the-trill-iad-blog

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Thank you for your response, Holly! I’m unsure if there was a statue of Portunus in the cella of the temple, and I’m also unsure of the meaning of the foliage detailing. However, I do know the significance of the ox skull motifs! Being a commercial area, the Forum Boarium had many livestock to be sold for slaughter moving through. Portunus was also the protector of livestock, and would ensure their safe transport as a valuable good. Thanks again for the feedback!

Temple of Portunus

Built in the late second century BC, the Temple of Portunus stands in the Forum Boarium, an ancient center of commerce just offshore of the Tiber river in Rome. The dedication of the Temple of Portunus is unclear, but it is most widely believed that it is dedicated to the god Portunus, who watched over ports and harbors. If the temple really was intended for Portunus, it is presumed that it would have been utilized for sacrifices and gifts to the god. It is one of the last surviving features of the Forum Boarium, because in the ninth century it was converted into a Christian church, which prevented it from being destroyed for building materials.

The Temple of Portunus is a single rectangular room that rests atop a set of steps. There is an opening at the front, just inside the pronaos, which features Greek-style ionic columns. Peristyles surround the entire building, although the temple is closed off on the sides and back. It is made from travertine and tuff (types of stone) in an attempt to imitate Greek marble. There is detailing on the frieze, which features various intricate patterns of foliage and ox skulls.

The layout of the Temple of Portunus, combined with the presence of the columns, is very indicative of the Roman Republican style. The Temple of Portunus is very obviously influenced by Greek architecture, in its layout, medium, and detailed design.

Biography:

“Temple of Portunus.” World Monuments Fund. Accessed December 2, 2016. https://www.wmf.org/project/temple-portunus.

“Temple of Portunus, Rome.” Artstor. Accessed December 2, 2016. http://library.artstor.org/library/iv2.html?parent=true#.

Lessing, Eric. Temple of Portunus. Rome, Italy. In Art Resource. Accessed December 2, 2016. http://www.artres.com/C.aspx?VP3=ViewBox_VPage&VBID=2UN365U7WGQ34&IT=ZoomImageTemplate01_VForm&IID=2UNTWAXVTI4Y&PN=6&CT=Search&SF=0

Lessing, Erich. Temple of Portunus. Rome, Italy. In Art Resource. Accessed December 2, 2016. http://www.artres.com/C.aspx?VP3=ViewBox_VPage&VBID=2UN365U7WGQ34&IT=ZoomImageTemplate01_VForm&IID=2UNTWAXVT3SN&PN=5&CT=Search&SF=0

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Parthenon Reflection

I attended the parthenon lecture by Professor Joseph L. Rife on September 29, titled “Pagans, Magicians, and Christians at a Port in Roman Greece.” In the lecture, Dr. Rife touched on the intermingling of different religions of the Mediterranean world at the port of Kenchreai, located near Corinth, from the 1st to 7th centuries CE. He touched on different archaeological findings that reflected a mixing of deities and culture in the area, and stressed the significance of the cultural interactions that took place there.

In all honesty, the content of the lecture paled in comparison to the questions it brought up in my mind. For example, Dr. Rife showed an image of a ring (that was found near the port of Kenchreai) that invoked deities from multiple religions to give guidance and protection to the wearer. It was so interesting to me that there was no issue with looking to multiple gods of different religions. In our current society, it seems to be that each religion cancels the others out, but in this example, it was a combination of holiness that brought more safety, protection, and guidance to the follower. 

We tend to think of religions today as mutually exclusive - you can’t ask for the blessings of both the Christian Jesus and Muslim Mohammed without committing some type of blasphemy. I was so struck by the idea of submission to multiple gods from different religions that I thought about it for the rest of the evening. Being in the parthenon, I also began to wonder: if a temple were made to worship all gods together, what would it look like? Would it be similar to the parthenon? Would the gods all be depicted together or apart? It’s such a beautiful image of coexistence and acceptance to imagine a society where the benefits of every religion are reaped by all without exclusions or conditions. Let there be peace on earth, y’all. Merry Chrysler.

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This is an awesome analysis, Kenzie! You picked a captivating piece of architecture! You did an excellent job of describing the shopping center. If anything, try to focus on why certain material choices were made (such as the exposed brick and concrete) and the civic impact of the buildings. Is there a more specific date of building within Apollodorus’ lifetime? Do we know who the architect was that made these buildings? All in all, you did a really fantastic job analyzing this piece!

