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12.2 The Claudianum or The Temple of Divine Claudius
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Roman Architecture
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The Creation of an Icon: The Colosseum and Contemporary Architecture in Rome
The Flavian dynasty of Vespasian, Titus, and Domitian. Vespasian linked himself to Divus Claudius by completing the Claudianum, distanced himself from Nero by destroying part of the Domus Aurea, filling in the artificial lake and replacing it with the Colosseum. Titus commissioned Rome's first preserved example of the "imperial bath type," characterized by grand scale, axiality, and symmetry.
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Diana E.E. KleinerDunham Professor of History of Art and Classics at Yale University
History Of Art
Now all that survives of this building today is its platform and
I'm going to show you some details of that platform in a moment.
Of a tall, great platform, like the platforms of the sanctuaries that
we looked at earlier in this semester, upon which the temple rested.
All that survives is, is that, is part of that platform.
And what I show you first here is a restored view, that comes from
the Ward-Perkins textbook, where you can get a
very good sense of what this platform looked like.
It was a two-storied platform, as I think you can see very well.
It have barrel vaulted chambers, it was made out
of concrete, barrel vaulted chambers, made out of concrete.
And then on the front there were doorways
at the bottom and windows on the second tier.
And the facing, the concrete, the facing for
the concrete was travertine.
Cut stone travertine, which should immediately
ring a bell because you'll remember that
it was cut stone travertine that was also used for Claudius' harbor at Portus.
And also for, the Porta Maggiore in Rome and you'll remember also,
the intriguing combination of, of rusticated masonry and smooth
masonry for those two Claudian buildings. The same is true here.
So when Agrippina made a decision to put up a
building honoring her husband after his death, a tenfold that
would be to him as a divus she turns back
to the style that he himself seems to have favored.
This combination of rusticated and finished masonry to use for that building.
And I think this underscores
the point that I made last time.
This choice of style of this rusticated masonry
style is not something that happened by happenstance.
It is, it is likely because of Claudius' own predilection as a patron so that
when Agrippina decided how would be, how
it would be best to honor him architecturally.
She wanted to honor him in the style that he himself liked, so she uses again this,
this combination of rusticated and finished masonry.
I can show you again some preserved sections of the of the
podium of the temple of divine Claudius that will make this even clearer.
Before I do, and you see it on the right hand side
of the screen, just to remind you at the left, of some
of the great podia that we looked at earlier this semester and
since the exam is coming up, there's no time like the present
to see if you know your stuff, does any, can anyone
identify this podium here on the left hand side of the screen?
Wendy.
>> Is that the Sanctuary of Jupiter Anxur at Terracina?
>> Excellent, the Sanctuary of Jupiter Anxur at Terracina.
That's the podium.
And you'll remember what was characteristic of it
is that it was made out of concrete.
It was faced with opus incertum. It had travertine at the corners and
over the arches, and it had la-, lateral arches as
well as others to allow the free flow of space.
So this idea of these great concrete
podiums that served as the base for sanctuaries.
It's the same idea here.
We see, again, a, a a podium that also has arches as you can see,
and then on the front of those arches, in this case, great pilasters.
and, and if you look at those pilasters very carefully and
again its done out of travertine in this case, when you look
at those, those very carefully, you see something very interesting here
that makes these slightly different from the other two that we saw.
Because you see you can see that the Capitol is finished.
You can see the upper part of the pilaster, and then if you
look very, and then below that, of course, you see these rusticated blocks.
But if you look at the the,
at the, in between each of those
rusticated blocks very carefully and I'll show
you a better image in a moment where you can see this even more clearly.
You will see that part of the pilaster emerges in between each of those
rusticated blocks, giving us even more the sense that that finished pilaster
is somehow inside the is inside the rusticated blocks waiting
to emerge in a very interesting way. We could, we could psychoanalyze Claudius.
We talked about his past and how he was not, you know, he was ignored as a child.
And he was shunted aside and because he stammered and so on.
You know one, one could go very far and
say that's Claudius, you know, waiting inside to, to,
to be, to emerge sometime does it, just like
a cocoon that allows the butterfly, to emerge at some
point later in life we could, we could try that.
I don't know whether you would buy that, but I mean it's
one way in which one can think about this sort of thing.
But clearly, whatever it meant if it was just to
point to his antiquarian interests, his interests in, in more old-fashioned
stone construction, at this particular point it does seem to have
something to do with the particular personality of this particular patron.
Here's another, here, here's just comparing the the, bay, the
podium of the Claudianum to the Porta Maggiore in Rome.
Just to remind you of the rusticated columns
there, the rusticated drums, of these engaged columns.
And then at the upper most part the way in which the upper part of the column and the
capitol are, are dressed smooth and seem to emerge.
And that's when I first made that point about the likelihood that the column that
we're supposed to read this as the column
completed inside just waiting to to break free.
And we see the same thing, but a further elaboration of that here
and I think you can see that much better in this particular detail.
Where you can again see the entire Pilaster behind the rusticated masonry.
You see
the, the the finished capitol, the finished entableture
up above, and then you can make out the
entire, the entire pier, all the way, the
entire pilaster, all the way down to the base.
And then superimposed or so it seems it's
not superimposed it's just carved in this way.
But in between those, these rusticated blocks again
giving me at least the sense that the pilaster
is done inside, it's just waiting somehow for it's debut out
of this travertine block. Now what about the rest of the complex?
We don't know exactly but we have some general
sense that it is quite likely that it was
similar to the, the sanctuaries that we looked at
earlier, the Sanctuary of Jupiter Anxur at Terracina and Hercules
at Tivoli and in fact we do have some fragments
of this on what is called the marble plan of Rome.
I've referred to that before, the so called Forma Urbis.
The Forma Urbis which was a marble plan of
Rome that was made in the early third century AD.
Which was housed in the building that I'm going to show you later today.
And there are fragments of this structure
there that give us a sense of what it looked like in an, in antiquity.
So we would have had the podium, it's mis-restored here, you have to imagine
the two tiers that we just looked at before, not this sort of thing.
But those beneath serving as the podium, or the decoration of the podium.
And then above, a large rectangular space with a temple, pushed not quite to the
edge of the back wall, but one of, toward one of the walls dominating this
space in front of it as you can see.
We don't know exactly what that temple looked like but it was probably a fairly
conventional temple on the order of so many that we have looked at this semester.
What's interesting about this it's different from the
other sanctuaries that we saw is that in their
rectangular space above they seem to have planted a
lot of bushes, as, as you can see here.
And that becomes very, a very popular way of decorating
these kinds of complexes in the Flavian period.
We'll see another example later today.
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