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An important theme in Roman Republic art was the expression of moral authority. Art had a political function: to represent civic duty and civic pride. There was an emphasis on virtue, exemplified in verism, gravitas, pietas (devotion to duty), and virtus (service). It is common to see Greek influence in Roman Republic art. Roman patrons chose to have themselves represented in a hyper naturalistic style called veristic, with balding heads and wrinkles to express their acquired wisdom.
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The temple is both innovative and traditional. Ionic columns and engaged columns are indicative of Hellenistic influence. The use of a permanent building material, stone, shows a shift in building practices. During this period, buildings like this one were often made in connection with military accomplishments.
Roman. Temple of Portunus. c. 120-80 BCE. marble, concrete. Forum Boarium, Rome, https://smarthistory.org/temple-of-portunus/ -
The marble statue has a veristic head on top of a Greek-influenced idealisized body, exemplifying the psuedo-athletic style. The body conveys youth and power, while the head conveys experience and wisdom.
Roman. Portrait of a Roman General (Tivoli General). c. 90-70 BCE. marble. Museo Nazionale Romano, Rome, https://en.wikipedia.org/wiki/File:General_Tivoli_Museo_nazionale_romano.jpg -
Exemplary of veristic style in Roman portraiture, this figure has a furrowed brow, deep wrinkles, and sagging skin. This style was popular among patrons to convey care, seriousness, and wisdom through age. Verism, a hyperrealism, was influenced by respect for family and the tradition of ancestral imagines.
Roman. Head of a Roman Patrician from Otricoli. c. 75–50 BCE. marble. Museo Torlonia, Rome, Italy, https://smarthistory.org/head-of-a-roman-patrician/ -
Sculptures in the early Roman Empire were a civic tool used as propaganda and as part of politics. There was an interest in creating detailed depictions of events that had actually occurred. Greek idealism is seen in godlike busts of emperors and military leaders, as well as in flowing drapery, idealized bodies, and smooth lines. The Imperial art style was a blend of Greek idealization and Roman naturalism.
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In this portrait, Augustus is portrayed as a great military leader and a supporter of Roman religion. He stands in contrapposto and in orator's pose. Cupid on a dolphin and a breastplate of gods connect Augustus to the divine, an example of how art was used for propaganda.
Roman. Augustus of Primaporta. c. 20 BCE. marble. Vatican Museums, Italy, https://smarthistory.org/augustus-of-primaporta/. -
The Ara Pacis is an open-air altar for blood sacrifices, and the altar was the place where they were presented to the gods. The panels combine to form narratives that advertise Roman mythology and success in war. The work was commissioned during an established golden age to celebrate Augustus's successful military campaigns in modern Spain and France.
Roman. Ara Pacis Augustae (Altar of Augustan Peace). 9 BCE. marble. Ara Pacis Augustae Museum, Rome, https://smarthistory.org/ara-pacis/. -
The scene depicts four men and a bull preparing for a sacrifice in front of a Corinthian temple and a distyle building. This relief reflects the Romans' interest in portraying actual historical events. Scholars believe the background serves to remind witnesses of these events and to create a sense of community.
Roman. Preparations for a Sacrifice. mid first century. marble. Musée du Louvre, Paris, https://smarthistory.org/preparations-for-a-sacrifice/. -
Early Christian art focused on religious symbolism. Synchronizing religious artworks and icons, such as the Good Shepherd, with Roman symbols was common before the Edict of Milan, which legalized Christianity. Jesus is depicted in early artwork as a good teacher, sometimes shown in an orator's pose. New structures were constructed to accommodate a shift in religious practices, like basilicas, churches, baptisteries, and catacombs.
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The sculpture shows old Greek and Roman traditions recast in a Christian context; Hermes is readopted into Christ the shepherd. The sheep represent an extended Christian community. Christ stands in contrapposto and has a youthful appearance.
Roman. Christ as the Good Shepherd. 300-350 CE. marble. Museo Pio Cristiano, Vatican Museums, Rome, https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/museo-pio-cristiano/buon-pastore-e-giona/statuetta-del-buon-pastore.html#&gid=1&pid=1. -
There were dramatic shifts in style and subject matter in Late Imperial art, featuring more expressive and abstracted forms. The art moved away from earlier classical influences. Figures had stiffer poses and drapery, lacked individualism, and had squat proportions. Hieratic scale was used to emphasize power and importance.
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In the third century, in an effort to create stability, Diocletian divided the Roman empire between four emperors, two senior and two junior. These figures represent those emperors in an abstracted style. The same sized figures with diamond-shaped eyes stand in the same positions to express solidity
Roman. Portraits of the Four Tetrarchs. c. 305 CE. porphyry. Saint Marks Basilica, Venice, https://en.wikipedia.org/wiki/Portrait_of_the_Four_Tetrarchs#/media/File:Venice_–_The_Tetrarchs_03.jpg -
The basilica was a civil space, a law court, that was completed when Constantine was celebrating victory over Maxentius, his former co-ruler. This structure is an example of Roman engineering, featuring arches and concrete that strengthens over time. The brick facing would have been covered in slabs of marble, like the Pantheon.
Roman. Basilica of Maxentius and Constantine (Basilica Nova). c. 306–312 CE. marble and concrete. Rome, https://www.britannica.com/topic/Basilica-of-Constantine -
Arches were a hallmark of Roman engineering. This arch linked the Roman Forum to entertainment and bath houses in central Rome. The inscription on the arch declares the emperor Constantine as the rightful ruler. Most of the reliefs feature the military might of the ruler addressing troops and defeating enemies.
Roman. Arch of Constantine. 312–315 CE. marble, porphyry. Rome, https://smarthistory.org/arch-of-constantine-rome/ -
Used by ancient pagan Romans as administrative buildings, basilicas were repurposed into early churches. The relatively simple architecture features a central space called a nave, flanked on either side with aisles, that leads to the apse, the site of the altar. Light, a symbol of Christ, would have poured in through glass tiles of mosaics along the nave.
Roman. Basilica of Santa Sabina. 422–432 CE. wood, brick, and marble. Rome, https://smarthistory.org/santa-sabina/. -
Galla Placidia was the daughter of the emperor Theodosius, and she was responsible for building the mausoleum. The outer brick was reused Roman brick from around Ravenna. The building is in the shape of a cross with a shallow dome in the center. The walls are covered seven to eight feet of marble with mosaics above.
Roman. Mausoleum of Galla Placidia. 425 CE. brick, glass. Ravenna, Italy, https://www.ravennacittadelmosaico.it/en/place/mausoleum-of-galla-placidia/.