This structure is called the Markets of Trajan. It is located in Rome on the Quirinal Hill and looks out over the forum. Apollodorus of Athens had it built to house both stores and offices. It was made from concrete, and its architect was a master of designing in this medium.

The first picture gives an aerial view of the Markets of Trajan. These markets resemble a modern day shopping mall. The second picture is of what is known as the Via Biberatica. This portion of the market is interesting because it is one of the first examples of using exposed brick as a design feature. Exposed brick was beginning to be recognized as an aesthetically pleasing building material rather than just a more economically logical way to build. The shops of this building were stacked on different levels. They opened out onto paved roads that were further up the hill, or onto a magnificent indoor market located even higher up the hill.

The third and fourth pictures are of the upper floor shops. These shops were illuminated by skylights. These skylights were also able to illuminate the shops on the ground floor of the market through sophisticated “groin vaults.” These groin vaults had been used in earlier constructions, but never with as much elegance or effectiveness. These rooms had previously only been lit by torches, but now the natural light was able to reach them. This brought a new sense of edginess and distinctness to Roman architecture.

Kleiner, Fred S. A History of Roman Art. Boston, MA: Wadsworth, 2007.

[the-trill-iad-blog]

Temple of Portunus

Built in the late second century BC, the Temple of Portunus stands in the Forum Boarium, an ancient center of commerce just offshore of the Tiber river in Rome. The dedication of the Temple of Portunus is unclear, but it is most widely believed that it is dedicated to the god Portunus, who watched over ports and harbors. If the temple really was intended for Portunus, it is presumed that it would have been utilized for sacrifices and gifts to the god. It is one of the last surviving features of the Forum Boarium, because in the ninth century it was converted into a Christian church, which prevented it from being destroyed for building materials.

The Temple of Portunus is a single rectangular room that rests atop a set of steps. There is an opening at the front, just inside the pronaos, which features Greek-style ionic columns. Peristyles surround the entire building, although the temple is closed off on the sides and back. It is made from travertine and tuff (types of stone) in an attempt to imitate Greek marble. There is detailing on the frieze, which features various intricate patterns of foliage and ox skulls.

The layout of the Temple of Portunus, combined with the presence of the columns, is very indicative of the Roman Republican style. The Temple of Portunus is very obviously influenced by Greek architecture, in its layout, medium, and detailed design.

Biography:

"Temple of Portunus." World Monuments Fund. Accessed December 2, 2016. https://www.wmf.org/project/temple-portunus.

"Temple of Portunus, Rome." Artstor. Accessed December 2, 2016. http://library.artstor.org/library/iv2.html?parent=true#.

Lessing, Eric. Temple of Portunus. Rome, Italy. In Art Resource. Accessed December 2, 2016. http://www.artres.com/C.aspx?VP3=ViewBox_VPage&VBID=2UN365U7WGQ34&IT=ZoomImageTemplate01_VForm&IID=2UNTWAXVTI4Y&PN=6&CT=Search&SF=0

Lessing, Erich. Temple of Portunus. Rome, Italy. In Art Resource. Accessed December 2, 2016. http://www.artres.com/C.aspx?VP3=ViewBox_VPage&VBID=2UN365U7WGQ34&IT=ZoomImageTemplate01_VForm&IID=2UNTWAXVT3SN&PN=5&CT=Search&SF=0

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Art 3.10 - World Rulers

Why were the Imperial Baths at Trier never finished? I find it very strange that Woodford placed so much emphasis on its beautiful layout and cultural impact without giving an explanation for why it was uncompleted. 

Ok, in the myth of Achilles hiding amongst the daughters of Lycomedes, he does the WORST JOB at hiding himself, which is somewhat excused by the fact that it was his mother who hid him out of concern (not out of Achilles’ own concern for himself.) But not only did Achilles fall for Odysseus’ trap and reveal himself, it says that one of the daughters was not surprised by him being a male BECAUSE HE GOT HER PREGNANT. WHAT THE HECK IS THAT ABOUT. The biggest red flag that somebody is pulling a reverse Mulan in a group of women is literally one of them mysteriously getting pregnant.

