Abb. 1. Mario Torelli, teaching us members of the "Corsi estivi di Lingua e Cultura Italiana dell'Università del Sacro Cuore di Milano" in the summer of 1979. The photo shows Torelli in the Museo Archeologico Nazionale at Naples in front of the marble bust of Pindar (cf. here Fig. 51), which he explains to us. Photo: Courtesy Rose Mary Sheldon. See above, at Chapter Dedication; and below, at The second Contribution by R.R.R. Smith: Note on the function of the `Atrium House´ at Aphrodisias (cf. here Figs. 51; 52).
Fig. 1. Musei Vaticani, Museo Gregoriano Profano ex Lateranense (inv. nos. 13389-13391). Frieze A of the Cancelleria Reliefs. Profectio of Domitian in AD 83, 89 or 92. After the emperor's assassination and damnatio memoriae, Domitian's face on Frieze A (figure 6) has been reworked into a portrait of the Emperor Nerva. Therefore, the panel now probably represents Nerva's (alleged) profectio to his bellum Suebicum in AD 97. Cf. supra, in Chapter What this Study is all about; in Chapters I.-VI.; especially in Chapter I.2., with n. 232), in Chapters II.3.1.a); II.3.3.a), and in The major results of this book on Domitian; and infra, in volume 3-2, at Appendix IV.d.2.e); and Appendix IV.d.2.f): in my opinion, this relief represents Domitian's profectio to his Second Dacian War in the spring of AD 89 that ended with his victory, celebrated with his (last) triumph in Rome in November/ December 89. Cf. supra, in Chapters II.3.1.a); II.3.2.; V.1.b); V.1.c): for Nerva's motivation to usurp this profectio relief of Domitian. See also below, at The Contribution by Giandomenico Spinola on the Cancelleria Reliefs.
Fig. 1.1. Drawing of the head of Domitian (now Nerva) on Frieze A of the Cancelleria Reliefs and of the portrait of Nero of his fourth portrait-type in Munich. After: H. Meyer (2000, 130, Figs. 237; 239). H. Meyer reproduced photographs of both heads on the same page of his book, where their skulls are intentionally reproduced as having the same sizes. Based on a photocopy of that page, on which both heads were illustrated together and thus showed both heads at the same scale, I made the drawings of both heads, that are here reproduced on top of each other. Drawing: C. Häuber (2023).
Fig. 2. Musei Vaticani, Museo Gregoriano Profano ex Lateranense (inv. nos. 13392-13395). Frieze B of the Cancelleria Reliefs. Adventus of Vespasian at Rome in the first half of October of AD 70, his coronation by Victoria with the corona civica for having ended the civil war AD 68-69, and his investiture as the new Roman emperor. The fact that Vespasian lays his lifted right hand on the left shoulder of Caesar Domitian, who is standing right in front of him, means the legitimation of Domitian's future reign (in reality, Vespasian's hand does not touch Domitian's shoulder, but from a distance it looks like this). See above, in Chapter What this Study is all about, in Chapters I.-VI., in The major results of this book on Domitian, and below, at The second Contribution by Laura Gigli: Il Potere dell'immagine; at The first Contribution by Jörg Rüpke on the question, how many Vestal Virgins we might expect to appear at public ceremonies, such as the one shown on Frieze B of the Cancelleria Reliefs; and at The Contribution by Giandomenico Spinola on the Cancelleria Reliefs.
Figs. 1 and 2 drawing. F. Magis drawing of Frieze A and B of the Cancelleria Reliefs. From: F. Magi (1945, Tav. Agg. D 1 and 2). The slabs of both panels (A1-A4 and B1-B4) and the figures of both Friezes (1-17) are numbered, as in S. Langer and M. Pfanner (2018, 19, Abb. 2).
Figs. 1 and 2 of the Cancelleria Reliefs, drawing, `in situ´. Visualization created on the basis of F. Magis drawings (1945), here `Figs. 1 and 2 drawing´.
Based on hypotheses, first suggested by F. Magi (1939, 205, quoted verbatim in n. 112, in Chapter I.1.), and reported by B. Nogara (1939, 8, 106, 115-116, 227), and by A.M. Colini (1938 [1939], 270); cf. H. Kähler (1950, 30-41), J.M.C. Toynbee (1957, 19), J. Henderson (2003, 249), and especially M. Pentiricci (2009, 61-62; cf. supra, ns. 262, 263, 264, in Chapter I.3.2.), this visualization intends to show the Cancelleria Reliefs, as if attached to the opposite, parallel walls in the bay of an arch, built by Domitian.
It made only sense to try this reconstruction, because both panels certainly belonged together, a fact, which is inter alia proven by their equal heights. Since it is debated over which kind of building those panels may have belonged, we wanted to know, whether or not the compositions of both friezes were designed in order to stress relationships among the figures appearing on both panels, once mounted on opposite walls and viewed together. The prerequisite for this kind of inquiry was the correct positioning of both friezes, when both were attached to opposite walls in the bay of an arch. We knew that this could, in theory, be done for two reasons: a) both friezes were originally framed on all sides by identical projecting ledges; b) these projecting ledges are partly preserved on the right hand small side of Frieze A and partly on the left hand small side of Frieze B. We could, therefore, mount (first, in 2020, the photographs, here Figs. 1; 2), now the drawings of both panels, used for this operation by basing our reconstruction on this common axis of those two small sides of the panels which, in our reconstruction, now stand opposite each other. (In this illustration of our reconstruction those two small sides of both panels appear at the bottom of the page). For our reconstruction we used (first the photographs of Frieze A and B of the Vatican Museum, here Figs. 1 and 2, both of which follow Magi's reconstruction of 1945), now Magi's own drawings (1945) of both Friezes. In our visualization, these (first the photos), now the drawings are `lying on their backs´ in order to show, how an ancient beholder, passing through the bay of this arch, would have seen both panels.
Both visualizations demonstrate a) that the beholder who passed through this bay must have had the impression of `moving together´ with the processions that are depicted on both friezes; and b) that there is indeed one such relationship amongst those two panels that we were looking for. The figures in question are the Emperor Domitian (now Nerva) on Frieze A (figure 6) and the togate youth on frieze B (figure 12) - when both panels are in situ, these two figures stand almost opposite each other. Prior to our reconstruction, this fact had not been observed. And because both figures are heading the two processions `that are moving on these panels together with the beholder in the same direction´ these two figures turn out to be the most important persons on both panels. Both facts support the assumption that the Cancelleria Reliefs had been the horizontal panels in the bay of one of Domitian's arches. Considering also that Domitian commissioned the structure in question, both facts support at the same time the hypothesis suggested here that the togate youth on Frieze B may be identified as the young Caesar Domitian, who is represented on Frieze B in his capacity as praetor urbanus.
I tentatively suggest, in addition to this, that the Cancelleria Reliefs may have decorated the bay of the `Arcus Domitiani´, which stood on the Palatine, in front of Domitian's Palace `Domus Flavia´/ Domus Augustana and which, according to F. Coarelli (2009b, 88; id. 2012, 283, 286-291, 481-483, 486-491), Domitian may have dedicated to his father, Divus Vespasianus; or rather one of the three bays of the Arch of Domitian, which Coarelli assumes at the "Porta principale" of Domitian's Domus Augustana. Coarelli identifies this arch with the Pentapylon, believing that this was a triumphal arch (for the location of both arches; cf. here Fig. 58). F.X. Schütz and C. Häuber 2022, reconstruction (cf. supra, at Chapters I.3.2.; V.1.d); V.1.h.1.); V.1.i.3.); VI.3.; Addition; and at The major results of this book on Domitian; see also infra, in volume 3-2, at Appendix IV.d.2.f); Appendix IV.d.4.b); and Appendix VI.; at Section VII.).
See below, at The Contribution by Walter Trillmich on the headless marble togati found in the so-called Marble Forum at Mérida in Spain, one of which looks like the togate youth on Frieze B of the Cancelleria Reliefs.
Fig. 3. Above: portrait of Hadrian of the Delta Omikron (Δο)-type. Villa Hadriana near Tivoli, Museo (inv. no. 2260). Left: From: H.R. Goette (2021, 113, Abb. 46a (III Nr. 3); Photo: G. Fittschen-Badura); in the middle and right: Photos: D-DAI-ROM 72.635; 79.17774 (G. Fittschen-Badura).
Below, left: bust of Hadrian of the Delta Omikron (Δο)-type. Columbia, Missouri, University Museum (inv. no. 89.1). From: H.R. Goette (2021, 108, Abb. 44a (III Nr. 1)).
Below, in the middle: portrait of Hadrian of the Delta Omikron (Δο)-type. Madrid, Museo Nacional del Prado (inv. no. 176-E.), found in Italy. Photo: D-DAI-MAD-WIT-R-20-91-05 (Witte).
Below right: bust of Hadrian of the Delta Omikron (Δο)-type. London, private collection. From: H.R. Goette (2021, 112, Abb. 45 (III Nr. 4)). See above, at The major results of this book on Domitian; below, at The first Contribution by Angelo Geißen: Bemerkungen zur frühen Münzprägung Hadrians in Alexandria; and at The fifth Contribution by Peter Herz: Der Ritt Hadrians nach Mogontiacum.
Figs. 4. Scene LXXII on Trajan's Column. Amanda Claridge's (2013, 12, 13) "Stonethrower", whom she tentatively identified with Hadrian, (allegedly) represented in the here-so-called portrait-type Delta Omikron (Δο) (cf. here Fig. 3). In reality, this man is a slinger from the Baleares. To the right of this slinger appears a Germanic soldier, wearing long trousers, who is armed with a shield, who may perhaps be identified as a Marcomanne or as a Quade. From: A. Claridge (2013, 15, pl. 15).
Fig. 4.1. Scene LXXII on Trajan's Column. Amanda Claridge (2013, 12) commented on Scene LXXII of Trajan's Column (here Figs. 4; 4.1) as follows: "Band 11: lxxii Trajan surveys the last battle of the First [Dacian] War. Focal point: Stonethrower". Claridge (2013, 13 with n. 80, pp. 14, 15, her plate 15 [= here Fig. 4)]) tentatively identified this "Stonethrower" on here Figs. 4; 4.1 with Hadrian, represented in the here-so-called portrait-type Delta Omikron (Δο) (cf. here Fig. 3).
From: <http://www.trajans-column.org/?flagallery=trajans-column-scenes-xlvi-lxxviii-46-78#PhotoSwipe1673612947018> [last visit 13-I-2023].
Fig. 4.1.1. The Column of Trajan, seen from the south (with the columns of the Basilica Ulpia in the foreground). Photo: F.X. Schütz (March 2006).
Fig. 4.1.2. Fragmentary marble relief with representation of a horse. Found on the Palatine. This is the relief, about which D. Willers (2021, 84 with n. 25) writes: "Bloesch hat seinerzeit auf die enge Verwandtschaft des Feldherrnpferdes auf unserem Relief [i.e., the `Relief Ruesch´; here Fig 7] mit dem Pferd eines fragmentierten Reliefblocks vom Palatin aufmerksam gemacht" (`Bloesch [1943, 204] at his time has observed the close relationship between Domitian's horse on the `Relief Ruesch´ with the horse on a fragmentary marble block from the Palatine´). From: P.H. von Blanckenhagen (1940, 65, I. f), Taf. 20 Abb. 58).
Fig. 5. Fragment of a colossal cuirassed marble statue of `Domitian as Iuppiter´ (102 x 90 cm). This statue was, according to K. Stemmer (1971), hollow and, provided Domitian was represented standing, it was originally circa 8 m high, and because of the huge gorgoneion on the chest of his cuirass, it showed the emperor assimilated to the god Jupiter.
This fragment is on display in the left hand one of the `Trofei Farnese´ in the cortile of Palazzo Farnese at Rome (cf. here Fig. 5.1). It may belong to Francesco Bianchini's finds (excavated 1720-1726, published 1738) within the `Aula Regia´ in Domitian's Palace on the Palatine, the `Domus Flavia´/ Domus Augustana. This has already been suggested by K. Stemmer (1971, 566, 579-580) on the basis of the documentation that is available for this fragment. See also F. Bianchini's (1738, 48-68, with Tab. II; Tab. VIII = both here Fig. 8) own documentation of his excavations comprising measured plans, and S. Cosmo's (1990, Fig. 8 = here Fig. 39) findings concerning Bianchini's excavations.
For the photos illustrated here; cf. K. Stemmer (1971, Abb. 3-6;), Photos: G. Singer; D-DAI-ROM-71.175-71.178. K. Stemmer's (1971, 571, Abb. 7) reconstruction drawing of this colossal cuirassed portrait of `Domitian as Jupiter´ is here reproduced after A. Wolfsfeld (2014, 215, Abb. 6).
Fig. 5.1. The two `Trofei Farnese´ in the cortile of Palazzo Farnese at Rome. These are two ensembles of architectural fragments, mostly found by Francesco Bianchini in his excavations (1720-1726; published 1738) on the Palatine, within the `Aula Regia´ of Domitian's Palace `Domus Flavia´/ Domus Augustana. Cf. K. Stemmer (1971, Abb. 1 [here on the left], with the fragment of the colossal cuirassed marble statue of `Domitian as Jupiter´; here Fig. 5), Photo: J. Felbermeyer, D-DAI-Rom 35.566. Cf. K. Stemmer (1971, Abb. 2 [here on the right], with a fragment of one of the slabs with a representation of a `province´, from the porticos of the Hadrianeum at Rome; cf. here Fig. 48), Photo J. Felbermeyer, D-DAI-Rom 35.567.
Fig. 6, left. Torso of a cuirassed statue, Domitianic (representing Titus or Vespasian, the restored head does not belong), his cuirass is decorated with a Victoria, sacrificing a bull. Found in the Baths of Caracalla at Rome. Musei Vaticani, Museo Chiaramonti (inv. no. 1250). Cf. C. Parisi Presicce (2000, 28, 39, at cat. no. 13). See below, at The second Contribution by Claudia Valeri on the two headless cuirassed statues of Flavian emperors at the Museo Chiaramonti (inv. nos. 1250; 1254; cf. here Fig. 6, left and right).
Fig. 6, right. Torso of a cuirassed statue, Domitianic (representing Domitian?), 1,02 m high (the restored head does not belong), his cuirass is decorated with the lupa, suckling the infants Romulus and Remus. Found in the Baths of Caracalla at Rome. Musei Vaticani, Museo Chiaramonti (inv. no. 1254). Cf. C. Parisi Presicce (2000, 28, 39, cat. no. 13). Parisi Presicce's tentative identification of this headless torso with Domitian may be supported by the fact that Domitian identified himself with Romulus; cf. supra, in Chapter Preamble; Section III., at point 4.); and below, at The second Contribution by Claudia Valeri on the two headless cuirassed statues of Flavian emperors at the Museo Chiaramonti (inv. nos. 1250; 1254; cf. here Fig. 6, left and right).
Fig. 7. `Relief Ruesch´, ex collection Arnold Ruesch (Zürich), who bought it in 1920 at an art dealer's in Rome (provenance unknown). Cavalry battle of a Roman imperator (Domitian) against Germanic soldiers (the Chatti ?, or Marcomanni or Quadi ?). Marble, 74 x 108,8 cm. Domitian's head was defaced because of his damnatio memoriae, but the relief has nevertheless been re-used in antiquity. Private collection. On loan at the Antikensammlung Bern of the Universität. From D. Willers (2021, Taf. 11; Taf. 13,1: detail of the imperator, Taf. 13,2-4: details of the head of the imperator; Taf. 13,5: right profile of the bust of Domitian, Rome, Musei Capitolini, inv. no. MC 1156).
Fig. 7.1. `The Great Trajanic Frieze´, showing Constantine the Great, leading a cavalry battle. Rome, Arch of Constantine. The relief had originally shown Trajan, whose portrait was recut into one of Constantine the Great. In the central passageway of the Arch of Constantine the inscriptions LIBERATORI VRBIS and FVNDATORI QVIETIS were added to these reliefs of Trajan/ Constantine, which refer to Constantine (in recognition of his defeat of Maxentius at the Pons Mulvius in AD 312). Photo: C. Faraglia, Neg. D-DAI-Rom 37.328. - Diana E.E. Kleiner (1992, 222, Fig. 185) dates both reliefs: "early Hadrianic".
Fig. 8. F. Bianchini's (1738) measured plans of the `Aula Regia´ (his Tab. II), and of that part of Domitian's Domus Augustana, where he conducted his excavations (1720-1726; his Tab. VIII): at the `Basilica´, the `Aula Regia´ and the `Lararium´ (all three located within the so-called `Domus Flavia; cf. here Figs. 8.1; 58). Note that on Bianchini's plans North is not in the middle of the top border, as on our maps. Our maps are oriented according to `Grid North´(cf. here Figs. 58; 73), as the official photogrammetric data of Roma Capitale (that comprise the current cadastre), on which all our maps are based. See for the orientation of Bianchini's plan Tab. II our Fig. 8.1.
Fig. 8.1. Detail of our map Fig. 58, with georeferenced overlay of F. Bianchini's plan of the `Aula Regia´ (cf. id. 1738, his Tab. II = here Fig. 8). This visualization shows that Bianchini's ground-plan of the `Aula Regia´ (his Tab. II) had to be rotated clockwise by circa 1350 before it was possible to integrate it into our map Fig. 58, which is oriented according to `Grid North´. F.X. Schütz, visualization created with the "AIS ROMA" (22-I-2023).
