Chapters
Roman sculpture can be divided into two periods. The first period is the Etruscan period, when Rome, as a city and surrounding areas, was under the Etruscan influence; the second period is the time associated with the Greek style, mainly due to the subjugation of southern Italy and the Greek cities located there, and the acquisition of many valuable Greek works, after the conquests, in the 2nd century BCE, directly in Hellas.
One of the best examples of Etruscan art are terracotta tombs, on top of which there was a sculpted lying silhouette supported on an elbow, showing the figure during a feast.
The most famous sculptors in ancient Rome were the Greeks, who were often slaves or artists brought to Italy. You can mention:
- Pasiteles – A Greek working in the south of Italy in the 60-40 BCE His apprentice was Stephanos, who in turn educated Menelaus. They were both Greek.
- Salpion, Sosibos, Pomtion – Athenians living at the turn of the eras. First of all, they created beautiful sculptures in the form of vessels, which were intended for the decoration of architectural objects. From the place of their activity, sculptures, friezes, altars with similar decorations are referred to as neoattic.
An interesting mention of artists in the world of antiquity was made by Vitruvius:
But as nature has not formed us after this fashion, the talents of many men lie concealed within them, and this renders it so difficult to lay down an accurate theory of any art. However an artist may promise to exert his talents, if he have not either plenty of money, or a good connexion from his situation in life; or if he be not gifted with a good address or considerable eloquence, his study and application will go but little way to persuade persons that he is a competent artist.
We find a corroboration of this by reference to the ancient Sculptors and Painters, among whom, those who obtained the greatest fame and applause are still living in the remembrance of posterity; such, for instance, as Myron, Polyclitus, Phidias, Lysippus, and others who obtained celebrity in their art. This arose from their being employed by great cities, by kings, or by wealthy citizens. Now others, who, not less studious of their art, nor less endued with great genius and skill, did not enjoy equal fame, because employed by persons of lower rank and of slenderer means, and not from their unskilfulness, seem to have been deserted by fortune; such were Hellas the Athenian, Chion of Corinth, Myagrus the Phocæan, Pharax the Ephesian, Bedas of Byzantium, and many more; among the Painters, Aristomenes of Thasos, Polycles of Adramyttium, Nicomachus and others, who were wanting neither in industry, study of their art, nor talent. But their poverty, the waywardness of fortune, or their ill success in competition with others, prevented their advancement.
– Vitruvius, De Architectura, III.1-2
The most commonly used carving material was white marble, which was polished to a shine, especially in Greek copies. Chisels, hammers and files were usually used to work with this brittle sculptural material. A water-powered mill that moved a saw was also used to cut the stone – this type of machine remains was discovered in ancient Hieropolis (western Turkey). The later invention of the drill allowed Roman artists to refine the details more freely and in detail without fear of damaging the material. An example of a work made with a drill is a portrait of Julia, granddaughter of Emperor Vespasian, and daughters of Titus.
In the days of the Roman Republic, marble was not more widely known or used stone. He was considered too extravagant. Marble became the ubiquitous stone only during the reign of Octavian Augustus (27 BCE – 14 CE), who gave up brick and marble buildings.
The most popular marble was certainly Carrara – from Carrara in Tuscany, which was perfectly white (devoid of veins and stains) and widely available. Other popular stones were also white, Parisian marble – mined on the island of Paros (Greece), or Pentelite marble containing iron particles, which give it a delicate yellowish shade, especially visible in the rays of the setting sun.
In imperial times, coloured marble was also valued. For example yellow Numidian marble (North