he have in mind?

  • Why did he put it here?

  • Why did he choose to represent it as a kind of cascading

  • structure, from top to bottom?

  • How does it compare to Palestrina and Tivoli?

  • What is it made of; is it made of concrete or is it

  • made of something else?

  • And why in each instance?

  • What kind of architectural elements are used in this

  • particular case?

  • And if I show you a couple of details,

  • you will see that Rome is not too far away,

  • in the sense that once again we see a hypocaust system being

  • used to heat the floor of this particular room,

  • in Herod's Palace.

  • Was this a bath or was this something else?

  • Remember, we saw the hypocaust also used to heat the floor of

  • Domitian's dining room, in his palace,

  • in Rome.

  • And then over here, look--wall painting:

  • very similar to what we see in Italy, at roughly the same time.

  • This is again B.C., so we're talking about First

  • and especially Second Style Roman wall painting,

  • or the transition between First and Second Style Roman wall

  • painting.

  • Tombs, we've seen tombs are particularly interesting as a

  • topic, because they're so varied,

  • and have so much to do with the particular patrons who

  • commissioned them.

  • I showed you fleetingly the two tomb streets at Pompeii,

  • the Via dei Sepolcri and the Via Nucera,

  • and I told you that we would concentrate instead on tombs in

  • Rome.

  • But they make a very interesting paper topic,

  • for someone who'd like to think further about Pompeii,

  • and to think about the variety of tomb architecture in Pompeii.

  • That varies from house--tombs that look like houses,

  • to tombs that have columns in the second story,

  • with statues interspersed among them,

  • to tombs that again have a niche in the center,

  • with statuary--unfortunately headless here--

  • but preserved inscriptions.

  • So if you want to get into who these people were,

  • what we know about them, a kind of cultural study,

  • you could do that.

  • And this is my favorite tomb on the Via Nucera in Pompeii,

  • because it should remind you of something we saw earlier when we

  • looked at Roman tomb architecture.

  • What was that?

  • Student: Columbarium.

  • Prof: The columbarium, the columbarium,

  • the Vigna Codini.

  • But you'll remember that scheme of placing niches on a wall was

  • for subterranean tomb architecture in Rome.

  • And here we see--it's just a great idea.

  • They took the idea of the columbarium and they slapped it

  • on the front, on the façade of a tomb.

  • So you see two tiers here of niches.

  • Same kind of portraits that we saw, or urns that we saw,

  • in the Vigna Codini columbarium, brought above

  • ground.

  • Same kind of inscriptions in front of each of them,

  • and made into the façade,

  • this very interesting façade of a tomb,

  • on the Via Nucera in Pompeii.

  • Residential architecture in the Roman provinces.

  • The houses in France at a place called Vaison-la-Romaine;

  • Vasio Vocontiorum in antiquity.

  • The French tout this as the French Pompeii.

  • It is far from the French Pompeii, unfortunately,

  • because it doesn't have all of those public buildings.

  • It doesn't have an amphitheater or a theater or an odeon or a so

  • on and so forth.

  • But it does have some interesting houses.

  • The houses are not as well preserved as those in Pompeii.

  • But it's interesting to look at them.

  • This is a model of one of them, showing the same sort of

  • elements that we've seen in Italy: the peristyle--

  • this is the Hellenized domus type--

  • the peristyle court over here.

  • The compluvium of the atrium over here.

  • So it gives you--and then down on this end, a colonnade with a

  • pool in front of it.

  • So very similar to the kinds of things that we saw in Pompeii.

  • This is a view of some of the ancient houses,

  • as they look today, and as they make up part of the

  • modern town that surrounds them, in Vaison-la-Romaine.

  • You can see that they're not--they're preserved,

  • only the foundations essentially are preserved.

  • But enough of them are to give us a very good sense of the

  • plans, the architectural plans of these.

