The most important development that happens at Ostia with regard to residential architecture, later in it's history, is we do begin to see the reemergence of the domus. Already in the second century, and then even more so in the third and fourth centuries AD. And I want to show you quickly two examples of that because they tell us a good deal about late residential architecture in Ostia and also by association in Rome. This is the domus of Fortuna Annonaria, an axonometric view of that house. It dates to the late second century AD but was remodeled significantly in the fourth century AD. And I think we really need to think of it as more a fourth century house than as a as a second century house. And by the way, Pomp Ostia was still thriving in the third century. By the 400, by the year 400 AD, it was abandoned. But in the third century, still a thriving, and early fourth century, still a thriving city. We see this house here. It's a, an axonometric view from Ward Perkins. The most important features besides the fact that it's a single-story dwelling, single-family dwelling, is the fact that it has an open court here with a pool. That it has a, the as the triclinium as the most important room of the house, so that continues on in residential architecture. But there's a particular taste for apses in these late Roman buildings. You can see that this one has an apse not so unlike the apse that we saw in Domitian's Palatine Palace of the Palatine hill. It is finally starting to catch on among others. We see that you go into that that that room through three arches on columns. And this idea of supporting a triple arch on columns is also a very popular motif in domestic architecture in later antiquity. And look also at the fact that on the left hand side of the triclinium there is a fountain. So the incorporation of a fountain. A fountain, a, a pool court here. A fountain there an apse triclinium and then views through a triple arches supported by columns. All characteristic features of late Roman domestic architecture. This is a view obviously through the columns supporting that triple arch toward the fountain on the left and toward the apse in the center of the structure. And you can see the remains of marble revetment. Real marble revetment that was used both on the floor, for the pavement and also on the walls. The other house I want to show you briefly is the Domus of Cupid and Psyche, the more famous of the two. This dates without any question to late Antiquity to around AD 300. The House of Cupid and Psyche we see it first in plan. And you can see it's very simple. An entrance way here, a long corridor, a series of cubicula on either, on one side of that corridor. There may have been a second story on a small part of the house. You can see the stairway there. As you walk along the corridor, you eventually end up in the very large triclinium. So again, from the time of the house in the mosaic atrium and herculaneum to here the triclinium gaining in importance. As you walk along that corridor, you look through a series of columns, supporting arches, as we'll see, customary buildings of this time. And then look at this wall which is scalloped for a fountain. So, another one of these fountain courts that seems to be popular during this period. Here is a view into the room with the lovers at the famous statue of Cupid and Psyche. The young Cupid and they little, little young Cupids and Psy, Cupid and Psyche are embracing one another. [COUGH] That's from that statue that the house gets its name. One of the best preserved marble reveted rooms in the history, in the history of Roman architecture is this room here. The, probably the triclidium in the house of Cupid and Psyche. You can see that even marble from the walls is preserved, as well as on the pavement, and the steps, and on the side with the base of the walls as well. Brick faced concrete construction, faced with real marble. What makes this particular house especially appealing besides that wonderful statue. Is the fact that although there's the usual touches of maroon and green that we tend to see in many of these Roman pavements. Most of the color is pastel, and it makes it look particularly attractive. And it goes particularly nicely with the red and yellow of the brick construction. And I show you a detail here of that marble revetment which gives you as good an idea as anything I have shown you this semester of what the original Hellenistic palaces of the kings. The palaces of Nero, and Domitian would have looked like in their heyday. And a detail of the statue of Cupid and Psyche, and the room in which that found itself. It can still be seen there today and the marble revetment once again done in pastel colors of the floor and of the walls. Giving us again an excellent sense, not only of fourth century domestic architecture decor. But also what so many of the buildings that are no longer preserved whose revetment is no longer as well-preserved as one would wish. What they would have looked like in antiquity. A view through the corridor through the columns. In this case grey granite columns that probably would have supported an arcade. But then without question the fountain on the side of the wall that is scalloped both down here and the wall itself. And then the columns there do support arches, so this whole concept of columns supporting arches, very much a part of late Roman house design. In the very few minutes that remain, I just want to say a few words about we've talked about the life of this port city. I want to talk about, since