Roman Wine in Greek Bottles: The Rebirth of Athens
Kleiner, Diana E. E.
Roman Architecture (HSAR 252) Professor Kleiner discusses the rebirth of Athens under the Romans especially during the reigns of the two philhellenic emperors, Augustus and Hadrian. While some have dismissed the architecture of Roman Athens as derivative of its Classical and Hellenistic Greek past, Professor Kleiner demonstrates that the high quality of Greek marble and Greek stone carvers made these buildings consequential. In addition some structures provide evidence for the frequent and creative exchange of architectural ideas and motifs between Greece and Rome in Roman times. After a brief introduction to the history of the city of Athens, Professor Kleiner presents the monuments erected by Augustus and Agrippa on the Acropolis and in the Greek and Roman Agoras, for example the Odeion of Agrippa. Following with Hadrian's building program, she features an aqueduct and reservoir façade, the Library of Hadrian, and the vast Temple of Olympian Zeus, a project begun over six hundred years earlier. Professor Kleiner concludes the lecture with the Monument of Philopappos, a Trajanic tomb on the Mouseion Hill built for a man deprived of the kingship of Commagene by the Romans, but who made the best of the situation by becoming a suffect consul in Rome and then moving to Athens, where he died and was memorialized by his sister Balbilla.
 Good morning everybody. We have talked in the course of this semester many times about the Hellenization of Roman architecture, about the impact that Greek architecture had on Roman architecture. And we've talked in particular about the two Phil Hellenic emperors, Augustus and also Hadrian, and the kinds of monuments they commissioned during their reign that were so clearly based on those in ancient Athens, especially of the classical period, cradle of civilization, and where scholars often speak of as the birth of democracy. I want to turn full circle, go full circle here, and return to the whole question of Athens by looking at Athens itself, because Athens also became a Roman colony, and you won't be surprised to hear that it was built up under primarily two Roman emperors, namely Augustus and Hadrian, just as one would expect, the two major Phil Hellenic Roman emperors. I show you a spectacular view of Athens as it looks today. And you can see here that the city of Athens, and some of its antiquities extremely well preserved, is a city that is located, it's actually a city that's located in plains surrounded by mountains. And it also has three major hills, as I think you can see from this extraordinary image. One of those hills, of course, is the famous Acropolis. And I think, by the way, if one were to make, I don't know how many of you have been to Athens, but if one were to make a list of the ten places that one really must see at some point during their lives and experience, Athens is certainly one of them, mainly for the Acropolis, which you see in the center of this image here. That's one of the major hills. The other two are Mount Lecavi-Tos, which you see in the uppermost part, that's actually the highest hill of Athens. And then there's another one called the Muzaeon Hill, which we're going to actually talk about today, because there's an important monument there. The Muzaeon Hill, or the Hill of the Muses, located off this image, right where I'm standing here. And those three hills, as you can see, rise up in the city of Athens. And it's not surprising, and the rest of it surrounded, essentially, by a city that was constructed primarily after World War II, mainly residential houses of six, five, six stories, residences that are mostly white in color, as I think you can see here. Because the Acropolis rising up in the center in an amazing way. The city of Athens, we know, was founded in the Neolithic period. Was found in the Neolithic period, so it goes way back in the same way that Rome does. And it's not surprising to see them founding the city of Athens on one of those hills. And which hill do they pick? They pick the hill that's the flattest, which makes it easiest to build on. And that is the rock of the Acropolis itself. So they put their religious structures on the Acropolis, and then over time the city begins to grow up around the rock of the Acropolis. Now this is very interesting, because if you think back to Rome and its beginnings, you'll recall that Rome, too, was founded on a hill, because hills can be most readily fortified. So Rome was founded, you'll recall, essentially, on two hills, on the Palatine hill by Romulus, where he established residences, but also on the Capitoline hill, where they built the Temple of Jupiter, Optimus Maximus Capitalinus, so that being the religious center of the city. We see the same sort of thing happening here, the city growing up on the Acropolis, and then we'll see that the meeting and marketplace is down below the Inna Valley, below the Acropolis, in the same way that the Roman Forum, or what became the Roman Forum, was in the valley beneath the Palatine hill, and also the Capitoline hill in Rome. So very similar beginnings for Greece as also for Rome. As you all know, Athens thrived particularly, Greece in general thrived particularly in the 5th century B.C., under Pericles, and continued to thrive into the Hellenistic period. But it was in 86 B.C. that Sulla, the Roman general Sulla, sacked Athens, sacked Athens, made Athens a Roman colony, and in fact destroyed the walls of the city of Athens. So that is very obviously a very major point in the history of Athens. When scholars talk about architecture that was put up by the Romans in Athens during Roman times, they talk about it as being primarily uninspired and rather derivative. And you'll find this in your textbook. Ward Perkins talks about how derivative Roman architecture in Greece is of its earlier counterparts, that is from classical and Hellenistic Athens. And I think he has a point, and it's something that we should all think about as a group, whether we think that the buildings that we look at today are for the most part derivative from the classical and Hellenistic past. But I think to say only that is to miss the point in part, because what we are also going to see as we look at these buildings today is that the extraordinary marbles that come from this part of the world, Greek marbles, and we'll talk about a number of them today. The quality of those is so high that it's hard to imagine any building made out of these, not spectacular, just for the materials alone. And also because the artists and the architects and the artisans who were responsible for carving this marble had been carving it for centuries. And consequently, they were particularly skilled at carving marble. And so what they produced has great beauty, as I think you'll see today. So those two, again, a very important point I believe about the quality of these works of art, and we're also going to see works of architecture. We're also going to see that at least two of them, in my opinion, are really distinctive structures, different than anything we've seen before. And I think that you'll find they're quite innovative in their own way. And we will look, as I said, both of those today. The city of Athens began to be excavated by archaeologists in the 1930s. And those excavations, which were scientific, very careful scientific excavations, those excavations combined with information that we have from a writer of the Greco-Roman past, a man by the name of Pausanias, P-A-U-S-A-N-I-A-S, Pausanias, who was a Greek of the second century A.D., who traveled around Greece and described everything that he saw. And he created, in essence, a guidebook to the great Greek and Roman antiquities. The combination of his descriptions from the second century, first-hand descriptions of the monuments that stood in the second century, along with the scientific excavations of the 1930s and since, allow us to get an excellent sense of what, not only what, as we look at the remains today, not only of what was there, is there now and was there once upon a time, but what these buildings actually were, their identities and what their function was in Athens, either in Greek or in Roman times. And we will use the information provided by both of those today to allow us to reconstruct the city, the Roman city in particular. Now, the building, as you could see from the view of the Acropolis, there are a number of Greek structures on the top of the Acropolis, and I'll show them to you later. These include the great Greek entryway of the fifth century BC, the so-called Propolaea, the famous Parthenon, of course, the small temple of Athena Nikke, and also the Eryktheon, which is the only building we've really discussed in any detail in the course of this semester. A fifth-century BC building, you see it here in an extraordinary view, now on the screen. The Eryktheon, which we believe was built sometime between about 421 and 406 BC. And the reason that it's important is not only because it's an incredible example of fifth-century Greek architecture, but also because of the buildings up on the Acropolis. It is the one that seems to have captured the imagination of Augustus, and also Hadrian, when both of them visited the city of Athens, but also of the Romans as a whole. And you'll remember the reason for that is essentially the porch of the maidens, which you can see so well in this view. The porch of the maidens had exerted a very strong impact on Augustus and Hadrian. Before I talk a little bit more about the porch of the maidens, though, just something about the rest of the construction, you can see as you look at the columns that they are of the Ionic order, a particularly attractive and elegant version of the Ionic order with the Ionic capitals with their very attractive volumes. You can also see the materials that are used here. What you can see is what's used for the foundations. That material is called poros, P-O-R-O-S, poros, used for the foundations of the Eryktheon, and also many other of the buildings that we'll look at today. And then, most importantly, most of the building, the walls and the columns are made out of pentelic marble, P-E-N, T-E-L-I-C. Pentelic marble, which is from Mount Pentelicon in Greece, and is the marble that is used most often for buildings in Athens, both in Greek times and also in Roman times, as we shall see today. And it's characterized by gleaming white, really blindingly white, as one looks at it in the very bright Greek sun against the blue sky. With regard to the Cariotta porch, the porch of the maidens, the very famous porch of the maidens, you'll recall that both Augustus and Hadrian visited Athens. They both saw this monument. The Eryktheon had fallen into disrepair by the age of Augustus, and Augustus was so admiring of this porch that he made the decision to have his own architects and artisans come to Athens to repair the porch. And they not only repaired the maidens themselves, but also replaced one. One was in such bad shape, I think it was the one in the back right, it was in such bad shape that they restored that one entirely. When they were there, looking at those maidens, restoring them, they were so taken by them that they made plaster casts of those, and they brought them back to Rome. And you'll recall that they were used in Rome as the models for maidens that were put up. Here's a view, of course, of those on the Acropolis from the front. They made reduced-scale copies for the Forum of Augustus in Rome, the second story of the Forum of Augustus, as you'll recall. And then down here you'll be reminded of the Cariottas, also based on those of the Eryktheon, in this case two-scale, same scale as those in Athens, used to line the Canopus of Hadrian's Villa at Tivoli. So both emperors, again, Augustus and Hadrian, very admiring of these works of art, and wanted copies of them for, in Augustus's case, a public structure in Rome, in Hadrian's case a private villa at Tivoli. And we even believe that Herodes Atticus, and the tomb that he made for Ani Regilla in Rome, in that brick tomb, the second century AD on the Via Appia. There were two female figures that were found near, excavated near that tomb, and it has been suggested that they too may belong to that tomb. And while they are variations rather than copies, you can see that they too owe their origins to the Cariottas. So this building, the Eryktheon cast a spell on Augustus and Hadrian, and was widely imitated in Rome. What we're going to see today is that this building continued to have a very strong impact also on the buildings that these same emperors, Augustus and Hadrian, put up in Athens itself. Before we look at Athens, I want to take a very short trip to another city, the city of Elusis, E-L-E-U-S-I-S, the city of Elusis in Greece, because I want to make one more point about the Cariottas and about the important exchange that we believe was going on between Rome and Athens already in the late Caesarean period and into the age of Augustus. Augustus is sending his architects, but we think they are going back and forth, and that there is an important exchange of building techniques as well as architectural ideas that is happening between Rome and Greece in the age of Augustus. Elusis, and you see what it looks like today, is a hilly town that is located not too far from Athens, and it was particularly popular in the Greek period because, or particularly important in the Greek period, because it had a sanctuary of the goddess Demeter. The goddess Demeter, and the goddess Demeter, or surrounding her, was this very important mystery religion, the so-called Elusinian mysteries, after Elusis, Elusinian mysteries that took place here, and people came from far and wide to partake of those Elusinian mysteries, and so the city was built up in classical and Hellenistic Greek times. It also remained important in the time of Caesar and into the time of Augustus, and actually into the first and second centuries A.D., and over time decisions were made to add to the sanctuary of Demeter by the Roman emperors in generals, and also using, of course, the service of their own architects from Rome, but working in concert with those in Greece. And one of the decisions that they made was to provide the sanctuary of Demeter with two additional gateways, an inner gateway and an outer gateway. The outer gateway, which is the larger of the two, was put up in the second century A.D. by the Antonine emperors. But the earlier one, the inner or smaller gateway, was put up already in 50 B.C., so at the late Republican period, put up in 50 B.C. And there are some remains of it, enough that we can come up with quite good reconstructions of what it looked like. And I want to show you those fairly quickly in passing, just because they underscore this important connection that is going on between Rome and Greece in this period. We see one side. This gateway actually has two sides, and we see one side of it here, with columns and a quite traditional pediment above. The triglyphs and metopes that you see here have representations of sheaves, of wheat, and what are called sistae, C-I-S-T-A-E, which are baskets, both of which have to do with the Ellucinian mysteries and the worship of Demeter. But what's most interesting for us, and it may be a little hard for you to make this out in this reconstruction, but what's interesting for us are the capitals, because the capitals are examples of the so-called zoomorphic capitals that we've seen before, capitals in which the upper parts of the bodies of animals take the place of the spirals and grow out of the acanthus leaves. And I can show you one preserved example from a lucis over here on the left-hand side of the screen, made out of pentelic marble. We see it here, and you can see the acanthus leaves, and you can see a part of the upper part of a bull that is growing out of a bull protome that is growing out of the acanthus leaves. That should remind you of something we saw much earlier in the semester. Does anyone remember where this capital comes from? I know you all know. Not the Forum Transatorium, no. The Forum of Augustus, the Forum of Augustus, had these capitals, some of these capitals, that included Pegasi growing out of the acanthus leaves. So this suggests to us, this whole idea of having animals growing out of acanthus leaves, roughly at the, not exactly at the same time, but roughly in the same periods, Zerrin period into the Augustan period, suggests that ideas were floating back and forth between Athens and Rome in the time of Caesar and in the time of Augustus. Now, if we look at the other side of the gate, we see something that would seem to confirm that even more, and that is on the other side, cariotids replace the columns with their zoomorphic capitals. These are not, as you can clearly see, you see how they have their hands up. They are not based exactly on those of the Erechtheon porch. They are variations of that, but they are cariotids nonetheless holding the capitals on top of their heads. So we are seeing here, even as Greece becomes Roman in the Caesarean period and into the Age of the Dustus, even as Greece becomes Roman, well, it already does, as I mentioned to you before, when Sola Saxid in 86 B.C. So in 50, it's already a Roman colony, and so we can see these ideas that are going back and forth between Rome and Greece during this important period, and we see the power of the cariotids even in Greece itself, as they are imitated there as well. From this point on, for the rest of the lecture, I do want to concentrate on Athens, and I want to begin again with the Acropolis. This is actually a very interesting Google Earth image of the Acropolis, where you can see, as it looks today, but where you can see superimposed on the present remains, 3D versions of the ancient buildings. And we can see the ones that I've already mentioned. As you enter over here, you see the Greek propolaea of the 5th century B.C., the entrance gate. You see the Parthenon, which is the largest building, a Doric building on top of the Acropolis, and then to its left you see the Eryktheon, and in the back the remains of a museum that it, I mean not the remains, a museum that is in part underground, which is why it looks so flat, that houses the original cariotids and a lot of other sculpture. The ones that you see on the porch today are copies of those originals that are in the museum, as well as other sculpture that was found on the Acropolis. And you can also see here the Odeon of Herodes Atticus, which I have mentioned to you, where the Yanni concert took place on the slope of the Acropolis here. And then you can also see a theater. You see the theater in this corner right here, which is interesting because we believe it dates to the Neuronian period, which is interesting because you'll remember that Nero competed in the Olympic games, and that he came to Greece to compete in the Olympic games. So it's not surprising, even though we don't think of him as one of the great Philolynic emperors, it's not surprising to see that there was some construction in the Neuronian period. I want to turn to what's interesting, actually, about what the Romans do in the Age of Augustus. When Augustus goes up here himself, sends his architects to repair the porch, is a decision is made to build a little shrine to Augustus and to Rome, to a temple to Augustus and Roma. And they decide to put it in the back-left corner of the Parthenon. And you can barely see it there, but it's a small round building at the uppermost part of the Parthenon, between that and the museum. And I'm going to show it to you in detail in a moment. And they build that from scratch. But they also take a pillar that is located right in front of the Propa Lea that was put up in Hellenistic times, and they transform that into a Roman monument. And it's those two that I want to turn first. This is Google Earth again. You can see the Parthenon, the Eryktheon, and these 3D versions. Can you see just that little, you know, that round circle right next to the edge of the Parthenon? That is the temple of Augustus and Roma. And the fact that it is so small, I think, is strikingly interesting, because it shows that although Augustus was willing to have a building put up to himself and to Roma on the Greek Acropolis, and so he wanted to make his presence known, he did it in a very modest and very respectful way, it seemed to me. He could have built much larger than he did, and he opted not to do that, which tells us something about Augustus and perhaps his reverence for things Greek. We are looking at two views of what survives of this small, round shrine. Actually, quite a bit. I mean, it's not standing any longer, but you can see parts of columns and parts of the curved entablature, curved architrave, and some of the other building elements, very clearly here, including one of the capitals. Again, it was a round structure. It had nine ionic columns. It was made entirely out of stone, and it had a sloping stone roof. And this restored view shows us exactly what it looked like, as well as how small it was, in relationship to the Parthenon, which absolutely dwarfs it in scale, as you can see in this restored view. Here, the small temple of Augustus and Rome, it was built sometime after 27 B.C. And you see it here, ionic capitals, and then a sloping stone roof. And if I show you the remains again, where you can see one of those ionic capitals still preserved here, and we compare that ionic capital to the ionic capitals of the Eryktheon in Athens, on the Acropolis, we see the close resemblance between the two. And the reason for this almost certainly, because Augustus's architects were working on the Eryktheon, were restoring it, were repairing it, they were captivated not just by the Cariotids, but also by the rest of the structure, by the quality of the marble, by the attractiveness of the ionic columns with their spiral ballutes at the top. And they not surprisingly used those as the model for the capitals that they carved for the small shrine of the temple of Augustus and Rome. But I think it also shows their reverence for things Greek and their desire to establish a dialogue between the fifth century B.C. structure and the Roman structure built right after Augustus became emperor. I wanted to mention one other material that is used in the Eryktheon. We talked about the poros for the foundations, the pentelic marble for the walls and the columns. But if you look here, you'll see the slight blue cast to the marble that is used for the frieze. That is so-called Ellucinian marble from that part, from the Ellucis area, of Greece, Ellucinian marble with the slightly blue cast, and that is used in the Eryktheon as well. I mentioned that the temple of Rome on Augustus was built from scratch. There was nothing there before, and it was built anew during the Augustan period. But I also noted that there was another monument that we could call a Roman intervention to the Acropolis that was actually already there, but was transformed in Roman times. And I show it to you now. Here we are making our way, with all of these other tourists, up to the top of the rock of the Acropolis. We've climbed up the stairway, which is not particularly steep. We've made our way up. We're