DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.37251#0061
SCALA II. 10-12
29
Sixtus IV in the crypt of S. Peter's (P. Giordani in x (1907),
p. 266 f.; E. StronginR. Z. & A., vi(i9i3), p. 179, n. 2); for the scene
carved on one of the panels on the door leading from the ' Saia dei
Capitani' into the 'Saia dei Trionh di Mario' in the Palazzo dei Con-
servator ; while the Group of the Emperor and his companion evidently
inspired the central group of the battle scene by Stefano Maderno on the left
of the monument of Paul V in the Cappella Paolina of S. Maria Maggiore.
For provenance, illustrations, and reff. see on no. 4; cf. Ducati,
Z'zUA C/a-rAa (1920), p. 793, fig. 756.
Drawings: Cod. Vat. Lat. 3439, f. 73; Cod. Plgh., Z^R^r 1868,
p. 184, no. 41, f. ioS^*; Windsor, ii. 1 (8236).
Alin. 6043; And. 1731; B. 16433; M- 22300.
II. UNINSCRIBED SARCOPHAGUS (pi. 11).
PI. -84 m., L. i-8o m. Pentelic marble. Unrestored.
Striated sarcophagus of the usual type. In the centre, within a
clipeus, bust of an elderly man with short hair and beard, dressed in
a single garment, from which projects the right hand with the two first
fingers extended. Beard incised, eye-pupils rendered.
The ends of the sarcophagus are plain.
In the centre of the lid is a square panel, intended for an inscription
which was possibly given in colour, and has now disappeared. To each
side are two sea-monsters, one behind the other: to the 1. a sea-dragon
with open jaws, and behind him a sea-horse; to the r. a sea-goat and
a sea-tiger. The waves are roughly stylized. At each corner is a female
mask in profile, looking away from the centre.
Ordinary work of the second quarter of the third century A. D.
Found in the Campo Verano.
Z7?V/. Ctw;. xx (1892), 384, no. 2.
12. RELIEF REPRESENTING THE RECEPTION OF AN EM-
PEROR BY ROMA (pi. 12).
II. 3-10 m., Br. 2-17 m. Pentelic mnrble. Restored: the whole top of the
slab from extreme left angle above the arch to just above the head of the personage on
the extreme left; the line of restoration includes the top of the standards. First figure
: crest of the helmet, r. arm from the shoulder with the globe, the r. foot from
below the boot-flap. Second figure (SVvaZA : nose and r. forearm. Third figure
(V. ZU7;;3732;.f or (b'Z? ZyK^V^) : nose and chin. Fourth figure (lictor) : nose and r.
foot. Fifth figure (standard-bearer): nose. Sixth figure (Emperor): the head, 1.
forearm with roll, r. hand, front part of 1. foot, patch on 1. knee. Seventh figure
(elderly beardless man) : patch including 1. eyebrow. See Z2Z7Z. xvi (1892), p. 83,
no. 9% for the enumeration of the parts represented as missing in the Basel Sketch-book.
The head of Hadrian has been substituted lor an earlier restoration as
MarcusAurelius,madein themistaken belief thatthe slab belongsto the same
series as nos. 4, 7, and 10, but that this was wrong appears from the size of
the slab, which is larger, and the style of the work, which is more classical
in feeling. Further, the appearance of a beardless man (behind 1. shoulder
of Emperor) recalls a Trajanic fashion which was already passing away
under Hadrian and which never appears under Marcus Aurelius, whose
cultivation of the philosopher's beard was imitated by all classes. Under
29
Sixtus IV in the crypt of S. Peter's (P. Giordani in x (1907),
p. 266 f.; E. StronginR. Z. & A., vi(i9i3), p. 179, n. 2); for the scene
carved on one of the panels on the door leading from the ' Saia dei
Capitani' into the 'Saia dei Trionh di Mario' in the Palazzo dei Con-
servator ; while the Group of the Emperor and his companion evidently
inspired the central group of the battle scene by Stefano Maderno on the left
of the monument of Paul V in the Cappella Paolina of S. Maria Maggiore.
For provenance, illustrations, and reff. see on no. 4; cf. Ducati,
Z'zUA C/a-rAa (1920), p. 793, fig. 756.
Drawings: Cod. Vat. Lat. 3439, f. 73; Cod. Plgh., Z^R^r 1868,
p. 184, no. 41, f. ioS^*; Windsor, ii. 1 (8236).
Alin. 6043; And. 1731; B. 16433; M- 22300.
II. UNINSCRIBED SARCOPHAGUS (pi. 11).
PI. -84 m., L. i-8o m. Pentelic marble. Unrestored.
Striated sarcophagus of the usual type. In the centre, within a
clipeus, bust of an elderly man with short hair and beard, dressed in
a single garment, from which projects the right hand with the two first
fingers extended. Beard incised, eye-pupils rendered.
The ends of the sarcophagus are plain.
In the centre of the lid is a square panel, intended for an inscription
which was possibly given in colour, and has now disappeared. To each
side are two sea-monsters, one behind the other: to the 1. a sea-dragon
with open jaws, and behind him a sea-horse; to the r. a sea-goat and
a sea-tiger. The waves are roughly stylized. At each corner is a female
mask in profile, looking away from the centre.
Ordinary work of the second quarter of the third century A. D.
Found in the Campo Verano.
Z7?V/. Ctw;. xx (1892), 384, no. 2.
12. RELIEF REPRESENTING THE RECEPTION OF AN EM-
PEROR BY ROMA (pi. 12).
II. 3-10 m., Br. 2-17 m. Pentelic mnrble. Restored: the whole top of the
slab from extreme left angle above the arch to just above the head of the personage on
the extreme left; the line of restoration includes the top of the standards. First figure
: crest of the helmet, r. arm from the shoulder with the globe, the r. foot from
below the boot-flap. Second figure (SVvaZA : nose and r. forearm. Third figure
(V. ZU7;;3732;.f or (b'Z? ZyK^V^) : nose and chin. Fourth figure (lictor) : nose and r.
foot. Fifth figure (standard-bearer): nose. Sixth figure (Emperor): the head, 1.
forearm with roll, r. hand, front part of 1. foot, patch on 1. knee. Seventh figure
(elderly beardless man) : patch including 1. eyebrow. See Z2Z7Z. xvi (1892), p. 83,
no. 9% for the enumeration of the parts represented as missing in the Basel Sketch-book.
The head of Hadrian has been substituted lor an earlier restoration as
MarcusAurelius,madein themistaken belief thatthe slab belongsto the same
series as nos. 4, 7, and 10, but that this was wrong appears from the size of
the slab, which is larger, and the style of the work, which is more classical
in feeling. Further, the appearance of a beardless man (behind 1. shoulder
of Emperor) recalls a Trajanic fashion which was already passing away
under Hadrian and which never appears under Marcus Aurelius, whose
cultivation of the philosopher's beard was imitated by all classes. Under