Staying on the [COUGH], staying in the Eastern Empire I want to go now to to ancient Asia Minor. To two sites on the coast, on the western coast, of what is now Turkey, Ephesus, and Miletus, Ephesus and Miletus. And I want to begin in Ephesus, to show you one building there of considerable interest, I think in terms of its relationships to Rome. It is the Temple of Hadrian, so called that dates to around 120 to 130 AD, in Ephesus. We know Hadrian visited Ephesus. We know that those who lived there wanted to honor him by building a temple to him. It is actually more a shrine than a temple. This is not a bigger-is-better. This is actually a fairly small structure, as I said, more a shrine than it is a temple. It's a kind of street-side temple. You're walking along the street, and then there, there, there, all of a sudden it is. But what's interesting about it is the fact that it makes use of the arcuated lintel, as you can see here, straight and curved, just as we saw it used at the Canopus at Hadrian's Villa. So a motif that we see in Italy being used also in Asia Minor for another Hadrianic building. So it's becoming associated in the minds of designers with Hadrian himself. So traditional vocabulary of architecture, but, but used in a, in a different way by using the straight and arcuated lintel together. This is a very good example of this interest in over-ornamentation. Every single square inch of, of, of, of, of, is used by the architects to decorate, as you can see, the architrave and also the lintel in the back and the pilasters in the back. All of them decorated to the point where the decoration almost dematerializes the architectural members. Another detail where I think you can see that particularly well: here on the right, this dematerialization of the architectural members through sculpture. And you'll remember this same this same approach in the Severan Basilica in Leptis Magna. This is a detail of the piers that we believe were added during the time of Caracalla, so around 216 AD obviously much later in date. But we see already here this interest in this sort of thing that's going to culminate at places like Leptis. And also, just to make the point that this same use of the straight and arcuated lintel that we see in Hadrianic architecture turns up also in 17th century Baroque Rome. I show you the interior of San Carlino here, where you can see again the straight and arcuated lintels combined. So clearly, 17th century Baroque architects looking back at Roman [COUGH] examples. I want to show you briefly a gate at Miletus, also as you saw in ancient Asia Minor. It's the gate to the [COUGH] South Agora, or marketplace, of Miletus [COUGH], and it dates to around AD [COUGH] 160. It is no longer in Miletus. It was moved some years ago, as antiquities sometimes are from its country of origin to Germany. It's now, can be seen in a museum in Berlin. They also have a, a great model in Berlin that shows you the relationship of the gate to the rest of the Roman city, and you can see the gate way up there. An incredible showpiece for the city: this gate that en, that allowed one to enter into the South Agora. I show it to you as reconstructed in the museum in Berlin. It is quite an impressive piece. You can see here it is that: it is a gate. And it shows that you could apply these Baroque facades to just about any kind of architecture. You see that the gate has a triple opening down below, three blind windows on top. It is made entirely out of stone. It uses the, the traditional vocabulary of architecture columns and capitals. You can see the capitals in this case are seem to be Composite capitals. And it is very much the theater, the theater scaenae frons idea, with a series of projecting elements on top of two columns, with wings on either side also projecting. Down below the lintels are straight, but up above they have combined full triangular pediments in the wings with a broken triangular pediment in the center. And the broken triangular pediment is, in the center is particularly interesting, because you can see the two sides, left and right, up above, but you can also see that they've included the center of the pediment, but in a plane that is further back. So you get this kind of zigzag motif, where you begin, the pediment begins in the front front zone, and then zigzags to the back zone which, which injects even further even a greater motion into the overall scheme. Once again, we see the projection, the recession, projection, recession, all using the traditional vocabulary of architecture. It's interesting to compare this to a much earlier gate in Greece. I show you the Propylaia, the gateway to the Athenian Acropolis, fifth century BC, where you can see it's all function. They've used the Doric order here and the columns support the roof above, triglyphs and metopes. The whole idea is very beautiful but the whole idea is to use these columns functionally. Very different in this gate in Miletus in the second century AD where you can see that the columns are no longer used for structural purposes, but mainly to decorate, and to enliven, and to add motion to the structure in a way that is entirely out of keeping with these important Greek precedents. Here you see a detail: some tourists looking at the at this and other things in the museum in Berlin, which gives you, again, the sense of the colossal scale of this structure. Here you can see also very well the Composite capitals as well as, once again, this interest in an almost overly decorative surface that is so characteristic of Baroque architecture. A number of you embarked on the Library of Celsus as your paper topic, so I'm sure you know everything there is to know about that. But I want to show it to you quickly in the context of this lecture, because it's an important monument for all of you to be aware of. Lest you think that it has always looked the way it looks now, I show you a view that was taken, well, by now, 25 years ago or so before the building was re-erected which it has been since then. The building, this is, this is what the Library of Celsus looked like 25 or so years ago. And but fortunately, even though