DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14696#0154
Commemorative Columns 103
1917 pp. 35—118 (' L/aigle funeraire d'Hierapolis et l'apotheose des empereurs ')). The
reverse design of the medallions of Antoninus Pius is best explained by comparison with
the southern or principal relief on the marble base of his column, now in the apse
of the Giardino della Pigna at the Vatican (Amelung Sculpt. Vatic, i. 883 ff. no. 223
pis. 116 ( = my fig. 65)—118, W. Ilelbig Fiihrer durch die offentlichen Sammlungen
Fig. 64.
klassischer Altertiinier in Romz Leipzig 1912 i. 74 f. no. 123, Mrs A. Strong Roman
Sculpture from Augustus to Constantine London 1907 p. 270ft. pi. 82. Reinach
Rip. Reliefs i. 291 f.). This relief represents the Dea Roma seated on the right, the
personified Campus Martins reclining on the left : the former uplifts her right hand in
greeting, the latter clasps with his left the obelisk of Augustus (Plin. nat. hist. 36. 72) ;
between them is a pile of weapons. Soaring up into the air is a youthful genius, who in
his left hand bears a globe marked with zodiac (Pisces, Aries, Taurus), moon, and stars,
and a snake resting upon it. Above his broad wings are seen the half-length figures of
Antoninus Pius with eagle-sceptre and Faustina Senior with veil, crown, and sceptre.
Flanked by a pair of eagles, the emperor and his wife are probably conceived as the new
rivals of Iupiter and Iuno (R. Foerster Die Hochzeit des Zeus und der Hera {Winckel-
mannsfest-Progr. Breslau 1867) p. 34 n. 5).
In the Hope collection at Deepdene was a fine statue of Zeus, erect with an eagle
beside him, in Thasian marble, transformed into Antoninus Pius by the addition of
a modem head and neck (A. Michaelis Ancient Marbles in Great Britain trans. C. A. M.
Fennell Cambridge 1882 p. 282 no. 5, Hope Sale Catalogue London 1917 p. 42 no. 253).
1917 pp. 35—118 (' L/aigle funeraire d'Hierapolis et l'apotheose des empereurs ')). The
reverse design of the medallions of Antoninus Pius is best explained by comparison with
the southern or principal relief on the marble base of his column, now in the apse
of the Giardino della Pigna at the Vatican (Amelung Sculpt. Vatic, i. 883 ff. no. 223
pis. 116 ( = my fig. 65)—118, W. Ilelbig Fiihrer durch die offentlichen Sammlungen
Fig. 64.
klassischer Altertiinier in Romz Leipzig 1912 i. 74 f. no. 123, Mrs A. Strong Roman
Sculpture from Augustus to Constantine London 1907 p. 270ft. pi. 82. Reinach
Rip. Reliefs i. 291 f.). This relief represents the Dea Roma seated on the right, the
personified Campus Martins reclining on the left : the former uplifts her right hand in
greeting, the latter clasps with his left the obelisk of Augustus (Plin. nat. hist. 36. 72) ;
between them is a pile of weapons. Soaring up into the air is a youthful genius, who in
his left hand bears a globe marked with zodiac (Pisces, Aries, Taurus), moon, and stars,
and a snake resting upon it. Above his broad wings are seen the half-length figures of
Antoninus Pius with eagle-sceptre and Faustina Senior with veil, crown, and sceptre.
Flanked by a pair of eagles, the emperor and his wife are probably conceived as the new
rivals of Iupiter and Iuno (R. Foerster Die Hochzeit des Zeus und der Hera {Winckel-
mannsfest-Progr. Breslau 1867) p. 34 n. 5).
In the Hope collection at Deepdene was a fine statue of Zeus, erect with an eagle
beside him, in Thasian marble, transformed into Antoninus Pius by the addition of
a modem head and neck (A. Michaelis Ancient Marbles in Great Britain trans. C. A. M.
Fennell Cambridge 1882 p. 282 no. 5, Hope Sale Catalogue London 1917 p. 42 no. 253).