about to enter into the Greek propylia of the 5th century B.C. Note the Doric columns, the triglyphs and metopes of 5th century Greek architecture. And we see next to it this pillar. It's a very interesting pillar. It's very prominent. It's the first thing you see when you enter the Acropolis. So whoever built this initially wanted to be noticed, that's for sure. And we know it was a Hellenistic king. A Hellenistic king by the name of Eumonis, E-U-M-E-N-E-S. Eumonis II, who was king of the Hellenistic Greek kingdom of Pergamon, P-E-R-G-A-M-U-M, or O-N, whether you use the Greek or the Latin spelling, Pergamon. And he commissioned this monument in 178 B.C. to honor himself. And you can see that the purpose of the monument was to create this pillar upon which a statue of him would have been placed. And I show you the pillar once again here. And you can see its shape. It has a stepped base, and it tapers at the top. And you have to imagine a statue of Eumonis II of Pergamon on the top of this monument in the second century B.C. And it was altered in the first century B.C. when Marcus Agrippa, the close childhood friend, confinante, right-hand man of Augustus' son-in-law, in fact, decided to replace the statue of Eumonis with one of himself. So he transforms this Greek Hellenistic monument into an Augustan monument, an Augustan monument that honors Agrippa. And Agrippa, it's not surprising to see Agrippa honored in the east. He was involved in eastern military campaigns. And we'll also see that he not only, and I mentioned this earlier in the semester, he not only had a building, he not only renovated, he not only instituted a building program in Rome. He was responsible for the so-called Baz of Agrippa that bear his name not much as preserved, so I didn't show those to you. And also a pantheon, the first pantheon that I did mention, the pantheon that Agrippa built that's referred to in the inscription that Hadrian placed on the pantheon. Marcus Agrippa made this building, as you'll recall. The pantheon that we know had a cariotted porch. So Agrippa in Rome is also carrying the cariotted imagery into Rome in his building program. But he also instituted a building program in Athens, as we shall see. So it's very important. It was not surprising to see him honored along with Augustus on the Acropolis, and actually in a way that was much more noticeable to be hit by that statue of Agrippa as you climbed the Acropolis and went into the Propa Lea. It must have been very striking indeed. This particular structure is made of a different kind of Greek marble called Heimation marble, H-Y-M-E-T-T-I-A-N, from Mount Heimethus, Heimation marble. You can see a little bit of pentellic here, but much of it is Heimation marble. So the Romans using, the Greeks and the Romans, using a variety of marbles, but a variety of marbles that come from Greece itself. We're not talking about imported marbles from elsewhere in the ancient world. I mentioned already that below the Acropolis was the Greek Agorah, or the meeting or marketplace. I show to you here a view from Google Earth of the Greek Agorah as it looks from the air today. You can see it is essentially an open rectangular space. It has colonnades on some of its sides. One set was re-erected. This is a structure covered colonnade that comes from the Hellenistic period that was re-erected by American archaeologists who were responsible for excavating the Agorah. They re-erected it in part to use as a place to display works of art and for offices and so on. But there was more than one in Greek times. And this stoa is the counterpart to a Roman portico, covered colonnade, but they call them stoas. So we look at the stoa here. From the Hellenistic period there's a classical Greek temple, the Hepistion, over here. But in the center there is a building called the, a musical hall, that was built by Marcus Agrippa, the so-called Odeon of Agrippa, that we know quite a bit about and that we're going to look at today. But again, what's particularly interesting, I think, is the fact that we see the Greeks building their religious structures on the Acropolis and then down below the meeting in Marketplace. And you can see the impact that this sort of thinking must have had on the Romans when they made their own decisions about building Roman forums. But there are distinct differences, and we've talked about them already this semester, between a Greek Agorah and a Roman forum. What Greek Agorahs do not have is that central, that focus of having a single temple on one end dominating the space in front of it, and they're more square, whereas Roman forums, as we've discussed, are more rectangular in shape, with again the temple at the short end. Any of you who've been to Athens know that the Agorah is surrounded by an area of Athens called Plaka, P-L-A-K-A. Plaka, a great place, a fun place to go. It has been very gentrified in recent years. It now has these wonderful pastel-colored restaurants and shops with the ubiquitous white umbrellas, just as you see them in other Mediterranean countries like Italy. I lived in Athens for two years in the 1970s, and Plaka did not look like that then. But it was an incredible place to go then, as it still is now, if you want to really get into the Greek spirit and dance on tables and break plates. You could definitely do that in the 70s. It's a little less ubiquitous today, but there are still places that one can find to sort of play Zorba the Greek in Plaka. Here is another view, a panoramic view, showing once again the Agorah, the Greek Agorah of Athens, as it would have looked as it grew up from the classical through the Hellenistic period. But the building in question for us is the one that is smack in the middle of the Greek temple and of the Hellenistic Stoa over here, and that is this music hall, or Odeon of Agrippa, which was put up, we believe, in around 15 B.C. And it's to that structure that I want to turn now. And this building, this Odeon, which Agrippa commissioned himself, is very important to us in large part because it demonstrates that ideas were not only flowing from Greece to Rome, as we've already both discussed today and in the past, but from Italy to Greece. And this is a prime example of that because if we look at this axonometric view of the Odeon of Agrippa as designed for Agrippa in 15 B.C., and this is in Ward Perkins, if we look at that we will see that the plan of the Odeon of Agrippa is based very closely on an Odeon that we've already seen this semester, the Odeon of Pompeii. You see it here from the air next to the theater of Pompeii. You'll remember that the Odeon of Pompeii dated to 80 to 70 B.C. It was quite early, built just after the Romans made Pompeii into a colony, and it is that exact plan that is used here. So clearly, again, an important exchange going on of ideas of architects between Greece and Rome in the Augustan period, and in this case using an Italian plan, a plan from Italy as the basis for a structure in Greece. We see that it follows all the features of the Pompeian structure, the semicircular orchestra, the cavia divided into cune, a stage front here, tall pilasters on some of the walls, an open stoa on this wall over here. You can see two sets of columns, an inner row and an outer row. We know that the spectators entered the structure through this porch when they were coming to a musical recital, and over here there was another entranceway that was used by the musicians, and also by visiting dignitaries. This was a smaller entranceway that was made up of a small temple front with a pediment and Doric columns here. And we can also see tall pilasters on the outside of the structure, and of course this building, as all Odea, was roofed in antiquity for the acoustics, and the one in Pompeii was, of course, also roofed. Another view across section of the Odeon of Agrippa, you can see it here, which shows you the same sort of thing, the tall pilasters on the outside of the structure, the entranceway through the stoa for the spectators, the other entranceway over here, the smaller entranceway into that part of the structure, all very well shown. And this may even be better, this model of the Odeon of Agrippa, where we can see what it looked like from the outside. We're looking at the northern end, which is the end where we have that small entranceway, with the very simple temple-like appearance. We can see a series of columns engaged into the wall down here. Then the very tall pilasters with windows between them. A quite conventional building, but one, again, clearly based, and this is the most important point that one can make about it, clearly based on an earlier model in Italy. The capitals are interesting. You remember the stoas that are the two opened colonnades that I showed you as one side of the building, the inner one and the outer one. I'm going to forget which way, the outer one I believe. No, the outer one I think is the, they're two different orders. One of them is Corinthian. As you can see here, I think that's the outer, but I may have that backwards. One of them had Corinthian capitals, and you see those here with the narrow, the elegant volutes growing out of the elegant spirals growing out of the acanthus leaves. And the other is of this type, a type that we have seen before, but not frequently, where we have lotus leaves growing out of the acanthus leaves. And that, of course, is a kind of capital that we mentioned is inspired by capitals in Egypt, and was used also much later, in much later times, at the forum at Leptis Magna, the Severin Forum at Leptis Magna. So a type of capital that is characteristic of Egypt that turns up here. So it's another example of the way in which these architects and patrons are looking at models from all over the world, not only the Odeon in Pompeii, but also structures from Egypt and combining those motifs in a very, in a new way, in a very fertile mix, as you can see. With regard to the later history of the Odeon of Agrippa, over the years, students sometimes have asked me, I haven't heard gotten this question this semester yet, but students have asked me, or have said to me, Professor Kleiner, you show us in the course of this semester all of these great works of Roman engineering and architecture, the Pantheon and the Colosseum and Aqueducts and so on and so forth, and everything. You do tell us about fires, that fires sometimes destroy these works of art, or works of architecture, or they're destroyed because of other natural events like events of nature like earthquakes and so on. But you never tell us about the buildings that failed. Were the Roman architects always successful, or did they build buildings sometimes that fell down? And so I always use this as an example, because yes, they sometimes did make mistakes, and some of their buildings did collapse, and this is one of them. The Odeon of Agrippa, after it was viewed and described by Pausanias, the roof collapsed, collapsed entirely. It lasted quite a while from the time of Augustus to the time to the second century of Pausanias, but nonetheless the roof collapsed entirely, and the roof had to be completely rebuilt. And at the same time, the architects decided to modernize the northern end of the structure and to add a new portico to the building. They also changed its use, by the way, from an Odeon to a general lecture hall during that period. So in 150 AD, we see that the northern end is completely redone, and it's interesting to see what they decided to do. They replaced that very small conservative Doric entryway with something with a lot more pizzazz, as you can see, a series of male figures. These are male tritons, T-R-I-T-O-N-S, tritons which are essentially male mermaids, on these tall, decorated bases, as you can see here. And they're gestures or mirror images of one another, or reversed images of one another, which creates a certain liveliness to the facade, to the northern facade, that this building did not have before. And that happened, again, in the mid-second century AD. And interestingly enough, much of what survives today are those tritons. You can still see them on their bases here, on their tall bases, or part of them here. And you can see the relationship of the Odeon of Agrippa in this very good image, to the Acropolis in Athens. You can see the Erythion peeping up over there. You can see the great pedestal that Agrippa would have had his statue on right here. So I'm very tempted to say, in fact, I will say, that I don't think that was lost on the designers, that when they chose the spot for the Odeon of Agrippa, they had very much in mind that it would be in one of these interesting architectural dialogues with the pedestal that had the statue of Agrippa at the entranceway to the Acropolis. I think that was certainly very carefully orchestrated. And the same way you'll remember Julius Caesar and his architects orchestrated a relationship between the Temple of Inescanotrix and the Temple of Jupiter, OMC, on the Capitoline Hill in Rome. Despite the fact that you see, when you visit the Agorah, the Greek Agorah today, and look at these statues, despite the fact that they are all that stands, you will see that there are lots of other remains on the ground. And with those remains and the excavations that were done by the American archaeologists in the 1930s, the reconstruction that we looked at from Ward Perkins, we believe is a very accurate reconstruction of what the Odeon of Agrippa looked like. I want to look at the Roman Agorah, because the Romans themselves added an Agorah to Athens. If they were going to have a Greek Agorah, they're going to have a Roman Agorah. We don't know if there was a practical need for it, but I guess Caesar and Augustus wanted to emblazon their name on an Agorah, or a marketplace in Athens. It was put up, again, in Caesarean, and started in the Caesarean period and completed by Augustus. It is right near the Greek Agorah. We see a view of it here, a large open rectangular space with a colonnade around it, in this case Stoas, we would call these Stoas in the Greek context, with Taberni or shops at the uppermost part, an entranceway, an elaborate entranceway on the western end, and another entranceway on the eastern end. As you can see, it differs. It is done in the mode of a Greek marketplace, because it is more, well, it's sort of in between a square and a rectangle here, but it's not as long as a Roman Forum, and it does not have a temple on one short end. So it follows in the mode of Greek Agorahs rather than Roman Fora. You can see, if you look at Google Earth, one can see the Forum today. Here's the Sto of Atlas, and the Greek Agorah, so you can see its proximity to this new Roman Agorah that was added. We're looking at that open space here with the colonnades. We're looking at the western entranceway as well as the eastern entranceway up above, in this very helpful view. And this is a view I took from the Acropolis, looking down on the Roman Agorah and showing the back of the western entranceway, which I'll show you from the front in a moment. And there you can see Placa actually pre-gentrification. You can see a sense of what, I mean, it was really crumbling, as you can see, with some of the buildings that are surrounding it. But nonetheless, it was fun. So here we go. This is a view of the gate. It's called the gate of Athena Archigatis, as you can see on your Monument List. That is the western gate into the Roman Agorah. We see it here in two views. And you can see, when you look at this building, you can see what Wardperkins and others mean when they say that architecture in Athens, under the Romans, is derivative and uninspired. It's this kind of thing that I believe he's talking about, because you can see how beholden it is to traditional classical Greek architecture, in the way in which we see these great Doric columns looking very similar to those of the Propolaea or the Parthenon. You see them here. You see the triglyphs and metopes. You see a triangular pediment. We never see, we never see the Greeks, at least the Greeks in the Roman period, breaking their pediments. They always have complete pediments, and in that sense, of course, a very conservative approach to architecture during this period. We know that the gate was begun by Caesar, completed by Augustus, and there's an inscription that tells us that, and we believe, although this is somewhat speculative, that there may have been a statue or portrait of the grandson of Augustus, son of Agrippa, Lucius Caesar, in the pediment. Lucius Caesar having died in the year two. Here's a view where we see the Roman agorah, as it looks today, the open space, the columns around it, and you can also see this very curious building that looks very well preserved, rising up on the eastern end, a building in the shape of an octagon. And here's another view of the eastern end, showing that octagonal building more clearly. This is the so-called Oralogion of Andronicus, or, as it is nicknamed, the Tower of the Winds, the Tower of the Winds, which is easier to remember. The Tower of the Winds, it's very controversial in date. I dated here to the second half of the first century B.C., which is when I do believe that it dates, but there are others who think otherwise, and I'll tell you about that in a moment. Here's a view that I took from the Acropolis, showing the Tower of the Winds as it looks from up there, as well as a closer view of this amazing structure. Again, you can see how well preserved it is. You can see that it is indeed eight-sided. You can see one of the porches. There are two porches that had temple fronts with triangular pediments, columns below, on those two sides. There was also a staircase that surrounded the structure. What this was, we believe, is some kind of a clock tower, a very inventive clock tower. And although, again, I think it was probably built in the Caesarean period, late Republic, John Camp, who's an expert on things Athenian, who wrote a book on the archaeology of Athens, who has been excavating the Greek agoraves since the 1970s, and is a true expert of architecture in this part of the world, he thinks the date is earlier than that. He dates it to 150 to 125 B.C. and he brings it into connection with the Ptolemy's of Egypt, the Ptolemaic rulers of Egypt, because of their great interest in the telling of time and the fact that they did have important connections with Athens during this period. I think he has a point. He could be right, but I would add that connections with Egypt were very strong in the late Republic as well. I mean, keep in mind the affair between Julius Caesar and Cleopatra. Keep in mind that we know that statues of Cleopatra and Mark Antony were put on the Acropolis. We know that there was a lot of interaction. Cleopatra herself came to Athens. So I don't think it's inconceivable that if one wants to connect this to things Egyptian that one couldn't date it also to the Caesarean period. But whatever its date, it's fascinating in its own right. Again, because it's octagonal, we've talked about the fact that we don't have octagons in Rome until the time of Nero. But we do see them. We saw another example also in Leptis Magna, the market there, the Augustan period. It's interesting to see this form emerging, possibly under Ptolemic influence, we're not sure, emerging in the provinces before it seems to emerge in Rome itself, this being another example. Here's a view of the monument again, but also compared to an engraving done by Stuart and Revet, S-T-U-A-R-T and R-E-V-E-T-T, Stuart and Revet who made drawings of monuments that were in better shape in Athens in the eighteenth century. But this tells us, besides showing us what the porch looked like, and you can see it well here, it also shows us that there was a weather vane on the top that would have gone in the direction of the prevailing winds. And the reason that we call this the Tower of the Winds is not only because of that weather vane that one stood there, but also because of the depictions of male personifications of the winds on all eight sides of the structure. And those are extremely well preserved, as you can see here, a freeze of these male winds. And if you look carefully at the Stuart and Revet drawing, you also see that there was a sundial on all eight sides of the monument. So it's purpose-needless to say to tell time. The capitals from those porches are these lotus leaves growing out of a canvas leaf. So another Egyptian touch here, this looking back to Egyptian type capitals, using them here, the same kind of capitals that we know it had turned up much later at the Severin Forum in Leptis Magna. A detail of those winds, and here a better detail of at least one of them, to show you what they look like close up, and each one of them has a different attribute, which has led scholars obviously to speculate about which particular wind, which of the cardinal points of the compass, which wind they were in actuality, we won't get into those arguments here, but there's been a lot of time spent by scholars on trying to sort that out. What is also interesting is the interior of the building, which is also extremely well preserved. And you can see here, all in stone, the way in which the octagon becomes a dome, and it is done extremely well. And this goes way beyond any kind of stone dome that we see either in Etruscan or Roman architecture in Italy. And it shows us once again, it underscores more than anything else I could show you, the talent of these particular architects who had been carving this Greek stone for centuries. The way in which they are able to make this transition from octagonal shape to regular dome here is extraordinary. They did not need concrete to create a great dome in this wonderful structure, the Oralogion of Andronicus, or the Tower of the Winds in Athens. The other great Phil Hellenic emperor was, of course, Hadrian. We know Hadrian came to Athens on three occasions, and we know the exact dates of his visits. 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 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 his architects at work to build an Aqueduct for Athens. They created a reservoir on Mount Lecavitas, the highest mountain in Athens, a reservoir. And then on the side, one of the sides of the mountain, facing the city, they built a kind of a 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 Eryktheon. So the Eryktheon's still a beacon for architects, a monument to be 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 lentil, straight lentil, the beginning of an arcuation. So what does that tell us? That tells us clearly, and here's a Stuart and Revet drawing of that element, when it was in better shape again, a straight lentil, an arcuated lentil with an inscription mentioning Hadrian. That is the same kind of arcuated lentil that we saw in at 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 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 Agorah, next to it a library of Hadrian, a library that bears Hadrian's name, that was also put up in Athens during the Hadrianic period, specifically in 132 AD, connected to the last visit that Hadrian made to Athens. We can see that it is a large open rectangular space with the library itself at the uppermost part, and then a façade 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 façade, which we'll see has projecting columns on it. Here's a plan of the library of Hadrian of 132 here on the right hand side of the screen. And you should be struck immediately as you look at this plan with its open rectangular space, with its pool here in the center, with the columns going all the way around, with an entranceway in the front, with projecting columns on that façade, 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? Sam? The Forum Poccus, the Forum of Peace, or the Templom Poccus 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 Vespasian 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, perhaps, in a different way, but nonetheless they are using almost that exact plan for this second century building. And I show you here a model of the Library of Hadrian in Athens, where we see that it was planted with greenery. The library was located in the back. There was a fairly conventional entranceway, looking like a typical Greek temple. But then these columns that project in front of the wall were statuary on top, looking very much like the Forum Transitorium, which you'll remember bordered the Forum Poccus 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 undulating walls with the projecting and receding elements. 