During the Roman Republic, members of all social classes used a variety of sculp
During the Roman Republic, members of all social classes used a variety of sculptural techniques to promote their distinguished social statuses.
By the end of this module you will be able to:
- Identify and describe the form, content, and context of key works from the Roman Republic
- Define critical terms related to art of the Republic
- Describe the defining characteristics of sculpture during the Roman Republic
- Explain the importance of both concrete and the arch in Roman architecture
Roman Art in the Republic
Early Roman art was influenced by the art of Greece and that of the neighbouring Etruscans, themselves greatly influenced by their Greek trading partners. As the expanding Roman Republic began to conquer Greek territory, its official sculpture became largely an extension of the Hellenistic style, with its departure from the idealized body and flair for the dramatic. This is partly due to the large number of Greek sculptors working within Roman territory.
However, Roman sculpture during the Republic departed from the Greek traditions in several ways:
- It was the first to feature a new technique called continuous narration.
- Commoners, including freedmen, could commission public art and use it to cast their professions in a positive light.
- Portraiture throughout the Republic celebrated old age with its verism.
- In the closing decades of the Republic, Julius Caesar counteracted traditional propriety by becoming the first living person to place his own portrait on a coin.
In the examples that follow, the patrons use these techniques to promote their status in society.
The Altar of Domitius Ahenobarbus
Despite its most common title, the Altar of Domitius Ahenobarbus (late second century BCE) was more likely a base intended to support cult statues in the cella of a Temple of Neptune (Poseidon) located in Rome on the Field of Mars. The frieze is the second oldest Roman bas-relief currently known.
Domitius Ahenobarbus, a naval general, likely commissioned the altar and the temple in gratitude for a naval victory between 129 and 128 BCE. The reliefs combine mythology and contemporary civic life.
One panel of the altar depicts the census, a uniquely Roman event of contemporary civic life. It is one of the earliest reliefs sculpted in a continuous narration, in which the viewer reads from left to right the recording of the census, the purification of the army before the altar of Mars, and the levy of the soldiers.
The other three panels depict the mythological wedding of Neptune and Amphitrite. At the center of his scene, Neptune and Amphitrite are seated in a chariot drawn by two Tritons (messengers of the sea) who dance to music. They are accompanied by a multitude of fantastic creatures, Tritons, and Nereides (sea nymphs) who form a retinue for the wedding couple, which, like the census scene, can be read from left to right.
On the left, a Nereid riding on a sea-bull carries a present. Next, Amphitrite’s mother Doris advances towards the