DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.37251#0054
24
SCALA II. 4
The relief, with nos. *7 and 10, belongs to a series of which eight
panels are now walled into the attic of the Arch of Constantine. It is
uncertain from what building they were removed, but Stuart Jones (A<r.
<rz7. 277/777) has suggested that they adorned an arch near S. Martina, the
last home of the reliefs, which was known in the Middle Ages as the
7)77772'^ rzzzz'V. He supposed that a lost panel made up the whole
number of twelve, which would conveniently decorate both sides of an
arch, and referred the whole series to the wars of Marcus Aurelius on the
Danube and his ultimate triumph, one half being connected with the
German War and the entry of the Emperor into Rome in 174, the other
with the Sarmatian War and the final triumph of 176. Of the three
reliefs here described, no. 10 is probably a scene during the war against
the Germans, as is shown by the type of the submissive barbarians, and
takes place in the open country. Nos. 4 and y represent the triumph
of 176. Frothingham (A772727*. yNzzw. AzioC, 1915, pp. 1 ff.) distinguishes
two series of reliefs, the one ' Roman' in style, which, as he believes,
belonged to an arch set up in commemoration of L. Verus' triumph over
the Parthians (A. D. 166), the other 'Hellenic*, commemorating M.
Aurelius' triumph in A.D. 176. The reliefs in the Palazzo dei Conservatori
in any case belong to this latter series, since the portrait of M. Aurelius is
intact. The portrait of the /v'TZT/Vz'zz.s' /v^zWzb in the reliefs on the attic
of the Arch of Constantine appears to have been reworked in the style of
the late third century A. D., and, if Mr. Frothingham's theory be accepted,
would most probably have originally represented L. Furius Victorious, the
/r. /v*. of L. Verus; the portrait on this no. is, however, intact, and the
identification with M. Bassaeus Rufus still holds good.
Apart from their historical importance, the three panels possess con-
siderable artistic value. The composition is balanced and rhythmical,
although in no. 4 the scene is somewhat crowded. The racial types in
no. 10 and in the reliefs on the Arch of Constantine have been well observed,
and the portraits of the Emperor are among the most attractive left to us.
Formerly in the Church of S. Martina, the ancient A^7W<27*777777
&77<?/zAS' (cf. Htilsen, W<7772 2Z72 Vb7'7Z772, 1909, pp. 28, 116 f.), together
with nos. 7 and 10 ; cf. Albertini, C/zz.y<r22/zz772, f. 27V; Fulvio, A722*zyzz2Z7-277,
1513, f. O iiC. They were removed thence by Feo X in 1515 (Forcella,
i. 39) without the assent or knowledge of the rector, whom the Conser-
vatori ultimately decided to compensate on March 29, rgag (A. A. C.,
Cred. i. ig, 139 and i. 33, 177); that this latter year was the date of the
transference of the reliefs is not therefore proved by Fulvio, Azzz'zyzzz'/TzAj',
1327, f. 2if (sublata 7277/7-2' ex aede S. Martinae). They were at first
placed in the (WWA (Fichard, p. 28) and were placed in their present
position in 1372 (see Addenda); in 1393 Ruggero Bescap6 contracted
to restore them (A. A. C., Cred. iv. 104, 30; cf. Fanciani, A/Wziz, ii,
p. 92).
Drawings : 6W. FiA. Azz*. 3439 f. 87 ; Du Perac, Louvre, 3930", 6W. Azj/h,
Z^z/az/^'A^rzk^/g, 1868, p. 183, no. 40, f. 89 = 6kZ. (k^zzzy, A^zAzz^z* AfczzTzZj^gz'ZZZ^
(1871), p. 464, no. 23, f. 68, cf. no. 26 ; Dal Pozzo-Albani, Windsor, ii. 2 (8237) and
Franks, i. 107^(118).
Perrier, 43, 44, 46 ; Bartoli-Bellori, ^rZzzzpTZZZTfA, pis. 7-9 ; Righetti, i. 163, 167,
168; Armellini, ii. 119, 121, 122; Brunn, A'Azzz^ AAz'z/Zgzz, i, p. 103, fig. 31 ; Brunn-
Bruckmann, 268^ (no. 10), 269 (nos. 4, 7); Stuart Jones, AW. A. A. iii, pp. 231 ff.,
pi. XXIII (no. 10), pi. XXVI (nos. 4, 7); Wace, A. A. A. A. iv, p. 240; Strong, Acwazz
SCALA II. 4
The relief, with nos. *7 and 10, belongs to a series of which eight
panels are now walled into the attic of the Arch of Constantine. It is
uncertain from what building they were removed, but Stuart Jones (A<r.
