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Lecture

Classics Lecture November 5.docx

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Department
Classics
Course Code
CLASSICS 1A03
Professor
Spencer Pope

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Classics Lecture November 5, 2013
Two poets are linked by the word “otium” used to describe their poems (leisure). Catullus:
Otium: unconstructive time. Lost to mulling over his loss, trapped in extremely personal
thoughts, idle time is dangerous as he indulges his own desires. No interest in pursuit of the arts,
all self indulgent – can be seen as a waste of time. Mulling over things he can no longer control,
thinking about himself (too much self empathy). Horace: Otium: quiet contemplation, pursuit of
the arts at his own pace, away from the crowds of the city, with privacy of his farm.
Where in this house/city are the provisions for this type of freedom Range from Horace’s villa
to mass entertainment to satisfy us and not better ourselves Roman concept of otium built into
their society o Starting with the bay of Naples – Mt. Vesuvius: AD79
Pompeii Well preserved due to the volcanic eruption Operation of the Roman House: o
Needs and demands of the spaces designed into the house. o Roman domestic arch • Fauces
(throat) – entrance from the front door – transitions from outside to inside • Leads to the
principle room of the front half of the house the Atrium (entry hall/meeting space) – significant
because it was accompanied by: • Impluvium (pool – collected rain water – principle water
supply) • Compluvium (hole in roof). Made this space the best of both worlds. Enclosed and
private but has a natural side with fresh air and sunlight (like the Minoan ideology) • Adjacent to
atrium – Tablinum (the ancient home office) • Basis of wealth off of agricultural land – lived in
the city, land was outside – did not like getting feet dirty – home was the base of living and
economic activities • Also used for social or political interactions • Peristyle • Concept of best of
both worlds • Garden space • Enclosed by a colonnade • The place for otium – the privacy yet
enjoy the open air and open sky
• Cubiculum • Used as bedrooms – lined around the Peristyle – not designated for specific spaces
• Triclinium • The roman dinning room o House moves from most public to most private –
guiding roman feature Roman domestic architecture: o Typical patrician (upper class) Roman
house of 3rdc. BC o Patronus = patron (owner) o Cliens = client (farmers, workmen, house
workers, and artisans) o Salutation = formal greeting/ reception, occurred in the atrium •
Between owner and workers • Atrium became a forum for embellishment (art, statues, and
anything that shows the wealth/status/education of the owner, the place to make the first
impression) o Patron/client relationship – went beyond employer/employee (monetary was at the
center of the agreement) but it extended into a social agreement/bond, the patronus was to look
after the cliens (if someone was injured and could not work they would be expected to care for
them), would arrange entertainment for the people he employs – creating loyalty between the
groups. • Benefits: • Security • “OHIP” – knowing they would look after your well being • What
does the patronus get out of it: • Vulnerability – they have access to the land and the house – they
want loyalty and common interests – workers around for protection of your family – that they
will look after your family • Cliens remain loyal – exploited beyond security – maybe they need
votes for office etc. he would start by saying vote for me and tell your family to do it to =
political/power base. Sense of elevation to the owner. • Patronus has a rival – cannot risk getting
his hands dirty… but the cliens could The House of the Faun, Pompeii o Largest single
dwelling/private house at Pompeii o 200-150BC with some later modifications until AD79 in
which Pompeii was covered with ash. o Reduplication of space – 2 atria – 2 peristyles
Pompeii villa of the mysteries – outside of the city walls o Suburban villa at Pompeii o Design is
slightly different o 60-50BC o Public style of the house had an unconventional space • Particular
function aside from the patron client relationship • Initiation rites frescos have been preserved. •
Starts with a girl being subjected to flagellation o Humiliation pose and torture • Then
completely nude and viewed by others o Fresco has clear accurate and precise attention to detail
resulting in a high degree of realism found in late classical sculpture and into Hellenistic
sculpture. • Flagellation of the bridge of Dionysos/Bacchus o Context of religious/coming of age
ritual. o Reintegrated into society with new status. o The marriage of Bacchus (God of
wine/exuberant behaviour and extremes) o Now considered of bride status • Bride is shown
repeatedly over the complete fresco o Made to be a servant to other demi-Gods • Bridal veil –
Dionysiac imagery: female satyr suckled by goat o Wild activity, unnatural arrangements o
Bridal veil – roman iconography for wife • Placement = space used for the rituals depicted on the
fresco – mirrored actual activity
1st style Pompeian
- First Style A.K.A. “Masonry Style”
2nd BC
- Appearance of fine stone / expensive materials
- Skeuomorphic (imitates Other material)
- Gives appearance of cut blocks finely coursed to make it look nicer than it really is
2nd Pompeian style
- Cubiculum of villa at Boscoreale
- C. 50 BC
- Use of perspective creates 3- dimensional world beyond
- Villa of Mysteries is 2nd style
- Artificial Architecture and landscape beyond
- Its rendered in perspective and gives us this view without leaving the room
3rd Pompeian style
- From c. 20-10 BC
- Delicate linear designs against contrasting background
- Dominantly Monochromatic
- Ornamental, Jewel-like quality to architectural elements
- Detailed scenes most commonly in miniature
- Fanciful, no attempts at emulating natural world )e.g. No figural window
- Columns usually found

