The last one I want to show you today is the temple of Vesta at Tivoli. Also beautifully situated. It's a temple that dates to 80 BC. Also probably not a temple of Vesta, but it's a round temple and temples of Vesta were often round. So, it's tended to be called by scholars the Temple of Vesta in 80 BC. Again, beautifully situated out over a, a particularly verdant area of Tivoli where you can look down and around this beautiful area. There's a waterfall very nearby, it's just magnificent. And you can see it's not surprising that some enterprising family decided to build the Sibilla Restaurant right here. And there's a, there's a patio on which one can, can go and eat under umbrellas and so on and so forth here. Here's the temple, the ancient temple of 80BC. And once again, we look at a plan over here. And I also show you a view of the so-called temple of Venus from Hadrian's Villa at Tivoli. Just to make the point that this is, this is as Greek as we've gotten thus far, in the sense that the Greeks really loved round temples. They built them a lot. There was a very famous temple of, of, of Venus, in their case, Aphrodite, on the island of Knidos. And that temple of Venus on the island of Knidos is the one that was duplicated by Hadrian for his villa. And we'll talk about this later in the semester. But I showed the one at Hadrian's villa because it gives you a very good sense of what this structure was like in ancient Greek times as well, because we think it's a replica. A round structure. Freestanding columns encircling the entire building. Low podium. A staircase around that podium that encircled the entire building, and then a temple of Venus in the center. When we look at the plan of this structure, we'll see it's pretty close. It's round, it's got temples that are free, it has columns that are freestanding that encircle the entire structure. But a-, a-, but a-, a-, but it has a higher podium, as we're going to see and, even though it's circular, they've given it a staircase on one side. Which gives it eve-, even, even a round temple, which you think of as something you just keep cir-, circling, has a kind of facade orientation in this instance. So they are so they are applying some of these Etruscan characteristics to a, a, an almost pure Greek type. Here is a view. It's very well preserved. A view of the Temple of Vesta at Tivoli as it looks today. And what order is this? >> The Corinthian Order. The Corinthian. The last of the three great Greek orders. The Corinthian Order. Which is very ornate and which I'll describe in a moment. We see it here supporting a frieze once again, in this case a frieze with garlands and libation dishes. We can see here also it is a very tall podium. So an imposition of an etruscan element on this structure. Greek orders, the building is made out of stone. The columns and the base, the columns and the facing of the base are made out of stone, in this case, travertine. Once again, travertine again was quarried right next door. I mean, this is Tivoli right there. And you can see the travertine detailing on the doorway and on the windows as well. But what you see here that we haven't seen before, remember, I talked about the use of concrete in the podium of the temple of Portunus in Rome. Here we see concrete used for the wall of the cella. If the Greeks had put up this building, they would have made the walls of the cella out of stone, and they would have cut those stones very carefully to create the kind of curvature that was needed. But the Romans were getting really smart in terms of making things easier for themselves. They realized it was going to be a lot easier to build a round structure with concrete than it was to have to carve all those stones and just those, in just those shapes. So, they have used concrete here for the cella. We still could argue this is utilitarian purpose, but at the same time I think it's beginning to demonstrate to us the expressive possibilities of concrete. And we also see, if you look very carefully the way in which we'll talk much more about this next week. But concrete, in order to make concrete impermeable to water and so on and so forth, you have to face it with something. And they faced it with very small stones of irregular shape, which we call uncertain work, or opus incertum. But we can, opus incertum, which is put into the concrete wall it is still wet to give it, to give it the ability to withstand water but also to to give it an attractive stone like appearance, and you could see that opus incertum work used here. Here's a detail of the wall, where you can see its curvature and also see that opus incertum worked. And here is a detail of the capitals. The Corinthian capitals that are used here, what's characteristic of Corinthian capitals is that they have like, like like the ionic they have volutes. These spiral volutes. But they are much more, they are much smaller and much more delicate and they are in a sense incorporated into the flowering plant. This is called an acanthus plant, a-c-a-n-t-h-u-s plants grow all over Italy. You see them everywhere so they are just emit they are just copying a plant that is indigenous to Italy. They used those acanthus leaves that seemed to grow out of the column to incorporate the spirals, and there's always a, a, a prominent central flower that is