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20.5 Architecture in Athens under Hadrian
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来自 Yale University 的课程
Roman Architecture
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从本节课中
Roman Wine in Greek Bottles: The Rebirth of Athens
The rebirth of Athens under Rome’s foremost philhellenic emperors, Augustus and Hadrian. High quality Greek marble and expert Greek stone carvers produced notable edifices in Roman Greece dependent on a mutual exchange of architectural ideas and motifs between Rome and Athens. These include the Monument of Philopappos, the Library and Arch of Hadrian, and architectural additions or transformations made to the Acropolis and the Greek and Roman Agoras.
与讲师见面
Diana E.E. KleinerDunham Professor of History of Art and Classics at Yale University
History Of Art
The other great philhellenic emperor was, of course, Hadrian.
We know Hadrian came to Athens on three occasions,
and we know the exact dates of his visits.
124, the first visit, 124 to 125, Hadrian was in Athens.
He came another time, in 128. And he came a third time in 131 to 132.
And all the buildings that I'm now going to show you a date, to roughly,
to the times of those three visits.
The first one you see in an engraving here.
This was in Aqueduct, when Hadrian came to Athens for the first time in 124 to 125.
He said, we need to supply water to the people of Athens.
And so he set, he set his architects at work,to build an Aqueduct for Athens.
They created a, a reservoir on the Mount Likavitos,
that, the highest mountain in Athens, a reservoir.
And then on the side, one of the sides of the mountain facing the city.
They had, they built a kind of a [COUGH] structure that kind of a bridge
that, in part, carried that water into the city.
It no longer survives.
There are a couple of bases from it, that's it.
But we do
fortunately have engravings that were made when it was
in better shape, when part of it still stood.
And we see one of those engravings here.
And what we can see right off,
ionic capitals.
Ionic capitals clearly based on those, of the Erechtheion.
So the Erechtheion still a beacon for
architects, still a monument to be emulated.
Emulated in the time of Hadrian, as it was, under Augustus.
We see an inscription, and then we see something quite extraordinary,
if we look very closely, above the right hand ionic capital.
We see the beginning of an arcuated lintel.
Straight lintel, the beginning of an arcuation.
So what does that tell us?
That tells us clearly, and here's a Stuart
and Revett drawing of that element whe, when
it was in better shape again A straight
lintel, an arcuated lintel, with an inscription mentioning Hadrian.
That is the same kind of arcuated lentil, that we saw
in Tivoli at the Canopus, that we saw in Ephesus at the
Temple of Hadrian in Ephesus, showing that this particular
motif, this arcuated lentil, very much associated with Hadrian,
says, this is a Hadrianic building essentially, and used
not just in Italy but elsewhere, in the Roman world.
So again, these these exchanges of ideas and motifs, and artists,
and architects during the Hadrianic period, as was the case, under Augustus.
Over here,
we're looking again, from Google Earth, at the Roman Agora, next
to it, a library of Hadrian, a library that bares Hadrian's name.
That was also put up in Athens during the Hadrianic periods, specifically in 132 AD,
connected to the last visit that Hadrian made, to Athens.
We can see that it is a great, a large open rectangular space with
a, the library itself at the upper most part.
And then a, a facade that has projecting columns.
And I'll show that to you better, in a moment.
Here's a view I took again from the acropolis
showing that open rectangular space, as it looks today.
There's some later buildings built into it, and here we're looking at the
back wall of the facade, which we'll see, has projecting columns on it.
Here's a plan of the library of Hadrian of 132, here on the right side of the screen.
And you should be struck immediately, as you
look at this plan with its open rectangular space,
with its, with its a pool here in the
center, with the columns going all the way around.
With an entrance way in the front, with projecting columns on that facade.
With a series of niches, that are
alternating segmental and rectangular with again, the library
located in that uppermost part, with other rooms
forming a kind of wing on either side.
This should remind you without any question, of this.
And what is this? [SOUND]
>> Sam. [COUGH]
>> The Forum of Peace. >> The Forum Pacis,
the Forum of Peace, or the Templum Pacis, of Vespasian, in Rome.
So once again, and it is a near clear duplicate.
Even though this is a library, and this is a temple or a forum,
although we talked about the fact that,
we weren't absolutely sure, how this was used.
It may have been used as a kind of museum in Rome for the
spoils and other works of art that
the Spatians and the Flavians wanted to display.
But once
again, we are looking that the influence does not flow
only from Greece to Rome, but from Italy to Greece.
And in this case, they are also using as a model
for the Library of Hadrian, an important building type in Rome.
They're using it, you know, perhaps for, in a different way but nonetheless
they are using almost that exact plan, [COUGH] for this second century building.
And I show you here, a model of the Library of Hadrian
in Athens.
[COUGH] Where we see that it was planted with greenery.
The library was located in the back.
There was a fairly conventional entrance-way,
looking like a typical Greek temple.
But then, these columns that project in front of
the wall, the statuary on top, looking very much
like the Forum Transitorium, which you'll remember bordered the
Forum Pacis in Rome, and that probably was also something,
that they were looking at.
And here creating, this is as far as the Greeks go, to creating
one of these, you know, undulating walls
with the re-, projecting and receding elements.
It's not, it's still fairly conservative, but nonetheless they've injected
a little motion here, using the traditional vocabulary of architecture.