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Description
Classics Lecture November 5, 2013 Two poets are linked by the word “otium” used to describe their poems (leisure). Catullus: Otium: unconstructive time. Lost to mulling over his loss, trapped in extremely personal thoughts, idle time is dangerous as he indulges his own desires. No interest in pursuit of the arts, all self indulgent – can be seen as a waste of time. Mulling over things he can no longer control, thinking about himself (too much self empathy). Horace: Otium: quiet contemplation, pursuit of the arts at his own pace, away from the crowds of the city, with privacy of his farm. Where in this house/city are the provisions for this type of freedom ➢ Range from Horace’s villa to mass entertainment to satisfy us and not better ourselves ➢ Roman concept of otium built into their society o Starting with the bay of Naples – Mt. Vesuvius:AD79 Pompeii ➢ Well preserved due to the volcanic eruption ➢ Operation of the Roman House: o Needs and demands of the spaces designed into the house. o Roman domestic arch • Fauces (throat) – entrance from the front door – transitions from outside to inside • Leads to the principle room of the front half of the house theAtrium (entry hall/meeting space) – significant because it was accompanied by: • Impluvium (pool – collected rain water – principle water supply) • Compluvium (hole in roof). Made this space the best of both worlds. Enclosed and private but has a natural side with fresh air and sunlight (like the Minoan ideology) •Adjacent to atrium – Tablinum (the ancient home office) • Basis of wealth off of agricultural land – lived in the city, land was outside – did not like getting feet dirty – home was the base of living and economic activities •Also used for social or political interactions • Peristyle • Concept of best of both worlds • Garden space • Enclosed by a colonnade • The place for otium – the privacy yet enjoy the open air and open sky • Cubiculum • Used as bedrooms – lined around the Peristyle – not designated for specific spaces • Triclinium • The roman dinning room o House moves from most public to most private – guiding roman feature ➢ Roman domestic architecture: o Typical patrician (upper class) Roman house of 3rdc. BC o Patronus = patron (owner) o Cliens = client (farmers, workmen, house workers, and artisans) o Salutation = formal greeting/ reception, occurred in the atrium • Between owner and workers •Atrium became a forum for embellishment (art, statues, and anything that shows the wealth/status/education of the owner, the place to make the first impression) o Patron/client relationship – went beyond employer/employee (monetary was at the center of the agreement) but it extended into a social agreement/bond, the patronus was to look after the cliens (if someone was injured and could not work they would be expected to care for them), would arrange entertainment for the people he employs – creating loyalty between the groups. • Benefits: • Security • “OHIP” – knowing they would look after your well being • What does the patronus get out of it: • Vulnerability – they have access to the land and the house – they want loyalty and common interests – workers around for protection of your family – that they will look after your family • Cliens remain loyal – exploited beyond security – maybe they need votes for office etc. he would start by saying vote for me and tell your family to do it to = political/power base. Sense of elevation to the owner. • Patronus has a rival – cannot risk getting his hands dirty… but the cliens could ➢ The House of the Faun, Pompeii o Largest single dwelling/private house at Pompeii o 200-150BC with some later modifications untilAD79 in which Pompeii was covered with ash. o Reduplication of space – 2 atria – 2 peristyles ➢ Pompeii villa of the mysteries – outside of the city walls o Suburban villa at Pompeii o Design is slightly different o 60-50BC o Public style of the house had an unconventional space • Particular function aside from the patron client relationship • Initiation rites frescos have been preserved. • Starts with a girl being subjected to flagellation o Humiliation pose and torture • Then completely nude and viewed by others o Fresco has clear accurate and precise attention to detail resulting in a high degree of realism found in late classical sculpture and into Hellenistic sculpture. • Flagellation of the bridge of Dionysos/Bacchus o Context of religious/coming of age ritual. o Reintegrated into society with new status. o The marriage of Bacchus (God of wine/exuberant behaviour and extremes) o Now considered of bride status • Bride is shown repeatedly over the complete fresco o Made to be a servant to other demi-Gods • Bridal veil – Dionysiac imagery: female satyr suckled by goat o Wild activity, unnatural arrangements o Bridal veil – roman iconography for wife • Placement = space used f
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