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Romos imperijos laikotarpis (1-5 a.) pasižymėjo architektūros ir technikos pasiekimais: tiesti keliai, statyti tiltai, akvedukai, visuomeniniai pastatai (termos, cirkai, amfiteatrai), imta taikyti naujas statybines medžiagas bei konstrukcijas.

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Romėnų architektūrai būdingi monumentalūs statiniai: rūmai, šventyklos, forumai, teatrai ir termos. Jos naujovės – triumfo arkos ir pergalės kolonos.

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Romėnų architektūrai būdingi monumentalūs statiniai: rūmai, šventyklos, forumai, teatrai ir termos. Jos naujovės – triumfo arkos ir pergalės kolonos.

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Nuo 3 a. pr. Kr. pab. vis didesnę reikšmę įgauna pasaulietiniai statiniai (vilos, daugiaaukščiai nuomojami namai).
Nuo 2 a. pr. Kr. medinių bei molinių plytų statinius pradėjo keisti monumentalūs akmeniniai pastatai. Reprezentaciniuose pastatuose pirmenybė buvo teikiama marmurui.

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Svarbiausiais ir lemiamas atradimas – į betonavimą panaši liejamos statybos technika, naudota nuo 2 a. pr. Kr. pab., kuri leido skliautais perdengti milžiniškas patalpas. 

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Svarbiausiais ir lemiamas atradimas – į betonavimą panaši liejamos statybos technika, naudota nuo 2 a. pr. Kr. pab., kuri leido skliautais perdengti milžiniškas patalpas. 

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Romėnų architektūrai būdingas ašinis ir simetriškas pastato dalių išdėstymas. 

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Romėnų architektūrai būdingas ašinis ir simetriškas pastato dalių išdėstymas. 

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Senovės graikų ir romėnų miestas, Kipre

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Romos koliziejus nušvis

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Romos akvedukas

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Romos koliziejus, stovintis Romoje, Italijoje, pradėtas statyti 70 m. po Kr.

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Panteonas – šventykla Romoje, pastatyta 126 m. 

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Panteonas – šventykla Romoje, pastatyta 126 m. 

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Koliziejus dar kitaip vadinamas Flavijaus amfiteatras – didžiausias ir seniausias pasaulyje amfiteatras, esantis Romoje, Italijoje.

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Romos forumas

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Romos akvedukas

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Septimijaus Severo arka, stovinti Romoje, Italijoje, pastatyta 203 m.

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Panteonas – šventykla Romoje, pastatyta 126 m. valdant Romos imperatoriui Hadrianui. Vėliau, atsiradus krikščionybei, šventykla pertvarkyta į bažnyčią, pavadinant ją Švč. Mergelės Marijos ir Visų Kankinių vardu.

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Romos Koliziejus

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A bust of the gorgon Medusa occupies the center of this Roman mosaic floor. Although early Greek representations of Medusa emphasized her hideous and monstrous appearance, a more human-appearing figure had become the norm by the time of this mosaic in the 100s A.D. Medusa's former snaky locks are now just wild curls and she even takes on traits derived from representations of Alexander the Great and Hellenistic kings, like her wind-blown hair and turned head. In this mosaic, Medusa is placed in a shield of concentric circles, whose alternating black and white triangles create an optical illusion of continuous motion. An outer square encloses the shield and kantharoi or drinking cups fill the outer corners. This spinning shield motif with the gorgon's head as its central point appears frequently on Roman mosaic floors. The basic design derives from Athena's aegis, the scaly protective cloak decorated with Medusa's decapitated head.

Mosaic floors executed in only black and white were favored in Italy in the 100s A.D. This floor combines this Italian black and white style used for the shield with the polychrome mosaic style of other parts of the Roman Empire used here for Medusa.

