Rome

Rome Chapter 5 Roman civilization is often grouped into "classical antiquity " with ancient Greece, a civilization that inspired much of the culture of ancient Rome. Ancient Rome contributed greatly to the development of law, war , art , literature , architecture , and language in the Western world , and its history continues to have a major influence on the world today.
 * Ancient Rome** was a civilization that grew out of the city-state of Rome, founded in the Italian Peninsula circa the 9th Century BCE. During its twelve-century existence, the Roman civilization shifted from a monarchy to a republic to an expansive empire. It came to dominate Western Europe and the entire area surrounding the Mediterranean Sea through conquest and assimilation. However, a number of factors led to the eventual decline of the Roman Empire. The western half of the empire, including modern day Spain, France, and Italy, eventually broke into independent kingdoms in the 5th Century; the eastern empire, governed from Constantinople, is referred to as the Byzantine Empire after AD 476, the traditional date for the "fall of Rome" and subsequent onset of the Middle Ages.

Society
Life in Ancient Rome revolved around the city of Rome, located on seven hills. The city had a vast number of monumental structures like the Colosseum, the Forum of Trajan and the <span class="wiki_link_ext">Pantheon. It had <span class="wiki_link_ext">fountains with fresh drinking-water supplied by hundreds of miles of <span class="wiki_link_ext">aqueducts, <span class="wiki_link_ext">theaters , <span class="wiki_link_ext">gymnasiums , <span class="wiki_link_ext">bath complexes complete with <span class="wiki_link_ext">libraries and shops, marketplaces, and functional sewers. Throughout the territory under the control of ancient Rome, <span class="wiki_link_ext">residential architecture ranged from very modest <span class="wiki_link_ext">houses to <span class="wiki_link_ext">country villas, and in the <span class="wiki_link_ext">capital city of Rome, there were <span class="wiki_link_ext">imperial residences on the elegant <span class="wiki_link_ext">Palatine Hill , from which the word "palace" is derived. The low and middle classes lived in the city center, packed into <span class="wiki_link_ext">apartments, which were almost like modern <span class="wiki_link_ext">ghettos. The city of Rome was the largest urban center of that time, with a population well in excess of one million people (about the size of London in the early 19th century, when London was the largest city in the world), with some high-end estimates of 3.5 million and low-end estimates of 450,000. The public spaces in Rome resounded with such a din of hooves and clatter of iron <span class="wiki_link_ext">chariot wheels that <span class="wiki_link_ext">Julius Caesar had once proposed a ban on chariot traffic at night. Historical estimates indicate that around 20 percent of population under the jurisdiction of the ancient Rome (32% in Roman Italy) lived in innumerable urban centers, with population of 10,000 and more and several military settlements, a very high rate of urbanization by pre-industrial standards. Most of these centers had a <span class="wiki_link_ext">forum and temples and same type of buildings, on a smaller scale, as found in Rome.

Religion
Archaic <span class="wiki_link_ext">Roman mythology, at least concerning the gods, was made up not of <span class="wiki_link_ext">narratives , but rather of complex interrelations between gods and humans. Unlike in <span class="wiki_link_ext">Greek mythology, the gods were not personified, but were vaguely-defined sacred spirits called //<span class="wiki_link_ext">numina //. Romans also believed that every person, place or thing had its own //<span class="wiki_link_ext">genius //, or divine soul. During the <span class="wiki_link_ext">Roman Republic, <span class="wiki_link_ext">Roman religion was organized under a strict system of priestly offices, of which the //<span class="wiki_link_ext">Pontifex Maximus // was the most important. <span class="wiki_link_ext">Flamens took care of the cults of various gods, while <span class="wiki_link_ext">augurs were trusted with taking the <span class="wiki_link_ext">auspices. The <span class="wiki_link_ext">sacred king took on the religious responsibilities of the deposed kings. Emperors were also considered to be gods. As contact with the <span class="wiki_link_ext">Greeks increased, the old Roman gods became increasingly associated with Greek gods. Thus, <span class="wiki_link_ext">Jupiter was perceived to be the same deity as <span class="wiki_link_ext">Zeus, <span class="wiki_link_ext">Mars became associated with <span class="wiki_link_ext">Ares , and Neptune with <span class="wiki_link_ext">Poseidon. The Roman gods also assumed the attributes and mythologies of these Greek gods. The transferral of <span class="wiki_link_ext">anthropomorphic qualities to Roman Gods, and the prevalence of <span class="wiki_link_ext">Greek philosophy among well-educated Romans, brought about an increasing neglect of the old rites, and in the <span class="wiki_link_ext">1st century BC, the religious importance of the old priestly offices declined rapidly, though their civic importance and political influence remained. Roman religion in the empire tended more and more to center on the imperial house, and several emperors were <span class="wiki_link_ext">deified after their deaths. Under the empire, numerous foreign <span class="wiki_link_ext">cults grew popular, such as the worship of the Egyptian <span class="wiki_link_ext">Isis and the <span class="wiki_link_ext">Persian Mithras. Beginning in the 2nd century, <span class="wiki_link_ext">Christianity began to spread in the Empire, despite initial <span class="wiki_link_ext">persecution. It became an officially supported religion in the Roman state under <span class="wiki_link_ext">Constantine I, and all religions except Christianity were prohibited in <span class="wiki_link_ext">391 by an edict of Emperor <span class="wiki_link_ext">Theodosius I.