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 façade, 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, Caristos, K-A-R-Y-S-T-O-S. So again this interest in varied marbles, varied marbles that come only from the very rich quarries that Greece has, for they did not have to go anywhere else to get high quality marble and to get marble of a 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 Olympi Ion, that was put up, or that was dedicated by Hadrian in the year 131 to 132 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 Pisistrates. I put these words on your monument list for you, the Pisistrates who were Athenian tyrants. They began to build it in the Archaic period as a Doric Temple. The construction was stopped, however, at the end of the 6th century B.C., in 510. It was resumed in the Hellenistic period in 174 B.C. When Antiochus Epiphanes, 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 Cessutius, 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. Cessutius decides to use the Corinthian order, the Corinthian order, and he finishes it up to the Architrave, the building up to the Architrave. And when Antiochus dies in 164, that's where he's up to. That's where at 164 they built the building up through the Architrave, using the Corinthian order. Sulla sacks Athens in 86 B.C., and you'll remember what Sulla does. This is that very temple with the 55-foot-tall columns, that's 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, O-M-C., those very columns. It was the introduction of those Corinthian columns and capitals to Rome that made that the most popular capital in Rome and in the Roman Empire, as we've 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 Cessutius' plan in 131 to 132. And what Hadrian did was put in this structure a statue of himself and Zeus, Zeus the Greek equivalent to Jupiter, statues of Hadrian in one part of the structure, Zeus 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. And you see this temple here as it 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 façade orientation. It has two entranceways, one with a statue of Hadrian, one with a 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, is the same time that we see the temple of Venus in Rome, going up in Rome. What I described is 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 Olympian, 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. It's a wonderful Google Earth version of the Olympian. 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 Olympian, 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 exact columns on the Temple of Jupiter, Optimus, Maximus, Capitalinus, and 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, in the Stuart and Revet drawing on the right-hand side of the screen. Again, a quite conservative arch, very simple, single archu-a-tion 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, conservative pediment here. And the Stuart and Revet drawing tells us that in antiquity there was a marble slab that was located in the center of that pediment, of that addicula in the second story. And we know there were statues, the inscriptions tell us that there were statues on both sides of this, and 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 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. The last monument that I want to show you is a monument that is near and dear to my own heart, because in the two years that I lived in Athens in the 1970s I was working on a book on this particular monument. The monument doesn't date to the Augustan period, and it doesn't date to the Hadrianic period, which makes it all the more interesting. It dates to the time of Trajan, and it has nothing to do with either of those two emperors, but with a man whose name is a mouthful, and that is Gaius Julius Antiochus Epiphanes Philopopus. You don't have to remember all of that. I like to call him Uncle Phil. You can call him Uncle Phil. That's the easier way to refer to Gaius Julius Antiochus Epiphanes Philopopus. Nonetheless, he was a very interesting man, and we know a lot about his bio. We know, for example, that he was the son of a king of Coma Jean, a Hellenistic kingdom in the eastern part of the empire, in ancient Anatolia, what is now Turkey. He was a son of that king of Coma Jean, C-O-M-M-A-G-E-N-E, and his relatives had been kings for some time. But he was unfortunate, although he was slated to become king himself, he was unfortunate that Vespasian, the Roman emperor Vespasian, conquered Coma Jean, made it a Roman colony, deposed the kings, and became ruler himself, in a sense. And so, Philopopus, because of the Romans, never became king of Coma Jean. He seems to have made the best of it by making his way to Rome, using his influence and his high station as a deposed king to finagle for himself a position as Sufect Consul in Rome. What was a Sufect Consul? A Sufect Consul was kind of a consul in waiting. By that I mean that if one of the regular consuls couldn't do his job, the Sufect Consul could be brought in as a substitute. So Philopopus could sort of stand and wait and hope that someone got sick, and he could come in or was in war, or involved in a military campaign, and he would be called in to take his place. So he hangs around Rome for a while, and then he eventually goes back, goes to Athens. He moves to Athens. He's honored with all kinds of titles in Athens, and he eventually ends up dying in Athens and being buried in Athens. And a tomb gets put up in his honor between 114 and 116, and we know the precise date, because of an inscription on the monument, the still surviving monument, that makes reference to some of Trajan's titles, titles that Trajan held between 114 and 116, but does not include titles that he got after that. So we know that it was put up between 114 and 116, and we're going to see that it features a freeze depicting Philipopus at the high point of his life, his Processes consularis, his consular procession, when he was made a consul in Rome. I show you a view from the air, where you see once again the Acropolis, and the relationship of the Acropolis to the Musean Hill, the hill of the Muses. Now what's most extraordinary is that there is only one ancient monument on the Musean Hill, and that is the monument of Uncle Phil. We are standing on the Acropolis. We are looking at this. I love this picture. I took this picture of myself, and I'm very proud of it, because it just happens to work, especially because these two guys happen to be standing there taking pictures of the Odeon of Herodes Atticus here. But we're standing here. We're looking back toward the Musean Hill, and you can see not quite at the apex, but almost near the apex, the sole monument that stands on this hill, the monument of Uncle Phil. How did he rate to be able to get the sole monument on one of the three major hills? You can see it in this marble. You can see it popping up, Pentelec marble. You can see it popping up almost near the apex of the hill. If we look at this site plan, you will see that it is sighted exactly. You see it here on the top of the hill of the Muses, sighted exactly in relationship to the Acropolis, lined up with what building? The Eryktheon. This building that was so revered by the Romans. It's lined up exactly with it, at midpoint between the Propolaea and the Parthenon, exactly on the Eryktheon. And this is the view. Here we are standing right in front of Uncle Phil's monument, looking back at the Acropolis, even if you don't want to go see Uncle Phil, which I hope you will if you're an Athens visit and for me. I hope that you will stand, at the very least, you want to stand there with your back to Phil's monument and look at the Acropolis. You get one of the best views of the Acropolis from the Muses on Hill. You see it here and your view is lined up exactly with the Eryktheon. Now why is Uncle Phil buried on this hill? This is interesting because if you think back to tomb architecture that we looked at in the course of this semester, we didn't see people buried on hills. The Romans don't bury people on hills. They bury people on flat ground outside the walls of the city and their necropolises. Every tomb we've seen was on flat, essentially on flat land. Why is Uncle Phil buried in a tomb near the apex of a hill? Well, as I was writing this book, I looked back to his own ancestors, to people in this part of the world, to a group of dynasts in a place called Nemrhodog, also in Anatolia, and I show you one of their well-preserved tombs here. And you can see that the tomb is built not at the apex of a hill, but on the slope of the hill, in this case not as close as Uncle Phil's is to the apex, but moving up on that slope toward the apex. And if you look very carefully at this monument, you will see among the remains some seated statues of the dynasts of Nemrhodog, of this area that Philopapus also comes from. This is the Philopapus monument on the left-hand side of the screen, as it looks today, made out of pentelic marble, beautifully carved. It is a kind of a tower tomb with a plain base, a curved second story that has the scene of Philopapus in a chariot, a time of his consular procession, and then some statues and niches seated statues, looking very much like those of Nemrhodog, up above. We think it's Philopapus himself with a bare chest headless in the center, a figure in a toga over here, and certainly another figure flanking him, another male seated figure on the right-hand side of the screen. Why do I show you the Arch of Titus in connection to this? Because we know that Philopapus' father and uncle participated in the Jewish wars on the side of the Flavian emperors in order to gain favor, even though they'd been deposed, they wanted to gain favor with them. And when Philopapus went to Rome, this is a monument that he would have seen, this monument that the mission put up to those Jewish wars that his father and his uncle had participated in on the Velia, with that representation of Titus in a chariot. And I think there's no question, and I present this in the book as a theory, that the Perkessus consularis of Philopapus closely based on the triumphal scene of Titus. And perhaps it's no coincidence. We don't have too many pentelic marble buildings in Rome, the Arch of Titus is made out of Greek pentelic marble. Is that a coincidence? I don't think so. Here's a restored view of the monument of Philopapus, as it would have looked in antiquity, the base, the consular procession, the statue of Uncle Phil in the center, the inscription to the left, this is the plaster that survives with the inscription, making reference to Trajan's titles that allow us to date it, and then probably a missing attic with an inscription at the uppermost part. This view, and this view over here, shows you some graffiti that have fortunately since been erased, show you the interior of what survives of the back wall that would have been the burial chamber. Here's a restored view showing that burial chamber, the sarcophagus of Philopapus, where his remains would have been placed, a statue of him on a console that still survives, and then columns and a straight lintel that formed what we call a niusgos, which served as a kind of shrine to honor him on the inside of the monument. And if we look at this cross-section of the tomb, which are in my book, we see the sarcophagus, we see the statue of Phil, and we see the way in which it is lined up with the representations of Philopapus on the outside in his chest, kind of midway between the scene of him and his chariot, and the scene of him with the bare chest and heroic nudity. So during his lifetime in the consular procession, after death, up above, so honored three times and three statues on this monument. Here's a view of some of the figures that accompany him. They're wearing Roman togas, because the scene is taking place in Rome. That's where the consular procession is. They're carrying fosgays, like the bodyguards do for an emperor, and that too shows the relationship of this to the Arch of Titus. Here we see the scene of the Arch of Titus, triumph, and the scene of Philopapus triumph, clearly the one on the right, in my mind, based on the one on the left. If you look at details of the chariot, you see Anioscos, again, decorating the chariot. Anioscos that has a figure of none other than Hercules. We can see him wearing, holding a club. So once again, just like Caracalla, we see in this case earlier, Philopapus associating himself with Hercules. If we look at a detail of his head, which is fortunately not that well preserved, we see that he is bearded, we see he wears a raid crown. So although he is represented in this consular procession, his kingly, that he might have been a king, is referred to, but also his triumph over death. If we look at sculpture from Nemeridog, we see once again this interesting reliefs, and there's more than one of these, of dinas of Nemeridog shaking hands with Hercules, with his club, and wearing a raid crown. So this is another one of these wonderful examples of this fertile mix that one gets so often in provincial Roman art, where you see a monument clearly based in part on Roman precedents, but also based on the bio of this particular man and more local precedents. A scene of Philopapus in the uppermost area showing him in heroic nudity. And the last image that I want to show you is just to make the point that interestingly enough, this monument was put up by Philopapus' sister, a woman by the name of Balbilla, B-A-L-B-I-L-L-A. And Balbilla, I mean, I wanted to make this point because we have seen so few examples. It's not that there were none, but they were small in comparison to those of men, that fewer women seem to have put up monuments than men. But the examples that we have are very interesting indeed. And in this case we know that the tomb was put up by Balbilla, a woman who became very friendly with Sabina, wife of Hadrian. In fact, the three of them traveled together to Egypt, to Thebes, to see the Colossae of Memnon, which I show you up there. And Balbilla leaves an inscription when she goes that she was there. So she tells us that. So just to close today, a very interesting example of an extraordinary tomb in Athens, but one that was built by a woman, and I think that's a great way to end on this beautiful Thursday. Thank you all.
 Good morning everybody.  We have talked in the course of this semester many times about the Hellenization of Roman  architecture, about the impact that Greek architecture had on Roman architecture.  And we've talked in particular about the two Phil Hellenic emperors, Augustus and also  Hadrian, and the kinds of monuments they commissioned during their reign that were so clearly based  on those in ancient Athens, especially of the classical period, cradle of civilization,  and where scholars often speak of as the birth of democracy.  I want to turn full circle, go full circle here, and return to the whole question of  Athens by looking at Athens itself, because Athens also became a Roman colony, and you  won't be surprised to hear that it was built up under primarily two Roman emperors, namely  Augustus and Hadrian, just as one would expect, the two major Phil Hellenic Roman emperors.  I show you a spectacular view of Athens as it looks today.  And you can see here that the city of Athens, and some of its antiquities extremely well  preserved, is a city that is located, it's actually a city that's located in plains surrounded  by mountains.  And it also has three major hills, as I think you can see from this extraordinary image.  One of those hills, of course, is the famous Acropolis.  And I think, by the way, if one were to make, I don't know how many of you have been to  Athens, but if one were to make a list of the ten places that one really must see at some  point during their lives and experience, Athens is certainly one of them, mainly for  the Acropolis, which you see in the center of this image here.  That's one of the major hills.  The other two are Mount Lecavi-Tos, which you see in the uppermost part, that's actually  the highest hill of Athens.  And then there's another one called the Muzaeon Hill, which we're going to actually talk about  today, because there's an important monument there.  The Muzaeon Hill, or the Hill of the Muses,  located off this image, right where I'm standing here.  And those three hills, as you can see, rise up in the  city of Athens.  And it's not surprising, and the rest of it surrounded,  essentially, by a city that was constructed primarily after World War II, mainly residential  houses of six, five, six stories, residences that are mostly white in color,  as I think you can see here.  Because the Acropolis rising up in the center in an amazing way.  The city of Athens, we know, was founded in the Neolithic period.  Was found in the Neolithic period, so it goes way back in the same way that Rome does.  And it's not surprising to see them founding the city of Athens on one of those hills.  And which hill do they pick?  They pick the hill that's the flattest, which makes it easiest to build on.  And that is the rock of the Acropolis itself.  So they put their religious structures on the Acropolis, and then over time the city  begins to grow up around the rock of the Acropolis.  Now this is very interesting, because if you think back to Rome and its beginnings,  you'll recall that Rome, too, was founded on a hill,  because hills can be most readily fortified.  So Rome was founded, you'll recall, essentially,  on two hills, on the Palatine hill by Romulus, where he established residences,  but also on the Capitoline hill, where they built the Temple of Jupiter,  Optimus Maximus Capitalinus, so that being the religious center of the city.  We see the same sort of thing happening here, the city growing up on the Acropolis,  and then we'll see that the meeting and marketplace is down below the Inna Valley,  below the Acropolis, in the same way that the Roman  Forum, or what became the Roman Forum, was in the valley beneath the Palatine hill,  and also the Capitoline hill in Rome.  So very similar beginnings for Greece as also for Rome.  As you all know, Athens thrived particularly,  Greece in general thrived particularly in the 5th century B.C., under Pericles,  and continued to thrive into the Hellenistic period.  But it was in 86 B.C. that Sulla, the Roman general Sulla,  sacked Athens, sacked Athens, made Athens a Roman colony,  and in fact destroyed the walls of the city of Athens.  So that is very obviously a very major point in the history of Athens.  When scholars talk about architecture that was put up by the Romans in Athens  during Roman times, they talk about it as being primarily  uninspired and rather derivative.  And you'll find this in your textbook.  Ward Perkins talks about how derivative Roman architecture in Greece is of its  earlier counterparts, that is from classical and Hellenistic Athens.  And I think he has a point, and it's something that we should all think about  as a group, whether we think that the buildings that we look at today are for  the most part derivative from the classical and Hellenistic past.  But I think to say only that is to miss the point in part,  because what we are also going to see as we look at these buildings today is  that the extraordinary marbles that come from this part of the world,  Greek marbles, and we'll talk about a number of them today.  The quality of those is so high that it's hard to imagine any building made  out of these, not spectacular, just for the materials alone.  And also because the artists and the architects and the artisans who were  responsible for carving this marble had been carving it for centuries.  And consequently, they were particularly skilled at carving marble.  And so what they produced has great beauty, as I think you'll see today.  So those two, again, a very important point I believe about the quality of  these works of art, and we're also going to see works of architecture.  We're also going to see that at least two of them, in my opinion,  are really distinctive structures, different than anything we've seen before.  And I think that you'll find they're quite innovative in their own way.  And we will look, as I said, both of those today.  The city of Athens began to be excavated by archaeologists in the 1930s.  And those excavations, which were scientific, very careful scientific excavations,  those excavations combined with information that we have from a writer of  the Greco-Roman past, a man by the name of Pausanias, P-A-U-S-A-N-I-A-S,  Pausanias, who was a Greek of the second century A.D., who traveled around Greece  and described everything that he saw.  And he created, in essence, a guidebook to the great Greek and Roman antiquities.  The combination of his descriptions from the second century,  first-hand descriptions of the monuments that stood in the second century,  along with the scientific excavations of the 1930s and since,  allow us to get an excellent sense of what, not only what,  as we look at the remains today, not only of what was there,  is there now and was there once upon a time,  but what these buildings actually were, their identities and what their function was  in Athens, either in Greek or in Roman times.  And we will use the information provided by both of those today  to allow us to reconstruct the city, the Roman city in particular.  Now, the building, as you could see from the view of the Acropolis,  there are a number of Greek structures on the top of the Acropolis,  and I'll show them to you later.  These include the great Greek entryway of the fifth century BC,  the so-called Propolaea, the famous Parthenon, of course,  the small temple of Athena Nikke, and also the Eryktheon,  which is the only building we've really discussed in any detail  in the course of this semester.  A fifth-century BC building, you see it here in an extraordinary view,  now on the screen.  The Eryktheon, which we believe was built sometime between about 421 and 406 BC.  