DOI Page / Citation link:
https://doi.org/10.11588/diglit.45927#0120
118
10. SUMMARY (M. Aurenhammer - U. Quatember - H. Thur)
Antoninus is also reflected by the transcript of letters written by the Emperor Antoninus Pius to the Ephesians
(see below). They concern Vedius’ role as a benefactor and confirm the emperor’s support for his activities,
among them important buildings like the so-called Vedius Gymnasium at the northern edge of the city.
This in turn has implications for the interpretation of the decoration: the architectural ornament of the scae-
naefrons ties the Bouleuterion closely to the other structures commissioned by the Vedii. The similarities to
the decoration of the so-called Kaisersaal in the Vedius Gymnasium and to the capitals and the entablature of
a Monopteros generally considered as the family tomb are evident. It seems that the decoration is a carefully
chosen feature of the family’s building program.
The type of aedicular facade represented by the Vedius scaenae frons is known in Asia Minor since the time
of Augustus. The earliest examples in Aphrodisias and Stratonikeia share the same characteristics with later
examples: the projecting and receding entablature forms aediculae, which are in the upper story crowned by
pediments of varying shapes. The shifted pattern in the upper story is first testified in the scaenae frons of the
theater in Miletus which probably dates to the reign of Nero. In Ephesos, the Vedius scaenae frons in the Bou-
leuterion is preceded by the one in the theater (under Domitian), as well as aedicular facades from fountains
(Nymphaeum of Laecanius Bassus finished 78/79 A.D., Nymphaeum Traiani and Street Fountain, finished
between 102 and 114 A.D.) and other buildings like the Library of Celsus (late Trajanic).
The Inscriptions
The series of inscriptions found in the Bouleuterion is presented in this volume focusing on its relevance for
the history of the building. A building inscription was displayed on the upper architrave, on the lower frieze
and on the lower architrave. The proposed text is paralleled by the inscriptions from the Vedius Gymnasium
(147-149 A.D.). It starts with the dedication of the building to Artemis Ephesia, the Emperor Antoninus Pius
and his family, and to Ephesos, the metropolis of Asia, and continues with the names and titles of the dedicants,
Vedius III (the “donor“) and his wife Papiane, restored on the basis of titles attested in other inscriptions. Due
to its fragmentary state and the lack of direct parallels, a comprehensive restoration of the text on the lower
architrave is not possible. Some fragments might point to a connection with the family of Ti. Claudius Demos-
tratos Kailianos who was a prominent figure at Ephesos under the reign of Hadrian.
The famous “Imperial Letters” comprise two letters of Hadrian to Ephesos, three letters of Antoninus Pius
to the Ephesians, and one letter of Antoninus Pius to the Hellenes in Asia. The two identical letters of Hadrian
concern the entry of two sea-captains into the Ephesian Boule. At least one letter belonged to the wall blocks
of the proscenium of the first phase of the Bouleuterion, the other was replaced by a marble sheet in Vedius’
renovation. An honorary inscription for Hadrian, dating to the last years of his reign and written on a wall
block, resembles one of the Hadrianic letters and probably belongs to the Bouleuterion as well.
The inscription most important for Ephesos is the so-called Triple Inscription, inscribed on marble slabs:
three letters of Antoninus Pius encouraging Vedius’ building program at Ephesos - obviously including the
Bouleuterion - which had met resistance in Ephesian society. These letters can be dated to the years 145-161
A.D. and were obviously engraved at the same time.
The inscribed statue plinths and bases found in the Bouleuterion comprise the plinth of a statue of Lucius
Verus, a base (?) for Marcus Aurelius only recorded in a sketch by J. T. Wood, and a base for a daughter of
Marcus Aurelius, Faustina. All of them feature the same dedicatory formula and were set up by Vedius during
the reign of Antoninus Pius. Moreover, a statue base of the personification of Demos was found in front of the
stage.
The Hadrianic inscriptions on wall blocks of the scene wall show that the earlier Bouleuterion was built in
128/129 at the latest. As to the Imperial Letters which were inscribed on the marble slabs of the Vedius renova-
tion, the Triple Inscription points to the 150s A.D. for the completion of this renovation. The statue plinths and
bases were set up in the reign of Antoninus Pius. Epigraphical and sculptural evidence (see below) suggest that
the portrait statuary of the Antonine gallery was not put in place at the same time.