Art, literature and music
Most early Roman painting styles show <span class="wiki_link_ext">Etruscan influences, particularly in the practice of political painting. In the 3rd century BC, Greek art taken as <span class="wiki_link_ext">booty from wars became popular, and many Roman homes were decorated with landscapes by Greek artists. Evidence from the remains at <span class="wiki_link_ext">Pompeii shows diverse influence from cultures spanning the Roman world. Portrait sculpture during the period utilized youthful and classical proportions, evolving later into a mixture of realism and idealism. During the <span class="wiki_link_ext">Antonine and <span class="wiki_link_ext">Severan periods, more ornate hair and bearding became prevalent, created with deeper cutting and drilling. Advancements were also made in <span class="wiki_link_ext">relief sculptures, usually depicting Roman victories. <span class="wiki_link_ext">Latin literature was from its very inception influenced heavily by Greek authors. Some of the earliest extant works are of historical <span class="wiki_link_ext">epics telling the early military history of Rome. As the Republic expanded, authors began to produce <span class="wiki_link_ext">poetry, <span class="wiki_link_ext">comedy , <span class="wiki_link_ext">history , and <span class="wiki_link_ext">tragedy.

Engineering and architecture
<span class="wiki_link_ext">Roman engineering constituted a large portion of Rome's technological superiority and legacy, and contributed to the construction of hundreds of roads, bridges, aqueducts, baths, theaters and arenas. Many monuments, such as the <span class="wiki_link_ext">Colosseum, <span class="wiki_link_ext">Pont du Gard , and <span class="wiki_link_ext">Pantheon , still remain as testaments to Roman engineering and culture. The Romans were particularly renowned for their <span class="wiki_link_ext">architecture, which is grouped with Greek traditions into "<span class="wiki_link_ext">Classical architecture ". However, for the course of the Roman Republic, Roman architecture remained stylistically almost identical to <span class="wiki_link_ext">Greek architecture. Although there were many differences between Roman and Greek building types, Rome borrowed heavily from Greece in adhering to strict, formulaic building designs and proportions. Aside from two new <span class="wiki_link_ext">orders of columns, <span class="wiki_link_ext">composite and <span class="wiki_link_ext">Tuscan, and from the <span class="wiki_link_ext">dome , which was derived from the <span class="wiki_link_ext">Etruscan arch , Rome had relatively few architectural innovations until the end of the Roman Republic. It was at this time, in the <span class="wiki_link_ext">1st century BC, that Romans developed <span class="wiki_link_ext">concrete , a powerful <span class="wiki_link_ext">cement derived from <span class="wiki_link_ext">pozzolana which soon supplanted <span class="wiki_link_ext">marble as the chief Roman building material and allowed for numerous daring architectural schemata. Also in the 1st century BC, <span class="wiki_link_ext">Vitruvius wrote //<span class="wiki_link_ext">De architectura //, possibly the first complete treatise on architecture in history. In the late <span class="wiki_link_ext">1st century, Rome also began to make use of <span class="wiki_link_ext">glassblowing soon after its invention in <span class="wiki_link_ext">Syria , and <span class="wiki_link_ext">mosaics took the Empire by storm after samples were retrieved during <span class="wiki_link_ext">Sulla 's campaigns in Greece. <span class="wiki_link_ext">Article on history of Roman concrete Concrete made possible the paved, durable <span class="wiki_link_ext">Roman roads, many of which were still in use a thousand years after the fall of Rome. The construction of a vast and efficient travel network throughout the Roman Empire dramatically increased Rome's power and influence. Originally constructed for military purposes, to allow <span class="wiki_link_ext">Roman legions to be rapidly deployed, these highways had enormous economic significance, solidifying Rome's role as a trading crossroads—the origin of the phrase "all roads lead to Rome". The Roman government maintained way stations which provided refreshments to travelers at regular intervals along the roads, constructed bridges where necessary, and established a system of horse relays for <span class="wiki_link_ext">couriers that allowed a dispatch to travel up to 800 km (500 miles) in 24 hours. The Romans constructed numerous <span class="wiki_link_ext">aqueducts to supply water to cities and industrial sites and to assist in <span class="wiki_link_ext">their agriculture. The city of Rome itself was supplied by eleven aqueducts with a combined length of 350 km (260 miles). <span class="wiki_link_ext">[4 ] Most aqueducts were constructed below the surface, with only small portions above ground supported by arches. Powered entirely by <span class="wiki_link_ext">gravity, the aqueducts transported very large amounts of water with an efficiency that remained unsurpassed for two thousand years. Sometimes, where depressions deeper than 50 miles had to be crossed, <span class="wiki_link_ext">inverted siphons were used to force water uphill. <span class="wiki_link_ext">[5 ]

Sculpture

 * Roman sculpture** often involved copying of Ancient <span class="wiki_link_ext">Greek sculpture . Much Roman sculpture survives, although some of it is damaged with parts broken off. There are many surviving sculptures of Roman emperors. While Roman sculpture copied from the Greeks, it also more emphasised the individual.

