54 UNIT 3 UNIT 3 UNIT 3 UNIT 3 THE MAJESTY OF THE EMPIRE THE MAJESTY OF THE EMPIRE THE MAJESTY OF THE EMPIRE THE MAJESTY OF THE EMPIRE ANCIENT ROME ANCIENT ROME ANCIENT ROME ANCIENT ROME 53 UNIT OBJECTIVES 1) DISCUSS THE RISE OF IMPERIAL ROME, THE CULTURES ON WHICH THE EMPIRE WAS BASED, AND THE CONTRIBUTIONS OF THE ROMAN REPUBLIC. 2) EVALUATE AND DESCRIBE THE ARTS, POLITICS, AND SOCIAL CONSTRUCTS OF ANCIENT ROME. 3) EXAMINE THE ENGINEERING, INFRASTRUCTURE, AND BUILT ENVIRONMENT THAT CONTRIBUTED TO THE POWER OF THE EMPIRE. 52
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UNIT 3UNIT 3UNIT 3UNIT 3
THE MAJESTY OF THE EMPIRETHE MAJESTY OF THE EMPIRETHE MAJESTY OF THE EMPIRETHE MAJESTY OF THE EMPIRE
ANCIENT ROME ANCIENT ROME ANCIENT ROME ANCIENT ROME
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UNIT OBJECTIVES1) DISCUSS THE RISE OF IMPERIAL ROME,
THE CULTURES ON WHICH THE EMPIRE WAS BASED, AND THE CONTRIBUTIONS OF THE ROMAN REPUBLIC.
2) EVALUATE AND DESCRIBE THE ARTS, POLITICS, AND SOCIAL CONSTRUCTS OF ANCIENT ROME.
3) EXAMINE THE ENGINEERING, INFRASTRUCTURE, AND BUILT ENVIRONMENT THAT CONTRIBUTED TO THE POWER OF THE EMPIRE.
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ROME ONE OF THE TWO SOURCES FOR THE ROMAN CULTURE IS THE GREEK HELLENICGREEK HELLENICGREEK HELLENICGREEK HELLENIC CULTURE, WHICH THE ROMANS ADOPTED FOR THEIR OWN.
THE GREEKS HAD COLONIZED THE SOUTHERN COASTAL REGIONS OF THE ITALIAN PENINSULA AND SICILY SINCE THE EIGHTH CENTURY BCE.
THE OTHER SOURCE FOR THE ROMAN CULTURE IS THE ETRUSCAN ETRUSCAN ETRUSCAN ETRUSCAN CULTURE, WHICH OCCUPIED THE EASTERN CENTRAL AREA OF ITALY, MODERN-DAY TUSCANY.
WOMEN PLAYED A FAR MORE IMPORTANT ROLE IN ETRUSCAN CULTURE THAN IN GREEK, AND ROMAN CULTURE WOULD LATER REFLECT THE ETRUSCAN SENSE OF WOMEN'S EQUALITY.
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THE ROMAN EMPIRE AT ITS GREATEST EXTENT, CA. 177 CE. 50
ROMAN REPUBLIC TRADITIONALLY, ROMANS DISTINGUISHED BETWEEN PATRICIANSPATRICIANSPATRICIANSPATRICIANS, THE LANDOWNING ARISTOCRATS WHO SERVED AS PRIESTS, MAGISTRATES, LAWYERS, AND JUDGES, AND PLEBIANSPLEBIANSPLEBIANSPLEBIANS, THE POORER CLASS WHO WERE CRAFTSPEOPLE, MERCHANTS, AND LABORERS.
IN THE ROMAN REPUBLIC, EVERY PLEBIAN CHOSE A PATRICIAN AS HIS PATRON WHOSE DUTY IT WAS TO REPRESENT THE PLEBIAN IN ANY MATTER OF LAW AND PROVIDE AN ASSORTMENT OF ASSISTANCE IN OTHER MATTERS, PRIMARILY ECONOMIC, BUT SOME SOCIAL.
THIS PATERNALISTIC RELATIONSHIP—WHICH WE CALL PATRONAGEPATRONAGEPATRONAGEPATRONAGE—REFLECTED THE FAMILY'S CENTRAL ROLE IN ROMAN CULTURE.
