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  • Prof: Good morning everyone, and welcome back,

  • after what I hope was a great spring break.

  • This lecture, that I'm going to deliver this

  • morning, has been an inspiration to

  • students who have selected Option 3 for their paper topic:

  • "How to design a Roman city."

  • Because this lecture has it all.

  • It has great architecture; it has an extraordinary patron

  • -- a man who traveled the Empire,

  • to all kinds of exotic places, some of which we'll be talking

  • about today and some of which we'll be talking about in the

  • future; a love triangle;

  • some of the best buildings that we'll see in the course of this

  • semester, including the Pantheon and also Hadrian's Villa at

  • Tivoli.

  • The patron Hadrian, whom I show you in a portrait

  • from Rome, now on the left-hand side of the screen,

  • was an extraordinary man.

  • He was born in 76 A.D., and he became emperor at the

  • age of 41, after having served with Trajan for a number of

  • years.

  • He was born, like Trajan before him,

  • in Spain, not in Italy, and he also was the most

  • educated, one of the most educated,

  • and most intellectual of the Roman emperors.

  • We'll talk about the impact that that intellect had on his

  • architecture.

  • I mentioned that he already--he also liked to travel.

  • He traveled extensively during his reign,

  • had three major trips that had an enormous impact on his

  • architecture, and also on architecture around

  • the Empire.

  • And it's also important I think to know that he reversed

  • Trajan's policy.

  • You'll remember that Trajan's major political policy had to do

  • with military conquest, that Trajan was involved in a

  • number of very important wars, and he celebrated those wars,

  • and he extended the Empire to its furthest reaches,

  • reaches that were never gone beyond for the rest of the Roman

  • Empire.

  • Hadrian reversed that policy.

  • He was a peace loving man.

  • He had no interest in being involved in these kinds of

  • military exploits; although he had served with

  • Trajan in some of them, in earlier years,

  • he had no desire to continue that on.

  • And he was much more concerned with consolidating and

  • preserving the Empire, as expanded by Trajan.

  • And so one of his greatest claims to fame is the great

  • wall, the famous Wall of Hadrian that

  • he built in order to separate the Roman Empire,

  • the Greco-Roman Empire, from the rest of the Empire,

  • this great wall that divided Greco-Roman civilization from

  • the barbarian world that lay outside.

  • And there are fragments of that wall, a quite extensive part of

  • that wall that still survives in Europe today.

  • You can see it in Britain, and I show you an example of

  • some of those remains here on the right-hand side of the

  • screen, that is, of Hadrian's Wall.

  • Hadrian was also a great philhellene, and you notice in

  • that portrait that I just showed you that he wore a beard.

  • And, in fact, he's the first Roman emperor to

  • wear a beard.

  • Beards were not worn by Romans up to this time,

  • but they were worn by Greeks, and we believe that he wore

  • that beard, in large part,

  • to look more Greek.

  • We also know that, although he wore a toga in

  • public, he was known for wearing the

  • Greek himation, in private, and he did that,

  • we think, in large part because of his

  • love for Greece and for Greek culture.

  • He was so philhellenic in his leanings that he received the

  • nickname "The Greekling,"

  • and we'll see, as we look at his architecture,

  • the impact that his love of Greece had on that architecture.

  • In fact, what I'd like to do today is to begin with the most

  • Greek of Hadrian's buildings, a building that we think he may

  • have designed himself, because we also know that

  • Hadrian was an amateur architect;

  • Hadrian himself was an amateur architect.

  • And we think he designed this very building,

  • the so-called Temple of Venus and Roma.

  • He was also particularly interested, by the way,

  • in religious architecture.

  • Most of his public building was religious architecture,

  • temples, this being one of them: the Temple of Venus and

  • Roma, a temple put up to Roma,

  • as the patron goddess of the city of Rome,

  • and to Venus as the patron goddess of the Roman family.

  • And you'll remember that Venus was a special favorite of Julius

  • Caesar, and of Augustus,

  • and those two thought of her as the special patron of the Julian

  • family.

  • So we also see Hadrian here, conjuring up,

  • I think, his connections to the earlier dictators and emperor

  • Julius Caesar, and Augustus,

  • by his emphasis on Venus.

  • So this Temple to Venus and Roma.

  • You'll see that we don't have a precise date for this monument.

  • We think it was put up sometime between 121 and 135.

  • We know it was dedicated in 135.

  • It seems to have been long in the making.

  • So it's hard to categorize it as either an early- or a mid- or

  • a late-Hadrianic building, because it does seem to have

  • been in production for quite some time.

  • I show you two plans of the Temple of Venus and Roma,

  • because there's controversy about which plan most accurately

  • reflects the original Hadrianic temple.

  • Because we know the temple was -- while it was built under

  • Hadrian and dedicated in 135, we know that it burned down in

  • a very serious fire in Rome, in the late third century A.D.,

  • and then was renovated by an emperor,

  • whom we'll talk about later in the semester,

  • by the name of Maxentius, M-a-x-e-n-t-i-u-s;

  • it was renovated by Maxentius in 307 A.D.

  • And we think Maxentius kept quite closely to the original

  • Hadrianic plan, but we're not absolutely sure

  • about that.

  • So that some of the discrepancies that you see

  • between these two plans may have to do with the discrepancies

  • between the original building and the eventual renovation.

  • But you will see that in the main these two plans--

  • and the one on the left-hand side of the screen is the one

  • that's on your Monument List that you have in front of you.

  • The one on the right-hand side of the screen is the one in your

  • Ward-Perkins textbook.

  • But if you look at its most outstanding features,

  • you will see that most of them are similar to one another,

  • that the main features of these two buildings--

  • of these two plans--are the same.

  • And you should be immediately struck by these plans,

  • both of these plans, and how different they are from

  • what we have characterized as the typical Roman temple;

  • that typical Roman temple, usually with a single cella,

  • with a deep porch, with freestanding columns in

  • that porch, with a façade

  • orientation.

  • This is very different indeed, no matter which of these two

  • plans you look at.

  • Because you will see that this large temple has a double cella,

  • two cellas, back-to-back--and you see it in both plans--

  • two cellas back-to-back.

  • Well the reason for that is obvious, because it commemorates

  • two divinities, Venus and Roma,

  • and each one needed to have a cella.

  • But these are not cellas within a larger cella,

  • located side by side, as in the Capitoline Triad

  • Temple, but rather two that are

  • back-to-back, two that are back-to-back.

  • Now what this does is take away the façade orientation of

  • the building and give us two facades, in a sense,

  • one on either side.

  • So we see that in both of these.

  • We also see that the columns go all the way around the

  • structure, and so does the staircase go all the way around

  • the structure; we see that in both plans.

  • And then there is a large precinct that also has columns

  • around it.

  • I can also tell you, you can take on faith,

  • that this building also has a low podium.

  • So what we see here is a temple that looks much more Greek than

  • it looks Roman; in fact, as I said,

  • it doesn't look anything like the typical Roman temples that

  • we've been talking about today.

  • Why is this?

  • This has to do with the fact that Hadrian was a philhellene,

  • that he was enamored of Greek architecture,

  • and that he opted, in this case when he himself

  • appears to have been the architect of this building,

  • Hadrian, amateur architect, seems to have designed this

  • building himself.

  • We see that when he was left entirely to his own devices,

  • he wanted to build a Greek temple in Rome,

  • and that is exactly what he did.

  • Now also important vis-à-vis this temple is

  • location, location, location.

  • This building is located at the edge of the Roman Forum,

  • closest to the Colosseum, and on the Velia;

  • you'll remember the Velia where the Arch of Titus is located,

  • the Arch of Titus.

  • And you'll remember that that was the area that the Flavian

  • dynasts chose to build their buildings on,

  • in order to raze to the ground Nero's earlier Domus

  • Transitoria, and build their own buildings

  • in its place.

