-
Key Features:
Strong realism (verism), especially in portraiture
Emphasis on civic virtue, age, lineage
Architecture focused on engineering (arches, vaults, concrete experimentation)
Narrative reliefs showing historical events
Cultural / Historical Context:
Rome is governed by the Senate and elected magistrates.
Art reflects republican values: gravitas, virtus, ancestral honor.
Portraiture was political senators advertised their moral authority through hyper-real aging features. -
Artwork ID: Roman Republic. Temple of Portunus. c. 120–80 BCE. Travertine and Tufa with Stucco. Rome. Period: Roman Republic.
Combining Etruscan and Greek elements, the temple demonstrates Rome’s synthetic architectural style. Its high podium and engaged columns foreshadow later Imperial architectural orders. -
Artwork ID: Roman Republic. Head of a Roman Patrician. c. 75–50 BCE. Marble. Museo Torlonia, Rome.
Period: Roman Republic.
The extreme realism wrinkles, sagging skin, furrowed brow reflects the Republican ideal of the wise elder statesman. It embodies the era’s emphasis on political virtue communicated visually -
ID: Roman Republic. Patrician Carrying Portrait Busts of Ancestors. c. 50 BCE. Marble. Life-size. Palazzo dei Conservatori, Rome.
Period: Roman Republic.
This statue illustrates Republican verism and the political role of lineage. The patrician displays busts of ancestors as proof of his inherited authority. Its hyper-realistic detail reinforces republican values of age, wisdom, and social status. -
Key Features:
Idealized yet individualized portraiture (influenced by Augustus)
Monumental architecture: the Colosseum, arches, forums
Use of concrete for large public works
Imperial propaganda through art
Cultural / Historical Context:
Rome becomes an empire under Augustus.
Art is used to legitimize imperial power and stability.
Architecture reflects Rome’s expanding wealth, order, and technological superiority. -
ID: Roman Imperial. Augustus of Primaporta. c. 20 BCE. Marble (copy of bronze). Vatican Museums. Period: Early Imperial
Augustus is portrayed as an eternally youthful, godlike ruler. The breastplate reliefs and contrapposto stance communicate imperial divinity and political authority. -
ID: Roman Imperial. Ara Pacis Augustae. 13–9 BCE. Marble. Rome.
Period: Early Imperial.
The friezes depict mythological and historical scenes promoting Augustan peace. It blends realism with idealism to communicate the prosperity of the Pax Romana. -
ID:Roman Imperial (Flavian). Colosseum. 72–80 CE. Concrete, Travertine. Rome. Period: Early Imperial.
Showcasing engineering mastery, the Colosseum reflects the Flavian dynasty’s desire to restore public morale through spectacle. Its tiers of classical orders illustrate Rome’s architectural hierarchy and control. -
Key Features:
More abstract, rigid, and symbolic figuration replacing classical idealism.
Emphasis on hierarchy, authority, and spiritual symbolism.
Large public works like triumphal arches and statue monuments.
Cultural / Historical Context:
Period marked by instability, economic decline, and the dominance of the military.
Emperors use large, symbolic art to assert authority.
Art begins transitioning toward Early Christian forms. -
Key Features:
Use of symbolism, narrative scenes, and biblical iconography.
Art emphasizes spiritual meaning over naturalism.
Architecture shifts toward basilica plans adapted for worship.
Cultural / Historical Context:
Christianity moves from persecuted sect to state religion under Constantine.
Art becomes a tool for teaching scripture and expressing faith.
Influence of Roman imperial forms merges with growing Christian motifs. -
Roman, The Tetrarchs, c. 300 CE, Porphyry, St. Mark’s Basilica (Venice) Period: Late Imperial The style is rigid and abstract, symbolizing unity and shared power instead of individuality. The sameness of the figures reflects a shift from Roman naturalism to symbolic representation. It visually communicates political authority during chaotic times. -
Culture: Early Christian
The Good Shepherd (Catacomb of Priscilla)
Date: c. 250–300 CE
Medium: Fresco
Repository: Catacomb of Priscilla, Rome
Period: Early Christian
Explanation:
This fresco depicts Christ symbolically as a shepherd, reflecting themes of salvation and guidance. The style is simple and narrative-based, meant for spiritual teaching. It shows early Christian adaptation of Roman artistic conventions. -
Culture: Roman
Arch of Constantine
Date: 312–315 CE
Medium: Marble and concrete
Repository: Rome
Period: Late Imperial
This triumphal arch blends earlier classical reliefs with newer, more abstract styles. It shows how Late Imperial art mixes past artistic styles while moving toward simplified, symbolic forms. It marks the shift toward Christian-supported imperial rule. -
Culture: Early Christian
Old St. Peter’s Basilica
Date: Begun c. 320 CE
Medium: Architecture (timber, stone, mosaic)
Repository: Vatican Hill, Rome (no longer stands; replaced)
Period: Early Christian
Explanation:
This basilica layout provided space for congregational worship. Its longitudinal plan, clerestory windows, and nave arcades became standard for Christian architecture. It marks Christianity’s new legitimacy under Constantine. -
Culture: Roman
Colossal Head of Constantine
Date: c. 330 CE
Medium: Marble
Repository: Capitoline Museums, Rome
Period: Late Imperial
The monumental size and simplified features emphasize Constantine’s eternal authority rather than human likeness. The stylized eyes and rigid structure foreshadow Early Christian style. The piece embodies a political shift toward autocratic rule. -
Culture: Early Christian
Sarcophagus of Junius Bassus
Date: 359 CE
Medium: Marble
Dimensions: approx. 4 ft x 8 ft
Repository: St. Peter’s Treasury, Vatican
Period: Early Christian
Explanation:
This sarcophagus features biblical scenes arranged in classical Roman architectural frames. It blends Christian teachings with Roman artistic tradition. Its detailed reliefs highlight Christianity’s growing cultural influence.