Chapter 17 - Hannah's List



Severan Forum and Basilica p. 248-50 

The major Severan architectural Project in Lepcis Magna. Though it was a new building, it was located in the old section of town that had irregular streets and bending roads. This is why the forum is asymmetrical and the basilica is at an angle. This irregularity was disguised with tabernae and exedra in a wedge shape. The temple was dedicated to worship of the imperial family, which was standard practice in the East. It was of the alae type with freestanding pink Egyptian granite columns with white marble Corinthian capitals. The podium of the temple was so high that it required 27 steps to reach the cella. Completed by Caracalla, the basilica had 2 apses on either end. The northern one housed the tribunal. At the entrance of each apse were white marble pilasters that featured reliefs of Bacchus and his followers as well as Hercules. These were the equivalents of the deities of Lepcis Magna.



Arch of Septimius Severus p. 250-2 

Instead of placing the forum in the traditional place at the meeting of the cardo and decumanus, Septimius’ agents placed a quadrifrons arch. It commemorated the emperor’s recent visit to his hometown as well as his recent Parthian victory and dynastic ambitions, a common theme for Septimius. It is unique in form. Its three bays span either the decumanus or cardo. Freestanding Corinthian columns support tall and narrow broken pediments. This use of broken architectural fragments purely for decoration is typical of Fourth Style mural painting. Every usable space is covered with relief sculpture. One of the attic friezes depicts the family sacrificing; Geta’s face had been removed at the order of Caracalla. Another frieze depicts Septimius and Caracalla clasping hands, showing imperial harmony as Caracalla had been co-Augustus for 5 years. Geta had the title of Caesar, and he is shown behind the other two. This triad is one of the key features of what art historians have come to call the Late Antique style. This style was more formal and abstract than Classical naturalism.



Theater Sabratha p. 254-5 

The best example of baroque character stage that is located west of Lepcis Magna. Constructed by either Commodus or Septimius Severus, the stage has three stories of columns that are aligned perfectly one on top of the other. To add interest, they are set further back and use both flat and curved wall surfaces. The columns cast strong shadows in the North African dessert sun.

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Calibri;mso-bidi-theme-font:minor-latin">

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family: "Times New Roman";mso-bidi-font-family:Calibri;mso-bidi-theme-font:minor-latin">Sanctuary of Jupiter p. 257-8 

The most spectacular building project in the Near East during Roman period in Lebanon. It was so ambitious that it took 2 centuries to complete. The name of the colony, Baalbek, was sacred to Ba’al, equated with Zeus. A temple to Jupiter, the first part of the project perhaps started under Augustus, is typical of the mix between Greek and Roman design. Peripteral colonnade with stairs in front. It was enormous. About a century later, perhaps under Antoninus Pius, an enormous precinct was constructed in front of the temple. A temple to Bacchus was also erected, and its enormity featured impressive entablature. In the 3rd century, Caracalla added a hexagonal forecourt and monumental entrance gateway. This façade and the six-sided forecourt are the only baroque elements in an otherwise traditional design.