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2.4 The Hellenization of Late Republican Temple Architecture
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來自 Yale University 的課程
Roman Architecture
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從本節課中
It Takes a City: The Founding of Rome and the Beginnings of Urbanism in Italy
Evolution of Roman architecture from the Iron Age through the Late Republic with emphasis on city planning, wall building, and early Roman temple architecture.
與講師見面
Diana E.E. KleinerDunham Professor of History of Art and Classics at Yale University
History Of Art
I want to spend the rest of today's lecture on
the three most important buildings, in a sense, that I'm going to show you today.
These will be the development of Roman religious architecture,
specifically temple architecture.
And I think I'm actually going to call for your help.
You've learned a lot already, and I think you now know enough to
help me along a little bit here on sorting out some of these temples.
One of them is located in Rome.
And the other two are located outside of Rome.
I'll show you the map again in a second so
that you can see where those other two are.
But I'm going to begin with the one in Rome which takes me back to
Google Earth here.
To show you the situation of the so called Temple of Portunus in Rome that dates
to we believe sometime between, it was put up sometime between 120 and 80 BC in Rome.
You're going to get so
good at this that you're going to be able to point out all these places without me.
But we're looking back again over, this is the Palatine hill,
we're looking at a slightly different angle, Palatine hill over here.
The very edge of the Colosseum you can see in the upper left.
The great Via dei Fori Imperiali of Mussolini over here,
the Imperial Fora here.
The wedding cake of Victor Emmanuel,
the Vittoriano that I showed you last time over here, the more modern building.
The Capitoline hill, you can see the oval palazzo of Michelangelo here.
And the Circus Maximus over here, and if for any of you have been to Rome,
the Isola Tiverina, that wonderful little island that one can
across the bridge to get to and Rome down here.
So here's the Tiber river looking nasty as it usually does.
It's very green and
not [LAUGH] the sort of place you'd want to take a swim in as you can well imagine.
But you see the Tiber river here.
And if you look very closely, you will see two temples.
This is a round temple, which has the very uninventive, which is called today,
very uninventively, the Round Temple by the Tiber.
The Round Temple by the Tiber, for obvious reasons, and then here,
a rectangular temple that looks like it has a red roof, because it was undergoing
It's be undergoing reconstruction, restoration recently.
You see that here, this is the Temple of Portunus.
So you can see, in conjunction to another temple that was built,
very close to the river, to the Tiber River.
Now let's look at the plan together of the Temple of Portunus.
Based on your understanding of typical Etruscan religious architecture,
typical Greek religious architecture, what would you say about this plan?
Is this more like an Etruscan temple or more like a Greek temple?
I can't remember, I think I forgot to mention with regard to the Parthenon
that not only does the typical Greek temple in the fifth century BC have
a staircase the encircles the entire monument, it has a colonnade.
A free standing colonnade that circles the entire monument.
And that's called a peripteral.
P-E-R-I-P-T-E-R-A-L.
A peripteral colonnade.
So based on what you know about temple of Jupiter and
the temple of and the Parthenon in Athens.
Does this plan and plan when we look at this building,
does this look more like an Etruscan plan or like a Greek plan?
Okay Mr. Roma.
>> I think it's more of a combination with the virtual column made and also the.
>> Good.
All right. All right.
Okay, yeah. It looks like it might be a combination.
Give me what the Etruscan characteristics are first.
>> Well I think that the Etruscan would be the single staircase of course and
also the three entrances to the triad maybe.
The single staircase absolutely which gives it a facade orientation.
Is there a triple entranceway?
I mean there are spaces between the columns, these are columns here.
But look at the cella, the cella is a single cella,
this is not a capatoleum but there are spaces you're right between the columns.
So take us a little further with the columns,
you can see the columns in a deep porch, deep porch, freestanding.
Columns in the front are freestanding.
So, facade orientation, single staircase, deep porch,
freestanding columns in the porch.
In this case a single cella.
Those are all Etruscan characteristics.
So it looks as if we are dealing here essentially with an Etruscan plan.
But you were right. What's your name?
Neil.
>> Neil was right however that this is a combination in that there are columns
that go around the monument, but is it a peripteral colonnade, Neal?
>> Probably not.
>> Probably not.
Why not?
because what's different about these columns?
You can see it in plan.
They go all the way around but- >> They're not freestanding.
>> They're not freestanding.
They're attached or engaged into the wall.
They're attached to the wall.
What do we call that?
We call that a pseudoperipteral colonnade.
So, yeah, it kind of looks like it goes around but
it doesn't really because it's attached into the wall and
it kind of gives that sense of flatness that we got in the Etruscan temple.
So you are absolutely on the mark, it's a combination of the two.
And that is exactly what we see coming together at this particular time in Roman
temple architecture,
this wonderful way in which the Romans have looked at Etruscan precedents.
They've looked at Greek precedents.
They've decided what they like.
They mix it up as I've said before in a way in which
it best represents their own culture, their own religion.
And creates something that, we're going to see becomes distinctively Roman.