  • And it can be interesting to look at these in connection to

  • what we have from Pompeii, and to see how they stack up,

  • and to whether they are different in any way,

  • because of the fact that they were put up in what was ancient

  • Gaul and not in Italy.

  • And here a view of one of the peristyle courts of one of

  • those, as well as a mosaic.

  • And if you look at what remains of the wall painting,

  • you can see that that is completely consistent with

  • what's going on in Italy at the same time.

  • Option 2 I'm not going to go into in any detail,

  • but you'll see when you look on the website for Option 2;

  • that that's called "Select a Building, Select a

  • Theme."

  • If there is nothing here that you liked,

  • but you do want to do a research paper,

  • and there is some building that you've seen on your travels,

  • that we haven't talked about in this course,

  • or even a building that we have talked about in this course,

  • but talked about in a few minutes time,

  • that you would like to write a paper on,

  • for some reason, you may do that;

  • and you would do it in the same way that you do the first one.

  • It would be a research paper.

  • You'd do--you will need to get permission from me,

  • for which one you choose.

  • You can do this either directly to me, by email,

  • or via the teaching fellows; you can go to them and they

  • will likely be able to be my surrogate, if the idea is good.

  • And if they have any concerns, they will let me know and we'll

  • talk about it, and we'll let you know.

  • It would only be--the reason I want you to come to us is just

  • because if we think that there's absolutely no--

  • there's nothing to read on it, it's going to be very hard for

  • you to do, we want to alert you to that.

  • We want to make sure you choose something where there's a lot to

  • think about and a lot to do that will be a fruitful experience

  • for you.

  • So that's Option 2.

  • And then Option 3 is by far--oh, I forgot one,

  • I'm sorry.

  • Very quickly, the last topic under Number 1,

  • the Tower Tombs at Palmyra; we already talked about Palmyra

  • in Syria.

  • You see that these tombs here are very distinctive,

  • these tall tower-like tombs, which is why they're called

  • tower tombs.

  • Here's one of them here, made out of local stone,

  • very stark, usually with a niche in the center,

  • that sometimes has a representation of a deceased

  • member of the family lying on a bed.

  • And here the interior of one of these: very ornate;

  • a coffered ceiling with paintings, with portrait

  • paintings in the top; and then a series of niches

  • where you see either single portraits or group portraits of

  • members of the same family, sort of like what we saw on the

  • outside of tombs on the Via Appia,

  • in this case on the inside of tombs.

  • This would be an interesting topic for someone who would also

  • like to use, to go actually look at

  • something at the Yale Art Gallery,

  • because we have some of the portraits that come from these

  • Palmyrene tombs in the Yale Art Gallery.

  • I show you one example of one of those here.

  • The last topic, my favorite by far,

  • and I really urge--this is a tremendous amount of fun--

  • so I really urge as many of you as possible,

  • who would like to be truly creative,

  • to choose this topic.

  • It's "Design Your Own Roman City."

  • You're an architect, city planner,

  • you're competing for the major commission of your lifetime.

  • I'll let you read the rest of that on the website.

  • A colony of 10,000 people.

  • You can build this anywhere in the Roman world that you want.

  • So if there's a particular place you've enjoyed vacationing

  • and you want to put it there, because you know that place

  • well, that's fine.

  • And you can almost do anything that you want to do.

  • You can be as creative and zany as you want to be,

  • as you do this.

  • The only thing that I ask--and you do need to do a paper along

  • with this as well, which is a paper that you'll

  • see from the-- so there need to be drawings,

  • which are either hand drawn or computer generated.

  • That would usually include the city plan itself--although it

  • doesn't have to--and a selection of buildings.

  • So it's going to take you some time to do.

  • Obviously if you're skilled at drawing, or you're an

  • Architecture major, you're going to be able to do

  • this more readily than someone else.

  • But I just want to urge those who don't--we had one project

  • basically with stick figures one time that was really fantastic.

  • So even if your drawing skills are not great,

  • it's the ideas.