  • So we see Hadrian continuing on in that same tradition,

  • returning to the Roman people land that had originally been

  • theirs, that had been stolen by Nero,

  • by building, in this case,

  • a religious structure on that site instead.

  • So that also extremely important.

  • To get back for a moment to the plan,

  • we see again the major difference between these two

  • versions is that in this case there is a flat back wall for

  • each of the individual cellas; for this one,

  • a niche on either side, niches back to back,

  • almost kissing, as you can see here.

  • And then you can also see another difference is the walls

  • are very elaborately scalloped in this plan,

  • which we can see in the Maxentian renovation that still

  • exists; and I'll show it to you in a

  • moment.

  • But again, we're not sure if that was a Maxentian innovation,

  • in the early fourth century A.D., those back-to-back apses

  • and scalloped walls, or whether they come from the

  • original-- whether they restore what was

  • in the original Hadrianic building.

  • I tend to prefer the one on the left because there is every

  • evidence that we already have all of these features in Roman

  • architecture.

  • Think to the Flavian Palace on the Palatine,

  • Domitian's Palace, where we saw the scalloped

  • walls in the Aula Regia, and where we certainly saw

  • these niches with vaults of heaven,

  • semi-vaults up above them.

  • So everything was in place to have that kind of structure;

  • so it's certainly not inconceivable in the Hadrianic

  • period.

  • Here's a view of the Temple of Venus and Roma as it looks as if

  • you are standing atop the Colosseum, and taking a picture

  • back toward it.

  • And this is very useful, because it shows you--

  • this is not a high podium, this is just the difference in

  • ground level, once again--ancient ground

  • level being lower than modern ground level--

  • and some of the structures that lay below originally of Nero's

  • Domus Transitoria, for example,

  • that this building was built on.

  • Here you can actually see the podium of the temple,

  • and you can see that it is very low, compared to what we're used

  • to.

  • We're looking back at one of those niches.

  • You can see the semi-dome here, as well as the relationship of

  • it to the Arch of Titus, and the Velia,

  • which once again points out the fact that we are dealing here

  • with a building that was put on property that had originally

  • been the location of Nero's Domus Transitoria.

  • Here are three very useful views, one showing that same

  • niche closer up, taken from the Colosseum;

  • one of those back to back niches, as it looks today.

  • And then this one, over here, which is the other

  • niche, which is preserved inside a

  • later building that was transformed into a museum of the

  • Forum Romanum, at one point.

  • We see it here, and you can see in both cases

  • the semi-dome.

  • You can see the concrete construction,

  • faced with brick.

  • In this one, which is better preserved in

  • large part because it was in part indoors,

  • we can see the columns on either side of the niche,

  • and we also see that scalloped wall that I described before,

  • just like the Aula Regia, with niches flanked by columns.

  • And you can see the beginning of a coffered vault.

  • We're not absolutely sure it was barrel vaulted,

  • but we think the building was barrel vaulted.

  • We also see, on the left,

  • I remind you of the octagonal room designed by Rabirius,

  • for Domitian's Palace on the Palatine,

  • to underscore again the kinds of experiments that Rabirius was

  • making, that had such an impact,

  • as we shall see today, on Hadrian and his own

  • architectural designs.

  • You'll remember that room.

  • You'll remember that it has a segmented vault.

  • You will remember that it's treated very much like

  • sculpture: that it has niches; that it has niches within

  • niches, windows within niches, doorways within niches;

  • all of them done in an asymmetrical way,

  • that makes the design particularly interesting.

  • Rabirius and his architecture, very influential on Hadrian.

  • Keep in mind that Hadrian, once Domitian--

  • I mentioned this to you when we talked about Domitian's Palace--

  • once Domitian built that palace, it was the palace that

  • all the emperors, from that time to the end of

  • late-antiquity, lived in.

  • Hadrian was no exception.

  • When he was in Rome, he lived in that palace,

  • and he was therefore seeing and experiencing the shapes,

  • the architectural shapes designed by Rabirius,

  • on a daily basis.

  • He liked that octagonal room, in particular,

  • and the others like it in the palace, and it clearly had an

  • impact on him, as we shall see.

  • The last point I want to make about the Temple of Venus and

  • Roma, by the way, has to do with materials.

  • We have been talking about the increasing use of marble in

  • Roman architecture: under Augustus,

  • marble from Luna or Carrara; under Nero and the Flavians,

  • marble from all over the world, from Asia Minor,

  • from Africa, of all different colors.

  • Hadrian, the philhellene, returns to using Greek marble

  • for his buildings, and the Temple of Venus and

  • Roma is made of Proconnesian marble,

  • P-r-o-c-o-n-n-e-s-i-a-n--I think I got that right--

  • Proconnesian marble that comes from Greece.

  • It's a blue veined marble.

  • He was particularly fond of it, and he used it for the Temple

  • of Venus and Roma.

  • I want to turn from the Temple of Venus and Roma to the much

  • more famous temple that Hadrian constructed.

  • If the Temple of Venus and Roma was to two gods,

  • Venus and Roma, Hadrian's Pantheon was to all

  • the gods, which is what pantheon

  • means, to all the gods--a temple to

  • all the gods that he built in Rome between 118 and 128 A.D.

  • You see a Google Earth image of it here, the Pantheon,

  • surrounded by modern structures.

  • It is one of the greatest masterpieces of architecture of

  • all times.

  • In fact, if you were to ask a group of architectural experts

  • to make a list of the ten greatest buildings ever built,

  • it's hard for me to believe that not every one of them would

  • at least list somewhere in that list of ten the Pantheon;

  • not only because it's a great building in its own right,

  • but because it has had such an enormous impact on architecture

  • in Roman times, as we'll see in later lectures,

  • but also on architecture in post-antique times;

  • an extraordinarily influential building.

  • And there are some--and I would be one of them,

  • maybe I'd be the only one; I hope not--who would list the

  • Pantheon as the greatest building ever built by man or

  • woman, of any time, in any place.

  • And you can see, as we look at it together

  • today, whether you think I come close or I'm way off the mark on

  • that.

  • But I believe vehemently that it was the greatest building

  • ever built, and it remains an extraordinary structure to see

  • and to experience.

  • You see it here--oh, and by the way,

  • although I mentioned that Hadrian was an amateur

  • architect, we don't know the name of the

  • architect for the Pantheon.

  • Do I think it was Hadrian?

  • Absolutely not.

  • Hadrian was not this good.

  • He was an amateur architect, not a professional architect.

  • This is an extraordinary work of art.

  • He may have had some input, he undoubtedly did.

  • Because we're going to see that the Pantheon is at the same time

  • complex and simple; it's also traditional and

  • innovative.

  • And what we're going to see Hadrian and his architect doing

  • here, and also doing at the Villa at

  • Tivoli, is combining,

  • in an extraordinary way, traditional Roman and

  • innovative Roman architecture.

  • Concrete construction, and the original vocabulary of

  • Greek architecture, namely columns,

  • combined in the same place.

  • And he was highly influenced in this regard by his predecessor

  • Trajan.

  • Think of the Markets and Forum of Trajan,

  • the way in which we had combined, in the same complex,

  • a traditional forum and a very innovative marketplace.

  • We're going to see the same thing in the Pantheon.

  • We're going to see the same thing at Hadrian's Villa at

  • Tivoli.

  • So Trajan exerting--Trajan and Apollodorus of Damascus,

  • exerting a very strong influence, as did Rabirius,

  • on the architecture of Hadrian.

  • Again this Google Earth image is useful, because it shows us

  • the building in its modern environment.

  • But it's important to keep in mind that the Pantheon in Rome

  • was part of a complex in antiquity,

  • as most temples were, temples that were in

  • sanctuaries, temples that were in fora.

  • We've seen that in the course of this semester that they

  • usually did not stand in isolation, but were part of

  • architectural complexes.

  • We see that here.