also part of this motif. It's important to note at the beginning that while the Greeks used the Doric and the Ionic order almost exclusively, the Greeks did invent the Corinthian order, they used it very late Hellenistic times, but quite infrequently. The Romans used all three but were going to see very quickly that they decide pretty early on that the Ion, that the Corinthian capital is their capital and almost every building, we'll see some exceptions, but almost every building we'll see in the course of this semester uses the Corinthian capital. Why did they take to the Corinthian capital in particular? This is something we can think about in the course of the semester and debate. I think it has to do probably with two major reasons. One, it was particularly decorative, very highly decorative, more so than the others. But maybe even more important than that is the fact, that the Corinthian capitol, at least in my opinion, looks the best from the most vantage points, because it's pretty much the same all the way around. the, the Doric is pretty severe. Here ionic looks best from certain angles, where you can really see the volutes well, less well from other angles. But this looks pretty much the same where ever you see it, so it's a very flexible and, and easily, easy to use capital type. We see also here I referred to this last time that I want to describe it for you just in a second we see here the the coffering, the coffering of the ceiling which is basically placing placing a series of receding square elements there to give the sense of depth or, in, in the in the ceiling. And then in the center, you see these flowers that match up nicely with those in the Corinthian capitals, which are called rosettes, rosettes. And we'll see coffering and the use of rosettes quite extensively in Roman architecture. I mentioned the restaurant. The Sibilla used to be a horrendous restaurant. I was, when I started taking pictures of Roman buildings I guess was a little more timid than I am today. So I always thought, well, gee, if I'm going to go in to the terrace and want to take a picture of the temple, I'm kind of going to have to eat there. I would never do that now, but I did that at one point. And I made the mistake of eating in this restaurant twice and I never went back again. But when I went just a couple years ago to see the temple once again, I saw that they had really, some new owners must have come along, they really expanded the restaurant. It looks very pretty now and this is the terrace on which one can eat. I haven't tried it, but I might, actually, next time I go. I want to just end with a couple of remarks. One is that, one of the interesting things is that although the temples that we talked about today were in part made on stone in all cases travertine, we do know that already in the year 146 B.C., so earlier than the couple of the temples we looked at just now. In 146 BC, they had, the Romans had already put up a temple, another temple to Jupiter near the Tiber river that was made entirely of marble, entirely of marble. So they were already beginning to think, not just of their own local stone or stones that were from local place, close places in Italy, but, but imported marble. A and so I want to you to know that so that we can talk about it in the future and we also know that in 142 the ceiling of the temple of Juipter OMC was guilded and we also know that not long after that they repaved the temple of Jupiter OMC and gave it a multicolored stone. So what this is telling us, is a lot of people in Rome, we're beginning to think of, of temples that were more ornate than anything had become, had come before, anything that had come before. There are some very conservative individuals who did some writing at this particular time, who bemoaned the fact that they had, that the Romans had moved away from the Etruscan temples made out of wood and mud brick and so on and were becoming too ostentatious in their taste. But I think these new Greek-style temples were definitely here to stay. And I just wanted to end up with a quote from Cicero, after one of these fires, these fires that so often raged in Rome, the Great Fire of 83 B.C. Cicero, talks about the, the rebuilding still again of the Temple of Jupiter OMC. And I quote from Cicero when he says, let us feel, let us feel that conflagration to have been the will of heaven, and it's purpose not to destroy the temple of almighty Jupiter, but to demand of us one more splendid and magnificent. What did that mean? More Greek. More Greek looking. More marble and last comment I'm going to make is to make the temple of Jupiter OMC even more magnificent, the Roman general Sulla, who was sacking Athens at this particular time, goes into Athens and after he sacks it, takes it over, conquers it. He goes up to the biggest temple in town, the temple of Olympian Zeus, Zeus, the Greek counterpart of Jupiter. And he takes some of the columns, actually steals some of the columns from that temple, has them shipped back to Rome, and he incorporates them into the temple of Jupiter OMC on the Capitoline hill. These columns, my last point, these columns were 55 and one half feet tall. So that, and they were made of solid marble. So that gives you some sense of the objectives of the Romans vis-à-vis temple building in the first century BC.