Fig. 8.2. Domitian's Palace on the Palatine, his `Domus Flavia´/ Domus Augustana. In the foreground we see the `Peristyle´ with the labyrinth fountain. Looking to the north-east (compare for the orientation of this photo the map here Fig. 73), we see what is left of the southern walls of the `Aula Regia´. The Church in the background is the Chiesa di S. Bonaventura. Photo: Franz Xaver Schütz (1-III-2015). See supra, in Chapter Preamble; Section III.; at point 4.); and below, at The second Contribution by Eugenio La Rocca: Una nota sul labirinto del Palatino.
Fig. 9. F. Bianchini's plates (1738, Tab. III and IV). They show some of the architectural fragments, which he found in his excavations (1720-1726) in the `Aula Regia´. In the caption of his Tab. III, Bianchini mentioned the author of the relevant drawing and etching: "Balthassar Gabbuggiani delin. et sculp.".
Fig. 10. Colossal acrolithic statue of Jupiter. St. Petersburg, Hermitage (inv. no. ГР-4155), from Castel Gandolfo. Cf. C. Parisi Presicce (2006b, 146, Fig. 47, copied after M.B. PIOTROVSKIJ and O.J. NEVEROV 2003, fig. on p. 200).
https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/22.09.2020.
Fig. 10.1. Giuseppe Antonio Guattani (1805, Tav. 11), drawing: the first reconstruction of the colossal marble statue of Jupiter from Castel Gandolfo in the Hermitage at St. Petersburg (cf. here Fig. 10).
Fig. 11. Colossal acrolithic statue of Hadrian (now Constantine the Great). The ten extant fragments of it were carved from the best quality of Parian marble, called lychnites, and were found within and near the Basilica of Maxentius. Roma, Musei Capitolini, Palazzo dei Conservatori, courtyard. Photos: Courtesy H.R. Goette (HRG_3320 f.): 7.2.2017, P3010567 (Unteransicht) und P3010577 am 1.3.2008, P3110473: 11.3.2011) and F.X. Schütz (06-III-2020). See below, at The Contribution by Hans Rupprecht Goette on the reworking of the portrait of Hadrian (now Constantine the Great).
Fig. 11.1. "Ricostruzione virtuale del colosso di Costantino realizzata da Konstantin-Ausstellungsgesellschaft Trier mbH, Musei Capitolini e ARCTRON3D"; cf. C. Parisi Presicce 2006b, 147, caption of Fig. 48; cf. p. 127, note *). Courtesy C. Parisi Presicce.
Fig. 12. Statuette of the seated `Euripides´, marble. Paris, Louvre (MA 343). This figure represented originally Jupiter in the Capitoline Triad. Cf. H.R. Goette ("From Father god to tragic poet ...", forthcoming).
Fig. 13. Statuette of the Capitoline Triad, marble. Guidonia Montecelio (Roma), Museo Civico Archeologico `Rodolfo Lanciani´ (inv. no. 80546). Cf. Z. Mari, in: F. Buranelli (2019, 73: "20. Triade Capitolina Fine del II-inizi III secolo. Scultura a tutto tondo in marmo lunense, quasi integra (parzialmente mancanti alcuni arti delle figure e attributi); lungh. cm 119, largh. cm 53, h. max. cm 80. Dal Comune di Guidonia Montecelio (Rm), loc. Tenuta dell'Inviolata - Quarto Campanile, Guidonia Montecelio, Museo Civico Archeologico ``Rodolfo Lanciani´´ (già nel Museo Nazionale di Palestrina fino al 2012). Inv. no. 80546. Furto 1992 (scavi clandestini), Guidonia Montecelio (Roma). Recupero: 1994, Livigno (Sondrio))".
Photo: Triade Capitolina, Museo Civico Archeologico Rodolfo Lanciani, Guidonia Montecelio Author: Sailko, CC BY 3.0 Deed (https://creativecommons.org/licenses/by/3.0/deed.en).
Fig. 14. Reconstruction of the cult-statue of Zeus in his Temple at Olympia, one of the Seven Wonders of the ancient (Western) World, a chryselephantine statue made by Phidias (440-430 BC). Coloured lithography by Antoine Chrysostôme Quatremère de Quincy, from his book Le Jupiter olympien (1815). Cf. S. Faust (2022, 9-10, "Abb. 1 Zeus von Olympia, Rekonstruktion der Statue und des Tempelinnenraumes. Farbige Lithographie von A. C. Quatremère de Quincy. Universitätsbibliothek Heidelberg digital, Quatremère de Quincy, 1815, Frontispiz)".
Fig. 15. Marble portrait of Tiberius, from Cerveteri, Città del Vaticano, Musei Vaticani. From: C. Parisi Presicce (2006b, 144, 148, Fig. 49 (after: C. MADERNA 1988, 24 f., 166 f., cat. no. JT 4, Taf. 7).
Fig. 16. A.J.B. Wace. Reconstruction drawing of the Extispicium Relief in the Louvre (MA 978), based on the extant fragments of this relief, and for the lost parts on Renaissance drawings. The relief shows a sacrifice in front of Domitian's (fourth) Temple of Iuppiter Optimus Maximus Capitolinus. From: A.J.B. Wace 1907, 238, Pl. XXIX. Cf. A. Claridge (1998, 238, Fig. 110; ead. 2010, 270, Fig. 113).
Renaissance drawing of the right-hand part of the Extispicium Relief in the Louvre (MA 978), on which in the background appears the façade of Domitian's (fourth) Temple of Iuppiter Optimus Maximus Capitolinus. Cod. Vat. Lat. 3439 F. 83. From. A.J.B. Wace 1907, 240, Pl. XX.
Fig. 17. Renaissance drawing of the right-hand part of the Extispicium relief in the Louvre (MA 978), on which in the background appears the façade of Domitian's (fourth) Temple of Iuppiter Optimus Maximus Capitolinus. Cod. Vat. Lat. 3439 F. 83. From: A.J.B. Wace 1907, 240 Pl. XX, detail: showing part of the pediment of Domitian's Temple of Iuppiter Optimus Maximus Capitolinus.
Fig. 18. Wace 1907, 239, with n. 8 = Extispicium Relief Cod. Coburgensis = E. Schulze 1873, tav. 57 = LTUR III, 438, Fig. 103.
Fig. 19. Marcus Aurelius, Pietas Augusti, marble relief, representing a sacrifice in front of Domitian's (fourth) Temple of Iuppiter Optimus Maximus Capitolinus. Musei Capitolini, Palazzo de' Conservatori, staircase (inv. no. 807/S). Archivio Fotografico dei Musei Capitonini, Neg. nos. d.13102; d. 13103. Photo: Pasquale Rizzo. © Roma, Sovraintendenza Capitolina ai Beni Culturali.
Fig. 20. Marble statuette of M. Bossert's statue-type "Iuppiter Capitolinus". Rome, Via Appia Nuova. The caption of M. Bossert's Abbildung 14, which is illustrated here, reads: "Iuppiter Capitolinus von der Via Appia Nuova, Rom (Italien). Marmor, H[öhe] 80 cm".
Fig. 20.1. Bronze statuette representing the `Capitoline Jupiter´, datable to the 1st or 2nd century AD. Cf. S. Faust (2022, 22-24, Abb. 4: "Bronzestatuette des Jupiter Capitolinus 1.-2. Jh. n. Chr., New York, Metropolitan Museum of Art
(Open Access/Public Domain [CCO] https://www.metmuseum.org/art/collection/search/246686)".
Fig. 21. Anaglypha Hadriani, adlocutio or alimenta relief, marble. Rome, Forum Romanum, Curia Iulia. Photo: D-DAI-ROM- 68.2783. Detail of this relief: the statue of the fig tree and the statue of Marsyas. Photo: J. Felbermeyer D-DAI-ROM- 63.106. Because this relief was painted, I believe that in its original state the artists had not only differentiated the represented people by appropriately colouring their garments and shoes, but that they had also characterized the represented statues as such: the seated Trajan, the representation of Italia with her two children, and the statues of the fig tree and of Marsyas.
Fig. 22. Anaglypha Hadriani, `burning of debt records´ relief, marble. Rome, Forum Romanum, Curia Iulia. Photo: J. Felbermeyer D-DAI-ROM- 68.2785. Detail of this relief: the statue of the fig tree and the statue of Marsyas. Photo: H. Behrens D-DAI-ROM- 2008.2592. Because this relief was painted, I believe that in its original state the artists had not only differentiated the represented people by appropriately colouring their garments and shoes, but that they had also characterized the represented statues of the fig tree and of Marsyas as such.
Fig. 23. Anaglypha Hadriani, marble The suovetaurilia on the backside of the adlocutio or alimenta relief. Photo: H. Behrens D-DAI-ROM- 2008.2564.
Fig. 24. Anaglypha Hadriani, marble. The suovetaurilia on the backside of the burning of debt records relief. Photo: H. Behrens D-DAI-ROM-2008.2588.
Fig. 25. The Suovetaurilia or Grimani Relief. Paris, Louvre (MA 1096), marble. Photo: Courtesy H.R. Goette.
Fig. 26. The Five Column Monument or Decennial Monument, marble, dated AD 303. Rome, Forum Romanum, in situ. The illustrated side of the monument shows the suevetaurilia. Photo: Courtesy H.R. Goette.
Fig. 27. The census represented on the `Altar of Domitius Ahenobarbus´ (the Paris-Munich Relief), marble. Paris, Louvre (MA 975). Photos: Courtesy H.R. Goette.
For discussions of Figs. 21-27; cf. infra, in volume 3-2, at Appendix IV.a) D. Filippi (1998) on the `first gate of the Capitolium´ (Tac., Hist. 3,71,1-2), an arch, excavated by A.M. Colini in the 1940s, the Porta Pandana, and the arch, visible on the `burning of debt records´ relief of the Anaglypha Hadriani (Fig. 21).
Fig. 28. The Obeliscus Pamphilius/ Domitian's obelisk. From the Iseum Campense. On display on top of Gianlorenzo Bernini's `Fountain of the Four Rivers´ in the Piazza Navona at Rome. From: C. Häuber (2017, 156, Fig. 5.5.2). Photos: F.X. Schütz (5-IX-2019). Courtesy F.X. Schütz. Photo: Cesare D'Onofrio (1921-2003). From: G. Simonetta, L. Gigli and G. Marchetti [2004] 122, Fig. 8. The caption reads: "La fontana dei Quattro fiumi, ripresa zenitale dall'alto della chiesa di Sant'Agnese". Courtesy: L. Gigli. Photo: L. Gigli (December 2003). Courtesy: L. Gigli. See supra, in Chapter What this Study is all about; in Preamble, at Section II.; in Chapter IV.; and in The major results of this book on Domitian; and below, at The first Contribution by Emanuele M. Ciampini: La regalità domizianea: una nota egittologica.
Fig. 29. Over lifesize cuirassed statue of the Emperor Hadrian, 2,68 m high (comprising the plinth), 2,54 m high (without the plinth), his cuirass is decorated with an Athena/ Palladion, crowned by two winged Victories, who is standing on the lupa, suckling the infants Romulus and Remus. Hadrian sets his left foot on a small human figure (representing the Roman Province of Judaea?). Found at Hierapydna in Crete. Istanbul, Archaeological Museum (inv. no. 50).
In my opinion, the prototype of this portrait of Hadrian belonged with the inscription CIL VI 974 = 40524 = here Fig. 29.1 to the victory monument, dedicated in honour of Hadrian by the Senate and the Roman People in AD 134/5 (so G. ALFÖLDY 1996 = here Fig. 29.1), in AD 135 (so C. BARRON 2018), or in AD 135/6 (so W. ECK 2003, 162, n. 35) to commemorate his victory in the Bar Kokhba Revolt. Photos: Courtesy H.R. Goette (April 2023).
Fig. 29.1. Fragmentary inscription (CIL VI 974 = 40524), marble, once belonging to an honorary statue of the Emperor Hadrian, dedicated to him by the Senate and the Roman People to commemorate his victory in the Bar Kokba Revolt (so W. ECK 2003, 162-165; M. FUCHS 2014; C. BARRON 2018); and according to G. Alföldy (at: CIL VI [1996] 40524, who restored the inscription as shown here) and M. Fuchs (2014, 130) erected within the cella of the Temple of Divus Vespasianus in the Forum Romanum. From: M. Fuchs (2014, 131, Fig. 8: "CIL, VI, Pars VIII, Fasc. II [1996], 40524". According to C. Barron (2018, who follows in this respect W. ECK 1999-2003), the honorary statue, to which this inscription belonged, stood "beneath (in front of?)" the Temple of Divus Vespasianus, its inscription is kept in the Capitoline Museums, Rome (inv. no. NCE 2529), and is datable: "135 CE Sep 15th to 135 CE Dec 9th". C. Evers (1991, 797, n. 72), according to whom this inscription was found in the Forum Romanum, asks, whether it belonged to the colossal statue of Hadrian (now Constantine the Great), here Fig. 11. In my opinion, this dedication belonged to the honorary statue, after which Hadrian's portrait-statue from Hierapydna at Istanbul (here Fig. 29) and almost 30 replicas of this portrait were copied. See above, at A Study on Hadrian's portrait-statue from Hierapydna (cf. here Fig. 29); and infra, in volume 3-2, at Appendix IV.c.2.
Fig. 30. Sestertius of Domitian, issued AD 95/96, representing a decastyle temple, which M. Torelli (1987) has identified with the Templum Gentis Flaviae. BMC, p. 406, n. 12, R.H. Darwall-Smith (1996, 281, Plate XVIII, Fig. 30). From W. Haberey (1960, Taf. 42, Abb. 1: "Bronzemedaillon des Domitian vom Jahre 95-96 n. Chr. aus Grab I"). Cf. R. Paris (1994b, 26, Fig. 14). From: E. Nash (1961, 371, Fig. 452: "Sestertius of the 17th consolate of Domitian (95/96 A.D.)".
Fig. 31. "Rilievo Terme Vaticano".
Above: Photo of the reconstruction of this relief in the Museo della Civiltà Romana at the EUR (inv. no. 3725), created in plaster on the basis of both fragmentary reliefs that are kept in the Museo Nazionale Romano and in the Vatican Museums. From: R. Paris (1994b, 28, Fig. 16: "Il rilievo del Museo Vaticano e quello del Museo Nazionale Romano ricongiunti in un calco del Museo della Civiltà Romana").
In the middle: Fragmentary marble relief, Museo Nazionale Romano, Rome (inv. no. 165), representing a decastyle temple in the pediment of which appears `Rome's foundation story´. Photo; D-DAI Rom Photo Parker (PK) 2283: "Sculpture - Alto rilievo representing the Temple of Romulus; now in a stone-mason's yard in Via Alessandrina".
There is a plaster cast on display at the Museo Gregoriano Profano of this relief in the Museo Nazionale Romano, placed above the original fragment, owned by this collection.
Below: Fragmentary marble relief, Città del Vaticano, Museo Gregoriano Profano (inv. no. 9506), with an emperor (whose head is restored with a portrait of Trajan), accompanied inter alia by two lictors, shown in the act of sacrificing. Both fragments belong together. The fact that these lictors carry fasces to which no axes are attached means that the temple stands within the pomerium; cf. S. Langer and M. Pfanner (2018, 142-157), whose further suggestion I likewise follow that this relief does not represent a procession, as hitherto believed, but rather a sacrifice. Cf. R. Paris (1994b, 32, Figs. 1; 2). I have numbered the six figures on the relief myself, following S. Langer and M. Pfanner (2018, 147, Abb. 53). Many scholars take for granted that the "Rilievo Vaticano" was found in the Forum of Trajan. This assumption is not true, as already stated by M. Torelli (1987, 504 n. 6, quoted verbatim infra, in volume 3-2, at Appendix I.g.3.)). M. Torelli's (1987, 564-567, Fig. 2) identification of the temple, represented on this relief, with the Templum Gentis Flaviae, which I myself follow here, is debated. See below, at The Contribution by Eric M. Moormann: Can We Reconstruct the Templum Gentis Flaviae?; and at The first Contribution by Claudia Valeri on the "Rilievo Terme Vaticano" (cf. here Fig. 31).
Figs. 32.A-E. Marble fragment of a state relief, the here-so-called "Rilievo Foro Romano". Rome, Forum Romanum, near S. Maria Antiqua. This is at least, where H.R. Goette saw this fragment in 1981, who suggests that this fragment belongs to the "Rilievo Terme Vaticano"; cf. Goette (1983). A-C: photos of this fragment: Courtesy H.R. Goette. Cf. Goette (1983, 241, Abb. 1-3. The caption reads: "Relieffragment. Rom, bei S. Maria Antiqua". D: measured reconstruction drawing, combining the "Rilievo Vaticano" (cf. here Fig. 31. below) and the "Rilievo Foro Romano" (cf. here Fig. 32.A). From Goette (1983, 243, Abb. 5. The caption reads: "Rekonstruktionszeichnung der Reliefteile 1 [= here Fig. 31.below; Fig. 32.A] und 4 [= here Fig. 31.below]". E: measured reconstruction drawing of the entire togate man, incorporating the fragment. From Goette (1983, 243, Abb. 6. The caption reads: "Rekonstruktion der ganzen Figur mit Fragment Abb. 1 [= here 32.A]". Drawings D-E: M. Reinbold. From: Goette (1983, 239, Abbildungsnachweis).