I said the lecture was about life and death, I want to just end with saying a few words about the tombs in which the people who lived here were buried. People all up and down the social pyramid lived in this commercial center. The simplest tombs, and by the way, I mentioned to you already that there are tombs both outside the city of Pompeii on the major roads. And then a little bit farther away, at this place called Isle e Sopher, or The Sacred Island. Where one can see particularly well-preserved tombs from those who lived in Ostia at the second century. Those who, the, the working poor were buried in very simple tombs of two types. The upper part of clay amphoras, just the upper part. They were broken, and then the upper part was stuck, was stuck into the ground. The remains of the person were placed below the ground and then the spout could be used to pour wine libations into. The other simple type was tiles that were, the body was placed below. And then tiles were arranged around it looking almost like a, a, a kind of a house that helped to protect this idea of the house of the living and the houses of the dead that were meant to protect the body. But most of the tombs are what we call the house type. We looked at the house type on the Via Appia in the age of Augustus in Rome. A tomb that resembles a house from the front with a doorway. And a couple of windows. And then a description plaque. A note they used at the travertine jams and lintel around it just as we saw in the markets of Trajan in Rome. But if you look at these in this very good view from the side, you will see that almost all of these are barrel-vaulted tombs, which is characteristic of second century tomb architecture at Ostia, at Isola Sacra. These barrel-vaulted structures with facades that make them look like houses. Here's a detail of one of them, one of these house tombs. With again the travertine jams down below, with the touch of a pediment up above. They haven't lost their interest in Hellenization to a certain extent. Windows here, slit windows here; an inscription, a long inscription plaque that tells us who was buried there. And then very often in these wonderful tombs for this commercial center, these panels that are done in terracotta that tell us something about the profession of those who are buried here. Here's probably a shipper was buried here, someone who made his money in the import and export business. And over here you can maybe barely make out a representation of a mill, just as those that we would have saw, saw in Pompeii, or we saw on the Tomb of the baker Eurysaces. A mill with a a worker and a mule that is helping to rotate the mill of the bakery. So perhaps a baker also from this particular family. I've in, I've super imposed a couple of other terracotta plaques making them a little larger here. To show you that these two belong to people who made their profession by sharpening knives. Knife sharpeners. And they not only sharpen knives, and you can see them both doing this in this scene, but they also sold them. And I love the way in this still life they've arrayed every possible knife that you can sharpen here or buy from these individuals. And what do you think the professions were of these two? This one, clearly, a shop, someone selling things in a shop, looks like vegetables, once again, asparagus and maybe broccoli or some such over there. But what about this one? What was the profession of this one? Midwife. Midwife. And I love this because here we have this woman about to give birth. She's got another woman I, holding her and giving her support. And here, the midwife instead of looking at what she's doing. She's reaching in but she's not, she's, she's instead of looking at what she's supposed to be concentrating on. She's looking out at the spectator just to make sure that we don't forget her features for posterity on this tomb relief, from her tomb in Ostia. We saw column bari these underground column bari with these niches where they placed the cremated remains of the deceased and had inscriptions. We see the same sort of thing in the interiors of tombs at Ostia but they on, they are above ground rather than subterranean as Ostia. And we also see, and basically the last point I want to make today, is we also see in the interiors of these tomb at Ostia. Not only those niches for the cremated remains. But it's in the second century AD at the time of Hadrian on, that inhumation, burial becomes the norm largely on, under the influence of the spread of Christianity. The idea that, of the, the, the, the stole, soul leads to, ascend to heaven, and so you have to maintain the bodily remains. And so we begin to see in these interiors what we call arcosolia. Arc, arco-, arcosolia. Arcosolia, which are these much larger niches. Where bodies are placed. Bodies are buried and then they are covered over with a marble slab that might have the inscription naming the deceased or a figural scene. And just in closing, to show you one last tomb that we're going to look at next time, the Tomb of the Caetennii in the Vatican Cemetery in Rome. To show you that these concrete, brick-faced building tombs with windows and with very elaborate interiors also begin to be put up in Rome in the second century AD. We'll look at those. We'll look at the title of next time's lecture is Bigger is Better. We're really going to culminate our move toward larger, more grandiose buildings then. And then, on Thursday we will finally move out to the provinces by studying Roman architecture in Roman North Africa. Thank you.
