I want to show you a succession of other palaces, each fairly quickly. Other palaces that were built during this period that may have been, well we, in some cases we know for sure, but in other cases we're not as sure whether they were in fact palaces for the Tetrarchs. This is the one that's the least certain. It's a palace in the western part of the empire that we believe may have been the palace of Maximian Augustus in the west. And in fact I should, I should, yeah, so let's look at that first. And that dates, as you can see from your monument list, sometime in the early 4th century AD. Now if you look at the plan of this quickly, you will see that it is very, very different in feel from, and in plan, from the Palace of Diocletian at Split. This may have something to do with the personality of Maximian, or whoever the commissioner was. But it may also have to do with the fact that this is not on the sea but in a remote town in south-central Sicily, which was much less likely to be under attack then the the palace at Split. In fact as you look at this, you must be reminded, I am sure of the Villa of Hadrian at Tivoli. It is very similar to that, with a series of, a sprawling villa with a series of very interestingly shaped rooms, spread across the terrain, interacting with nature just as they did at Hadrian's Villa at Tivoli. Very much a countryside villa, and I think Hadrian's Villa clearly the main model. As we walk through this axonometric view we, you see we enter on the western end. At one, we see a horseshoe-shaped vestibule, with columns all around this villa, just like Hadrian's Villa at Tivoli does have a lot of columns. We see those here. Then you make an abrupt right into this passageway here at 2a. Then into the peristyle court, with columns all the way around, a, a pool in the center, an interestingly shaped pool in the center, and then a series of living spaces to either side. On the 2c we see a, a, a transverse corridor, which is very important because it links various parts of the villa to one another but, it is, was also very decorated with mosaics, many of which are preserved, and I'll show you those in a moment. 2d with it's niche at the end, probably a kind of audience hall. 3 is where the private compartment is for the Emperor, and you can see that that, too, is fronted by a small horseshoe shaped area. Then over here at 4, we see a tri-lobed dining room, the main dining room of the house with the triple lobes, and then down below a forecourt for that that is oval in shape. So some very interestingly shaped rooms. And where we see a, a combination of the, the interest in curvilinear shapes, just as in Hadrian's Villa. And in the use of columnar architecture, references to classical Greece. Over here at 5, we see several rooms very interestingly shaped, again, that make up the baths, the private baths of this particular place. One can visit it still today. Parts of it are very well preserved. We're clearly looking at the peristyle court with the pool in the center of it right here. And again, it is particularly well known for its mosaics. We see a long corridor here with those mosaics. They depict primarily scenes of hunting, and I show you a couple of those scenes here. And there's been some speculation that this was not Maximian's, that it may have belonged to somebody who, like those individuals who had the Hunting Baths at Leptis Magna were, were, whose work it was to collect, to collect wild animals from Africa. Africa is very close to Sicily, collect them from Africa, and send them to supply them to amphitheaters around the world. But the, even though most of these scenes are hunting scenes, the most famous mosaics from the palace of Maximian, so-called, at Piazza Armerina in Sicily, are the so called bikini girls. And I show you the bikini girls right here, and there's nothing like this mo, mosaic anywhere else in Roman art. But you can see why they're called the Bikini Girls, and they are involved in all kinds of, of athletic activities. One of them has received a crown and a, a, a, a palm branch for her, for her excellence. This one is twirling who knows what. here, these two are playing a passing, play, playing ball. And over here, we see a woman on the left with her five pound weights working out. So I mean this is, this is probably as close as we get to, I mean one doesn't, we, this is very hard to interpret exactly what this means and what it's all about and why it's here. But perhaps we can see it as a kind of women's version to the mosaic that we saw in the Baths of Caracalla, with the famous athletes of the day. I mean, perhaps these were famous women athletes of the day, some of whom were good enough even to be awarded prizes. But the, the, the, the jury is out on exactly what these were and why they're there. But they're memorable. These inimitable bikini girls, and very, very famous, along with the Alexander mosaic, [LAUGH] probably the most the most famous mosaic surviving from Roman antiquity. Again, I want to show you just very briefly to give you an inkling