  • This model is very helpful in that regard,

  • because it shows us that there was a rectangular forecourt:

  • that that forecourt had covered colonnades on either side;

  • that there was some sort of entranceway here,

  • possibly an arch, possibly an altar also,

  • to all the gods, in front of the temple;

  • and then the temple itself, the Pantheon itself.

  • Now this model is also very useful in the sense that it

  • gives you an idea of what you actually would have seen,

  • if you had walked into this complex,

  • into this open rectangular space, and walked toward the

  • Pantheon.

  • What would you actually have seen?

  • Well all that you would have actually seen was the porch,

  • the porch, which had an attic behind it,

  • which screened the cylindrical drum and the dome from the

  • viewer.

  • So if you were standing here, all you would have seen was

  • this porch.

  • Now this porch is very traditional.

  • It looks like other Roman temples, the fronts of facades

  • of Roman temples that we've looked at before.

  • It looks like other Greek temples, because what you would

  • have seen was the pediment, columns supporting that

  • pediment.

  • It was a typical Roman temple, from the front:

  • deep porch; free-standing columns in that

  • porch; single staircase;

  • façade orientation.

  • Very different from the Temple of Venus and Roma;

  • much more Roman looking.

  • And then a high podium; a high podium,

  • which we already mentioned the Temple of Venus and Roma did not

  • have.

  • That's what you would have seen, as you were standing in

  • front of it.

  • You would have thought, well this is very much in

  • keeping with other Roman temples.

  • But of course there was a surprise when one walked through

  • the doors; and that is the very essence of

  • Hadrianic architecture, the surprise that one gets when

  • one actually goes from the outside of the building into the

  • inside of a building.

  • Before we do that, I just want to show you the

  • back of the cylindrical-- because this traditional porch

  • shielded a very innovative cylindrical drum,

  • supported by a hemispherical dome, as you can see here.

  • The construction technique the same,

  • as we've seen from the time of Augustus,

  • from the time of the Temple of Mercury at Baia,

  • the use of concrete construction,

  • faced with brick.

  • It's more sophisticated here than it has ever been before,

  • and we can see that the architect has relieved the

  • severity of the structure by adding three cornices--

  • you can see two of them at least here;

  • there's another one down here--three cornices.

  • And you can also see very interestingly these brick

  • arches, which tell us a great deal

  • about Roman building practice during this period,

  • especially obviously for the use of concrete construction.

  • Because what those were used for is to help keep the concrete

  • from settling.

  • After the wet concrete had been poured, those arches keep it

  • from settling, until it dries.

  • And then once it dries, those arches are no longer

  • needed, because the building,

  • the concrete walls support the building on their own,

  • and support the dome on their own.

  • And they're no longer needed, but of course they're left

  • there, and then they have a certain aesthetic value in the

  • aftermath.

  • And so you can see very clearly here,

  • as you look at what is preserved--and the building is

  • extremely well preserved, the back of the building--you

  • can see reference to that construction.

  • These diagrams, both the plan of the structure,

  • the cross-section and the diagram on the left-hand side,

  • also give us some very interesting and important

  • information.

  • They show us that the circular drum was internally half the

  • height of the diameter.

  • You can see that in the diagram on the left-hand side of the

  • screen, of the diameter of the

  • structure, and that it was surmounted by a hemispherical

  • dome, the crown of which is the exact

  • distance, the same exact distance.

  • So this was very carefully orchestrated by the architect to

  • achieve what he needed to achieve here.

  • You can also see, if you look at the plan,

  • that again the predecessors for this are clearly the

  • frigidaria at Pompeii, the thermal bath at Baia --

  • this round structure with the radiating apses,

  • very similar, but of course done in much,

  • much grander scale.

  • Now with regard to--and this is the façade of the

  • Pantheon, of course, as it looks

  • today--with regard to how they made this happen,

  • how they were able to take the small-scale frigidaria,

  • the slightly larger Temple of Mercury,

  • the larger still Domus Aurea of Nero,

  • or the domed room in the Domus Transitoria,

  • and turn it into the Pantheon ultimately,

  • has to do in part not only with the skill of the architects,

  • has to do in part also with the increasing sophistication that

  • we've been talking about quite consistently of the use of

  • concrete construction by the Romans,

  • but also has to do with the recipe for concrete.

  • We haven't talked about the recipe for concrete,

  • since the time of Caligula, when we talked about the fact

  • that he had made some adjustments.

  • Well Hadrian made some adjustments, or Hadrian and his

  • architects made some adjustments as well, during Hadrian's reign.

  • And what they did was they--two things.

  • They decreased the thickness, they decreased the thickness of

  • the walls, from bottom to top,

  • and they also did what Caligula had done before,

  • but did it even more so, by mixing--

  • using as an aggregate, at the base of the dome,

  • they used heavy stone, a basalt, a very heavy,

  • thick basalt.

  • But when they got toward the top, they mixed,

  • or the idea was when they got toward the top,

  • they would mix in as an aggregate a porous pumice,

  • which was much, much lighter,

  • and that's essentially how they achieved their goals.

  • Now before I talk about the exterior of the structure,

  • and take you through the building, I want to mention one

  • very interesting exchange between Hadrian and Trajan's

  • architect, Apollodorus of Damascus.

  • You'll remember that I said that the Temple of Venus and

  • Roma we think was designed by Hadrian himself.

  • And at one point Hadrian--Apollodorus was still

  • alive and highly respected-- and at one point Hadrian went

  • to Apollodorus to ask him for his thoughts on the designs that

  • Hadrian was doing for the plans, that Hadrian was doing for the

  • Temple of Venus and Roma, which tells us--if you wondered

  • where I got-- how we know that Hadrian was an

  • amateur architect, it's because of this passage,

  • because it tells us that Hadrian was doing some designing

  • and that he was designing the Temple of Venus and Roma.

  • And we fortunately have the Roman senator of eastern birth,

  • Dio Cassius--D-i-o, new word, C-a-s-s-i-u-s,

  • Dio Cassius, a Roman senator of eastern

  • birth-- who wrote a history of Rome in

  • the third century A.D., gives us an account of this

  • interaction between Hadrian and Apollodorus of Damascus.

  • And although I don't like to read to you,

  • I am going to read to you from this quote,

  • because it is so critical for our understanding,

  • both of the Pantheon and for Hadrian's Villa at Tivoli.

  • So bear with me as a read this, a bit longish quote.

  • So Cassius Dio tells us, and I quote:

  • "Hadrian first drove into exile,

  • and then put to death Apollodorus, who had carried out

  • many of Trajan's building projects.

  • The pretext given for Hadrian's action was Apollodorus had been

  • guilty of some serious offence, but the truth is that when

  • Trajan was at one time consulting with Apollodorus,

  • about a certain problem connected with his

  • buildings"-- that is Trajan's

  • buildings--"the architect said to Hadrian--";

  • so this seems to have been before even Hadrian become

  • emperor.

  • "The architect said to Hadrian, who had interrupted

  • them with some advice, 'Go away and draw your

  • pumpkins.

  • You know nothing about these problems.'

  • For it so happened that Hadrian was at that time priding himself

  • on some sort of drawing.

  • When he became emperor"-- that is when Hadrian became

  • emperor-- "he remembered the insult

  • and refused to put up with Apollodorus' outspokenness.

  • He sent him the plan for the Temple of Venus and Roma,

  • in order to demonstrate that it was possible for a great work to

  • be conceived without Apollodorus' help,

  • and asked him"--that is, Hadrian asked

  • Apollodorus--"if he thought the building was well designed.

  • Apollodorus sent a reply saying that as far the Temple of Venus

  • and Roma was concerned, it should have been placed in a

  • higher position."

  • It should've had a high podium, not a low podium,

  • according to Apollodorus, who goes on to say,

  • "'With regard to the cult images--

  • '" Apollodorus goes on to say,

  • "'With regard to the cult images,

  • they were made on a scale which was too great for the height of

  • the cella, for if the goddesses should

  • wish to stand up and leave the temple,' he said,

  • 'they would be unable to do so.'