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A DIVIDED EMPIREJULIUS CAESAR BROUGHT ALL OF GAUL TOGETHER DURING HIS TIME AS GOVERNOR. WHEN ASKED TO REPORT HOW HE DID IT, HE MADE THE FAMOUS STATEMENT, ”VENI, VEDI, VENI, VEDI, VENI, VEDI, VENI, VEDI, VICIVICIVICIVICI”””” (I CAME, I SAW, I CONQUERED)(I CAME, I SAW, I CONQUERED)(I CAME, I SAW, I CONQUERED)(I CAME, I SAW, I CONQUERED)
HE ASSUMED DICTATORIAL CONTROL OVER ROME AFTER THE DEFEAT OF THE OTHER TWO MEMBERS OF THE TRIUMVIRATE. HWA
ON THE IDES OF MARCH, 44 BCE, HE WAS STABBED 23 TIMES BY A GROUP OF 60SENATORS.
THIS IS THE REASON I DON’T GIVE GROUP PROJECTS. 60 PEOPLE WERE ASSIGNED TO ONE, AND ONLY 23 DID ANYTHING.
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ROMAN RULEWHENEVER ROME CONQUERED A REGION, IT ESTABLISHED PERMANENT COLONIES OF VETERAN SOLDIERS WHO WERE GIVEN ALLOTMENTS OF THE CONQUERED LAND.
THE PROSPERITY BROUGHT ABOUT BY ROMAN EXPANSION SOON CREATED A NEW KIND OF CITIZEN, THE WEALTHY EQUITESEQUITESEQUITESEQUITES, IN ROME.
THE UNION OF THE FIRST TRIUMVIRATEFIRST TRIUMVIRATEFIRST TRIUMVIRATEFIRST TRIUMVIRATEENSURED JULIUS CAESAR'S RISE TO POWER.
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CICERO AND THE POWER OF RHETORIC THE RHETORICIAN RHETORICIAN RHETORICIAN RHETORICIAN (WRITER AND PUBLIC SPEAKER, OR ORATOR) MARCUS TULLIUS CICERO (106–43 BCE) RECOGNIZED THE POWER OF THE LATIN LANGUAGE TO COMMUNICATE WITH THE PEOPLE.
BY THE FIRST CENTURY CE, LATIN WAS UNDERSTOOD TO BE A SIGNIFICANTLY MORE POWERFUL TOOL OF PERSUASION THAN ATTIC GREEK.
PHILOSOPHICALLY, CICERO'S ARGUMENT EXTENDS BACK TO PLATO AND ARISTOTLE, BUT RHETORICALLY—IN THE STRUCTURE OF ITS ARGUMENT—IT IS PURELY ROMAN.
GENERALLY, CICERO'S ARGUMENTS WERE PURPOSEFULLY DELIBERATE IN TONE, AIMING AT GIVING SAGE ADVICE.
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PORTRAIT BUSTS, PIETAS, AND POLITICS
A MAJOR ROMAN ART FORM OF THE SECOND AND FIRST CENTURIES BCE WAS THE PORTRAIT PORTRAIT PORTRAIT PORTRAIT BUSTBUSTBUSTBUST.
PORTRAIT BUSTS ARE GENERALLY PORTRAITS OF PATRICIANS, AND THEY SHARE WITH THEIR GREEK ANCESTORS AN AFFINITY FOR NATURALISTICNATURALISTICNATURALISTICNATURALISTIC REPRESENTATION, BUT THEY ARE EVEN MORE REALISTIC, REVEALING THEIR SUBJECTS' EVERY WRINKLE, BLEMISH, AND WART,
THEY DEMONSTRATE THE CONCEPT OF VERISMVERISMVERISMVERISM, FROM THE LATIN “VERITASVERITASVERITASVERITAS”””” MEANING “TRUTH”.