[the-trill-iad-blog]

Confessions Book 3

How different would the Confessions be if each book was written at the time everything occurred (for example, if he wrote book 2 when he was sixteen, 3 was he was sixteen to eighteen, and so on)? It would be very interesting to compare the careless teenage boy’s description of events with the fretful and contemplative man’s.

I really enjoyed the way that Augustine analyzed the catharsis of theatre that we discussed earlier this semester. He makes some good points about how paradoxical it is that others take pleasure in fictional misery, but it seems to me that he doesn’t fully understand the purging/cleansing of emotion that is involved. 

^^^^^^ basically Augustine his whole entire life

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Confessions Book 2

Does Augustine ever actually outline the sexual sins that he actually committed in this chapter, or does he consider his lustful thoughts and desires enough to constitute as sin? He discusses how becoming a hormonal teen boy introduced these urges to him, but did he ever actually act on them? Additionally, he discusses boys trying to brag about their sexual conquests and that he wanted to have sex or just pretend he did so he could brag as well. 

I find Augustine’s wrestling with his sinfulness throughout his life very interesting. It seems like this work not only serves as his confession to God, but also serves to give himself closure and help himself come to terms with his mistakes. In theory, that could be the dual purpose of confession in Christianity: we cope with our short comings by coming clean to God, and then ourselves (inadvertently.) 

The Sixteenth Year more like The Thirteenth Year, amirite

[the-trill-iad-blog]

This is an excellent analysis, Allie! I think you picked a very interesting piece to analyze, and you did an incredible job of illustrating and justifying every conclusion that you made. You did only touch on a few qualities of the painting, but it was hard to notice because the conclusions you came to were very substantially flushed out and elaborated on. I know there is a word limit, but try to touch on more qualities of the piece in less detail next time. All in all, job well done!

Pompeii: Villa of Oplontis: Room 23

These wall paintings, while slightly damaged, are a wonderful glimpse of history because they survived the eruption of Mount Vesuvius in 79 CE.  This room was found during the excavation of the town Pompeii.  The house these frescoes are is in called the Villa of Oplontis, from room 23.  They are believed to have been completed between the 1st century BCE and the 1st century CE.   

The frescoes are done in the second style, as indicated by the illusion of marble bases, or parapet, for the painted scenes about one quarter of the way up the wall.  Another indicator of the second style is the use of painted columns through which scenes are depicted.  The second style was one of reality, using perspective and shadows to push back the boundaries of the walls to create a scene which could be possible.

The great use of symmetry in this room, with the two side walls mirroring each other draws the viewer’s eye in, toward the center columned archway with its light turquoise coloring.  Sadly, because of the damage, it is unclear what the central image would be in this fresco; usually, these paintings would depict a mythological or religious image.  

One thing to note about this painting is the elaborate use of red, which is a pigment imported from Spain.  The generous use of this red indicates that the owner of the home, the commissioner of the painting, was affluent enough to afford such a luxury in bulk. 

Pompeii: Villa of Oplontis: Room 23 (north wall): det.: bowl of fruit. ARTstor Slide Gallery, University of California, San Diego. Accessed November 17, 2016. http://library.artstor.org/library/iv2.html?parent=true#. 

Pompeii: Villa of Oplontis: Room 23 (west Wall): Det.: Wall Decoration. ARTstor Slide Gallery, University of California, San Diego. Accessed November 17, 2016. http://library.artstor.org/library/iv2.html?parent=true#.

Pompeii: Villa of Oplontis: Room 23: det.: wall painting (Phase IIb). ARTstor Slide Gallery, University of California, San Diego. Accessed November 17, 2016. http://library.artstor.org/library/iv2.html?parent=true#. 

Pompeii: Villa of Oplontis Room 23 Wall Ptg. (Phase IIb). ARTstor Slide Gallery, University of California, San Diego. Accessed November 17, 2016. http://library.artstor.org/library/iv2.html?parent=true#.  

Woodford, Susan. The Art of Greece and Rome. 2nd ed. New York, NY: Cambridge University Press, 2004.

[the-trill-iad-blog]

Thank you so much for the constructive criticism, Sabrina! I definitely agree that I could have done a more in depth and less surface level job when analyzing the painting itself. I tried to point out why the painting was second style in the first sentence of the second paragraph, but I do agree that I could have given a more flushed out explanation. I am still working on striking a healthy balance between the context and impact of the piece and the specific qualities of the piece itself. Thanks again!

