DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61617#0487
THE STREET OF TOMBS
4i3
heap of stones (Fig. 231). The scene may be interpreted as
symbolizing the grief of a mother for a dead son.
There is only a simple tombstone in the burial lot (19) beyond
the round monument. Next comes the beautiful tomb of Cal-
ventius Quietus (20), which may be seen in Plate IX, as well as
the tomb of Naevoleia Tyche (22; further to the right). Be-
tween these two is a walled enclosure (21) without a door, in
which are three bust stones. The largest stone bears the name
N. Istacidius Helenas; in front of one of the others a small jar was
set to receive offerings for the dead. On the front of the enclos-
ing wall is a tablet on which the names of N. Istacidius Janua-
rius and of Mesonia Satulla appear with
that of Helenus ; they were all freedmen
of the Istacidii (p. 404).
The monuments of Quietus and of
Tyche are the finest examples of the
altar type at Pompeii. Both are orna-
mented in good taste, but the carvings
of the former are more delicate, while
the motives of the latter are more elab-
orate. Quietus was a man of some prom-
inence, as we see from the epitaph : C.
Calventio Quieto Au.gusta.li; huic ob
munificent\_iain\ decurionum decreto et populi conse\ii\su bisellii
honor datus est, — ‘To the memory of Gaius Calventius Quietus,
member of the Brotherhood of Augustus. On account of his
generosity the honor of a seat of double width was conferred
upon him by the vote of the city council and the approval of the
people.’
At the Theatre and the Amphitheatre, Quietus had the privi-
lege of sitting on a bisellium, as if he were a member of
the city council. Below the inscription is a representation of
the ‘seat of double width,’ shown in Fig. 232. The square foot-
stool at the middle implies that the seat was intended for a single
person. The ends of the tomb were ornamented with finely
carved reliefs of the civic crown, which was made of oak leaves
and awarded to those who had saved the life of a Roman citizen
(Fig. 233). As the inscription does not record any deed of
Fig. 231. — Relief, symbolic of
grief for the dead.
4i3
heap of stones (Fig. 231). The scene may be interpreted as
symbolizing the grief of a mother for a dead son.
There is only a simple tombstone in the burial lot (19) beyond
the round monument. Next comes the beautiful tomb of Cal-
ventius Quietus (20), which may be seen in Plate IX, as well as
the tomb of Naevoleia Tyche (22; further to the right). Be-
tween these two is a walled enclosure (21) without a door, in
which are three bust stones. The largest stone bears the name
N. Istacidius Helenas; in front of one of the others a small jar was
set to receive offerings for the dead. On the front of the enclos-
ing wall is a tablet on which the names of N. Istacidius Janua-
rius and of Mesonia Satulla appear with
that of Helenus ; they were all freedmen
of the Istacidii (p. 404).
The monuments of Quietus and of
Tyche are the finest examples of the
altar type at Pompeii. Both are orna-
mented in good taste, but the carvings
of the former are more delicate, while
the motives of the latter are more elab-
orate. Quietus was a man of some prom-
inence, as we see from the epitaph : C.
Calventio Quieto Au.gusta.li; huic ob
munificent\_iain\ decurionum decreto et populi conse\ii\su bisellii
honor datus est, — ‘To the memory of Gaius Calventius Quietus,
member of the Brotherhood of Augustus. On account of his
generosity the honor of a seat of double width was conferred
upon him by the vote of the city council and the approval of the
people.’
At the Theatre and the Amphitheatre, Quietus had the privi-
lege of sitting on a bisellium, as if he were a member of
the city council. Below the inscription is a representation of
the ‘seat of double width,’ shown in Fig. 232. The square foot-
stool at the middle implies that the seat was intended for a single
person. The ends of the tomb were ornamented with finely
carved reliefs of the civic crown, which was made of oak leaves
and awarded to those who had saved the life of a Roman citizen
(Fig. 233). As the inscription does not record any deed of
Fig. 231. — Relief, symbolic of
grief for the dead.