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BUST OF A ROMAN MANBUST OF A ROMAN MANBUST OF A ROMAN MANBUST OF A ROMAN MAN. c. . c. . c. . c. 80 80 80 80 BCEBCEBCEBCE . MARBLE. LIFE. MARBLE. LIFE. MARBLE. LIFE. MARBLE. LIFE----SIZE.SIZE.SIZE.SIZE.44
PORTRAIT BUSTS, PIETAS, AND POLITICSTHE ESSENTIALLY PROPAGANDISTIC ROMAN BUSTS CLAIM FOR THEIR SUBJECTS THE WISDOM AND EXPERIENCE OF AGE.
THESE IMAGES CELEBRATE PIETASPIETASPIETASPIETAS, THE DEEP-SEATED ROMAN VIRTUE OF DUTIFUL RESPECT TOWARD THE GODS, FATHERLAND, AND PARENTS. IN OTHER WORDS, “PAY ATTENTION AND SHOW SOME RESPECT TO THE OLD FOLKS, BECAUSE THEY’VE BEEN AROUND LONGER THAN YOU!”
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IMPERIAL ROME IN 27 BCE, THE SENATE GRANTED OCTAVIAN THE IMPERIAL NAME AUGUSTUSAUGUSTUSAUGUSTUSAUGUSTUS AND THE AUTHORITY OF IMPERIUMIMPERIUMIMPERIUMIMPERIUM OVER ALL THE EMPIRE.
AUGUSTUS WAS DUTY-BOUND TO EXHIBIT PIETASPIETASPIETASPIETAS, THE OBLIGATION TO HIS ANCESTORS "TO RULE THE PEOPLE.“
WHILE AUGUSTUS IS RECOGNIZABLE IN HIS SCULPTURES, THE SCULPTURES ARE ALL IDEALIZED.
HE WAS OVER 70 YEARS OLD WHEN HE DIED, YET HE WAS ALWAYS DEPICTED AS YOUNG AND VIGOROUS, CHOOSING TO PORTRAY HIMSELF AS THE IDEAL LEADER RATHER THAN THE WISE, OLDER PATERPATERPATERPATER.
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AUGUSTUS OF PRIMAPORTAAUGUSTUS OF PRIMAPORTAAUGUSTUS OF PRIMAPORTAAUGUSTUS OF PRIMAPORTA. c. . c. . c. . c. 20202020 BCEBCEBCEBCE. MARBLE. HEIGHT . MARBLE. HEIGHT . MARBLE. HEIGHT . MARBLE. HEIGHT 6'8".6'8".6'8".6'8".41
FAMILY LIFEThe small Cupid at his feet (riding on a dolphin, Venus's patron animal) is a reference to the claim that the Julian family were descended from the goddess
Venus, made by both Augustus and by his great uncle Julius Caesar a way of claiming divine lineage without claiming the full divine status.
WITH HIS COMMISSION OF THE ARA PACIS ARA PACIS ARA PACIS ARA PACIS AUGUSTAEAUGUSTAEAUGUSTAEAUGUSTAE, AUGUSTUS ALSO ADDRESSED WHAT HE CONSIDERED A CRISIS IN ROMAN SOCIETY—THE DEMISE OF THE FAMILY.
THE MONUMENT IS PREEMINENTLY A CELEBRATION OF FAMILY.
IT CLEARLY DEMONSTRATES THE GROWING PROMINENCE OF WOMEN IN ROMAN SOCIETY, BY HIGHLIGHTING THEIR NECESSITY AS PART OF THE FAMILY.
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ARA PACIS AUGUSTAEARA PACIS AUGUSTAEARA PACIS AUGUSTAEARA PACIS AUGUSTAE, SOUTH ENTRANCE ROME, , SOUTH ENTRANCE ROME, , SOUTH ENTRANCE ROME, , SOUTH ENTRANCE ROME, 13131313––––9999 BCEBCEBCEBCE. MARBLE. . MARBLE. . MARBLE. . MARBLE. 39
OF ALL THE PROBLEMS FACING AUGUSTUS WHEN HE ASSUMED POWER, THE MOST OVERWHELMING WAS THE INFRASTRUCTUREINFRASTRUCTUREINFRASTRUCTUREINFRASTRUCTURE OF ROME.
