DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0690
652 SCULFrURE UNDER ROMAN DOMINION.
by the colossal form of the emperor, crown the building, doubtless represent-
ing him as endowed with divine honors. I2-t2a How eloquent are the ruined
witnesses to this profuse union of statuary with public buildings, as evident
from sculptures of the great Altar of Peace built by Augustus, the Arch of
Titus, and the numerous ruins of Trajan's noble monuments, of Nerva's forum,
and of many others ! This architectural sculpture, borrowing its subjects from
Greek mythology, as well as from the exploits of generals and the like, found
partial expression in pictures in stone, illustrating successful campaigns of indi-
vidual generals on triumphal arches or lofty columns, and sometimes commemo-
rated escapes from danger on chapcl-walls.
A wide field was offered also by the portrait-statue; and that including all
classes, the general, the lady, the slave, the patrician, and the plebeian. The
Roman came legitimately to this taste in art, having imbibed it from the Etrus-
cans ; but, doubtless, it was thoroughly congenial to his vainglorious nature.
The portraits of emperors were put up in every city and camp to receive divine
honors. The senate decreed statues to Caesar in all the temples of Rome. To
Augustus, the number of bronze and marble portrait-statues while he still lived
must have been innumerable. lie himself tells us, that he had melted clown
eighty silver statues put up to him, and in their stead had placed golden gifts
in the Temple of Apollo, principally tripods bearing his own and the donors'
names. These statues in silver included standing and equestrian figures,
besides others in chariots drawn by four steeds.
The numerous temples to the emperors show how extensive this cult, even
during their lifetime. Temples to Augustus have been discovered in remote
parts of the Roman Empire, at Ankyra, Mylasa, and recently at Pergamon in
Asia Minor. After death, religious services were still continued with great
pomp, especially at Rome. The blazing funeral pyre, from the summit of
which an eagle soared, was symbolical of the apotheosis; no sooner had the
soul thus appeared to fly, to dwell with the Eternals, than the cult of the new
emperor-god was established. A temple was built with its altars and pitlvinar
for the repose of his image, honored with gifts of food and drink; a priest or
flamen was appointed ; the translated was proclaimed Divus Pater, and his
statue was placed in the shrine ever to receive worship. 1243 Portraits of dei-
fied emperors appeared in processions, and especially at the Roman games.
In the circus they were placed alongside of the statues of the gods; and in
solemn processions, as symbols of deification, they appeared riding on chariots
drawn by elephants. On the coins of Augustus, Claudius, and Vespasian, is
seen a tensa (chariot with sacred images) drawn by two and sometimes four
horses, or by elephants, and carrying the emperor with a Victory or some other
symbol in his hands, ,a+3a Caligula at first forbade the worship of his statues,
but afterwards withdrew the order; and soon, as Josephus says, all the con-
quered cities had his image along with those of the gods. Uomitian filled
by the colossal form of the emperor, crown the building, doubtless represent-
ing him as endowed with divine honors. I2-t2a How eloquent are the ruined
witnesses to this profuse union of statuary with public buildings, as evident
from sculptures of the great Altar of Peace built by Augustus, the Arch of
Titus, and the numerous ruins of Trajan's noble monuments, of Nerva's forum,
and of many others ! This architectural sculpture, borrowing its subjects from
Greek mythology, as well as from the exploits of generals and the like, found
partial expression in pictures in stone, illustrating successful campaigns of indi-
vidual generals on triumphal arches or lofty columns, and sometimes commemo-
rated escapes from danger on chapcl-walls.
A wide field was offered also by the portrait-statue; and that including all
classes, the general, the lady, the slave, the patrician, and the plebeian. The
Roman came legitimately to this taste in art, having imbibed it from the Etrus-
cans ; but, doubtless, it was thoroughly congenial to his vainglorious nature.
The portraits of emperors were put up in every city and camp to receive divine
honors. The senate decreed statues to Caesar in all the temples of Rome. To
Augustus, the number of bronze and marble portrait-statues while he still lived
must have been innumerable. lie himself tells us, that he had melted clown
eighty silver statues put up to him, and in their stead had placed golden gifts
in the Temple of Apollo, principally tripods bearing his own and the donors'
names. These statues in silver included standing and equestrian figures,
besides others in chariots drawn by four steeds.
The numerous temples to the emperors show how extensive this cult, even
during their lifetime. Temples to Augustus have been discovered in remote
parts of the Roman Empire, at Ankyra, Mylasa, and recently at Pergamon in
Asia Minor. After death, religious services were still continued with great
pomp, especially at Rome. The blazing funeral pyre, from the summit of
which an eagle soared, was symbolical of the apotheosis; no sooner had the
soul thus appeared to fly, to dwell with the Eternals, than the cult of the new
emperor-god was established. A temple was built with its altars and pitlvinar
for the repose of his image, honored with gifts of food and drink; a priest or
flamen was appointed ; the translated was proclaimed Divus Pater, and his
statue was placed in the shrine ever to receive worship. 1243 Portraits of dei-
fied emperors appeared in processions, and especially at the Roman games.
In the circus they were placed alongside of the statues of the gods; and in
solemn processions, as symbols of deification, they appeared riding on chariots
drawn by elephants. On the coins of Augustus, Claudius, and Vespasian, is
seen a tensa (chariot with sacred images) drawn by two and sometimes four
horses, or by elephants, and carrying the emperor with a Victory or some other
symbol in his hands, ,a+3a Caligula at first forbade the worship of his statues,
but afterwards withdrew the order; and soon, as Josephus says, all the con-
quered cities had his image along with those of the gods. Uomitian filled