How Does The Ara Pacis Structure

On the lower half is an organization of geometric forms. However, the most important mosaic is the representation of Emperor Justinian and Emprise Theodora. Justinian is presented holding a bowl of Eucharistic bread as Theodora carries a chalice or vessel of Eucharistic wine. Due to the orientation of these figures and the ones that surrounds them, it could be suggested that they represent bringing Eucharistic elements into the church. Perhaps even as an offering to christ which is reinforced by the three magi bearing gifts on Theodora's rob.

The south panel depicts the spoils taken from the Temple in Jerusalem. The Golden Candelabra or Menorah is the main focus and is carved in deep relief. Other sacred objects being carried in the triumphal procession are the Gold Trumpets and the Table of Shew

Relief sculptures can be found inside the palace above the arched walkways and in the chapel (Perouse de Montclos 285). In the salon of war an equestrian relief sculpture is place above the fireplace (Perouse de Montclos 239). The palace has an abundance of sculpture to connecting it to classical culture.

1. The Braze Altar serves as the altar of sacrifice. The altar symbolizes Jesus Christ being slaughtered for the sin of mankind. Also, the altar stands raised on a mound a little higher than the adjoining furniture. This is a prophecy of Christ, who the world lifts up on the cross that stood on Golgotha.

In contrast, the Cuxa Cloister, as part of the Catalan monastery of Saint-Michel-de-Cuxa, allowed monks to contemplate at their leisure (accession number: 25.120.398–.954). There wasn’t a fixed time or schedule they had to adhere to in order to access the Cloister. A pleasant pink, this marble cloister is 2,743 x 2,377 cm. Created circa 1130–40, prior to the Chapel, the Cloister also monbs to immerse themselves in nature and consider Christ’s teachings before or after mass. Being at the heart of the monastery, the centralized location of the space made it easily accessible, and a popular space for monks to wash themselves and their clothing. Yet, this space isn’t just for tending to one’s physical needs, it’s also for one’s spiritual ones. Filled with heavy symbolism, the sculptures feature mermaids, animals with two bodies and lion devouring people, to symbolize tensions between good and evil. The space, while physically open is more concerned with opening the mind and letting in Christ’s teachings in a self-guided way. Similar to the Chapel, the symbolism in the Cloister, is a visual reminder of

This particular statuette represents the Virgin Mary and her child (Barbier). It is sculpted with gilded silver and has basse-taille reliefs on the pedestal, embellished with various stones and pearls. The statuette is approximately 2 feet tall and the Virgin is standing on a rectangular pedestal that rests on four small lions (Kleiner). The

The sculpture portrays the God of Harvest, Dionysus, with his loyal satyr follower, Pan. A considerable amount of detail when into the carving of Dionysus; the multiple grapevines in his hair, his ceremonial staff Thyrsus, the goatskins and the cup of wine he’s holding are all symbols of Dionysus. The composition is very asymmetrical, and creates a contrapposto arrangement, which is distinctly Grecian (Gardner). It was carved out of beautiful fine marble, which also had another purpose in the way of making this piece of art last for many years. Along with the tree trunk between the two men providing support at the base, and the elongated arms providing more structural stability. The God’s head is even reinforced by his hair to make sure the head doesn’t break off. This sculpture is visually and aesthetically pleasing, but doesn’t serve a useful function, like textiles or furniture. Therefore, it is considered a figurative piece of art, which art that is very clearly modeled after real object or person(s), and is therefore representational

The Spoils of Jerusalem is a very interesting sculpture. This sculpture was constructed in c. AD.82 by Emperor Domitian after the death of his oldest brother Titus, to show off Titus' victory over the siege of Jerusalem (Khan, n.d). The relief sculpture is located within the "Arch of Titus" and it represents the victories of Domitian's father and his brother in the Jewish War (Cartwright, 2013).It is relief sculpture, which means that it is attached to a background and can only be viewed from one side (Sporre, 2015). The original sculpture is located within the Arch of Titus, in Rome, which is a beautiful piece of art in its self.