HOUSING CONDITIONS WERE TERRIBLE, WATER WAS NOT READILY AVAILABLE, FOOD SUPPLIES WERE SCARCE.
BECAUSE THE CITY WAS CONFINED BY ITS GEOGRAPHY, SPACE WAS AT A PREMIUM.
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DETAIL OF ROMAN GEOGRAPHY
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AUGUSTUS AND THE CITY OF MARBLE
AUGUSTUS CALLED FOR A SERIES OF PUBLIC WORKS, WHICH HE ALSO PLANNED AS A KIND OF IMPERIAL PROPAGANDA, UNDERSCORING NOT ONLY HIS POWER BUT ALSO HIS CARE FOR THE PEOPLE IN HIS ROLE AS PATER PATER PATER PATER PATRIAE.PATRIAE.PATRIAE.PATRIAE.
HE BUILT AQUEDUCTSAQUEDUCTSAQUEDUCTSAQUEDUCTS TO BRING MORE WATER INTO THE CITY.
“I found Rome a city of brick, and I leave it to you a city of marble.” — Augustus
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PUBLIC WORKS: THE AQUEDUCT AND THE ARCH
ROMAN ARCHITECT MARCUS VITRUVIUSMARCUS VITRUVIUSMARCUS VITRUVIUSMARCUS VITRUVIUS WAS CALLED UPON TO DESIGN A MEANS OF TRANSPORTING WATER OVER THE MOUNTANS AND INTO THE CITY.
THE AQUEDUCTSAQUEDUCTSAQUEDUCTSAQUEDUCTS WERE REVOLUTIONARY, IN THAT THEY ALLOWED WATER TO BE BROUGHT INTO ROME IN STAGGERING AMOUNTS.
IT WAS AN ENGINEERING PROJECT WITHOUT EQUAL, AND SOME PARTS OF IT STILL STAND TODAY.
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PUBLIC WORKS: THE AQUEDUCT AND THE ARCH
THE MOST IMPORTANT DESIGN ELEMENT OF ROMAN ENGINEERING WAS THE ROUND ARCHROUND ARCHROUND ARCHROUND ARCH, THIS IS WHERE THE WEIGHT OF MASONRY ABOVE THE ARCH IS DIRECTED INTO SUPPORTING UPRIGHT ELEMENTS CALLED PIERSPIERSPIERSPIERS.
VOUSSOIRSVOUSSOIRSVOUSSOIRSVOUSSOIRS ARE WEDGE-SHAPED BLOCKS THAT FORM THE SUPPORTING BASIS OF THE ARCH, TOPPED WITH THE KEYSTONEKEYSTONEKEYSTONEKEYSTONE, THE LAST ELEMENT PUT IN PLACE.
PLACING ARCHES BESIDE EACH OTHER, WHERE THEY SHARE A PIER, ALLOWED THE STRUCTURE TO SPAN GREAT DISTANCES. THIS IS CALLED AN ARCADEARCADEARCADEARCADE.
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PONT DU GARD, NEAR NPONT DU GARD, NEAR NPONT DU GARD, NEAR NPONT DU GARD, NEAR NÎÎÎÎMES, FRANCE. MES, FRANCE. MES, FRANCE. MES, FRANCE. CCCC . 19 A.D. HEIGHT 180'.. 19 A.D. HEIGHT 180'.. 19 A.D. HEIGHT 180'.. 19 A.D. HEIGHT 180'.
https://www.pontdugard.fr/en
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PUBLIC WORKS: THE AQUEDUCT AND THE ARCH
THE SPACE INSIDE THE ARCH BETWEEN THE PIERS IS CALLED THE BAYBAYBAYBAY.
THE HEIGHT OF THE INTERIOR OPENING IS CALLED THE THROATTHROATTHROATTHROAT.
TRIANGULAR WALL AREAS BETWEEN THE ARCHES OF AN ARCADEARCADEARCADEARCADE (A ROW OF ARCHES) ARE CALLED SPANDRELSSPANDRELSSPANDRELSSPANDRELS.