The Villa of Poppea

          Excavated in the 1960s and 1970s in Torre Annunziata near Naples, the Villa of Poppea belonged to the Emperor Nero’s wife, Poppea. Based on the construction and style of the villa, it was built sometime in the middle of the first century BC. This is the west wall of the triclinium (the dining room), and it was included in the first architectural phase of the villa - later rooms were added on during the second architectural phase during the Julio-Claudio period (ca. 14 - 68 AD.) Featured on this wall is a painting of the Temple of Hera.

This piece is overwhelmingly second style in that its obvious intention is to make the viewer feel as though they are facing the immensely beautiful Temple of Hera. The painting also has a symmetry that’s very pleasing to the eye. The ochre-y reds, royal blues, and rich saffron yellows give the painting a heavenly and godly feel. The columns are incredibly detailed with gems and vines and feature corinthian capitals (with the heads of men.) Two white sphinx protrude from the structure and the two doors include lion-headed knockers. Little winged characters and floral patterns take turns decorating the doors as well.

All in all, this piece is stunning, and I think that’s why it was chosen to be featured in the dining room - so the Empress Poppea could impress her dinner guests.

Bibliography:

Mazzoleni, Donatella. Domus Wall Painting in the Roman House. Los Angeles, CA: Getty Publications, 2004.

Romano, Luciano. The Villa of Poppea: View of the West Wall of Triclinium. Temple of Hera. In Domus Wall Painting in the Roman House. Los Angeles, CA: Getty Publications, 2004. 144-45.

Romano, Luciano. The Villa of Poppea: Detail of a Column Decorated with Gemstones and Foliage, from the West Wall of the Triclinium with the Temple of Hera. In Domus Wall Painting in the Roman House. Los Angeles, CA: Getty Publications, 2004. 146.

Romano, Luciano. The Villa of Poppea: Detail of a Capital and the Sphinx Resting atop the Entablature, from the West Wall of the Triclinium with the Temple of Hera. In Domus Wall Painting in the Roman House. Los Angeles, CA: Getty Publications, 2004. 147.

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Confessions Bk 1 & Rome Ep. 4

“They make a desert and call it peace.” It’s staggering how true this observation is today. It provokes a philosophical question: Can true peace be made by the destruction of all adversaries? It seems that there are two circles of thought on this, especially in regards to American foreign policy. Either we make “peace” by obliterating anyone who could attack us, or we coexist and compromise with fellow powers. Additionally, I think that Middle Easterners negatively affected by US drone strikes would agree with this comment. 

I really enjoy the questioning nature and tone of Confessions. I think that, in most circles of Christianity, questioning God and religion is frowned upon and is seen as a lack of faith. I used to believe that, and felt guilt and shame for having questions about certain things and wanting clarification. However, my perspective changed once my pastor explained that asking questions about God and seeking answers from Him is the greatest act of faith a Christian can perform. After all, seeking to know God and understand his ways reflects an active effort on your part to seek Him out. Additionally, blind acceptance of the church’s actions and beliefs only helps people use Christianity to do atrocious and hypocritical things . “Stay woke.” - Jesus Christ (probably)

[the-trill-iad-blog]

The Villa of Poppea

          Excavated in the 1960s and 1970s in Torre Annunziata near Naples, the Villa of Poppea belonged to the Emperor Nero’s wife, Poppea. Based on the construction and style of the villa, it was built sometime in the middle of the first century BC. This is the west wall of the triclinium (the dining room), and it was included in the first architectural phase of the villa - later rooms were added on during the second architectural phase during the Julio-Claudio period (ca. 14 - 68 AD.) Featured on this wall is a painting of the Temple of Hera.

This piece is overwhelmingly second style in that its obvious intention is to make the viewer feel as though they are facing the immensely beautiful Temple of Hera. The painting also has a symmetry that’s very pleasing to the eye. The ochre-y reds, royal blues, and rich saffron yellows give the painting a heavenly and godly feel. The columns are incredibly detailed with gems and vines and feature corinthian capitals (with the heads of men.) Two white sphinx protrude from the structure and the two doors include lion-headed knockers. Little winged characters and floral patterns take turns decorating the doors as well.

