Roman sculpture. The history of the creation of ancient sculptures in Rome Top most famous Roman sculptures

Historians of ancient Roman art, as a rule, associated its development only with changes in imperial dynasties. Therefore, it is important to determine in the development of Roman art the boundaries of its formation, prosperity and crisis, taking into account changes in artistic and stylistic forms in their connection with socio-economic, historical, religious, cult, and everyday factors. If we outline the main stages of the history of ancient Roman art, then in general terms they can be represented as the most ancient (VIII - V centuries BC) and republican (V century BC - I century BC .) era.

The heyday of Roman art occurred in the 1st-2nd centuries. n. e. Within this stage, the stylistic features of the monuments make it possible to distinguish the early period: the time of Augustus, the first period: the years of the reign of the Julio-Claudians and Flavians; second: the time of Trajan and early Hadrian; late period: the time of the late Hadrian and the last Antonines. From the end of the reign of Septimius Severus, a crisis in Roman art began.

Having begun to conquer the world, the Romans became acquainted with new ways of decorating houses and temples. Roman sculpture continued the traditions of Hellenic masters. They, like the Greeks, could not imagine designing their home, city, squares and temples without it.

But in the works of the ancient Romans, unlike the Greeks, symbolism and allegory prevailed. The plastic images of the Hellenes among the Romans gave way to picturesque ones, in which the illusory nature of space and forms predominated.

According to legend, the first sculptors in Rome appeared under Tarquinius Proud, that is, during the most ancient era. In ancient Rome, sculpture was limited primarily to historical relief and portraiture.

In Rome, a copper image was first made of Ceres (the goddess of fertility and agriculture) at the beginning of the 5th century. BC e. From images of gods it spread to various statues and reproductions of people.

Images of people were usually made only for some brilliant deed that deserved to be immortalized, first for victory in sacred competitions, especially in Olympia, where it was the custom to dedicate statues of all winners, and in case of a triple victory - statues with a reproduction of their appearance, which are called iconic by Pliny the Elder. Natural science about art. Moscow - 1994. p. 57.

From the 4th century BC e. they begin to erect statues of Roman magistrates and private individuals. The mass production of statues did not contribute to the creation of truly artistic works.

The masters not only conveyed individual characteristics in sculptural images, but also made it possible to feel the tension of the harsh era of wars of conquest, civil unrest, and continuous anxiety and unrest. In the portraits, the sculptor’s attention was drawn to the beauty of the volumes, the strength of the frame, and the backbone of the plastic image.

During the years of Augustus I - II centuries. Portrait painters paid less attention to the unique features of the face, smoothed out individual originality, emphasizing in it something common, characteristic of everyone, likening one subject to another, according to the type pleasing to the emperor. A typical standard was created. The dominant aesthetic and conceptual idea permeating Roman sculpture of this time was the idea of ​​the greatness of Rome and the power of imperial power.

At this time, more portraits of women and children, rare before, were created than before. These were images of the princeps wife and daughter. The heirs to the throne were represented in marble and bronze busts and statues of boys. Many wealthy Romans installed such statues in their homes to emphasize their affection for the ruling family.

Also, since the time of the “divine Augustus,” images of chariots appeared with statues of triumphants, drawn by six horses or elephants by Pliny the Elder. Natural science about art. Moscow - 1994. p. 58.

During the Julio-Claudian and Flavian times, monumental sculpture strived for concreteness. Masters even gave the deities the individual characteristics of the emperor.

The style of imperial portraits was also imitated by private ones. Generals, rich freedmen, moneylenders tried to be like rulers; the sculptors imparted pride to the position of the heads and decisiveness to the turns, without softening the harsh, not always attractive features of the individual appearance.

The heyday of Roman art occurred during the reigns of the Antonines, Trajan (98-117) and Hadrian (117-138).

In the portraits of this period, two stages can be distinguished: Trajan's, characterized by a tendency towards republican principles, and Adrian's, in whose plastics more following Greek models. Even under Hadrian, classicism was only a mask under which the Roman attitude to form itself developed. Emperors appeared in the guise of armored commanders, in the pose of priests performing sacrifices, in the form of naked gods, heroes or warriors.