WHEN A ROUND ARCH IS EXTENDED IN DEPTH (AS INTO THE FORM OF A TUNNEL) IT IS CALLED A BARREL VAULTBARREL VAULTBARREL VAULTBARREL VAULT.
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PUBLIC WORKS: THE AQUEDUCT AND THE ARCH
ABUTMENT ABUTMENT ABUTMENT ABUTMENT IS AN EXTERNAL SUPPORT ADDED TO THE SIDE OF A VAULT TO ENSURE THE DOWNWARD PRESSURE ON THE VAULT DOES NOT SPLAY THE PIER-WALLS OUTWARD.
WHEN TWO BARRELVAULTSBARRELVAULTSBARRELVAULTSBARRELVAULTS MEET AND CROSS AT A RIGHT ANGLE, THEY FORM A GROIN VAULTGROIN VAULTGROIN VAULTGROIN VAULT.
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ROMAN ARCHES DIAGRAMROMAN ARCHES DIAGRAMROMAN ARCHES DIAGRAMROMAN ARCHES DIAGRAM
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THE FLAVIAN AMPHITHEATREDONDONDONDON’’’’T EVER CALL IT T EVER CALL IT T EVER CALL IT T EVER CALL IT ““““THE COLOSSEUMTHE COLOSSEUMTHE COLOSSEUMTHE COLOSSEUM””””....
THE FLAVIAN AMPHITHEATREFLAVIAN AMPHITHEATREFLAVIAN AMPHITHEATREFLAVIAN AMPHITHEATRE EMPLOYED BOTH BARREL AND GROIN VAULTING.
GLADIATORS, ATHLETES, AND WILD ANIMALS WOULD ENTERTAIN AN ESTIMATED AUDIENCE OF 60-80,000.
MOCK NAVAL BATTLES WITH REAL SHIPS FIRING REAL CANNONS WERE HELD INSIDE THE STADIUM.
EACH LEVEL EMPLOYED A DIFFERENT ARCHITECTURAL ORDER.
ALL COLUMNS ARE ENGAGEDENGAGEDENGAGEDENGAGED AND PURELY DECORATIVE — NOT STRUCTURALLY CRITICAL.
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AERIAL VIEW OF THE FLAVIAN AMPHITHEATER, ROME. CONSTRUCTED 72–80 CE. 27
CUTAWAY VIEW OF THE FLAVIAN AMPHITHEATER, ROME. CONSTRUCTED 72CUTAWAY VIEW OF THE FLAVIAN AMPHITHEATER, ROME. CONSTRUCTED 72CUTAWAY VIEW OF THE FLAVIAN AMPHITHEATER, ROME. CONSTRUCTED 72CUTAWAY VIEW OF THE FLAVIAN AMPHITHEATER, ROME. CONSTRUCTED 72––––80 80 80 80 CECECECE. . . . 26
EXTERIOR VIEW OF THE FLAVIAN AMPHITHEATER, ROME. CONSTRUCTED 72EXTERIOR VIEW OF THE FLAVIAN AMPHITHEATER, ROME. CONSTRUCTED 72EXTERIOR VIEW OF THE FLAVIAN AMPHITHEATER, ROME. CONSTRUCTED 72EXTERIOR VIEW OF THE FLAVIAN AMPHITHEATER, ROME. CONSTRUCTED 72––––80 80 80 80 CECECECE. . . . 25
MODEL OF IMPERIAL ROME SHOWING THE FLAVIAN AMPHITHEATER AND IMPERIAL FORUM.
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MODEL OF IMPERIAL ROME, C.1937. LENGTH 55’. PLASTER AND WOOD.
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THE ARCO di TRIUMPHI THE TRIUMPHAL ARCH WAS A TYPE OF ROMAN ARCHITECTURAL MONUMENT BUILT ALL OVER THE EMPIRE TO COMMEMORATE MILITARY TRIUMPHS AND OTHER SIGNIFICANT EVENTS SUCH AS THE ACCESSION OF A NEW EMPEROR.
ARCHES WERE OFTEN ERECTED OVER MAJOR THOROUGHFARES AND AS THE STRUCTURE HAD NO PRACTICAL FUNCTION AS A BUILDING IT WAS OFTEN RICHLY DECORATED WITH ARCHITECTURAL DETAILS, SCULPTURE AND COMMEMORATIVE INSCRIPTIONS.
