GRADING POLICY
-ASSESSMENT METHODS:
| Assignment | Guidelines | Weight |
| Participation | Active participation is expected of all students, but the level or amount of your engagement is graded. Although participation is only 5% of the course grade it could ensure an A rather than an A- as your final grade. Participating means coming to class having read the week’s assignment (listed in the schedule below), prepared to ask and answer questions and to share any pertinent observations. Remember too that the more you engage, the more fun the class will be not only for you but also for everyone else (me included). | 5% |
| Quizzes | 6 quizzes will be given in the course of the term (the dates are inserted in the course schedule.) The quiz with the lowest score will be omitted from the final tally; the remaining 5 quizzes are therefore each worth 4% of the course grade. Each quiz will consist in a series of questions on specific areas, monument types (including individual structural or stylistic features), individual monuments or sets of monuments in Ancient Rome. They are designed to assess your knowledge of essential facts and your ability to critically interpret and asses their historical significance. You may be asked the name of an area or monument, its location, its date, its function, its patronage; you may also be asked to describe it (main physical characteristics, structural and decorative components, materials used, etc); or you may be asked to a question on some aspect of its historical significance (e.g. the possible motivations for designating an area of the city with specific functions or the intended meaning- political, religious, social aesthetic, etc.- of individual monuments). The questions will be based on material that we have already covered in class, but completing the required reading is necessary to pass each and every quiz. Answers to individual questions should always be brief: in some cases one or two words or word or a short phrase will suffice and no answer should require more than two or three sentences. Depending on the quiz, you will be given anywhere from 5 to 10 minutes to answer.
| 20% |
| Oral Presentation | The oral presentation consists of a 10-minute report (no more) to the class on an area, monument or artwork. It is intended to develop your skills in research, observation, interpretation, evaluation and public speaking. Developing the ability to express yourself orally in a clear, concise and effective manner is as important as the content of the presentation (content without form undermines content itself...)
The presentation topics have been inserted in the course schedule. A sign up sheet will be provided the first day of class.
The presentation in class must include:
• a descriptive account of the monument/artwork
• a contextual and interpretative discussion (function, patronage, meanings, associations, impact, etc., as relevant)
• a pertinent Ancient source to be read to the class (Aicher 2006 and Shelton 1998 are two good sourcebooks)
• 2-3 questions raised by the monument, artwork or subject addressed to the class to engage them directly in your topic and so further develop it
Your presentation must clearly demonstrate that
1. you have read and understood the required reading listed on your syllabus for your topic
2. you have read and understood at least one additional academic source on your topic; the most obvious (and easiest) option is to choose a relevant publication from the "Suggested Reading" listed on your syllabus; but other pertinent books and periodicals available in the library or through JSTOR, MUSE and other legitimate academic publication data bases may also be used. Please be aware that for other Internet sources, the rule of thumb is if it exists in print it is acceptable, if doesn't it isn't. So, e.g. an article from an academic periodical that has been made available on line is fine, but a web-site on monuments, historical background, etc. is not. When in doubt, please ask me.
On the day of presentation you also must submit:
1. a summary (c. 3 pages) consisting of a detailed outline of your presentation to be tuned into me.
2. one-page or two-page handout to all members of the class (including me) with
A. an outline of indicating the key points of your presentation.
B. a bibliography which must include: relevant titles from the required reading on your syllabus, the reference to the ancient source you quote during the presentation and at least one additional title from the suggested reading or from your own research (But please note that internet sources such as Wikipedia are not valid. The rule of thumb is if it is published by an academic press and exists in print it counts, if it does not it doesn't).
If appropriate, please also provide copies of supporting images from books or the internet (please search ARTSTOR and Vroma.org before using other internet image data bases); if pertinent plans, images etc. are available in course handbook, make sure to at least refer to them by page numbers.
The presentation itself combined with 1-2 above is the basis of your grade
| 15% |
| Essay | Due Date: Tues. June 4 (in class)
Topic: Temples and the use of city space between c. 300 B.C. and c. 50 B.C.