All in all, this piece is stunning, and I think that’s why it was chosen to be featured in the dining room - so the Empress Poppea could impress her dinner guests.

Bibliography:

Mazzoleni, Donatella. Domus Wall Painting in the Roman House. Los Angeles, CA: Getty Publications, 2004.

Romano, Luciano. The Villa of Poppea: View of the West Wall of Triclinium. Temple of Hera. In Domus Wall Painting in the Roman House. Los Angeles, CA: Getty Publications, 2004. 144-45.

Romano, Luciano. The Villa of Poppea: Detail of a Column Decorated with Gemstones and Foliage, from the West Wall of the Triclinium with the Temple of Hera. In Domus Wall Painting in the Roman House. Los Angeles, CA: Getty Publications, 2004. 146.

Romano, Luciano. The Villa of Poppea: Detail of a Capital and the Sphinx Resting atop the Entablature, from the West Wall of the Triclinium with the Temple of Hera. In Domus Wall Painting in the Roman House. Los Angeles, CA: Getty Publications, 2004. 147.

[the-trill-iad-blog]

Art 3.9

This may be a strange question, but the incredible feats of architecture (esp. in the Pantheon) made me think of it. Why is it that there are conspiracy theories that the Egyptians had help from aliens (or some outside assistance) in building the pyramids, but no similar theories exist surrounding these impressive classical structures? Is it out of our own narcissism that we can’t believe that people who existed before us were more intelligent and intellectually superior, and thus we invent crazy theories so we don’t have to accept it? Is it because popular culture tends to depict classical humans as caucasian and that we know that the Egyptians were people of color? It also goes back to the evolved meaning of “ancient” and that it now has a connotation of inferiority. I HAVE A LOT OF QUESTIONS, OKAY

At first, I thought Susan Woodford was only slightly biased, and thought maybe I was reading more favor to Grecian culture into her statements than what was really there, but on the first page of the chapter she says that the Romans “fell under the spell of [the Greeks’] superior culture.” I was pretty surprised that an author whose job is to fairly educate on both styles would outright call one superior! That’s a bold statement, Susan, geez

[the-trill-iad-blog]

Letters and Meet the Romans Ep 1 & 2

Why does Pliny begin his letter to Cornelius Tacitus so triumphantly and end the letter so apologetically? Is this an example of his humility? It could be that he wants fame for his uncle who passed as a result of one of the earliest recorded natural disasters, but feels shame for surviving, along with his mother. 

I loved the first episode’s focus on detailing Rome through the lives of individuals as indicated by their graves. It felt so much more intimate and understandable. Also, please let Kanye never hear about the baker’s tomb that was designed like bakery equipment, because he would then decide that his final resting place would be in a glorious tomb shaped like his own head. 

MARY YOU NEED TO CHILL STOP TOUCHING ALL OF THESE PEOPLE’S GRAVES YOU EVEN RAN YOUR FINGERS ALL OVER SOME POOR WOMAN’S URN MARY PLEASE

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Aeneid Books 9-12

“‘Do the gods put this fire in our hearts, Euryalus, or do our passions become our gods?’” This is such a striking philosophical question in the midst of war. We inflame ourselves over what we believe to be divinely correct, yet, how can we be sure that we are dying (and killing) for what God intends, and not just a projection and interpretation of what we desire? It is a sociological inquiry that I find chillingly relevant to modern day religion (and its followers) with problematic interpretations: the Westboro Baptist Church, the KKK, those who attack abortion clinics, radical Islam, etc. Is there any real way of knowing that what you do for religion is what your god wants and not just something you want that you’re justifying with religion? 

The poetic imagery in these sections is stunning. I took Latin and it’s been about three years since I did anything with it. I’ve forgotten a lot, but what I do remember is when we translated the Aeneid, how beautiful the diction, syntax, and grammar was. A few instances of this were when Aeneas’ “blade grew warm” from all of blood and life it cut through, and when Nisus and Euryalus ran to hide in the forest and “trusted to night.”

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Aeneid Book 6

In order to visit the Underworld and still be able to return, was bringing the Priestess “a good omen” required every time? What does the golden branch truly symbolize - peace (because of the doves)? 