  • When he wrote all of this so bluntly, Hadrian was both

  • irritated and deeply pained, he had the man slain."

  • Now the pumpkins--what's critical about this,

  • it tells us two things that are absolutely essential in our

  • understanding of Hadrianic architecture:

  • one, that Hadrian was doing

  • designing on his own, that he was an amateur

  • architect, and he seems to be very much involved in the design

  • of the Temple of Venus and Roma.

  • It also tells us that Hadrian was making some drawings of

  • pumpkin domes.

  • What are pumpkin domes?

  • Well pumpkin domes are undoubtedly segmented domes.

  • They are just the kind of dome that Rabirius did for the

  • octagonal rooms in the Palatine palace;

  • rooms that Hadrian was exposed to by living in that palace

  • himself, obviously fond of them, liked them, started to draw his

  • own pumpkins.

  • And we're going to see that those pumpkins--well we don't

  • have a pumpkin dome in the Pantheon, as we'll see probably

  • fortunately.

  • But we do have them at Hadrian's Villa.

  • And so again very critical for you to be aware of this

  • interesting exchange, very momentous exchange between

  • Hadrian and Apollodorus.

  • We see here the façade of the Pantheon,

  • as it looks today.

  • You have to think away this very attractive but nonetheless

  • mars the view, of the façade of the

  • Pantheon, that was put up in the

  • Renaissance.

  • And you have to imagine the building now stands in

  • isolation, without its colonnades and without its

  • forecourt.

  • So you have to try to imagine them.

  • But you can see how very well preserved the Pantheon is.

  • The ground level has shifted, so we don't see the very tall

  • podium that was once there, although there have been some

  • excavations around it, that demonstrate that it is

  • indeed there, or part of it is indeed there.

  • But we can see the columns across the front.

  • We can see an inscription.

  • We can see the pediment and the attic.

  • And this is a good view because although you see the dome

  • peeping up a little bit on the top,

  • it gives you some sense of when you stood in the colonnade,

  • walking toward it, the forecourt,

  • walking toward it, that you would have only seen

  • essentially the most traditional part of the building,

  • and that is the columns supporting the pediment,

  • with the dome behind.

  • This is a detail of the inscription of the building.

  • We can also see the columns.

  • You can see that they are grey granite--I've a better view in a

  • moment--grey granite with white marble capitals.

  • The inscription is fascinating.

  • It tells us that M. AGRIPPA, Marcus Agrippa--that's the

  • famous Marcus Agrippa, the childhood friend,

  • confidant, son-in-law, firsthand man,

  • one-time heir to Augustus-- Marcus Agrippa;

  • L.F., Lucius Filius, the son of Lucius;

  • COS, consul; consul; TERTIUM,

  • for the third time; FECIT, made it.

  • This tells us Marcus Agrippa, Consul for the third time,

  • son of Lucius, made it;

  • made the Pantheon.

  • What's that all about?

  • Marcus Agrippa lived in the age of Augustus.

  • Well we know there was an earlier Pantheon on this site,

  • that Marcus Agrippa was responsible for commissioning.

  • Marcus Agrippa, like Augustus,

  • commissioned a lot of buildings in Rome.

  • He also commissioned them in the provinces.

  • We'll look at some of those when we go out to the provinces.

  • Marcus Agrippa, a major building program in

  • Rome, including a pantheon, a temple to all the gods.

  • And we don't--that pantheon no longer exists,

  • although there have been some excavations that have discovered

  • some of it underneath the current building.

  • But it stood on this very site, and we know,

  • from a literary description, that it had a caryatid porch,

  • which is perhaps not surprising, in the context of

  • Augustan architecture.

  • You'll remember the caryatids, in the Forum of Augustus that

  • we looked at earlier in the term.

  • So we know that Marcus Agrippa actually built Rome's first

  • pantheon, his first temple to the gods on this very site.

  • When Hadrian built his own pantheon,

  • on the same site, he decided to piously reference

  • the earlier building of Marcus Agrippa,

  • telling us that Marcus Agrippa made this,

  • made a building that originally stood on this site,

  • which he is basically very modestly saying he restored.

  • Of course, this building that he made has nothing to do

  • undoubtedly with the Pantheon in Rome;

  • it's a very different and much more sophisticated building.

  • But it was a very modest thing to do.

  • But I think there was a method to his madness in the sense that

  • he was underscoring, by so doing,

  • his relationship once again to Augustus,

  • which was obviously very important for him to do.

  • But this inscription confused a lot of scholars for a long time,

  • who actually called this originally an Augustan building.

  • You can see the pediment up above.

  • You can see all the holes there; those are the attachment marks

  • for sculpture that would have been located in this pediment

  • that no longer survives.

  • Here's another view showing the grey, the light grey granite

  • columns, the white Corinthian capitals;

  • all of these magnificently carved, very high quality

  • architects and artisans here.

  • By the way, I forgot to mention, when we talked about

  • the Temple of Venus and Roma and the use of Greek marble,

  • that Hadrian not only brought in Greek marble,

  • but he brought in Greek marble cutters,

  • marble carvers, who were responsible for

  • working on these.

  • So he wanted the very best, those who were most familiar

  • with carving Greek marble, to be used for his buildings,

  • and they were undoubtedly used for this one as well.

  • And we can see the depth of the porch, I think also,

  • from this view of the Corinthian columns of that

  • porch.

  • It's very hard in a classroom in New Haven,

  • even with outstanding slides, to be able to give you a sense

  • of the experience that one has, of the surprise that one has,

  • as one walks through the door of the Pantheon.

  • We see the doors opened here.

  • They are bronze doors.

  • They are original doors, from this extremely

  • well-preserved structure.

  • And the reason that it is so well preserved is because like

  • other buildings in Rome, it was reused in later times,

  • as a church primarily, with a wonderful name,

  • Santa Maria Rotonda; Saint Mary, the rotund Mary

  • essentially, which is perfectly chosen for a

  • building with a giant rotunda, with a great cylindrical drum,

  • that the building has.

  • We see those doors opened up here,

  • and as one walks through this very traditional porch,

  • through the original bronze doors, into the interior,

  • one is struck by the extraordinary nature of the

  • interior of the Pantheon, which you see over here.

  • And all you're looking at here is the uppermost part,

  • with the dome essentially.

  • And the reason is because it is near--

  • even the human eye, both eyes, can't take in the

  • extent of this interior all in one glance,

  • and even if one uses the widest of wide-angle lenses,

  • you get a tremendous amount of distortion,

  • and you can't really take the whole thing in at once,

  • which makes it extraordinary.

  • And one has to rely instead on this painting by Pannini,

  • that shows you the grandeur beneath the dome,

  • and that gives you a better idea than any image I can show

  • you, however professional,

  • of what the interior of the Pantheon actually looks like.

  • And you can see in this Pannini painting the wonderful marble

  • revetment, the marble floor, the dome, with its coffers.

  • There are one, two, three, four,

  • five rows, yes five rows, of twenty-eight coffers each;

  • 140 coffers in all.

  • They were likely gilded in antiquity.

  • You see that there is an oculus,

  • through which light streams down onto that gilding,

  • down onto the marble incrustation.

  • The marble incrustation, by the way, extremely well

  • preserved.

  • This is about our best example of ancient Roman marble --

  • not all of it is ancient, but a good portion of it is,

  • and it gives you a very good sense of what some of these

  • marble buildings would have looked like in antiquity.

  • And I show you a detail of some of the original marble revetment

  • over here.

  • And this is what those Pompeians wished their walls

  • actually were: beautiful marbles of all

  • different colors, brought from all different

  • parts of the world.

  • So even though Hadrian chose Proconnesian marble for his

  • Temple of Venus and Roma, his Greek building,

  • which we really need to think of as a kind of Greek import for

  • this more Roman building, he is following in the

  • footsteps and Nero and the Flavians,

  • and using multi-colored marble, both for the revetment on the

  • wall, and the marble pavement down

  • below.