Also, the idea of ​​the greatness of Rome was embodied in various sculptural forms, primarily in the form of relief compositions depicting scenes of military campaigns of emperors, popular myths, where gods and heroes, patrons of Rome, acted. The most outstanding monuments of such relief were the frieze of Trajan's column and the column of Marcus Aurelius Kumanetsky K. History of culture of Ancient Greece and Rome: Trans. from floor - M.: Higher school, 1990. p. 290.

The late heyday of Roman art, which lasted until the end of the 2nd century, was characterized by the fading of pathos and pomp in artistic forms. Masters of that era used various, often expensive, materials for portraits: gold and silver, rock crystal, and glass.

From this time on, realistic portraiture became the main thing for masters. The development of Roman individual portraiture was influenced by the custom of removing wax masks from the dead. The masters sought a portrait resemblance to the original - the statue was supposed to glorify this person and his descendants, so it was important that the depicted person not be confused with someone else.

The plastic realism of Roman masters reached its peak in the 1st century. BC e., giving rise to such masterpieces as marble portraits of Pompey and Caesar. Triumphant Roman realism is based on perfect Hellenic technique, which made it possible to express in the facial features many shades of the hero’s character, his virtues and vices. In Pompey, in his frozen wide, fleshy face with a short upturned nose, narrow eyes and deep and long wrinkles on his low forehead, the artist sought to reflect not the momentary mood of the hero, but his inherent characteristic properties: ambition and even vanity, strength and at the same time At the same time, some indecision, a tendency to hesitate Kumanetsky K. History of the culture of Ancient Greece and Rome: Trans. from floor - M.: Higher school, 1990. p. 264.

In the round sculpture, an official direction is formed, which includes portraits from different angles of the emperor, his family, ancestors, gods and heroes who patronize him; Most of them are made in the traditions of classicism. Sometimes the portraits showed features of true realism. Along with traditional subjects of gods and emperors, the number of images of ordinary people increased.

In the development of the art of Late Rome, two stages can be distinguished. The first is the art of the end of the Principate (III century) and the second is the art of the era of the Dominant (from the beginning of the reign of Diocletian to the fall of the Roman Empire).

From the end of the 3rd century. BC e., thanks to the conquests, Greek sculpture began to have a great influence on Roman sculpture. When robbing Greek cities, the Romans captured a large number of sculptures; a demand for their copies is born. A school of neo-Attic sculpture arose in Rome, which produced these copies. On the soil of Italy, the original religious meaning of archaic images was forgotten by M. M. Kobylina. The role of tradition in Greek art. With. thirty.

The abundant influx of Greek masterpieces and mass copying slowed down the flourishing of Roman sculpture.

In works of sculpture from the Dominant era (IV century). Pagan and Christian themes coexisted. Artists turned to the depiction of not only mythological, but also Christian heroes. Continuing what began in the 3rd century. praising the emperors and members of their families, they prepared the atmosphere of unrestrained panegyrics and cult of worship characteristic of Byzantine court ceremonial. Facial modeling gradually ceased to interest portrait painters. Portrait painters’ material less and less often became warm marble, which was translucent from the surface; more and more often they chose basalt or porphyry to depict faces, which were less similar to the qualities of the human body.

The ancient Greeks admired the beauty of the human body. They appreciated everything beautiful, and believed that the main thing in a person is the harmony of external appearance and internal qualities. This was reflected in their classical sculpture: in statues of Olympian gods and heroes depicted with ideal bodily forms.

Sculptures of Ancient Greece and Rome

The best period in the creation of ancient Greek sculptural masterpieces is considered to be the 6th-5th centuries. BC. Works of art were created according to the principle of symmetry, the poses of the statues were simple, and the face radiated a joyful smile. Later, during the Classical era, sculptors created stunning statues in a greater variety of shapes and poses.
There were many schools of plastic arts in Ancient Greece. During the classical period, the most famous was the school of sculpture in. The greatest sculptor of this time, Phidias, is the author of the sculptural masterpieces of the Parthenon. During the Hellenistic era, other centers of plastic art began to appear - Rhodes, Alexandria and Pergamon. The most famous sculptors of that period are Polydorus, Athenodorus, Agesander, Chares. The famous “Aphrodite de Milo” was created by Agesander. Hares is the author of one of the seven “wonders of the world” - the huge statue of the “Colossus of Rhodes”.
Ancient Roman sculpture is only an imitation and continuation of Greek art. All masters of sculpture in Ancient Rome were Greeks. The Roman style differs from the Greek in its greater rudeness, coldness and realism in its images.