everything had fallen down, it was all there. As you can see, there were fragments strewn everywhere, hundreds and hundreds of fragments strewn around the site. And enough fragments so that the ba, basically the building was there. And what they eventually decided to do was use those fragments to re-erect it, which took a number of years, and the results have been truly spectacular. I show you a view of Ephesus as it looks today, looking back toward the re-erected Library of Celsus, and then a better view here, where you can see what all of those pieces, the giant jigsaw puzzle that all of those pieces ultimately made. You can see here this incredible facade of the of the Library of Celsus in Ephesus. And you can see the scheme is the same as I just showed you in the South Agora Market Gate at Miletus. In this case, two tiers the bottom tier is very similar to what we saw there. Just two columns supporting a straight entablature above. And then in the second story, the addition of more decorative elements, with segmental, two segmental pediments flanking a rectangular one in the center with separate individual columns at either end, like we saw in the Deir with supporting, projecting, entablature. Once again, using the traditional vocabulary of architecture to create motion across the service. Projection, recession, projection, recession. and, but here, one very interesting feature, is that if you look at the second story, and the placement of those second story elements on top of those below, you can see that the ones at the top are not directly above the ones at the bottom, as we saw in the Market Gates, Gate, but they straddle the space below, which is very interesting. So instead of having the two col, two columns with a pediment above, right above this, you can see the columns with the pediment above are right above this space. So they're straddling the spaces, which if you look at it for a while, you'll see adds an additional sense of motion to the surface of this structure. I think you can also see from this general view the interest in ornamentation. You can see that perhaps much better here in these details. Here's a detail of one of the niches. Some of the statues are still preserved with the names of the figures in Greek down below. You can see the way in which they have essentially dematerialized the piers by decorating them so extensively, and this wonderful view up where you can see the variegated marble that is used here. You can see the coffered ceiling. You can see the deep cut, undercutting of the capitals and the entablature and how overly ornamental it actually is. And you can also see that in the uppermost part, actually what they've created here, in this particular building, is something that looks very much, I think, like the architectural cages at the, at the upper tier of the Fourth Style. And I remind you of a detail of one of those from that fragment from Herculaneum that shows the same sort of coffered ceiling and elements as well as the split triangular pediment that we see also in built architecture [COUGH] in the second century AD in Ephesus. The inside of the structure looked like this. This is from Ward-Perkins showing you one main niche, a couple of other tiers with columns, much simpler inside, as you can see. the, the niches were, had shelves, and this is where the scrolls were kept in the library. And here a niche that beneath which was a, a place for the last resting place of Celsus. I mentioned this to you when we talked about the paper topics, that Celsus wanted not, he, he built this library as a benefaction to his city to benefit the citizenry, obviously, of the city, as well as to have a building to put his name on. But he liked it so much, and it meant so much to him, that he decided to make it his own tomb. He was buried in his library beneath that central niche. You see in plan here the location of that central niche. so, so, as he could be he could be in the midst of this extraordinary building that he built in perpetuity. Another showpiece done in the same Ro, ancient Roman Baroque style is the one that you see here in a restored view from the Ward-Perkins textbook. It dates to the early second century AD. It's a nympheum, or a fountain, located at Miletus in Turkey. We see it here. And it, it was also an extraordinary structure. It was much more ostentatious than it needed to be. It could get the job done with a lot less. Its purpose was to serve as a fountain. You've got the basin down below. You could do this with a single story, certainly. But they built up three stories in this particular place. They've been as ostentatious as they possibly can. They spent as much money as they possibly can. Because I think it was a form of one-upmanship from one city to the next. You know, I have a better fountain than you've got, or I've got a more ornate fountain than you've got was the whole idea. Our city is doing particularly well because you can see what what, what, what prosperity has wrought by this amazing fountain that we've been able to build for the benefaction of the people of the city of Miletus. And you can see that this scheme is the same. It looks back, certainly, to the theatrical architecture, to the Second Style painting and Fourth Style painting that we've talked about here. The same general idea with the first story: a series of double columns with straight entablatures above. In the second story, the addition of pediments, in this case triangular pediments combined with these interesting scroll motifs over some of the pairs of columns. And then in the uppermost story, triangular pediments once again. Niches behind them and between them with statuary, as you can also see. And then pilasters, decorative pilasters on the wall. This one also has wings, but you can see that the wings are even more elaborate than the wings we've seen in any of the other structures. And they in fact have pediments that face in toward the central part of the structure, and toward the fountain proper. Ward-Perkins has added a few figures here that give you a sense, once again, of the enormity of the scale of this amazing fountain in the city of Miletus.