  • Most of this building--again, it's very well preserved--

  • is the original structure: the original columns,

  • the original pilasters, still extremely well preserved

  • in the Pantheon.

  • Because it was used over time as a church,

  • there are lots of accoutrements that one would expect in a

  • church: various saints and niches and so on and so forth.

  • So much of the sculpture is from a later period.

  • And it even has served as a burial place for famous

  • Italians, not the least of which was

  • Raphael, the famous Renaissance painter,

  • who you'll remember left a graffito,

  • when he went down into the subterranean chambers of Nero's

  • Domus Aurea.

  • He was buried here, and his tomb is one of the high

  • points for most visitors to this structure;

  • you see it here.

  • It dwarfs, to most people's minds, the Tomb of Victor

  • Emmanuel, whom you see over here on the left-hand side of the

  • screen.

  • But note all of that Roman symbolism: the eagle with

  • outstretched wings and the Amazonian pelta and so on,

  • all of those symbols of Roman power,

  • still very much used by dynasts, modern dynasts,

  • like Victor Emmanuel.

  • The dome of the Pantheon had the largest diameter of any

  • dome, up to this point.

  • We know that it was--the diameter of the Pantheon is 142

  • feet.

  • And if we compare it to the other large dome in Rome,

  • that of St.

  • Peter's, we find that the Pantheon dome still surpasses

  • St.

  • Peter's.

  • St.

  • Peter's is 139 feet in diameter;

  • so just a bit smaller.

  • Now any of you who have been both in the Pantheon and in St.

  • Peter's will probably say to me: "Wait a minute here,

  • the dome of St.

  • Peter's actually looks larger, when you stand underneath

  • it."

  • And I show you a view of that dome here.

  • The reason it does look a bit larger is the dome of St.

  • Peter's is taller.

  • So volumetrically it looks bigger, and visually it looks

  • bigger, but it isn't in terms of its diameter.

  • In diameter the dome of the Pantheon is still the largest

  • dome in the city of Rome.

  • And as you look at this dome, and compare it to St.

  • Peter's, one can't help but think--and think back to

  • Domitian and his dominus et deus, and his vaults and so

  • on and so forth; the whole idea being having the

  • dome of heaven over one's head.

  • I think one can't help but think, when one looks at this,

  • that there may be some reference here,

  • both to the orb of the earth and to the dome of heaven.

  • And it is certainly an appropriate symbol for a

  • building that honors all the gods.

  • I think it's important to, at this juncture,

  • to say something about, or to compare,

  • the most important Greek temple, the Parthenon,

  • on the Acropolis in Athens, with the most significant Roman

  • temple, the Pantheon,

  • to see that we have really come from an exterior to an interior

  • architecture, that in the case of the

  • Parthenon, fifth century B.C., Athenian Acropolis,

  • they are thinking primarily of a building that interacts with

  • the rock of the Acropolis and with the urban landscape,

  • and in other contexts these Greek buildings interact

  • directly with nature.

  • That's the way the Greeks thought about their buildings,

  • essentially as an exterior structure.

  • And we see the Romans following suit in their emphasis on

  • façade, the façade of temples in

  • their own religious architecture.

  • But with the Pantheon, that changes.

  • Yes, it does have a pediment in the front, it does have a

  • traditional porch.

  • So that's a nod to traditional temple architecture.

  • But once you go through that porch,

  • into the structure, and see that great cylindrical

  • drum, the hemispherical dome,

  • the light streaming through, you're in this totally new

  • interior world that has no precedent in early Roman

  • architecture.

  • And that had a huge impact on later Byzantine architecture,

  • Medieval--especially Byzantine architecture.

  • And particularly go to Istanbul and see Hagia Sophia,

  • or the Blue Mosque; they owe everything to the dome

  • of the Pantheon.

  • So we see this final, this real transition here;

  • a transition also in building materials, from stone to

  • concrete construction.

  • A few more views of this, of the interior of the dome of

  • the Pantheon.

  • These are very dramatic in black and white,

  • and you can see it's just--if you're in Rome and have the

  • time, it's a great deal of fun to go

  • and look at the Pantheon at different times of day,

  • because the light has such an impact on what the interior

  • looks like.

  • And you go in there in the morning, take a look;

  • then go out, have a long lunch,

  • a glass of wine; come back later and see what

  • has happened.

  • And it's also fun to be there when it rains;

  • it's interesting to just have the rain come down and collect.

  • There is a drain, but it doesn't always work all

  • that well.

  • So see water collecting on the edges of the floor,

  • in this extraordinary building.

  • One last view.

  • I love taking views of the--I have zillions of images that

  • I've taken, including this one of the

  • interior of the Pantheon, at all different times of day.

  • But I think it behooves us to notice and to say that in this

  • kind of new interior architecture,

  • this architecture of interior surprise,

  • it's not only the vault itself, it's not only the concrete

  • construction, or the marble revetment,

  • light plays a very important role.

  • We've seen light playing a very important role from the times of

  • the Domus Italica, and the Sanctuary at Terracina,

  • for example, up to where we are today,

  • but never more important than here;

  • light that streams through the oculus,

  • light that is used not only to illuminate this building,

  • and illuminate it extremely well, but also to create drama,

  • to create drama.

  • And you have to imagine it even more dramatic when the coffers

  • were gilded and when the marble down below may have been even

  • brighter still.

  • The marble pavement, by the way, which I didn't show

  • you, is also extremely well preserved.

  • So this light plays a very important and dramatic role in

  • this new, highly developed interior architecture.

  • And I personally know of no other building that one can

  • visit and experience that gives you a better sense than this one

  • of the divine presence on earth.

  • Whether it's one god, multi gods, as were honored

  • here, you really get a sense of

  • spirituality when you stand in this extraordinary temple,

  • and really do get a sense of the divine presence,

  • I think, on earth.

  • I mentioned that the Pantheon has spawned--

  • lots of buildings have been cloned from the Pantheon,

  • both in ancient times--and I'll show you a couple of examples

  • later in the semester-- but also in more modern times

  • there are lots of examples.

  • Woolsey Hall, for example,

  • here on campus is a kind of a pantheon.

  • But look at--the most obvious example,

  • in the United States, is not only Monticello,

  • but also Thomas Jefferson's University of Virginia,

  • the Rotunda at the University of Virginia,

  • which you see here is clearly based exactly on the Pantheon.

  • Thomas Jefferson, a great fan of ancient

  • architecture.

  • His library, his personal library,

  • has lots of books on Roman architecture.

  • When you look at a view of the Rotunda and the Lawn at the

  • University of Virginia--I taught, my first teaching job

  • was at UVA; I taught there for three years.

  • But when you look at this building,

  • the Lawn at UVA, with the Rotunda,

  • you can't help but wonder if Thomas Jefferson didn't know

  • that the Pantheon in Rome had that forecourt,

  • because--the Rotunda faces the wrong way,

  • it faces this way.

  • But nonetheless he's got behind it,

  • in his own design, this extraordinary rectangular

  • court, that does conjure up exactly

  • what the Pantheon looked like in Rome.

  • A few very quick views of the Pantheon.

  • I just hate to let it go, but some quick views of the

  • Pantheon.

  • One of the best ways of seeing it, it's surrounded by not only

  • a wonderful piazza, which is a great place to eat

  • gelato or have a glass of wine, but there are--you can

  • encounter it from a number of narrow streets,

  • and that whole element of surprise is still there.

  • You're walking along the street and wow, all of a sudden,

  • there it is in front of you.

  • And you can see that very well here, as you begin to get a

  • glimpse of it.

  • With regard to eating around the Pantheon,

  • I recommend one of my absolute favorite restaurants in Rome,

  • which is easy to remember because it's Fortunato al

  • Pantheon; you see it over here with its

  • wonderful outdoor space and its white umbrellas.

