The Architecture of the Roman Empire: An introductory study, Volume 1

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Yale University Press, 1982 - 225 pages
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First published in 1965 and now available in a revised edition, The Architecture of the Roman Empire has been hailed as a comprehensive and penetrating account of the rise of Roman Imperial architecture, an architecture whose great vaulted spaces and monumental exteriors defined such terms as 'palace' and 'Pantheon' for all time. William L. MacDonald documents the genesis of this new architecture by describing, analyzing, and evaluating four key monuments erected in Rome between A.D. 60 and 130 - the palaces of Nero and Domitian, the first true palaces of Europe; Trajan’s Markets (besides his Forum), a superb example of Rome’s highly original social architecture; and the mighty Pantheon. Planned and constructed for the paramount city of the Empire, these building radically altered the history of design and construction. The essentially urban architecture they defined soon appeared in hundreds of prosperous cities and towns, evoking an imagery of Rome throughout its dominions and later carrying many Roman concepts of design into Mediterranean and European architecture.
 

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Table des matières

NEROS PALACES
20
DOMITIANS PALACE
47
ECONOMY OF CONSTRUCTION
143
THE NEW ARCHITECTURE
167
SUPPLEMENT
184
Principal Dimensions
201
Plates
227
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Page 32 - revolved day and night, like the heavens. He had baths supplied with sea water and sulphur water. When the palace was finished in this manner and he dedicated it, he deigned to say nothing more in the way of approval than that he was at last beginning to be housed like a human being.¿
Page 125 - perinde gemmae et aurum miraculo essent, solita pridem et luxu vulgata, quam arva et stagna et in modum solitudinum hinc silvae, inde aperta spatia et prospectus, magistris et machinatoribus Severo et Celere, quibus ingenium et audacia erat etiam, quae natura denegavisset, per artem temptare et viribus principis inludere. Namque ab lacu Averno navigabilem fossam usque ad ostia Tiberina depressuros promiserant, squalenti litore aut per
Page 125 - adversos. Neque enim aliud umidum gignendis aquis occurrit quam Pomptinae paludes : cetera abrupta aut arentia, ac si perrumpi possent, intolerandus labor nec satis causae. Nero tamen, ut erat incredibilium cupitor, effodere proxima Averno iuga conisus est, manentque vestigia inritae spei.
Page 31 - all parts were overlaid with gold and adorned with gems and mother-of-pearl. There were dining rooms with fretted ceilings of ivory, whose panels could turn and shower down flowers and were fitted with pipes for sprinkling the guests with perfumes. The main banquet
Page 31 - a mile long. There was a pond, too, like a sea, surrounded with buildings to represent cities, besides tracts of country, varied by tilled fields, vineyards, pastures and woods, with great numbers of wild and domestic animals. In the rest of the
Page 125 - as follows: Ceterum Nero usus est patriae ruinis exstruxitque domum, in qua haud perinde gemmae et aurum miraculo essent, solita pridem et luxu vulgata, quam arva et stagna et in modum solitudinum hinc silvae, inde aperta spatia et prospectus, magistris et machinatoribus Severo et Celere, quibus ingenium et audacia erat etiam,
Page 131 - For now,” he said, “if the goddesses wish to get up and go out, they will be unable to do so.” When he wrote this so bluntly to Hadrian, the emperor was both vexed and exceedingly grieved because he had fallen into a mistake that could not be righted, and he restrained
Page 131 - The reason assigned was that he had been guilty of some misdemeanor; but the true reason was that once when Trajan was consulting him on some point about the buildings he had said to Hadrian, who had interrupted with some remark: “Be off, and draw your pumpkins
Page 27 - from the flat roofs of which fires could be fought; and these he put up at his own cost. He had also planned to extend the walls [of Rome) as far as Ostia and to bring the sea
Page 119 - resembles the heavens. Agrippa, for his part, wished to place a statue of Augustus there also and to bestow upon him the honor of having the structure named after him; but when the emperor would not accept either honor, he placed in the temple itself a statue of the former Caesar

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À propos de l'auteur (1982)

William L. MacDonald was Alice Pratt Brown Professor of Art History at Smith College.

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