DOI Page / Citation link:
https://doi.org/10.11588/diglit.26205#0041
39
into the framework of the whole complex where the works were assembled
which traced their origin back to various cultural circles of Imperium
Romanum, may have formed a kind of allegory with bearings on the
interference of political, cultural and also religious propaganda. Here emerges
the same problem as in the case of the above discussed painting with the Tiber,
found in this villa. The author is however inclined to believe that these two
sculptures are among mythological images of a decorative character 6".
The nature of the personifications of other rivers appearing in Roman art
and classified with mythological current leaves no room for doubt. Here belong
after all the images of the Eridanus, occurring on several sarcophagi from
the 2nd and 3rd centuries A. D. which show the scenes from the myth of
Phaethon * 61 (Figs. 39—39 a). The river’s figure is so stereotyped that were
it not for the whole context it appears in, the identification would not be
possible 62. It is likewise with the personifications of the Alpheus. Setting
aside the images on the coins mentioned under note 44, the only personifications
of that river in art emerge on mosaics. Dated to the period of the Severi,
a mosaic found in Seleuceia (House of the Porticoes) represents the bust of
Alpheus, having on its head a wreath of reeds, provided with an inscription
and arranged within a square emblema 63. Next to this was an identical emblema
with the bust of Aretusa also provided with an elucidating inscription. The
Alpheus with Aretusa (both characters with inscriptions) are to be found
on a partly preserved mosaic kept in Alexandria 64. The personification of
a river (only the upper part extant) has on its head a wreath of reeds and holds
a reed, typical attributes of rivers. Olgia Palagia in the entry in the first
volume of LIMC cites (Nos. 10—12) the other three images of the Alpheus
appearing on the sarcophagi decorated with the scene of Pelops myth, quoting
in this context the works by Robert (ASR) and those by Sichtermann
t0 Cf. the discussion of the finds in Canopus in Villa Hadriani, done by P. Zanker [in:]
Helbig4, III, pp. 155—157.
61 The sarcophagus from ca. 170 A. D. in Galleria degli Uffizi in Florence (cf. ASR, III, 3,
No. 342; EAA, III, 1960, Fig. 775; Sichtermann-Koch, No. 64, PI. 157, 2. 158; Koch-Sichter-
mann, p. 18L, note 8); the sarcophagus in the cathedral in Nepi from the mia-3rd century A. D.
(cf. ASR, III, 3, No. 343; Sichtermann-Koch, No. 65, PI. 163, 1; Koch-Sichtermann, p. 183,
noce 24); the sarcophagus in Villa Borghese from ca. 300 A. D. (cf. ASR, III, 3, No. 338; Sich-
termann-Koch, No. 66, Pis. 159—161; Koch-Sichtermann, p. 182, PI. 213).
63 The Eridanus, according to E. Simon, appears also on the relief on the Ara Pacis in Rome
together with Italia (or Tellus), where he is represented as a swan. It is an isolated hypothesis, yet
should be noted here. In such a case a symbolical image of a river (or „zoomorphic” personification)
would bear propaganda meaning and for this reason it will be discussed in the third section of the
present Chapter.
63 Levi, Antioch, p. 109, PI. 18a; O. Palagia, LIMC, Alpheios, No. 1.
64 Graeco-Roman Museum, dating unsettled — Roman period. Cf. E. Breccia, Alexandrea
ad Aegyptum, 1922, p. 240, Fig. 137; Levi, Antioch, p. 110; O. Palagia, LIMC, Alpheios, No. 6.
In the Museum in El Djem the mosaic is kept, made in the end of 2nd century A. D., with images
of Alpheios (?) and Arethusa (?), cf. O. Palagia, LIMC, Alpheios, No. 14 (with full bibliography).
into the framework of the whole complex where the works were assembled
which traced their origin back to various cultural circles of Imperium
Romanum, may have formed a kind of allegory with bearings on the
interference of political, cultural and also religious propaganda. Here emerges
the same problem as in the case of the above discussed painting with the Tiber,
found in this villa. The author is however inclined to believe that these two
sculptures are among mythological images of a decorative character 6".
The nature of the personifications of other rivers appearing in Roman art
and classified with mythological current leaves no room for doubt. Here belong
after all the images of the Eridanus, occurring on several sarcophagi from
the 2nd and 3rd centuries A. D. which show the scenes from the myth of
Phaethon * 61 (Figs. 39—39 a). The river’s figure is so stereotyped that were
it not for the whole context it appears in, the identification would not be
possible 62. It is likewise with the personifications of the Alpheus. Setting
aside the images on the coins mentioned under note 44, the only personifications
of that river in art emerge on mosaics. Dated to the period of the Severi,
a mosaic found in Seleuceia (House of the Porticoes) represents the bust of
Alpheus, having on its head a wreath of reeds, provided with an inscription
and arranged within a square emblema 63. Next to this was an identical emblema
with the bust of Aretusa also provided with an elucidating inscription. The
Alpheus with Aretusa (both characters with inscriptions) are to be found
on a partly preserved mosaic kept in Alexandria 64. The personification of
a river (only the upper part extant) has on its head a wreath of reeds and holds
a reed, typical attributes of rivers. Olgia Palagia in the entry in the first
volume of LIMC cites (Nos. 10—12) the other three images of the Alpheus
appearing on the sarcophagi decorated with the scene of Pelops myth, quoting
in this context the works by Robert (ASR) and those by Sichtermann
t0 Cf. the discussion of the finds in Canopus in Villa Hadriani, done by P. Zanker [in:]
Helbig4, III, pp. 155—157.
61 The sarcophagus from ca. 170 A. D. in Galleria degli Uffizi in Florence (cf. ASR, III, 3,
No. 342; EAA, III, 1960, Fig. 775; Sichtermann-Koch, No. 64, PI. 157, 2. 158; Koch-Sichter-
mann, p. 18L, note 8); the sarcophagus in the cathedral in Nepi from the mia-3rd century A. D.
(cf. ASR, III, 3, No. 343; Sichtermann-Koch, No. 65, PI. 163, 1; Koch-Sichtermann, p. 183,
noce 24); the sarcophagus in Villa Borghese from ca. 300 A. D. (cf. ASR, III, 3, No. 338; Sich-
termann-Koch, No. 66, Pis. 159—161; Koch-Sichtermann, p. 182, PI. 213).
63 The Eridanus, according to E. Simon, appears also on the relief on the Ara Pacis in Rome
together with Italia (or Tellus), where he is represented as a swan. It is an isolated hypothesis, yet
should be noted here. In such a case a symbolical image of a river (or „zoomorphic” personification)
would bear propaganda meaning and for this reason it will be discussed in the third section of the
present Chapter.
63 Levi, Antioch, p. 109, PI. 18a; O. Palagia, LIMC, Alpheios, No. 1.
64 Graeco-Roman Museum, dating unsettled — Roman period. Cf. E. Breccia, Alexandrea
ad Aegyptum, 1922, p. 240, Fig. 137; Levi, Antioch, p. 110; O. Palagia, LIMC, Alpheios, No. 6.
In the Museum in El Djem the mosaic is kept, made in the end of 2nd century A. D., with images
of Alpheios (?) and Arethusa (?), cf. O. Palagia, LIMC, Alpheios, No. 14 (with full bibliography).