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Mosaic Floor with Head of Medusa - Unknown - Google Arts & Culture

# data[].attributes.attachment_link.description
A bust of the gorgon Medusa occupies the center of this Roman mosaic floor. Although early Greek representations of Medusa emphasized her hideous and monstrous appearance, a more human-appearing figure had become the norm by the time of this mosaic in the 100s A.D.

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Tai vaizdas sudeliotas ar sukurtas iš smulkių dalelių, tai kruopštus ir detalles darbas.

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Triumfo arkos Prancūzijoje

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Akvedukas – dirbtinis kanalas vandeniui tiekti.

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akvedukas

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Koliziejus dar kitaip vadinamas Flavijaus amfiteatras

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Koliziejus dar kitaip vadinamas Flavijaus amfiteatras

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Mozaika-iš įvairių medžiagų sudeliotas paveikslėlis, vaizduojantis kažkokį objektą.

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Mozaika-iš įvairių medžiagų sudeliotas paveikslėlis, vaizduojantis kažkokį objektą.

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Trajano kolona, stovinti Romoje, Italijoje

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Romos forumas

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Mozaika- vienas iš seniausių dailių formos. sis menas budo išvystitas bronzos amžiuje. Tai yra piešinys ir paveikslas kuris sudėtas iš įvairių medžiagų.

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Triumfo arka – arkos formos architektūrinis paminklas

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Triumfo arka – arkos formos architektūrinis paminklas

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mozaika yra senovės romėnu paveikslai ar piešiniai.

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This is a 5th century CE floor mosaic from the Yakto Complex at Daphne, outside of the ancient city of Antioch.

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Roman Mosaic From Antioch - Unknown - Google Arts & Culture

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This is a 5th century CE floor mosaic from the Yakto Complex at Daphne, outside of the ancient city of Antioch. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more Recommended

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Mozaika- tai iš įvairių detalių ir medžiagų sudarytas kūrinys, kuris dažniausiai vaizduoja kažkokį objektą.

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Mozaika- tai iš įvairių detalių ir medžiagų sudarytas kūrinys, kuris dažniausiai vaizduoja kažkokį objektą.

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Mozaika -  piešinys ar paveikslas, kai vaizdas yra kuriamas iš įvairių, smulkių medžiagų.

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Mozaika - Paveikslas, piešinys sukurtas naudonat smulkias,įvairias medžiagas(pvz: akmenų, plytelių, metalo gabalėlių)

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Mozaika - Paveikslas, piešinys sukurtas naudonat smulkias,įvairias medžiagas(pvz: akmenų, plytelių, metalo gabalėlių)

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Geometric paving mosaic with black and white tesserae. It is composed of a medallion shape made up of white triangles on a black background, with eight concentric circles in a rosette with six white ends above a black hexagon. It features white triangles at the four corners. This shape is disputed, but is likely to be a military emblem: most likely a military shield.
This mosaic was in a room inside the domus containing the Orpheus mosaic.

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Geometric mosaic - Google Arts & Culture

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Geometric paving mosaic with black and white tesserae. It is composed of a medallion shape made up of white triangles on a black background, with eight concentric circles in a rosette with six white ends above a black hexagon. It features white triangles at the four corners.

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Tai, iš skirtingų daiktų sudeliotas vaizdas

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Floor from the Villa of Daphne - Unknown - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Mosaic floor - Unknown - Google Arts & Culture

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Copy of an ancient mosaic at the thermae of Otricoli (Ocriculum) near Rome. The State Hermitage Museum, St.Petersburg. Photo by Evgeniy Sinyaver.

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Mosaic of a Lion Chasing a Bull - Unknown - Google Arts & Culture

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Fragment of a mosaic depicting a lion chasing a bull, running to the right. Only the head and a front paw of the lion are preserved. The lion is biting the...