  • Right across from the Pantheon, directly across,

  • is a McDonald's.

  • The golden arches are really very much like a Roman aqueduct,

  • don't you think?

  • So references--I told you there are resonances everywhere of

  • Rome.

  • Don't eat--you can eat at McDonald's anytime;

  • go to the other one, much more interesting.

  • And it has the best--I've never had this anywhere else--

  • it has a veal scaloppine al gorgonzola,

  • with gorgonzola, a very thin layer of

  • gorgonzola: delicious.

  • I also told you I was going to keep you abreast of the latest

  • on gelato in Rome.

  • We've talked about Tre Scalini; so I just wanted to show you

  • Della Panna .

  • If you're standing at the Pantheon restaurant,

  • look to the right, you're going to see Della

  • Palma, P-a-l-m-a.

  • Of the four best, actually I think it's the

  • fourth.

  • It's not my absolute favorite, but if you like--it's a little

  • bit more Americanized, as you can see from this

  • selection.

  • Notice there are Mars bars, specialità,

  • as well as some of their other flavors.

  • My favorite, personal favorite,

  • is zabaglione, which you see over here.

  • But just to whet your appetite early in the morning.

  • I want to move, in the twenty minutes or so

  • that remain, I would like to move from the Pantheon in Rome

  • to Hadrian's home; not his home in Rome,

  • which as we've mentioned was the Palace of Domitian on the

  • Palatine Hill, but his Villa at Tivoli.

  • Tivoli, ancient Tibur; we've talked about Tivoli many

  • times before, where the marble,

  • the travertine quarries are located.

  • Tivoli is about a, well I don't know,

  • forty minute drive from Rome today,

  • kind of a high speed drive from Rome today,

  • but in antiquity longer, obviously,

  • but not inaccessible from Rome.

  • Hadrian obviously had no problems getting there in

  • ancient Roman times.

  • It's an extraordinary place, and Hadrian--

  • it was a place that Hadrian used as a kind of incubator for

  • his architectural ideas, and it's highly likely that

  • many of the buildings that we see there were designed in part

  • by him, especially those famous pumpkin

  • domes, because we're going to see that

  • a number of these buildings do indeed have pumpkin domes

  • designed under the influence of the architecture of Rabirius.

  • It's an amazing villa.

  • It is the most extensive villa preserved, from the Roman world,

  • and likely the most grand of all the Roman villas.

  • And if we think back to Nero's Palace in Rome,

  • what made Nero's Palace in Rome so scandalous was the fact that

  • it was located in downtown Rome.

  • But if you compare Nero's Palace to Hadrian's Villa at

  • Tivoli, there's no comparison between the two.

  • Hadrian's Villa at Tivoli is much more extensive.

  • It has much more extraordinary buildings,

  • from the architectural standpoint, and it was decorated

  • even more opulently, with a wide variety of

  • sculpture, mosaics and paintings.

  • It was clearly an extraordinary place.

  • And if Trajan's Forum was in a sense a microcosm of the extent

  • of the Empire under Trajan, I like to think of Hadrian's

  • Villa as the Empire under Hadrian,

  • the Empire that he traveled around so many times.

  • And I show you in the upper right a map of the Roman Empire.

  • All of that orange area is the area that was under Rome's aegis

  • at the time of Trajan and into the years of Hadrian.

  • And if you look closely, you will see three colored

  • lines; a yellow, a blue and a red line.

  • Those are Hadrian's travels around the Empire,

  • and it shows you how extensive they were.

  • He went everywhere.

  • Why?

  • Because he loved to travel, he just loved to travel.

  • But he also went in order to take a look at provincial

  • affairs at first hand.

  • Now everywhere he went, he either--he himself paid for

  • buildings that were erected, or, more often than that,

  • buildings were put up by local magistrates and so on,

  • local cities, in honor of Hadrian,

  • in order to try to get a favor out of him,

  • or just to honor him on his visits.

  • Some of these were rushed, put up in a rush job in order

  • to be there when he arrived on the scene.

  • So we see this incredible array of building activity during this

  • period.

  • And we will see that reflected as we make our way,

  • beginning already next week, make our way into the

  • provinces.

  • We will begin to see some very interesting Hadrianic buildings

  • in those provinces that reflect what he was doing elsewhere,

  • or in Rome.

  • But what we see here, what we see at the villa is

  • fascinating.

  • Because all of us, we're just back from break;

  • some of you did some traveling.

  • We know that traveling expands all of our horizons.

  • We go someplace; experientially we're different

  • than we were before, by what we see and what we

  • experience.

  • And we also--maybe not in this new economic climate,

  • but at least in the past, we all tended to pick up

  • souvenirs; a T-shirt here,

  • and a whatever there, a handbag there,

  • and we bring those back, to remind us,

  • and make us have memories of the wonderful trip that we took.

  • Well Hadrian did that as well.

  • He collected souvenirs.

  • But because of his own wealth, and because he had the imperial

  • treasury behind him, he could collect buildings,

  • as souvenirs essentially.

  • So when Hadrian traveled and saw what he liked,

  • what he did was he came back to this laboratory,

  • this architectural laboratory that he had at Tivoli,

  • and he either created--some of these were probably designed by

  • him, others by his architects--he

  • created a series of buildings that were in a sense souvenirs

  • of his travels, either exact duplicates of

  • things he saw, or variations on those themes.

  • And it makes these buildings particularly fascinating to look

  • at.

  • The Villa of Hadrian had essentially three building

  • phases: an early, a middle and a late.

  • They spanned the entire reign of Hadrian.

  • This villa was clearly Hadrian's hobby,

  • as well as his home, and if he hadn't died in 138,

  • he would've undoubtedly continued to build here.

  • So these buildings go up throughout the course of

  • Hadrian's reign.

  • I show you a view from the air of the villa as it looks today.

  • You can see that there are a series of very attractive pools

  • of water, interspersed with architecture.

  • If we look at a plan of the villa,

  • you will see that it is different than any other villa

  • we've seen before in that these buildings are actually kind of

  • casually, almost in an ad hoc way,

  • arranged around nature, to interact with nature.

  • We don't see the axiality and the symmetry that is so

  • characteristic of so much of Roman architecture.

  • They kind of meander along, as you might expect

  • architectural experiments to meander.

  • And it has everything there; not only pools but a wide

  • variety of buildings that I'm going to show you fairly

  • fleetingly: this great island villa over here;

  • the Piazza d'Oro or the Golden Plaza;

  • the two sets of baths, a large bath and a small bath.

  • You also see a stadium here, hairpin shaped,

  • that I'm not going to return to.

  • The Canopus: another pool.

  • This was so complete that it even had its own Hades,

  • its own Hell, in the villa.

  • Everything was here.

  • Hadrian left no stone unturned.

  • I want to show you, in fairly quick succession,

  • examples of the most interesting buildings,

  • of these tourist souvenirs, that Hadrian brings back from

  • his travels.

  • The first I'd like to show you is the so-called Temple of

  • Venus, which belongs to the latest building phase at the

  • villa: 133 to 138.

  • This is Hadrian the philhellene, once again,

  • just as we saw him at the Temple of Venus and Roma.

  • He goes to the Greek island of Knidos,

  • K-n-i-d-o-s, the Greek island of Knidos,

  • on which there was the most famous round Temple of Venus,

  • with the most famous Greek statue of Venus,

  • a statue by the great Greek sculptor Praxiteles.

  • Lots of people went to see it, and interestingly enough it was

  • this temple and the statue, excavated a number of decades

  • ago by a woman, a female archaeologist with the

  • perfect name, Iris Love, for the goddess of

  • love -- and that was really her name,

  • destined to go excavate the Temple of the Goddess of Love on

  • the Greek island of Knidos.

  • Hadrian goes there.

  • He's enraptured by what he sees.

  • He builds at his villa an exact replica, an exact replica of

  • this Greek round temple.