Fig. 33. Reconstruction drawing of a relief that once belonged to the Templum Gentis Flaviae. Represented is Vespasian's adventus into Rome in October of AD 70. From: R. Paris (1994b, 91: "Tav. V. Proposta di ricostruzione parziale della scena con rilievo storico". Drawing: "arch. Gloria Marconi"). Cf. supra, in Chapters IV.1.1.h); and VI.1.i.3.a); and below, at The Contribution by Eric M. Moormann: Can We Reconstruct the Templum Gentis Flaviae?; at The second Contribution by Jörg Rüpke: Tempel-Gräber; and at The Contribution by Mario Torelli on the Templum Gentis Flaviae.
Fig. 34. Reconstruction drawing of a relief that once belonged to the Templum Gentis Flaviae. Represented is a sacrifice in front of Augustus' Temple of Quirinus on the Quirinal. From: R. Paris (1994b, 90: "Tav. IV. Proposta di ricostruzione parziale della scena con sacrificio, davanti al Tempio di Quirino". Drawing: "arch. Gloria Marconi"). Cf. supra, in Chapters IV.1.1.h); and VI.1.i.3.a); and below, at The Contribution by Eric M. Moormann: Can We Reconstruct the Templum Gentis Flaviae?; at The second Contribution by Jörg Rüpke: Tempel-Gräber; and at The Contribution by Mario Torelli on the Templum Gentis Flaviae.
Fig. 35. Aureus of Augustus, mint of Rome, 12 BC. Showing the doorway of the (real) House of Augustus on the Palatine, with the corona civica above the door and two laurel trees on either side. Cf. T.P. Wiseman (2019, 9, Fig. 3). RIC I2 Augustus 419. Sutherland 1984.74. Photo: © The Trustees of the British Museum.
Fig. 36. The Nollekens Relief, on display above the fire place in the White Hall of the Gatchina Palace near St. Petersburg, marble, 88 x 139 cm. F. Bianchini (1738, 68, his Tab. VI, an etching of the Nollekens Relief) found this relief in 1722 in the `Aula Regia´ of Domitian's `Domus Flavia´/ Domus Augustana; cf. S. Cosmo (1990, 837 Fig. 8); J. Pollini (2017b, 120, 124; cf. p. 98, Fig. 1. We have copied from this illustration Pollini's numbering of the figures, which are represented on this relief). Pollini suggests (in my opinion convincingly) that it shows the togate triumphator Domitian, sacrificing in AD 89 just outside Domitian's Porta Triumphalis; after which, the emperor would begin his (last) triumphal procession. Photograph, taken in 1914, when the relief was still preserved in its restored state of the 18th century. Courtesy John Pollini.
The caption of Pollini's (2017b) Fig. 1 (= here Fig. 36) reads: "Photograph taken in 1914 of the Nollekens Relief ... [the author provides a reference for that on p. 107 with n. 47]. Note that only the heads of nos. 6 [i.e., of Domitian], 8 [i.e., of the Genius Senatus] and 10 [i.e., of a boy ministrant] in the foreground and of all the background figures are ancient [my emphasis]". See supra, at Chapter V.1.i.3.b); and at The major results of this book on Domitian.
Fig. 37. The other fragmentary marble relief, found by Francesco Bianchini in 1722 within the `Aula Regia´ of the `Domus Flavia´, shows four female representations or divinities in Greek dress. From F. Bianchini (1738) Tab. VII.: "Fragmentum anaglyphi repertum in Palatio Caesarum intra Hortos Farnesianos MDCCXXII Hieronymus Rossi incid.". Cf. supra, in Chapter V.1.i.3.b); at Section III.
Fig. 38. Bronze drachma, issued by Antoninus Pius at Alexandria in 144/145 AD: it shows a woman's head, a star, a crescent, and a crab. Cf. A. Geißen (2010, 213, Taf. 63, Abb. 4). Roman Provincial Coinage (RPC) vol. IV.4, 13544. Online at : <https://rpc.ashmus.ox.ac.uk/coins/4/13544>. See infra, in volume 3-2, at Appendix II. a).
Fig. 39. S. Cosmo's plan of the (former) Orti Farnesiani on the Palatine in Rome. From S. Cosmo: "Aspetti topologici e topografici degli Orti farnesiani come premessa alla conservazione ambientale" (1990, 837, Fig. 8). He marks on his plan of the Orti Farnesiani, where Francesco Bianchini and Pietro Rosa had excavated. See below, in volume 3-2, at Appendix VI.
Fig. 40. Pietro Canonica (1869-1959), equestrian statue of Simon Bolívar, bronze (1934). Since 1960 (again) on display on the Piazzale Simon Bolívar, the terrace in the Valle Belle Arti underneath the British School at Rome, opposite the equestrian statue of José de San Martín, which appears on the photos illustrated here in the foreground, seen from behind. The latter was erected in 1957 on the square now called Piazza José de San Martín, the terrace, which is located below Via Omero in the Valle Belle Arti, and opposite the Piazzale Simon Bolívar (Photos: F.X. Schütz 18-IX-2019).
Fig. 41. Pietro Canonica (1869-1959), `Monumento all'Umile Eroe´ (`monument of a modest hero´; 1937), bronze. Statue of a mule, which is part of his `monumento agli Alpini´. This monument is on display in front of the Fortezzuola at the Villa Borghese in Rome, which accommodates the Museo Pietro Canonica. (Photos: F.X. Schütz 03-IX-2019).
Fig. 42. Pietro Canonica, his inscription that belongs to his statues of the mule Scudela and of the Alpino (cf. here Fig. 41). Cf. below, at The first Contribution by Laura Gigli concerning Pietro Canonica's statue of the mule Scudela. Photos: Courtesy F.X. Schütz.
Fig. 43. Map of the Valle Belle Arti in Rome and of the adjacent Villa Borghese. OSM (Open Street Map, detail). Last visit: 5th October 2019.
For discussions of here Figs. 40-43; cf. supra, in Chapter VI.2.
Fig. 44. Bronze sestertius of Marcus Aurelius, reverse. Represented is the Temple of Hermes-Thot (Hermes Trismegistos), dedicated by Marcus Aurelius at Rome as a thanksgiving after the rain miracle (AD 172/173 or 174?) in the war against the Quadi.
Fig. 45. Colossal marble herms representing the god Hermes. From the Temple of Hermes-Thot (Hermes Trismegistos), dedicated by Marcus Aurelius at Rome as a thanksgiving after the rain miracle (AD 172/173 or 174?) in the war against the Quadi. Roma, Parco Borghese, Parco dei Daini. Photos: F.X. Schütz 10-III-2020.
For discussions of Figs. 44; 45; cf. infra, in volume 3-2. at Appendix II.a).
Fig. 46. Beneventum, Arch of Trajan, built AD 114-118, general view of `city side´.
Left and right panels in the attic of the Arch of Trajan at Beneventum (`city side´). We see "Jupiter in the company of other important state gods [who] extends his thunderbolt to Trajan, his viceregent on earth - a gesture of divine approbation to rule and to conquer on behalf of the Roman People"; cf J. Pollini (2012, 105, with Figs. II.39b-c). On the right hand side panel appear the togate Emperor Trajan, a bearded and cuirassed man to his left (i.e., in front of him), who has the same size as Trajan, and further to the left two adult togati, all standing in front of an arch. G. Koeppel (1969, 188-189, Fig. 15) suggested that the two togati, who are represented at the scale of children, are the two consules of Rome, who receive Trajan outside the pomerium of Rome to tell him that the Senate has granted him the celebration of a triumph. Koeppel compared this relief with Vespasian and the togate youth (in his opinion Domitian) on Frieze B of the Cancelleria Reliefs (cf. here Fig. 2; Figs. 1 and 2 drawing: figures 14 [Vespasian]: 12 [Domitian]).
D.E.E. Kleiner (1992, 228, Fig. 193) and A. Schmidt-Colinet (2005, 108-112, Abb. 9a; 9b) suggest that the bearded and cuirassed man to the left of Trajan may be identified with Hadrian.
Right hand side panel in the attic of the Arch of Trajan at Beneventum (`city side´). Detail, showing the head of the bearded and cuirassed man, identified by Kleiner (1992) and Schmidt-Colinet (2005) as Hadrian.
Right hand panel in the middle register of the Arch of Trajan at Beneventum (`city side´), where the adult male figures are differentiated by three different scales. The tallest figure is the togate Emperor Trajan on the right, who is accompanied by some of his lictors of almost the same size. In front of Trajan appears a man, who is smaller than Trajan and his lictors. He seems to have guided the three men on the left to Trajan, two of them are togate; compared with the emperor, these men reach only up to his chest, as if they were children. Cf. H.R. Goette (1990, 130 cat. Bb9 Benevent, Trajansbogen, Taf. 16,2).
Left and right panels in the lowest register of the Arch of Trajan at Beneventum (`city side´). They "depict two parts of the same scene, which has been identified as the adventus into Rome of Trajan as the new emperor in 99. The togate emperor stands before the entrance to the city, surrounded by a full contingent of twelve lictors, and guided by the warden of the city (praefectus urbi). The Genius Senatus and the Genius Populi Romani ... are there to greet him"; cf. D.E.E. Kleiner (1992, 227).
Cf. H.R. Goette (1990, 130 cat. Bb9 Benevent, Trajansbogen, Taf. 15.3,4).
All photos: Courtesy H.R. Goette (5th and 6th February 2017).
Fig. 47. Plaster cast of a colossal marble head of Constantine the Great, 0,59 m high. According to K. Fittschen (2014, 58), this portrait was inserted into a (standing), probably cuirassed statue that was circa 3,30 m high. From the Forum of Trajan. Roma, Museo dei Fori Imperiali (inv. no. FT 10337). This plaster cast is on display at the Abgußsammlung of the Freie Universität Berlin. Photos: Courtesy H.R. Goette.
Because this head of Constantine the Great (here Fig. 47) probably belonged to a cuirassed statue; cf. Fittschen (2014, 58), which was typical of Christian emperors; cf. La Rocca (2000, 24 with n. 168, Fig. 23), I wonder, whether this could have been the portrait-statue, described by Eusebius (Hist. Eccl. 10,4,16). If. so, Constantine was represented in this statue seated. Eusebius copied the pertaining inscription, set (and therefore presumably also composed) by Constantine himself, who added it to the statue, dedicated to him by the Senate after his victory over Maxentius, and which, according to Eusebius, the Senate had erected `a Roma nel luogo più pubblico di tutti´; cf. Parisi Presicce (2006b, 140 with n. 15). In this `personal statement´, Constantine claimed that `thanks to the salvation bringing sign [that this portrait-statue of Constantine, at the explicit order of the emperor, was holding in its right hand - and which some earlier scholars have identified with a cross], which is the true proof of virtus, I have saved and liberated Rome from the tyrant [i.e., Maxentius], and thanks to my liberation, I have restored the Senate and the Roman People to their old image and to their old splendour´; cf. Kähler (1960, 391).
Fig. 48. Marble reliefs from the porticoes of the Hadrianeum at Rome, representing personifications of cities and peoples of the Roman Empire, military and naval trophies. Antonine period. Rome, courtyard of the Palazzo dei Conservatori, Roma, Palazzo Massimo alle Terme (Museo Nazionale Romano), and Napoli, Museo Archeologico Nazionale. Photos: Courtesy H.R. Goette.
Fig. 49. Rome, Domitian's Forum/ Forum Nervae/ Forum Transitorium, detail from the only extant part of the colonnade on the south-east side of the Forum, called "Le Colonnacce". Photo: Courtesy F.X. Schütz (March 2006). Marble relief of a female figure in the attic storey of "Le Colonnacce", previously identified as Minerva but, as H. Wiegartz (1996) realized, actually depicting a representation of a people; as he observed originally 42 such representations of gentes had decorated this Forum. This figure represents the Piroustae, who, as Wiegartz observed, is also represented in the Sebasteion at Aphrodisias, where this representation is labelled as `Piroustoi´ (cf. here Fig. 50). Photo: Courtesy H.R. Goette (May 2012). The Piroustae were an Illyrian tribe (also called a Dalmatian tribe and a Pannonian tribe), who lived in that part of the Roman province of Illyricum, which, after the division of this province (which probably occurred in AD 9), became the Roman province of Dalmatia. See below, at The second Contribution by Peter Herz: Anmerkungen zu Statius Marrax; and at The first Contribution by R.R.R. Smith on the iconography of the representation of the Piroustae at "Le Colonnacce" in Domitian's Forum/ Forum Nervae/ Forum Transitorium (cf. here Fig. 49).
Fig. 50. Aphrodisias, Sebasteion, Iulo-Claudian period. Marble relief depicting a representation of the same people as illustrated at "Le Colonnacce", called in the pertaining inscription `Piroustoi´. Photo: Courtesy Aphrodisias Excavations (G. Petruccioli).
Fig. 51. The Greek lyric poet Pindar, identified by the inscription in Greek (`ΠΙΝΔΑΡΟΣ´). Found at Aphrodisias, at the `Atrium House´. From R.R.R. Smith (JRS 1990, Pl. 6). Cf. supra, at Chapter Dedication; and below, at The second Contribution by R.R.R. Smith : Note on the function of the `Atrium House´ at Aphrodisias.
Fig. 52. Ground-plan of the absidal building at Aphrodisias, called `Atrium House´ by R.R.R. Smith in his second Contribution. It is located adjacent to the Sebasteion. From: R.R.R. Smith (JRS 1990, Pl. 4).
For Figs. 51; 52: see supra, at Chapter Dedication; and below, at The second Contribution by R.R.R. Smith : Note on the function of the `Atrium House´ at Aphrodisias.
Fig. 53. Colossal head of Divus Titus, marble (the marble has so far not been tested). H 1,52 m. Napoli, Museo Archeologico Nazionale (inv. no. 110892). Found at Rome, "in 1873 in via Pastrengo during the excavations for the construction of the Ministry of Finance" (so E. La ROCCA 2020b, 379), close to the north-west corner of the Baths of Diocletian. We owe to R. Lanciani (1872-1873, 229), to M.C. Capanna (2008, 177 with n.1), and to E. La Rocca (2009; 2020b) the identification of this portrait of Titus with the cult-statue of Divus Titus in the Templum Gentis Flaviae. From: E. La Rocca (2020b, Figs. 4-7).
Fig. 54. Portrait of Flavia Domitilla minor, the sister of the Emperor Domitian, on modern bust, marble. H. 0,75, of the head 0,32 m. Roma, Museo Torlonia (MT 527). Cf. S. Settis and C. Gasparri (2020, 152, cat. no. 9, F. CORAGGIO). Photos: © Fondazione Torlonia.
Fig. 55. Colossal portrait of Domitian's sister Flavia Domitilla minor, marble. H. 0,61 m. Copenhagen, Ny Carlsberg Glyptothek (inv. no. 3186). Cf. F.S. Johansen (1995, 40-41 Nr. 9). Photos: Courtesy H.R. Goette.
Fig. 55.1. Colossal portrait of Iulia Titi, the daughter of the Emperor Titus, marble. H. 0,83, of the head 0,47 m. Roma, Museo Nazionale Romano, Palazzo Altemps (inv. no. 8638). Cf. D.E.E. Kleiner (1992, 179, Fig. 147); F. Coarelli (2009a, 416, cat. no. 12 ([E. ROSSO]). Photo: D-DAI 57.618.
Fig. 56. Archaeological plan of the area of the Baths of Diocletian. Cf. C. Pietrangeli 1977, tav. 2 (drawing: C. Buzzetti and E. Gatti). From: E. La Rocca (2020b, Fig. 8): "1. Area dove era ubicato il templum gentis Flaviae; 2. Il luogo dove è stata rinvenuta la testa colossale di Tito [cf. here Fig. 53]; 3. Edificio in laterizio dove è stato rinvenuto il mosaico con tiaso marino e le tre Grazie; 4. Il luogo dove sono stati rinvenuti i rilievi Hartwig [for those; cf. supra, at Chapter V.1.i.3.a), and here Figs. 33; 34]".
Fig. 56a. The same archaeological plan, with additions by L. Kosmopoulos. Cf. Kosmopoulos (in: E. LA ROCCA and L. KOSMOPOULOS 2023, 126, Fig. 29). The caption reads: "L'area occupata dal templum gentis Flaviae (in rosso), secondo l'ipotesi ricostruttiva del podio di Filippo Coarelli, nell'ambito delle terme di Diocleziano. 2: luogo in cui è stata trovata la testa colossale di Tito [cf. here Fig. 53]; 3: ambiente absidato con il mosaico marino (elaborazione di L. Kosmopoulos su disegno di Carlo Buzzetti, e con aggiunte da Coarelli 2014a, fig. 52 e da La Rocca 2021, fig. 8)".
