The similarities and the differences between Roman and Etruscan art
An analysis of Roman and Etruscan art reveals significant similarities in specific defining features that characterized their forms of expression. Given the huge influence that Etruscan art had on Roman art, significant similarities existed in their development of realistic portraits of influential figures (Bonfante 138). Both cultures sculpted portraits that capture the facial and other features of the individual of choice with incredible precision. The two cultures’ uptake and advancement of metalwork also reveal another similarity following their perfection in the development of coins and ornaments (Bonfante 140). Finally, Roman architecture also drew significant resemblance from that of the Etruscans concerning their design and construction of domelike structures.
On the contrary, Roman art differed from Etruscan art on several crucial fronts, including their tombstone sculptures. While the Etruscans represented the dead in a retrospective approach that highlighted their previously lived experiences, the Romans employed a transitional approach that highlighted the lives of the deceased beyond death itself (Bonfante 145). Additionally, the two art forms differed in the sense that Roman art majorly depicted the sculptures of powerful figures while the Etruscans concentrated on sculptures and paintings denoting realistic images such as those wild animals. This distinction highlights the differences in the perspectives of the artists, given their unique depictions of the environments around them and the concepts to which they attached great significance.
The Colosseum and the Pantheon architectural masterpieces of the Roman Empire: the techniques and the materials used to complete these iconic structures
The sheer fact that The Colosseum, which still defines Rome’s landscape to this day, is a testament to the architectural prowess and capability of the Roman Empire. It is believed that the amphitheater could have been capable of admitting more than fifty thousand people when it commenced operations (Rose 22). The Colosseum boasted impressive Corinthian columns straddling four flours, which enhanced the building’s beauty. The presence of eighty entrances to the building including its underground passages speaks to the technical advancement of the Roman Empire during the reign of Emperor Vespasian (Rose 8). The Colosseum remains a significant engineering wonder, given its combination of stones and Roman concrete to enhance the strength of the arches. Tufo, which is a strong volcanic rock, cemented the inner walls of the structure in an effort to reduce weight while the seats were made of marble (García-Ruiz and Quiroga-Puerta 45).
The Pantheon is another demonstration of the ingenuity of ancient Roman architects and engineers whose labor is still visible today. The building boasts of the coffered dome, which remains the tallest dome without any existing form of reinforcement. The dome’s ceiling design is essential for weight reduction, thereby enhancing its stability (Bonfante 157). The pantheon was similarly constructed using Roman concrete and travertine as the columns were erected through the application of ancient Roman Architectural designs.
Emperor Constantine’s power: political and religious changes that occurred during his reign
Several critical events that transpired during Emperor Constantine’s reign remain defining features of his legacy. The Emperor implemented several drastic policies that greatly influenced the political outlook of the Empire and its governance structures. For instance, his implementation of a policy that facilitated the introduction of regional prefects whose mandate spun across civil, financial, and administrative spheres of governance was significant (García-Ruiz and Quiroga-Puerta 56). Constantine’s choice to exclude military control from the purview of these prefects served to alter the prevailing power dynamics. Another politically significant change that took place at the tail end of Constantine’s reign was his reestablishment and subsequent implementation of dynasty succession (García-Ruiz and Quiroga-Puerta 57). The Emperor’s act of transferring power to his sons served to reintroduce the system that had been long abandoned by his predecessors. On the religious front, Emperor Constantine is celebrated for several achievements including his highly publicized conversion to Christianity. This event and the subsequent proclamation of the Edict of Milan led to a significant reduction in the nature and severity of the persecution of Christians as had been meted out by previous regimes (García-Ruiz and Quiroga-Puerta 66). Finally, Emperor Constantine also suppressed paganism through active legislation and his sustained attacks on pagan shrines.
The differences between two structures in different architectural types: The Church of San Vitale, Ravenna, Italy, and Old St. Peter’s, Rome
The Church of San Vitale, Ravenna exhibits specific architectural differences from St. Peter’s, Rome. For starters, St. Peter’s was constructed through the implementation of Renaissance architecture while designers of The Church of San Vitale utilized Byzantine architecture (Brittany 24). This distinction is significant in understanding the differences in the outlook of the iconic churches from a design perspective. On the one hand, St. Peter’s in Rome takes the shape of a basilica, which is characterized by the presence of large halls with aisles and a central location that serves as the epicenter of activity (Brittany 26). Basilicas are similarly characterized but have high roofs and imposing windows, as is the case with St. Peter’s. The Church of Vitale in Ravenna, on the other hand, takes the shape of what appears to be an octagon with imposing sides that seem to concentrate its epicenter towards the middle of the church (Brittany 33). These differences in architecture originate from the different inspirations that prevailed during the times of their construction.
Works Cited
Bonfante, Larissa. “Historical Art: Etruscan and Early Ronam.” American Journal of Ancient History, 2017, pp. 136-162. Web.
Brittany, Thomas. “Ravenna on the Grand Tour: A View of Late Antiquity in the Eighteenth Century.”Classical Receptions Journal, 2020, pp. 24-41. Web.
García-Ruiz, María and Alberto Quiroga-Puerta. Emperors and Emperorship in Late Antiquity: Images and Narratives. BRILL, 2021.
Rose, Simon. Colosseum. Weigl Publishers, 2018.