  • You can see it's the Doric order.

  • You can see it supports triglyphs and metopes,

  • and then in the center a statue of Venus, unfortunately now

  • headless and armless.

  • That's a cast.

  • The original is in the museum on the site.

  • You see it in the museum on the site, over here,

  • based on Praxiteles' earlier statue.

  • There are lots of copies of this famous Praxitelean statue.

  • We see another one here in the Vatican, that's more complete,

  • gives you a better sense of what it looked like.

  • But again, here are the Doric columns and the triglyphs and

  • metopes.

  • So the most important point for you, an exact replica,

  • in this particular case.

  • The most extraordinary of these sort of architectural conceits,

  • these giant tourist souvenirs that Hadrian brings back from

  • his travels to his villa at Tivoli is the so-called Canopus

  • at Hadrian's Villa, my personal favorite,

  • the Canopus, at Hadrian's Villa,

  • which you see on your Monument List,

  • also dating to the latest period, 133 to 138 A.D.

  • It is meant to conjure up, in this case,

  • not Greece but Egypt: a canal, the Canopus,

  • in Egypt, that was a tributary of the Nile.

  • And we know that you could travel from Alexandria to a

  • small town called Canopus by means of this canal.

  • And that is what is meant to be conjured up here.

  • The city of Canopus had in it a temple to the Egyptian god,

  • Serapis, S-e-r-a-p-i-s, Serapis, who was the healing

  • god, and people came from all around

  • the world to be healed at the Temple of Serapis.

  • It was also well known as a place with a wonderful amusement

  • park, and we think that although

  • Hadrian seems to have gone there,

  • in part, to go to the Sanctuary of Serapis,

  • he also appears to have gone there because it was also an

  • amusement park, and this is where we get into

  • the personal love triangle of Hadrian.

  • Hadrian was married to a woman by the name of Sabina;

  • a very beautiful woman, but she does look kind of dour

  • in this portrait on the right hand side of the screen.

  • So perhaps we don't blame him for taking up with what must

  • have been the most beautiful boy in all of antiquity,

  • a youth by the name of Antinous, A-n-t-i-n-o-u-s,

  • Antinous, whom Hadrian met on his travels in Asia Minor,

  • smitten with the boy, and they became constant

  • companions thereafter.

  • But unfortunately Antinous, while still very young,

  • died by drowning, where else but the Nile,

  • in Egypt, also on these travels.

  • They went to Canopus together, by the way, to the amusement

  • park, but poor Antinous died by drowning in the Nile.

  • No one knows exactly what happened.

  • Was it an accident?

  • Some say that he may have given his life to save Hadrian's.

  • We don't really know.

  • That's never been sorted out as to exactly what happened to this

  • wonderful and beautiful young man.

  • But he died by drowning in the Nile, which made the Nile a

  • particularly poignant spot for Hadrian, who appears to have

  • recreated it here at his villa.

  • He also went on to found--this is one of the reasons this has

  • inspired so many design-your-own Roman cities projects;

  • not only the relationship between Hadrian and Antinous,

  • and this love triangle with Sabina,

  • but also because Hadrian went around the Empire and founded

  • one Antinoopolis after another; there were tons of

  • Antinoopolises all around Rome .

  • And he put up statues of Antinous in every possible

  • guise, of every possible god:

  • the major Roman gods and some of the--

  • and all the minor Roman gods as well.

  • And there are lots of statues of Antinous.

  • This is another one that was found at the villa,

  • not at this pool, although it might have been,

  • given that the inspiration was Egypt.

  • This shows him in Egyptian guise with the Egyptian

  • headdress and covering all that wonderful curly hair,

  • for which he was so well known.

  • But nonetheless, Antinous as a pharaoh,

  • from Hadrian's Villa.

  • Back to the Canopus, you see the pool.

  • You see it has columns on one side.

  • These columns had sculpture interspersed.

  • And here Greece comes back to the fore, because many of these

  • statues here were also based on ancient Greek prototypes.

  • So we see this interesting eclecticism here:

  • a pool based on Egypt, with some Egyptianizing

  • statuary, but also interspersed with Greek statues,

  • based on famous Greek prototypes.

  • Most important to us, from the architectural

  • standpoint, the straight lintel and the arcuated lintel,

  • used here for the Canopus.

  • We saw that in Second Style Roman wall painting.

  • We're beginning to see it now in built architecture.

  • It becomes a particular favorite of Hadrian's,

  • and we're going to see it elsewhere in the Roman

  • provinces, under Hadrian.

  • The influence again of Egypt, and also in this case also of

  • Rome: two river gods that seem to have decorated the Canopus,

  • this one leaning on a figure of a sphinx,

  • so this is clearly the Nile River.

  • This one leaning on the she-wolf, suckling Romulus and

  • Remus; clearly the Tiber.

  • So once again, very eclectic sculptural

  • program.

  • The caryatids were there too, lining one side of the pool of

  • the Canopus.

  • You see them over here, now in the museum -- extremely

  • well preserved, based on the original fifth

  • century B.C.

  • caryatids on the Acropolis.

  • So Hadrian's philhellenism coming to the fore again.

  • You'll remember, Augustus copied these same

  • caryatids for his forum, reduced scale.

  • Hadrian's are in full length, full scale,

  • same scale, as those in Greece, and the major difference

  • between Hadrian's caryatids, and Augustus',

  • Augustus', like the Erechtheion,

  • with the original Porch of the Maidens,

  • is in a public building.

  • In the case of Hadrian, a private villa -- using these

  • caryatids at a private villa.

  • Here you see them lining one side of the Canopus,

  • flanked on either side by satyrs, the same kinds of

  • fellows we saw in the Dionysiac mystery paintings.

  • And then, just so that we don't forget Egypt,

  • this wonderful representation of a statue of a crocodile that

  • was surely placed in the center of the pool,

  • peeping out of the water, just so that we make sure we

  • remember it's the Nile.

  • And I can trace my whole professional career sitting on

  • this crocodile because every time I'm there,

  • including even now, I pose on that crocodile.

  • But I do it in part because I think it's fun,

  • but also to encourage--there are two pictures that I really

  • like students to send me when they travel to Italy.

  • One is of them sitting on the crocodile at Hadrian's Villa,

  • and another is them on the stepping stones at Pompeii.

  • So I hope if you do go, that you will do that.

  • My favorite one--and I can't find it unfortunately,

  • because this was pre-digital--was a student who

  • sent me himself on this, with his shades on.

  • But then he had put a cigarette in the mouth of the crocodile,

  • unlit cigarette--it was really a cool picture;

  • I've got to find that some day.

  • The plan of the Canopus, over here, shows us what we've

  • looked at: the straight and arcuated lintel here;

  • the crocodile on this side; the caryatids on that side;

  • and then over here, at the end, the Temple of

  • Serapis, because they were trying to

  • recreate again this canal that led from Alexandria to Canopus,

  • and at the end of course, the Temple of Serapis,

  • the healing god, that was located at Canopus.

  • But you can see as well as I, by looking at the plan,

  • this curved structure over here, which we'll see is made

  • out of concrete.

  • But this is no Egyptian building, this is a very modern

  • Roman-looking building, and I show it to you here,

  • on the end of the canal.

  • This is called the so-called Serapeum, or the Temple of

  • Serapis, and you can see it has one of Hadrian's pumpkin domes.

  • It is very likely that it was designed by him,

  • by Hadrian, and we see it made out of concrete.

  • We can see it has niches.

  • It actually served as a fountain, with very deep niches,

  • from which there would have emanated a water display.

  • And then you can see a concrete dome,

  • up above, with those segmented, flat and concave,

  • alternating flat and concave segments that look like a gourd

  • or a pumpkin dome, probably designed by Hadrian

  • himself.

  • Here's a closer view showing you the same.

  • Baths, there are two baths at Hadrian's Villa.