Fig. 57. Archaeological plan of the Baths of Diocletian (detail). Cf. C. Pietrangeli 1977, tav. 3, with additions by E. La Rocca. From: E. La Rocca (2020b, Fig. 10: detail of his Fig. 9). The caption of his Fig. 10 reads: "Dettaglio della pianta a fig. 09. Con una linea rossa è segnalato il perimetro della recinzione del templum gentis Flaviae (da Pietrangeli 1977, tav. 3, con aggiunte dell'a.[utore])".
For Figs. 53-57; cf. supra, in Chapter IV.1.1.h); at Section Did Domitian bury in his Templum Gentis Flaviae also his mother and his sister, Flavia Domitilla maior and minor ?; and at Let's now turn to Eugenio La Rocca's and Lorenzo Kosmopoulos's (2023) observations concerning the Templum Gentis Flaviae.
Fig. 58. Map of the Campus Martius at Rome in the Imperial period, showing also adjacent areas. C. Häuber & F.X. Schütz, "AIS ROMA", reconstruction 2023. For the first version of this map, comprising a much smaller area; cf. Häuber (2017, 63, Fig. 3.5).
The photogrammetric data, on the basis of which the maps here Fig. 58; 58.1; 58.2; 59; 60; 61; 62; 63; 64; 65; 66; 70; 71; 72; 73; 74; 75; 76 were drawn, were generously provided by the Sovraintendente ai Beni Culturali of Roma Capitale.
Fig. 58.1, first sketch. Overlay of our updated map Fig. 58 of the `Campus Martius in the Imperial period with adjacent areas, 2023´ with the street level of the OSM data, showing the site of the ancient Pons Sublicius. C. Häuber and F.X. Schütz, "AIS ROMA", reconstruction, 2023. The photogrammetric data, on the basis of which Fig. 58 was first drawn (cf. C. HÄUBER 2017, 63, Fig. 3.5), were generously provided by the Sovraintendente ai Beni Culturali of Roma Capitale. For the OSM data; cf. OSM.org [11-VI-2023].
Fig. 58.2, first sketch. Enlarged detail of Fig. 58.1. By enlarging the map Fig. 58.1, many more street names became visible in the street level of the OSM data. Some of those streets belong to the `street fan´ in Trastevere. This `street fan´, that is to say, those converging modern roads, may be regarded as lineaments, which indicate the point, where once had stood the ancient Pons Sublicius. C. Häuber and F.X. Schütz, "AIS ROMA", reconstruction, 2023. The photogrammetric data, on the basis of which Fig. 58 was first drawn (cf. C. HÄUBER 2017, 63, Fig. 3.5), were generously provided by the Sovraintendente ai Beni Culturali of Roma Capitale. For the OSM data; cf. OSM.org [11-VI-2023].
For Fig. 58.1 and Fig. 58.2; cf. supra, in A Study on the colossal portrait of Hadrian (now Constantine the Great) ...; Part II. Ancient Rome's new commercial river port, at La Marmorata; Section III.; at The controversy concerning the location of the Pons Sublicius (cf. here Figs. 58; 58.1; 58.2; 73).
Fig. 59. Map of the Campus Martius in the Imperial period, showing also adjacent areas, and comprising the current layout of the city. C. Häuber and F.X. Schütz, "AIS ROMA", reconstruction, updated 2023. For the first version of this map (cf. C. HÄUBER 2017, 69, Fig. 3.7). On this map the photogrammetric data (comprising the current cadastre, on the basis of which Fig. 59 was first drawn) are visible; they were generously provided by the Sovraintendente ai Beni Culturali of Roma Capitale.
Fig. 60. Map of the Iseum Campense in the Campus Martius. C. Häuber and F.X. Schütz, "AIS ROMA". From: C. HÄUBER 2017, 71, Fig. 3.7.1, updated 2023 (= detail of the map here Fig. 59).
Fig. 61. Map of the Iseum Campense, detail of the map here Fig. 60, with one addition: comparison of G. Gatti's (1960) and A. Ten's (2015) locations and reconstructions of the Arco di Camilliano and of the Arco di Giano alla Minerva; cf. Häuber (2017, 73, Fig. 3.7.1.1).
Fig. 62. Map of the Campus Martius between the Piazza Colonna and the Palazzo Venezia. Overlay of Giambattista (G.B.) Nolli's georeferenced Large Rome map (1748) and of the photogrammetric data, with integration of our own cartographic information of the map here Fig. 59. F.X. Schütz and C. Häuber, "AIS ROMA", reconstruction 2017. Cf. Häuber (2017, 127, Fig. 5.2).
For discussions of the illustrations here Figs. 62-69.2; cf. infra, in volume 3-2, at A Study on the consequences of Domitian's assassination ...; INTRODUCTION; at Section I. The motivation to write this Study; and at Sections II.-VII. (on the Precinct and Temple of Diva Matidia).
Fig. 62.1. The Large Rome Map of Giambattista (G.B.) Nolli (1748). The sheet of his map shown here comprises the area chosen for our map Fig. 62.
Fig. 62.1.A. The Large Rome Map of Giambattista (G.B.) Nolli (1748). Detail of the original sheet of his map, illustrated on Fig. 62.1., showing the Piazza Capranica, the Piazza Capranica to the north of it, and the former Palazzo della Confraternità del Rosario to the south of it; today this palazzo has the mailing address: `Piazza Capranica number 78´. For the current street names; cf. here Figs. 64; 66.
Fig. 62.1.B. The seven cipollino columns of the here-so-called porticus with cipollino columns, as drawn by Giambattista (G.B.) Piranesi and published by himself as an etching, accompanied by a pertaining text. From: Giambattista Piranesi (Antichità Romane I, 1756, page 10, number 77, Tav. XIV, fig. 1).
Fig. 62.2. The Campus Martius between the Pantheon and the Palazzo Capranica. Overlay of Nolli's georeferenced Large Rome map (1748) and of the photogrammetric data. F.X. Schütz and C. Häuber "AIS ROMA", reconstruction 2023.
Fig. 62.3. The Campus Martius between the Pantheon and the Palazzo Capranica in the official photogrammetric data of Roma Capitale. To the buildings between the Palazzo Capranica and the Via del Seminario, which are discussed in this Study, we have added the current house numbers. F.X. Schütz and C. Häuber "AIS ROMA", reconstruction 2023. For the street names; cf. here Figs. 64; 66.
Fig. 62.4, left. Aerial photograph of the Campus Martius between the Pantheon and the former Palazzo della Confraternità del Rosario/ Piazza Capranica no. 78 (taken on 11th June 1990), and published in the Atlante di Roma (2. edition of 1992); cf. G. Maltese and D. Tinacci (1992, 48, Fig. 42).
Fig. 62.4, right. The Campus Martius between the Pantheon and the Palazzo Capranica. Overlay of the georeferenced aerial photograph of the Atlante di Roma of this area (here Fig. 62.4, left) and of the photogrammetric data. F.X. Schütz and C. Häuber "AIS ROMA", reconstruction 2023.
Fig. 62.5. The Campus Martius between the Pantheon and the Via dei Pastini. Overlay of the current cadastre with the current OSM (`Open Street Map´) data, layer `buildings´. F.X. Schütz and C. Häuber "AIS ROMA", reconstruction 2023.
Fig. 62.6. Colour photograph, showing the Piazza Capranica, seen from the Torre Capranica, looking south-west. The Torre Capranica is integrated into the western part of the Palazzo Capranica, which stands on the north-side of Piazza Capranica. Roma, collezione Dott. Richard Sasson, ``A World Aparts´´. Photo: Signora Francesca Maiolino. Courtesy Dott. Richard Sasson and per gentile concessione del fotografo Francesca Maiolino. Cf. infra, in volume 3-2, at A Study on the consequences of Domitian's assassination ... Or: The wider topographical context of the Arch of Hadrian alongside the Via Flaminia which led to the (later) Hadrianeum and to Hadrian's Temples of Diva Matidia (and of Diva Sabina?); INTRODUCTION; at Section III. The Precinct and Temple of Diva Matidia: my new research, motivated by Francesca Dell'Era's (2020) critique of my first reconstruction of the Temple of Diva Sabina ?
Fig. 62.7. The fragmentary monolithic shaft of the cipollino column, which still stands in situ on the east side of the Vicolo della Spada d'Orlando in the Campus Martius, being partly inserted into the west wall of the Ospizio/ Casa degli Orfani/ Collegio di S. Maria in Aquiro; cf. here Figs. 64; 66. It is debated, to which ancient building it had belonged, and which orientation this porticus originally had. In my opinion, this cipollino column is the only still extant one of the columns of the here-so-called porticus with cipollino columns, which Giambattista (G.B.) Nolli had still in part documented on his Large Rome map (1748; cf. here Figs. 62; 62.1; 62.1.A), and Giambattista (G.B.) Piranesi on one of his etchings (cf. here Fig. 62.1.B). Colour photographs: Courtesy L. Gigli (13-VII-2022).
Fig. 62.8. Two colour photographs, showing the façade of the Palazzo Capranica on the north-side of Piazza Capranica (with the Torre Capranica, integrated into the west end of the palazzo), and a drawing of its façade, with indication of its various building phases.
Note that this palazzo was built in several different building phases, proceeding gradually `from east to west´; cf. Laura Gigli (2015, 11-20). Roma, collezione Dott.ssa Laura Gigli. Photos and drawing: Arch. Marco Setti. Courtesy Dott.ssa Laura Gigli and per gentile concessione del Arch. Marco Setti. These illustration have been published by Laura Gigli (2015, 12, Fig. "1. L'ombra proiettata sul palazzo Capranica dal campanile della chiesa di Santa Maria in Aquiro"; p. 14, Fig. "2. La facciata del palazzo Capranica"; and p. 14, Fig. "3. Rilievo del prospetto con l'individuazione e delle fasi costruttive e localizzazione del salone all'interno della torre"). For discussions; cf. supra, at Fig. 62.6.
Fig. 62.9. C. Huelsen (1899, between pp. 152, 153) his reconstructed plan of the area of the Campus Martius, between the Pantheon, the Palazzo Capranica and the Temple of Diva Matidia.
Fig. 62.10. Huelsen (1912, 141; cf. p. 131, Abb. 86, p. 137, Abb. 87) his two reconstructed plans of the area of the Campus Martius, between the Pantheon, the Palazzo Capranica and the Temple of Diva Matidia.
Fig. 62.11. The Campus Martius, showing the area between the Pantheon and the Palazzo Capranica, with the former Palazzo della Confraternità del Rosario/ Piazza Capranica no. 78. Overlay of here Fig. 62.2, Nolli's Large Rome map (1748), georeferenced, with here Fig. 62.4, right, Overlay of the georeferenced aerial photograph of the Atlante di Roma of this area and of the photogrammetric data.
Fig. 63. Overlay of Giambattista (G.B.) Nolli's Large Rome map (1748, enlarged) and the photogrammetric data (cf. here Fig. 62, detail), showing the ground-plan of the Palazzo Capranica at the Piazza Capranica. F.X. Schütz & C. Häuber, "AIS ROMA", reconstruction 2017. Cf. Häuber (2017, 77, Fig. 3.7.3).
Fig. 64. Detail of our map of the Campus Martius in the Imperial period (cf. here Fig. 59) between the Piazza Montecitorio and the Saepta, published in my earlier Study; cf. Häuber (2017, 87, Fig. 3.7.5.a), with later additions. With the reconstructions of the Precinct and of the Temple of Diva Matidia by H.-J. Beste and H. v. Hesberg (2015, 242, Fig. 28; Tav. II, K), and with my own reconstructions of these buildings (2017, updated 2023), and with G. Simonetta's reconstructed ground-plan of the Temple of Diva Matidia; cf. G. Simonetta and L. Gigli (2018 [2021] 164-165, Fig. 1 = here Figs. 67; 67.1).
Fig. 64.1. Detail of Antonio Tempesta's bird's-eye-view map of Rome (1593) with his representation of the Arco di Portogallo, which at this time still bridged the Via Flaminia/ Via Lata/ Via del Corso. In the following, I repeat a text passage from above, in Chapter Introductory remarks and acknowledgements:
`And when we were discussing the location of the former Arco di Portogallo on the Via Flaminia/ Via Lata/ Via del Corso, which was destroyed in 1622, Franz Xaver Schütz has made a relevant research and found a hitherto not recognized representation of the former Arco di Portogallo on Tempesta's bird's-eye-view map of Rome (1593; cf. here Fig. 64.1)´. Antonio Tempesta has even labelled this Arch: "arcus por / tugalli". See the inserted box on here Fig. 64.1, with the enlarged detail of Tempesta's map with the labelled Arco di Portogallo, which we have turned around, so that the inscription is legible.
Fig. 65. My own reconstruction of the Precinct of Diva Matidia. With the Temple of Diva Matidia, seen in relation to the Saepta (restored by Hadrian), both connected with an (imaginary) symmetry- axis: the light blue line, labelled: North-south axis, which, like the Saepta, is oriented towards the celestial North Pole), and the Precinct of Diva Matidia, seen in relation to the (later) Temple of Diva Sabina ?, the Hadrianeum and the Arch of Hadrian on the Via Flaminia/ Via Lata/ Via del Corso. With my own reconstructions of these buildings (2017, updated 2023), and with G. Simonetta's reconstructed ground-plan of the Temple of Diva Matidia; cf. G. Simonetta and L. Gigli (2018 [2021] 164-165, Fig. 1 = here Figs. 67; 67.1). Cf. Häuber (2017, 92-98; p. 93, Fig. 3.7.5b), updated 2023.
See infra, in volume 3-2, at A Study on the Consequences of Domitian's assassination ...
Or: The wider topographical context of the Arch of Hadrian alongside the Via Flaminia which led to the (later) Hadrianeum and to Hadrian's Temples of Diva Matidia (and of Diva Sabina?); and below, at The Contribution by John Bodel: The Label Inscribed on Fragment 36b of the Severan Marble Plan; and at The second Contribution by Angelo Geißen: Zum `Hadrianeum´ auf Münzen des Antoninus Pius.
Fig. 66. Detail of the map here Fig. 65. My own final reconstruction of the site-plan of Hadrian's temple complex in the Campus Martius. It comprises the ground-plans of all of Hadrian's shrines, as well as the Hadrianeum, built by his adoptive son and successor, the Emperor Antoninus Pius, who dedicated this temple to Divus Hadrianus. Cf. Häuber (2017, 98-103; p. 99, Fig. 3.7.5.c). See below, at The second Contribution by Angelo Geißen: Zum `Hadrianeum´ auf Münzen des Antoninus Pius.
Fig. 66.1. The Campus Martius between the Via dei Pastini and the Via del Seminario, with the Palazzo nobile of the Serlupi Crescenzi and of their (future) four "palazzetti d'affitto Serlupi Crescenzi"; cf. Daria Borghese's (1994, 170). Overlay of our map Fig. 66, of an aerial photograph and of the photogrammetric data. F.X. Schütz and C. Häuber "AIS ROMA", reconstruction 2023.
Fig. 66.2. Rome map of Antonio Tempesta (1593), detail of the area of the Campus Martius, between the Via dei Pastini and the Via del Seminario, with the Palazzo nobile Serlupi Crescenzi.
Fig. 66.3. Rome map of Giovanni Battista Falda (1676), detail of the area of the Campus Martius, between the Via dei Pastini and the Via del Seminario, with the Palazzo nobile Serlupi Crescenzi.
For discussions of the illustrations here Figs. 66.1; 66.2 and 66.3; cf. infra, in volume 3-2, at
A Study on the consequences of Domitian's assassination ... Or: The wider topographical context of the Arch of Hadrian alongside the Via Flaminia which led to the (later) Hadrianeum and to Hadrian's Temples of Diva Matidia (and of Diva Sabina?); INTRODUCTION; at Section XIII. Further new research related to my Temple of Diva Matidia and to my Temple of Diva Sabina ?: observations at the Palazzo Serlupi Crescenzi and at the Palazzo Capranica.
Fig. 66.4. R. Lanciani's plan (1883a, Tav. I-II) and the sheet of his map FUR (1893-1901, fol. 15), which document the here-so-called `Lanciani's porticus´. This plan and his map, created by Lanciani, belong to his discussion (1881, 270; 1883a, 15) of a porticus, excavated and documented by him in 1871, 1879 and 1881 `at the junction of the square in front of the Pantheon with the Via dei Pastini´, or, when we look at his plan and his map: this porticus stood immediately to the north-west and to the south of the junction of the roads Via dei Pastini and Via degli Orfani (cf. here Fig. 66). Whereas Lanciani himself (erroneously) attributed this porticus to an (alleged) colonnaded forecourt of the Pantheon, his porticus stood in reality within the area of the Precinct of Diva Matidia.
Lanciani (1881; 1883a, Tav. I-II; FUR, fol 15) excavated his porticus, which he (erroneously) attributed to the (alleged) colonnaded forecourt of the Pantheon, in reality within the area of Beste's and von Hesberg's Precinct of Diva Matidia (cf. here Fig. 64). `Lanciani's porticus´ was oriented to the west (!) (cf. here Fig. 66.1). Its existence precludes Beste's and von Hesberg's entire reconstructions of their Precinct and Temple of Diva Matidia. The reason being that Beste and von Hesberg (2015, 242, Fig. 28; Tav. II, K; cf. here Fig. 64) assume within their reconstructions of the Precinct and Temple of Diva Matidia the western branch of their "portico su tre lati", which is oriented to the east (!), at exactly the same site, where `Lanciani's porticus´ actually stood.