Early Roman Sculpture
Large polychrome terra-cotta images, such as the //Apollo of Veii// (Villa Giulia, Rome), sandstone tomb effigies, and tomb paintings reveal a native feeling for voluminous forms and bold decorative color effects and an exuberant, vital spirit. From c.400 B.C. through the Hellenistic age, the vitality of the archaic period gave way to imitation of the Greek classical models combined with a native trend toward naturalism (//Mars of Todi,// Vatican). The merging of these trends produced the establishment of Hellenistic realism in Roman Italy at the end of the republic and the beginning of the empire (//Orator,// Museo Archeologico, Florence; //Capitoline Brutus,// Conservatori, Rome.). After the conquest of Greece (c.146 B.C. ), Greek artists settled in Rome, where they found a ready market for works executed in the Greek classical manner or in direct imitation of Greek originals. While the many works by these copyists are of interest principally for their reflection of earlier Greek art, they throw light on the eclecticism of Roman taste, and their influence was of paramount importance throughout the development of Roman art. Roman portraits, however, have an origin very remote and altogether Italianate. It was a Roman custom to have a death mask taken, which was then preserved along with busts copied from it in terra-cotta or bronze. Classical Roman sculpture began with the sack of <span class="wiki_link_ext">Syracuse in <span class="wiki_link_ext">212 BC during the <span class="wiki_link_ext">Second Punic War with Carthage. A wealthy outpost of Greek civilization on the island of <span class="wiki_link_ext">Sicily, Syracuse was thoroughly plundered and most of its magnificent <span class="wiki_link_ext">Hellenistic sculpture was taken to Rome where it replaced the earlier styles of the <span class="wiki_link_ext">Etruscan tradition. The Romans continued to admire the Hellenistic style, and eventually workshops throughout the Greek world (especially <span class="wiki_link_ext">Asia Minor ) provided the statuary without which no <span class="wiki_link_ext">patrician villa was complete. By the time of the empire, the Roman conception of art had become allied with the political ideal of service to the state. In the Augustan period (30 B.C. – A.D. 14) there was an attempt to combine realism with the Greek feeling for idealization and abstract harmony of forms. This modification is seen in the famous //Augustus from Prima Porta// (Vatican), which represents the first of a long series of the distinctly Roman type of portrait. Under the emperors from Tiberius through the Flavians ( A.D. 14– A.D. 96) portrait busts reveal in general a growing concern with effects of pictorial refinement and psychological penetration. The magnificent reliefs from the Arch of Titus, Rome, commemorating the conquest of Jerusalem in A.D. 70, mark a climax in the development of illusionism in historical relief sculpture.
 * Classical Roman sculpture**

Relief sculptures
Relief sculptures were shallow three dimensional carvings on flat surfaces, used for architectural works such as columns, arches and Temples. An example of this type of sculpture would be the <span class="wiki_link_ext">Ara Pacis (Altar of Peace)from 13 - 9 B.C. The Ara Pacis was a monument to the Pax Romana (The Roman Peace), 200 years of peace and prosperity ushered in by Emperor Augustus. From the time of Trajan ( A.D. 98– A.D. 117) the influence of the art of the Eastern provinces began to gain in importance. The spiral band of low reliefs on Trajan's Column (Rome), commemorating the wars against the Daci, employs a system of continuous narration. In the period of Hadrian (117–138) there was a reversion to the idealization of the Augustan style and at the same time a growing sense of voluptuousness. Major works from the later period of the Antonines (138–192) are the column and the equestrian statue of Marcus Aurelius (Rome).

Free standing sculpture
Free standing sculptures refers to sculptures such as statues. Most of this work was destroyed during barbarian invasion or Christian rebuilding. The marble was burned for lime and the bronze melted for other purposes. An outstanding example of a piece that survived is the Equestrian statue of <span class="wiki_link_ext">Marcus Aurelius (Marcus Aurelius on a horse), dating from 161 - 180 A.D. Legend has it that the emperor's imposing demeanor spared the piece from destruction. Common locations for statues were in the temples, the public baths or the city Forum (the social and commercial center of the town).

Portrait sculpture
Portrait sculptures were often busts of famous Romans. Subjects for these sculptures would include various patricians and especially emperors - multiple copies of which were circulated around the empire. Roman portrait sculpture embodied Roman civic virtues and have set the standard for European (and American) public portrait sculpture ever since. One well known example is the bust of Emperor <span class="wiki_link_ext">Constantine the Great. From the time of Caracalla to the death of Constantine I (211–337) the rapid assimilation of Eastern influences encouraged a tendency toward abstraction that later developed into the stiff iconographic forms of the early Christian and Byzantine eras. The reliefs of the friezes from the Arch of Constantine, Rome (c.315), may be regarded as the last example of monumental Roman sculpture.