The building is very well preserved.
So we can go on to actually look at it.
Here it is.
Stands in almost pristine shape in Rome today,
right near the Tiber River as I mentioned, a wonderful temple
in which we see some of those features that Neil has already pointed to.
And that is the facade orientation, the single staircase, the deep porch,
the freestanding columns in that porch.
From a distance it does indeed look peripheral.
It looks like there are columns all the way around.
But as you look closely you will see that the columns are indeed attached
To the wall on the side and around the other side.
Now, now that you see the actual view there are some other things that give this
away as a temple that is clearly also built,
been built under very strong Greek influence, and what are those?
>> Stone.
>> Stone, yes, absolutely.
This is not a wooden, mud brick, terra cotta temple.
This is a temple that is made out of stone.
It's not made out of marble.
It's made out of travertine.
It has travertine.
T-R-A-V-E-R-T-I-N-E, travertine is an Italian stone brought from or
quarried at the town of Tivoli,
T-I-V-O-L-I which we'll talk about a lot in the course of this semester.
Travertine brought in, Tivoli's about an hour's high speed drive today from Rome.
Obviously longer in antiquity but it's fairly proximate to Rome so this wonderful
stone, travertine, from Tivoli brought to service it, facing for the podium and
for the columns, using the columns, so it is essentially a stone structure.
We'll see that the walls are made of tufa,
but those walls were stuccoed over with white stucco so
that the impression you would have gotten in ancient times when this was in
more pristine condition was that you were looking at a white marble temple.
Which would have certainly conjured up the idea that you were looking at a temple
that was made a la Grec, that was made in the Greek style.
Anything else that gives away the influence of Greek architecture,
do any of you know your orders?
Neal? >> Ionic order columns
>> Ionic order, good.
I-O-N-I-C, iconic.
The three major and you'll find this in your terms and concepts so
bone up on those there.
The Doric, the Ionic and the Corinthian, we'll look at all of them today.
The ionic order,
what characterizes the ionic order are what are called spiral volutes.
V-O-L-U-T-E-S.
Spiral volutes and you can see those here.
This is a typical ionic column, clearly made we don't see the Etruscans using
this, clearly made under the influence,
the very strong influence of Greek architecture, Greek temple architecture.
Here's a view of the temple of Portunus from the side and rear, we once again
see the way those columns encircle the structure but are engaged into the wall.
You can also see the blocks of tufa stone, ashlar blocks,
just as we saw them in the walls of tufa stone used here.
And you can get some sense of some remains of some of the stucco
that was stuccoed over in white.
So that from a distance at least,
you would have the impression that the whole building was made out of stone.
And even stone, you might even be fooled into thinking it wasn't travertine,
it was marble if you were far enough away.
I also need to mention something very important for the future of Roman
architecture, and that is tha concrete construction was used in the podium.
You don't see it.
It was only used inside the podium.
The reason it was used inside the podium is concrete is very strong,
it can sustain great weight, and the Romans recognized very early
on that they could use it in utilitarian ways to help support buildings.
At this particular time the concrete was, you know,
made up of rubble and liquid mortar and a dash of volcanic dust.
And they brought all of that together to create a material that could sustain
great weight.
So they used it here for utilitarian purposes but we're going to see already
next Tuesday the Romans beginning to take advantage of concrete
for very expressive purposes, and how well they do it.
Which culminates ultimately obviously in buildings like the Pantheon, and
it's incredible dome.
Here's a detail of the ionic capitals of the Temple of Portunis,
you can also see this building has as it would have if it were made in Greece
what's called an Ionic frieze.
An Ionic frieze which if you look very carefully,
there's some remains of the candelabra and the garlands
that hung from those candelabra in the original design of this temple.
I also think it's interesting to look.
Here's a view again of the Temple of Portunus as it looks today.
This is a 19th century painting of the temple of Portunus as looked at
the time it was done by that artist.
And what you see is something that I have already eluded to but
which is extremely important for the preservation of buildings like this, And
that is that this building the temple of Portunus is like so
many in Rome was reused in later time and transform into something else.
And it is probably only because it was transformed into something else that it
survived as well as it did because you can see that what happened is that they walled
in the front.
They gave it a real facade, a doorway, three windows,
a medallion with the Madonna, a cross at the top a bell tower and
they turned it into a church and they turned it into a church and
because it was an active church it was kept in good shape.
You can see those Ionic capitals and the frieze with the garlands and
so on of the temple of Portunus so you can also see the Round Temple by the way
which still does stand also over here right near it, near the Tiber river.
So this is the reason that we are fortunate that the temple of Portunus
survives, and it does survive in large part because again it was transformed
into a church in later times, and this is one of the fascinations of Rome,
by the way, you'd never know I mean, so many churches mask earlier buildings.
There's one not too far from these, where you can actually see three Roman temples
that stood side by side, were incorporated into the church's.
And you can actually see the remains of all three of those temples
used in that church.
And it's one of the fascinations, obviously,
of wandering around the city of Rome.