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Tai kultūros renginių centras Australijoje, Sidnėjuje. Šis teatras yra vienas garsiausių ir išskirtiniausių XX a. Pastatų, jis yra net įrašytas į Gineso rekordų knygą. Čia vyksta ne tik operos, bet ir daugelis kitų renginių. Kasmet ten vyksta 1 500 įvairių pasirodymų, kuriuos aplanko daugiau kaip 1 milijonas žmonių. Šis teatras buvo pradėtas statyti 1959 m. kovo 2 d., o atidarytas 1973 m. spalio 23 d. Šio teatro aukštis yra 65 m, jo masė 161 000 tonų, teatro dizainą sukūrė Danijos architektas Jørn Utzon. Architektas pats sakė, jog statyti šį projektą jį įkvepė apelsino žievelės.

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Mozaika - senovės romėnų paveikslai arba piešiniai. Kuriamas iš įvairių medžegų (keramikos, akmens, metalo, medžio).

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A bust of the gorgon Medusa occupies the center of this Roman mosaic floor. Although early Greek representations of Medusa emphasized her hideous and monstrous appearance, a more human-appearing figure had become the norm by the time of this mosaic in the 100s A.D. Medusa's former snaky locks are now just wild curls and she even takes on traits derived from representations of Alexander the Great and Hellenistic kings, like her wind-blown hair and turned head. In this mosaic, Medusa is placed in a shield of concentric circles, whose alternating black and white triangles create an optical illusion of continuous motion. An outer square encloses the shield and kantharoi or drinking cups fill the outer corners. This spinning shield motif with the gorgon's head as its central point appears frequently on Roman mosaic floors. The basic design derives from Athena's aegis, the scaly protective cloak decorated with Medusa's decapitated head.

Mosaic floors executed in only black and white were favored in Italy in the 100s A.D. This floor combines this Italian black and white style used for the shield with the polychrome mosaic style of other parts of the Roman Empire used here for Medusa.

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# data[].attributes.attachment_link.title
Mosaic Floor with Head of Medusa - Unknown - Google Arts & Culture

# data[].attributes.attachment_link.description
A bust of the gorgon Medusa occupies the center of this Roman mosaic floor. Although early Greek representations of Medusa emphasized her hideous and monstrous appearance, a more human-appearing figure had become the norm by the time of this mosaic in the 100s A.D.

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Romos koliziejus

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https://artsandculture.google.com/asset/roman-mosaic-from-antioch/kAE4Kjagq633xQ?ms=%7B%22x%22%3A0.5%2C%22y%22%3A0.5%2C%22z%22%3A8.947980851765255%2C%22size%22%3A%7B%22width%22%3A2.2731135865497096%2C%22height%22%3A1.2375%7D%7D

# data[].attributes.attachment_link.readable_text
This is a 5th century CE floor mosaic from the Yakto Complex at Daphne, outside of the ancient city of Antioch.

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# data[].attributes.attachment_link.title
Roman Mosaic From Antioch - Unknown - Google Arts & Culture

# data[].attributes.attachment_link.description
This is a 5th century CE floor mosaic from the Yakto Complex at Daphne, outside of the ancient city of Antioch. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more Recommended

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A lion sinks his teeth and claws into the back of a fallen onager (wild ass) in the scene portrayed on this fragmentary mosaic. Blood flows from the wounded victim, who attempts to fight back, turning towards the lion. The scene takes place in an outdoor setting characterized by two trees, one on each side, and the bank of a stream in the foreground; the sky is suggested by a neutral, white background. A border survives on two adjoining sides of the fragment, but the original extent of the mosaic on the other sides is unknown. A single polychrome guilloche runs below the main scene. The mosaic is formed from tesserae, small cubes of colored marble, stone, and glass, set into a bed of mortar.

This small panel likely decorated the floor of a luxurious villa in Hadrumetum (present-day Sousse, Tunisia). Although the scene could be considered complete in itself, it probably featured in a larger floor depicting several scenes. Mosaics of animal combat in natural settings as well as in the arena were especially popular in Roman mosaics of North Africa. In the second century A.D., the Roman province of Africa, including modern Tunisia, was flourishing. The region was important both economically and politically, and this wealth and power translated into artistic production. More mosaics survive from Tunisia than any other part of the Roman Empire.

