By Martin Henig
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Extra resources for A Handbook of Roman art : a comprehensive survey of all the arts of the Roman world
26. Courtyard of the warehouse of Epagathius and Epaphroditus, Ostia. AD I45-5 - served equalh well for warehouses horrea and market buildings. architecture is essentiall) functional: decoration is The limited to an occa- round a doorway or a string course above the large The texture of the brickwork and the pattern of relieving arches above the openings now seem to enliven the exteriors, but were probably originally concealed beneath a stucco rendering. The large windows and doorways had come to give the sional brick portico rectangular glazed windows.
The exclusive use of brick as a facing material for concrete outside Italy. tional, because The its well-preserved Aula Palatina at Trier was rare is excep- walls were not just faced, but were built entirely of 29). This type of construction had been anticipated in the which had acquired the idea of fired brick from Italy. The enormous central hall of Kizil Avlu at Pergamum, the Temple of Sarapis built early in the third century, had walls built entirely of brick, as did the Harbour Baths at Ephesus and the upper part of the pressure-towers oi" the aqueduct at Aspendos.
Whereas the exteriors of such early buildings of their type as the amphitheatre at Pompeii and the mid-first century gate, the Porta dei Leoni, at Verona had plain arched openings with, at most, a simple ARCHITECTURE 34 stringcourse, later examples were elaborately decorated to harmonize with the traditional appearance of temples and basilicas (111. 18). As we see from such buildings as the Porta dei Borsari at Verona, the gate of Hadrian at Athens and the amphitheatre at El Djem (Ills. 19, 40 and 21), this decorative treatment is so commonplace a feature of it now seems almost inevitable.
A Handbook of Roman art : a comprehensive survey of all the arts of the Roman world by Martin Henig
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