of a couple of more palaces. One of these, we know for sure, is the Palace of Galerius in the northern, in the northern part of Greece, the Palace of Galerius. Galerius, as you'll recall, was the Galerius was the [LAUGH] Caesar in the eastern part of the empire to Diocletian. And I should mention, I think I neglected to mention, that Diocletian did, by the way, abdicate on the 1st of May in 305 AD. He voluntarily stepped down. And when he voluntarily stepped down, two new, the Caesars were elevated to Augusti. And two new Caesars were chosen. Two new Caesars were chosen. And Galerius became an Augustus, and he built for himself this extraordinary palace in northern Greece at Salonica. And we can see from this plan, and I've given you the date of it, to 297 to 305 AD, I've given you a plan of it, and you should be, even though only part of it survives, you should be reminded of palaces that we've already looked at, not just today but in the past. Think of Domitian's Palace on the Palatine Hill. There's a hippodrome here, just as Domitian's Palace had. Although Domitian's Palace, it was used, as you'll recall, as a sunken garden. We're not sure how it was used here, but we think may have actually been used as a circus here. Other rooms including an octagonal one with alcoves looking sort of like what Rabirius designed again for Domitian's Palace on the Palatine Hill. But up above, we see just as Diocletian's Palace at Split, it includes a tomb. Galerius has also provided for himself in his afterlife by creating a round tomb, you see it very mu, at the uppermost part of this plan from Ward-Perkins. And then very interestingly, just like Diocletian's Palace at Split, you can see two major, what look like major roads, colonnaded roads, colonnaded streets, that intersect in the second, in the center, just like Diocletian's Palace. And then in the center of that, where they intersect, there's a four sided arch, that I'm going to show you in a moment, that's still preserved. Here's a plan of the of the tomb of Galerius at his villa. In this case round with radiating rectangular alcoves. You see it here. It's actually very well preserved. Here's the interior showing again just as we saw at the at the, in the baths of the octagonal room, in the baths of Diocletian, use of windows in the second tier, right at the base of the dome rather than a, an oculus. And we see that also very well in plan, in fact there were two sets of them as you can see here. So they've abandoned the oculus in favor of these windows at the base of the dome. And then from the outside, you can see that here they have used concrete faced with brick for the exterior of the structure, which was turned into a church. And you can see some some mosaics when, from when it was turned into a church, and the minaret was also added at one other point in time. Here's a spectacular view of the tomb as it looks today in Salonica. You can see it here, the exterior, as well as its relationship along what would have been one of those colonnaded streets with the arch, which is in part preserved. The arch, the so called arch of Galerius. You can also see from this view how similar modern Salonica is to modern Athens. Same country, same World War, post World War II construction. Mostly residential houses of five, six, seven stories with white in color with balconies, as you can see. Here's a view of the art, of the of the relationship of the tomb to the arch. These two colonnaded streets that intersect, and at that intersection, the placement of the arch. The arch was four sided, so the streets could go underneath it. But it was also triple bayed, as you can see here. Single central large bay, two smaller bays on either side, and then the piers decorated with sculpture that give us a report on the exploits, the military exploits of Galerius in the eastern part of the Empire. These were Galerius' wars, Galerius' victories, that are depicted here, but we do believe that since it was one for all and all for one that it honored the Tetrarchy as a whole, as well, and that there were niches that were placed somewhere on this arch that would have had in them representations, portraits of each of the four Tetrarchs. Another view of the Arch of Galerius at Salonica, where you can see its relationship even today to what was once the tomb of Galerius here. And a, a more detailed view of some of the scenes and how crowded they are, with one rectangular panel, piled one on top of another and decorative motifs in between them. And if we look at a detail, we see the usual scenes that we see on things like this, the Emperor sacrificing, the Emperor on horse back trampling barbarian enemies, the emperor seated with the other Tetrarchs down here and with a host of gods and goddesses and personifications. So, again, an honoring of Galerius' own personal victories but an expansion of those to include reference also to the tetrarchy as a whole. We're going to be talking next time about two men in particular. A man by the name of Maxentius and Constantine the Great. Constantine