Etruscan and Roman Art and Architecture
Etruscan Architecture
The Temple
Although inspired by the Greek temple, the Etruscan temple boasts a unique structure. Resting on a high stone podium, it featured a tetrastyle Tuscan column porch on the main facade. Behind this porch were three doors leading to three parallel cellas, each dedicated to a major Etruscan divinity. The gabled roof held sculptural decorations and polychrome terracotta plates protecting the wooden beams. While echoing Greek temples, the core structure served as a model for Roman temples.
Tombs
Etruscan tombs were often carved into rock and covered by a conical earth mound. They typically consisted of a large chamber covered with a false dome or vault, as seen in the necropolis of Cerveteri. The walls were adorned with paintings and reliefs depicting funerary scenes, sarcophagi, and related paraphernalia.
Fortifications
Notable features of Etruscan fortifications include gates, arches, vaults, and two towers, elements that would later influence Roman designs. An example is the Gateway to the walls of Volterra.
Etruscan Sculpture
Primarily serving religious and funerary purposes, Etruscan sculpture utilized stone, bronze, and terracotta. Their most significant contribution to Roman sculpture lies in the realism of their portraits.
Funeral Couples
Coffin tops often depicted the deceased reclining and scenes of daily life. These sculptures display a characteristic realism, though faces retain traces of archaic Greek influence, such as almond-shaped eyes and the archaic smile. The Sarcophagus of the Spouses from the late 6th century BC showcases a deceased couple semi-recumbent on a triclinium, as if feasting with guests.
Animalistic Sculpture
Zoomorphic bronze sculptures, possibly guarding cemetery entrances, are distinctive of Etruscan art. These range from fantastical oriental monsters like the Chimera of Arezzo to naturalistic depictions like the Wolf of the Capitol, which would eventually symbolize Rome.
Exempt Sculpture
Statues in the round, adorning temple roofs in terracotta and bronze, form another significant category. Terracotta works like the Hermes and Apollo of Veii from the 6th century BC reflect archaic Greek influence and are attributed to the Etruscan sculptor, Vulcan. Late-period bronzes, such as the Mars of Todi (4th century BC) and the bust of Lucius Junius Brutus (1st century BC), exhibit a high degree of realism, blurring the lines between Etruscan and Roman art.
Etruscan Painting
Etruscan painting reveals Greek influences, which would later impact Roman painting. Primarily found in tomb interiors, the paintings depict funeral feasts and scenes of daily life. The fresco technique employs flat, bright colors on smooth backgrounds. Figures, often depicted with vegetation and birds, dominate the two-dimensional compositions. Perspective is absent, and movement is stylized.
Roman Architecture and Sculpture
Public Buildings
The Curia
The Curia, a building for political meetings, is exemplified by the Curia Hostilia in Rome, the traditional meeting place of the Roman Senate. Rebuilt several times, it was eventually moved and renamed the Curia Julia by Augustus. The current structure dates to a reconstruction by Diocletian.
The Roman Temple
Modeled on Etruscan temples, Roman temples stand on a podium with a single entrance portico (pseudoperipteral) but incorporate Greek orders. Circular temples like the Temple of Vesta in Rome also exist. The Ara Pacis of Augustus, an altar commemorating peace, features marble walls decorated with reliefs depicting processions and mythological scenes.
Basilicas
Basilicas, used for business and legal proceedings, typically consisted of large halls divided into three naves with exedras and vaulted ceilings. They served as models for Christian churches.
The Spa
Thermae (baths) played a central role in Roman social life. These complexes included apoditeriums (changing rooms), frigidariums (cold baths), tepidariums (warm baths), caldariums (hot baths), and other facilities like gyms, massage areas, libraries, and open spaces.
Theaters
Derived from Greek theaters, Roman theaters were built on arched and vaulted structures. They featured a monumental stage, a semi-circular orchestra, and tiered seating (cavea) divided into sections based on social class.
Amphitheaters
Essentially two theaters joined together, amphitheaters had an oval plan with a central arena for spectacles like gladiatorial combats and animal fights.
Circus
Used for chariot races and imperial celebrations, the Roman circus was elongated with a central spine. Columns, statues, and memorials often adorned the spine.
Memorials
Triumphal Arches
Built to commemorate military victories, triumphal arches often featured one or three arched openings, an entablature, and an attic with inscriptions. Quadrifronte arches, with four openings, also existed.
Memorial Columns
Memorial columns, like Trajan’s Column, stood on podiums and were decorated with reliefs depicting historical events. A statue often crowned the column.
Roman Sculpture
Influenced by Hellenistic and Etruscan traditions, Roman sculpture excelled in portraiture.
Religious Sculpture
Roman religious sculpture often copied Greek works, evolving from Greek idealism to a hieratic style.
The Portrait
Roman portraiture, rooted in ancestor worship, emphasized realism. Republican portraits were highly realistic busts. Imperial portraits included togata (patrician attire), thoracata (military attire), and apotheosis (deified) versions. Styles evolved from idealized realism to baroque and eventually hieratic representations.