Length; 1500 words (c. 4-5 double-spaced pages).
The essay question will be posted on MYJCU. We will also be discussing the essay together in class during the second week of class.
| 20% |
| Mid-term exam | Due Date: Tues. June 11 (in class).
The mid-term is a take-home exam. Like the quizzes, is designed to assess your knowledge of essential facts about specific areas, monument types, individual monuments or sets of monuments in Ancient Rome and your ability to critically interpret and asses their historical significance. However, whereas in the quizzes your answers to each question must be brief, the test will consist in 4 questions in the form of comparisons which will require longer, more articulated, discursive answers focusing on material we have studied up to class # 6 (Kings to Augustus). The exam will be posted a week prior to the due date on Blackboard as a PPoint presentation. Each comparison will consist of images of two sites or monuments. You must identify each one: name, typology, date, media, (original) location, function, patronage, as relevant. But also (and most importantly) you must consider them in relation to one another: i.e. discuss significant similarities and differences. Typically the primary significance of comparisons is rooted in historically specific (and significant) connections which variously combine meaning, function, patronage and structural or formal components. E.g. if the comparison consists of the garden room at Livia's villa at Prima Porta with the Ara Pacis, the fact that the first is decorated with paintings and the second with sculpture, is less important than the fact that the imagery depicted in both expresses interrelated or similar (though not identical) concerns of the Augustan period in different viewing contexts, denoting both the pervasive and sophisticated character of Augustan visual ideology ...obviously you would mention the salient elements of that ideology....
| 20% |
| Final exam | The final exam takes place on campus on Friday June 21 (time and classroom TBA). It is cumulative, although with a greater emphasis on post-Augustan Rome. And, again, it is structured to assess your knowledge of essential facts about areas, neighborhoods, monuments, artworks in Ancient Rome and your ability to critically interpret and asses their historical significance. A review session will take place on campus (classroom TBA) during our last session (Thurs. June 20).
The exam will consist in:
-6 slide identifications 5 minutes each, worth 30% of your exam grade (5% each). Name, typology, date, media, (original) location, function, and patronage must be specified as known or relevant. E.g. the Colosseum does not, strictly speaking, have a subject, but the marble friezes on the Ara Pacis do; a portrait statue of Augustus is just that, but the emperor may be depicted as young, middle-aged or old, may be dressed in civilian, priestly or military garb (or combinations...) and these kinds of visual elements must be both mentioned and described (e.g. what visual devices are employed to represent Augustus made to look youthful? what iconographic elements denote that he is officiating as a priest?). Last but not least, you must indicate at least one reason the topographical area, monument or artwork was significant in its original historical context. For example in addition to noting that the Colosseum was built by Vespasian on the site of the artificial lake in Nero's Domus Aurea complex, you should explain (however briefly) that the location was very significant from a symbolic (and propagandistic) point of view since it transformed imperial property destined for the private enjoyment of Nero to a public venue destined for the entertainment of all Roman citizens. Similarly, in addition describing how a portrait of Augustus depicts him as young, you should mention that all his portraits show him a young and discuss (however briefly) what message was being conveyed by this representation of " eternal" youth....An identification which lists a complete series of correct facts, but fails to discuss why they are significant, will score lower than one that is missing a few facts but which includes an assessment of historical significance.
-4 slide comparisons 10 minutes each, worth 40% of the exam grade. One or more images of two sites or monuments will be shown to you. You must identify each one (again name, typology, date, media, (original) location, function, patronage, but also (and most importantly) consider them in relation to one another: i.e. discuss significant similarities and differences (see guidelines for comparisons under mid-term above).
