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Already at the time of Claudius and Nero, the style of sculpture began to separate itself from the neo-Attic Athenian art that dominated the late Republic. This style was almost definitively abandoned under the Flavian dynasty. It is not fully known what the catalyst for this change was.
Two major trends emerged in sculpture: the use of a more nuanced chiaroscuro in the bas-relief, and the use of placing the figures in a three-dimensional space with regards to the perspective of the viewer.
The greatest symbol of the Flavian era is the Arch of Titus, dated between 81 and 90. The architecture is denser and heavier than the arches of the Augustan era, such as the Arch of Susa. This is a clear deviation from the traditional Hellenistic influence. Here for the first time in Rome the Ionic/CorinthianComposite order appears, a more ornamental style. The numerous internal reliefs of the archway are extraordinarily significant and show two moments of the triumphal procession which took place in 71 after the capture of Jerusalem by Titus.[citation needed]
In these pieces, we see the innovation of Roman relief. Evident are the thickened figures, with the height of the figures consistent with their location in space. Individual figures are represented as if they were moving within three dimensions. Furthermore, the figures do not move on a straight line, but on a convex curved line, clearly visible in the relief of the procession. On the left it appears the figures are moving towards the viewer, and on the far right, moving away as they enter under the Porta Triumphalis. This trend continued to be developed further during the Nerva–Antonine dynasty.
Other sculptures
This era saw the commission of the Cancelleria Reliefs likely by Domitian, constructed around 90. These are imbued with classicism found in the era of Claudius, but also display the arrangement of the figures along a convex line.
Architecture
The Colosseum, constructed between 70 and 80
The Great Fire of Rome in 64 destroyed much of the city, making it necessary to rebuild. New squares were opened, the streets became wider and lined with arcades, and houses were constructed to a more limited height. Domitian rebuilt the burnt monuments at the Campus Martius, plus the Piazza Navona and the Odeon of Domitian.[1]
The Flavian dynasty, in particular under Domitian, oversaw the monumentalization of the Palatine Hill. The emperors Augustus, Tiberius, Caligula, and Nero all had residences on the hill, but the most grandiose palace was built by Domitian. The Palace of Domitian, constructed by the architect Rabirius, had at least three parts; the Domus Flavia, the Domus Augustana, and the gardens.
Architectural development in the Flavian era was of fundamental importance for the implementation of new techniques. This period saw an increase in the use of the hemispherical domes (Domus Transitoria, the nymphaeum at the Villa of Domitian), the development of rib vaults (the Colosseum), the use of ogives with brick arches in series, and the development of barrel vaults, which reach 33 meters in diameter in the Domitian vestibule of the Roman Forum.
Notes
↑ Platner, Samuel Ball, and Thomas Ashby. A Topographical Dictionary of Ancient Rome. London: Oxford UP, H. Milford, 1929. Print. 331
Bibliography
(in Italian)Ranuccio Bianchi Bandinelli & Mario Torelli, L'arte dell'antichità classica, Etruria-Roma, Utet, Torino 1976.
(in Italian) Pierluigi De Vecchi & Elda Cerchiari, I tempi dell'arte, volume 1, Bompiani, Milano 1999
Domitian was Roman emperor from 81 to 96. He was the son of Vespasian and the younger brother of Titus, his two predecessors on the throne, and the last member of the Flavian dynasty. During his reign, the authoritarian nature of his rule put him at sharp odds with the Senate, whose powers he drastically curtailed.
The 1st century was the century AD 1 through AD 100 according to the Julian calendar. It is often written as the 1st century AD or 1st century CE to distinguish it from the 1st century BC which preceded it. The 1st century is considered part of the Classical era, epoch, or historical period.
The 90s ran from 90 AD to 99 AD.
AD 96 (XCVI) was a leap year starting on Friday of the Julian calendar. At the time, it was known as the Year of the Consulship of Valens and Vetus. The denomination AD 96 for this year has been used since the early medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years.
Titus was Roman emperor from 79 to 81. A member of the Flavian dynasty, Titus succeeded his father Vespasian upon his death.
The Domus Aurea was a vast landscaped palace built by the Emperor Nero in the heart of ancient Rome after the great fire in 64 AD had destroyed a large part of the city and the aristocratic villas on the Palatine Hill.
Domitia Longina was a Roman empress and wife to the Roman emperor Domitian. She was the youngest daughter of the general and consul Gnaeus Domitius Corbulo. Domitia divorced her first husband, Lucius Aelius Lamia Plautius Aelianus in order to marry Domitian in AD 71. The marriage produced only one son, whose early death is believed to have been the cause of a temporary rift between Domitia and her husband in AD 83. She became the empress upon Domitian's accession in AD 81, and remained so until his assassination in AD 96. She is believed to have died sometime between AD 126 and AD 130.
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The Arch of Constantine is a triumphal arch in Rome dedicated to the emperor Constantine the Great. The arch was commissioned by the Roman Senate to commemorate Constantine’s victory over Maxentius at the Battle of Milvian Bridge in AD 312. Situated between the Colosseum and the Palatine Hill, the arch spans the Via triumphalis, the route taken by victorious military leaders when they entered the city in a triumphal procession. Dedicated in 315, it is the largest Roman triumphal arch, with overall dimensions of21 m high, 25.9 m wide and 7.4 m deep. It has three bays, the central one being 11.5 m high and 6.5 m wide and the laterals 7.4 m by 3.4 m each. The arch is constructed of brick-faced concrete reveted in marble.
Histories is a Roman historical chronicle by Tacitus. Written c. 100–110, it covers c. 69–96, a period which includes the Year of Four Emperors following the downfall of Nero, as well as the period between the rise of the Flavian Dynasty under Vespasian and the death of Domitian.
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The Flavian Palace, normally known as the Domus Flavia, is part of the vast Palace of Domitian on the Palatine Hill in Rome. It was completed in 92 AD by Emperor Titus Flavius Domitianus, and attributed to his master architect, Rabirius.
The Cancelleria Reliefs are a set of two incomplete bas-reliefs, believed to have been commissioned by the Roman Emperor Domitian. The reliefs originally depicted events from the life and reign of Domitian, but were partially recarved following the accession of emperor Nerva. They are now in the Vatican Museums.
Nerva was Roman emperor from 96 to 98. Nerva became emperor when aged almost 66, after a lifetime of imperial service under Nero and the rulers of the Flavian dynasty. Under Nero, he was a member of the imperial entourage and played a vital part in exposing the Pisonian conspiracy of 65. Later, as a loyalist to the Flavians, he attained consulships in 71 and 90 during the reigns of Vespasian and Domitian, respectively.
The Palace of Domitian was built as Roman emperor Domitian's official residence in 81–92 AD and was used as such by subsequent emperors. Its remains sit atop and dominate the Palatine Hill in Rome, alongside other palaces.
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Augustan and Julio-Claudian art is the artistic production that took place in the Roman Empire under the reign of Augustus and the Julio-Claudian dynasty, lasting from 44 BC to 69 AD. At that time Roman art developed towards a serene "neoclassicism", which reflected the political aims of Augustus and the Pax Romana, aimed at building a solid and idealized image of the empire.
Trajanic art is the artistic production of the Roman Empire during the reign of Emperor Trajan from 98 to 117. In this period, Roman art further developed the innovations of the Flavian era, coming to definitively detach itself from Hellenistic influence.
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