The reason for Lanciani's relevant error was the fact that he himself had not realized that the cadastre, on which he had based his plan of 1883a, as well as his map FUR (both here Fig. 66.4), contained an error in this area. Because of this error, `Lanciani's porticus´ appears on his own plan and map circa 13 m to the west of its true location. This fact, in its turn, had the effect that on Lanciani's plan and map (here Fig. 66.4) `Lanciani's porticus´ actually seems to be located immediately to the north-east of the Pantheon (!). Lanciani's relevant error concerning his porticus, that had allegedly belonged to a (never existing) colonnaded forecourt of the Pantheon, has been followed by almost all subsequent scholars.
Fig. 66.5. Map of the area, where R. Lanciani has documented the find of his porticus (cf. here Fig. 66.4). This map shows `the junction of the "Piazza della Rotonda" (the square in front of the Pantheon) with the "Via dei Pastini"´ - as Lanciani referred to the findspot of the here-so-called `Lanciani's porticus´ (cf. R. LANCIANI, NSc 1881, 270; 1883a, 15) - and, in addition to this, the "Via degli Orfani".
To illustrate Lanciani's explicit descriptions (NSc 1881, 270; BullCom 1883a, 15) of the precise location of his porticus, which he himself documented on a plan (cf. id. BullCom 1883a, Tav. I-II) and on his map (FUR, fol. 15; cf. for both here Fig. 66.4), we have ourselves created the map discussed here. This map shows `the junction of the "Piazza della Rotonda" (the square in front of the Pantheon) with the "Via dei Pastini"´ - as Lanciani (NSc 1881, 270) referred to the findspot of his porticus, and, in addition to this, the "Via degli Orfani". We used for this map the official OSM (Open Street Map), layers: buildings and streets. Our resulting map, with the letterings "Piazza della Rotonda", "Via dei Pastini" and "Via degli Orfani", shows that the `square in front of the Pantheon, called "Piazza della Rotonda"´ actually reaches as far north-east as to the junction of the two roads "Via degli Orfani" and "Via dei Pastini". This means that Lanciani, also with his note NSc 1879, 14 must have referred to his porticus. F.X. Schütz and C. Häuber "AIS ROMA", reconstruction 2023.
Fig. 67. Arch. G. Simonetta (drawing: arch. M. Setti), site-plan of the ancient and medieval architectural finds in the basements of Palazzo Capranica, with his reconstruction of the ground-plan of the Temple of Diva Matidia. Courtesy arch. G. Simonetta. Cf. Giuseppe Simonetta and Laura Gigli (2018 [2021] 164-165, Fig. 1). The architect Giuseppe Simonetta and the art-historian Laura Gigli have followed my hypothesis, published in my earlier study (2017), according to which the Palazzo Capranica was built `on top of´ Hadrian's Temple of Diva Matidia (for my relevant updated map; cf. here Fig. 66). See Simonetta and Gigli (2018 [2021] 128-129, n. 7). Based on his analysis of all the architectural remains in the basements of Palazzo Capranica, arch. Simonetta has created a reconstructed ground-plan of the Temple of Diva Matidia. Simonetta's plan illustrated here shows all the architectural finds in the basements of Palazzo Capranica. His reconstructed ground-plan of the Temple of Diva Matidia is highlighted in green; the architectural remains highlighted in "viola" are in part datable to the Middle Ages. Cf. G. Simonetta and L. Gigli (2018, 614 [a detailed caption of this plan, which refers to the fact that in this article their original coloured plan Fig. 1, which is illustrated here, is published in black and white], p. 615, Fig. 1). In Simonetta's opinion (cf. G. SIMONETTA and L. GIGLI 2018 [2021] 164), the Temple of Diva Matidia may have been erected by re-using a building of the Republican period. For discussions; cf. supra, at Fig. 65.
Fig. 67.1. Slightly changed version of the plan here Fig. 67. Those changes were added at my request by adding to this plan an arrow indicating north, a scale, and some street names. Arch. G. Simonetta (drawing: arch. M. Setti), site-plan of the ancient and medieval architectural finds in the basements of Palazzo Capranica, with his reconstruction of the ground-plan of the Temple of Diva Matidia. Courtesy arch. G. Simonetta. For discussions; cf. supra, at Fig. 65.
Fig. 68. Reverse of a bronze medallion, issued by Hadrian, with representation of the Temple of Diva Matidia and its two pertaining Basilicas. From Häuber (2017, 104, Fig. 3.7.6). After: M. Fuchs 2014, 137 Fig. 19 ʺMedaillon. Wien, Kunsthistorisches Museum, Inv. MK 9876ʺ. Cf. chapter II; Again Augustusʹ Meridian floor and G. Gattiʹs reconstruction of the ʺCampo Marzio centraleʺ: his location of the Saepta, and some new observations concerning the Iseum Campense; and Figs. 3.7; 3.7.1; 3.7.5.a [= here Figs. 59; 60; 64]". For discussions; cf. supra, at Fig. 65.
Fig. 69.1. ʺTempio di Siepeʺ, an ancient building that was documented within Palazzo Capranica at Piazza Capranica. Drawing, plan and section. Windsor 12138. After: LTUR V (1999) 315. Fig. 10. From: Häuber (2017, 80, Fig. 3.7.4). Cf. chapter II; Again Augustusʹ Meridian floor and G. Gattiʹs reconstruction of the ʺCampo Marzio centraleʺ: his location of the Saepta, and some new observations concerning the Iseum Campense; The ʺTempio di Siepeʺ; and Figs. 3.7; 3.7.1; 3.7.5a; 3.7.5b; 3.7.5c; 5.2 [= here Figs. 59; 60; 64; 65; 66; 62]". For discussions; cf. supra, at Fig. 65.
Fig. 69.2. Alò Giovannoli (Vedute delle vestigi antichi di Roma, 1616; 1619, plate 39), his etching of the "Tempio di Siepe". Since I was unable to read Giovannoli's caption of his etching in its entirety, Laura Gigli was kind enough to read and transcribe it for me, sending me the result by Email of 4th November 2022:
"A sin. dida Monogramma Alo (lettere composte in unità) Gol (lettere composte in unità) (= Alò Giovannoli) La u è = alla v. Io nella copia della didascalia userei comunque la v
CON OSSERVAZIONI MIE
Templum Septorum, ubi Victimae seruabantur (= servabantur) uulgo (= vulgo) Capranicorum aedes: Ad Meridiem spectat Fulmen in Pantheon illapsu (con trattino orizzontale sovrastante, quindi illapsum riferito alla folgore, cioè il sole), complures tegulas argenteas liquefecit Tempio di Siepe, doue (= dove) le Vittime si conseruauano (= conservavano). Hora è Pallazzo di SSri (= Signori) Capranici Inuerso (= Inverso) Mezzogiorno Il Folgore percuote il Pantheone e disfa molte delle sue tegole d’argento A d. dida Foglio 39.
TRASCRIZIONE con u diventata v e abbreviazioni sciolte:
"Templum Septorum, ubi Victimae servabantur vulgo Capranicorum aedes. Ad Meridiem spectat Fulmen in Pantheon illapsum, complures tegulas argenteas liquefecit Tempio di Siepe, dove le Vittime si conservavano. Hora è Pallazzo di Signori Capranici Inverso Mezzogiorno Il Folgore percuote il Pantheone e disfa molte delle sue tegole d’argento".
Fig. 69.3. Detail of the bird's eye view Rome map by Giovanni Maggi (1625), in which is documented on the `Piazza di Pietra´ an (ancient) wall that C. Parisi Presicce (2005a, 87, Fig. 13) convincingly attributes to the northern portico surrounding the Hadrianeum: "The back wall of the colonnade [of the Hadrianeum] on the north side, both the straight section and the wide exedra [i.e., `Lo Trullo´], is built with peperino blocks, smooth on the interior and rusticated on the exterior. A section of the wall still standing can be seen in the perspective plan by Giovanni Maggi, published by Paolo Maupin in 1625 and by Carlo Losi in 1774 [with n. 34, providing references]". Courtesy: C. Parisi Presicce.
Fig. 70. Rome map, showing the area between the Porta Capena in the Servian city Wall and the Porta Appia/ Porta S. Sebastiano in the Aurelianic Walls. C. Häuber and F.X. Schütz, "AIS ROMA", reconstruction. From Häuber (2014a, Map 7, now updated 2023). For explanations of the cartographic details of this map; cf. Häuber (2014a, 875).
Fig. 71. Rome map, showing the area between the eastern slope of the Capitoline and the Esquiline. C. Häuber and F.X. Schütz "AIS ROMA". From C. Häuber (2014a, map 3, enlarged and updated 2023). In the inserted box at the top right: map of archaic Rome; cf. Häuber (2014a; see the inserted box in Map 3), and in the inserted box at the bottom right: map of the area of the later Horti of Maecenas on the Esquiline Hill and their surroundings in the Republic, with indication of the route of the procession of the Argei (see the yellow arrows); cf. Häuber (2014a, map 9). For explanations of the cartographic details of those three maps; cf. Häuber (2014a, 873-874, 876).
Fig. 72. The 'Colosseum city´ between the Colosseum and the Porta Querquetulana/ "ARCUS AD ISIS" within the Servian city Wall, one part of the `Flavian nuova urbs´, begun by Vespasian and completed by Domitian. C. Häuber and F.X. Schütz, "AIS ROMA", reconstruction. From: Häuber (2014a, map 3, detail; updated 2023 as here Fig. 71).
Fig. 73. Rome map, showing the area between the Capitoline Hill and the Caelian. C. Häuber and F.X. Schütz, "AIS ROMA", reconstruction. From: C. Häuber 2014a, pl. 5 (enlarged and updated in 2023). For an explanation of the cartographic details; cf. Häuber (2014a, 874-875); and infra, in volume 3-2, at Appendix V.
Fig. 74. Map of the Capitol. C. Häuber & F.X. Schütz, "AIS ROMA". From: Häuber (2005, 17, Abb. 2).
Fig. 75. Map of the Capitol. C. Häuber & F.X. Schütz, "AIS ROMA". From: Häuber (2005, 21, Abb. 3). For an explanation of the cartographic details of this map; cf. Häuber (2014a, 874-875; ead. 2005, 18-55).
Fig. 76. Map of the Capitol. C. Häuber & F.X. Schütz, "AIS ROMA". From: Häuber (2005, 25, Abb. 4). For an explanation of the cartographic details of this map; cf. Häuber (2014a, 874-875, at Map 5; ead. 2005, 18-55).
Fig. 77. Franz Xaver Schütz, map: "Kartographische Visualisierung. Landschaftselemente zwischen Rhein und Schwarzem Meer von Augustus bis Hadrian". See below, at The first Contribution by Franz Xaver Schütz: Zur kartographischen Visualisierung historischer Landschaftselemente zwischen Rhein und Schwarzem Meer von Augustus bis Hadrian, Abb. 1.
Fig. 78. G. Gatti, reconstruction of the Central Campus Martius, based on the fragments of the Severan Marble plan, with the Iseum and the Serapeum and the piazza in between them. G. Gatti (1943-1944, 121, tav. 4; after: LTUR III [1996] Fig. 69). Note that on Gatti's plan the sanctuary is labelled: ISEVM ET SERAPEVM, whereas on the Severan Marble Plan, the sanctuary is labelled: SERAPAEVM (cf. LTUR I [1993] Fig. 122a).
Fig. 79. Drawings after scenes in structures called mammisis (`house of birth´) in Egypt. From: J.-C. Goyon (1988, 34-35, Figs. 8-10; drawings).
The caption of his Fig. 8 in J.-C. Goyon (1988, 34) reads: "A scene from the mammisi at Philae. Here the divine child is nursed, modeled by the god Khnum, given years of life by the god Thoth, and, at the right, offered a pectoral by Augustus in his role as pharaoh. (Adapted from Champollion 1935: pl. LXXVI, 1)".
The caption of his Fig. 9 in J.-C. Goyon (1988, 35) reads: "The birth of the child-god Harpre (`Horus-the-Son´) before Amun-Re, the goddess Nekhbet, and Cleopatra VII. The winged scarab above the child is identified as the King of Upper and Lower Egypt, the solar god Khepri, who appears each morning and is identified with Harpre, the son of Amun. The scene is from the destroyed mammisi of Armant. (Adapted from Lepsius 1849-59, pt. IV: pl. 60, a)".
The caption of his Fig. 10 in J.-C. Goyon (1988, 35) reads: "Divine nurses from the destroyed mammisi of Armant. (Adapted from Lepsius 1849-59, pt. IV: pl. 59, c)".
The caption of his Fig. 12 in J.-C. Goyon (1988, 37) reads: "Procession from the Temple of Horus at Edfu. The train of priests, led by the pharaoh, carries divine images of the Living Falcon and the falcon-headed Horakhty ("Horus-of-the-Two-Horizons"). (Adapted from Chassinat 1960b: pl. CLIV)".
Fig. 80. Denarius, issued by Domitian in AD 95/96, BMC 243, reverse, allegedly representing Domitian's Temple of Iuppiter Custos. In reality it does not even necessarily show a temple of Jupiter at all. Cf. R.H. Darwall-Smith (1996, 111, 156, 280, Fig. 32d on Plate XIX).
For discussions of the illustrations here Figs. 80-87; cf. infra, in volume 3-2, at Appendix I.g.1.).
Fig. 81. Denarius, issued by Domitian in AD 95/96, BMC 240, reverse, representing Domitian's Temple of Isis within the Iseum Campense. Cf. R.H. Darwall-Smith (1996, 139, 145, 280, Fig. 32b on Plate XIX).
L. Bricault and R. Veymiers (2018, 148- 149, Fig. 5).
Fig. 82. Denarius, issued by Domitian in AD 95/96, BMC 238, reverse, representing Domitian's Temple of Serapis within the Iseum Campense. Cf. R.H. Darwall-Smith (1996, 145, 280, Fig. 31b on Plate XIX).
Fig. 83. Denarius, issued by Domitian in AD 95/96, BMC 242, reverse, representing Domitian's (fourth) Temple of Iuppiter Optimus Maximus Capitolinus. Cf. R.H. Darwall-Smith (1996, 107, 280, Fig. 34 on Plate XX). See below, at The first Contribution by Peter Herz on the inscription (CIL VI 2059.11), which reports on a meeting of the Arvel brethren on 7th December 80 at the Temple of Ops in Capitolio, among them Titus and Domitian: Titus vows to restore and dedicate what would become Domitian's (fourth) Temple of Iuppiter Optimus Maximus Capitolinus.
Fig. 84. Denarius, issued by Domitian, BMC 241 (undated), allegedly showing the round Temple of Minerva Chalcidica, within which its cult-statue is visible. In reality this temple is not identified. Cf. R.H. Darwall-Smith (1996, 125, 280, Fig. 33 on Plate XX); cf. LTUR III (1996) 476, Fig. 174: "... Denario di Domiziano del 94-96 d.C. BMCEmp II, 346 N. 241 tav. 67.7". The represented statue-type is called `Athena in corsa´.
Fig. 85. Left foot of a marble statue of Serapis, on display on the Via di S. Stefano del Cacco in Rome, at the junction with the Via del Piè di Marmo. We may ask, whether this foot had originally belonged to a `Bryaxix-type´ cult-statue of Serapis in the Serapeum of the Iseum Campense, which was rebuilt by Domitian after the great fire of AD 80, and again restored by Septimius Severus. Photos: F.X. Schütz.
Fig. 86. Fragmentary colossal marble statue (2,28 m high; the head is 0,55 m high) of the Domitianic period, representing the standing goddess Isis, one of the famous `statue parlanti´ of Rome, the so-called `Madama Lucrezia´. Rome, Piazza S. Marco (cf. here Fig. 59). Possibly found at the Iseum Campense and here identified as the cult-statue of Isis, commissioned by Domitian for his Temple of Isis within the Iseum Campense. Photo: F.X. Schütz (24-IX-2013). From: Häuber (2017, 141).
Fig. 87. Statue of the veiled Isis. Musei Capitolini, Palazzo Nuovo (inv. no. 744/S). Archivio Fotografico dei Musei Capitolini, Neg. no. F.00958 (Colantoni). © Roma, Sovraintendenza Capitolina ai Beni Culturali; cf. J. Eingartner (1991, 113, Kat. 9, Taf. IX; X). This statue is regarded by some scholars as the best copy after the cult-statue of Isis in her temple at the Iseum Campense, allegedly built by Caligula.
Fig. 88. Marble portrait of the Emperor Septimius Severus of his `Serapis portrait-type´ or `Haupttypus´ (`main type´). Roma, Musei Capitolini, Palazzo Nuovo (inv. no. MC 461). It may well be that the alabaster bust actually belongs to the portrait. From: C. Häuber (2014a, 814, Fig. 127; cf. B 26; B 28). Cf. infra, in volume 3-2, at Appendix I.g.2.).
