Monday, November 17, 2014

Introduction

“What you are now we used to be; what we are now you will be.”
(Capuchin Crypt, Rome, Italy)
Death comes for us all, making it a universally relevant topic. What better way to make learning about history, art, and architecture interesting than looking at objects that revolve around the universal reality of death? The creators of this blog, Emma L., Emily W., and Amanda H., traveled to different locations in Italy and Europe to observe places of death/burial and representations of death in works of art and architecture. 
The representations of death in art and architecture that we saw on our travels will be explored in this blog, and we will delve into the deeper significance behind these depictions.

Sunday, November 16, 2014

Legend of Marsyas

Many ancient Greek and Roman myths have rather unpleasant endings for at least one of the characters involved, and the legend of Marsyas is no exception. The general storyline states that the goddess Athena once discarded a wind instrument made from reeds called an aulos which was found by a man (also often depicted as a faun) named Marsyas. He became an expert at playing it and then challenged the god Apollo to a music contest. The Muses declared Apollo the winner and the unfortunate Marsyas was tied to a tree and flayed alive. Some versions say that Marsyas was the true winner but Apollo cheated and the Muses were biased. Either way, it didn’t end well for Marsyas, who became the subject of many sculptures and paintings throughout the centuries.

Marsyas became a symbol of liberty and free speech in ancient Rome and a statue of him stood in the Roman Forum for at least 300 years. Furthermore, other places throughout Italy and Europe adopted the figure of Marsyas to represent the common people against the government (equated with Apollo) during times of political tension.

Red Marsyas
Hanging Marsyas



Two statues of Marsyas reside in the Uffizi Gallery in Florence, Italy: the Hanging Marsyas and Red Marsyas. Both sculptures depict him hanging with his hands tied above him to a tree trunk. However, the Hanging Marsyas is still waiting for his punishment while the Red Marsyas is displaying the results of his consequences. The use of purple-veined pavonazzetto marble gives parts of the figure a red, raw, skinless appearance which helps the viewer to envisage the gruesomeness of the myth.







The objective of most depictions of Marsyas seems to be to convey his agony and a sense of sadness. Many paintings show him in physical torture as he is being skinned alive or in psychological agony as he fearfully awaits his punishment while a figure next to him (usually Apollo) prepares to execute it. One particularly graphic painting called Flaying of Marsyas (L. Giordano, 1695) actually illustrates Marsyas screaming as the skin is cut from his arm. Statues such as Apollo Flaying Marsyas (Antonio Corradini, 1700’s) portray this act in a three-dimensional medium.

Flaying of Marsyas

Apollo Flaying Marsyas




















  •  "Marsyas." Wikipedia. Wikimedia Foundation, 11 Feb. 2014. Web. 11 Nov. 2014.
  • "Work The Torment of Marsyas." The Torment of Marsyas. Louvre. Web. 11 Nov. 2014. http://www.louvre.fr/en/oeuvre-notices/torment-marsyas&gt.
  • "Hanging Marsyas." On the Hanging Marsyas Comments. Friends of the Uffizi Gallery. Web. 11 Nov. 2014. http://www.friendsoftheuffizigallery.org/on-the-hanging-marsyas/&gt.
  • "L.Giordano, Schindung Des Marsyas." "" Picture Art Prints and Posters by AKG Images. N.p., n.d. Web. 12 Nov. 2014. http://www.artflakes.com/en/products/l-dot-giordano-schindung-des-marsyas.

Saturday, November 15, 2014

Temple of Caesar

Julius Caesar was born in 100 B.C. and died a sudden and violent death in 44 B.C.. Unfortunately, his funeral reflected the confusion the Empire had been thrown into.  Ancient accounts of Caesar’s funeral say that Marc Antony stirred the crowd by reading a proclamation of the Senate that granted Caesar all the honors of both man and deity. Antony also displayed a wax figure of the emperor, complete with the knife wounds of his assassination.


Roused by the show Antony put on, the crowd rioted, carrying Caesar’s body to a makeshift funeral pier of haphazardly stacked benches, treasures, and other items the mob threw in. The fire burned through the night, but failed to cremate the emperor. Cicero called the funeral a mockery, blaming Mark Antony for starting the flames that left Caesar “half burnt” (Cicero, Philippics 2.90-1).
In 42 BC, Augustus began building the Temple of Caesar to honor his predecessor. It was completed, renovated, and repaired through the height of the Roman Empire. After the fall of the Empire, the decorative marble was stolen or repurposed for other state projects, and all we have left today is the dilapidated concrete base.


We know very little of the building’s original architecture. Historians have to piece together ancient historical accounts, images on coins, and findings of modern archeology. An account by Vitruvius says that the porch of the temple was in pycnostyle, meaning it had six columns on the front spaced close together. The type of column is not known, though Corinthian scrolls have been recovered close to the site.  While ancient coins depict Ionic columns on the temple, some historians make it out to be poor artistry. However, the temple was destroyed in a fire after the coins were minted, so it is possible that the architecture was changed in the rebuilding.

One depiction of many possibilities
Though we do not know the placement of the altar or steps, there is a theory that the temple was modeled after the Temple of Venus Genetrix that sits nearby. If this is true, the staircase would have been to the sides and rear of the podium, a backwards model from traditional buildings with steps in front.
The remains of what is thought to be the altar, and the spot where Caesar was cremated, can still be seen today. Flowers and candles are still left by modern Romans to honor their great ruler.