The other two temples that I want to show you today,
we're looking back at the map of this particular area, are located at Cori, and
you can see the proximity of Cori, not just to Rome, but also to Austia.
Right here.
The city of Cori and
the city of Tivoli, and now you see Tivoli from where travertine comes,
the locations of Tivoli in relationship again to Rome it's not very far,
which is why the building material was so easily transportable from Tivoli to Rome.
Let's look first at Cori.
Cori is one of those incredible, for those of you who've traveled around
Italy, outside of Rome around Italy, know that one of the glories of
travelling in Italy is to go into some of these medieval hill towns.
You go into these places and you, whether by car or by bus or cab,
you make your way up to the very peak of that hill town.
It's very picturesque.
And then ultimately you get to the top and you stand up there and
you get this incredible panorama over the city and over the landscape.
That's the kind of place Cori is, it's a medieval hill town.
But leave it to the Romans.
And they had a knack for doing this wherever they went.
They found the best location in Cori for their temple.
And this temple is located almost at the very peak of the hill of Cori.
And you have to drive all the way up to see the temple,
the so-called temple of Hercules at Cori.
We don't really know if this was put up to Hercules, but
it's been called the Temple of Hercules for a long time.
So we continue to call it that.
And you see it here in plan, in restored view,
with its little complex in front, and then the temple as it looks today.
So looking at this one, then, we can see again that we are dealing with
an Etruscan plan with freestanding columns in the porch.
You can't see it here but you can up there.
It does have a single staircase.
It's a kind of pyramidal staircase, it has a side as well as a front or
sides as well as fronts.
But you can see, it does not go all the way around as
a Greek staircase would have.
It's focused on the front so
we once again have this idea of single staircase on the front.
Facade orientation of the temple.
Deep porch, free standing columns in that porch, single cella in this case.
Now Neil, what happens when you go around in this one?
>> [INAUDIBLE] >> Yep.
>> There's no columns around- >> There's no columns,
there are no columns.
It's not a peripteral colonnade,
it's not a pseudoperipteral because it doesn't have.
But what is this?
And they look sort of like flag columns.
They are what are called pilasters.
P-i-l-a-s-t-e-r-s.
Pilasters.
Which are essentially flat columns.
So it does have some articulation.
You can see them up there.
There is articulation, but it's been flattened out still further.
So once again in a Etruscan plan, was some nod to Greece, in the sense that there's
a recognition, we've got to have something that goes around here, but
they don't want to take it out, they don't want to use an actual column, and
they flatten it out, as you can see so well here.
Now again anyone who knows your orders what order is what Greek order
is used here in this building?
Yep. The Doric order, the most simplest and
most severe order is used here, the Greek Doric order and
the system of Greek triglyphs and metopes.
I'll show you a detail in a moment and I'll explain what those are.
So the Greek Doric order, triglyphs, and metopes for
this temple and one thing we couldn't see in that plan is the high podium.
So that's another Etruscan feature.
So once again we see this very interesting and very eclectic bringing together of
Etruscan elements and Greek elements in early what in what we can call,
early Roman temple architecture.
Here's another detail of the temple at Cori.
You can get a sense, I took this on a very gray day so
you don't get the sense of glory of what it can look like up there, but
you get some sense of its situation right at the edge with a spectacular,
on a beautiful day spectacular panorama of the mountains,
the other mountains in this area, and the hill town itself.
And here we can see the Doric order better.
Very simple with the so called triglyphs and
metopes,T-R-I-G-L-Y-P-H and M-E-T-O-P-E-S, triglyphs and metopes.
Tryglpyhs are triple striated bands and you
can see them up there the triple striated bands and in between them square panels.
So this alteration of triple-striated bands, the triglyphs, and the square
panels, the metopes, which is typical of the Doric order, the Greek Doric order.
You see it in the Parthenon, for example, and
it has been taken over here by the Romans.
You also see something very interesting about Roman building practice here,
because if you look at the columns you'll see that the upper part
of the columns are what is called fluted.
Fluted, they have striations in them.
And, but, they're not fluted at the bottom.
You can see it stops right here.
The fluting stops here and the bottom is plain.
What's the reason for that?
Well we know that even in Greek Hellenistic times that approach was taken.
And we believe it was done for two reasons, one practical purposes.
Why are there no flutes at the bottom?
Because people are more likely to lean up against the columns
at the bottom then they are obviously at the top.
And when people lean up against columns, the flutes start to break off.
So they decided not to flute the bottom.
But it may have been also for decorative reasons because we'll see when we get to
Pompeii in the very near future, that there are many columns at Pompeii
that have fluting at the top painted white and then the bottom,
the plain bottom painted red for reasons of taste and decoration.
And it's very possible.
We do know that ancient, I don't want to destroy any illusions here, but
ancient buildings were very often painted, and ancient sculpture was always painted.
So these might've been a lot more garish looking in ancient times than
they are today.
Which might also have taken away from the sense of having a marble building.
So that's something that we probably should keep in mind
as we evaluate these structures.