Sculptors of Ancient Rome

The history of Rome has preserved a small number of names of famous sculptors. But, at the same time, there are a lot of statues in the city, some of which were brought from and. In the Ancient Roman period, artists - painters and sculptors, were equated with artisans, their work was considered humiliating. At this time, a sculptural portrait appears, depicting a specific person, and not a deity. One of the most famous statues of Octavian

In the era of the empire, relief and round plastic were further developed. In the Roman Forum, the Altar of Peace is being erected, the upper part of which ends with a multi-faceted relief depicting the solemn procession of strict, battle-hardened Roman patricians, endowed with sharp portrait characteristics. Historical reliefs glorifying the exploits of Roman weapons and the wisdom of rulers adorn the triumphal arches. A two-hundred-meter strip of reliefs of Trajan's triumphal column tells in detail and dispassionately the campaign of Roman troops against the Dacians

However, the portrait still occupies the leading place in Roman sculpture. In the age of Augustus, the character of the image changes sharply - the ideal of classical beauty and the type of a new person, which republican Rome did not know, emerge in it. Full-length ceremonial portraits appear, filled with calm restraint and grandeur. The marble sculpture of Augustus from Prima Porta (early 1st century AD, Rome, Vatican) depicts the emperor as a commander in armor and with a staff in his hand. The pose of the athletically built Augustus is simple. The posing of the figure with support on one leg is reminiscent of the style of Polykleitos. But the inviting gesture of the raised right hand facing the legions is powerful and laconic - it changes the basic rhythm of the figure, emphasizing the decisive movement up and forward. The head is constructed strictly, the facial features are generalized, the volume is sculpted with finely modeled large planes, connected by a smooth rhythm and soft chiaroscuro. In a frowning face with sharply protruding cheekbones and chin, in a sharp gaze, in compressed lips, tension of will, mental energy, self-control, and internal discipline are expressed.

The austere style of Augustus under the Flavians (69-96 AD) is replaced by a more spectacular and pompous full-length portrait; at the same time, sharp realism is being revived again, mercilessly reproducing man with all his ugly features - Lucius Caecilius Jucundus (second half of the 1st century AD, Naples, Museum). In contrast to the verism of the republican era, artists achieve versatility, generalization of characteristics, and enrich the artistic language with new means. The portrait of Nero (Rome, National Museum), with a low forehead and a heavy, suspicious gaze, reveals the cold cruelty of the despot, the arbitrariness of base, unbridled passions, and conceit. The heavy shapes of the face and strands of thick hair are conveyed by a combination of large pictorial masses. The artists abandon traditional frontal compositions and place the sculpture more freely in space, thereby destroying the closed image of the republican portrait. These features can be observed in the “Portrait of a Roman Woman” (Rome, Capitoline Museum), where the image is enlivened by a barely noticeable movement, a tilt of the head. The relaxed posture is proud, the face is full of self-confidence. A lush hairstyle of picturesque masses of curls crowns the arrogant features of a young woman. After the restraint and stinginess of the images of the era of Trajan at the time of the crisis of the ancient worldview under the Antonines (2nd century), features of spirituality, self-deepening and at the same time an imprint of sophistication and fatigue characterizing a dying era appear in the Roman portrait. People appear humane, but filled with anxiety, with sad gazes directed into the distance. The contemplative mood is emphasized by the interpretation of the eyes with sharply inset pupils, half-covered by soft, heavy eyelids. The finest chiaroscuro and brilliant polishing of the face make the marble glow from the inside, destroying the sharpness of the lines;

picturesque masses of hair highlight the transparency of features. The features of “The Syrian Woman” (second half of the 2nd century, Leningrad, Hermitage) are ennobled by the most subtle experiences, reflecting the world of sad and hidden thoughts. The facial expression that changes depending on the lighting reveals a hint of subtle irony.

