Roman And Greek Kingdoms
The Romans, unlike the Greeks were not
gifted in abstract thought. They
constructed no original system of
philosophy, invented no major literary forms,
and made no scientific
discoveries. Yet, they excelled in the art of government
and empire building,
they created a workable world-state and developed skills in
administration,
law, and practical affairs. In the Punic Wars, the Roman
republic defeated
the Carthaginians in North Africa and Rome inherited the
Pergamene
Kingdom from the last of the Attalids in 133 B.C. Rome became heir to
the
legacy of the Hellenistic world of the Greeks. The Hellenistic period
which
lasted 300 years in is noted by the death of Alexander in 323 B.C. It
is marked
by its rich, sophisticated and diverse culture. Many Romans were
eager to merge
with this Greek culture in order to exhibit the dominance of
their rule over
conquered societies. This exhibition of dominance was the
primary motivation of
the Roman desire to possess fine works of Greek Art.
Whereas, other Romans, were
convinced that the pursuit of the assimilation of
foreign cultures would only
harm the republic. During this time, much social
disintegration and unhindered
individualism threatened political stability.
However, the adoption of Greek art
for Roman needs was very popular. An
educated Roman was well versed in the
history of Greek Art and was socially
compelled to collect Greek art for
personal embellishment. The modernization
of the old Sanctuary of Fortuna
Primigenia is an example of the new Roman
attitude toward art and architecture
as Greek artists migrated in vast
numbers to the new capital of the world. Roman
generals and their quest to
establish Rome as the new unchallenged capital of
the world justified the
expense of replanning the old sanctuary. This
accomplishment would bring them
personal glory and uplift the majestic status of
Roman people. Roman
architecture benefited as the city's wealth grew as other
leaders contributed
to the expansion of new monuments. Lucias Cornelius Sculla,
(82-78 B.C.) led
the Romans is Social War and later became dictator and master
of the city of
Rome. He brought Corinthian columns form the temple of Olympian
Zeus in
Athens to renew the shrine of the Roman Jupiter in the capital. This
act
symbolized the transferal of spiritual power from the aristocracy of the
Senate
to autocratic leaders, and art began to be shaped by their
preferences. This
satisfied the Roman desire for grandiose architecture by
being the model of
Hellenistic majestic ornate style. The first leader to
resolve the conflict of
this desire for "magnificence beyond anything the
world had ever seen"
and the moralistic fear that Greek art was "corrupting
Roman virtues"
was Augustus Caesar. He used art as imperialistic treasures
with his building
program. Some examples of his architecture are; the Forum,
Council House and
Temple of Apollo on the Palatine. These examples
illustrate effectively the
might and grandeur of the Roman Empire. The reign
of Augustus brought forth the
mindfulness of other art forms, such as
literature. Virgil (70-19 B.C.), was a
Roman poet, who wrote the great
epic poem, the Aeneid (30-19 B.C.) during the
last ten years his life. This
masterpiece contained 12 books, and was written in
dedication and praise to
the glories of Augustus and his empire. It celebrated
the Roman imperial
values in the role of its Trojan hero Aeneas, who is destined
to found a new
city in Italy. Virgil was patronized by Maecenas on behalf of
Octavian
(later the emperor Augustus). He composed in the traditional Homeric
meter of
hexameters. In contrast to the Iliad and the Odyssey, the Aeneid,
is
considered the first great literary epic, while Homer's epics are deemed
works
of oral poetry. Virgil constructed this epic at the request of
Augustus, to
glorify Rome whereas, Homer chose to create based on societal
morals. The late
art of the Roman republic is synonomous to the last stage of
the Hellenistic art
period of Greece. Most masterpieces of Roman art are
Greek. Imitations were
common at that time, due to the Roman admiration of
Hellenistic artistry. Roman
art greatly resembled Hellenistic art in both
style and convention. As
illustrated by the famous antique sculpture, Laocoön
and His Sons. This group
was discovered in Rome in 1506. It is believed to be
an original carving of the
second century B.C. and it was thought to have
been based on an Hellenistic
masterpiece depicting Laocoön and only one son.
It was found in the remains of
the palace of the emperor Titus. Other
fragments of Hellenistic groupings were
found in a grotto that served as a
summer banquet hall of the emperor's seaside
villa at Sperlonga. The legend
of Laocoön is told by Virgil's Aeneid, in the
voice of the long dead defeated
Trojans, describing Laocoön as the priest of
Neptune of Troy. Moreover,
during the last year of the Trojan War it appeared as
though the Greeks had
given up and broke encampment leaving a wooden horse as an
offering to the
goddess Athena. However, in fact the horse was hollow and was
filled with
armed men. Cassandra daughter of King Priam of Troy, was bestowed
with the
gift of prophecy from Apollo, who loved her. Nevertheless, she was
also
cursed by Apollo as a lunatic when she refused to return his love. No
one
believed her predictions of the Trojans deception. Laocoön warned the
Trojans
"I fear the Greeks even when they come bearing gifts."
Laocoön
warnings only enraged Poseidon who was angry with Troy. Poseidon the
god of sea
(Neptune) unleashed two sea serpents out of the sea to the land
towards Laocoön,
who was standing with his sons. Poseidon sought revenge on
Athens since losing a
wager with Athena. The serpents attacked Laocoön's sons
first and Laocoön
struggled fiercely to save them but both he and his sons
were strangled to
death. All at once the Trojans were convinced to ignore
Lacunas advice and
eagerly pulling the horse into the city and were
subsequently destroyed.
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