DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.37251#0062
3°
SCALAII. i2
Hadrian, however, many an elderly person may, as seems to be the case
here, have adhered to the fashion of his youth; an elderly clean-shaven
man appears likewise in an undoubted Hadrianic relief of this collection
where the other figures are bearded, or else, if beardless, are (like the
so-called 6E& Ayzzzw/zv of the present relief) ideal personages of a youth-
ful character (Scala iv, no. i). These considerations, joined to that of
style, induced Helbig, followed by Stuart (ones (CAzyjzcrz/ Akwz<?, p. 136)
and E. Strong (v. infr.), to attribute the present relief to the H adrianic period.
From the analogy of other monuments, more especially of coins, the
subject is evidently the return to Rome (A Awz/zzy Az/gzzyz'z') of an Emperor
after a victorious campaign, for which, however, the major honours of the
regular triumph are not awarded. Besides the large number of coins
struck under Hadrian to commemorate his visits to the different provinces
of the Empire (Cohen, vol. ii, nos. 8-78) a number were also struck to
record his arrivals in Rome (Cohen, vol. ii, nos. *79-95). E. Strong (ALz^zz
Arzz^z'zzzY, p. 234), whose view Michon (Ac. rzY.) inclines to accept, suggests
that the honours recorded by the present slab were granted to Hadrian
in connexion with the pacification in A. D. 118, soon after his accession,
of the Sarmatians and Roxolani, on which occasion the Arval brothers twice
offered a sacrifice, and dated coins (Cohen, vol. ii, nos. 91 f.) were struck
with the legend AA'czz/z/y Azz^*zzy/z' (von Rohden in Pauly-Wissowa, s. v.
Az7zz/y, p. 508, no. 64). Or the event commemorated might be Hadrian's
first entry into Rome, in A. D. 117, on his arrival from Syria (cf. Lenormant
in Saglio's Diet. s. v. A<Awz/zzy). In any case the relief was presumably
one of a series to which two further slabs in the Louvre also possibly
belonged (E. Michon in AAzzz. Az'<?/, xiii (1909), pp. 230 ff. and figs. 12
and 13).
The central motive is formed by the figure of Roma, who advancing
from the right clasped the hand, as on the coins (the globe is a false notion
of the restorer), of the Emperor who enters from the left. Roma is
accompanied by a group of two ideal figures of classical type, one bearded,
the other beardless, wearing festal wreaths; these on the analogy of other
monuments are the &7z<?/zzy (bearded) and the Ac^zz/zzy. About the
Emperor, on the other hand, are grouped a body-guard composed of one
lictor, two standard-bearers, and the elderly clean-shaven man in civilian
dress alluded to above. AH the figures look towards the Emperor,
i. e. the first five towards the r., the last two towards the 1.
The figures are described from 1. to r. as follows: Roma, clad like an
Amazon in a short tunic looped up at the waist over a girdle so as to form
a second fold reaching to the top of the thigh and leaving the r. arm bare;
over the 1. arm the military cloak; the sword-belt crosses the r. shoulder ;
against the 1. is the long spear of which the point appears behind the head
of Roma; the goddess wears a helmet with high crest and long plume,
and high boots with leather flaps. The -Szvzrz/zzy, a bearded Zeus-like
figure with curling locks bound by a fillet, wears tunic and long cloak and
boots with flaps similar to those of Roma ; the weight is on the 1. leg with
the r. somewhat at ease. The Azy)zz/zzy, of whom only the head with the
indication of the 1. shoulder and the feet are visible behind the figures of
the foreground, wears over his 1. shoulder a cloak which probably left the
whole r. side bare. He is clean-shaven and has a conventional expression;
like the A^zzzz/zzy he has curling locks confined by a laurel wreath. The
SCALAII. i2
Hadrian, however, many an elderly person may, as seems to be the case
here, have adhered to the fashion of his youth; an elderly clean-shaven
man appears likewise in an undoubted Hadrianic relief of this collection
where the other figures are bearded, or else, if beardless, are (like the
so-called 6E& Ayzzzw/zv of the present relief) ideal personages of a youth-
ful character (Scala iv, no. i). These considerations, joined to that of
style, induced Helbig, followed by Stuart (ones (CAzyjzcrz/ Akwz<?, p. 136)
and E. Strong (v. infr.), to attribute the present relief to the H adrianic period.
From the analogy of other monuments, more especially of coins, the
subject is evidently the return to Rome (A Awz/zzy Az/gzzyz'z') of an Emperor
after a victorious campaign, for which, however, the major honours of the
regular triumph are not awarded. Besides the large number of coins
struck under Hadrian to commemorate his visits to the different provinces
of the Empire (Cohen, vol. ii, nos. 8-78) a number were also struck to
record his arrivals in Rome (Cohen, vol. ii, nos. *79-95). E. Strong (ALz^zz
Arzz^z'zzzY, p. 234), whose view Michon (Ac. rzY.) inclines to accept, suggests
that the honours recorded by the present slab were granted to Hadrian
in connexion with the pacification in A. D. 118, soon after his accession,
of the Sarmatians and Roxolani, on which occasion the Arval brothers twice
offered a sacrifice, and dated coins (Cohen, vol. ii, nos. 91 f.) were struck
with the legend AA'czz/z/y Azz^*zzy/z' (von Rohden in Pauly-Wissowa, s. v.
Az7zz/y, p. 508, no. 64). Or the event commemorated might be Hadrian's
first entry into Rome, in A. D. 117, on his arrival from Syria (cf. Lenormant
in Saglio's Diet. s. v. A<Awz/zzy). In any case the relief was presumably
one of a series to which two further slabs in the Louvre also possibly
belonged (E. Michon in AAzzz. Az'<?/, xiii (1909), pp. 230 ff. and figs. 12
and 13).
The central motive is formed by the figure of Roma, who advancing
from the right clasped the hand, as on the coins (the globe is a false notion
of the restorer), of the Emperor who enters from the left. Roma is
accompanied by a group of two ideal figures of classical type, one bearded,
the other beardless, wearing festal wreaths; these on the analogy of other
monuments are the &7z<?/zzy (bearded) and the Ac^zz/zzy. About the
Emperor, on the other hand, are grouped a body-guard composed of one
lictor, two standard-bearers, and the elderly clean-shaven man in civilian
dress alluded to above. AH the figures look towards the Emperor,
i. e. the first five towards the r., the last two towards the 1.
The figures are described from 1. to r. as follows: Roma, clad like an
Amazon in a short tunic looped up at the waist over a girdle so as to form
a second fold reaching to the top of the thigh and leaving the r. arm bare;
over the 1. arm the military cloak; the sword-belt crosses the r. shoulder ;
against the 1. is the long spear of which the point appears behind the head
of Roma; the goddess wears a helmet with high crest and long plume,
and high boots with leather flaps. The -Szvzrz/zzy, a bearded Zeus-like
figure with curling locks bound by a fillet, wears tunic and long cloak and
boots with flaps similar to those of Roma ; the weight is on the 1. leg with
the r. somewhat at ease. The Azy)zz/zzy, of whom only the head with the
indication of the 1. shoulder and the feet are visible behind the figures of
the foreground, wears over his 1. shoulder a cloak which probably left the
whole r. side bare. He is clean-shaven and has a conventional expression;
like the A^zzzz/zzy he has curling locks confined by a laurel wreath. The