10. SUMMARY (M. Aurenhammer - U. Quatember - H. Thur)
Antoninus is also reflected by the transcript of letters written by the Emperor Antoninus Pius to the Ephesians
(see below). They concern Vedius’ role as a benefactor and confirm the emperor’s support for his activities,
among them important buildings like the so-called Vedius Gymnasium at the northern edge of the city.
This in turn has implications for the interpretation of the decoration: the architectural ornament of the scae-
naefrons ties the Bouleuterion closely to the other structures commissioned by the Vedii. The similarities to
the decoration of the so-called Kaisersaal in the Vedius Gymnasium and to the capitals and the entablature of
a Monopteros generally considered as the family tomb are evident. It seems that the decoration is a carefully
chosen feature of the family’s building program.
The type of aedicular facade represented by the Vedius scaenae frons is known in Asia Minor since the time
of Augustus. The earliest examples in Aphrodisias and Stratonikeia share the same characteristics with later
examples: the projecting and receding entablature forms aediculae, which are in the upper story crowned by
pediments of varying shapes. The shifted pattern in the upper story is first testified in the scaenae frons of the
theater in Miletus which probably dates to the reign of Nero. In Ephesos, the Vedius scaenae frons in the Bou-
leuterion is preceded by the one in the theater (under Domitian), as well as aedicular facades from fountains
(Nymphaeum of Laecanius Bassus finished 78/79 A.D., Nymphaeum Traiani and Street Fountain, finished
between 102 and 114 A.D.) and other buildings like the Library of Celsus (late Trajanic).
The Inscriptions
The series of inscriptions found in the Bouleuterion is presented in this volume focusing on its relevance for
the history of the building. A building inscription was displayed on the upper architrave, on the lower frieze
and on the lower architrave. The proposed text is paralleled by the inscriptions from the Vedius Gymnasium
(147-149 A.D.). It starts with the dedication of the building to Artemis Ephesia, the Emperor Antoninus Pius
and his family, and to Ephesos, the metropolis of Asia, and continues with the names and titles of the dedicants,
Vedius III (the “donor“) and his wife Papiane, restored on the basis of titles attested in other inscriptions. Due
to its fragmentary state and the lack of direct parallels, a comprehensive restoration of the text on the lower
architrave is not possible. Some fragments might point to a connection with the family of Ti. Claudius Demos-
tratos Kailianos who was a prominent figure at Ephesos under the reign of Hadrian.
The famous “Imperial Letters” comprise two letters of Hadrian to Ephesos, three letters of Antoninus Pius
to the Ephesians, and one letter of Antoninus Pius to the Hellenes in Asia. The two identical letters of Hadrian
concern the entry of two sea-captains into the Ephesian Boule. At least one letter belonged to the wall blocks
of the proscenium of the first phase of the Bouleuterion, the other was replaced by a marble sheet in Vedius’
renovation. An honorary inscription for Hadrian, dating to the last years of his reign and written on a wall
block, resembles one of the Hadrianic letters and probably belongs to the Bouleuterion as well.
The inscription most important for Ephesos is the so-called Triple Inscription, inscribed on marble slabs:
three letters of Antoninus Pius encouraging Vedius’ building program at Ephesos - obviously including the
Bouleuterion - which had met resistance in Ephesian society. These letters can be dated to the years 145-161
A.D. and were obviously engraved at the same time.
The inscribed statue plinths and bases found in the Bouleuterion comprise the plinth of a statue of Lucius
Verus, a base (?) for Marcus Aurelius only recorded in a sketch by J. T. Wood, and a base for a daughter of
Marcus Aurelius, Faustina. All of them feature the same dedicatory formula and were set up by Vedius during
the reign of Antoninus Pius. Moreover, a statue base of the personification of Demos was found in front of the
stage.
The Hadrianic inscriptions on wall blocks of the scene wall show that the earlier Bouleuterion was built in
128/129 at the latest. As to the Imperial Letters which were inscribed on the marble slabs of the Vedius renova-
tion, the Triple Inscription points to the 150s A.D. for the completion of this renovation. The statue plinths and
bases were set up in the reign of Antoninus Pius. Epigraphical and sculptural evidence (see below) suggest that
the portrait statuary of the Antonine gallery was not put in place at the same time.
