Teaching AP* Art History
Chapter Guide to Gardner’s 12th Edition
Chapter 10
From Seven Hills to Three Continents
The Art of Ancient Rome
1. Lecture Strategies and Key Ideas.
This chapter introduces the art of the Romans. Together with the previous chapter on
Greek art, it is a crucial text for AP* students as it forms the second half of their classical
art studies.
Students should be aware of the geography of Italy and teachers might pass out maps for
students to study. (See MAP 9-1 and MAP 10-1). It is not absolutely necessary for
students to be well versed in Roman history, but a short background lecture, illustrated
with a map transparency, would help them understand its art within the context of Roman
civilization and conquests. The list on page 262 will help students see the chronological
development of Rome.
As always, it is useful for students to examine two slides at once, and in the case of this
chapter it is helpful for students to view a Roman art slide while also seeing a Greek one.
Showing a Greek temple and a Roman one simultaneously, for example, will show the
similarities but more importantly it would also point out the dissimilarities. The two
cultures’ art alternately was idealistic and real, and students might ponder how the Greek
statuary moved from high classical ideals to a Hellenistic “real world” portrayal, just as
the Romans would move from realism during the Republic period to Roman classicism
later.
But it is in architecture that the Romans made their greatest contributions and students
can be assured that they will be expected to know the great public buildings when they
confront the AP* Art History Exam. Fortunately, most students will find the subject
fascinating, and they will already be somewhat familiar with structures such as the
Colosseum and Pantheon. (The graceful beauty of the Pont du Gard will probably be a
pleasant but new sight for them.)
Patronage. The long list of emperor’s names need not be memorized, but AP* students
should know Caesar Augustus, Hadrian, Marcus Arelius and Constantine and the parts
they played as patrons of the arts.
Heads Up Note. It would be well for teachers to divide the chapter into four lessons and
give quizzes at the end of each. These four sub-chapters are listed below along with the
key vocabulary that is associated with each part. Again, be particularly certain that
students are versed in the architectural achievements of the Romans.
1. Republic. 509 BCE-27 BCE. This is the period that saw, in 211 BCE, the beginning
of the Roman “craze for Greek art.” In architecture, students should be aware of the place
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concrete had in the Roman ability to create molded and complex forms. This Roman
“architectural revolution” (see page 250) allowed the building of “spatial envelopes.”
Students should be able to visualize the arch, barrel vault, groin vault and dome
construction. In sculpture, Republican Roman art is characterized by a brutal realism
called verism. Roman genius for city planning is found at Pompeii. In painting, the text
differentiates among the first, second, third and fourth styles. Students should know the
characteristics of each, and appreciate that Roman painters were familiar with single
point perspective and aerial perspective, although these views were not always
employed.
Key Vocabulary for Republican Art.
Temple of “Fortuna Virilis”
concrete
Dome
barrel vault
Verism
forum
Nave aisles
impluvium
point perspective
aerial perspective
arch
groin vault
basilica
Pompeii
2. Early Empire. 27 BCE- 96 CE. This era begins with the reign of Caesar Augustus
and leads to his Pax Romana. Just as Alexander helped spread classical ideals, so the
Romans took with them during this period their art ideals as they conquered nations east
and west. The statue of Augustus of Primaporta is illustrative of the iconography and
return to classicism of the period. Students should know the panels of the Ara Pacis and
its narrative as state propaganda. (A good example of a contextual question in AP Art
history is to have students describe the style and purpose of the Ara Pacis panels.) There
are also public structures that students should know, especially the Pont du Gard, Maison
Carrée, Colosseum, and Arch of Titus with its narrative of the Roman conquest of
Palestine.
Key Vocabulary for Early Empire Art.
Augustus of Primaporta
Ara Pacis
Maison Carrée
Pont du Gard,
Colosseum
triumphal arch
Spoils of Jerusalem
Pont du Gard
Maison Carrée
Arch of Titus
3. High Empire. 97BCE-192 CE The period when the Roman Empire was at its peak.
The patronage of the various emperors led to the building of some of Rome’s grandest
structures, including Trajan and his arch and column, and the justly famous domed
Pantheon and Villa built on orders from Hadrian. The Pantheon should be known by
students for its Archtecture of space. The equestrian statue of Marcus Arelius is the first
of a long line of “man on horseback” statues that students will find in art history.
Key Vocabulary for High Empire Art.