  • Will we be impressed by great drawings?

  • You bet we will.

  • But I don't want to discourage anyone for whom drawing is not

  • your forte, because I think it's really the

  • ideas that count, the creativity that counts here.

  • But you can choose any location--oh,

  • I mentioned that there's a paper that has to describe the

  • colony, the reason for its

  • construction, giving its name--

  • and again, be very creative here--its date,

  • its location: Italy or the provinces.

  • You can pretty much put anything you want in these

  • cities, but in that paper you have to explain why.

  • For example, if you were to build a town in

  • Asia Minor, and it were to be filled with

  • concrete buildings-- which none of these towns

  • were--you have to explain why this particular town is filled

  • with concrete buildings.

  • And you can come up with as crazy an explanation of that as

  • possible; in fact, the crazier the better.

  • But you need to explain something like that,

  • so that we understand that you know there was no concrete

  • architecture in this part of the world,

  • but this particular town is special because of the following

  • reasons.

  • So I think you can see how your creative juices can flow.

  • I just want to show you very quickly,

  • in the few, five or six minutes that remain,

  • a series of these that were done by students over time,

  • just to serve as a--I hope they won't be intimidating--

  • but rather to serve as an inspiration.

  • There are a couple of them along the way that were done by

  • students of Architecture, that are particularly good in

  • terms of the drawings.

  • But others you'll see are quite simple, and I want to show you

  • to not be intimidated by this particular topic.

  • This is a wonderful city that someone created on a harbor.

  • You can see the docks.

  • You can also see the Port Authority that has been added

  • here, as well as the warehouses.

  • There's some misspellings, like cenaculae over

  • here; Livian Baths,

  • I guess after Livia.

  • But look at this wonderful forum where we have a temple

  • pushed up against one of the back walls.

  • For some reason there's a tetrapylon in the middle of the

  • forum, which kind of works for this street, but I'm not exactly

  • sure where it goes, here;

  • but it's an interesting motif.

  • And then this market, this sort of interesting

  • circular market that kind of projects on one side,

  • creating a very interesting shape;

  • gives you some idea.

  • And a very regular plan, as you can see for this

  • particular city.

  • This was done by a graduate student actually,

  • in the Architecture School; very extraordinary drawings,

  • and it was a huge plan.

  • But just to show you again how creative it was,

  • the City of Ultorium, after Mars Ultor,

  • of course.

  • And you can see some wonderful motifs, and all of them

  • identified here.

  • This large temple, a tetrapylon,

  • there's always a fascination with tetrapylons in this

  • project; some other structures over

  • here, including a marketplace at 7.

  • But I love, at 6, the curia; you never see a round curia,

  • but this is a round curia, which is absolutely terrific,

  • opening off the basilica, which you see over here,

  • which is very closely based on basilican architecture of the

  • Trajanic Period, and into the Severan period.

  • Some interesting wedge shaped shops over here.

  • So again, it gives you some sense of what's possible.

  • This, not by an Architecture student, but another one of

  • these port cities that has--I love this--the sunken theater;

  • you can see the sunken theater that goes right into the sea,

  • over here, on this side, but as well as the port.

  • You can see this was a Flavian--so again,

  • you got to decide where you want to put it,

  • which period--the Flavian period, so a Flavian port city.

  • This, another one, also I think from that same

  • project, where you can see the Flavian basilica;

  • a Capitolium with a Temple to Jupiter, Juno,

  • and Minerva.

  • And then Titus is honored over here, with his statue,

  • and a couple of victory statues, one on either side.

  • Again, I think from the same project,

  • this is the city itself, where you can see it has an

  • amphitheater, it has a basilica and a forum,

  • and it also has a colonnaded courtyard,

  • a colonnaded street.

  • If you build a colonnaded street in a town in Italy,

  • you've got to explain why this is the only colonnaded street in

  • a town in Italy.

  • If you put it in the East, it's obvious.