And the reason that it's important is not only because it's an incredible example  of fifth-century Greek architecture, but also because of the buildings up on the Acropolis.  It is the one that seems to have captured the imagination of Augustus,  and also Hadrian, when both of them visited the city of Athens,  but also of the Romans as a whole.  And you'll remember the reason for that is essentially the porch of the maidens,  which you can see so well in this view.  The porch of the maidens had exerted a very strong impact on Augustus and Hadrian.  Before I talk a little bit more about the porch of the maidens,  though, just something about the rest of the construction,  you can see as you look at the columns that they are of the Ionic order,  a particularly attractive and elegant version of the Ionic order  with the Ionic capitals with their very attractive volumes.  You can also see the materials that are used here.  What you can see is what's used for the foundations.  That material is called poros, P-O-R-O-S, poros,  used for the foundations of the Eryktheon,  and also many other of the buildings that we'll look at today.  And then, most importantly, most of the building,  the walls and the columns are made out of pentelic marble, P-E-N, T-E-L-I-C.  Pentelic marble, which is from Mount Pentelicon in Greece,  and is the marble that is used most often for buildings in Athens,  both in Greek times and also in Roman times, as we shall see today.  And it's characterized by gleaming white,  really blindingly white, as one looks at it in the very bright  Greek sun against the blue sky.  With regard to the Cariotta porch, the porch of the maidens,  the very famous porch of the maidens, you'll recall that both  Augustus and Hadrian visited Athens.  They both saw this monument.  The Eryktheon had fallen into disrepair by the age of Augustus,  and Augustus was so admiring of this porch that he made the  decision to have his own architects and artisans come to  Athens to repair the porch.  And they not only repaired the maidens themselves,  but also replaced one.  One was in such bad shape, I think it was the one in the  back right, it was in such bad shape that they restored that  one entirely.  When they were there, looking at those maidens,  restoring them, they were so taken by them that they made  plaster casts of those, and they brought them back to  Rome.  And you'll recall that they were used in Rome as the models for  maidens that were put up.  Here's a view, of course, of those on the Acropolis  from the front.  They made reduced-scale copies for the Forum of Augustus in  Rome, the second story of the Forum of  Augustus, as you'll recall.  And then down here you'll be reminded of the Cariottas,  also based on those of the Eryktheon,  in this case two-scale, same scale as those in Athens,  used to line the Canopus of Hadrian's Villa at Tivoli.  So both emperors, again, Augustus and Hadrian,  very admiring of these works of art,  and wanted copies of them for, in Augustus's case,  a public structure in Rome, in Hadrian's case a private villa  at Tivoli.  And we even believe that Herodes Atticus,  and the tomb that he made for Ani Regilla in Rome,  in that brick tomb, the second century AD on the  Via Appia.  There were two female figures that were found near,  excavated near that tomb, and it has been suggested that  they too may belong to that tomb.  And while they are variations rather than copies,  you can see that they too owe their origins to the Cariottas.  So this building, the Eryktheon cast a spell on  Augustus and Hadrian, and was widely imitated in Rome.  What we're going to see today is that this building continued  to have a very strong impact also on the buildings that these  same emperors, Augustus and Hadrian,  put up in Athens itself.  Before we look at Athens, I want to take a very short  trip to another city, the city of Elusis,  E-L-E-U-S-I-S, the city of Elusis in Greece,  because I want to make one more point about the Cariottas and  about the important exchange that we believe was going on  between Rome and Athens already in the late Caesarean period and  into the age of Augustus.  Augustus is sending his architects,  but we think they are going back and forth,  and that there is an important exchange of building techniques  as well as architectural ideas that is happening between Rome  and Greece in the age of Augustus.  Elusis, and you see what it looks like today,  is a hilly town that is located not too far from Athens,  and it was particularly popular in the Greek period because,  or particularly important in the Greek period,  because it had a sanctuary of the goddess Demeter.  The goddess Demeter, and the goddess Demeter,  or surrounding her, was this very important mystery  religion, the so-called Elusinian mysteries,  after Elusis, Elusinian mysteries that took place here,  and people came from far and wide to partake of those  Elusinian mysteries, and so the city was built up  in classical and Hellenistic Greek times.  It also remained important in the time of Caesar and into the  time of Augustus, and actually into the first and second  centuries A.D., and over time decisions were made to add to  the sanctuary of Demeter by the Roman emperors in generals,  and also using, of course, the service of their own architects  from Rome, but working in concert with those in Greece.  And one of the decisions that they made was to provide the  sanctuary of Demeter with two additional gateways,  an inner gateway and an outer gateway.  The outer gateway, which is the larger of the two,  was put up in the second century A.D.  by the Antonine emperors.  But the earlier one, the inner or smaller gateway,  was put up already in 50 B.C., so at the late Republican  period, put up in 50 B.C.  And there are some remains of it, enough that we can come up  with quite good reconstructions of what it looked like.  And I want to show you those fairly quickly in passing,  just because they underscore this important connection that is  going on between Rome and Greece in this period.  We see one side.  This gateway actually has two sides, and we see one side of  it here, with columns and a quite traditional  pediment above.  The triglyphs and metopes that you see here have  representations of sheaves, of wheat, and what are called  sistae, C-I-S-T-A-E, which are baskets,  both of which have to do with the Ellucinian mysteries and the  worship of Demeter.  But what's most interesting for us, and it may be a little  hard for you to make this out in this reconstruction,  but what's interesting for us are the capitals,  because the capitals are examples of the so-called  zoomorphic capitals that we've seen before,  capitals in which the upper parts of the bodies of animals  take the place of the spirals and grow out of the  acanthus leaves.  And I can show you one preserved example from a  lucis over here on the left-hand side of the screen,  made out of pentelic marble.  We see it here, and you can see the acanthus  leaves, and you can see a part of the  upper part of a bull that is growing out of a bull protome  that is growing out of the acanthus leaves.  That should remind you of something we saw much earlier  in the semester.  Does anyone remember where this capital comes from?  I know you all know.  Not the Forum Transatorium, no.  The Forum of Augustus, the Forum of Augustus,  had these capitals, some of these capitals,  that included Pegasi growing out of the acanthus leaves.  So this suggests to us, this whole idea of having animals  growing out of acanthus leaves, roughly at the,  not exactly at the same time, but roughly in the same  periods, Zerrin period into the Augustan period,  suggests that ideas were floating back and forth between  Athens and Rome in the time of Caesar and in the time of  Augustus.  Now, if we look at the other side of the gate,  we see something that would seem to confirm that even more,  and that is on the other side, cariotids replace the columns  with their zoomorphic capitals.  These are not, as you can clearly see,  you see how they have their hands up.  They are not based exactly on those of the Erechtheon porch.  They are variations of that, but they are cariotids nonetheless  holding the capitals on top of their heads.  So we are seeing here, even as Greece becomes Roman in the  Caesarean period and into the Age of the Dustus,  even as Greece becomes Roman, well,  it already does, as I mentioned to you before,  when Sola Saxid in 86 B.C.  So in 50, it's already a Roman colony,  and so we can see these ideas that are going back and forth  between Rome and Greece during this important period,  and we see the power of the cariotids even in Greece itself,  as they are imitated there as well.  From this point on, for the rest of the lecture,  I do want to concentrate on Athens,  and I want to begin again with the Acropolis.  This is actually a very interesting Google Earth image of  the Acropolis, where you can see,  as it looks today, but where you can see superimposed  on the present remains, 3D versions of the  ancient buildings.  And we can see the ones that I've already mentioned.  As you enter over here, you see the Greek propolaea of  the 5th century B.C., the entrance gate.  You see the Parthenon, which is the largest building,  a Doric building on top of the Acropolis,  and then to its left you see the Eryktheon,  and in the back the remains of a museum that it,  I mean not the remains, a museum that is in part  underground, which is why it looks so flat,  that houses the original cariotids and a lot of other  sculpture.  The ones that you see on the porch today are copies of those  originals that are in the museum, as well as other sculpture  that was found on the Acropolis.  And you can also see here the Odeon of Herodes Atticus,  which I have mentioned to you, where the Yanni concert took  place on the slope of the Acropolis here.  And then you can also see a theater.  You see the theater in this corner right here,  which is interesting because we believe it dates to the  Neuronian period, which is interesting because you'll  remember that Nero competed in the Olympic games,  and that he came to Greece to compete in the Olympic games.  So it's not surprising, even though we don't think of him as  one of the great Philolynic emperors,  it's not surprising to see that there was some construction in  the Neuronian period.  I want to turn to what's interesting, actually,  about what the Romans do in the Age of Augustus.  When Augustus goes up here himself, sends his architects to  repair the porch, is a decision is made to build  a little shrine to Augustus and to Rome,  to a temple to Augustus and Roma.  And they decide to put it in the back-left corner of the  Parthenon.  And you can barely see it there, but it's a small round  building at the uppermost part of the Parthenon,  between that and the museum.  And I'm going to show it to you in detail in a moment.  And they build that from scratch.  But they also take a pillar that is located right in front of  the Propa Lea that was put up in Hellenistic times,  and they transform that into a Roman monument.  And it's those two that I want to turn first.  This is Google Earth again.  You can see the Parthenon, the Eryktheon,  and these 3D versions.  Can you see just that little, you know, that round circle  right next to the edge of the Parthenon?  That is the temple of Augustus and Roma.  And the fact that it is so small, I think,  is strikingly interesting, because it shows that although  Augustus was willing to have a building put up to himself and  to Roma on the Greek Acropolis, and so he wanted to make his  presence known, he did it in a very modest and  very respectful way, it seemed to me.  He could have built much larger than he did,  and he opted not to do that, which tells us something about  Augustus and perhaps his reverence for things Greek.  We are looking at two views of what survives of this small,  round shrine.  Actually, quite a bit.  I mean, it's not standing any longer, but you can see parts of  columns and parts of the curved entablature,  curved architrave, and some of the other building  elements, very clearly here, including one of the  capitals.  Again, it was a round structure.  It had nine ionic columns.  It was made entirely out of stone, and it had a sloping stone  roof.  And this restored view shows us exactly what it looked like,  as well as how small it was, in relationship to the Parthenon,  which absolutely dwarfs it in scale, as you can see in this  restored view.  Here, the small temple of Augustus and Rome,  it was built sometime after 27 B.C.  And you see it here, ionic capitals,  and then a sloping stone roof.  And if I show you the remains again, where you can see one of  those ionic capitals still preserved here,  and we compare that ionic capital to the ionic capitals of  the Eryktheon in Athens, on the Acropolis,  we see the close resemblance between the two.  And the reason for this almost certainly,  because Augustus's architects were working on the Eryktheon,  were restoring it, were repairing it,  they were captivated not just by the Cariotids,  but also by the rest of the structure,  by the quality of the marble, by the attractiveness of the  ionic columns with their spiral ballutes at the top.  And they not surprisingly used those as the model for the  capitals that they carved for the small shrine of the temple of  Augustus and Rome.  But I think it also shows their reverence for things Greek and  their desire to establish a dialogue between the fifth  century B.C.  structure and the Roman structure built right after  Augustus became emperor.  I wanted to mention one other material that is used in the  Eryktheon.  We talked about the poros for the foundations,  the pentelic marble for the walls and the columns.  But if you look here, you'll see the slight blue cast  to the marble that is used for the frieze.  That is so-called Ellucinian marble from that part,  from the Ellucis area, of Greece, Ellucinian marble  with the slightly blue cast, and that is used in the  Eryktheon as well.  I mentioned that the temple of Rome on Augustus was built from  scratch.  There was nothing there before, and it was built anew during  the Augustan period.  But I also noted that there was another monument that we could  call a Roman intervention to the Acropolis that was actually  already there, but was transformed in Roman times.  And I show it to you now.  Here we are making our way, with all of these other tourists,  up to the top of the rock of the Acropolis.  We've climbed up the stairway, which is not particularly  steep.  We've made our way up.  We're about to enter into the Greek propylia of the 5th  century B.C.  Note the Doric columns, the triglyphs and metopes of  5th century Greek architecture.  And we see next to it this pillar.  It's a very interesting pillar.  It's very prominent.  It's the first thing you see when you enter the Acropolis.  So whoever built this initially wanted to be noticed,  that's for sure.  And we know it was a Hellenistic king.  A Hellenistic king by the name of Eumonis,  E-U-M-E-N-E-S.  Eumonis II, who was king of the Hellenistic Greek kingdom of  Pergamon, P-E-R-G-A-M-U-M, or O-N,  whether you use the Greek or the Latin spelling,  Pergamon.  And he commissioned this monument in 178 B.C.  to honor himself.  And you can see that the purpose of the monument was to create  this pillar upon which a statue of him would have been  placed.  And I show you the pillar once again here.  And you can see its shape.  It has a stepped base, and it tapers at the top.  And you have to imagine a statue of Eumonis II of Pergamon on  the top of this monument in the second century B.C.  And it was altered in the first century B.C.  when Marcus Agrippa, the close childhood friend,  confinante, right-hand man of Augustus' son-in-law,  in fact, decided to replace the statue of Eumonis with one of  himself.  So he transforms this Greek Hellenistic monument into an  Augustan monument, an Augustan monument that honors  Agrippa.  And Agrippa, it's not surprising to see Agrippa honored in the  east.  He was involved in eastern military campaigns.  And we'll also see that he not only, and I mentioned this  earlier in the semester, he not only had a building,  he not only renovated, he not only instituted a building  program in Rome.  He was responsible for the so-called Baz of Agrippa that  bear his name not much as preserved,  so I didn't show those to you.  And also a pantheon, the first pantheon that I did mention,  the pantheon that Agrippa built that's referred to in the  inscription that Hadrian placed on the pantheon.  Marcus Agrippa made this building, as you'll recall.  The pantheon that we know had a cariotted porch.  So Agrippa in Rome is also carrying the cariotted imagery  into Rome in his building program.  But he also instituted a building program in Athens,  as we shall see.  So it's very important.  It was not surprising to see him honored along with Augustus on  the Acropolis, and actually in a way that was much more  noticeable to be hit by that statue of Agrippa as you climbed  the Acropolis and went into the Propa Lea.  It must have been very striking indeed.  This particular structure is made of a different kind of Greek  marble called Heimation marble, H-Y-M-E-T-T-I-A-N,  from Mount Heimethus, Heimation marble.  You can see a little bit of pentellic here,  but much of it is Heimation marble.  So the Romans using, the Greeks and the Romans,  using a variety of marbles, but a variety of marbles that  come from Greece itself.  We're not talking about imported marbles from elsewhere in the  ancient world.  I mentioned already that below the Acropolis was the Greek  Agorah, or the meeting or marketplace.  I show to you here a view from Google Earth of the Greek Agorah  as it looks from the air today.  You can see it is essentially an open rectangular space.  It has colonnades on some of its sides.  One set was re-erected.  This is a structure covered colonnade that comes from the  Hellenistic period that was re-erected by American  archaeologists who were responsible for excavating the  Agorah.  They re-erected it in part to use as a place to display works of  art and for offices and so on.  But there was more than one in Greek times.  And this stoa is the counterpart to a Roman portico,  covered colonnade, but they call them stoas.  So we look at the stoa here.  From the Hellenistic period there's a classical Greek  temple, the Hepistion, over here.  But in the center there is a building called the,  a musical hall, that was built by Marcus Agrippa,  the so-called Odeon of Agrippa, that we know quite a bit about  and that we're going to look at today.  But again, what's particularly interesting,  I think, is the fact that we see the Greeks building their  religious structures on the Acropolis and then down below  the meeting in Marketplace.  And you can see the impact that this sort of thinking must have  had on the Romans when they made their own decisions about  building Roman forums.  But there are distinct differences, and we've talked  about them already this semester, between a Greek Agorah and a  Roman forum.  What Greek Agorahs do not have is that central,  that focus of having a single temple on one end dominating the  space in front of it, and they're more square,  whereas Roman forums, as we've discussed,  are more rectangular in shape, with again the temple at the  short end.  Any of you who've been to Athens know that the Agorah is  surrounded by an area of Athens called Plaka,  P-L-A-K-A.  Plaka, a great place, a fun place to go.  It has been very gentrified in recent years.  It now has these wonderful pastel-colored restaurants and  shops with the ubiquitous white umbrellas,  just as you see them in other Mediterranean countries like  Italy.  I lived in Athens for two years in the 1970s,  and Plaka did not look like that then.  But it was an incredible place to go then,  as it still is now, if you want to really get into the Greek  spirit and dance on tables and break plates.  You could definitely do that in the 70s.  It's a little less ubiquitous today, but there are still places  that one can find to sort of play Zorba the Greek in Plaka.  Here is another view, a panoramic view,  showing once again the Agorah, the Greek Agorah of Athens,  as it would have looked as it grew up from the classical through  the Hellenistic period.  But the building in question for us is the one that is smack in  the middle of the Greek temple and of the Hellenistic Stoa over  here, and that is this music hall,  or Odeon of Agrippa, which was put up,  we believe, in around 15 B.C.  And it's to that structure that I want to turn now.  And this building, this Odeon, which Agrippa commissioned  himself, is very important to us in large part because it  demonstrates that ideas were not only flowing from Greece to  Rome, as we've already both discussed today and in the past,  but from Italy to Greece.  And this is a prime example of that because if we look at this  axonometric view of the Odeon of Agrippa as designed for Agrippa  in 15 B.C., and this is in Ward Perkins,  if we look at that we will see that the plan of the Odeon of  Agrippa is based very closely on an Odeon that we've already seen  this semester, the Odeon of Pompeii.  You see it here from the air next to the theater of Pompeii.  You'll remember that the Odeon of Pompeii dated to 80 to 70 B.C.  It was quite early, built just after the Romans  made Pompeii into a colony, and it is that exact plan that is  used here.  So clearly, again, an important exchange going on of ideas of  architects between Greece and Rome in the Augustan period,  and in this case using an Italian plan, a plan from Italy as the  basis for a structure in Greece.  We see that it follows all the features of the Pompeian  structure, the semicircular orchestra,  the cavia divided into cune, a stage front here,  tall pilasters on some of the walls,  an open stoa on this wall over here.  You can see two sets of columns, an inner row and an outer row.  We know that the spectators entered the structure through  this porch when they were coming to a musical recital,  and over here there was another entranceway that was used by  the musicians, and also by visiting dignitaries.  This was a smaller entranceway that was made up of a small  temple front with a pediment and Doric columns here.  And we can also see tall pilasters on the outside of the  structure, and of course this building,  as all Odea, was roofed in antiquity for the  acoustics, and the one in Pompeii was,  of course, also roofed.  Another view across section of the Odeon of Agrippa,  you can see it here, which shows you the same sort  of thing, the tall pilasters on the outside of the structure,  the entranceway through the stoa for the spectators,  the other entranceway over here, the smaller entranceway into  that part of the structure, all very well shown.  And this may even be better, this model of the Odeon of  Agrippa, where we can see what it looked like from the outside.  We're looking at the northern end, which is the end where we  have that small entranceway, with the very simple temple-like  appearance.  We can see a series of columns engaged into the wall down here.  Then the very tall pilasters with windows between them.  