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Mosaic of a Lion Attacking an Onager - Unknown - Google Arts & Culture

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A lion sinks his teeth and claws into the back of a fallen onager (wild ass) in the scene portrayed on this fragmentary mosaic. Blood flows from the wounded victim, who attempts to fight back, turning towards the lion.

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Mosaic Floor from Villelaure with Diana and Callisto Surrounded by Hunt Scenes - Unknown - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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The brooch is made of glass and gold mosaic, set in enamelled gold. The central medallion is made up of minute cubes of glass, or tesserae, of differing shades of colours. The halo of the Lamb (symbolizing Jesus Christ) is made of real gold tesserae, not glass. The outer border is decorated with enamel set within a pattern of gold cells. As the enamel does not fill the entire depth of the cells, the pattern stands out in relief.Pio Fortunato Castellani (1794-1865) pioneered the revival of jewellery techniques from the ancient world. His firm, carried on by his sons Alessandro (1823-83) and Augusto (1829-1914), became the most original and prolific producer of jewellery in the 'archaeological' style, so called because most of their work was based on actual Etruscan, Greek or Roman jewellery. This followed the excavation of Etruscan tombs in the area around Rome in the 1830s.The Castellani family themselves built up a distinguished collection of ancient jewellery, used as inspiration for their work. The border of the brooch very closely follows that of an eighth-century brooch from southern Italy in the Castellani Collection, which the family sold to The British Museum in 1865. Miniature glass mosaics have been made in Rome since the 1770s, but the Castellani firm were the first to combine 'archaeological' jewels with mosaics from the Early Christian and Byzantine churches of Rome: the design of the Lamb is based on the large-scale mosaic in the apse of the Church of Saints Cosmas and Damian in Rome.

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Micromosaic brooch with the Lamb of God, made by the firm of Castellani - Google Arts & Culture

# data[].attributes.attachment_link.description
The brooch is made of glass and gold mosaic, set in enamelled gold. The central medallion is made up of minute cubes of glass, or tesserae, of differing shades of colours. The halo of the Lamb (symbolizing Jesus Christ) is made of real gold tesserae, not glass.

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https://artsandculture.google.com/asset/mosaic-of-the-moray-archaeological-ensemble-of-baelo-claudia/AQEIgN9XsWpxfQ

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Roman mosaic of the Maritime thermal baths of Baelo Claudia, illustrating marine species consumed in Roman times, as the moray and the sea urchin. This is one of the first examples of mosaics in the city of Baelo Claudia and it was discovered and reused in a secondary position (destroyed in another room), in a pool of the same thermal baths. The chronology of the mosaic with marine and aquatic motifs, indicates a date not beyond the second century A.D.
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Bibliography:

- Bernal, D., Arévalo, A., Muñoz, A., Expósito, J. A., Díaz, J. J., Lagóstena, J., Vargas, J. M., Lara, M., Moreno, E., Sáez, A. M., Bustamante, M. 2013: "Las termas y el suburbium marítimo de Baelo Claudia. Avance de un reciente descubrimiento", Onoba, 1, Universidad de Huelva: 115-152.

- Bernal, D., Díaz, J. J., Expósito, J. A. (2015): "El descubrimiento de las termas marítimas de Baelo Claudia", Teatro en la Bética, Boletín anual del Festival Juvenil Europeo de Teatro Grecolatino 2014-2015.

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Mosaic of the moray - Archaeological Ensemble of Baelo Claudia - Google Arts & Culture

# data[].attributes.attachment_link.description
Roman mosaic of the Maritime thermal baths of Baelo Claudia, illustrating marine species consumed in Roman times, as the moray and the sea urchin. This is one of the first examples of mosaics in the city of Baelo Claudia and it was discovered and reused in a secondary position (destroyed in another room), in a pool of the same thermal baths.