The story started to feel a little propaganda-ish whenever Anchises tells Aeneas the future of the Trojan race, especially because of the emphasis on the reign of Caesar and the “golden age” of ruling the entire world. (On an unrelated note, gold has been a recurring symbol in this epic.)

I wanted to find the gif of Dug fetching Carl’s walker tennis ball, but I couldn’t find it so I thought this one would suffice.

[the-trill-iad-blog]

Thanks for the feedback, Carlyn! I didn’t focus as much on background this round because I wanted to make sure that I adequately discussed the physical attributes of this piece, as well as I was curtailed by the word limit. I would be very interested to do some more research on the context, meaning and use of this statue of Hercules. Thanks again!

Marble statue of a bearded Hercules

This is the Marble statue of a bearded Hercules, estimated to have been created between 68-98 AD (under the Flavian Dynasty.) A Roman copy of the Greek original, it is currently housed at the Metropolitan Museum of Art. Depicted is the famed hero Hercules, with the pelt of the Nemean lion strewn across his shoulders. 

To begin, the sculpture’s proportions are realistic, and the figure stands with an air of relaxation (perhaps he is resting after slaying the lion) - his weight is pushed into his left hip, with his right foot turned outward. The body’s different textures are skillfully utilized. It is possible to discriminate between the bone of the ankle, the flesh of the feet, and the muscle of the thigh. The knees are intricate and easily the most detailed part of the entire sculpture. Even the sinuous tendons of the lion’s paws cannot be missed. However, the piece is somewhat lacking detail, especially on the torso. There is only enough definition in the abdomen to give the viewer a suggestion of muscle. If only the arms were still attached, a more appropriate depiction of Hercules’ strength could have revealed itself in the biceps. Moving upward, the expression of the face has an air of seriousness brought on by the furrowed brow and downturned mouth. The hair is interesting, because it seems to hold an intention of being realistic, but is stylized in its execution of loops and perfect round shapes.

Bibliography:

“Marble Statue of a Bearded Hercules.” Artstor Library. Accessed November 05, 2016. http://library.artstor.org/library/iv2.html?parent=true.

“Marble Statue of a Bearded Hercules | Roman | Early Imperial, Flavian | The Met.” The Metropolitan Museum of Art, I.e. The Met Museum. Accessed November 05, 2016. http://www.metmuseum.org/art/collection/search/247001.

[the-trill-iad-blog]

This is a very well done and eloquent analysis! You thoroughly described the statue’s physical appearance, and nicely organized your points. I loved the shift that you took when you emphasized the importance of the figure’s face. If anything, I think you could have maybe done a little bit more about the historical background and impact of the statue itself, such as where it was housed and what purpose it served (but I know that for this round we were told to focus more on the statue and less on the background.) All in all, job well done!

Claudius as Jupiter

This rather pompous depiction of the Roman emperor Claudius was constructed by an unknown sculptor in 50 C.E..

In this marble portrait, Claudius exemplifies the common themes of Jupiter. An eagle, the sacred animal of Jupiter, perches by Claudius’ right foot, gazing up at him in awe. In his right hand, Claudius holds out a disc, while his left hand would have been gripping a staff, a symbol of power. Unlike Jupiter, Claudius stands tall with a laurel wreath perched on his head, emphasizing his rule as emperor.

Thick drapery hangs over his left shoulder and curves around his waist, with deep lines emphasizing the excess fabric. It falls just below his hips, showing off his muscular physique. His abdomen is flexed, with deep indentation on his love handles, and his chest is very strong. His arms, abdomen, and chest are unrealistically muscular, and his body is in an awkward position. Claudius stands with his arms outstretched in opposite directions and leans on his right leg with his left leg perched behind him. The unusual construction of his body might be in accordance with the godliness of Jupiter, in so setting him apart from mortals.

His face, on the other hand, tells a different story. Claudius’ eyes look upward, away from the viewer, to emphasize his superiority. His age shows in the sculpture, with lines in his forehead, bags under his eyes, furrows in his brows, and smile lines between his cheeks. His hair looks unnatural, practically stuck to his head, and his ears jut out slightly, a defining feature of the emperor.

Bibliography:

Ramage, Nancy H., and Andrew Ramage. Roman Art: Romulus to Constantine. 4th ed. New York, New York: Abrams, 2005.