The equestrian sculpture of Marcus Aurelius (c. 170), installed again in the 16th century, dates back to this era. according to the design of Michelangelo on the square: Capitol in Rome. Alien to military glory, Marcus Aurelius is depicted in a toga, seated on a slowly walking horse. The image of the emperor is interpreted as the embodiment of the civic ideal and humanity. The concentrated face of the stoic is filled with an unclouded calm of spirit; he addresses the people with a wide, pacifying gesture. This is the image of a pensive philosopher, the author of “Reflections Alone with Myself.” The figure of the horse seems to echo the movements of the rider, not only carries him, but also complements his image. “A more beautiful and smarter head than the horse of Marcus Aurelius,” wrote the German art historian Winckelmann, “cannot be found in nature.” The third century was the heyday of Roman portraiture, increasingly liberated from the traditions of the past. This flourishing takes place in conditions of decline, decomposition of the Roman state and its culture, but at the same time the emergence of new creative trends in its depths. The influx of barbarians, often at the head of the empire, infused new, fresh energy into the fading Roman art. It outlines the features that developed in the Middle Ages in the West and East, in the portrait of the Renaissance. Full of extreme energy, lust for power, and brute force, images of people appear, born of the brutal struggle that gripped society at that time. In the bust of Emperor Caracalla (early 3rd century, Naples, National Museum), Roman realism reaches its peak. The individual image of Caracalla grows into a typical embodiment of a despot.

Ruthless realism is enriched by psychological insight into the inner world, full of dramatic tension and conflicts with the environment. The composition is built on a sharp contrast of shoulders and a sudden angry turn of the head. The energetically carved face is distorted by convulsions of anger; the expressive image is dramatized by contrasts of light and shadow. Portrait images of this period are contrasting. They differ in characteristics and artistic techniques. The sculptor reveals not only the brutal struggle of man’s rough and strong passions, but becomes sensitive to the subtle nuances of moods. The “Portrait of a Boy” (first half of the 3rd century, Moscow, Pushkin Museum) with large sad eyes, in which hidden reproach is visible, is marked by spiritual fragility. The sculptor notices in the touching tenderness and defenselessness of the child a shade of weak-willedness that appears in the line of the slightly open mouth. In this portrait, the artist refuses to work with a drill, which was usually used to crush the sculptural mass, causing a dynamic play of light and shadow, as was observed in the portrait of Caracalla. The psychological richness in the portrait of the boy is achieved by extreme restraint of plastic means, solidity of compact volumes, and at the same time an unusually subtle development of facial plasticity. The transparency of marble enhances the impression of pain on the face, and light shadows, light and air vibrating on its surface spiritualize it.

The late period of development of the portrait is marked by an external coarsening of the appearance and increased spiritual expression, appearing in the burning gaze. Philip the Arabian (244-249, Leningrad, Hermitage) - a stern soldier, the son of a robber, the embodiment of the image of “barbarian” Rome; the sculptor highlights the most important things in his face, outlines the hair with only a few lines and notches, builds the composition in large masses, thereby achieving almost architectural monumentality. In the portrait of Maximin Daza (4th century, Cairo, Museum), schematism wins, internal tension acquires superhuman strength. In the “Portrait of a Woman” (4th century, Leningrad, Hermitage), in the frozen gaze directed into the distance, a spiritual impulse anticipates the iconic faces of early Byzantine art. A person seems to turn to the outside world, which he perceives as the embodiment of unknown supernatural forces. The will to live disappears, submission to fate begins to dominate - a person recognizes himself as a weak creature. Within Roman art, spiritualism was born, characteristic of the emerging medieval art. In the image of a person who has lost the ethical ideal in life itself, the harmony of the physical and spiritual principles, characteristic of the ancient ideal of personality, is destroyed.

The culture of Ancient Rome existed for more than 12 centuries and had its own unique values. The art of Ancient Rome glorified the veneration of the gods, love of the Fatherland, and soldier's honor. Many reports have been prepared on Ancient Rome, which tell about its achievements.

Culture of Ancient Rome

Scientists divide the history of ancient Roman culture into three periods:

• Tsarsky (8th-6th centuries BC)
• Republican (6th-1st centuries BC)
• Imperial (1st century BC - 5th century AD)

Tsarsky is considered a primitive period in terms of cultural development, however, it was then that the Romans developed their own alphabet.