A quite conventional building, but one, again,  clearly based, and this is the most important  point that one can make about it, clearly based on an earlier  model in Italy.  The capitals are interesting.  You remember the stoas that are the two opened colonnades that  I showed you as one side of the building,  the inner one and the outer one.  I'm going to forget which way, the outer one I believe.  No, the outer one I think is the, they're two different orders.  One of them is Corinthian.  As you can see here, I think that's the outer,  but I may have that backwards.  One of them had Corinthian capitals, and you see those here  with the narrow, the elegant volutes growing out of the  elegant spirals growing out of the acanthus leaves.  And the other is of this type, a type that we have seen  before, but not frequently, where we have lotus leaves  growing out of the acanthus leaves.  And that, of course, is a kind of capital that we  mentioned is inspired by capitals in Egypt,  and was used also much later, in much later times,  at the forum at Leptis Magna, the Severin Forum at Leptis  Magna.  So a type of capital that is characteristic of Egypt that  turns up here.  So it's another example of the way in which these architects  and patrons are looking at models from all over the world,  not only the Odeon in Pompeii, but also structures from Egypt  and combining those motifs in a very, in a new way,  in a very fertile mix, as you can see.  With regard to the later history of the Odeon of Agrippa,  over the years, students sometimes have asked me,  I haven't heard gotten this question this semester yet,  but students have asked me, or have said to me,  Professor Kleiner, you show us in the course of this semester  all of these great works of Roman engineering and architecture,  the Pantheon and the Colosseum and Aqueducts and so on and so  forth, and everything.  You do tell us about fires, that fires sometimes destroy  these works of art, or works of architecture,  or they're destroyed because of other natural events  like events of nature like earthquakes and so on.  But you never tell us about the buildings that failed.  Were the Roman architects always successful,  or did they build buildings sometimes that fell down?  And so I always use this as an example,  because yes, they sometimes did make mistakes,  and some of their buildings did collapse,  and this is one of them.  The Odeon of Agrippa, after it was viewed and described  by Pausanias, the roof collapsed, collapsed entirely.  It lasted quite a while from the time of Augustus to the time  to the second century of Pausanias, but nonetheless the  roof collapsed entirely, and the roof had to be completely  rebuilt.  And at the same time, the architects decided to modernize  the northern end of the structure and to add a new portico  to the building.  They also changed its use, by the way, from an Odeon to a  general lecture hall during that period.  So in 150 AD, we see that the northern end is completely  redone, and it's interesting to see what they decided to do.  They replaced that very small conservative Doric entryway with  something with a lot more pizzazz, as you can see,  a series of male figures.  These are male tritons, T-R-I-T-O-N-S,  tritons which are essentially male mermaids,  on these tall, decorated bases, as you can see here.  And they're gestures or mirror images of one another,  or reversed images of one another, which creates a certain  liveliness to the facade, to the northern facade,  that this building did not have before.  And that happened, again, in the mid-second century AD.  And interestingly enough, much of what survives today are  those tritons.  You can still see them on their bases here,  on their tall bases, or part of them here.  And you can see the relationship of the Odeon of Agrippa in this  very good image, to the Acropolis in Athens.  You can see the Erythion peeping up over there.  You can see the great pedestal that Agrippa would have had his  statue on right here.  So I'm very tempted to say, in fact, I will say,  that I don't think that was lost on the designers,  that when they chose the spot for the Odeon of Agrippa,  they had very much in mind that it would be in one of these  interesting architectural dialogues with the pedestal that  had the statue of Agrippa at the entranceway to the Acropolis.  I think that was certainly very carefully orchestrated.  And the same way you'll remember Julius Caesar and his  architects orchestrated a relationship between the Temple  of Inescanotrix and the Temple of Jupiter,  OMC, on the Capitoline Hill in Rome.  Despite the fact that you see, when you visit the Agorah,  the Greek Agorah today, and look at these statues,  despite the fact that they are all that stands,  you will see that there are lots of other remains on the ground.  And with those remains and the excavations that were done by  the American archaeologists in the 1930s,  the reconstruction that we looked at from Ward Perkins,  we believe is a very accurate reconstruction of what the Odeon  of Agrippa looked like.  I want to look at the Roman Agorah, because the Romans  themselves added an Agorah to Athens.  If they were going to have a Greek Agorah,  they're going to have a Roman Agorah.  We don't know if there was a practical need for it,  but I guess Caesar and Augustus wanted to emblazon their name  on an Agorah, or a marketplace in Athens.  It was put up, again, in Caesarean,  and started in the Caesarean period and completed by Augustus.  It is right near the Greek Agorah.  We see a view of it here, a large open rectangular space  with a colonnade around it, in this case Stoas,  we would call these Stoas in the Greek context,  with Taberni or shops at the uppermost part,  an entranceway, an elaborate entranceway on the western end,  and another entranceway on the eastern end.  As you can see, it differs.  It is done in the mode of a Greek marketplace,  because it is more, well, it's sort of in between  a square and a rectangle here, but it's not as long as a  Roman Forum, and it does not have a temple  on one short end.  So it follows in the mode of Greek Agorahs rather than Roman  Fora.  You can see, if you look at Google Earth,  one can see the Forum today.  Here's the Sto of Atlas, and the Greek Agorah,  so you can see its proximity to this new Roman Agorah that was  added.  We're looking at that open space here with the colonnades.  We're looking at the western entranceway as well as the  eastern entranceway up above, in this very helpful view.  And this is a view I took from the Acropolis,  looking down on the Roman Agorah and showing the back of the  western entranceway, which I'll show you from the  front in a moment.  And there you can see Placa actually pre-gentrification.  You can see a sense of what, I mean, it was really crumbling,  as you can see, with some of the buildings that are  surrounding it.  But nonetheless, it was fun.  So here we go.  This is a view of the gate.  It's called the gate of Athena Archigatis,  as you can see on your Monument List.  That is the western gate into the Roman Agorah.  We see it here in two views.  And you can see, when you look at this building,  you can see what Wardperkins and others mean when they say that  architecture in Athens, under the Romans,  is derivative and uninspired.  It's this kind of thing that I believe he's talking about,  because you can see how beholden it is to traditional  classical Greek architecture, in the way in which we see  these great Doric columns looking very similar to those of  the Propolaea or the Parthenon.  You see them here.  You see the triglyphs and metopes.  You see a triangular pediment.  We never see, we never see the Greeks,  at least the Greeks in the Roman period,  breaking their pediments.  They always have complete pediments, and in that sense,  of course, a very conservative approach to architecture during  this period.  We know that the gate was begun by Caesar,  completed by Augustus, and there's an inscription that  tells us that, and we believe, although this is somewhat  speculative, that there may have been a statue or portrait of  the grandson of Augustus, son of Agrippa,  Lucius Caesar, in the pediment.  Lucius Caesar having died in the year two.  Here's a view where we see the Roman agorah,  as it looks today, the open space,  the columns around it, and you can also see this very  curious building that looks very well preserved,  rising up on the eastern end, a building in the shape of an  octagon.  And here's another view of the eastern end,  showing that octagonal building more clearly.  This is the so-called Oralogion of Andronicus,  or, as it is nicknamed, the Tower of the Winds,  the Tower of the Winds, which is easier to remember.  The Tower of the Winds, it's very controversial in date.  I dated here to the second half of the first century B.C.,  which is when I do believe that it dates,  but there are others who think otherwise,  and I'll tell you about that in a moment.  Here's a view that I took from the Acropolis,  showing the Tower of the Winds as it looks from up there,  as well as a closer view of this amazing structure.  Again, you can see how well preserved it is.  You can see that it is indeed eight-sided.  You can see one of the porches.  There are two porches that had temple fronts with triangular  pediments, columns below, on those two sides.  There was also a staircase that surrounded the structure.  What this was, we believe, is some kind of a clock  tower, a very inventive clock tower.  And although, again, I think it was probably built in the  Caesarean period, late Republic,  John Camp, who's an expert on things Athenian,  who wrote a book on the archaeology of Athens,  who has been excavating the Greek agoraves since the 1970s,  and is a true expert of architecture in this part of  the world, he thinks the date is earlier than that.  He dates it to 150 to 125 B.C.  and he brings it into connection with the Ptolemy's of Egypt,  the Ptolemaic rulers of Egypt, because of their great interest  in the telling of time and the fact that they did have  important connections with Athens during this period.  I think he has a point.  He could be right, but I would add that connections  with Egypt were very strong in the late Republic as well.  I mean, keep in mind the affair between Julius Caesar and  Cleopatra.  Keep in mind that we know that statues of Cleopatra and Mark  Antony were put on the Acropolis.  We know that there was a lot of interaction.  Cleopatra herself came to Athens.  So I don't think it's inconceivable that if one wants to  connect this to things Egyptian that one couldn't date it also  to the Caesarean period.  But whatever its date, it's fascinating in its own  right.  Again, because it's octagonal, we've talked about the fact  that we don't have octagons in Rome until the time of Nero.  But we do see them.  We saw another example also in Leptis Magna,  the market there, the Augustan period.  It's interesting to see this form emerging,  possibly under Ptolemic influence, we're not sure,  emerging in the provinces before it seems to emerge in Rome  itself, this being another example.  Here's a view of the monument again, but also compared to an  engraving done by Stuart and Revet, S-T-U-A-R-T and R-E-V-E-T-T,  Stuart and Revet who made drawings of monuments that were  in better shape in Athens in the eighteenth century.  But this tells us, besides showing us what the  porch looked like, and you can see it well here,  it also shows us that there was a weather vane on the top that  would have gone in the direction of the prevailing winds.  And the reason that we call this the Tower of the Winds is not  only because of that weather vane that one stood there,  but also because of the depictions of male personifications  of the winds on all eight sides of the structure.  And those are extremely well preserved, as you can see here,  a freeze of these male winds.  And if you look carefully at the Stuart and Revet drawing,  you also see that there was a sundial on all eight sides of  the monument.  So it's purpose-needless to say to tell time.  The capitals from those porches are these lotus leaves  growing out of a canvas leaf.  So another Egyptian touch here, this looking back to Egyptian  type capitals, using them here,  the same kind of capitals that we know it had turned up much  later at the Severin Forum in Leptis Magna.  A detail of those winds, and here a better detail of at  least one of them, to show you what they look like  close up, and each one of them has a different attribute,  which has led scholars obviously to speculate about which  particular wind, which of the cardinal points of  the compass, which wind they were in  actuality, we won't get into those  arguments here, but there's been a lot of  time spent by scholars on trying to sort that out.  What is also interesting is the interior of the building,  which is also extremely well preserved.  And you can see here, all in stone,  the way in which the octagon becomes a dome,  and it is done extremely well.  And this goes way beyond any kind of stone dome that we see  either in Etruscan or Roman architecture in Italy.  And it shows us once again, it underscores more than anything  else I could show you, the talent of these particular  architects who had been carving this Greek stone for centuries.  The way in which they are able to make this transition from  octagonal shape to regular dome here is extraordinary.  They did not need concrete to create a great dome in this  wonderful structure, the Oralogion of Andronicus,  or the Tower of the Winds in Athens.  The other great Phil Hellenic emperor was,  of course, Hadrian.  We know Hadrian came to Athens on three occasions,  and we know the exact dates of his visits.  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 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 his architects at work to build an Aqueduct for  Athens.  They created a reservoir on Mount Lecavitas,  the highest mountain in Athens, a reservoir.  And then on the side, one of the sides of the mountain,  facing the city, they built a kind of a  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 Eryktheon.  So the Eryktheon's still a beacon for architects,  a monument to be 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 lentil,  straight lentil, the beginning of an arcuation.  So what does that tell us?  That tells us clearly, and here's a Stuart and  Revet drawing of that element, when it was in better shape  again, a straight lentil, an arcuated lentil with an  inscription mentioning Hadrian.  That is the same kind of arcuated lentil that we saw  in at 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 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 Agorah, next to it a library of Hadrian,  a library that bears Hadrian's name,  that was also put up in Athens during the Hadrianic  period, specifically in 132 AD, connected to the last visit  that Hadrian made to Athens.  We can see that it is a large open rectangular space with the  library itself at the uppermost part,  and then a façade 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 façade,  which we'll see has projecting columns on it.  Here's a plan of the library of Hadrian of 132 here on the right  hand side of the screen.  And you should be struck immediately as you look at this  plan with its open rectangular space,  with its pool here in the center, with the columns going all  the way around, with an entranceway in the  front, with projecting columns on that façade,  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?  Sam? The Forum Poccus, the Forum of Peace,  or the Templom Poccus 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 Vespasian 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, perhaps, in a different way,  but nonetheless they are using almost that exact plan for this  second century building.  And I show you here a model of the Library of Hadrian in  Athens, where we see that it was planted with greenery.  The library was located in the back.  There was a fairly conventional entranceway,  looking like a typical Greek temple.  But then these columns that project in front of the wall  were statuary on top, looking very much like the  Forum Transitorium, which you'll remember bordered  the Forum Poccus 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 undulating walls with the  projecting and receding elements.  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 façade,  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,  Caristos, K-A-R-Y-S-T-O-S.  So again this interest in varied marbles,  varied marbles that come only from the very rich quarries that  Greece has, for they did not have to go  anywhere else to get high quality marble and to get marble of a  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 Olympi  Ion, that was put up, or that was dedicated by  Hadrian in the year 131 to 132 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 Pisistrates.  I put these words on your monument list for you,  the Pisistrates who were Athenian tyrants.  They began to build it in the Archaic period as a Doric  Temple.  The construction was stopped, however, at the end of the  6th century B.C., in 510.  It was resumed in the Hellenistic period in 174 B.C.  When Antiochus Epiphanes, 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 Cessutius, 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.  Cessutius decides to use the Corinthian order,  the Corinthian order, and he finishes it up to the  Architrave, the building up to the  Architrave.  And when Antiochus dies in 164, that's where he's up to.  That's where at 164 they built the building up through the  Architrave, using the Corinthian order.  Sulla sacks Athens in 86 B.C., and you'll remember what  Sulla does.  This is that very temple with the 55-foot-tall columns,  that's 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,  O-M-C., those very columns.  It was the introduction of those Corinthian columns and  capitals to Rome that made that the most popular capital in  Rome and in the Roman Empire, as we've 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  Cessutius' plan in 131 to 132.  And what Hadrian did was put in this structure a statue of  himself and Zeus, Zeus the Greek equivalent to  Jupiter, statues of Hadrian in one part of the structure,  Zeus 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.  And you see this temple here as it 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 façade  orientation.  It has two entranceways, one with a statue of Hadrian,  one with a 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,  is the same time that we see the temple of Venus in Rome,  going up in Rome.  What I described is 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 Olympian,  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.  It's a wonderful Google Earth version of the Olympian.  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 Olympian,  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 exact columns on the Temple of Jupiter,  Optimus, Maximus, Capitalinus, and 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,  in the Stuart and Revet drawing on the right-hand side of the  screen.  Again, a quite conservative arch, very simple,  single archu-a-tion 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, conservative pediment here.  And the Stuart and Revet drawing tells us that in antiquity  there was a marble slab that was located in the center of that  pediment, of that addicula in the second story.  And we know there were statues, the inscriptions tell us that  there were statues on both sides of this,  and 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 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.  The last monument that I want to show you is a monument that is  near and dear to my own heart, because in the two years that I  lived in Athens in the 1970s I was working on a book on this  particular monument.  The monument doesn't date to the Augustan period,  and it doesn't date to the Hadrianic period,  which makes it all the more interesting.  It dates to the time of Trajan, and it has nothing to do with  either of those two emperors, but with a man whose name is a  mouthful, and that is Gaius Julius  Antiochus Epiphanes Philopopus.  You don't have to remember all of that.  I like to call him Uncle Phil.  You can call him Uncle Phil.  That's the easier way to refer to Gaius Julius Antiochus  Epiphanes Philopopus.  Nonetheless, he was a very interesting man,  and we know a lot about his bio.  We know, for example, that he was the son of a king  of Coma Jean, a Hellenistic kingdom in the eastern part of  the empire, in ancient Anatolia,  what is now Turkey.  He was a son of that king of Coma Jean,  C-O-M-M-A-G-E-N-E, and his relatives had been  kings for some time.  But he was unfortunate, although he was slated to  become king himself, he was unfortunate that  Vespasian, the Roman emperor Vespasian,  conquered Coma Jean, made it a Roman colony,  deposed the kings, and became ruler himself,  in a sense.  And so, Philopopus, because of the Romans,  never became king of Coma Jean.  He seems to have made the best of it by making his way to Rome,  using his influence and his high station as a deposed king to  finagle for himself a position as Sufect Consul in Rome.  What was a Sufect Consul?  A Sufect Consul was kind of a consul in waiting.  By that I mean that if one of the regular consuls couldn't do  his job, the Sufect Consul could be brought in as a  substitute.  So Philopopus could sort of stand and wait and hope that  someone got sick, and he could come in or was in war,  or involved in a military campaign, and he would be called in to  take his place.  So he hangs around Rome for a while, and then he eventually  goes back, goes to Athens.  He moves to Athens.  He's honored with all kinds of titles in Athens,  and he eventually ends up dying in Athens and being buried in  Athens.  And a tomb gets put up in his honor between 114 and 116,  and we know the precise date, because of an inscription on  the monument, the still surviving monument,  that makes reference to some of Trajan's titles,  titles that Trajan held between 114 and 116,  but does not include titles that he got after that.  So we know that it was put up between 114 and 116,  and we're going to see that it features a freeze depicting  Philipopus at the high point of his life,  his Processes consularis, his consular procession,  when he was made a consul in Rome.  I show you a view from the air, where you see once again the  Acropolis, and the relationship of the  Acropolis to the Musean Hill, the hill of the Muses.  Now what's most extraordinary is that there is only one ancient  monument on the Musean Hill, and that is the monument of  Uncle Phil.  We are standing on the Acropolis.  We are looking at this.  I love this picture.  I took this picture of myself, and I'm very proud of it,  because it just happens to work, especially because these two  guys happen to be standing there taking pictures of the Odeon  of Herodes Atticus here.  But we're standing here.  We're looking back toward the Musean Hill,  and you can see not quite at the apex, but almost near the  apex, the sole monument that stands on this hill,  the monument of Uncle Phil.  