DOI Page / Citation link:
https://doi.org/10.11588/diglit.37251#0070
3S
SCALAIV. 1-4
is probably the G^zzz'zzy /)^zz/z'7?077za7zz'. To his r. in the background stands
an older beardless man. Above appears part of the front of a building
of the Corinthian order with the tail of a snake or Triton in the angle of
the pediment.
The fact that the relief is a pendant to that of the Apotheosis of Sabina
(Vra/a F7, no. n) gives further evidence that the Emperor represented
is Hadrian. He is presumably delivering a Azz/Az/zb zzz^zzozTaz? of Sabina
in the presence of the Roman people personified by the Genius, the
elderly man, and the boy. The man holding a spear, which has been
correctly restored, may be, as Wace suggests (/or. rz'Z zzz/ra), the /rrrr-
zzazTzzy of the y^rrzz/az'oT'ry in attendance on the Emperor's person, while
the two men on the yzz^y^y/zzy are identified by the same writer as the
consuls of A. D. 136, Aelius Verus (bearded) and Vetulonius Civica
(beardless). But the head of the bearded man seems to be an ideal type
rather than a portrait; he therefore more probably represents, on the
analogy of other monuments, &*a/a 77, nos. 4 and 12, the Grzzzzzy &*77%z'z7y.
The scene is laid in a locality which cannot be identified. Wace's theory
that the yzz^ry/zzy is the Rostra and the Corinthian building the Curia
cannot be proved.
From the Arco di Portogallo in the Corso, which was destroyed by
Alexander VII in 1662 (Forcella, xiii, p. 90, no. 128). The relief and
its fellow, Vra/a LY, no. 11, stood on the stairs of the Museo Capitolino
(Gaddi, p. 153) until 1815, when they were removed to their present
positions (Forcella, i. 181 is misleading, cf. Michaelis, ZAiwz. TfAz'/z*. vi
(1901), p. 53, note 174).
Drawing : Windsor, i. 72 (8231).
Nota delli Musei (1664), p. 13; Bartoli, MTwzTaTzzfV, 36; Bellori, Fg/gw
yF'rzzj, 49; Barbieflini, Zgr yAr Zgazzjr 77zc77M37Z^737y (1761), 38, and
z?7z7zyzzyy (1783), 2; Foggini, 11; Mori, i, ScaD.3; Righetti, i. 169; Armetlini, ii.
113; Brnnn-Bruckmann, 403; Amelung, 201; Wace, V. Z?. Y. A. iv, pp. 238 ft., pi.
xxxiii. 1; Strong, Zfzwzaza Srzz/^Vzz?^, p. 237, pi. lxxi. 3 ; Stuart Jones, CVaryz'rg/ Z?<777z^,
p. 133 ; Michon, ATvzzzz/ZdVzA Z7V, xvii (1909), p. 229 ; HelbigS, 897.
Alin. 27182 ; M. 3060.
2, 3. CONGII CUT FROM ANCIENT COLUMN-DRUMS IN
MEDIEVAL TIMES (pi. 14).
Drawn by Heemskerck, i. 43, ii. 30L
Zh777zr, iii. 1, p. 117; Zfzwz. A/zht. vi (1891), p. 10, note 25 (Michaelis);
Rodocanachi, p. 140, note 1.
4. MODERN HEAD OF BEARDLESS MAN ON ANCIENT (?)
BUST (pi. 14).
H. .36 m. Luna marble. Restored (on the bust) : patches above head of
Medusa and below r. nipple.
The bust is perhaps ancient. Over the tunic a cuirass with plain
shoulder-strap and head of Medusa in relief on the chest. The head set
upon it is that of a beardless man with hair brushed forward over the fore-
head. It is certainly modern.
Both this no. and no. 5 were formerly in the &?//% YYA OrA?
(Tofanelli (1818), p. 135, nos. 6, 8). The inscribed pedestals on which
they stand are of the year 1705 (Forcella, i. 206).