The artistic culture of the Romans was similar to the Hellenic, but had its own characteristic features. For example, the sculpture of Ancient Rome acquired emotions. On the faces of the characters, Roman sculptors began to convey the state of mind. There were especially numerous sculptures of contemporaries - Caesar, Crassus, various gods, and ordinary citizens.

During the times of Ancient Rome, such a literary concept as a “novel” first appeared. Among the poets who wrote comedies, the most famous was Lucilius, who wrote poems on everyday topics. His favorite topic was ridiculing the obsession with achieving various riches.

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The Roman Livius Andronicus, who worked as a tragic actor, knew Greek. He managed to translate Homer's Odyssey into Latin. Probably, under the impression of the work, Virgil will soon write his “Aeneid” about the Trojan Aeneas, who became the distant ancestor of all Romans.

Rice. 1. The Rape of the Sabine Women.

Philosophy has achieved extraordinary development. The following philosophical movements were formed: Roman Stoicism, whose task was to achieve spiritual and moral ideals, and Neoplatonism, the essence of which was the development of the highest spiritual point of the human soul and the achievement of ecstasy.

In Rome, the ancient scientist Ptolemy created a geocentric system of the world. He also owns numerous works on mathematics and geography.

The music of Ancient Rome copied the Greek. Musicians, actors and sculptors were invited from Hellas. The odes of Horace and Ovid were popular. Over time, musical performances acquired a spectacular character, accompanied by theatrical performances or gladiatorial fights.

A letter from the Roman poet Martial has been preserved, in which he claims that if he becomes a music teacher, he will be guaranteed a comfortable old age. This suggests that musicians were in great demand in Rome.

Fine art in Rome was utilitarian in nature. It was presented to the Romans as a way to fill and organize living space. It, like architecture, was carried out in the form of monumentality and grandeur.

To summarize, we note that Roman culture can be considered a successor to Greek, however, the Romans introduced and improved a lot in it. In other words, the student has surpassed the teacher.

Rice. 2. Construction of a Roman road.

In architecture, the Romans built their buildings to last for centuries. The Baths of Caracalla are a striking example of gigantism in construction. Architects used such techniques as the use of palaestras, peristyle courtyards, and gardens. The baths were equipped with sophisticated technical equipment.

Majestic Roman structures include roads that are still in use today, the famous defensive ramparts of Trajan and Hadrian, aqueducts and, of course, the Flavian Amphitheater (Colosseum).

Rice. 3. Colosseum.

What have we learned?

Speaking briefly about the culture of Ancient Rome, we note that created with a militaristic and majestic orientation, created for centuries, laid the foundation for the entire future European culture, it left its mark on the development of civilization and aroused admiration among descendants.

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One of the world's most ancient civilizations, the Holy Roman Empire, gave humanity the greatest culture, which included not only a rich literary heritage, but also a stone chronicle. The people who inhabited this state have long ceased to exist, but thanks to the preserved architectural monuments, it is possible to recreate the way of life of the pagan Romans. On April 21, the day of the founding of the city on seven hills, I propose to look at 10 sights of Ancient Rome.

Roman forum

The area, located in the valley between the Palatine and Velia on the south side, the Capitol on the west, the Esquiline and the slopes of the Quirinal and Viminal, was a wetland from the pre-Roman period. Until the middle of the 8th century BC. e. this area was used for burials, and settlements were located on the nearby hills. The place was drained during the reign of King Tarquikia the Ancient, who turned it into the center of the political, religious and cultural life of the townspeople. It was here that the famous truce between the Romans and Sabines took place, elections to the Senate took place, judges sat and services were held.

From west to east, the sacred road of the empire runs through the entire Roman Forum - Via Appia, or Appian Way, along which there are many monuments from both ancient and medieval times. The Roman Forum contains the Temple of Saturn, the Temple of Vespasian and the Temple of Vesta.

The temple in honor of the god Saturn was erected around 489 BC, symbolizing the victory over the Etruscan kings from the Tarquin family. He died several times during fires, but was revived. The inscription on the frieze confirms that “The Senate and people of Rome restored what was destroyed by fire.” It was a majestic building, which was decorated with a statue of Saturn, it included the state treasury, an aerarium, where documents on state revenues and debts were kept. However, only a few columns of the Ionic order have survived to this day.