  • One of them--I show you only the Large Baths here,

  • of Hadrian's Villa, which dates to the early phase

  • of 125 to 133.

  • I'm not going to say too much about these.

  • I'm not going to show you the plan.

  • But just to make the point that the villa has,

  • not one, but two baths, and they are gargantuan.

  • Look at the size of this.

  • Look at the tourists here in relationship to the so-called

  • Large Baths.

  • This is a private bathing establishment,

  • but it shows you that Hadrian has learned well from Trajan.

  • If Trajan's Forum was the mother of all forums,

  • this is the mother of all private bath buildings that we

  • see at Hadrian's Villa.

  • And we also see the expert way in which these architects used

  • concrete construction.

  • It's extraordinary.

  • Look at these vaults, vaults that are springing,

  • just as they did in Hadrian's market hall,

  • in the Markets in Rome, springing from--

  • groin vaults that spring from a bracket,

  • rather than from a column or a pilaster.

  • And look at the way in which they've been able to open up

  • this wall, dematerialize the wall with

  • very large windows: very sophisticated use of

  • concrete construction.

  • Here a detail of the groin vaults springing from the

  • bracket, with the stucco decoration that you can also

  • see.

  • Very quickly I also want to show you the so-called Piazza

  • d'Oro, or the Golden Plaza,

  • which dates also to the early phase of the Villa of Hadrian at

  • Tivoli, 125 to 133.

  • You can see just by looking at its plan that it's interesting.

  • It was used as an audience hall when Hadrian greeted important

  • visitors at the villa.

  • If you look at the entrance vestibule,

  • it's octagonal, just like the octagonal room of

  • Rabirius, with a pumpkin vault,

  • then a great open rectangular space,

  • fairly traditional, surrounded by columns.

  • And then over here, the audience hall or

  • aula, a-u-l-a, itself.

  • This is an amazing structure, and what makes the aula

  • particularly interesting and important is like the Pantheon

  • it combines traditional and innovative architecture;

  • it combines concrete construction with traditional

  • vocabulary of Greek architecture,

  • namely columns.

  • There is an annular vault over here.

  • You can see that the walls of this structure undulate,

  • but this undulation is particularly interesting because

  • the walls are not made out of concrete;

  • we'll see that the walls are made out of columns.

  • Here I show you a cutaway, axonometric view of the

  • aula, where you can see these

  • undulating walls, making a kind of cruciform

  • shape, but you can see that they are supported by columns.

  • So again this fascinating bringing together of the

  • traditional vocabulary of Greek architecture,

  • namely columns, with a concrete pumpkin dome on

  • top: use of innovative, of the traditional vocabulary

  • of architecture in an innovative way.

  • One might even call this an example of the so-called baroque

  • trend in Roman antiquity, which we'll be talking about

  • increasingly, and I want you to be aware that

  • it happens here.

  • Just very quickly, the very sculptural vestibule

  • entranceway, so inspired by Rabirius,

  • of the Piazza d'Oro, showing this concrete

  • construction with a pumpkin dome,

  • and then a detail of some of the columns along that

  • undulating, that curved or undulating wall,

  • that are still preserved in the aula.

  • I want to show you also lastly at Hadrian's Villa the so-called

  • Teatro Marittimo, the Maritime Theater,

  • which dates to the very earliest of the phases,

  • 118 to 128.

  • This was the building--Hadrian started with this first,

  • because this is what he wanted most of all--

  • which was an island villa within a villa,

  • a place where he could really go if he wanted to be alone,

  • even at his own villa.

  • And one can imagine him escaping here,

  • with Antinous by his side.

  • We see that island villa here.

  • It's a round structure.

  • In order to protect himself, once he crossed the drawbridge,

  • he has placed a moat around the island villa within a villa.

  • But if you look at the plan of that island villa,

  • you would think that Rabirius was still alive,

  • in the sense of that compass work that we saw Rabirius doing

  • in the private wing of the Domus Augustana,

  • playing off convex against concave.

  • But the difference between this and what Rabirius did is this

  • combines, in this very exciting way, concrete walls and concrete

  • domes with columns.

  • We see that same combination here.

  • Here's a view of what the island within the Teatro

  • Marittimo looks like today.

  • Here's the island, surrounded by the moat.

  • And you can see this wonderful combination of brick-faced

  • concrete construction, with columns,

  • but if you look at the columns you will see that they follow

  • the curvature of the foundation of the wall.

  • So this again, a combination of traditional

  • and innovative architecture.

  • Another view of the moat, of a colonnade with Ionic

  • capitals that surrounds the hall,

  • and then another view of the island part,

  • with this wonderful interaction of columnar and concrete

  • architecture.

  • Lastly, I just want to show you the Tomb of Hadrian,

  • and make a very few points about it.

  • The Tomb of Hadrian, the famous Mausoleum of

  • Hadrian, better known as the Castel

  • Sant'Angelo in Rome, was put up at the end of

  • Hadrian's reign, between 135 and his death in

  • 138, and consecrated by his successor,

  • Antoninus Pius.

  • It is located in the part of Rome that we have not explored

  • thus far, because very few ancient buildings survive from

  • that part of the city.

  • We are looking at an excellent Google Earth view of the Tiber

  • River.

  • You will notice the Piazza Navona over here,

  • the great stadium over here, and we should be able to see

  • the Pantheon, but it may be cut off,

  • in this view, as is the Tomb of Augustus,

  • which is located over here.

  • But we can see well the Castel Sant'Angelo of Hadrian's

  • Mausoleum, fronted by a bridge over the Tiber.

  • And that's the Vatican, Vatican City,

  • up right above.

  • So Hadrian chose a location across the Tiber,

  • where there were some imperial gardens, for his tomb.

  • Here you can better see, also Google Earth,

  • a view of the Castel Sant'Angelo as it looks today.

  • The walls and the watchtowers were added later,

  • because this served as a fortress for the popes,

  • in the Vatican.

  • The popes, in bad times, they had an underground

  • passageway that they could scurry from the Vatican to this

  • fortress, where they could be protected,

  • and that's when the watchtowers and so on were added,

  • as you can see here, fronted by a bridge.

  • This is the famous Ponte Sant'Angelo, designed by

  • Bernini, the great seventeenth-century architect

  • Bernini, with a series of angels.

  • And here another view of the Castel Sant'Angelo,

  • with Bernini's angels on the bridge.

  • The most important point for us, as you can see,

  • that although tombs, round tombs were no longer

  • au courant in the second century A.D.;

  • they had gone out of fashion.

  • Remember, Titus buried in his arch, Trajan buried in his

  • column.

  • They really weren't doing round tombs, at the extent that they

  • had been doing earlier.

  • Hadrian chooses this.

  • Why?

  • Because the great Mausoleum of Augustus was a round tomb.

  • He wants to associate himself with Augustus,

  • and he wants to create a new tomb for a succession of

  • dynasties.

  • Nerva was the last to be buried in the Mausoleum of Augustus;

  • Hadrian the first in this mausoleum, which continued to be

  • used in the second century.

  • And so it uses the Mausoleum of Augustus and the Caecilia

  • Metella tomb as models.

  • We have seen this model here, of the Tomb of Hadrian.

  • It's round, made out of concrete, placed,

  • as the Caecilia Metella tomb was, on a podium,

  • a very tall podium, probably a tumulus on top,

  • earthen tumulus, like Augustus' tomb.

  • We don't know what happened at the very apex,

  • whether there was a statue of Hadrian or a temple-like

  • structure, as you see here.

  • But the most important point for us is that at the end of his

  • life Hadrian is continuing to connect himself to Rome's first

  • emperor, to Augustus,

  • both of them in perpetuity philhellenic emperors with

  • philhellenic leanings, but in the case of both of

  • them, and particularly Hadrian, he combines it with this new

  • concrete architecture in a very special,

  • very distinctive way, that will have a lasting impact

  • on architecture in the Roman Empire.

Prof: Good morning everyone, and welcome back,

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