Friday, November 14, 2014

Sarcophagus of Santa Costanza

In ancient times, a significant aspect of the death and burial of an important person was the sarcophagus in which his/her body was placed. Sarcophagi were often made of marble or some other type of stone and were usually decorated with carvings. This is true of the sarcophagus of Santa Costanza, which was originally placed in the Mausoleum of Santa Costanza on Via Nomentana in Rome, and now resides in the Vatican Museums. A copy still sits in the mausoleum. 

Sarcophagus of Santa Costanza

Before her canonization, Santa Costanza was known as Constantina (or Constantia), named after her father, the Emperor Constantine. Constantina was the eldest daughter of the emperor and was born sometime between 307 and 317 A.D. She lived until 354 when she died of a fever in modern day Turkey. Her body was brought back to Rome and placed in the large, ornate sarcophagus that can still be viewed in the museum.

Standing 4 feet high, 5 feet wide, and almost 8 feet long, the Santa Costanza sarcophagus is certainly an impressive size. It is made of purple-colored marble called porphyry, which was only used for burying royalty (due to its color) and was only quarried from Coptos, Egypt. It is decorated with complex symbolic relief designs. These include natural images such as grape vines, peacocks, sheep, and doves. There are also cherubs (or putti) framed in acanthus scrolls beneath several masks. The lid has 4 portraits on it, one of them being Constantina herself. 

Cherub with grapes
Cherubs making wine
Sheep















The peacocks represent immortality, but most of the symbols do not have a definite meaning. The grape vines, sheep, and doves are common Christian symbols, but images of cherubs harvesting grapes and making wine were also pagan at that time. Constantine was the first emperor to legalize and accept Christianity, but he continued to worship pagan gods as well. Therefore, it is hard to say whether the symbols are supposed to have Christian or pagan meanings. However, Constantina was canonized, possibly because she chose to be baptized a Christian at a younger age--before her father did so, though she did not necessarily lead a Christian life. The images  probably reflect a transition period from pagan themes toward Christianity. Whatever the meanings behind the symbols, the sarcophagus still reflects ancient Roman traditions concerning the deceased.



  • "Ancient Roman Sarcophagi."Wikipedia. Wikimedia Foundation, 27 Oct. 2014. Web. 23 Nov. 2014. http://en.wikipedia.org/wiki/Ancient_Roman_sarcophagi&gt.
  • "Woman of Ambiguity: The Augusta Constantia (c. 312-354 C.E.)." Ancient Worlds: The Hellenic World. Web. 23 Nov. 2014. http://www.ancientworlds.net/aw/Post/1183771&gt.
  • "The Mausoleum of Santa Costanza: Ancient Mosaics and a Round Church. 'Revealed Rome’ Web. 23 Nov. 2014. http://www.revealedrome.com/2011/09/basilica-of-santa-costanza-church-in-rome.html&gt.
  

Thursday, November 13, 2014

Art of Martyrdom

If you are in a morbid mood, the Basilica di Santo Stefano Rotondo in Rome, Italy is the perfect place to go. Built between 468 and 483 A.D. the church is one of the oldest and largest round churches in the world. It was dedicated to Saint Stephen who was the first Christian martyr. Keeping with the martyrdom theme, Pope Gregory XIII (ruled from 1572-1585) commissioned the artists Antonio Tempesta and Niccolo Circignani to paint the interior walls with 34 frescoes that depict the many ghastly ways in which Christians were martyred. This was to show what horrible trials ancient Christians had to endure. These graphic paintings are not for the faint of heart.


Frescoes decorate the interior of the basilica

Interestingly, the people being tortured and killed actually have serene (and some, almost happy) expressions in the paintings. This is to signify the sense of spiritual peace and ecstasy that comes along with being martyred. These works embody the Counter-Reformation because they are portraying the gallant Catholic believers resisting Protestantism. 


Each painting has an inscription that explains the scene and tells the name of the emperor who ordered each punishment, as well as a Bible verse.
Saint Stephen was stoned to death. He was one of the lucky ones...
 
Stoning of Saint Stephen



Boiled alive!

Crushed under stone slab (look closely at the eyes and gut).

Dismemberment
The tortures these martyrs endured, and the willingness with which they did it, help to portray a message of valiant piety among the Catholics. Their gruesome deaths earned the martyrs perpetual reverence. 


  • Thayer, Bill. "S. Stefano Rotondo." Churches of Rome. N.p., 13 July 2006. Web. 13 Nov. 2014
  • "Santo Stefano Rotondo, Rome." Sacred Destinations. Sacred Destinations, n.d. Web. 13 Nov. 2014. http://www.sacred-destinations.com/italy/rome-santo-stefano-rotondo.
  • Ruggeri, Amanda. "Santo Stefano Rotondo, for Strong Stomachs Only." 'Revealed Rome' Revealed Rome, 01 Sept. 2010. Web. 13 Nov. 2014. http://www.revealedrome.com/2010/09/the-basilica-of-santo-stefano-rotondo-for-strong-stomachs-only-on-celian-hill-rome.html.