-1 essay 30 minutes, worth 30% of the exam grade. A week before the exam (Thurs. June 14) you will be given 2 essay questions accompanied by images of sites and/or monuments. One of the two will be on exam. However, the other topic will undoubtedly show up in the identifications and comparisons, so be sure to prepare for both. | 25% |
-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
All scheduled classes are mandatory. Because this is an on-site course that occasionally includes special scheduled permits to sites and museums it has strict time limitations. You must, therefore always be punctual. Class will always start promptly and it is your responsibility to find out where the meeting places are. You may ask me in advance, but no later than during the previous class. I will not respond to last minute emails or phone calls. Coarelli, F. (2007) Rome and Environs. An Archeological Guide (your textbook!) has many useful maps to locate sites. For subway and bus lines consult www.atac. it (available in English).
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1.Tuesday May 21: Introduction to course : Course content (chronological and thematic overview), requirements, logistics, etc. / Rome's foundation: topography and mythology/ Architectural orders and building materials (on-site)
Meeting Place: John Cabot
Required Reading:
Coarelli (2007): 1-9 (Introduction), 348-50 (Tiber Island), 307-10 (intro. F Holitorium, et al), 315-19 (Portus Tiberinus, T Portunus and Ara Maxima Hercules), 323-27 (Circus Maximus)
Claridge (2010): 4-9 (history), 39-45 (building materials), 46-51 (building techniques and exterior finishing), 52-54 (architectural orders). Please note: xeroxing the introductory sections in Claridge (pp. 42-32 and pp. 39-60) is strongly recommended, as they will come in handy throughout course; on bldg. techniques and construction materials see also Coarelli's Appendix
Stamper (2005): 6-10 (Introduction and Ch. 1)
Suggested Reading: Claridge (2010): 257-8 (Tiber island), 285-8 (Forum Boarium), 299-300 (Circus Maximus); Coulston, J. and Dodge, H. (Introduction) in Coulston and Dodge 2000; Elsner (1998): Ch. 2 ("A Visual Culture"); Kleiner (1992): 1-17 (Introduction); Stambaugh (1988): Introduction and Ch. 1 (Earliest Rome); Strong (1988) (Preface to the First Edition)
*Sign Up for Oral Presentations
2. Thursday May 23: The construction of memory: the Victory precinct on the Palatine/ Civic identity and self-representation: the Roman Forum Valley from the Kings to the Republic
Meeting Place: Entrance to Palatine Hill on Via di San Gregorio
Required Reading:
Coarelli (2007): 130-138 (intro. Palatine, Iron Age huts, western temples), 42-47 (intro Roman Forum Valley), 91-92 (Archaic cemetery), 81-89 (Via Sacra, Regia, Temple Vesta, House Vestal Virgins), 50-57 (Shrine Venus Cloacina, Comitium, Curia Hostilia, Black Stone), 65-66 (Temple Saturn), 74-77 (Temple Castors, Fountain Juturna)
Stamper (2005): 6-10 (intro and Ch. 1) and 34-40 (early Republican Roman Forum), 56-59 (Temple Castor & Pollux)
Suggested Reading: Claridge (2010): 4-9 (history), 125-134 (intro Palatine and Precinct of Victory), 62-67 (intro. Roman Forum), 75-77 (Comitium, Black stone), 83-84 (Temple Saturn), 94-95 (Temple Castor), 98-99 (Fountain Juturna), 104-111, (Temple Vesta, House Vestal Virgins, Regia); Coarelli (2007): 11-18 (intro. City Walls and Servian Walls); Cornell (Mid-Republican Rome) in Coulston and Dodge (2000); Smith (Early Rome, esp. 24-35) in Coulston and Dodge (2000); Stambaugh (1988): Chs. 1 ("Earliest Rome"), 2 ("Expansion under the Republic"), 3 (Late Republic), 4 (Augustan City), 7 ("City Government, esp. pp. 101-114 -Kings to Republic) and Ch. 13 ("The City and the Gods")