And here we see a view of the wall of that facade what survives of it, today.
The wall is made
out of white pentelic marble, and the columns are made
of a slightly, I don't know if you can see it
from where you sit, but a slightly greenish tinged marble,
that comes from a place called, in Greece called Karystos, Karystos.
So again, this interest in varied marbles, varied marbles that
come only from the very rich quarries that Greece has.
Therefore, they did not have to go anywhere else
to get high quality marble, and to get marble of a wide, wide variety of colors.
I want to turn now to a structure that has one of the most complicated
building histories of any building I've shown you, in the course of this semester.
And I'll run through that relatively quickly.
This is the temple of Olympian Zeus, the so-called Olympieion, that was put
up or that was dedicated by Hadrian in the year 131 to 132,
on the, on the, on the occasion of his third visit to Athens.
But it had, again, a very long building history.
It goes back to the Archaic Greek period, when it was begun.
It was begun by the so-called Peisistratids.
I put these words on your Monument list
for you, the Peisistratids who were Athenian tyrants.
They began to build
it in the archaic period, as a Doric temple.
It was, the construction was stopped however, at
the end of the sixth century BC, in 510.
It was resumed in the Hellenistic period, in 174 BC.
When Antiochus Ephinanes, and his name is also on the monument list.
Antiochus Epiphanes, a king of Syria decided to employ
a Roman architect by the name of Cossutius,
also on your monument list, to finish the building.
A Roman architect, that's interesting, that we see
a Greek Hellenistic ruler, hiring a Roman architect.
Speaks to that exchange, again, that is going on.
he, Cossutius, decides to use the Corinthian order.
The Corinthian order, and he finishes it up to the architrave,
the building up to the architrave.
[COUGH] and when Antiochus dies in 164, the, that's where he's up to.
That's where there, 164 they've built the building
up through the architrage, using the Corinthian order.
Sulla sacks, sacks Athens in 86 BC and you'll remember what Sulla does.
This is that very temple, with the 55 foot tall columns,
that Sulla eyes and says, I want those. And he brings several of those
back to Rome, to be used in his renovation of
the Temple of Jupiter OMC, those very columns.
It was, it was the introduction of those Corinthian columns and capitals to
Rome, that made that the most popular capital, in Rome and the Roman empire
as we have seen.
Augustus wanted to complete the structure, he did not do so.
And it was left to Hadrian to finish it, and
Hadrian finished it according to Cossutius' plan in 131 to 132.
And what Hadrian did was, was,
was put in this structure statues of himself and Zues,
Zues, the Greek equivalent to Jupiter. Statues of
Hadrian in one part of the structure, to Zues in the other part of the structure.
And tons, and tons, lots and lots of statues,
additional statues of Hadrian, outside the temple, in the courtyard.
[LAUGH] And you see that, you see this temple here as it, as
it, as finished by Hadrian, as it would have looked, in the Hadrianic Period.
You can see that, like a typical Greek temple,
as opposed to a Roman temple, it does not have a facade orientation.
It has two entrance ways, one with the
statue of Hadrian, one with the statue of Zeus.
And that it has columns that encircle the entire monument, a peripteral
colonnade, as well as a staircase, that goes all the way around.
So, a typical Greek temple.
131 to 132, it's the same time that we see the
Temple of Venus in Roma, going up in Rome, what I
described as a Greek import.
Hadrian is responsible for both, and so we see again,
this important interchange between the two, at this particular time.
A view of what survives of the Olympieion, its columns, its Corinthian columns.
You can see the small people wandering around.
So this is a very large structure. That I took from the Acropolis once again.
Here's a wonderful Google Earth [LAUGH]
version of the Olympieion, this combination of
what it looks like today with sort
of this 3D imaging, that makes it look also, like it looked in antiquity.
Here you see some of the columns of the Olympieion.
The ones that still survive.
They are incredibly large and incredibly handsome.
And I think when you look at the high quality of the
carving, you are struck as I am, at why the Romans decided,
the Corinthian order was the order for them.
When they saw these, these exact columns on
the temple of Jupiter Optimus Maximus Capitolinus, in Rome.
When Hadrian made his visit to Athens in, the last
visit to Athens in the 130s, the city busily, benefactors busily
got together, to put up an arch that would be ready
for Hadrian, when he arrived and that he could parade through.
And that is the so-called Arch of Hadrian, which you see here.
In a view of what it looks like today and in a
Stuart and Revett drawing, on the right hand side of the screen.
Again, a quite conservative arch, very simple.
Single arcuate, arcuation in the center.
Pilasters done in with Corinthian order. Columns would have been added here.
A second story with a pediment, no split pediment here.
We see a straight, you know,
conservative pediment here. And the Stuart and Revett drawing tells us
that in antiquity, there was a marble slab that was located in the
center of that pediment of that the aedicula, in the second story.
And we know there were statues, and inscriptions tell
us that there were statues on both sides of this.
The statues are very interesting because on the side that faced the
ancient Greek city, there was a statue of Theseus and
an inscription that said this is Athens, the city of Theseus.
And on the other side, of course, they put up
in order to pay obeisance or to or honor Hadrian.
And to try to extract favors from him, undoubtedly they
put up a statue to Hadrian, on the other side.
And that inscription says this is the
city of Hadrian, not the city of Theseus.