SCALAIV. 1-4
is probably the G^zzz'zzy /)^zz/z'7?077za7zz'. To his r. in the background stands
an older beardless man. Above appears part of the front of a building
of the Corinthian order with the tail of a snake or Triton in the angle of
the pediment.
The fact that the relief is a pendant to that of the Apotheosis of Sabina
(Vra/a F7, no. n) gives further evidence that the Emperor represented
is Hadrian. He is presumably delivering a Azz/Az/zb zzz^zzozTaz? of Sabina
in the presence of the Roman people personified by the Genius, the
elderly man, and the boy. The man holding a spear, which has been
correctly restored, may be, as Wace suggests (/or. rz'Z zzz/ra), the /rrrr-
zzazTzzy of the y^rrzz/az'oT'ry in attendance on the Emperor's person, while
the two men on the yzz^y^y/zzy are identified by the same writer as the
consuls of A. D. 136, Aelius Verus (bearded) and Vetulonius Civica
(beardless). But the head of the bearded man seems to be an ideal type
rather than a portrait; he therefore more probably represents, on the
analogy of other monuments, &*a/a 77, nos. 4 and 12, the Grzzzzzy &*77%z'z7y.
The scene is laid in a locality which cannot be identified. Wace's theory
that the yzz^ry/zzy is the Rostra and the Corinthian building the Curia
cannot be proved.
From the Arco di Portogallo in the Corso, which was destroyed by
Alexander VII in 1662 (Forcella, xiii, p. 90, no. 128). The relief and
its fellow, Vra/a LY, no. 11, stood on the stairs of the Museo Capitolino
(Gaddi, p. 153) until 1815, when they were removed to their present
positions (Forcella, i. 181 is misleading, cf. Michaelis, ZAiwz. TfAz'/z*. vi
(1901), p. 53, note 174).
Drawing : Windsor, i. 72 (8231).
Nota delli Musei (1664), p. 13; Bartoli, MTwzTaTzzfV, 36; Bellori, Fg/gw
yF'rzzj, 49; Barbieflini, Zgr yAr Zgazzjr 77zc77M37Z^737y (1761), 38, and
z?7z7zyzzyy (1783), 2; Foggini, 11; Mori, i, ScaD.3; Righetti, i. 169; Armetlini, ii.
113; Brnnn-Bruckmann, 403; Amelung, 201; Wace, V. Z?. Y. A. iv, pp. 238 ft., pi.
xxxiii. 1; Strong, Zfzwzaza Srzz/^Vzz?^, p. 237, pi. lxxi. 3 ; Stuart Jones, CVaryz'rg/ Z?<777z^,
p. 133 ; Michon, ATvzzzz/ZdVzA Z7V, xvii (1909), p. 229 ; HelbigS, 897.
Alin. 27182 ; M. 3060.
2, 3. CONGII CUT FROM ANCIENT COLUMN-DRUMS IN
MEDIEVAL TIMES (pi. 14).
Drawn by Heemskerck, i. 43, ii. 30L
Zh777zr, iii. 1, p. 117; Zfzwz. A/zht. vi (1891), p. 10, note 25 (Michaelis);
Rodocanachi, p. 140, note 1.
4. MODERN HEAD OF BEARDLESS MAN ON ANCIENT (?)
BUST (pi. 14).
H. .36 m. Luna marble. Restored (on the bust) : patches above head of
Medusa and below r. nipple.
The bust is perhaps ancient. Over the tunic a cuirass with plain
shoulder-strap and head of Medusa in relief on the chest. The head set
upon it is that of a beardless man with hair brushed forward over the fore-
head. It is certainly modern.
Both this no. and no. 5 were formerly in the &?//% YYA OrA?
(Tofanelli (1818), p. 135, nos. 6, 8). The inscribed pedestals on which
they stand are of the year 1705 (Forcella, i. 206).