*Quiz 1: architectural orders / Roman use of architectural orders
3. Tuesday May 28: The Republican state and the military commander: Temples, Triumphs and Theatres
Meeting Place: Capitoline Hill by equestrian statue of Marcus Aurelius
Required Reading:
Coarelli (2007): 28-36 (intro. Capitoline Hill, Temple JOM, Area Capitolina), 40 (Temple Juno Moneta, Auguraculum), 260-267 (overview Campus Martius, Circus Flaminius area), 270-71 (T Apollo Medicus/ Sosianus and T Bellona), 275-281 (Area Sacra Largo Argentina), 283-285 (Theater of Pompey complex), 289-90 (Saepta Julia), 307-310 (intro. Forum Holitorium, et al), 313-319 (Temples Forum Holitorium, Temple Portunus, Round Temple)
Stamper (2005): 6-15, 32, 33 (Temple JOM), 44-48 (Area Sacra Largo Argentina), 49-50 (triumph/victory temples), 53-56 (temples southern Campus Martius), 59-68 (temples Forum Holitorium, temple of Portunus), 68-81 (Round Temple, Area Sacra Largo Argentina), 84-90 (Theatre of Pompey)
Suggested Reading: Beard (2007) esp. 42-53, 92-106: triumphal route/culture; Claridge (2010): 7-12 (history), 197-204 (intro. C. Martius), 239-246 (Theater Pompey and Area Sacra temples), 250-1, 253-6, 275-82 (Circus Flaminius area), 259-262 (intro Capitoline), 268-70 (JOM), 279-282 (Forum H. temples), 285-8 (Forum B area with Round T); Coleman in Coulston and Dodge (2000), pp. 219-227: (Roman entertainment/ theatres); Cornell (Mid-Republican Rome) in Coulston and Dodge (2000); DeRose Evans (2009): Portico of Pompey; Flower, H. (2004), pp. 322-343 ( triumphs, funerals, spectacle and politics); Kleiner (1992): Introduction and Ch. 1 ("The Art of the Republic"); Patterson (1992) topographical survey Rome Republic to Empire; Shelton (1998): 251-52, 329-31: triumphs and spectacles; Stambaugh (1988): Chs. 2 ("Expansion under the Republic"), 3 ("The Late Republic"), 13 ("The City and the Gods") and 14 ("Roman Holidays"); Strong (1988): Chs. 1 ("The Beginnings") and 2 ("The Mid and Late Republic"); Ziokowski (1988): Round Temple in the Forum Boarium
Presentations:
1. Temple of Jupiter Optimus Maximus
2. Round Temple in the Forum Boarium
*Quiz 2: Topography of the Early Roman Forum Valley
4. Thurs. May 30: Transitions from Republic to the Empire: Caesar and Augustus
Meeting Place: Campo di Fiori by statue of Giordano Bruno in center of square
Required Reading:
Coarelli (2007): 103-113 (F Caesar, F Augustus), RF: 42-54 (RF overview, Basilica Fulvia-Aemilia, Porticus Gaius and Lucius, Comitium), 57-59 (Curia Julia), 64-5 (Imperial Rostra), 69-74 (central area of Forum, Basilica Julia), 79-81 (Divus Iulius, Arch of Augustus)
Kleiner (1992): Ch. 1 ("The Art of the Republic") and 59-69 (intro Augustus, Augustan art and portraiture Augustus), 86-88 (Parthian Arch), 99-103 (F Augustus)
Stamper (2005): 90-104 (F Caesar, Caesarian R F), 105-115 (intro Augustus and Augustan R F), Ch. 8 (F Augustus, Augustan-Julio-Claudian R F)
