Compare And Contrast

Topics: Jesus, Constantinople, Roman Empire Pages: 10 (772 words) Published: November 29, 2014
ARTH*1510 Midterm 2: Compare and Contrast
Augustus Primaporta 7.10

Origin: Rome
Size: Height 6’8”
Material: Marble
Period: 20 ce
Style: Veristic style, with stress on maturity, turned to Hellenizing style Description:
Portraits see him as ageless, as seen in statue
References to previous art and historical events to strengthen his authority Next to right ankle, a cupid playfully riding a dolphin, Cupid, or Eros, the Son of Venus, symbolized descent from Goddess of love through his ancestor Aeneas Associating Augustus with divine figures, references project an image of earthly and divine power Pantheon 7.19. 7.20

Origin: Rome
Size: Dome and drum are equal height, the total interior is 143 feet, also the dome’s diameter Material: Concrete, with travertine, granite, and colored marble Period: Completed 125 ce
Style: Hellenistic
Honored all gods, included living and deceased members of ruling family among gods Augustus right hand man, Agrippa, built the first Pantheon, fire destroyed this temple, and reconstructed Pantheon destroyed by lightning, current design created under Hadrian Transformed into a church in early 7th century ce

Ancient viewers would have associated sphere with eternity and perfection, and the dome’s surface must have evoked a starry night sky Visually the dome seems unanchored
House of the Mysteries 7.25

Origin: Pompeii
Material: Painted plaster
Period: 60-50 BCE
Style: Second
Represent initiation into womanhood or marriage, in the presence of Dionysis and Ariadne Solid and bold modeling of life-size figures, calm and varied poses, lend a quiet power and vivid drama to the room Figures interact on narrow ledge set against deep red background, articulated by upright stripes of black resembling stylized columns Engaged in rites associated with Dionysiac mysteries, one of the mystery religions originating in Greece Santa Costanza 8.5 (Interior)

Origin: Rome
Period: 350 ce
Mausoleum of Constantine’s daughter Constantia, built over a catacomb Dominant central space lightened by clerestory windows, over which a dome supported by 12 columns Four (4) arches stand higher than other to suggest a cross inscribed within a circle Cross, in a funeral context, associated with Christ rose over death Cross is meaningful to Christians, particularly Constantine’s family whose personal change resulting from a vision, signaling his victory at the Battle of the Milvian Bridge

Justinian, San Vitale 8.12
Emperor Justinian and His Attendants

Origin: Ravenna, Italy
Material: North wall Apse Mosaic
Period: 547 ce
Making ceremonial gestures and display magnificent costumes
Dimension of time and earth, suggested by green underground, show an eternal present in gold, inhuman setting Union of politics and spiritual authority show divine kingship Justinian bring bread, reference to the Eucharist

12 figures equal to 12 apostles
Justinian recalls Constantine, the shield with Christ symbol is equal to Justinian’s victory of Ravenna inspired by Constantine’s victory that led to the founding of Constantinople, the court to which Justinian was heir

Dome of the Rock 9.2 (Interior)

Origin: Jerusalem
Period: 690 ce
The ground plan of the dome, ideal for large visits recalls Late Roman and Early Christian central-plan domed structures, such as the Santa Costanza Islamic shrine
Design elements form Islamic repertoire of decoration:
1. Arabic script
2. Vocabulary of scrolling vines, leaves, flowers based on nature 3. Repeated geometric patterns
4. Jewels and jeweled objects, symbols of royalty
Marked contrast to religious art traditions
Symbol of the vault of heaven
Muslims believe Mohammed ascended into Heaven from the rock inside the Dome Inscriptions underline importance of building, symbolic location on the Temple Mount in Jerusalem Chi Rho Iota page, Book of Kells 10.4

Origin: Trinity College...
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