DOI Page / Citation link:
https://doi.org/10.11588/diglit.26205#0048
46
of the river Anio than that of the Tiber, but this seems to be a thesis which is
in no way substantiated, based merely on a short Latin passage 92.
I classify this image within the cult division for the reason that in 203 A. D.
Septimius Severus inaugurated Ludi Saeculares and in this time the tradition
was renewed of linking the foundation of Rome with Trojan events, vivid
in the beginnings of the Empire. This is remarked upon also by E. Simon.
Therefore, I am of the opinion that this my theological image can be recognized
as the sign of the cult associated with Dea Roma and the Urbs Aeterna,
flourishing under her patronage.
With the personifications of the Nile of cult character an Egyptianizing
statue can be also classed which represents a standing male, kept in the
Vatican 93. Its dating is not definitely decided and oscillates between the late
Hellenistic period and the times before Hadrian.
Apart from the Tiber and the Nile, another cult images in art is the
personification of the Danube (?) situated on an altar dated to 233 A. D. found
in Vindobona (cf. above, Chapter I). On its left side-wall there is Neptune with
his foot on the head of a male, adorned with horns and encircled with hair.
On the right side-wall there is an offering scene and on the front an in-
scription.
Among this current the image of a naked bust of the Euphrates emerging
from among the waves is also seen, accompanied by a bust of a nude woman.
Both figures are located at the feet of seated Tyches: of Dura and that of
Palmyra and in this context the female can be only interpreted as the personi-
fication of the Efka spring, supplying Palmyra with water 94.
With cult images, however considerably later, a Christian painting may
be classified, discovered in the catacombs at Vigna Massimo and representing
Tobias fishing, next to whom reposes a male figure holding a reed, most
probably the Tigris, since there was the venue of the scene described in the
Bible (Tb. 6,1—9)95. In Christian art, the personification of the Jordan used
to be depicted quite frequently in the scene of the Baptism of Christ96. Within
the cult division also the masks of the four rivers of Eden can be placed,
from which outflow the bands symbolizing their stream, found on early
92 Serv. in Aen., I, 273 says that Rea Silvia married the Tiber or the Anio.
03 Museo Gregoriano Egizio, formerly in Galleria dei Candelabri. Cf. G. Botti, P. Romanelli,
Le sculture del Museo Gregoriano Egizio, Citta del Vaticano 1951, p. 105, No. 157, PI. 72; Helbig*,
No. 486.
94 M. Rostovzeff, Dura Europos and its Art, London 1933, PI. 1, 2; Dohrn, Flussgotter,
pp. 71—72, Fig. 39. It is worthy mentioning that the known relief from the Temple of Palmyrenian
Deities, originating from the year 159 A. D. and representing Tyche of Palmyra between Victoria
and the founder contains such an interpretation permitting, also the personification of this spring,
95 G. Wilpert, Die Malerei der Katakomben Roms, Freiburg 1903, PI. 212.
9(1 Among others, on the mosaic in the Orthodox Baptistery. Cf. A. Grabar, Byzantium.
London 1968, Fig. 132. Ravenna, or on an ivory plaque from the 6th century in British Museum.
Cf. O. Dalton, Byzantine Art and Archaeology, New York 1961 (reprint of 1911), Fig. Ill (other
personifications of Jordan on the p. 685).
of the river Anio than that of the Tiber, but this seems to be a thesis which is
in no way substantiated, based merely on a short Latin passage 92.
I classify this image within the cult division for the reason that in 203 A. D.
Septimius Severus inaugurated Ludi Saeculares and in this time the tradition
was renewed of linking the foundation of Rome with Trojan events, vivid
in the beginnings of the Empire. This is remarked upon also by E. Simon.
Therefore, I am of the opinion that this my theological image can be recognized
as the sign of the cult associated with Dea Roma and the Urbs Aeterna,
flourishing under her patronage.
With the personifications of the Nile of cult character an Egyptianizing
statue can be also classed which represents a standing male, kept in the
Vatican 93. Its dating is not definitely decided and oscillates between the late
Hellenistic period and the times before Hadrian.
Apart from the Tiber and the Nile, another cult images in art is the
personification of the Danube (?) situated on an altar dated to 233 A. D. found
in Vindobona (cf. above, Chapter I). On its left side-wall there is Neptune with
his foot on the head of a male, adorned with horns and encircled with hair.
On the right side-wall there is an offering scene and on the front an in-
scription.
Among this current the image of a naked bust of the Euphrates emerging
from among the waves is also seen, accompanied by a bust of a nude woman.
Both figures are located at the feet of seated Tyches: of Dura and that of
Palmyra and in this context the female can be only interpreted as the personi-
fication of the Efka spring, supplying Palmyra with water 94.
With cult images, however considerably later, a Christian painting may
be classified, discovered in the catacombs at Vigna Massimo and representing
Tobias fishing, next to whom reposes a male figure holding a reed, most
probably the Tigris, since there was the venue of the scene described in the
Bible (Tb. 6,1—9)95. In Christian art, the personification of the Jordan used
to be depicted quite frequently in the scene of the Baptism of Christ96. Within
the cult division also the masks of the four rivers of Eden can be placed,
from which outflow the bands symbolizing their stream, found on early
92 Serv. in Aen., I, 273 says that Rea Silvia married the Tiber or the Anio.
03 Museo Gregoriano Egizio, formerly in Galleria dei Candelabri. Cf. G. Botti, P. Romanelli,
Le sculture del Museo Gregoriano Egizio, Citta del Vaticano 1951, p. 105, No. 157, PI. 72; Helbig*,
No. 486.
94 M. Rostovzeff, Dura Europos and its Art, London 1933, PI. 1, 2; Dohrn, Flussgotter,
pp. 71—72, Fig. 39. It is worthy mentioning that the known relief from the Temple of Palmyrenian
Deities, originating from the year 159 A. D. and representing Tyche of Palmyra between Victoria
and the founder contains such an interpretation permitting, also the personification of this spring,
95 G. Wilpert, Die Malerei der Katakomben Roms, Freiburg 1903, PI. 212.
9(1 Among others, on the mosaic in the Orthodox Baptistery. Cf. A. Grabar, Byzantium.
London 1968, Fig. 132. Ravenna, or on an ivory plaque from the 6th century in British Museum.
Cf. O. Dalton, Byzantine Art and Archaeology, New York 1961 (reprint of 1911), Fig. Ill (other
personifications of Jordan on the p. 685).