Suggested Reading: Claridge (2010): 7-15 (history), 161- 69 (overview imp. forums, F Caesar), 177-180 (F Augustus), 62-75 (RF overview, Porticus Gaius & Lucius, Basilica Aemilia, Curia Julia), 85-87 (imp. Rostra), 92-5 (Basilica Julia), 100-103 (T Divus Iulius, Arch Of Augustus/ Parthian Arch); Gurval (1997): Caesar's comet, temple of Divus Iulius; Kellum (1997): esp. 164-7 (F Augustus); Rich (1998): Parthians, T Mars Ultor and Parthian Arch; Patterson (1992): topographical overview Republic to Empire; Rose (2005): esp. 24-26 (Prima Porta statue), 28-36 (Parthian Arch) ; Stambaugh (1988): Chs. 3 (Late Republic), 4 (Augustan City), 7 and 114-119 (City Government, Caesar to Augustus); Walker (Augustan Rome) in Coulston and Dodge (2000); Ward Perkins (1981): Ch. 1 ("Augustan Rome"); Zanker (1988), esp. 79-82, 98-99, 113-14, 185-215 (R F, Parthians, Prima Porta statue, F Augustus)
Presentations:
3. Forum of Julius Caesar
4. Forum of Augustus
5. Parthian Arch / Arch of Augustus
*Quiz 3: Temple plans
5. Tuesday June 4: Augustan Rome: the Campus Martius
Meeting Place: Side of the Ara Pacis Museum by inscription opposite Mausoleum of Augustus
Required Reading:
Coarelli (2007): 260-266 (overview Campus Martius, esp. Augustan phase p. 265), 267-272 (Theater of Marcellus, Temple Apollo Sosianus, Portico of Octavia), 285-286 (Baths of Agrippa), 299-304 (Ara Pacis and Mausoleum of Augustus)
Kleiner (1992): 59-61 (intro to Augustus and Augustan art), 90-99 (Ara Pacis and Mausoleum of Augustus)
Stamper (2005): 105-108 (Augustus), 126-129 (Augustan Campus Martius)
Suggested Reading: Claridge (2010): 10-15 (history), 197-216 (intro C Martius, Mausoleum A, Ara Pacis, Horologium), 222 (Aqua Virgo), 232- 233 (Agrippan structures), 253-256 (Portico of Octavia), 275-79 (Theatre Marcellus, T Apollo Medicus Sosianus); Clarke, (2003): 19-28 (monuments northern C Martius); Coleman in Coulston and Dodge (2000), pp. 219-227: (Roman entertainment/ theatres); Davies (2000): 13-19, 76-78 (sundial) 137-42 (Mausoleum); Holliday (1990): Ara Pacis; Patterson (1992): topographical overview Republic to Empire; Rose (1990): esp. pp. (Ara Pacis); Stambaugh (1988): Ch. 4 (Augustan City); Strong (1988): 80-84 (Ara Pacis); Walker (Augustan Rome) in Coulston and Dodge (2000); Ward Perkins (1981): Ch. 1 ("Augustan Rome"); Zanker, P. (1988), esp. 72-75, 139-43, 156-9, 172-83 (Augustan C Martius)
Presentations:
6. Mausoleum of Augustus
7. Augustan Sundial (aka Horologium)
8. Theater of Marcellus
*Short essay due
6. Thursday June 6: Portraiture and pictorial spaces: representation from the late Republic to the early Empire
Meeting Place: Entrance Palazzo Massimo (Piazza dei Cinquecento, by Termini)
Required Reading:
Kleiner (1992): Intro., 31-47 (Republican Portraiture), 59-69 (intro to Augustus and Aug. portraiture), 75-80 (Aug. female portraits and freedmen portraits), 123-141 (Julio-Claudian portraiture), 167-181 (Flavian portraiture)
Suggested Reading: Christ (1997): toga/ togate portraits; Fejfer (2008): 20-25, 115-18, 200-7, 262-70 (honorific statues, freedmen, nudity, Republican works); Kellum (1994): Prima Porta Garden Room; Reeder (1997) : Prima Porta Augustus and Garden Room; Rose in Bell and Hansen 2008 (Republican portraits); Stevenson (1998): honorific nude portrait statues; Strong (1988): Preface to the First Edition and Ch. 1 ("The Beginnings"), Ch. 2, esp. 44-47 (late Republican sculpture), 63-71, 75-80 and 84-88 (Augustan sculpture and portraiture), 110-114 (Julio-Claudian portraiture), 135-137 (Flavian portraiture) ; Zanker (1988), Introduction, Ch. 1, esp. 5-25, Ch. 2, esp. 33-65, and Ch. 3; Wallace-Hadrill (1993): 81-85 (Augustus)
Presentations:
9. Tivoli General
10. Garden Room from the Villa at Prima Porta
*Quiz 4: Augustan Campus Martius
7. Tuesday June 11: Topography, Monuments and Imperial Power : Nero to Domitian
Meeting Place: Metro stop Colosseo (B line) by Roman sarcophagus fountain (to left of Metro exit)