How did he rate to be able to get the sole monument on one of  the three major hills?  You can see it in this marble.  You can see it popping up, Pentelec marble.  You can see it popping up almost near the apex of the hill.  If we look at this site plan, you will see that it is  sighted exactly.  You see it here on the top of the hill of the Muses,  sighted exactly in relationship to the Acropolis,  lined up with what building?  The Eryktheon.  This building that was so revered by the Romans.  It's lined up exactly with it, at midpoint between the  Propolaea and the Parthenon, exactly on the Eryktheon.  And this is the view.  Here we are standing right in front of Uncle Phil's monument,  looking back at the Acropolis, even if you don't want to go  see Uncle Phil, which I hope you will if you're  an Athens visit and for me.  I hope that you will stand, at the very least,  you want to stand there with your back to Phil's monument and  look at the Acropolis.  You get one of the best views of the Acropolis from the  Muses on Hill.  You see it here and your view is lined up exactly with the  Eryktheon.  Now why is Uncle Phil buried on this hill?  This is interesting because if you think back to tomb  architecture that we looked at in the course of this semester,  we didn't see people buried on hills.  The Romans don't bury people on hills.  They bury people on flat ground outside the walls of the city  and their necropolises.  Every tomb we've seen was on flat, essentially on flat land.  Why is Uncle Phil buried in a tomb near the apex of a hill?  Well, as I was writing this book, I looked back to his own  ancestors, to people in this part of the  world, to a group of dynasts in a place called Nemrhodog,  also in Anatolia, and I show you one of their  well-preserved tombs here.  And you can see that the tomb is built not at the apex of a  hill, but on the slope of the hill,  in this case not as close as Uncle Phil's is to the apex,  but moving up on that slope toward the apex.  And if you look very carefully at this monument,  you will see among the remains some seated statues of the  dynasts of Nemrhodog, of this area that Philopapus also  comes from.  This is the Philopapus monument on the left-hand side of the  screen, as it looks today, made out of pentelic marble,  beautifully carved.  It is a kind of a tower tomb with a plain base,  a curved second story that has the scene of Philopapus in a  chariot, a time of his consular procession,  and then some statues and niches seated statues,  looking very much like those of Nemrhodog,  up above.  We think it's Philopapus himself with a bare chest headless in  the center, a figure in a toga over here,  and certainly another figure flanking him,  another male seated figure on the right-hand side of the  screen.  Why do I show you the Arch of Titus in connection to this?  Because we know that Philopapus' father and uncle participated  in the Jewish wars on the side of the Flavian emperors in order  to gain favor, even though they'd been deposed,  they wanted to gain favor with them.  And when Philopapus went to Rome, this is a monument that he  would have seen, this monument that the mission  put up to those Jewish wars that his father and his uncle had  participated in on the Velia, with that representation of  Titus in a chariot.  And I think there's no question, and I present this in the  book as a theory, that the Perkessus consularis  of Philopapus closely based on the triumphal scene of Titus.  And perhaps it's no coincidence.  We don't have too many pentelic marble buildings in Rome,  the Arch of Titus is made out of Greek pentelic marble.  Is that a coincidence?  I don't think so.  Here's a restored view of the monument of Philopapus,  as it would have looked in antiquity, the base,  the consular procession, the statue of Uncle Phil in the  center, the inscription to the left,  this is the plaster that survives with the inscription,  making reference to Trajan's titles that allow us to date it,  and then probably a missing attic with an inscription at the  uppermost part.  This view, and this view over here,  shows you some graffiti that have fortunately since been  erased, show you the interior of what survives of the back wall  that would have been the burial chamber.  Here's a restored view showing that burial chamber,  the sarcophagus of Philopapus, where his remains would have  been placed, a statue of him on a console that still survives,  and then columns and a straight lintel that formed what we  call a niusgos, which served as a kind of shrine to  honor him on the inside of the monument.  And if we look at this cross-section of the tomb,  which are in my book, we see the sarcophagus,  we see the statue of Phil, and we see the way in which it is  lined up with the representations of Philopapus on the  outside in his chest, kind of midway between the scene of  him and his chariot, and the scene of him with the  bare chest and heroic nudity.  So during his lifetime in the consular procession,  after death, up above, so honored three times and  three statues on this monument.  Here's a view of some of the figures that accompany him.  They're wearing Roman togas, because the scene is taking  place in Rome.  That's where the consular procession is.  They're carrying fosgays, like the bodyguards do for an  emperor, and that too shows the relationship of this to the  Arch of Titus.  Here we see the scene of the Arch of Titus,  triumph, and the scene of Philopapus triumph,  clearly the one on the right, in my mind,  based on the one on the left.  If you look at details of the chariot, you see Anioscos,  again, decorating the chariot.  Anioscos that has a figure of none other than Hercules.  We can see him wearing, holding a club.  So once again, just like Caracalla,  we see in this case earlier, Philopapus associating himself  with Hercules.  If we look at a detail of his head, which is fortunately not  that well preserved, we see that he is bearded,  we see he wears a raid crown.  So although he is represented in this consular procession,  his kingly, that he might have been a king,  is referred to, but also his triumph over death.  If we look at sculpture from Nemeridog, we see once again  this interesting reliefs, and there's more than one of  these, of dinas of Nemeridog shaking hands with Hercules,  with his club, and wearing a raid crown.  So this is another one of these wonderful examples of this  fertile mix that one gets so often in provincial Roman art,  where you see a monument clearly based in part on Roman  precedents, but also based on the bio of this  particular man and more local precedents.  A scene of Philopapus in the uppermost area showing him in  heroic nudity.  And the last image that I want to show you is just to make the  point that interestingly enough, this monument was put up by  Philopapus' sister, a woman by the name of Balbilla,  B-A-L-B-I-L-L-A.  And Balbilla, I mean, I wanted to make this point  because we have seen so few examples.  It's not that there were none, but they were small in comparison  to those of men, that fewer women seem to have  put up monuments than men.  But the examples that we have are very interesting indeed.  And in this case we know that the tomb was put up by Balbilla,  a woman who became very friendly with Sabina,  wife of Hadrian.  In fact, the three of them traveled together to Egypt,  to Thebes, to see the Colossae of Memnon,  which I show you up there.  And Balbilla leaves an inscription when she goes that she  was there.  So she tells us that.  So just to close today, a very interesting example of an  extraordinary tomb in Athens, but one that was built by a  woman, and I think that's a great way to end on this beautiful  Thursday.  Thank you all.
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Good morning everybody. We have talked in the course of this semester many times about the Hellenization of Roman architecture, about the impact that Greek architecture had on Roman architecture. And we've talked in particular about the two Phil Hellenic emperors, Augustus and also Hadrian, and the kinds of monuments they commissioned during their reign that were so clearly based on those in ancient Athens, especially of the classical period, cradle of civilization, and where scholars often speak of as the birth of democracy. I want to turn full circle, go full circle here, and return to the whole question of Athens by looking at Athens itself, because Athens also became a Roman colony, and you won't be surprised to hear that it was built up under primarily two Roman emperors, namely Augustus and Hadrian, just as one would expect, the two major Phil Hellenic Roman emperors. I show you a spectacular view of Athens as it looks today. And you can see here that the city of Athens, and some of its antiquities extremely well preserved, is a city that is located, it's actually a city that's located in plains surrounded by mountains. And it also has three major hills, as I think you can see from this extraordinary image. One of those hills, of course, is the famous Acropolis. And I think, by the way, if one were to make, I don't know how many of you have been to Athens, but if one were to make a list of the ten places that one really must see at some point during their lives and experience, Athens is certainly one of them, mainly for the Acropolis, which you see in the center of this image here. That's one of the major hills. The other two are Mount Lecavi-Tos, which you see in the uppermost part, that's actually the highest hill of Athens. And then there's another one called the Muzaeon Hill, which we're going to actually talk about today, because there's an important monument there. The Muzaeon Hill, or the Hill of the Muses, located off this image, right where I'm standing here. And those three hills, as you can see, rise up in the city of Athens. And it's not surprising, and the rest of it surrounded, essentially, by a city that was constructed primarily after World War II, mainly residential houses of six, five, six stories, residences that are mostly white in color, as I think you can see here. Because the Acropolis rising up in the center in an amazing way. The city of Athens, we know, was founded in the Neolithic period. Was found in the Neolithic period, so it goes way back in the same way that Rome does. And it's not surprising to see them founding the city of Athens on one of those hills. And which hill do they pick? They pick the hill that's the flattest, which makes it easiest to build on. And that is the rock of the Acropolis itself. So they put their religious structures on the Acropolis, and then over time the city begins to grow up around the rock of the Acropolis. Now this is very interesting, because if you think back to Rome and its beginnings, you'll recall that Rome, too, was founded on a hill, because hills can be most readily fortified. So Rome was founded, you'll recall, essentially, on two hills, on the Palatine hill by Romulus, where he established residences, but also on the Capitoline hill, where they built the Temple of Jupiter, Optimus Maximus Capitalinus, so that being the religious center of the city. We see the same sort of thing happening here, the city growing up on the Acropolis, and then we'll see that the meeting and marketplace is down below the Inna Valley, below the Acropolis, in the same way that the Roman Forum, or what became the Roman Forum, was in the valley beneath the Palatine hill, and also the Capitoline hill in Rome. So very similar beginnings for Greece as also for Rome. As you all know, Athens thrived particularly, Greece in general thrived particularly in the 5th century B.C., under Pericles, and continued to thrive into the Hellenistic period. But it was in 86 B.C. that Sulla, the Roman general Sulla, sacked Athens, sacked Athens, made Athens a Roman colony, and in fact destroyed the walls of the city of Athens. So that is very obviously a very major point in the history of Athens. When scholars talk about architecture that was put up by the Romans in Athens during Roman times, they talk about it as being primarily uninspired and rather derivative. And you'll find this in your textbook. Ward Perkins talks about how derivative Roman architecture in Greece is of its earlier counterparts, that is from classical and Hellenistic Athens. And I think he has a point, and it's something that we should all think about as a group, whether we think that the buildings that we look at today are for the most part derivative from the classical and Hellenistic past. But I think to say only that is to miss the point in part, because what we are also going to see as we look at these buildings today is that the extraordinary marbles that come from this part of the world, Greek marbles, and we'll talk about a number of them today. The quality of those is so high that it's hard to imagine any building made out of these, not spectacular, just for the materials alone. And also because the artists and the architects and the artisans who were responsible for carving this marble had been carving it for centuries. And consequently, they were particularly skilled at carving marble. And so what they produced has great beauty, as I think you'll see today. So those two, again, a very important point I believe about the quality of these works of art, and we're also going to see works of architecture. We're also going to see that at least two of them, in my opinion, are really distinctive structures, different than anything we've seen before. And I think that you'll find they're quite innovative in their own way. And we will look, as I said, both of those today. The city of Athens began to be excavated by archaeologists in the 1930s. And those excavations, which were scientific, very careful scientific excavations, those excavations combined with information that we have from a writer of the Greco-Roman past, a man by the name of Pausanias, P-A-U-S-A-N-I-A-S, Pausanias, who was a Greek of the second century A.D., who traveled around Greece and described everything that he saw. And he created, in essence, a guidebook to the great Greek and Roman antiquities. The combination of his descriptions from the second century, first-hand descriptions of the monuments that stood in the second century, along with the scientific excavations of the 1930s and since, allow us to get an excellent sense of what, not only what, as we look at the remains today, not only of what was there, is there now and was there once upon a time, but what these buildings actually were, their identities and what their function was in Athens, either in Greek or in Roman times. And we will use the information provided by both of those today to allow us to reconstruct the city, the Roman city in particular. Now, the building, as you could see from the view of the Acropolis, there are a number of Greek structures on the top of the Acropolis, and I'll show them to you later. These include the great Greek entryway of the fifth century BC, the so-called Propolaea, the famous Parthenon, of course, the small temple of Athena Nikke, and also the Eryktheon, which is the only building we've really discussed in any detail in the course of this semester. A fifth-century BC building, you see it here in an extraordinary view, now on the screen. The Eryktheon, which we believe was built sometime between about 421 and 406 BC. And the reason that it's important is not only because it's an incredible example of fifth-century Greek architecture, but also because of the buildings up on the Acropolis. It is the one that seems to have captured the imagination of Augustus, and also Hadrian, when both of them visited the city of Athens, but also of the Romans as a whole. And you'll remember the reason for that is essentially the porch of the maidens, which you can see so well in this view. The porch of the maidens had exerted a very strong impact on Augustus and Hadrian. Before I talk a little bit more about the porch of the maidens, though, just something about the rest of the construction, you can see as you look at the columns that they are of the Ionic order, a particularly attractive and elegant version of the Ionic order with the Ionic capitals with their very attractive volumes. You can also see the materials that are used here. What you can see is what's used for the foundations. That material is called poros, P-O-R-O-S, poros, used for the foundations of the Eryktheon, and also many other of the buildings that we'll look at today. And then, most importantly, most of the building, the walls and the columns are made out of pentelic marble, P-E-N, T-E-L-I-C. Pentelic marble, which is from Mount Pentelicon in Greece, and is the marble that is used most often for buildings in Athens, both in Greek times and also in Roman times, as we shall see today. And it's characterized by gleaming white, really blindingly white, as one looks at it in the very bright Greek sun against the blue sky. With regard to the Cariotta porch, the porch of the maidens, the very famous porch of the maidens, you'll recall that both Augustus and Hadrian visited Athens. They both saw this monument. The Eryktheon had fallen into disrepair by the age of Augustus, and Augustus was so admiring of this porch that he made the decision to have his own architects and artisans come to Athens to repair the porch. And they not only repaired the maidens themselves, but also replaced one. One was in such bad shape, I think it was the one in the back right, it was in such bad shape that they restored that one entirely. When they were there, looking at those maidens, restoring them, they were so taken by them that they made plaster casts of those, and they brought them back to Rome. And you'll recall that they were used in Rome as the models for maidens that were put up. Here's a view, of course, of those on the Acropolis from the front. They made reduced-scale copies for the Forum of Augustus in Rome, the second story of the Forum of Augustus, as you'll recall. And then down here you'll be reminded of the Cariottas, also based on those of the Eryktheon, in this case two-scale, same scale as those in Athens, used to line the Canopus of Hadrian's Villa at Tivoli. So both emperors, again, Augustus and Hadrian, very admiring of these works of art, and wanted copies of them for, in Augustus's case, a public structure in Rome, in Hadrian's case a private villa at Tivoli. And we even believe that Herodes Atticus, and the tomb that he made for Ani Regilla in Rome, in that brick tomb, the second century AD on the Via Appia. There were two female figures that were found near, excavated near that tomb, and it has been suggested that they too may belong to that tomb. And while they are variations rather than copies, you can see that they too owe their origins to the Cariottas. So this building, the Eryktheon cast a spell on Augustus and Hadrian, and was widely imitated in Rome. What we're going to see today is that this building continued to have a very strong impact also on the buildings that these same emperors, Augustus and Hadrian, put up in Athens itself. Before we look at Athens, I want to take a very short trip to another city, the city of Elusis, E-L-E-U-S-I-S, the city of Elusis in Greece, because I want to make one more point about the Cariottas and about the important exchange that we believe was going on between Rome and Athens already in the late Caesarean period and into the age of Augustus. Augustus is sending his architects, but we think they are going back and forth, and that there is an important exchange of building techniques as well as architectural ideas that is happening between Rome and Greece in the age of Augustus. Elusis, and you see what it looks like today, is a hilly town that is located not too far from Athens, and it was particularly popular in the Greek period because, or particularly important in the Greek period, because it had a sanctuary of the goddess Demeter. The goddess Demeter, and the goddess Demeter, or surrounding her, was this very important mystery religion, the so-called Elusinian mysteries, after Elusis, Elusinian mysteries that took place here, and people came from far and wide to partake of those Elusinian mysteries, and so the city was built up in classical and Hellenistic Greek times. It also remained important in the time of Caesar and into the time of Augustus, and actually into the first and second centuries A.D., and over time decisions were made to add to the sanctuary of Demeter by the Roman emperors in generals, and also using, of course, the service of their own architects from Rome, but working in concert with those in Greece. And one of the decisions that they made was to provide the sanctuary of Demeter with two additional gateways, an inner gateway and an outer gateway. The outer gateway, which is the larger of the two, was put up in the second century A.D. by the Antonine emperors. But the earlier one, the inner or smaller gateway, was put up already in 50 B.C., so at the late Republican period, put up in 50 B.C. And there are some remains of it, enough that we can come up with quite good reconstructions of what it looked like. And I want to show you those fairly quickly in passing, just because they underscore this important connection that is going on between Rome and Greece in this period. We see one side. This gateway actually has two sides, and we see one side of it here, with columns and a quite traditional pediment above. The triglyphs and metopes that you see here have representations of sheaves, of wheat, and what are called sistae, C-I-S-T-A-E, which are baskets, both of which have to do with the Ellucinian mysteries and the worship of Demeter. But what's most interesting for us, and it may be a little hard for you to make this out in this reconstruction, but what's interesting for us are the capitals, because the capitals are examples of the so-called zoomorphic capitals that we've seen before, capitals in which the upper parts of the bodies of animals take the place of the spirals and grow out of the acanthus leaves. And I can show you one preserved example from a lucis over here on the left-hand side of the screen, made out of pentelic marble. We see it here, and you can see the acanthus leaves, and you can see a part of the upper part of a bull that is growing out of a bull protome that is growing out of the acanthus leaves. That should remind you of something we saw much earlier in the semester. Does anyone remember where this capital comes from? I know you all know. Not the Forum Transatorium, no. The Forum of Augustus, the Forum of Augustus, had these capitals, some of these capitals, that included Pegasi growing out of the acanthus leaves. So this suggests to us, this whole idea of having animals growing out of acanthus leaves, roughly at the, not exactly at the same time, but roughly in the same periods, Zerrin period into the Augustan period, suggests that ideas were floating back and forth between Athens and Rome in the time of Caesar and in the time of Augustus. Now, if we look at the other side of the gate, we see something that would seem to confirm that even more, and that is on the other side, cariotids replace the columns with their zoomorphic capitals. These are not, as you can clearly see, you see how they have their hands up. They are not based exactly on those of the Erechtheon