Fig. 89. Marble relief from the tomb of the Haterii, with representations of six buildings in Rome. Città del Vaticano, Musei Vaticani, Museo Gregoriano Profano (inv. no. 9997). From: C. Häuber (2014a, 480, Fig. 116). Suggested date: between the late Flavian period and 120 AD; cf. Häuber (2014a, 415, 170 with n. 178; cf. p. 794: it may have been created under Domitian, and if so, documents what this part of Rome looked like at his time).
Fig. 90. Same as Fig. 89. Detail with the "ARCUS AD ISIS". From: C. Häuber (2014a, 480, Fig. 117a).
Figs. 91-94. The first three reliefs are on display in the staircase of the Palazzo dei Conservatori (Musei Capitolini) at Rome. Fig. 91: the adventus relief of Hadrian from the former Arch of Hadrian alongside the Via Flaminia/ Via Lata/ Via del Corso in Rome, that led in Hadrian's lifetime to his Temple complex dedicated to the women of his adoptive family and later to the Hadrianeum; from: M. Fuchs (2014, 132, Fig. 12); Fig. 92: the apotheosis of Sabina (from the Arco di Portogallo); from: M. Fuchs (2014, 149, Fig. 21); Fig. 93: the adlocutio relief (from the Arco di Portogallo); from: M. Fuchs (2014, 139, Fig. 22); Fig. 94: the fourth relief is on display in the Palazzo Torlonia at Rome; from: M. Fuchs (2014, 135, Fig. 16); cf. pp. 133, 138: this panel shows a supplicatio scene and demonstrates, according to Fuchs, Hadrian's clementia.
Fig. 91.1. Fragment of a monumental marble inscription (CIL VI 40518). From: M. Fuchs (2014, 137, Abb. 20). The author was first to attribute this inscription to the Arch of Hadrian on the Via Flaminia. W. Eck (2019b, 199, Abb. 3) suggests a new reconstruction and dating of this inscription and rejects M. Fuchs's attribution of this inscription to this Arch of Hadrian.
Cf. infra, in volume 3-2, at A Study on the consequences of Domitian's assassination ... Or: The wider topographical context of the Arch of Hadrian alongside the Via Flaminia which led to the (later) Hadrianeum and to Hadrian's Temples of Diva Matidia (and of Diva Sabina?); at Chapter I. The Arch of Hadrian alongside the Via Flaminia and the four marble reliefs belonging to it (cf. here Figs. 91-94).
Fig. 95, above. From: S. Keay, M. Millett, L. Paroli and K. Strutt (2005, 273, Fig. 8.1. The caption reads: "The geographical context of the Claudian and Trajanic phases of Portus").
Fig. 95, below. From: S. Keay, M. Millett, L. Paroli and K. Strutt (2005, 274, Fig. 8.2. The caption reads: "Pre-Trajanic Harbour. Summary plan showing the evidence for the Claudian and first-century AD layout of Portus").
Fig. 96. From: S. Keay, M. Millett, L. Paroli and K. Strutt (2005, 280, Fig. 8.4. The caption reads: "Trajanic Harbour. Summary plan showing the evidence for the Trajanic and mid-Imperial layout of Portus").
Fig. 97. From: S. Keay, M. Millett, L. Paroli and K. Strutt (2005, 292, Fig. 8.6. The caption reads: "Late Antique Harbour. Summary plan showing the evidence for the late antique layout of Portus. The approximate extent of cemetery evidence from the field survey is shown by hatching").
Figs. 98; 99. Marble relief with a representation of ships in the Portus Augusti at Portus. Roma, Museo Torlonia (MT 430). © Fondazione Torlonia. Photo: Lorenzo De Masi.
Cf. S. Tuccinardi (2020, 176-177, cat. 26). Cf. p. 178, for the detail illustrated here on Fig. 99 of the three figures in the "cabina" of the left ship, a bearded man on the left (according to S. Tuccinardi `obviously the owner of the ship, who has commissioned this relief´; and in C. Cecamore's 2019, 169 [in my opinion erroneous] opinion, the Emperor Septimius Severus), a woman in the middle and a man on the right, shown in the course of sacrificing at an altar standing in front of this group.
Fig. 100. Attic panel from the Quadrifrons at Leptis Magna, marble. Represented is, according to D.E.E. Kleiner (1992, 341, 342, Fig. 310): "the concordia augustorum [i.e., of Augustus Caracalla on the left and Augustus Septimius Severus on the right, performing together the gesture dextrarum iunctio - between them we see Severus's younger son, Caesar Geta, and to the left of Caracalla Iulia Domna], Septimius Severus, his family, the tutelary deities of his family and of Leptis Magna". Archaeological Museum of Tripoli (Libya). Photo: Courtesy Hans R. Goette (February 2008).
Fig. 101. The obelisk standing in Piazza di S. Giovanni in Laterano at Rome, the `Lateran Obelisk´, commissioned by Pharaoh Tuthmosis III for the Temple complex of Amun in Karnak at Thebes (today Luxor). Rose granite from Aswan. Augustus had originally planned to bring this tallest of extant obelisks from Karnak to Rome, but it was only brought there in AD 357 under Constantius II, who erected it on the spina of the Circus Maximus; cf. Häuber (2017, 427-428: "Appendix 5. L. Habachi (2000) on the Lateran obelisk (Fig. 5.1 [= here Fig. 101])"). From: Häuber (2017, 115, Fig. 5.1). (photo: F.X. Schütz 27-IX-2015).
For discussions of the illustrations on here Fig. 95, above - Fig. 107 :
Cf. supra, in Chapter IV.1.1.c); at A Study on the colossal portrait of Hadrian (now Constantine the Great) in the courtyard of the Palazzo dei Conservatori at Rome; at Part II. Ancient Rome's new commercial river part, at La Marmorata; at Section IV. The Statio Marmorum and the `sculpture industry´ at La Marmorata ... With some remarks on the heaviest object, ever transported on the Tiber in antiquity: the Lateran Obelisk (Fig. 101); below, at The second Contribution by Franz Xaver Schütz: Wie schwer war der ägyptische Obelisk, der heute auf der Piazza di S. Giovanni in Laterano in Rom steht?; and infra, in volume 3-2, in Appendix I.d.1.a); and in Appendix VI.; at Section VII.
Fig. 101.a. Cf. G.B. Cipriani (1823, with Tav. 1; 2), his discussion and etchings of the 12 (Egyptian) obelisks in Rome. The caption of his Tav. 1 reads: "Dodici Obelischi Egizj, che si osservano rialzati ad ornamento della Città di Roma, posti secondo ordine della loro rielevazione". The caption of his Tav. 2 reads: "Fusti dei dodici Obelischi dei Egizj, che si osservano rialzati ad ornamento della Città di Roma, posti secondo il grado della loro altezza". Cipriani's etchings of those 12 obelisks are measured: the tallest one is the Lateran Obelisk. Cipriani has also discussed and drawn Domitian's obelisk, which he refers to in his text and on his plates as: "Agonale di Piazza Navona", see his Tav. 1; Tav. 2 (in both Domitian's obelisk is the fifth from left); as well as the Antinous Obelisk, called by him "Aureliano della Passeggiata [on the Pincio]", see his Tav. 1 (the Antinous Obelisk is the second from right); Tav. 2 (the Antinous Obelisk is the fourth from right).
Fig. 101.1. The Antinous Obelisk on the Pincio in Rome, also known as the `Barberini Obelisk´ and as `Monte Pincio Obelisk´. Originally commissioned by Hadrian for the tomb of Antinous at Antinoopolis, or for a cenotaph of Antinous at Rome, the location of which is controversial. `Elagabalus´ copied Augustus' concept of placing an obelisk on the spina in the Circus Maximus, when he erected this obelisk on the spina of the Circus Varianus in the horti Spei Veteris; Cf. ns. 113, 114, and chapters Domitianʹs Obelisk, Obeliscus Pamphilius, Appendix 8, Chapter VIII. EPILOGUE (photo: F.X. Schütz 20‐IX‐2015). Cf. Häuber (2017, 346, caption of Fig. 9, which has been slightly changed). Cf. supra, in A Study on Hadrian's portrait-statue from Hierapydna (cf. here Fig. 29); at The research published in my earlier Study (2017): on the tomb of Antinous at Antinoopolis, on his (alleged) tomb at Hadrian's Villa near Tivoli, on his cenotaph at Rome, and on the two pertaining Antinous Obelisks.
Fig. 102. La Marmorata at the Testaccio, with integration of the buildings documented on the Severan Marble Plan. Of these buildings, the `NAVALIA´ are marked by lettering, they have been identified by L. Cozza and P.L. Tucci (2006). Earlier this huge structure had - in Cozza's and Tucci's (2006; and P.L. TUCCI's 2012), and in my own opinion - erroneously been identified with the Porticus Aemilia; as still believed by many scholars. From: L. Cozza and P.L. Tucci (2006, 196, Fig. 12 [TUCCI]), the caption reads: "I navalia nella zona di Testaccio (da COARELLI 1974 p. 295, con modifiche di L. COZZA e P. L. TUCCI)".
Fig. 102.1. Ground-plan of the Republican opus incertum building at La Marmorata, which has been identified with the Porticus Aemilia outside Porta Trigemina and as Navalia. From G.-J. Burgers (et al. 2015, 200-201, Fig. 3: "Layout of the Porticus Aemilia with the numbering of the aisles and pillars [after Gatti 1934, pl. II. Graphics by V. De Leonardis]").
Fig. 102.2. Two reconstruction drawings of the opus incertum building at La Marmorata, with integrations of the fragments 23 and 24 of the Severan Marble Plan, on which it is represented. On fragment 23 appears the main inscription of this building, of which only the letters `]LIA´ remain.
Fig. 102.2 shows two reconstructions of the main inscription of the opus incertum building.
Above: restored as `AEMI]LIA´. From: G. Carettoni, L. Cozza, A.M. Colini and G. Gatti (La pianta marmorea di Roma antica. FORMA VRBIS ROMAE, 1960, testo, p. 95: "schema topografico". Photo: © Sovrintendenza Capitolina ai Beni Culturali).
Below: restored as `NAVA]LIA´. From: L. Cozza and P.L. Tucci ("Navalia", 2006, 179, Fig. 1). The caption of their Fig. 1 reads: "In alto, l'edificio in opus incertum sulla Forma Urbis [i.e., the Severan Marble Plan] con l'iscrizione NAVA]LIA (da GATTI 1934, fig. 7, aggiornato e integrato da L. Cozza e P. L. Tucci). In basso, la pianta dell'edificio in opus incertum ricostruita in base a scavi e rilievi: gli asterischi indicano le parti tuttora visibili (da GATTI 1934, tav. II, con aggiornamenti di L. Cozza e P. L. Tucci)". Cf. F. de Caprariis (2022, 120, Fig. 5.2), from whom I have borrowed the comparison of both reconstructions of this inscription presented here. The caption of F. de Caprariis's Fig. 5.2 reads: "Fig. 5.2: (porticus) Aemilia or Naualia. On the right, fragment 23 of the Marble Plan: note the inscription ]LIA (© Sovrintendenza Capitolina)". F. de Caprariis's Fig. 5.2, above, is obviously a detail of her Fig. 5.1 on p. 119, the caption of which reads: "Fig. 5.1: Testaccio and Trastevere. The archaeological evidence and the Severan Marble Plan (from G. Carettoni-Cozza-Colini-Gatti 1960)".
Fig. 102.3. G. Giovannetti (2016, 24, Fig. 8: "Carta archeologica di Testaccio (da Gatti 1934)". With the opus incertum building, labelled as `PORTICVS AEMILIA´.
Inserted box on top right:
G. Giovannetti: drawing of the structures standing in front of the `Porticus Aemilia´/ Navalia that are visible on fragments 24c and 24d of the Severan Marble Plan; cf. Giovannetti (2016, 22, Fig. 7: "Riproduzione della parte inferiore della lastra 24c e della 24d, elaborazione grafica dell'autore"), who labels these three buildings as 1, 2 and 3. Comprising tabernae, they served, according to Giovannetti, commercial functions, but apart from appearing on the Severan Marble Plan they are, in his opinion, otherwise not datable. But note that E. Rodríguez Almeida (1993a, 20) dated those structures to the Trajanic period. Cf. here Fig. 102.3 for the location of those structures between the `Porticus Aemilia´/ Navalia and the port building on the bank of the Tiber.
Fig. 102.4. View of La Marmorata, etching from Étienne Dupérac's (circa 1520-1604) book (I vestigi dell'antichità di Roma, 1575, tav. 23).
Cf. R. Lanciani (III [1990], 192, Fig. 143). The caption reads: "Etienne Du Pérac, Veduta della Marmorata e dell'Aventino. Incisione, ne `I vestigi dell'antichità di Roma´, Roma 1575, tav. 23".
The caption of Dupérac's etching reads: "Vestigij d'una parte del monte Auentino che guarda verso Ponente, et il Tevere, quale [Oggi si scriverebbe la quale] per esser molto ruinata [Inserisce il concetto della rovina non quello del degrado] non ui si vede altro che muri spezati et rotti, Anchor che antichamente nella sumita [Inserisce il segno di abbreviazione sopra la u e la m indicante il raddoppio del consonante, vuole dire in alto in cima alla sommità] ui / fossero bellissimi Tempii et edificij, nel segno A uogliono [Allude a fonti antiche che parlano di saline] chi ivi fosssero le saline, hoggidi questo luoco si chiama la marmorata, perche ui si scaricano diuerse pietre di mischio et di marmo qualli si trouano [come quelle che si trovano] al porto d' / Ostia, nel segno B. è l'altra rippa del fiume doue arrivano tutti gli vascielli [oggi sarebbe vascelli] et mercantie che uengono per la marina in Roma". The comments on Dupéracs text in the square brackets are those written to me by Laura Gigli on 19th April 2022.
Fig. 102.5. Marble altar found in 1739 [corr.: 1737] at La Marmorata. London, British Museum (inv. no. 1914,0627.1), 0,72 m high. Date: 69-79 AD. From its inscription (CIL VI 301) we learn that it was dedicated to Hercules by Primigenius Iuvencianus, a slave or freedman of the Emperor Vespasian, who calls himself in this inscription a tabularius a marmoribus (a "book-keeper in the marble trade"). Primigenius Iuvencianus was, likewise according to the comments on this altar by the Curator of the British Museum (quoted after D. BOOMS 2016), "an official involved in the marble trade under Vespasian". Photo: © The Trustees of the British Museum.
Cf. <https://www.britishmuseum.org/collection/object/G_1914-0627-1> [last visit: 12-IV-2022].
Fig. 102.6. The Republican structure in the Forum Holitorium (a `covered road´, or porticoed street), leading from a north-westerly direction to the Porta Carmentalis in the Servian city Wall. Photos: Courtesy Franz Xaver Schütz (11-V-2022).
Fig. 102.7. Altar of Magna Mater and Navisalvia, which refers to the legend of Claudia Quinta and to the arrival of the sacred stone of Magna Mater at Rome in 204 BC. Rome, Musei Capitolini. Cf. A. D'Alessio (2014, 11, Fig. 8: "Roma, Musei Capitolini: altare della Mater Deum e di Navisalvia". Photo: © Sovrintendenza Capitolina ai Beni Culturali).
Fig. 103. Map of Rome. On the left bank of the Tiber we see the quartiere Testaccio with the Monte Testaccio and the Basilica of San Paolo fuori le Mura, on the right bank of the Tiber there are the quartiere Portuense and the Church of Santa Passera. IGM (Istituto Geografico Militare). Scale: 1: 25.000.
Fig. 104. Colossal marble statue of the River God Tiber, Paris, Louvre (MA 593). Cf. A. Heinemann (2018, 717, Fig. 3). Colossal marble statue of the River God Nile, Città del Vaticano, Musei Vaticani, Museo Chiaramonti (inv. no. 2300). Cf. A. Heinemann (2018, 216, Fig. 2). Photo: D-DAI Rom 81.2187. Domitian commissioned these two statues of the River Gods Tiber and Nile for his Temple of Serapis at his newly erected Iseum Campense, where they were on display in the huge water basin of the Exedra; cf. here, the maps Figs. 58-61; and infra, in volume 3-2, at Appendix I.g.2.); and at Appendix II.a).
Fig. 105. Detail of the plinth of this colossal marble statue of the River God Tiber, Paris, Louvre (MA 593), showing a relief with a small ship on the Tiber, with which a huge block of marble is transported. From: P. Pensabene and J.Á. Domingo (2016-2017, 573, Fig. 15). Courtesy P. Pensabene and J.Á. Domingo. Cf. supra, at A Study on the colossal portrait of Hadrian (now Constantine the Great) in the courtyard of the Palazzo dei Conservatori at Rome; at Part II. Ancient Rome's new commercial river part, at La Marmorata; and below, at The sixth Contribution by Peter Herz: Rom. Strukturen der Versorgung.
Fig. 106. The same relief, a greater section of the scene: three ships and also the men, who are hauling the ship with the marble block on the left hand side of the relief. From the Paper Museum of Cassiano Dal Pozzo, Windsor, Royal Library (RL 8739). Cf. A. Claridge and E. Dodero (The Paper Museum of Cassiano dal Pozzo, Series A, Part III, Sarcophagi and Reliefs, 4 vols., London: Royal Collection Trust (2022, 853-854, cat. no. 563). Photo: Courtesy Royal Collection Trust / © Her Majesty Queen Elizabeth II 2022. Cf. supra, at A Study on the colossal portrait of Hadrian (now Constantine the Great) in the courtyard of the Palazzo dei Conservatori at Rome; at Part II. Ancient Rome's new commercial river part, at La Marmorata; and below, at The sixth Contribution by Peter Herz: Rom. Strukturen der Versorgung.