Required Reading:
Coarelli (2007): 176-186 (overview Esquiline Hill, Domus Aurea), 158-160 (overview Colosseum Valley), 164-172 (Colosseum, Ludus Magnus), 125-128 (T of Peace), 113-115 (Forum Transistorium), 66-67 (T Vespasian and Titus), 97-88 (Arch of Titus)
Kleiner (1992): 179-81 (sculptural display T Peace), 183-190 (Arch of Titus reliefs) and 192-194 (F Transistorium reliefs)
Stamper (2005): Ch. 9 ("Temples and Fora of the Flavian Emperors")
Suggested Reading: Albertson (2001): Colossus Nero; Anderson (1982): T Peace and F Transistorium; Claridge (2010): 16-18 (history), 82-83, 118-23 (Forum Romanum), 121-3 (Arch of Titus, 145-56 (Palatine), 171-6 (T Peace, F Transistorium), 301-6 (Colosseum Valley), 312-19 (Colosseum, Ludus Magnus), 326-8 (D Aurea); Coleman in Coulston and Dodge (2000), 227-240 (Roman entertainment/ amphitheatres); Davies 2000: 19-27, 67-71, 142-48 (Arch of Titus); Elsner (1988): Ch. 3 ("Art and Imperial Power"); Kleiner (2007): 113-117 (legacy of Augustan art), Ch. 8 ("The Julio-Claudian Dynasty") and Ch. 9 ("Civil War, the Flavians and Nerva"); Marlowe (2006): 225-9 (Colossus Nero); Noreña (2003): T of Peace; Pollard (2009): T of Peace; Stambaugh (1988): Chs. 5 ("Rome under the Emperors," esp. pp. 67-75) and 14 (Roman Holidays); Strong (1988):122-125 (D Aurea) and 127-132 (esp. Arch of Titus); Thomas (2004): Equus Domitiani and Domitanic patronage R Forum; Ward Perkins (1981): 56-61 (D Aurea), 63-84 (Flavian Rome), Ch 4 ("Materials and Methods: The Roman Architectural Revolution); Welch (2007), 147-62 (D Aurea and Colosseum)
Presentations:
11. Colossus of Nero
12. Colosseum
13. Temple of Peace
*Mid-term exam due
8. Thursday June 13: Topography, Monuments and Imperial Power Trajan to Marcus Aurelius
Meeting Place: Column of Trajan (by column on square/ park side)
Required Reading:
Coarelli (2007): 115-125 (Trajan's forum complex, Trajan's markets), 260-266 (overview Campus Martius, esp. Antonine phase p. 266), 98-99 (T Venus & Roma), 286-289 (Pantheon), 291-293 (Hadrianeum), 296-299 (columns M. Aurelius and A. Pius)
Kleiner (1992): 207-8 (intro to Trajan), 212-223 (sculpture Trajan's Forum complex), 237-238 (intro to Hadrian), 267-8 (intro to Antonines), 283-88 (Hadrianeum and column A. Pius) and 295-301 (column of M. Aurelius)
Stamper (2005): Ch. 10 ("The Forum Traiani"), Ch. 11 (Hadrian's Pantheon), 206-212 (T Venus and Roma), and 212-14 (Hadrianeum)
Suggested Reading: Claridge (2010): 18-21 (history), 180-96 (Forum and markets of Trajan), 118-121 (Temple of Venus and Roma), 197-204 (intro Campus Martius), 216-21 (Columns of A. Pius & M. Aurelius), 223-34 (Hadrianeum, Pantheon); Clarke, (2003), 28-41 (Trajan's forum complex) and Ch. 2, esp. 42-53 (column M. Aurelius comp. to column Trajan); Davies (1997): (column of Trajan); Davies (2000): 34-48, 79-83, 127-135 and 158-171 (mausoleum Hadrian, Pantheon, columns Trajan, A. Pius and M. Aurelius); Elsner (1998), Ch. 3 ("Art and Imperial Power"); Joost-Gaugier (1998) Pantheon; McEwen, I.K. (1993): Pantheon; Pirson (1996) column Marcus Aurelius; Stambaugh (1988): Chs. 5 ("Rome under the Emperors," esp. pp. 75-85), 7 ("City Government," esp. pp. 114-122) and 9 ("The Commercial City"); Strong (1988): 141-153 (Trajan's forum complex), 206-11 (Column M. Aurelius); Ward Perkins (1981): 84-95 (Trajan's architectural patronage in Rome), Ch 4 ("Materials and Methods: The Roman Architectural Revolution), 111-18 (Pantheon) and 122-123 (Temple of Venus & Rome)
Presentations:
