DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.37251#0089
SALA DEI FASTI CONSOLARI i
57
from Veii or the wolf were created, the Italic artists had developed
a powerful individuality which gave them rank by the side of their
masters. The Veientine terra-cottas may be taken to be in the manner of
Vulca, the Veientine sculptor, who, according to Pliny, xxxv. 157, was
summoned to Rome to make the statue of Jupiter for the Capitoline
Temple. Giglioli points out further that the statues from Veii almost
certainly afford examples of that early Italic art which was praised by Cato,
and a similar conjecture had been hazarded for the wolf by E. Strong
(Ar. <rz'7), who thought this work might represent the ' ancient art of
statuary native to Italy', of which Pliny speaks (TV*. 77 xxxiv. 33). Ducati
(Ac. rz'A) has recently revived the hypothesis that the wolf might be the ^.v-
fo/o dedicated to the Capitoline Jupiter after the expulsion of the Tarquins.
But since the twins are a later addition/ it cannot be proved that it
was in origin a monument of historical significance, nor can we use it as
evidence of the date at which the legend of Rome's foundation took its
traditional shape (cf. Carter in Roscher, s. v. 7?o7?zzz/zzy, esp. p. 173)."
Naturally, however, attempts have been made to identify it with one of the
groups mentioned in Roman writers; see Petersen, A<r. zrz/. z'7z/r<3, and
Rosenberg in Pauly-Wissowa, 7. At. 1080 f.
Livy (x. 23) records that in 2pg B. c. the aediles Gnaeus and Quintus
Ogulnius yAzz/VZ Azzz/zzzzzzAw yzlwzzAzrrzz z'zyfzzz/z'zzw zwzA'Az'z/zzz zzzAzf .fK<5
zz&rzbzz.r /zz^az' /wzzzzz'zzzz/; the words may mean either that the whole group
was dedicated by the Ogulnii, or that figures of the twins were added to
an already existing monument. There was also a group of the wolf and
twins on the Capitol, which was struck by lightning in 6g B. c. This
event is described by Cicero (<A CozzjzzAz/zz, quoted in 7? TAbzA. i. 12. 20)
as follows:—
Hie silvestris erat Romani nominis altrix
Martia, quae parvos Mavortis semine natos
uberibus gravidis vitali rore rigabat:
quae turn cum pueris hammato futminis ictu
concidit atque avolsa pedum vestigia liquit.
The words clearly mean that the figure was torn from its base,
leaving the feet only attached, and from the orator's allusion in CzzA iii.
8.19 Azzr/zzv zV z'/A, yzzz' 7zz72z* zzrAzzz rcTZzAV/, AAzzzzz/zzv, yzzzwz z'zzzzzzrzz/zzzzz z'zz
Czz^z'A/zb, y)ar&zz772 zz/yzz<? /zz<rA7zA7zz, ?z&7'zi$zz.r /zz^zTzzf zTzA'zzzzAzzz Q*zzzVy^
77z^77zz7zzf/zf, it may be inferred that the group in question was not restored/
and we cannot therefore identify this number with it; the traces of damage
by fire which are observable on the hind legs are not necessarily attribu-
table to the effect of lightning.
The figure of the wolf (without the twins) was set up in front of the
Lateran Palace in the Middle Ages, where it was seen by Magister Gregorius
(Rushforth in Ql 7?. A. ix (1919), 1, p. 28)/ It is mentioned in the
chronicle of the monk Benedict of the Abbey of S. Andrea in flumine
* See, however, Carcopino (Fzz/AAzz A no. 4, July 1924),
whose views are summarized in the Addenda.
s The earliest representation of the legend in art is found on the Romano-Campanian
coinage of the latter part of the fourth century B.c. (Head, A/A/zzT'frz AYz77ZC7*M777, ii. 32).
An Etruscan stele at Bologna (Afzw. ^77/. xx. 331) shows a wolf suckling child.
3 Cf. also Cic. zA AzV ii. 20. 43; Dio Cass, xxxvii. 9.
* Hence the report mentioned by Vacca, AAzzzz. 3 (which is really a conjecture, cf.
Fauno, ZWA zzzzA'zAz'/a zA Azwzzz, p. 38''), that the wolf was found in the Forum near
the arch of Septimius Severus, is groundless.