porch. They are variations of that, but they are cariotids nonetheless holding the capitals on top of their heads. So we are seeing here, even as Greece becomes Roman in the Caesarean period and into the Age of the Dustus, even as Greece becomes Roman, well, it already does, as I mentioned to you before, when Sola Saxid in 86 B.C. So in 50, it's already a Roman colony, and so we can see these ideas that are going back and forth between Rome and Greece during this important period, and we see the power of the cariotids even in Greece itself, as they are imitated there as well. From this point on, for the rest of the lecture, I do want to concentrate on Athens, and I want to begin again with the Acropolis. This is actually a very interesting Google Earth image of the Acropolis, where you can see, as it looks today, but where you can see superimposed on the present remains, 3D versions of the ancient buildings. And we can see the ones that I've already mentioned. As you enter over here, you see the Greek propolaea of the 5th century B.C., the entrance gate. You see the Parthenon, which is the largest building, a Doric building on top of the Acropolis, and then to its left you see the Eryktheon, and in the back the remains of a museum that it, I mean not the remains, a museum that is in part underground, which is why it looks so flat, that houses the original cariotids and a lot of other sculpture. The ones that you see on the porch today are copies of those originals that are in the museum, as well as other sculpture that was found on the Acropolis. And you can also see here the Odeon of Herodes Atticus, which I have mentioned to you, where the Yanni concert took place on the slope of the Acropolis here. And then you can also see a theater. You see the theater in this corner right here, which is interesting because we believe it dates to the Neuronian period, which is interesting because you'll remember that Nero competed in the Olympic games, and that he came to Greece to compete in the Olympic games. So it's not surprising, even though we don't think of him as one of the great Philolynic emperors, it's not surprising to see that there was some construction in the Neuronian period. I want to turn to what's interesting, actually, about what the Romans do in the Age of Augustus. When Augustus goes up here himself, sends his architects to repair the porch, is a decision is made to build a little shrine to Augustus and to Rome, to a temple to Augustus and Roma. And they decide to put it in the back-left corner of the Parthenon. And you can barely see it there, but it's a small round building at the uppermost part of the Parthenon, between that and the museum. And I'm going to show it to you in detail in a moment. And they build that from scratch. But they also take a pillar that is located right in front of the Propa Lea that was put up in Hellenistic times, and they transform that into a Roman monument. And it's those two that I want to turn first. This is Google Earth again. You can see the Parthenon, the Eryktheon, and these 3D versions. Can you see just that little, you know, that round circle right next to the edge of the Parthenon? That is the temple of Augustus and Roma. And the fact that it is so small, I think, is strikingly interesting, because it shows that although Augustus was willing to have a building put up to himself and to Roma on the Greek Acropolis, and so he wanted to make his presence known, he did it in a very modest and very respectful way, it seemed to me. He could have built much larger than he did, and he opted not to do that, which tells us something about Augustus and perhaps his reverence for things Greek. We are looking at two views of what survives of this small, round shrine. Actually, quite a bit. I mean, it's not standing any longer, but you can see parts of columns and parts of the curved entablature, curved architrave, and some of the other building elements, very clearly here, including one of the capitals. Again, it was a round structure. It had nine ionic columns. It was made entirely out of stone, and it had a sloping stone roof. And this restored view shows us exactly what it looked like, as well as how small it was, in relationship to the Parthenon, which absolutely dwarfs it in scale, as you can see in this restored view. Here, the small temple of Augustus and Rome, it was built sometime after 27 B.C. And you see it here, ionic capitals, and then a sloping stone roof. And if I show you the remains again, where you can see one of those ionic capitals still preserved here, and we compare that ionic capital to the ionic capitals of the Eryktheon in Athens, on the Acropolis, we see the close resemblance between the two. And the reason for this almost certainly, because Augustus's architects were working on the Eryktheon, were restoring it, were repairing it, they were captivated not just by the Cariotids, but also by the rest of the structure, by the quality of the marble, by the attractiveness of the ionic columns with their spiral ballutes at the top. And they not surprisingly used those as the model for the capitals that they carved for the small shrine of the temple of Augustus and Rome. But I think it also shows their reverence for things Greek and their desire to establish a dialogue between the fifth century B.C. structure and the Roman structure built right after Augustus became emperor. I wanted to mention one other material that is used in the Eryktheon. We talked about the poros for the foundations, the pentelic marble for the walls and the columns. But if you look here, you'll see the slight blue cast to the marble that is used for the frieze. That is so-called Ellucinian marble from that part, from the Ellucis area, of Greece, Ellucinian marble with the slightly blue cast, and that is used in the Eryktheon as well. I mentioned that the temple of Rome on Augustus was built from scratch. There was nothing there before, and it was built anew during the Augustan period. But I also noted that there was another monument that we could call a Roman intervention to the Acropolis that was actually already there, but was transformed in Roman times. And I show it to you now. Here we are making our way, with all of these other tourists, up to the top of the rock of the Acropolis. We've climbed up the stairway, which is not particularly steep. We've made our way up. We're about to enter into the Greek propylia of the 5th century B.C. Note the Doric columns, the triglyphs and metopes of 5th century Greek architecture. And we see next to it this pillar. It's a very interesting pillar. It's very prominent. It's the first thing you see when you enter the Acropolis. So whoever built this initially wanted to be noticed, that's for sure. And we know it was a Hellenistic king. A Hellenistic king by the name of Eumonis, E-U-M-E-N-E-S. Eumonis II, who was king of the Hellenistic Greek kingdom of Pergamon, P-E-R-G-A-M-U-M, or O-N, whether you use the Greek or the Latin spelling, Pergamon. And he commissioned this monument in 178 B.C. to honor himself. And you can see that the purpose of the monument was to create this pillar upon which a statue of him would have been placed. And I show you the pillar once again here. And you can see its shape. It has a stepped base, and it tapers at the top. And you have to imagine a statue of Eumonis II of Pergamon on the top of this monument in the second century B.C. And it was altered in the first century B.C. when Marcus Agrippa, the close childhood friend, confinante, right-hand man of Augustus' son-in-law, in fact, decided to replace the statue of Eumonis with one of himself. So he transforms this Greek Hellenistic monument into an Augustan monument, an Augustan monument that honors Agrippa. And Agrippa, it's not surprising to see Agrippa honored in the east. He was involved in eastern military campaigns. And we'll also see that he not only, and I mentioned this earlier in the semester, he not only had a building, he not only renovated, he not only instituted a building program in Rome. He was responsible for the so-called Baz of Agrippa that bear his name not much as preserved, so I didn't show those to you. And also a pantheon, the first pantheon that I did mention, the pantheon that Agrippa built that's referred to in the inscription that Hadrian placed on the pantheon. Marcus Agrippa made this building, as you'll recall. The pantheon that we know had a cariotted porch. So Agrippa in Rome is also carrying the cariotted imagery into Rome in his building program. But he also instituted a building program in Athens, as we shall see. So it's very important. It was not surprising to see him honored along with Augustus on the Acropolis, and actually in a way that was much more noticeable to be hit by that statue of Agrippa as you climbed the Acropolis and went into the Propa Lea. It must have been very striking indeed. This particular structure is made of a different kind of Greek marble called Heimation marble, H-Y-M-E-T-T-I-A-N, from Mount Heimethus, Heimation marble. You can see a little bit of pentellic here, but much of it is Heimation marble. So the Romans using, the Greeks and the Romans, using a variety of marbles, but a variety of marbles that come from Greece itself. We're not talking about imported marbles from elsewhere in the ancient world. I mentioned already that below the Acropolis was the Greek Agorah, or the meeting or marketplace. I show to you here a view from Google Earth of the Greek Agorah as it looks from the air today. You can see it is essentially an open rectangular space. It has colonnades on some of its sides. One set was re-erected. This is a structure covered colonnade that comes from the Hellenistic period that was re-erected by American archaeologists who were responsible for excavating the Agorah. They re-erected it in part to use as a place to display works of art and for offices and so on. But there was more than one in Greek times. And this stoa is the counterpart to a Roman portico, covered colonnade, but they call them stoas. So we look at the stoa here. From the Hellenistic period there's a classical Greek temple, the Hepistion, over here. But in the center there is a building called the, a musical hall, that was built by Marcus Agrippa, the so-called Odeon of Agrippa, that we know quite a bit about and that we're going to look at today. But again, what's particularly interesting, I think, is the fact that we see the Greeks building their religious structures on the Acropolis and then down below the meeting in Marketplace. And you can see the impact that this sort of thinking must have had on the Romans when they made their own decisions about building Roman forums. But there are distinct differences, and we've talked about them already this semester, between a Greek Agorah and a Roman forum. What Greek Agorahs do not have is that central, that focus of having a single temple on one end dominating the space in front of it, and they're more square, whereas Roman forums, as we've discussed, are more rectangular in shape, with again the temple at the short end. Any of you who've been to Athens know that the Agorah is surrounded by an area of Athens called Plaka, P-L-A-K-A. Plaka, a great place, a fun place to go. It has been very gentrified in recent years. It now has these wonderful pastel-colored restaurants and shops with the ubiquitous white umbrellas, just as you see them in other Mediterranean countries like Italy. I lived in Athens for two years in the 1970s, and Plaka did not look like that then. But it was an incredible place to go then, as it still is now, if you want to really get into the Greek spirit and dance on tables and break plates. You could definitely do that in the 70s. It's a little less ubiquitous today, but there are still places that one can find to sort of play Zorba the Greek in Plaka. Here is another view, a panoramic view, showing once again the Agorah, the Greek Agorah of Athens, as it would have looked as it grew up from the classical through the Hellenistic period. But the building in question for us is the one that is smack in the middle of the Greek temple and of the Hellenistic Stoa over here, and that is this music hall, or Odeon of Agrippa, which was put up, we believe, in around 15 B.C. And it's to that structure that I want to turn now. And this building, this Odeon, which Agrippa commissioned himself, is very important to us in large part because it demonstrates that ideas were not only flowing from Greece to Rome, as we've already both discussed today and in the past, but from Italy to Greece. And this is a prime example of that because if we look at this axonometric view of the Odeon of Agrippa as designed for Agrippa in 15 B.C., and this is in Ward Perkins, if we look at that we will see that the plan of the Odeon of Agrippa is based very closely on an Odeon that we've already seen this semester, the Odeon of Pompeii. You see it here from the air next to the theater of Pompeii. You'll remember that the Odeon of Pompeii dated to 80 to 70 B.C. It was quite early, built just after the Romans made Pompeii into a colony, and it is that exact plan that is used here. So clearly, again, an important exchange going on of ideas of architects between Greece and Rome in the Augustan period, and in this case using an Italian plan, a plan from Italy as the basis for a structure in Greece. We see that it follows all the features of the Pompeian structure, the semicircular orchestra, the cavia divided into cune, a stage front here, tall pilasters on some of the walls, an open stoa on this wall over here. You can see two sets of columns, an inner row and an outer row. We know that the spectators entered the structure through this porch when they were coming to a musical recital, and over here there was another entranceway that was used by the musicians, and also by visiting dignitaries. This was a smaller entranceway that was made up of a small temple front with a pediment and Doric columns here. And we can also see tall pilasters on the outside of the structure, and of course this building, as all Odea, was roofed in antiquity for the acoustics, and the one in Pompeii was, of course, also roofed. Another view across section of the Odeon of Agrippa, you can see it here, which shows you the same sort of thing, the tall pilasters on the outside of the structure, the entranceway through the stoa for the spectators, the other entranceway over here, the smaller entranceway into that part of the structure, all very well shown. And this may even be better, this model of the Odeon of Agrippa, where we can see what it looked like from the outside. We're looking at the northern end, which is the end where we have that small entranceway, with the very simple temple-like appearance. We can see a series of columns engaged into the wall down here. Then the very tall pilasters with windows between them. A quite conventional building, but one, again, clearly based, and this is the most important point that one can make about it, clearly based on an earlier model in Italy. The capitals are interesting. You remember the stoas that are the two opened colonnades that I showed you as one side of the building, the inner one and the outer one. I'm going to forget which way, the outer one I believe. No, the outer one I think is the, they're two different orders. One of them is Corinthian. As you can see here, I think that's the outer, but I may have that backwards. One of them had Corinthian capitals, and you see those here with the narrow, the elegant volutes growing out of the elegant spirals growing out of the acanthus leaves. And the other is of this type, a type that we have seen before, but not frequently, where we have lotus leaves growing out of the acanthus leaves. And that, of course, is a kind of capital that we mentioned is inspired by capitals in Egypt, and was used also much later, in much later times, at the forum at Leptis Magna, the Severin Forum at Leptis Magna. So a type of capital that is characteristic of Egypt that turns up here. So it's another example of the way in which these architects and patrons are looking at models from all over the world, not only the Odeon in Pompeii, but also structures from Egypt and combining those motifs in a very, in a new way, in a very fertile mix, as you can see. With regard to the later history of the Odeon of Agrippa, over the years, students sometimes have asked me, I haven't heard gotten this question this semester yet, but students have asked me, or have said to me, Professor Kleiner, you show us in the course of this semester all of these great works of Roman engineering and architecture, the Pantheon and the Colosseum and Aqueducts and so on and so forth, and everything. You do tell us about fires, that fires sometimes destroy these works of art, or works of architecture, or they're destroyed because of other natural events like events of nature like earthquakes and so on. But you never tell us about the buildings that failed. Were the Roman architects always successful, or did they build buildings sometimes that fell down? And so I always use this as an example, because yes, they sometimes did make mistakes, and some of their buildings did collapse, and this is one of them. The Odeon of Agrippa, after it was viewed and described by Pausanias, the roof collapsed, collapsed entirely. It lasted quite a while from the time of Augustus to the time to the second century of Pausanias, but nonetheless the roof collapsed entirely, and the roof had to be completely rebuilt. And at the same time, the architects decided to modernize the northern end of the structure and to add a new portico to the building. They also changed its use, by the way, from an Odeon to a general lecture hall during that period. So in 150 AD, we see that the northern end is completely redone, and it's interesting to see what they decided to do. They replaced that very small conservative Doric entryway with something with a lot more pizzazz, as you can see, a series of male figures. These are male tritons, T-R-I-T-O-N-S, tritons which are essentially male mermaids, on these tall, decorated bases, as you can see here. And they're gestures or mirror images of one another, or reversed images of one another, which creates a certain liveliness to the facade, to the northern facade, that this building did not have before. And that happened, again, in the mid-second century AD. And interestingly enough, much of what survives today are those tritons. You can still see them on their bases here, on their tall bases, or part of them here. And you can see the relationship of the Odeon of Agrippa in this very good image, to the Acropolis in Athens. You can see the Erythion peeping up over there. You can see the great pedestal that Agrippa would have had his statue on right here. So I'm very tempted to say, in fact, I will say, that I don't think that was lost on the designers, that when they chose the spot for the Odeon of Agrippa, they had very much in mind that it would be in one of these interesting architectural dialogues with the pedestal that had the statue of Agrippa at the entranceway to the Acropolis. I think that was certainly very carefully orchestrated. And the same way you'll remember Julius Caesar and his architects orchestrated a relationship between the Temple of Inescanotrix and the Temple of Jupiter, OMC, on the Capitoline Hill in Rome. Despite the fact that you see, when you visit the Agorah, the Greek Agorah today, and look at these statues, despite the fact that they are all that stands, you will see that there are lots of other remains on the ground. And with those remains and the excavations that were done by the American archaeologists in the 1930s, the reconstruction that we looked at from Ward Perkins, we believe is a very accurate reconstruction of what the Odeon of Agrippa looked like. I want to look at the Roman Agorah, because the Romans themselves added an Agorah to Athens. If they were going to have a Greek Agorah, they're going to have a Roman Agorah. We don't know if there was a practical need for it, but I guess Caesar and Augustus wanted to emblazon their name on an Agorah, or a marketplace in Athens. It was put up, again, in Caesarean, and started in the Caesarean period and completed by Augustus. It is right near the Greek Agorah. We see a view of it here, a large open rectangular space with a colonnade around it, in this case Stoas, we would call these Stoas in the Greek context, with Taberni or shops at the uppermost part, an entranceway, an elaborate entranceway on the western end, and another entranceway on the eastern end. As you can see, it differs. It is done in the mode of a Greek marketplace, because it is more, well, it's sort of in between a square and a rectangle here, but it's not as long as a Roman Forum, and it does not have a temple on one short end. So it follows in the mode of Greek Agorahs rather than Roman Fora. You can see, if you look at Google Earth, one can see the Forum today. Here's the Sto of Atlas, and the Greek Agorah, so you can see its proximity to this new Roman Agorah that was added. We're looking at that open space here with the colonnades. We're looking at the western entranceway as well as the eastern entranceway up above, in this very helpful view. And this is a view I took from the Acropolis, looking down on the Roman Agorah and showing the back of the western entranceway, which I'll show you from the front in a moment. And there you can see Placa actually pre-gentrification. You can see a sense of what, I mean, it was really crumbling, as you can see, with some of the buildings that are surrounding it. But nonetheless, it was fun. So here we go. This is a view of the gate. It's called the gate of Athena Archigatis, as you can see on your Monument List. That is the western gate into the Roman Agorah. We see it here in two views. And you can see, when you look at this building, you can see what Wardperkins and others mean when they say that architecture in Athens, under the Romans, is derivative and uninspired. It's this kind of thing that I believe he's talking about, because you can see how beholden it is to traditional classical Greek architecture, in the way in which we see these great Doric columns looking very similar to those of the Propolaea or the Parthenon. You see them here. You see the triglyphs and metopes. You see a triangular pediment. We never see, we never see the Greeks, at least the Greeks in the Roman period, breaking their pediments. They always have complete pediments, and in that sense, of course, a very conservative approach to architecture during this period. We know that the gate was begun by Caesar, completed by Augustus, and there's an inscription that tells us that, and we believe, although this is somewhat speculative, that there may have been a statue or portrait of the grandson of Augustus, son of Agrippa, Lucius Caesar, in the pediment. Lucius Caesar having died in the year two. Here's a view where we see the Roman agorah, as it looks today, the open space, the columns around it, and you can also see this very curious building that looks very well preserved, rising up on the eastern end, a building in the shape of an octagon. And here's another view of the eastern end, showing that octagonal building more clearly. This is the so-called Oralogion of Andronicus, or, as