14. Column of Trajan.
15. Trajan's Markets
*Quiz 5: Flavian Colossuem Valley and Velia (Arch of Titus)
9. Tuesday June 18: Imperial power and representation 2nd-4th century AD
Meeting Place: Capitoline Hill by Equestrian Statue of Marcus Aurelius
Required Reading:
Coarelli (2007): 98-99 (T Venus & Roma), 59-60, 60-63 (Arch Septimius Severus), 160-163 (Arch Constantine)
Kleiner (1992): 207-212 (intro to Trajan, portraiture of Trajan and Plotina), 237-242 (intro to Hadrian, portraiture Hadrian and Sabina), 253-56 (Arco di Portogallo and Adventus reliefs), 261-63 (legacy Trajanic and Hadrianic art) 267-95 (intro to Antonines, Antonine portraiture and reliefs), 317-32 (intro to Severans, Severan portraiture and Arch S. Severus), 357-384 (intro. to 3rd cent./ 3rd cent. portraiture) and 431-455 (intro to Constantine, Constantinian portraiture and Arch Constantine), for spolia of Arch of C. see also 220-223, 251-53 and 288-95
Stamper (2005): 206-212 (T Venus and Roma)
Suggested Reading: Brilliant (1967): Arch S. Severus; Claridge (2010): 18-27 (history), 65-67 (R Forum Antonines-Late antiquity), 78-79 (Arch S. Severus), 118-121 (T Venus and Roma), 308-312 (Arch Constantine); Clarke, (2003): Ch. 2, esp. 53-67 (Arches of S. Severus and Constantine); Elsner (1998): Ch. 3 (Art and Imperial Power); Gorrie (2004); Julia Domna/ patronage and morality Severan period; Marlowe (2006): Arch Constantine; Strong (1988): 159-62 (Trajanic portraiture), 171-82 (Hadrianic portraiture and relief sculpture), 197-202 and 211-214 (Antonine portraiture and reliefs), 218-222 (Severan reliefs), 228 (Severan portraiture), 250-255 and 264-5 (third century portraiture), 276-278 (Arch Constantine) and 278-280 (Constantinian portraiture); Ward-Perkins (1981): 122-123 (Temple of Venus & Rome) and Ch. 14 ("Architecture in Rome Tetrarchs to Constantine 253-337"); Wilson Jones (2000): Arch Constantine ; Wright (1987): Constantinian portraiture
Presentations:
16. Equestrian Statue of Marcus Aurelius
17. Apotheosis of Sabina Relief (from Arco di Portogallo)
18. Arch of Septimius Severus
*Quiz 6: Trajan's Forum Complex
10. Thursday June 20: LOOSE ENDS / REVIEW FOR FINAL
Meeting Place:
John Cabot, Classroom and exact time TBA
Friday June 21: FINAL EXAM
Meeting Place:
John Cabot, Classroom and exact time TBA
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