57
from Veii or the wolf were created, the Italic artists had developed
a powerful individuality which gave them rank by the side of their
masters. The Veientine terra-cottas may be taken to be in the manner of
Vulca, the Veientine sculptor, who, according to Pliny, xxxv. 157, was
summoned to Rome to make the statue of Jupiter for the Capitoline
Temple. Giglioli points out further that the statues from Veii almost
certainly afford examples of that early Italic art which was praised by Cato,
and a similar conjecture had been hazarded for the wolf by E. Strong
(Ar. <rz'7), who thought this work might represent the ' ancient art of
statuary native to Italy', of which Pliny speaks (TV*. 77 xxxiv. 33). Ducati
(Ac. rz'A) has recently revived the hypothesis that the wolf might be the ^.v-
fo/o dedicated to the Capitoline Jupiter after the expulsion of the Tarquins.
But since the twins are a later addition/ it cannot be proved that it
was in origin a monument of historical significance, nor can we use it as
evidence of the date at which the legend of Rome's foundation took its
traditional shape (cf. Carter in Roscher, s. v. 7?o7?zzz/zzy, esp. p. 173)."
Naturally, however, attempts have been made to identify it with one of the
groups mentioned in Roman writers; see Petersen, A<r. zrz/. z'7z/r<3, and
Rosenberg in Pauly-Wissowa, 7. At. 1080 f.
Livy (x. 23) records that in 2pg B. c. the aediles Gnaeus and Quintus
Ogulnius yAzz/VZ Azzz/zzzzzzAw yzlwzzAzrrzz z'zyfzzz/z'zzw zwzA'Az'z/zzz zzzAzf .fK<5
zz&rzbzz.r /zz^az' /wzzzzz'zzzz/; the words may mean either that the whole group
was dedicated by the Ogulnii, or that figures of the twins were added to
an already existing monument. There was also a group of the wolf and
twins on the Capitol, which was struck by lightning in 6g B. c. This
event is described by Cicero (<A CozzjzzAz/zz, quoted in 7? TAbzA. i. 12. 20)
as follows:—
Hie silvestris erat Romani nominis altrix
Martia, quae parvos Mavortis semine natos
uberibus gravidis vitali rore rigabat:
quae turn cum pueris hammato futminis ictu
concidit atque avolsa pedum vestigia liquit.
The words clearly mean that the figure was torn from its base,
leaving the feet only attached, and from the orator's allusion in CzzA iii.
8.19 Azzr/zzv zV z'/A, yzzz' 7zz72z* zzrAzzz rcTZzAV/, AAzzzzz/zzv, yzzzwz z'zzzzzzrzz/zzzzz z'zz
Czz^z'A/zb, y)ar&zz772 zz/yzz<? /zz<rA7zA7zz, ?z&7'zi$zz.r /zz^zTzzf zTzA'zzzzAzzz Q*zzzVy^
77z^77zz7zzf/zf, it may be inferred that the group in question was not restored/
and we cannot therefore identify this number with it; the traces of damage
by fire which are observable on the hind legs are not necessarily attribu-
table to the effect of lightning.
The figure of the wolf (without the twins) was set up in front of the
Lateran Palace in the Middle Ages, where it was seen by Magister Gregorius
(Rushforth in Ql 7?. A. ix (1919), 1, p. 28)/ It is mentioned in the
chronicle of the monk Benedict of the Abbey of S. Andrea in flumine
* See, however, Carcopino (Fzz/AAzz A no. 4, July 1924),
whose views are summarized in the Addenda.
s The earliest representation of the legend in art is found on the Romano-Campanian
coinage of the latter part of the fourth century B.c. (Head, A/A/zzT'frz AYz77ZC7*M777, ii. 32).
An Etruscan stele at Bologna (Afzw. ^77/. xx. 331) shows a wolf suckling child.
3 Cf. also Cic. zA AzV ii. 20. 43; Dio Cass, xxxvii. 9.
* Hence the report mentioned by Vacca, AAzzzz. 3 (which is really a conjecture, cf.
Fauno, ZWA zzzzA'zAz'/a zA Azwzzz, p. 38''), that the wolf was found in the Forum near
the arch of Septimius Severus, is groundless.