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Mosaic floor with Egyptianizing scene - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Mozaika - tai iš mažų akmenuku sudėliotas kūrinys.

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The rectangular panel represents the entire decorated area of a floor and was found together with another mosaic (now in the Baltimore Museum of Art) in an olive grove at Daphne-Harbiye in 1937. In Roman times, Daphne was a popular holiday resort, used by the wealthy citizens and residents of Antioch as a place of rest and refuge from the heat and noise of the city. American excavations at Daphne in the late 1930s uncovered the remains of several well-appointed houses and villas, including the one that contained this mosaic. At its center is a panel (emblema) with the bust of a woman, decked out with a wreath of flowers around her head and a floral garland over her left shoulder. Traditionally identified as Spring, the figure is probably the representation of a more generic personification of abundance and good living, well suited to the luxurious atmosphere created at Daphne by its rich patrons.

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Mosaic floor panel - Unknown - Google Arts & Culture

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The rectangular panel represents the entire decorated area of a floor and was found together with another mosaic (now in the Baltimore Museum of Art) in an olive grove at Daphne-Harbiye in 1937. In Roman times, Daphne was a popular holiday resort, used by the wealthy citizens and residents of Antioch as a place of rest and refuge from the heat and noise of the city.

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Mosaic at Domvs Romana - detail - Google Arts & Culture

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https://artsandculture.google.com/asset/hitchcock-directing/CgE85C6Xfa5l5w

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Hitchcock Directing - Gjon Mili - Google Arts & Culture

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Ancient Roman mosaic tile depicting horse & attendant.

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A bust of the gorgon Medusa occupies the center of this Roman mosaic floor. Although early Greek representations of Medusa emphasized her hideous and monstrous appearance, a more human-appearing figure had become the norm by the time of this mosaic in the 100s A.D. Medusa's former snaky locks are now just wild curls and she even takes on traits derived from representations of Alexander the Great and Hellenistic kings, like her wind-blown hair and turned head. In this mosaic, Medusa is placed in a shield of concentric circles, whose alternating black and white triangles create an optical illusion of continuous motion. An outer square encloses the shield and kantharoi or drinking cups fill the outer corners. This spinning shield motif with the gorgon's head as its central point appears frequently on Roman mosaic floors. The basic design derives from Athena's aegis, the scaly protective cloak decorated with Medusa's decapitated head.

Mosaic floors executed in only black and white were favored in Italy in the 100s A.D. This floor combines this Italian black and white style used for the shield with the polychrome mosaic style of other parts of the Roman Empire used here for Medusa.

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# data[].attributes.attachment_link.title
Mosaic Floor with Head of Medusa - Unknown - Google Arts & Culture

# data[].attributes.attachment_link.description
A bust of the gorgon Medusa occupies the center of this Roman mosaic floor. Although early Greek representations of Medusa emphasized her hideous and monstrous appearance, a more human-appearing figure had become the norm by the time of this mosaic in the 100s A.D.

# data[].attributes.attachment_link.title
Mosaic with a Peacock and Flowers - Google Arts & Culture

# data[].attributes.attachment_link.description
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

# data[].attributes.attachment_link.readable_text
This mosaic is of earlier date than most surviving mosaics from Roman-Britain. It features Bacchus, riding on a tiger rather than the more usual spotted leopard, referring to the myth that the god visited India. Appropriately enough, the mosaic was discovered during building work on the premises of the East India Company. The design of the floor was recorded, and it was lifted in sections. During the nineteenth century, the owners allowed the fragments to be stored in the open air, and their condition deteriorated. Three sections, including the central roundel, were subsequently restored, and though the tesserae are in their correct positions according to the early engravings, the present smooth, polished surface represents Victorian conservation rather than the original Roman appearance. The surviving pieces were eventually transferred to The British Museum in 1880.