Construction of the Temple of Vespasian began by decision of the Senate in 79 AD. e. after the death of the emperor. This holy building was dedicated to the Flavians: Vespasian and his son Titus. Its length was 33 m, and its width extended to 22 m. Three 15-meter columns of the Corinthian order have survived to this day.

The Temple of Vesta is dedicated to the goddess of the hearth and in ancient times was connected to the House of the Vestals. The Holy Fire was constantly maintained in the inner room. Initially, he was guarded by the king’s daughters, then they were replaced by vestal priestesses, who also held services in honor of Vesta. This temple contained a cache of symbols of the empire. The building was round in shape, the territory of which was bordered by 20 Corinthian columns. Despite the fact that there was an outlet for smoke in the roof, fires often broke out in the temple. It was saved and reconstructed several times, but in 394 Emperor Theodosius ordered it to be closed. Gradually the building deteriorated and fell into disrepair.

Trajan's Column

A monument of ancient Roman architecture, erected in 113 AD. by the architect Apollodorus of Damascus in honor of the victories of Emperor Trajan over the Dacians. The marble column, hollow inside, rises 38 m above the ground. In the “body” of the structure there is a spiral staircase with 185 steps leading to an observation deck on the capital.

The column's trunk is spiraled 23 times by a 190 m long ribbon with reliefs depicting episodes of the war between Rome and Dacia. Initially, the monument was crowned with an eagle, later - with a statue of Trajan. And in the Middle Ages, the column began to be decorated with a statue of the Apostle Peter. At the base of the column there is a door leading to the hall where the golden urns with the ashes of Trajan and his wife Pompeii Plotina were placed. The relief tells the story of Trajan's two wars with the Dacians, the period being 101–102. AD separated from the battles of 105–106 by the figure of a winged Victoria inscribing the name of the winner on a shield surrounded by trophies. It also depicts the movement of the Romans, the construction of fortifications, river crossings, battles, and the details of the weapons and armor of both troops are drawn in great detail. In total, there are about 2,500 human figures on the 40-ton column. Trajan appears on it 59 times. In addition to Victory, the relief also contains other allegorical figures: the Danube in the image of a majestic old man, Night - a woman with her face covered with a veil, etc.

Pantheon

The Temple of All Gods was built in 126 AD. e. under Emperor Hadrian on the site of the previous Pantheon, erected two centuries earlier by Marcus Vipsanias Agrippa. The Latin inscription on the pediment reads: “M. AGRIPPA L F COS TERTIUM FECIT" - "Marcus Agrippa, son of Lucius, elected consul for the third time, erected this." Located in Piazza della Rotonda. The Pantheon is distinguished by classical clarity and integrity of the composition of the internal space, and the majesty of the artistic image. Devoid of external decorations, the cylindrical building is crowned with a dome covered with discreet carvings. The height from the floor to the opening in the vault exactly corresponds to the diameter of the base of the dome, presenting amazing proportionality to the eye. The weight of the dome is distributed over eight sections that make up a monolithic wall, between which there are niches that give the massive building a feeling of airiness. Thanks to the illusion of open space, it seems that the walls are not so thick and the dome is much lighter than in reality. A round hole in the vault of the temple lets in light, illuminating the rich decoration of the interior space. Everything has reached our days almost unchanged.

Coliseum

One of the most significant buildings of Ancient Rome. The huge amphitheater took eight years to build. It was an oval building, along the perimeter of the arena there were 80 large arches, with smaller ones on them. The arena is surrounded by a wall of 3 tiers, and the total number of large and small arches was 240. Each tier was decorated with columns made in different styles. The first is of the Doric order, the second is of the Ionic order, and the third is of the Corinthian order. In addition, sculptures made by the best Roman craftsmen were installed on the first two tiers.

The amphitheater building included galleries intended for spectators to relax, where noisy merchants sold various goods. The outside of the Colosseum was decorated with marble, and there were beautiful statues along its perimeter. There were 64 entrances to the room, which were located on different sides of the amphitheater.

Below were privileged seats for the nobles of Rome and the throne of the emperor. The floor of the arena, where not only gladiator fights took place, but also real naval battles, was wooden.