LIKE ALL ROMAN MONUMENTAL ARCHITECTURE, TRIUMPHAL ARCHES AND COLUMNS WERE INTENDED TO SYMBOLIZE ROME'S POLITICAL POWER AND MILITARY MIGHT. THERE WERE ORIGINALLY FIVE, BUT ONLY THREE SURVIVE TODAY.
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THE ARCO di TRIUMPHI THE ARCH OF TITUS WAS BUILT IN 82 AD BY EMPEROR DOMITIAN JUST AFTER THE DEATH OF HIS OLDER BROTHER TITUS. IT IS THE OLDEST SURVIVING ARCH IN ROME AND COMMEMORATES TITUS’ VICTORIES, INCLUDING THE 70 AD SIEGE OF JERUSALEM.
ON TOP OF THE ARCH, THE INSCRIPTION TRANSLATES INTO “THE SENATE AND PEOPLE OF ROME, TO DIVUS TITUS, SON OF DIVUS VESPASIAN, VESPASIAN AUGUSTUS.” THE WORD DIVUS REFERS TO ONE WHO HAS DIED.
THE ARCH OF TITUS WAS USED AS THE INSPIRATION FOR THE ARC DE TRIOMPHETHE ARC DE TRIOMPHETHE ARC DE TRIOMPHETHE ARC DE TRIOMPHE IN PARIS.
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ARCH OF TITUS. ROME. c. ARCH OF TITUS. ROME. c. ARCH OF TITUS. ROME. c. ARCH OF TITUS. ROME. c. 82828282 CECECECE....2051’h
ARCH OF CONSTANTINE. ROME. c. ARCH OF CONSTANTINE. ROME. c. ARCH OF CONSTANTINE. ROME. c. ARCH OF CONSTANTINE. ROME. c. 315315315315 CECECECE....1970’h
THE COLUMNA di TRAIANO TRAJANTRAJANTRAJANTRAJAN’’’’S COLUMNS COLUMNS COLUMNS COLUMN WAS ERECTED 106–113 CE BY THE ROMAN EMPEROR TRAJAN, AND SURVIVES INTACT IN THE RUINS OF TRAJAN’S FORUM IN ROME. THE MARBLE COLUMN STANDS 125 FEET HIGH TOGETHER WITH THE PEDESTAL, WHICH CONTAINS A CHAMBER THAT SERVED AS TRAJAN’S TOMB.
THE SHAFT IS DECORATED WITH A FRIEZEFRIEZEFRIEZEFRIEZE THAT WRAPS AROUND THE COLUMN 23 TIMES, AND CONSISTS OF 155 SEPARATE NARRATIVE SCENES OF TRAJAN’S CAMPAIGNS IN DACIA.
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COLUMN OF TRAJAN, ROME. 106COLUMN OF TRAJAN, ROME. 106COLUMN OF TRAJAN, ROME. 106COLUMN OF TRAJAN, ROME. 106––––13 13 13 13 CECECECE. OVERALL HEIGHT WITH BASE, 125'.. OVERALL HEIGHT WITH BASE, 125'.. OVERALL HEIGHT WITH BASE, 125'.. OVERALL HEIGHT WITH BASE, 125'. 17
DETAIL DETAIL DETAIL DETAIL ---- COLUMN OF TRAJAN, ROME. 106COLUMN OF TRAJAN, ROME. 106COLUMN OF TRAJAN, ROME. 106COLUMN OF TRAJAN, ROME. 106––––13 13 13 13 CECECECE. . . . 16
DETAIL DETAIL DETAIL DETAIL ---- COLUMN OF TRAJAN, ROME. 106COLUMN OF TRAJAN, ROME. 106COLUMN OF TRAJAN, ROME. 106COLUMN OF TRAJAN, ROME. 106––––13 13 13 13 CECECECE. . . .
ONE OF THE MOST AMBITIOUS BUILDING PROJECTS IS HADRIAN'S PANTHEONPANTHEONPANTHEONPANTHEON, A TEMPLE TO "ALL THE GODS."
