The document summarizes Roman art and architecture from the rise of Macedon in the 4th century BCE to the reign of Constantine in the 4th century CE. It discusses the transition from Classical Greek to Hellenistic art with a focus on the individual. It also describes various architectural innovations of Rome including barrel and groin vaults. Major structures are summarized like the Colosseum, Pantheon, and Arch of Constantine along with the artistic styles of Roman wall painting and portraiture.

1. Chapter 5 Gods, Heroes, and Athletes: The Art of Ancient Greece pp. 120-164

2. The Roman World

19. Amphitheater Pompeii, Italy ca. 80 B.C.E.

21. First Style wall painting fauces of the Samnite House, Herculaneum, Italy late 2nd century B.C.E. fresco , Figure 10-17 The First Style Roman wall painting, "Incrustation" (right) is thought to imitate Greek painting that created flat areas of color and 'faux" finishes (like a fake marble or oak finish)

22. Cubiculum (bedroom) Second Style from the villa of P. Fannius Synistor Boscoreale, Italy ca. 40-30 B.C.E. fresco, figure 10-19

23. In the second style Roman wall painting, called the "architectural style," space extends beyond the room with various perspective ("illusion of three-dimensional space on a flat two-dimensional surface) devices. Roman artists came close to developing a true linear perspective. Figure 10-18

24. Dionysiac mystery frieze Room 5, Pompeii, Italy ca. 60-50 B.C.E. fresco frieze approximately 64 in. high

25. Gardenscape from the Villa of Livia, Primaporta, Italy ca. 30-20 B.C.E. fresco approximately 79 in. high, Figure 10-20

26. Gardenscape from the Villa of Livia, Primaporta, Italy ca. 30-20 B.C.E. fresco approximately 79 in. high

27. still life with peaches Detail of 4th style wall painting from Herculaneum, Italy ca. 62-79 C.E. fresco approximately 1 ft. 2 in. x 1 ft. 1 1/2 in. Figure 10-26

29. The Fourth Style Roman Wall Painting, called the "Intricate Style," confines full three-dimensional illusion to the "framed images," which are placed like pictures in an exhibition. The images themselves do not relate to one another nor do they present a narrative, as in the Second Style. The Fourth Style is also characterized by the open vistas and the use of aerial perspective, as well as the elaborate architectural framing.

30. Portrait of Augustus as general from Primaporta, Italy ca. 20 B.C.E. marble 80 in. high Figure 10-27

31. This depiction of Augustus has subtle political expressions in it. He has pictures of his victories at war written on his chest, and he also holds a staff. Cupid is at his feet, which tells that he is a descendent of deities.

32. Pont-du-Gard Nimes, France ca. 16 B.C.E. The aqueducts and bridges in Roman period exist in Rome, Merida, Segovia, Tarragon in Spain and Nimes in France. Pont du Gard in Nimes is one of the famous one which preserve original style of Augustus era. Figure 10-33

33. Pont-du-Gard Nimes, France ca. 16 B.C.E.

35. Colosseum, Rome, Italy ca. 70-80 C.E. The columns of the ground floor are the Doric, the first floor are Ionic, the second floor are Corinthian and the top of floor are Corinthian pilaster.

36. Colosseum Rome, Italy ca. 70-80 C.E.

38. Portrait bust of a Flavian woman from Rome, Italy ca. 90 C.E. marble 25 in. high Figure 10-38

39. Arch of Titus, Rome, Italy, 81 C.E. This arch commemorates Titus' conquest of Judea which ended the Jewish Wars (66-70). The arch was erected posthumously, after Titus had already become a "god." Figures 10-39-41

43. Pantheon Rome, Italy ca. 118-125 C.E. Figure 10-49

44. Pantheon, Rome, Italy ca. 118-125 C.E. The Pantheon reveals the full potential of concrete, both as a building material and as a means for shaping architectural space.

45. Pantheon Rome, Italy ca. 118-125 C.E.

46. Pantheon Rome, Italy ca. 118-125 C.E.

47. Al-Khazneh Petra, Jordan 2nd century C.E. Al Khazneh, also known as the Treasury, is one of the most impressive sites of ancient Petra in Jordan. Al Khazneh was hand carved from the beautiful red sandstone mountain. Figure 10-54

48. Model of an Insula, Ostia, Italy 2nd century C.E. After the great fire under Nero, the emperor restricted their height. Even if the insulae didn't burn, they might collapse from bad construction. Light came from openings we refer to as windows, although they would not have contained panes of glass. Figure 10-54

49. Equestrian statue of Marcus Aurelius from Rome, Italy ca. 175 C.E. bronze 11 ft. 6 in. high Figure 10-59

50. Equestrian statue of Marcus Aurelius from Rome, Italy ca. 175 C.E. bronze 11 ft. 6 in. high

51. Asiatic Sarcophagus with kline portrait of a woman 165-170 C.E. marble approximately 5 ft. 7 in. high Sarcophagi were produced in several regional centers. Western sarcophagi were decorated only on the front. Eastern sarcophagi, like this one, have reliefs on all four sides. Figure 10-61

52. Sarcophagus of a Philosopher 270-280 C.E. marble 4 ft. 11 in. high Figure 10-71

53. Mummy portrait from Faiyum, Egypt ca. 160-170 C.E. encaustic on wood

54. Portrait of Carcalla ca. 211-217 C.E. marble 14 in. high Figure 10-64

55. Portrait Bust of Trajan Decius Capitolino, Rome 249-251 C.E. marble 2 ft. 7 in. high This portrait of a short-lived “soldier emperor” depicts an older man with bags under his eyes and a sad expression. The eyes glance away nervously, reflecting the anxiety of an insecure ruler. Figure 10-68

56. Heroic portrait of Trebonianus Gallus, from Rome, Italy, ca. 251-253 CE Bronze Figure 10-69

57. Portraits of the four tetrarchs St. Mark’s, Venice ca. 305 C.E. porphyry 51 in. high Diocletian established the tetrarchy to bring order to the Roman world. In group portraits, artists always portray the four co-rulers as nearly identical partners in power, not as distinct individuals. Figure 10-73

58. Portraits of the four tetrarchs St. Mark’s, Venice ca. 305 C.E. porphyry 51 in. high

59. Palace of Diocletian (model) Split, Croatia ca. 300 - 305 C.E.

60. Arch of Constantine Rome, Italy ca. 312-315 C.E. The reuse of statues and reliefs on the Arch has often been cited as evidence of a decline in creativity and technical skill in the waning years of the Roman Empire. Figure 10-75

61. Arch of Constantine Rome, Italy ca. 312-315 C.E.

63. Portrait of Constantine from the Basilica Nova, Rome, Italy ca. 315-330 C.E. marble head approximately 8 ft. 6 in. high Constantine’s portraits revive the Augustian image of an eternally youthful ruler.

64. Basilica Nova reconstruction drawing Rome, Italy 306-312 C.E.