Fig. 107. Golden medallion, issued under Antoninus Pius, representing the arrival of the sacred snake of Asklepios at Rome in 291 BC. From: F. Coarelli ("Navalia", in: LTUR III [1996] 339-340, Fig. 64). The caption of this illustration reads: "Insula Tiberina. Medaglione di Antonino Pio. Cohen II, 271 N. 17 (da Gnecchi, Medaglioni romani II, tav. 43,1). Disegno di G. Besnier, L'Ile Tibérine dans l'antiquité (1902), fig. 19". Cf. supra, at A Study on the colossal portrait of Hadrian (now Constantine the Great) in the courtyard of the Palazzo dei Conservatori at Rome; at Part II. Ancient Rome's new commercial river part, at La Marmorata.
Figs. 108-110. Domitian's Palace `Domus Flavia´/ Domus Augustana on the Palatine. Measured reconstruction drawings, "in pencil, pen and black ink reconstructing in cross section the Aula Regia, Peristyle and Triclinium" (so A. CLARIDGE in her Contribution), by the architect G. Leith (1913), who integrated some of the originally 8 colossal statues that had decorated the `Aula Regia´ and some of the architectural fragments, excavated likewise there and published by F. Bianchini (1738). Gordon Leith created these drawings, when he held a scholarship of South Africa at the British School at Rome in 1913. From: M.A. Tomei (1999, Figs. 225; 228; 229; 230. We have also copied the captions of her figures). See above, in Chapter The major results of this book on Domitian; and below, at The Contribution by Amanda Claridge: A note for Chrystina Häuber: Drawings of the interior order of the Aula Regia of the Palace of Domitian on the Palatine, once in the British School at Rome.
Fig. 111. Fragmentary Roman marble relief allegedly from Ariccia. Found in a secondary context in a tomb at Albano Laziale close to the Via Appia; cf. Letizia Rustico (in: Palazzo Altemps Guida 2011, 61), suggested date: 100 AD. `It could originally have been part of the marble revetment of a small tomb on the Via Appia´, as suggested to me by Letizia Rustico on 19th December 2012 (cf. infra, in volume 3-2, n. 481, in Appendix II.b). The relief shows in the upper register a shrine in a porticus, with a seated goddess (probably Isis) and several other cult images, all in separate shrines, and in the lower register a cultic dance, performed `in front of those cult statues´. Roma, Museo Nazionale Romano, Palazzo Altemps (inv. no. 7255). From: C. Häuber (2014a, 483, Fig. 120).
Fig. 112. Sestertius, issued by Vespasian in AD 71, Rome. With the Dea Roma on the reverse, seated on Rome's `seven hills´, thus referring to the Septimontium festival, which Vespasian had revived. Cf. A. Fraschetti ("Montes", in: LTUR III (1996) 285, Fig. 186: "Sesterzio di Vespasiano del 71 d. C. RIC II, 69 N. 442"). From: The British Museum. Obverse: IMP CAESAR VESPASIANVS AVG P M T P P P COS III; reverse: S C ROMA; RIC 2.1, 108, p. 67: "Roma seated right on the seven hills; to left wolf and twins; to right, River Tiber". Photo: © The Trustees of the British Museum.
Online at: <https://www.britishmuseum.org/collection/object/C_1872-0709-477> [last visit: 7-V-2023].
Fig. 113. Sestertius of Vespasian, AE, Rome, AD 71. On the obverse we see a naked portrait bust of Vespasian, as if he were a god or a dead hero, crowned with a laurel wreath like a triumphator, in addition to this, we see Jupiter's aegis on Vespasian's chest. By means of his aegis, Vespasian is equated with Jupiter, and that in a very peculiar iconography. Vespasian is wearing Jupiter's aegis similarly as Minerva does on Frieze A of the Cancelleria Reliefs (cf. here Fig. 1; Figs. 1 and 2 drawing: figure 5), but without attaching it to a garment or a cuirass, it rather seems, as if the aegis were part of his own body. On the reverse is represented the Temple of Isis at the Iseum Campense in Rome. As L. Bricault and R. Veymiers (2018, 142) were able to demonstrate, this is the Temple of Isis, commissioned by Vespasian. Cf. M.J. Versluys et al. (2018, 158-159). Photo: © Münzkabinett, Staatliche Museen zu Berlin. See above, in Chapter Preamble; at Section II.; and infra, in volume 3-2, at Appendix II.a).
Fig. 114. Drawing after a coin issued by Septimius Severus, showing the temple of Aphrodite-Astarte at Paphos in Cyprus, who is represented as a baitylos, with thymiateria and doves on the roofs of the porticos surrounding her temple. From: C. Häuber (2014a, 483, Fig. 121). Cf. infra, in volume 3-2. at Appendix II.a).
Fig. 115. Monte Cavo, "once home of the federal sanctuary of the Latin League, dedicated to Jupiter Latialis" (C. VALERI 2021, 138), seen from the site of the former auguraculum on the Arx ; cf. Häuber (2017, 314-315), and from the roof terrace of the FAO on the Aventine. Photos: F.X. Schütz (2010; 2008).
Fig. 116. Visit of the Monte Cavo of a group of the British School, 1984. From: T.P. Wiseman (A short history of the British School at Rome, 1990a, PLATE X (b): "Donald Bullough (far right) in the Campagna, with (left to right) Tony Alcock, Sheila Gibson, Christine Häuber, Caroline Mauduit and the author [T.P. Wiseman]").
In the following, I anticipate a text from volume 3-2: "I found another interesting observation by Frederick G. Naerebout (2021, 149): ``he [Domitian] preferred to stay at his Alban villa at the site of the ancient sanctuary of Jupiter Latiaris [with n. 15: quoting: ``Plin. HN 3.69´´]´´. - But note that Domitian did not live at this sanctuary, he was only able to see its former site from his Villa, as Claudia Valeri (2021, 137-138) writes, who describes the landscape surrounding Domitian's Albanum: ``The ager Albanus held many sources of attraction ... the scenery of the mythological deeds of the first [page 138] Latin peoples. On one side, the eye could rest on the crater lake of Albano and the surrounding hills, in particular Monte Cavo, once home of the federal sanctuary of the Latin League, dedicated to Jupiter Latialis´´"; cf. infra, in volume 3-2, at Appendix IV.d.4.b) Domitian's building project comprising the Campus Martius, the Capitoline Hill and the sella between Arx and Quirinal. With detailed discussion of the Templum Pacis, and some remarks on Domitian's Villa, called Albanum.
Fig. 117. Wall-painting from the north wall of the triclinium in the Casa di M. Fabius Secundus in Pompeji (V,4,13), Museo Archeologico Nazionale, Napoli, datable to the beginning of the 1st century AD (last phase of the III. style). Probably a copy after a painting in an Augustan building at Rome. From: F. Coarelli (2012, 165-167, Fig. 39). Cf. infra, in volume 3-2, in Appendix VI.; at Section VI.
Fig. 118. Didrachma, 297 BC, showing on the reverse the Ogulnian monument with the lupa, suckling the infants Romulus and Remus. Roma, Musei Capitolini, Medagliere. Cf. C. Parisi Presicce (2000, 21, Fig. 21). Cf. infra, in volume 3-2, at Appendix IV.c).
Fig. 119. Franz Xaver Schütz, drawing: "The earth with indication of meridians (longitudes) and latitudes". Marked are also the "Tropic of Cancer" and the "Tropic of Capricorn". From: F.X. Schütz 2017, 692, Abb. 1. Cf. infra, in volume 3-2, at Appendix II.c).
Fig. 120. The Arch of Divus Titus on the Velia in Rome. Cf. Paolo Liverani (2021, 83-84): "We can exemplify what is at stake by examining the decoration on the Arch of Titus ... a monument whose construction was planned by the Roman Senate shortly before the premature death of Titus, but which had to be built and finished under his brother and successor, Domitian". Cf. Diana E.E. Kleiner (1992, 183): "The inscription on the attic of the Arch of Titus indicates that the monument was erected by the senate and people of Rome in honour of the divine Titus, son of the divine Vespasian".
The bay of the Arch of Divus Titus on the Velia is decorated with two famous relief panels, the "spoils scene" and the "triumph relief", and at the apex of the vault of this arch there is a relief representing "the apotheosis of Titus"; cf. Diana E.E. Kleiner (1992, 187, Fig. 155, p. 188, Fig. 156, p. 189, Fig. 157). On the `spoils scene´ stands at the far right an arch (i.e., the Porta Triumphalis), through which the triumphal procession is marching, This arch is crowned by what seems to be statue groups. The centre of those statues is occupied by Domitian on horseback, accompanied to his left by his walking personal patron goddess Minerva, both are flanked on either side by the triumphal quadrigas of Vespasian and Titus, each of which pulled by four horses; cf. Diana E.E. Kleiner (1992, 185, Fig. 155). Photos: Courtesy Franz Xaver Schütz (4-IX-2019).
Fig. 121. The Arch of Titus in the Circus Maximus. Reproduced are here three illustrations from M. Buonfiglio 2017, p. 171, Fig. "8. Ricostruzione del prospetto dell'Arco di Tito (Sovrintendenza Capitolina - Dipartimento di Architettura UniRomaTre - Laboratorio Rilievo e Tecniche Digitali)"; p. 177, Fig. "15. L'emiciclo del Circo Massimo con la ricostruzione dell'Arco di Tito. In nero le murature ad oggi esistenti, in grigio le parti nascoste o ipottizzate (elab.[orazione] grafica M. Buonfiglio su rilievo Zetema)"; p. 179, Fig. "17. L'arco di Tito al Circo Massimo (ricostruzione M. Buonfiglio, A. Ciancio, A. Vecchione)".
Fig. 122. "Erstes Institutsgebäude auf dem Kapitol, Sitz des Instituts 1836 bis 1877. Architekt Johann Michael Knapp. Giebelskulpturen Emil Wolff. Ansicht in idealer Umgebung. Titelvignette der Monumenti inediti pubblicati dall'Instituto di Corrispondenza Archeologica, Vol. II, Roma e Parigi 1834/38"; cf. A. Rieche (1979, caption of her cat. no. 20; the name of the artist, who drew this "Titelvignette" is not indicated). This Vignette appears also on the cover of this catalogue, from where it was copied for this illustration; cf. p. 8 (Impressum): "Umschlagfoto: Helmut Schwanke, DAI Rom". In the background on the right of this drawing Pietro Rosa's excavations on the Palatine (1861-1870) are visible. Cf. infra, in volume 3-2, at Appendix I.e) It is conceivable that Vitellius (cf. Suet., Vit. 15,3), on December 19th AD 69, could actually have watched the fighting on the Capitolium, while staying at the `Domus Tiberiana´ on the Palatine.
Fig. 123. Views of the Capitolium and of the Arx, seen from the area of the `Domus Tiberiana´ on the Palatine. Marked are from left to right: the Basilica of St. Peter, the Synagogue, the Capitolium, with: the former Archäologisches Institut des Deutschen Reiches (the `Laspeyres-Bau´), the `Casa Tarpea´ (the former `Protestantisches Krankenhaus´ and immediately below it in the valley the Church of S. Maria della Consolazione), the former Instituto di Corrispondenza (the `Knapp-Bau´), the southern terrace of the Palazzo Caffarelli (built on top of the Temple of Iuppiter Optimus Maximus Capitolinus), the Palazzo Caffarelli, the `Tabularium´ (with the Palazzo Senatorio, built on top of it), and the Arx, with the Campanile of the Church of S. Maria in Aracoeli, and the Monument for Victor Emanuel II. Photos: Franz Xaver Schütz (26-VIII-2019). For discussions; cf. supra, at Fig. 122.
Fig. 124. Views of the `Casa Tarpea´, the `Knapp Bau´ (former Instituto di Corrispondenza Archeologica), and the `Domus Tiberiana´ on the Palatine, seen from the southern terrace of the Palazzo Caffarelli on the Capitolium, which was erected `on top of´ the Temple of Iuppiter Optimus Maximus Capitolinus. Photos: Franz Xaver Schütz (26-VIII-2019). For discussions; cf. supra, at Fig. 122.
Fig. 125. Architectural fragments, datable to the Republican period, on display at the Porticus of the Dei Consentes on the Clivus Capitolinus. These fragments have been attributed to five different buildings. No, thanks to the new findings, published M. GRAWEHR 2022, even to seven! Cf. infra, in volume 3-2, at Appendix I.e) It is conceivable that Vitellius (cf. Suet., Vit. 15,3), on December 19th AD 69, could actually have watched the fighting on the Capitolium, while staying at the `Domus Tiberiana´ on the Palatine.). Photos: Franz Xaver Schütz, 26-VIII-2019.
Fig. 126. Planting pot with an olive tree (olea europaea L.). Rome, Via della Conciliazione. Photo: F.X. Schütz (25-VIII-2019).
Fig. 127. Planting pot with an Indian rubber tree (ficus elastica L.). Rome, Piazza della Pilotta. Photo: F.X. Schütz (26-VIII-2019).
Fig. 128. Planting pot with an olive tree (olea europaea L.). Rome, Via dei Sabini. Photo: F.X. Schütz (30-VIII-2019). For discussions of here Figs. 126-128; cf. infra, in volume 3-2, at Appendix IV.c).
Fig. 129. Above: Sestertius, issued by Hadrian at Rome (`not earlier than AD 134´; P.L. STRACK 1933). The reverse shows the cuirassed emperor in `victor pose´, with lance and parazonium, stepping with his left foot on a crocodile. Photo taken after a plaster cast of a sestertius of the Museo Archeologico Nazionale, Napoli. From: A. Caló Levi (1948, 30-31 with n. 1, Fig. 1).
Below: the same, from: L. Cigaina (2020, 267, Fig. 113). The caption reads: "Sesterzio (RIC II Hadrian 782; 134-136 d.C. ca. [circa]): busto laureato e drappeggiato di Adriano / Adriano stante in abito militare calpesta un coccodrillo (© Bertolami Fine Art, asta 77, n. 1107, 1 dicembre 2019)".
Fig. 129.1. Drawing after a relief from the Temple of Horus at Dendera in Egypt, which represents a Pharaoh in the iconography of `Horus killing the crocodile´. From: A.E. Mariette, Dendérah, vol. II (1870-1874), Pl. 75a; cf. A.C. Levi (1948, 35, Fig. 5).
Fig. 130. Sestertius, issued at Rome by Vespasian (AD 71): IVDAEA CAPTA. Photo: © The Trustees of the British Museum, London.
Online at: <https://www.britishmuseum.org/collection/object/C_R-10518>.
Fig. 131. Sestertius, issued by Titus (AD 80-81): IVDAEA CAPTA. Courtesy of the Jewish Virtual Library. Online at: <https://www.jewishvirtuallibrary.org/coins-from-judaea-capta>.
Figs. 132-136. The ground-plan, represented on fragment 36b of the Severan Marble Plan. C. Parisi Presicce (2021) identifies this ground-plan as a temple, dedicated to Diva Plotina or else as a temple, dedicated to Diva Plotina and to Divus Traianus. I myself tentatively identify it as a temple, dedicated to Diva Sabina ? (cf. here Fig. 66).
The captions of these figures were copied after the article by C. Parisi Presicce (2021). Cf. C. Parisi Presicce (2021, 221, Fig. "8 [= here Fig. 132]. Ipotesi di Emilio Rodríguez Almeida di collocazione del frammento 56b a nord dell'edificio dei Saepta"; p. 222, Fig. "9 [= here Fig. 133]. Frammento 36b, dettaglio del segno di interpunzione"; p. 222, Fig. "10 [= here Fig. 134]. Roma, Parco archeologico del Celio. Pianta marmorea severiana, frammento dettaglio con segno di interpunzione"; p. 223, Fig. "12 [= here Fig. 135]. Disegno del frammento 36b della Pianta marmorea severiana con integrazione ipotetica dell'iscrizione (disegno di Ersilia D'Ambrosio)"; p. 223, Fig. "13 [= hier Fig. 136]. Disegno del frammento 36b della Pianta marmorea severiana con integrazione ipotetica dell'edificio insieme agli altri frammenti attribuiti all'area circostante al Foro di Traiano (montaggio di Riccardo Montalbano)".
Cf. infra, in volume 3-2, at A Study on the Consequences of Domitian's assassination ... Or: The wider topographical context of the Arch of Hadrian alongside the Via Flaminia which led to the (later) Hadrianeum and to Hadrian's Temples of Diva Matidia (and of Diva Sabina?); and below, at The Contribution by John Bodel: The Label Inscribed on Fragment 36b of the Severan Marble Plan; and at The second Contribution by Angelo Geißen: Zum `Hadrianeum´ auf Münzen des Antoninus Pius.
Fig. 137. The first coins, issued by the Emperor Hadrian at Alexandria in AD 117, show Hadrian's earliest portrait-type. See below, at The first Contribution by Angelo Geißen: Bemerkungen zur frühen Münzprägung Hadrians in Alexandria.