it is nicknamed, the Tower of the Winds, the Tower of the Winds, which is easier to remember. The Tower of the Winds, it's very controversial in date. I dated here to the second half of the first century B.C., which is when I do believe that it dates, but there are others who think otherwise, and I'll tell you about that in a moment. Here's a view that I took from the Acropolis, showing the Tower of the Winds as it looks from up there, as well as a closer view of this amazing structure. Again, you can see how well preserved it is. You can see that it is indeed eight-sided. You can see one of the porches. There are two porches that had temple fronts with triangular pediments, columns below, on those two sides. There was also a staircase that surrounded the structure. What this was, we believe, is some kind of a clock tower, a very inventive clock tower. And although, again, I think it was probably built in the Caesarean period, late Republic, John Camp, who's an expert on things Athenian, who wrote a book on the archaeology of Athens, who has been excavating the Greek agoraves since the 1970s, and is a true expert of architecture in this part of the world, he thinks the date is earlier than that. He dates it to 150 to 125 B.C. and he brings it into connection with the Ptolemy's of Egypt, the Ptolemaic rulers of Egypt, because of their great interest in the telling of time and the fact that they did have important connections with Athens during this period. I think he has a point. He could be right, but I would add that connections with Egypt were very strong in the late Republic as well. I mean, keep in mind the affair between Julius Caesar and Cleopatra. Keep in mind that we know that statues of Cleopatra and Mark Antony were put on the Acropolis. We know that there was a lot of interaction. Cleopatra herself came to Athens. So I don't think it's inconceivable that if one wants to connect this to things Egyptian that one couldn't date it also to the Caesarean period. But whatever its date, it's fascinating in its own right. Again, because it's octagonal, we've talked about the fact that we don't have octagons in Rome until the time of Nero. But we do see them. We saw another example also in Leptis Magna, the market there, the Augustan period. It's interesting to see this form emerging, possibly under Ptolemic influence, we're not sure, emerging in the provinces before it seems to emerge in Rome itself, this being another example. Here's a view of the monument again, but also compared to an engraving done by Stuart and Revet, S-T-U-A-R-T and R-E-V-E-T-T, Stuart and Revet who made drawings of monuments that were in better shape in Athens in the eighteenth century. But this tells us, besides showing us what the porch looked like, and you can see it well here, it also shows us that there was a weather vane on the top that would have gone in the direction of the prevailing winds. And the reason that we call this the Tower of the Winds is not only because of that weather vane that one stood there, but also because of the depictions of male personifications of the winds on all eight sides of the structure. And those are extremely well preserved, as you can see here, a freeze of these male winds. And if you look carefully at the Stuart and Revet drawing, you also see that there was a sundial on all eight sides of the monument. So it's purpose-needless to say to tell time. The capitals from those porches are these lotus leaves growing out of a canvas leaf. So another Egyptian touch here, this looking back to Egyptian type capitals, using them here, the same kind of capitals that we know it had turned up much later at the Severin Forum in Leptis Magna. A detail of those winds, and here a better detail of at least one of them, to show you what they look like close up, and each one of them has a different attribute, which has led scholars obviously to speculate about which particular wind, which of the cardinal points of the compass, which wind they were in actuality, we won't get into those arguments here, but there's been a lot of time spent by scholars on trying to sort that out. What is also interesting is the interior of the building, which is also extremely well preserved. And you can see here, all in stone, the way in which the octagon becomes a dome, and it is done extremely well. And this goes way beyond any kind of stone dome that we see either in Etruscan or Roman architecture in Italy. And it shows us once again, it underscores more than anything else I could show you, the talent of these particular architects who had been carving this Greek stone for centuries. The way in which they are able to make this transition from octagonal shape to regular dome here is extraordinary. They did not need concrete to create a great dome in this wonderful structure, the Oralogion of Andronicus, or the Tower of the Winds in Athens. The other great Phil Hellenic emperor was, of course, Hadrian. We know Hadrian came to Athens on three occasions, and we know the exact dates of his visits. 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 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 his architects at work to build an Aqueduct for Athens. They created a reservoir on Mount Lecavitas, the highest mountain in Athens, a reservoir. And then on the side, one of the sides of the mountain, facing the city, they built a kind of a 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 Eryktheon. So the Eryktheon's still a beacon for architects, a monument to be 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 lentil, straight lentil, the beginning of an arcuation. So what does that tell us? That tells us clearly, and here's a Stuart and Revet drawing of that element, when it was in better shape again, a straight lentil, an arcuated lentil with an inscription mentioning Hadrian. That is the same kind of arcuated lentil that we saw in at 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 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 Agorah, next to it a library of Hadrian, a library that bears Hadrian's name, that was also put up in Athens during the Hadrianic period, specifically in 132 AD, connected to the last visit that Hadrian made to Athens. We can see that it is a large open rectangular space with the library itself at the uppermost part, and then a façade 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 façade, which we'll see has projecting columns on it. Here's a plan of the library of Hadrian of 132 here on the right hand side of the screen. And you should be struck immediately as you look at this plan with its open rectangular space, with its pool here in the center, with the columns going all the way around, with an entranceway in the front, with projecting columns on that façade, 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? Sam? The Forum Poccus, the Forum of Peace, or the Templom Poccus 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 Vespasian 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, perhaps, in a different way, but nonetheless they are using almost that exact plan for this second century building. And I show you here a model of the Library of Hadrian in Athens, where we see that it was planted with greenery. The library was located in the back. There was a fairly conventional entranceway, looking like a typical Greek temple. But then these columns that project in front of the wall were statuary on top, looking very much like the Forum Transitorium, which you'll remember bordered the Forum Poccus 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 undulating walls with the projecting and receding elements. 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 façade, 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, Caristos, K-A-R-Y-S-T-O-S. So again this interest in varied marbles, varied marbles that come only from the very rich quarries that Greece has, for they did not have to go anywhere else to get high quality marble and to get marble of a 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 Olympi Ion, that was put up, or that was dedicated by Hadrian in the year 131 to 132 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 Pisistrates. I put these words on your monument list for you, the Pisistrates who were Athenian tyrants. They began to build it in the Archaic period as a Doric Temple. The construction was stopped, however, at the end of the 6th century B.C., in 510. It was resumed in the Hellenistic period in 174 B.C. When Antiochus Epiphanes, 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 Cessutius, 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. Cessutius decides to use the Corinthian order, the Corinthian order, and he finishes it up to the Architrave, the building up to the Architrave. And when Antiochus dies in 164, that's where he's up to. That's where at 164 they built the building up through the Architrave, using the Corinthian order. Sulla sacks Athens in 86 B.C., and you'll remember what Sulla does. This is that very temple with the 55-foot-tall columns, that's 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, O-M-C., those very columns. It was the introduction of those Corinthian columns and capitals to Rome that made that the most popular capital in Rome and in the Roman Empire, as we've 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 Cessutius' plan in 131 to 132. And what Hadrian did was put in this structure a statue of himself and Zeus, Zeus the Greek equivalent to Jupiter, statues of Hadrian in one part of the structure, Zeus 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. And you see this temple here as it 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 façade orientation. It has two entranceways, one with a statue of Hadrian, one with a 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, is the same time that we see the temple of Venus in Rome, going up in Rome. What I described is 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 Olympian, 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. It's a wonderful Google Earth version of the Olympian. 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 Olympian, 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 exact columns on the Temple of Jupiter, Optimus, Maximus, Capitalinus, and 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, in the Stuart and Revet drawing on the right-hand side of the screen. Again, a quite conservative arch, very simple, single archu-a-tion 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, conservative pediment here. And the Stuart and Revet drawing tells us that in antiquity there was a marble slab that was located in the center of that pediment, of that addicula in the second story. And we know there were statues, the inscriptions tell us that there were statues on both sides of this, and 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 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. The last monument that I want to show you is a monument that is near and dear to my own heart, because in the two years that I lived in Athens in the 1970s I was working on a book on this particular monument. The monument doesn't date to the Augustan period, and it doesn't date to the Hadrianic period, which makes it all the more interesting. It dates to the time of Trajan, and it has nothing to do with either of those two emperors, but with a man whose name is a mouthful, and that is Gaius Julius Antiochus Epiphanes Philopopus. You don't have to remember all of that. I like to call him Uncle Phil. You can call him Uncle Phil. That's the easier way to refer to Gaius Julius Antiochus Epiphanes Philopopus. Nonetheless, he was a very interesting man, and we know a lot about his bio. We know, for example, that he was the son of a king of Coma Jean, a Hellenistic kingdom in the eastern part of the empire, in ancient Anatolia, what is now Turkey. He was a son of that king of Coma Jean, C-O-M-M-A-G-E-N-E, and his relatives had been kings for some time. But he was unfortunate, although he was slated to become king himself, he was unfortunate that Vespasian, the Roman emperor Vespasian, conquered Coma Jean, made it a Roman colony, deposed the kings, and became ruler himself, in a sense. And so, Philopopus, because of the Romans, never became king of Coma Jean. He seems to have made the best of it by making his way to Rome, using his influence and his high station as a deposed king to finagle for himself a position as Sufect Consul in Rome. What was a Sufect Consul? A Sufect Consul was kind of a consul in waiting. By that I mean that if one of the regular consuls couldn't do his job, the Sufect Consul could be brought in as a substitute. So Philopopus could sort of stand and wait and hope that someone got sick, and he could come in or was in war, or involved in a military campaign, and he would be called in to take his place. So he hangs around Rome for a while, and then he eventually goes back, goes to Athens. He moves to Athens. He's honored with all kinds of titles in Athens, and he eventually ends up dying in Athens and being buried in Athens. And a tomb gets put up in his honor between 114 and 116, and we know the precise date, because of an inscription on the monument, the still surviving monument, that makes reference to some of Trajan's titles, titles that Trajan held between 114 and 116, but does not include titles that he got after that. So we know that it was put up between 114 and 116, and we're going to see that it features a freeze depicting Philipopus at the high point of his life, his Processes consularis, his consular procession, when he was made a consul in Rome. I show you a view from the air, where you see once again the Acropolis, and the relationship of the Acropolis to the Musean Hill, the hill of the Muses. Now what's most extraordinary is that there is only one ancient monument on the Musean Hill, and that is the monument of Uncle Phil. We are standing on the Acropolis. We are looking at this. I love this picture. I took this picture of myself, and I'm very proud of it, because it just happens to work, especially because these two guys happen to be standing there taking pictures of the Odeon of Herodes Atticus here. But we're standing here. We're looking back toward the Musean Hill, and you can see not quite at the apex, but almost near the apex, the sole monument that stands on this hill, the monument of Uncle Phil. How did he rate to be able to get the sole monument on one of the three major hills? You can see it in this marble. You can see it popping up, Pentelec marble. You can see it popping up almost near the apex of the hill. If we look at this site plan, you will see that it is sighted exactly. You see it here on the top of the hill of the Muses, sighted exactly in relationship to the Acropolis, lined up with what building? The Eryktheon. This building that was so revered by the Romans. It's lined up exactly with it, at midpoint between the Propolaea and the Parthenon, exactly on the Eryktheon. And this is the view. Here we are standing right in front of Uncle Phil's monument, looking back at the Acropolis, even if you don't want to go see Uncle Phil, which I hope you will if you're an Athens visit and for me. I hope that you will stand, at the very least, you want to stand there with your back to Phil's monument and look at the Acropolis. You get one of the best views of the Acropolis from the Muses on Hill. You see it here and your view is lined up exactly with the Eryktheon. Now why is Uncle Phil buried on this hill? This is interesting because if you think back to tomb architecture that we looked at in the course of this semester, we didn't see people buried on hills. The Romans don't bury people on hills. They bury people on flat ground outside the walls of the city and their necropolises. Every tomb we've seen was on flat, essentially on flat land. Why is Uncle Phil buried in a tomb near the apex of a hill? Well, as I was writing this book, I looked back to his own ancestors, to people in this part of the world, to a group of dynasts in a place called Nemrhodog, also in Anatolia, and I show you one of their well-preserved tombs here. And you can see that the tomb is built not at the apex of a hill, but on the slope of the hill, in this case not as close as Uncle Phil's is to the apex, but moving up on that slope toward the apex. And if you look very carefully at this monument, you will see among the remains some seated statues of the dynasts of Nemrhodog, of this area that Philopapus also comes from. This is the Philopapus monument on the left-hand side of the screen, as it looks today, made out of pentelic marble, beautifully carved. It is a kind of a tower tomb with a plain base, a curved second story that has the scene of Philopapus in a chariot, a time of his consular procession, and then some statues and niches seated statues, looking very much like those of Nemrhodog, up above. We think it's Philopapus himself with a bare chest headless in the center, a figure in a toga over here, and certainly another figure flanking him, another male seated figure on the right-hand side of the screen. Why do I show you the Arch of Titus in connection to this? Because we know that Philopapus' father and uncle participated in the Jewish wars on the side of the Flavian emperors in order to gain favor, even though they'd been deposed, they wanted to gain favor with them. And when Philopapus went to Rome, this is a monument that he would have seen, this monument that the mission put up to those Jewish wars that his father and his uncle had participated in on the Velia, with that representation of Titus in a chariot. And I think there's no question, and I present this in the book as a theory, that the Perkessus consularis of Philopapus closely based on the triumphal scene of Titus. And perhaps it's no coincidence. We don't have too many pentelic marble buildings in Rome, the Arch of Titus is made out of Greek pentelic marble. Is that a coincidence? I don't think so. Here's a restored view of the monument of Philopapus, as it would have looked in antiquity, the base, the consular procession, the statue of Uncle Phil in the center, the inscription to the left, this is the plaster that survives with the inscription, making reference to Trajan's titles that allow us to date it, and then probably a missing attic with an inscription at the uppermost part. This view, and this view over here, shows you some graffiti that have fortunately since been erased, show you the interior of what survives of the back wall that would have been the burial chamber. Here's a restored view showing that burial chamber, the sarcophagus of Philopapus, where his remains would have been placed, a statue of him on a console that still survives, and then columns and a straight lintel that formed what we call a niusgos, which served as a kind of shrine to honor him on the inside of the monument. And if we look at this cross-section of the tomb, which are in my book, we see the sarcophagus, we see the statue of Phil, and we see the way in which it is lined up with the representations of Philopapus on the outside in his chest, kind of midway between the scene of him and his chariot, and the scene of him with the bare chest and heroic nudity. So during his lifetime in the consular procession, after death, up above, so honored three times and three statues on this monument. Here's a view of some of the figures that accompany him. They're wearing Roman togas, because the scene is taking place in Rome. That's where the consular procession is. They're carrying fosgays, like the bodyguards do for an emperor, and that too shows the relationship of this to the Arch of Titus. Here we see the scene of the Arch of Titus, triumph, and the scene of Philopapus triumph, clearly the one on the right, in my mind, based on the one on the left. If you look at details of the chariot, you see Anioscos, again, decorating the chariot. Anioscos that has a figure of none other than Hercules. We can see him wearing, holding a club. So once again, just like Caracalla, we see in this case earlier, Philopapus associating himself with Hercules. If we look at a detail of his head, which is fortunately not that well preserved, we see that he is bearded, we see he wears a raid crown. So although he is represented in this consular procession, his kingly, that he might have been a king, is referred to, but also his triumph over death. If we look at sculpture from Nemeridog, we see once again this interesting reliefs, and there's more than one of these, of dinas of Nemeridog shaking hands with Hercules, with his club, and wearing a raid crown. So this is another one of these wonderful examples of this fertile mix that one gets so often in provincial Roman art, where you see a monument clearly based in part on Roman precedents, but also based on the bio of this particular man and more local precedents. A scene of Philopapus in the uppermost area showing him in heroic nudity. And the last image that I want to show you is just to make the point that interestingly enough, this monument was put up by Philopapus' sister, a woman by the name of Balbilla, B-A-L-B-I-L-L-A. And Balbilla, I mean, I wanted to make this point because we have seen so few examples. It's not that there were none, but they were small in comparison to those of men, that fewer women seem to have put up monuments than men. But the examples that we have are very interesting indeed. And in this case we know that the tomb was put up by Balbilla, a woman who became very friendly with Sabina, wife of Hadrian. In fact, the three of them traveled together to Egypt, to Thebes, to see the Colossae of Memnon, which I show you up there. And Balbilla leaves an inscription when she goes that she was there. So she tells us that. So just to close today, a very interesting example of an extraordinary tomb in Athens, but one that was built by a woman, and I think that's a great way to end on this beautiful Thursday. Thank you all.
about the two Phil Hellenic emperors, Augustus that the city of Athens, and some of its structures on the Acropolis, and then over time the history of Athens. When scholars talk about architecture in Greece is of its earlier artists and the architects and the artisans who writer of the Greco-Roman past, a man by the name guidebook to the great Greek and Roman of the monuments that stood in the second architecture, but also because of the buildings both in Greek times and also in Roman times, as Augustus and Hadrian, and was widely imitated in forth, and that there is an important exchange of classical and Hellenistic Greek times. It also also instituted a building program in Athens, as ideas of architects between Greece and Rome in of the Odeon of Agrippa, over the years, students these interesting architectural dialogues with under the Romans, is derivative and uninspired. again, these exchanges of ideas and motifs and artists and architects during the Hadrianic a model for the Library of Hadrian an important the Library of Hadrian in Athens, where we see get high quality marble and to get marble of a Temple of Olympian Zeus, the so-called Olympi and Rome. When Hadrian made his visit to Athens king of Coma Jean. He seems to have made the best procession, when he was made a consul in Rome. I interesting example of an extraordinary tomb in