  • Same project I think again, the--it should be the Thermae

  • Titi and the Library.

  • But I love this because the person has identified the stone.

  • In the amphitheater here, stone has been imported from

  • all over the world, from Syria and from Ephesus,

  • to be used in this particular structure.

  • An arch--again I think also; this was a very ambitious

  • project--an arch from that same project, with a victory at the

  • top and an inscription.

  • And then this, the victory gate,

  • again with the amphitheater in the background.

  • This was something simpler but interesting: a small fountain;

  • composite capitals; coffered, misspelled; apse;

  • a philosopher pose of Titus; scalloped pool,

  • with a triple basin.

  • This one, very simple and very derivative in a way;

  • but I love this one anyway.

  • This house plan shows us that the person was basing it on

  • which house?

  • It was actually on the exam, although you didn't see the

  • plan.

  • Student: Mosaic.

  • Prof: House of the Mosaic Atrium,

  • because remember up at the top, the entranceway,

  • the atrium and the oecus at the far end,

  • in the form of a basilica.

  • So a very derivative plan.

  • But I just love this touch; just this touch did it for me,

  • sticking those two palm trees in the center of the peristyle

  • court was great.

  • And I forget again exactly where this town was,

  • but it had something to do with that particular--

  • the kinds of flora and fauna of that particular part of the

  • world.

  • This was another wonderful one.

  • A big city plan; a huge piece of oak tag,

  • with the entire city, a city of the Severan period,

  • Septimius Severus, with buildings honoring him and

  • his son, Caracalla, for example.

  • But this one, because Septimius Severus' wife

  • was particularly interested in astrological signs and used to

  • tell him each day what his day was going to be like,

  • based on those signs, the student incorporated

  • elements of the Mithraic Mysteries,

  • and those astrological signs, as you can see here,

  • in many of these buildings: a Mithraic garden,

  • and so on and so forth, which was really wonderful.

  • This was great.

  • This was someone who made a book, and included in it was

  • kind of a treasure map that included a preamble to where

  • this city was.

  • And interspersed within this--and it was made to look

  • very old, as if it was just discovered by Harrison Ford

  • himself.

  • And we see these wonderful plans interspersed with the

  • text.

  • Then this, a small simple house, again with some wonderful

  • wall paintings, of I guess the Third Style.

  • And this, my absolute favorite, still to this day.

  • This was done probably in the early '80s,

  • when I began teaching a version of this course in the early

  • '80s, by a student who is Petrus

  • Greenburgius, Peter Greenberg,

  • who presented his project in the form of a scroll.

  • He knew very well there were no books at this time,

  • there were scrolls.

  • And so he presented this long scroll.

  • I can't even imagine how long this text took him to write on

  • this scroll, but it was a long scroll and it

  • came and it was tied up with a nice ribbon and so on and so

  • forth, and you unfurled it and it had

  • the text, all about his town.

  • He was the architect, if I remember correctly,

  • the designer, and he was presenting his case

  • to the emperor, or to the empress,

  • in my--you know, me.

  • >

  • So he was presenting his case to me about this city that he

  • wanted to build, and was I going to give him

  • permission to build it?

  • So interspersed with this text were these wonderful drawings of

  • what he had in mind.

  • So, I mean, there are so many--this is one of many,

  • many wonderful ones that I've gotten.

  • I hope this will be inspirational to you.

  • I can't say, "Have a great break"

  • quite yet, because we have class on Thursday.

  • But I know you're all looking forward to it,

  • and I hope that your travels can in some way include--

  • even if you're just going to the beach in Cancun--

  • I hope it can include, in some way,

  • thinking about buildings and about this project.

  • Thank you.

Prof: Good morning everybody.

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B1 中級 美國腔

論文題目。發現羅馬省和設計羅馬城 (Paper Topics: Discovering the Roman Provinces and Designing a Roman City)

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    Sofi 發佈於 2021 年 01 月 14 日
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