Its architecture has Greek form with a high structure of marble that shows off a large frieze portraying an epic battle on the base’s walls. The cracked figures on the frieze fight violently against each other, and even with the test of time, their features are descriptive and their faces show much varied expression. The most impressive part of the Altar of Zeus is the sculptural frieze depicting the struggle of the gods and the giants. It is clear on the altar’s frieze’s that the artist/sculpture of the alter worked towards a natural view of the characters on them, borrowed from the classical period but sculpted them to be in more of realistic portrayal. The construction of a frieze seemed to be a fairly popular architectural enhancement at the time; this outer frieze is one of the most famous. The sculpted figures on it create a new height of Greek realistic representations and architecture in modeling, composition, and expression of emotion. The emotions of the figures are one of the aesthetics that makes the frieze so unique and beautiful. As the battle scene is unified; the winning and losing sides are clearly cut. The artist makes the battle and its characters easily perceivable. The look of suffering in defeat is on all the giants’ twisted faces. Drastically opposite is Zeus and his fellow gods who are seen as completely expressionless. The overall style of the frieze is very intense, to say the

The body of the woman has mane and the hair fall over accentuated breast feature on the body. The mane is o presenting both a feel of nobility and fright on the face of a lioness, which has a skull of bone and stylized whiskers on the face . The head is raised in a form of adoration with the solar disk and cobra emphasizing the cosmic aspects of the divinity of the goddess . The face is modeled with high precision on which the eyes are small and eyelids that have been painted as it were a collar or the robe’s edge. The statue is in a seated position on a block with the fingers that have been shaped significantly with a focus on the distinctive feature of anatomy that the artist sought to add with much delicacy, resting on her legs. The goddess’s legs have inscriptions that are added to the surface of the throne. She stands as a towering figure with soft feline features that invoke power and fear especially with the nature of her eyes in the statue. Her elegance calls attention to her presenting a valid reason why she was both feared and

In the art piece called The Last Judgment, a Romanesque sculpture made by Gislebertus, the artist uses principles of symmetry, proportion, balance and unity to display and tell the story of the last judgement and uses scale to indicate the relative importance of the figure. In the sculpture, Christ is positioned as the foreground central figure of the whole artwork. He is positioned in such a symmetrical composition that immediately draws the viewer’s attention toward him. The artist uses hierarchical scale to communicate differences of importance. Here, Christ is larger than everyone else to emphasize his importance and power. Also, the body figure of Christ is elongated yet still in proportion which points out his perfection. Closely examining

While constructing both of these cathedrals there were sculptures created that represented narratives of theology and mysticism. Both were created for a place of worship that’s why sculptures and paintings of religious images were added. This showed a great respect for the belief in Christ and the surrounding believers.

Sacrificial rituals performed at the Ara Pacis correlate to Augustan ideals. The altar itself takes up most of the interior space within the walls of the structure. The nature of the ceremony was extremely messy, where animals were killed and libations of wine were poured. The designers accounted for this by angling the floor outward and including twelve drains. Movement of those participating in the ritual is also notable. They entered through the west door, passing the panels that relate to the past. The act of the sacrafice was emblematic of the present. Then, as they left through the east door they would pass Tellus and Roma which directly related to the triumph and prosperity to come in the future. The traditional sacrifice was to occur annually by Augustus’s decree and so renew the harmony in Rome. The peace is reliant on the sacrifice. All of the artistic decoration of the Ara reminds of this plenty which is brought about by destructive

It is moreover pyramidal in structure with the vertex coinciding with Mary’s head. The base of the sculpture depicts the rock of Golgotha and is broader than the progressive

In this relief, we see it as Christ the child shares the viewer his joy of starting his new adventure as well as praising the purity of Virgin Mary. There are also three angels emerging from the cloud. In the Old Testament, angel’s functions refer to convey God’s will to mankind, which in this relief the angels reminds us of their role as “annunciators (ABRAHAM, 2: The three angels). They were the ones who carried messages from god and annunciated the birth of Christ. They are the witnesses of Christ the child coming to the human world as well as proof of Virgin Mary’s virtue of immaculate. In this relief, they are the guardian of the Virgin and child as well as admirers of Mary’s pure and virgin status. With their hands holding together in prayer, they show their blessings and caring to the mother and son as well as to the human world. In addition, unlike other Virgin Mary we see in churches’ altarpieces that are usually seated on throne, we also have Mary sitting humbly on the ground in this relief. According to Dictionary of Subjects and Symbols in Art, there is a popular theme of “Madonna of Humility” which its essential figure is that the Virgin is seated on the ground. The dictionary also states that artists set Virgin Mary on the ground to convey a medieval theology,