The Architecture of the Roman Empire, Volume 2The author of a classic work on the architecture of imperial Rome here broadens his focus to present an original study of urban architecture in Roman market towns, port cities, veterans’ colonies, and major metropolitan centers throughout the empire. |
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Table des matières
| 32 | |
| 74 | |
PUBLIC BUILDINGS | 111 |
CLASSICISM FULFILLED | 143 |
CARDINAL THEMES | 179 |
BAROQUE MODES | 221 |
FORM AND MEANING | 248 |
The Piazza Armerina Villa | 274 |
Abbreviations | 284 |
Bibliography | 290 |
List of Principal Emperors | 302 |
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Expressions et termes fréquents
aediculas amphitheatre apse arcaded arches architects archway armature Athens Augustan Augustus Baalbek baroque basilica bath building Bosra building types Capitolium central century B.C. cities and towns civic classical classical architecture colonnades column displays common complex composition connection curved Djemila Dougga east effect elaborate elements empire enframements entablature entrance Ephesus example exedras facade flanking formal forms fountains freestanding functional gate Gerasa Greek Hadrian's Hadrian's Villa Hellenistic imagery imperial architecture interior Khasneh Lambaesis Lepcis Magna major monumental mouldings niches nymphaeum orders orthogonal Ostia Palmyra passage architecture pavilions pediments peristyle Piazza Armerina piers pilasters placed plaza podia podium Pompeii Porta porticos public buildings quadrifrons recesses rectilinear ressauts Roman architecture Roman urban Rome Sbeitla scenic sculpture second century sense Severan shapes side space spatial stage building street structures stylistic symbolic temple front theatre tholos thoroughfare Timgad tomb traditional Trajan typology vaulted vertical villa Vitruvius wall
Fréquemment cités
Page 144 - ... And let me have the whole people there enjoying themselves. On my right hand put a statue of dear Fortunata holding a dove, and let her be leading a little dog with a waistband on; and my dear little boy, and big jars sealed with gypsum, so that the wine may not run out. And have a broken urn carved with a boy weeping over it. And a sundial in the middle, so that anyone who looks at the time will read my name whether he likes it or not. And again, please think carefully whether this inscription...
Page 303 - Glanville Downey, A History of Antioch in Syria from Seleucus to the Arab Conquest (Princeton, 1961), 426-433.
Page 287 - CC Vermeule, Roman Imperial Art in Greece and Asia Minor (Cambridge, Mass., 1968), p. 82: Philoppapos' monument is "more of a nymphaeum without water than a funerary monument in the GrecoRoman sense.
Page 14 - ... 97. As on holiday the whole civilized world lays down the arms which were its ancient burden and has turned to adornment and all glad thoughts with power to realize them. All the other rivalries have left the [cities], and this one contention holds them all, how each city may appear most beautiful and attractive. All localities are full of gymnasia, fountains, monumental approaches, temples, workshops, schools, (98) and one can say that the civilized world, which had been sick from the beginning,...
Page 292 - Smith, Architectural Symbolism of Imperial Rome and the Middle Ages (Princeton, 1956), pp.
Page 144 - ... descend to my heir.' I shall certainly take care to provide in my will against any injury being done to me when I am dead. I am appointing one of the freedmen to be caretaker of the tomb and prevent the common people from running up and defiling it. I beg you to put ships in full sail on the monument, and me sitting in official robes on my official seat, wearing five gold rings and distributing coin publicly out of a bag; you remember that I gave a free dinner worth two denarii a head. I should...
Page 294 - R. Meiggs, Trees and Timber in the Ancient Mediterranean World (Oxford 1982) 467—71.
Page 288 - The House of the Lord: Aspects of the Role of Palace triclinia in the Architecture of Late Antiquity and the Early Middle Ages," Art Bulletin 44, 1962, 1-27; Duval, Colloque Apamee 1980, 457, 460-61.
Page 251 - Heidegger puts it, a boundary 'is not that at which something stops, but [. . .] that from which something begins its essential unfolding' (cited in Borden 2000: 240; emphasis in the original).
Page ix - I am deeply grateful to the following friends who read the manuscript and gave me the benefit of their advice: PPH DeBruyn, PH Leslie, DB Mertz, and Philip Wylie.