the Great, as I have already mentioned, was the son of Constantius Chlorus. Maxentius was the son of Maximian. So we see the generations continue, and the sons of the Tetrarchs also want to be Tetrarchs themselves, if not sole ruler. And we'll see Maxentius and Constantine do battle against one another in Tuesday's lecture. But I just want to mention, we'll talk about Maxentius in some detail next time, especially his construction, or the beginning, his beginning construction on a great basilica in Rome that Constantine eventually finished, the so-called Basilica of Maxentius-Constantine or the Basilica Nova. But I want to mention, just in passing today, a, a villa, about a villa that Maxentius built in Rome, on the Via Appia in Rome. Just around the circle, and to show you that some of these palaces were still, they were being built in these, in these capitals elsewhere in the world, but were still being built in Rome. And we know that Maxentius built a villa in the early 4th century AD, as I said, on the Via Appia. And rem, there are some remains of it today. I show you a general view of those here. And a view from the air from Ward-Perkins, I believe, that shows you that part of that villa which is still preserved was another one of these hippodromes, the circus. And in this case we know that this circus was used as a circus. The horse races took place here, and that it was built to hold 15,000 spectators. 15,000 spectators to come out onto the Via Appia to see horse races at Maxentius' villa. We also know that this villa had a tomb that Maxentius provided for himself, and perhaps for his family, as well, inside his villa. So, we see this same idea that we've seen in the provinces being used at Rome, in Rome, concurrently, a a tomb that is not all that well-preserved, but there is enough where we do believe it was a kind of mini Pantheon. And I show it to you here in two restored views that give you a sense of what it would have looked like, that it was indeed a mini Pantheon, that it was round, that it had a traditional porch in the front with columns and pediments, deep porch, free standing columns, single staircase, facade orientation, domed, as you can see here. This one looks like it reconstructs an oculus, although I don't think we're absolutely sure that this structure had an oculus, which seems an unlikely thing to do with a tomb, anyway, to have a opening in the ceiling and rain coming water coming into that tomb. But none, but leaving that particular detail aside, we believe it was in the form of the Pantheon. A better preserved tomb that I can show you that seems to have been quite like it is this last monument that I'm showing you today. The Tor de' Schiavi, a restored view that, from Ward Perkins that was a tomb that was put up in around AD 300 on one of Rome's other major streets, the Via Praenestina, as I've indicated on the monument list. And once again, we see this whole idea of the mini Pantheon, but being used not as a temple to all the gods, but as a tomb as a tomb, a round structure with a traditional porch on the front, a rectangular pediment, a deep porch, free-standing columns on that porch, single staircase facade, emphasis here. You also see, interestingly enough, that this one we know did not have an oculus, and you can see that they have put windows at the base to provide light. These are not the usual windows that we've seen that were arcuated at the top, but rather round windows, sort of portholes into the this particular tomb. Up above, you see there the plan as in Ward-Perkins, round with radiating, alternating, curved and rectangular alcoves. There is some controversy about the porch, whether it had a regular complete triangular pediment or whether it had an arcuated lintel. We're not sure. Various scholars have put forward one view or the other. But the last thought that I want to leave you with is that it's very interesting to see these mini Pantheons being used as tombs in late antiquity, by the Tetrarchs and by others. And if not mini Pantheons, octagonal structures that also look back to the past. And I think that's important, and it's a nice note to end on because it reminds us that when Diocletian and the other Tetrarchs come into Rome after the chaos of the 3rd century AD and want to establish stability once again, reestablish stability, what do they do? They look to the past. They build buildings in the Roman forum, but they also look to the great architecture of their earlier counterparts. Of Caesar. Of the great leaders of the Roman past. Caesar, Augustus, Hadrian, they looked to them. They look to their buildings. And they use their buildings as models to indicate that they are in a line of they are in a line from those earlier Emperors, that they're just as much in control, that they have brought stability back to Rome and also to the empire as a whole, which is why we see them building not just in Rome but also around the empire as they govern from the fringes as well as they govern, govern from the city of Rome. Thank you, all. Have a good day.