COFFERSCOFFERSCOFFERSCOFFERS ARE RECESSED PANELS THAT LIGHTEN THE WEIGHT OF THE ROOF.
THE OCULUSOCULUSOCULUSOCULUS, OR "EYE" AT THE TOP OF THE DOME ADMITS LIGHT AND IS BELIEVED TO HAVE SYMBOLIZED JUPITERJUPITERJUPITERJUPITER'S EVER-WATCHFUL EYE OVER STATE AFFAIRS.
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THE PANTHEON, ROME. THE PANTHEON, ROME. THE PANTHEON, ROME. THE PANTHEON, ROME. 118118118118––––125 125 125 125 CECECECE. . . . 13
INTERIOR OF THE PANTHEON, ROME. INTERIOR OF THE PANTHEON, ROME. INTERIOR OF THE PANTHEON, ROME. INTERIOR OF THE PANTHEON, ROME. 118118118118––––125 125 125 125 CECECECE. . . . 12
POMPEIIPOMPEII WAS A LARGE ROMAN CITY ON ITALY’S WEST COAST. IT WAS A SIGNIFICANT TRADING CENTER, AND EXPORT HUB FOR THE AGRICULTURAL PRODUCTS OF THE REGION.
THE CITY AND MUCH OF THE SURROUNDING AREA WAS DESTROYED BY THE ERUPTION OF MT. VESUVIUSMT. VESUVIUSMT. VESUVIUSMT. VESUVIUS, IN 79 CE. NEARLY 17,000 PEOPLE WERE KILLED.
THE ERUPTION FROZE POMPEII AND THE NEARBY CITY OF HERCULANEUM IN TIME, AND HAS PRESERVED MUCH OF THE ART, BUILDINGS, AND DETAILS OF THE AREA.
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POMPEIIALMOST EVERYTHING WE KNOW TODAY ABOUT EVERYDAY ROMAN LIFE IS THE DIRECT RESULT OF THE VESUVIUS ERUPTION.
BURIED UNDER THE ASHES WERE NOT ONLY HOMES AND BUILDINGS BUT ALSO FOOD AND PAINTINGS, FURNITURE, GARDEN STATUARY, AND EVEN POLITICAL GRAFFITI AS WELL AS PORNOGRAPHY. POMPEII WAS AN “ADULT RESORT” CITY, NOT UNLIKE LAS VEGAS.
THE NEARBY BUSINESS CITY OF HERCULANEUMHERCULANEUMHERCULANEUMHERCULANEUM WAS ALSO PRESERVED THE SAME WAY. THERE ARE A GREAT MANY IMAGES I CAN’T SHOW, DUE TO THE ADULT NATURE.
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RUINS OF POMPEII. 1ST CENTURY RUINS OF POMPEII. 1ST CENTURY RUINS OF POMPEII. 1ST CENTURY RUINS OF POMPEII. 1ST CENTURY BCEBCEBCEBCE....
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POMPEIITHE CITY WAS REDISCOVERED IN 1755 WHEN WORK BEGAN ON A CANAL IN THE AREA. BEFORE LONG, MUCH OF THE LOST CITY WAS BEING EXCAVATED.
AMONG THE DISCOVERIES WERE THOUSANDS OF CITIZENS OF POMPEII, PRESERVED AS THEY FELL.
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““““GARDEN OF THE FUGITIVESGARDEN OF THE FUGITIVESGARDEN OF THE FUGITIVESGARDEN OF THE FUGITIVES”””” POMPEII. 1ST CENTURY POMPEII. 1ST CENTURY POMPEII. 1ST CENTURY POMPEII. 1ST CENTURY BCEBCEBCEBCE....
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““““ SLAVES IN THE BASEMENTSLAVES IN THE BASEMENTSLAVES IN THE BASEMENTSLAVES IN THE BASEMENT”””” POMPEII. 1ST CENTURY POMPEII. 1ST CENTURY POMPEII. 1ST CENTURY POMPEII. 1ST CENTURY BCEBCEBCEBCE....