The four extant marble portraits in the round, which show Hadrian in his Delta Omikron (Δο) portrait-type (cf. here Fig. 3), were obviously based on those coins, but it is debated, who had commissioned those portraits, Hadrian or Antoninus Pius. I myself suggest that Hadrian commissioned those portraits still himself in AD 138, as part of the propagation of his providentia for the continuitas imperii : Hadrian's adoption on 25th February AD 138 of Antoninus Pius (immediately after Antoninus Pius, in his turn, had adopted Marcus Aurelius and Lucius Verus). I suggest this because Hadrian commemorated his adoption of Antoninus Pius also with his tetradrachma, issued at Alexandria in 137/ 138 (here Fig. 138). I regard, therefore, the assumption as plausible, although it is currently not provable that, as a part of this propagation, Hadrian had still himself issued in AD 138 the aurei with this portrait-type (here Figs. 137; 3) and his adoptive parents (`DIVIS PARENTIBVS´), Trajan and Plotina (here Fig. 139). These aurei, like the tetradrachma (here Fig. 138), and the marble portraits (here Fig. 3), hinted, in my opinion, at the fact that Hadrian had now himself adopted a son.
Fig. 138. Tetradrachma, issued by Hadrian in 137/ 138 at Alexandria, to commorate his adoption of Antoninus Pius. Cf. A. Geissen ("ΑΙΩΝ - AETERNITAS. Welche numismatischen Zeugnisse reflektieren die Vollendung der Sothis-Periode unter Antoninus Pius?", 2010).
Fig. 139. The aurei, issued in AD 138, with Hadrian's first portrait-type (cf. here Figs. 3; 137) and on the reverse with the portraits of his adoptive parents, Divus Traianus and Diva Plotina (`DIVIS PARENTIBVS´). It is debated, who had issued those coins, Hadrian or Antoninus Pius; cf. Martin Beckmann ("The Gold Coinage of Hadrian AD 130-138", 2019); and Hans Rupprecht Goette (2021, 24 n. 67, p. 124, Abb. 56, pp. 25-27). In my opinion, those aurei had still been issued by Hadrian himself in AD 138, as part of the propagation of his providentia for the continuitas imperii.
For discussions of the coins here Figs. 137; 138; 139; 140; 141.1; 141.2; 142; 143; 144; 145; and-146; cf. supra, in Chapter The major results of this book on Domitian; and in greater detail infra, in volume 3-2. at A Study on the consequences of Domitian's assassination ....; at Chapter VI.2.3. My own interpretation of Hadrian's portrait-type Delta Omikron (Λο) (cf. here Figs. 137; 3); at How adoptions could be visualized on coins: Nerva/Trajan, Trajan/Hadrian, Hadrian/Aelius Caesar, Hadrian/ Antoninus Pius, Antoninus Pius/Marcus Aurelius.
Fig. 140. Denarius, issued by Trajan. Nerva gives Trajan the globe of `world rule´. Cf. D.C.A. Shotter (1983, 225): "Trajan's accession issue shows Nerva handing Trajan a globe with the legend PROVID P M TR P COS II [with n. 67]".
In the following, I anticipate a text passage from volume 3-2, A Study on the consequences of Domitian's assassination ...; Chapter VI.2.3.; at Section How adoptions could be visualized on coins: Nerva/Trajan, Trajan/Hadrian, Hadrian/Aelius Caesar, Hadrian/ Antoninus Pius, Antoninus Pius/Marcus Aurelius:
`Nerva gives Trajan the globe, which means: by his adoption, Nerva endows Trajan with `world rule´. Mario Torelli ("Providentia, Ara", in: LTUR IV [1999] 166) writes: "... da Nerva in poi fino ad epoca tardo imperiale l'ara [providentiae] è sostituita dalla scena della consegna del globo al successore, simbolicamente omologa alla raffigurazione dell'altare [i.e., the ara Providentiae Augustae]". - Torelli (op. cit.) himself does not provide a reference for this coin (here Fig. 140). But see Torelli (1992, 109, 119-120, Fig. 15) for discussions of the ara Providentiae Augustae and of the meaning of late antique coins which represent the "scena della consegna del globo al successore". To my great surprise, this coin (here Fig. 140) was not issued by Nerva, as I had expected, when reading Torelli's (1999, 166) account, but instead in AD 98 by Trajan himself. In addition to this, D.C.A. Shotter (1983, 225) states explicitly that "The adoption [of Trajan] is not commemorated on the coinage of Nerva"´.
Fig. 141.1. Aureus, issued by Trajan in AD 112/113 at Rome. Obverse: Trajan, laureate and wearing the paludamentum. Reverse: his divinized natural father. From E. La Rocca (2021, 92 Fig. 19) The caption reads: "Traiano, aureo della zecca di Roma (112-113 d.C.). Recto: effigie laureata di Traiano. Verso: effigie del divus pater Traianus (foto Heritage Auctions, Inc., Auction 3056 [3. 8. 2017], Lot 30007)". Courtesy: E. La Rocca.
Fig. 141.2. Aureus, issued by Trajan in AD 112/113 at Rome. Obverse: Trajan, laureate and wearing the paludamentum. Reverse: his two divinized fathers, his natural father Taianus pater and Nerva. From E. La Rocca (2021, 92 Fig. 18) The caption reads: "Traiano, aureo della zecca di Roma (112-113 d.C.). Recto: effigie laureata di Traiano. Verso: effigie affrontate dei divi Nerva e Traianus pater (foto Fritz Rudolf Künker GMBH and Co. KG, Auction 168 [12. 3. 2010], Lot 7742)". Courtesy: E. La Rocca.
Fig. 142. Aureus, issued by the Emperor Hadrian in AD 117 at Rome. Trajan gives Hadrian the globe of `world rule´.
Cf. Stack's Bowers and Ponterio Sixbid Numismatic Auctions The January 2013 N.Y. I.N.C Session I Lot 5001 11. Jan. 2013: "RIC -3c (Denarius) ... Among the earliest coinage issues of Hadrian, it depicts a youthful beardless portrait of the emperor. The reverse type depicts Trajan and Hadrian clasping hands, with "ADOPTIO" in the exergue. This directly references Hadrian's adoption by Trajan, testifying to Hadrian's legitimacy as the new emperor of Rome"... "`IMP. CAES. TRAIAN. HADRIANO OPT. AVG. GER. DAC´. Laureate, draped and cuirassed bust of Hadrian right. Reverse: `PARTHIC. DIVI TRAIAN. AVG. F.P.M. TR. P. COS. P.P. ADOPTIO´. Trajan and Hadrian standing, facing each other, clasping right hands". - Contrary to this description, comparisons with the portraits of Hadrian on the aurei here Figs. 145; 146 show that also this coin represents Hadrian bearded.
Fig. 143. Coins, issued in AD 136 in Mylasa in Caria on the occasion of Hadrian's adoption of his first adoptive son, L. Ceionius Commodus, who was after his adoption called Aelius Caesar. From: Fabrice Delrieux (2017, 232 Abb. 5, 5-6).
In the following, I anticipate a text passage from volume 3-2, A Study on the consequences of Domitian's assassination ...; at Chapter VI.2.1. H.R. Goette's (2021) discussion of Hadrian's portrait-type Delta Omikron (Δο; cf. here Figs. 137; 3):
`Cf. Hans Rupprecht Goette (2021, 26, note 70). In his note 70, Goette writes: "Zur Adoption des L. Ceionius Commodus, dann als designierter Nachfolger L. Aelius Caesar, durch Hadrian zwischen 19. 7. und 29. 8. 136 s.[iehe] Kienast - Eck - Heil, 2017, 123. 126. Diese Sukkzessionspläne zerschlugen sich durch Aelius Caesars Tod am 1. 1. 138, woraufhin (am 25. 2. 138) der spätere Antoninus Pius [von Hadrian] adoptiert und zum Caesar ernannt wurde. - Die Nachfolgeregelung Hadrians 136 wurde durch die sich anblickenden Portraits des Kaisers und Aelius Caesar auf Münzen verbildlicht, s. F. Delrieux, Les frappes provinciales romaines de Mylasa en Carie, in: L. Bricault et al. (Hrsg.), Festschr.[ift] M. Amandry (Bordeaux 2017) 232 Abb. 5, 5-6"´.
Fig. 144. Coins issued by the Emperor Antoninus Pius in AD 144/ 145 AD to commemorate the marriage of his daughter Faustina minor with (the future) Marcus Aurelius.
See the discussion of those coins by Angelo Geissen (2010, 213, with n. 10, quoted verbatim in C. HÄUBER 2014a, 728-729 with n. 6): "This marriage: ``[diente] doch vorzüglich dazu, die römische Herrscherideologie zu propagieren, die den Fortbestand der Dynastie und damit die Fürsorge und den Schutz der Bevölkerung auf ihre Fahnen geschrieben hatte´´".
In the following, I anticipate a text passage from volume 3-2, A Study on the consequences of Domitian's assassination ...; Chapter VI.2.3.; at Section How adoptions could be visualized on coins: Nerva/Trajan, Trajan/Hadrian, Hadrian/Aelius Caesar, Hadrian/ Antoninus Pius, Antoninus Pius/Marcus Aurelius:
`Antoninus Pius issued on this occasion [in AD 144/145] coins showing on the obverse a portrait of himself, and on the reverse a portrait of (the future) Marcus Aurelius, his adoptive son, whom Antoninus Pius had adopted at Hadrian's wishes. As Angelo Geißen (2010, 214-216 with ns. 15-18, Taf. 64, 8-11), by analysing Antoninus Pius's coin editions, is able to show, Antoninus Pius declared (the future) Marcus Aurelius as "Thronfolger" (Caesar) not already at the moment of Marcus's adoption on 25th February AD 138 (as had been intended by Hadrian), but only, on the reverses of his coins since 141/ 142. Later, Antoninus Pius declared (the future) Marcus Aurelius as his "Koregent" (co-regent, co-emperor), but not already on the occasion of Marcus's marriage with his daughter Faustina minor in AD 145, but only after Faustina minor had given birth to their first child in AD 147 (!)´.
Fig. 145. Aureus, issued by Hadrian in AD 117/118 in Rome. Staatliche Museen zu Berlin, Preußischer Kulturbesitz. Cf. "SMB-digital Online collections database Hadrianus ... Ident.Nr. 18200257 Sammlung: Münzkabinett ... © Foto: Münzkabinett der Staatlichen Museen zu Berlin - Preußischer Kulturbesitz Fotograf: Lutz-Jürgen Lübke (Lübke und Wiedemann), SMB-digital is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Germany License.
Description Vorderseite: IMP CAES TRAIAN HADRIAN O-PT AVG G D PART. Gepanzerte Büste des Hadrianus mit Lorbeerkranz und umgehängtem Schwertgurt (balteus) in der Brustansicht nach r.[echts] Rückseite: DIVO TRAIANO - PATRI AVG. Drapierte Panzerbüste des Divus Traianus mit Lorbeerkranz in der Rückenansicht nach r.[echts] Literatur: ... RIC II Nr. 24 b; RIC II-3² Nr. 28".
Fig. 146. Aureus, issued by Trajan in AD 117: Hadrian as Caesar. Cf. British Museum Coins III, p. 124:
"Obverse: IMP CAES NER TRAIAN OPTIM AVG GER DAC - Head of Trajan, laureate, right, Reverse: HADRIANO TRAIANO CAESARI - Head of Hadrian, laureate, right".
Photo: © The Trustees of the British Museum.
In the following, I anticipate a text passage from volume 3-2, A Study on the consequences of Domitian's assassination ...; Chapter VI.2.3.; at Section How adoptions could be visualized on coins: Nerva/Trajan, Trajan/Hadrian, Hadrian/Aelius Caesar, Hadrian/ Antoninus Pius, Antoninus Pius/Marcus Aurelius:
`Whereas Nerva's adoption of Trajan, because ... announced by Nerva in public, was not contested, Hadrian's (alleged?) adoption by Trajan was ... Considering this point, Anthony R. Birley (1996, 662) wrote: "A single aureus with the reverse HADRIANO TRAIANO CAESARI (BM Coins, Rom. Emp. 3. lxxxvi, 124 [= here Fig. 146]) cannot dispel the rumours that Plotina had staged an adoption after Trajan died"... If Trajan had indeed himself ordered this coin-type, as seems to be the case, he must have done that in connection with his adoption of Hadrian, which he (allegedly) did on his death-bed. A similar question has been discussed in a different context by the scholars, whom Martin Beckmann (2019, 151-152) follows: they suggest that part (of the scheduled editions of?) those aurei, issued by Hadrian in AD 138 (inter alia here Fig. 139), without any problems, could also have been coined after Hadrian's death, at the order of Antoninus Pius´.
Fig. 147. Denarius, issued by Nero in AD 67-68 at Rome. On the reverse a seated Iuppiter Custos.
Cf. <https://en.numista.com/catalogue/pieces246244.html>: "RIC I#69 ... Obverse: Head of Nero, laureate, right, with beard, Lettering: IMP NERO CAESAR AVG PP, Reverse, Lettering: IVPPITER CVSTOS, Jupiter, bare to waist, cloak round lower limbs, holding thunderbolt in right hand and long sceptre in left".
Fig. 148. Denarius, issued by Vespasian in AD 76 at Rome. On the reverse a standing Jupiter Custos.
Cf. <https://en.numista.com/catalogue/pieces249759.html>: "RIC II.1# 850 ... Obverse: Head of Vespasian, laureate, left, Lettering: IMP CAESAR VESPASIANVS AVG, Reverse: Jupiter, bearded, naked, standing facing, sacrificing out of patera in right hand over low garlanded altar and holding vertical sceptre in left, Lettering: IOVIS CVSTOS".
Fig. 149. Denarius, issued under Titus in AD 76 at Rome. On the reverse a standing Jupiter Custos.
Cf. <https://en.numista.com/catalogue/pieces249772.html>: "RIC II,1#863 ... Obverse: Head of Titus, laureate, right, Lettering: T CAESAR IMP VESPASIAN, Reverse: Jupiter, bearded, naked, standing facing, sacrificing out of patera in right hand over low garlanded altar and holding long vertical sceptre in left, Lettering: IOVIS CVSTOS".
For the coins, illustrated on here Figs. 147-149, cf. infra, in volume 3-2, at Appendix I.d) Domitian's escape from the Capitolium on 19th December AD 69, which happened on the festival of the Opalia, one day of the Saturnalia.
Fig. 150. `Venus from the Esquiline´, marble statue in the Musei Capitolini, Palazzo dei Conservatori, Rome (inv. no. MC 1141). From: Häuber (2014a, 40-41, Figs. 16 a-f; cf. pp. 745-776).). Cf. supra, at Chapter I.3.1; and infra, in volume 3-2, at: A Study on the consequences of Domitian's assassination ...; Chapter VI.2.3.; at Hadrian's Delta Omikron (Δο)-portrait-type ... and the `Venus from the Esquiline´ (cf. here Fig. 150).
Fig. 151. Hemidrachma with portrait of Livia, issued by Augustus before 9/10 AD at Alexandria. From Häuber (2017, 343-345 with ns. 103-106, Fig. 7).
Fig. 152. Obol, issued by Augustus at Alexandria with portrait of Augustus, and on the reverse the legend: Patros Patridos, referring to Augustus's title Pater Patriae bestowed upon him in 2 BC. From: Häuber (2017, 343-345 with ns. 103-106, Fig. 8).
The coins here Figs. 151; 152 are kept at the Universität zu Köln, Institut für Altertumskunde. For both coins; cf. Angelo Geißen ("Comments by Angelo Geißen: Augustus und das liebe Geld", in: C. HÄUBER 2017, 732-733, with references).
Fig. 153. Giambattista (G.B.) Nolli's Large Rome map (1748) detail, showing the area under the steep western slope of the Aventine in Rome (below the Basilica of S. Sabina). Nolli labelled the stone pillars in the Tiber, which were visible at his time, as "Vestigia del Ponte Sublicio".
Fig. 154. The Tiber in Rome with the mouth of the Cloaca Maxima. Above it, we see on the eastern bank of the Tiber the round temple, which stood to the west of the Forum Boarium. To the north of the round temple are visible the Temple of Portunus and the Palazzo dell'Anagrafe, underneath of which parts of the Horrea Aemiliana have been excavated; all these buildings were erected in the old commercial river port of Rome, the Portus Tiberinus. Photos: Courtesy Franz Xaver Schütz (23-III-2006).
For discussions of the illustrations here Figs. 151-154; cf. supra, in A Study on the colossal portrait of Hadrian (now Constantine the Great) ...; at Part II. Ancient Rome's new commercial river port, at La Marmorata; at Section I. Introduction.
Fig. 155. Roman wall-painting, `Aldobrandini Wedding’. Città del Vaticano, Musei Vaticani, Biblioteca (inv. no. 69631). From: C. Häuber (2014a, 831, Fig. 156. Cf. Appendix V; B 30).
Cf. supra, in A Study on Domitian's cult-statue of Iuppiter Optimus Maximus Capitolinus (cf. here Fig. 10); at Part I. The wall painting `Aldobrandini Wedding´ in the Vatican Museums and the statuette of the `Euripides´ in the Louvre (cf. here Fig. 12), which has been discussed together with it..