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The Leadenhall Street Mosaic - Google Arts & Culture

# data[].attributes.attachment_link.description
This mosaic is of earlier date than most surviving mosaics from Roman-Britain. It features Bacchus, riding on a tiger rather than the more usual spotted leopard, referring to the myth that the god visited India. Appropriately enough, the mosaic was discovered during building work on the premises of the East India Company.

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This is a 5th century CE floor mosaic from the Yakto Complex at Daphne, outside of the ancient city of Antioch.

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# data[].attributes.attachment_link.title
Roman Mosaic From Antioch - Unknown - Google Arts & Culture

# data[].attributes.attachment_link.description
This is a 5th century CE floor mosaic from the Yakto Complex at Daphne, outside of the ancient city of Antioch. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more Recommended

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Eifelio bokštas  – vienas iš Paryžiaus simbolių, pastatytas 1887 - 1889 m., kaip laikinas statinys, Paryžiuje, šalia Senos upės kranto. Bokštas buvo statomas  Pasaulinei parodai ir iki 1931 m. buvo aukščiausias pasaulio statinys (301 metras).Gustavas Eifelis ant bokšto šonų išraižė 72 įžymių prancūzų mokslininkų ir inžinierių pavardes. Šie užrašai dvidešimto amžiaus pradžioje buvo uždažyti.

Įdomūs Faktai apie Eifelio bokštą:

1. Iš tiesų Eifelio bokšto projektas buvo pateiktas Barselonos miestui, tačiau ispanai jo atsisakė.

2. Eifelio bokšto vertė siekia 400 milijardų eurų ir tai yra bene 4 kartus daugiau už Romos Koliziejų.

3. Daugelis paryžiečių pačioje pradžioje bokšto nekentė ir manė, jog šis tik gadina viso miesto įvaizdį.

4. Eifelio bokšto aukštis lyginamas su maždaug 80-ties aukštų pastatu.

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Elaborate patterns frame the central medallions, which depict birds pecking at foliage and a hare eating grapes. Four border pieces decorated with geometric patterns (70.AH.96.2-.5) originally framed this panel of the mosaic. Excavated in 1938 just east of the city of Antioch in ancient Syria (present-day Antakya, Turkey), this mosaic decorated the floor of the entryway to the frigidarium (cold-water room) of a public bath. The building was also used as a place for gathering and entertainment. Although the bath was small in scale, its fine construction and lavish decoration attest to the wealth and taste of the prosperous landowners in the countryside surrounding Antioch.

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Panel from a Mosaic Floor from Antioch (central panel; part of 70.AH.96) - Unknown - Google Arts & Culture

# data[].attributes.attachment_link.description
Elaborate patterns frame the central medallions, which depict birds pecking at foliage and a hare eating grapes. Four border pieces decorated with geometric patterns (70.AH.96.2-.5) originally framed this panel of the mosaic. Excavated in 1938 just east of the city of Antioch in ancient Syria (present-day Antakya, Turkey), this mosaic decorated the floor of the entryway to the frigidarium (cold-water room) of a public bath.

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Mosaics covered the floors of houses belonging to the well-to-do throughout the ancient Mediterranean, especially in Roman times, and thousands of these pavements survive. Many inventive compositions, both figural and ornamental, were developed to complement the functions and layouts of the rooms they occupied. This mosaic is a three-part composition that once decorated a courtyard in a third-century residence, the so-called House of the Drinking Contest, near the port of Antioch-on-the-Orontes. Antioch was a great metropolis whose inhabitants, belonging to the Hellenized culture of Syria, enjoyed a privileged lifestyle similar to those of their wealthy counterparts throughout the Roman Empire.

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Marine mosaic (central panel of three panels from a floor) - Unknown - Google Arts & Culture

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Mosaics covered the floors of houses belonging to the well-to-do throughout the ancient Mediterranean, especially in Roman times, and thousands of these pavements survive. Many inventive compositions, both figural and ornamental, were developed to complement the functions and layouts of the rooms they occupied.