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LEGACY THE CIVILIZATION OF ANCIENT ROME HAS HAD A LASTING THE CIVILIZATION OF ANCIENT ROME HAS HAD A LASTING THE CIVILIZATION OF ANCIENT ROME HAS HAD A LASTING THE CIVILIZATION OF ANCIENT ROME HAS HAD A LASTING IMPACT ON HISTORY. THE LEGACY OF ANCIENT ROME IS IMPACT ON HISTORY. THE LEGACY OF ANCIENT ROME IS IMPACT ON HISTORY. THE LEGACY OF ANCIENT ROME IS IMPACT ON HISTORY. THE LEGACY OF ANCIENT ROME IS STILL FELT TODAY IN WESTERN CULTURE IN AREAS SUCH STILL FELT TODAY IN WESTERN CULTURE IN AREAS SUCH STILL FELT TODAY IN WESTERN CULTURE IN AREAS SUCH STILL FELT TODAY IN WESTERN CULTURE IN AREAS SUCH AS GOVERNMENT, LAW, LANGUAGE, ARCHITECTURE, AS GOVERNMENT, LAW, LANGUAGE, ARCHITECTURE, AS GOVERNMENT, LAW, LANGUAGE, ARCHITECTURE, AS GOVERNMENT, LAW, LANGUAGE, ARCHITECTURE, ENGINEERING, AND RELIGION.ENGINEERING, AND RELIGION.ENGINEERING, AND RELIGION.ENGINEERING, AND RELIGION.
MANY MODERN GOVERNMENTS ARE MODELED AFTER THE MANY MODERN GOVERNMENTS ARE MODELED AFTER THE MANY MODERN GOVERNMENTS ARE MODELED AFTER THE MANY MODERN GOVERNMENTS ARE MODELED AFTER THE ROMAN REPUBLIC. ROMAN REPUBLIC. ROMAN REPUBLIC. ROMAN REPUBLIC.
ROMAN LAW HAS HAD A SIGNIFICANT INFLUENCE OVER ROMAN LAW HAS HAD A SIGNIFICANT INFLUENCE OVER ROMAN LAW HAS HAD A SIGNIFICANT INFLUENCE OVER ROMAN LAW HAS HAD A SIGNIFICANT INFLUENCE OVER THE MODERNTHE MODERNTHE MODERNTHE MODERN----DAY LAWS OF MANY COUNTRIES. DAY LAWS OF MANY COUNTRIES. DAY LAWS OF MANY COUNTRIES. DAY LAWS OF MANY COUNTRIES.
YOU CAN SEE THE INFLUENCE OF ROMAN ARCHITECTURE YOU CAN SEE THE INFLUENCE OF ROMAN ARCHITECTURE YOU CAN SEE THE INFLUENCE OF ROMAN ARCHITECTURE YOU CAN SEE THE INFLUENCE OF ROMAN ARCHITECTURE IN GOVERNMENT BUILDINGS, LARGE BANKS, AND EVEN IN GOVERNMENT BUILDINGS, LARGE BANKS, AND EVEN IN GOVERNMENT BUILDINGS, LARGE BANKS, AND EVEN IN GOVERNMENT BUILDINGS, LARGE BANKS, AND EVEN SOME FAMOUS BUILDINGS LIKE THE UNITED STATES SOME FAMOUS BUILDINGS LIKE THE UNITED STATES SOME FAMOUS BUILDINGS LIKE THE UNITED STATES SOME FAMOUS BUILDINGS LIKE THE UNITED STATES CAPITOL BUILDING.CAPITOL BUILDING.CAPITOL BUILDING.CAPITOL BUILDING.
THE ROMANS CHANGED THE WESTERN WORLD BY THEIR THE ROMANS CHANGED THE WESTERN WORLD BY THEIR THE ROMANS CHANGED THE WESTERN WORLD BY THEIR THE ROMANS CHANGED THE WESTERN WORLD BY THEIR INNOVATIONS IN ENGINEERING.INNOVATIONS IN ENGINEERING.INNOVATIONS IN ENGINEERING.INNOVATIONS IN ENGINEERING.