<rz7. 277/777) has suggested that they adorned an arch near S. Martina, the
last home of the reliefs, which was known in the Middle Ages as the
7)77772'^ rzzzz'V. He supposed that a lost panel made up the whole
number of twelve, which would conveniently decorate both sides of an
arch, and referred the whole series to the wars of Marcus Aurelius on the
Danube and his ultimate triumph, one half being connected with the
German War and the entry of the Emperor into Rome in 174, the other
with the Sarmatian War and the final triumph of 176. Of the three
reliefs here described, no. 10 is probably a scene during the war against
the Germans, as is shown by the type of the submissive barbarians, and
takes place in the open country. Nos. 4 and y represent the triumph
of 176. Frothingham (A772727*. yNzzw. AzioC, 1915, pp. 1 ff.) distinguishes
two series of reliefs, the one ' Roman' in style, which, as he believes,
belonged to an arch set up in commemoration of L. Verus' triumph over
the Parthians (A. D. 166), the other 'Hellenic*, commemorating M.
Aurelius' triumph in A.D. 176. The reliefs in the Palazzo dei Conservatori
in any case belong to this latter series, since the portrait of M. Aurelius is
intact. The portrait of the /v'TZT/Vz'zz.s' /v^zWzb in the reliefs on the attic
of the Arch of Constantine appears to have been reworked in the style of
the late third century A. D., and, if Mr. Frothingham's theory be accepted,
would most probably have originally represented L. Furius Victorious, the
/r. /v*. of L. Verus; the portrait on this no. is, however, intact, and the
identification with M. Bassaeus Rufus still holds good.
Apart from their historical importance, the three panels possess con-
siderable artistic value. The composition is balanced and rhythmical,
although in no. 4 the scene is somewhat crowded. The racial types in
no. 10 and in the reliefs on the Arch of Constantine have been well observed,
and the portraits of the Emperor are among the most attractive left to us.
Formerly in the Church of S. Martina, the ancient A^7W<27*777777
&77<?/zAS' (cf. Htilsen, W<7772 2Z72 Vb7'7Z772, 1909, pp. 28, 116 f.), together
with nos. 7 and 10 ; cf. Albertini, C/zz.y<r22/zz772, f. 27V; Fulvio, A722*zyzz2Z7-277,
1513, f. O iiC. They were removed thence by Feo X in 1515 (Forcella,
i. 39) without the assent or knowledge of the rector, whom the Conser-
vatori ultimately decided to compensate on March 29, rgag (A. A. C.,
Cred. i. ig, 139 and i. 33, 177); that this latter year was the date of the
transference of the reliefs is not therefore proved by Fulvio, Azzz'zyzzz'/TzAj',
1327, f. 2if (sublata 7277/7-2' ex aede S. Martinae). They were at first
placed in the (WWA (Fichard, p. 28) and were placed in their present
position in 1372 (see Addenda); in 1393 Ruggero Bescap6 contracted
to restore them (A. A. C., Cred. iv. 104, 30; cf. Fanciani, A/Wziz, ii,
p. 92).
Drawings : 6W. FiA. Azz*. 3439 f. 87 ; Du Perac, Louvre, 3930", 6W. Azj/h,
Z^z/az/^'A^rzk^/g, 1868, p. 183, no. 40, f. 89 = 6kZ. (k^zzzy, A^zAzz^z* AfczzTzZj^gz'ZZZ^
(1871), p. 464, no. 23, f. 68, cf. no. 26 ; Dal Pozzo-Albani, Windsor, ii. 2 (8237) and
Franks, i. 107^(118).
Perrier, 43, 44, 46 ; Bartoli-Bellori, ^rZzzzpTZZZTfA, pis. 7-9 ; Righetti, i. 163, 167,
168; Armellini, ii. 119, 121, 122; Brunn, A'Azzz^ AAz'z/Zgzz, i, p. 103, fig. 31 ; Brunn-
Bruckmann, 268^ (no. 10), 269 (nos. 4, 7); Stuart Jones, AW. A. A. iii, pp. 231 ff.,
pi. XXIII (no. 10), pi. XXVI (nos. 4, 7); Wace, A. A. A. A. iv, p. 240; Strong, Acwazz