Nowadays, the Colosseum has lost two-thirds of its original mass, but even today it is a majestic structure, being a symbol of Rome. No wonder the saying goes: “As long as the Colosseum stands, Rome will stand; if the Colosseum disappears, Rome will disappear and with it the whole world.”

Triumphal Arch of Titus

The single-span marble arch, located on the Via Sacra, was built after the death of Emperor Titus to commemorate the capture of Jerusalem in 81 AD. Its height is 15.4 m, width - 13.5 m, span depth - 4.75 m, span width - 5.33 m. The arch is decorated with half-columns of the composite order, four figures of Victoria, bas-reliefs depicting Titus controlling the quadriga, victorious a procession with trophies, including the main shrine of the Jewish temple - the menorah.

Baths of Caracalla

The baths were built at the beginning of the 3rd century AD. under Marcus Aurelius, nicknamed Caracalla. The luxurious building was intended not only for the washing process, but also for a variety of leisure activities, including both sports and intellectual. There were four entrances to the “bath building”; through the two central ones they entered the covered halls. On both sides there were rooms for meetings, recitations, etc. Among the many different rooms located on the right and left intended for washing rooms, it should be noted two large open symmetrical courtyards surrounded on three sides by a colonnade, the floor of which was decorated with the famous mosaic with figures of athletes. The emperors not only covered the walls with marble, covered the floors with mosaics and erected magnificent columns: they systematically collected works of art here. In the Baths of Caracalla there once stood the Farnese bull, statues of Flora and Hercules, and the torso of Apollo Belvedere.

The visitor found here a club, a stadium, a recreation garden, and a house of culture. Everyone could choose what they liked: some, after washing themselves, sat down to chat with friends, went to watch wrestling and gymnastic exercises, and could exercise themselves; others wandered around the park, admired the statues, and sat in the library. People left with a supply of new strength, rested and renewed not only physically, but also morally. Despite such a gift of fate, the baths were destined to collapse.

Temples of Portunus and Hercules

These temples are located on the left bank of the Tiber on another ancient forum of the city - the Bull. In early Republican times, ships moored here and there was a brisk livestock trade, hence the name.

The Temple of Portuna was built in honor of the god of ports. The building has a rectangular shape, decorated with Ionic columns. The temple has been well preserved since around 872 AD. was converted into the Christian church of Santa Maria in Gradelis, and in the 5th century it was consecrated into the church of Santa Maria Aegitiana.

The Temple of Hercules has a monopter design - a round building without internal partitions. The structure dates back to the 2nd century BC. The temple has a diameter of 14.8 m, decorated with twelve Corinthian columns 10.6 m high. The structure rests on a tuff foundation. Previously, the temple had an architrave and a roof, which have not survived to this day. In 1132 A.D. the temple became a place of Christian worship. The church was originally called Santo Stefano al Carose. In the 17th century, the newly consecrated temple began to be called Santa Maria del Sol.

Champ de Mars

“Campus Martius” was the name of the part of Rome located on the left bank of the Tiber, originally intended for military and gymnastic exercises. In the center of the field there was an altar in honor of the god of war. This part of the field remained vacant subsequently, while the remaining parts were built up.

Mausoleum of Hadrian

The architectural monument was designed as a tomb for the emperor and his family. The mausoleum was a square base (side length - 84 m), in which a cylinder (diameter - 64 m, height about 20 m) was installed, topped with an earth mound, the top of which was decorated with a sculptural composition: the emperor in the form of the Sun god, controlling a quadriga. Subsequently, this gigantic structure began to be used for military and strategic purposes. Centuries have modified its original appearance. The building acquired the Angel's courtyard, medieval halls, including the Hall of Justice, the apartments of the Pope, a prison, a library, the Hall of Treasures and the Secret Archive. From the terrace of the castle, above which the figure of an Angel rises, a magnificent view of the city opens.

Catacombs

The Catacombs of Rome are a network of ancient buildings that were used as burial places, mostly during the period of early Christianity. In total, Rome has more than 60 different catacombs (150-170 km long, about 750,000 burials), most of which are located underground along the Appian Way. According to one version, the labyrinths of underground passages arose on the site of ancient quarries; according to another, they formed on private land plots. In the Middle Ages, the custom of burying in catacombs disappeared, and they remained as evidence of the culture of Ancient Rome.