Arch of Trajan
Trajan’s column
Hadrian’s Villa
Ostia
equestrian statue
mummy portrait
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Pantheon
apotheosis
4. Late Empire. 193 CE- 395 CE. This is the era of the ruthless rulers and, for the
Empire, the beginning of the end. In art, we find also the demise of classicism in public
art (See, for example, FIG. 10-66) and the beginning of art ideals that would last through
the Middle Ages. The Four Tetrarchs (FIG. 10-74) is a charming introduction to these
medieval art developments. The main monument showing the transition away from
classicism to medieval art is found on the Arch of Constantine, and students should be
able to tell the arch’s history and describe its reliefs.
Key Vocabulary for Late Empire Art.
Four Tetrarchs
Arch of Constantine Basilica Nova
Constantine’s Christianity
Gender. Women are shown on the panels of the Ara Pacis as mothers with children at
their sides. This depiction had a political purpose, as it was the Emperors wish to have an
increase in Roman population.
Narrative in Art. Examples are the Ara Pacis and its narrative as state propaganda and
the panels of the Arch of Titus with its story of the conquest of Palestine. The interesting
story of how Roman art turned from its classical roots to a medieval appearance can be
found in Battle of Romans and Barbarians [Ludovisi Battle Sarcophagus] (FIG. 10-71)
and in the reliefs of the Arch of Constantine, where artists mixed old classical motifs and
style with those of the medieval world.
3. Key Images from Gardner’s Art Through the Ages. [Image numbers from 12th ed.]
Artist
Subject
Key Idea
Republic
Republic
Republic
Gardner
FIG. Number
10-2
10-3
10-4
Temple Virilus
Temple of Vesta
Fortuna Primigenia
Greek & Etruscan
Like Greek tholos
Concrete
Architecture
Architecture
Architecture
See page 251
10-10
10-13
Variations on the arch
Pompeii
City planning
House atrium
House planning
Painting
Painting
Painting
Painting
10-14
10-15
10-18
10-20/21
Wall
Mystery frieze
Wall
Wall
First style
Second style
Third style
Fourth style
Early Empire
Early Empire
Early Empire
Early Empire
Early Empire
High Empire
10-25
10-27/29
10-31
10-30
10-34
10-37
Augustus
Ara Pacis
Pont du Gard
Maison Carrée
Colosseum
Arch of Titus
Classicism
Political messages
Public edifice
Public temple
Public spectacles
Triumphal arch
3
High Empire
High Empire
High Empire
10-42
10-49/50
10-59
Trajan’s column
Pantheon
Statue of Aurelius
Spiral column
Unique space
First equestrian
Late Empire
Late Empire
Late Empire
Late Empire
10-71
10-74
10-76
10-79/80
Ludovisi
Four Tetrarchs
Arch of Constantine
Basilica
Reject perspective
Reject classicism
Transition
Model for church
4. Quizzes, Tests and Study Materials
Be sure to reference the general art resources available for this Gardner book at
http://art.wadsworth.com/gardner12. From here there are online quizzes, a complete
study guide, Internet activities, vocabulary flashcards, and more.
Website(s). Good sources of online websites that contain images for all Art History are
found at
http://www.art-design.umich.edu/mother/ and at
http://witcombe.sbc.edu/ARTHLinks.html
5. Questions: Each chapter of Gardner’s Art Through the Ages textbook has a
corresponding quiz and test in the “Instructor’s Manual.” The CD-ROM allows teachers
to choose which questions to use and to create and print quizzes and tests.
Essay Questions.
1.Augustus of Primaporta (FIG. 10-25) and Kritios Boy (FIG. 5-33).
Question: Identify by name both these sculptures. Which came first? What qualities do
both sculptures share and what qualities are different? (10 minutes)
Students should remember Kritios Boy as the first classical statue (from the Greek
chapter) and also know the statue of Augustus. While both share a classical ideal,
students should note that the armored Augustus and the small associated statue of cupid
make almost every facet of the statue a political and propagandistic message. Arch of
Constantine (FIG. 10-76).
2. Arch of Constantine. (FIG. 10-76).
Question: Identify the Roman Emperor for whom this arch is named. What stylistic
qualities found on the arch’s roundels and on the relief panel beneath them reflect
influences from earlier cultures, and which suggest new trends in art? (8 minutes.)
Students should discuss the arch as a transition art piece with classical style mixed with
the style of the medieval world.
3. The Pantheon (FIG. 10-49 and 10-50).
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Question: Identify the building shown by its name, purpose and culture that built it.
Discuss its innovative engineering and the aesthetic effect achieved by its architects. (10
minutes.)
The Pantheon should be discussed as a temple for the gods with its unique domed
construction and its architecture of space.
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