DOI Page / Citation link:
https://doi.org/10.11588/diglit.49928#0107
PLATE XXXII.
Fig. i.—Victorious Charioteer.
Relief in the Villa Albani, Rome. Roman, Imperial
Period.
Zoega, Bassi Rilievi, Pl. 35.
The charioteer (auriga} in his characteristic dress stands in
his four-horse chariot (quadriga}. His right hand is restored
as holding a whip. This is probably wrong, one would ex-
pect him to hold a palm or crown. Two cupids hover behind
him bearing his cap. A third cupid supports a long heavy
wreath. In the background on the right is a lofty pedestal,
intended most likely for a statue in the victor’s honour.
Fig. 2.—Ludi Circenses.
Mosaic from Barcelona, now in Madrid. 26 feet 6
INCHES LONG BY 13 FEET WIDE.
Ann. d. Inst., 1863, Pl. D.
Hubner, Antike Bildwerke in Madrid, p. 282.
Daremberg et Saglio, Diet., fig. 1520.
Baumeister, Denknidler, fig. 2338.
The features of the spina (cf. Pl. 28, fig. 1 ; Pl. 31, fig. 1) are
well shown. The conical metae stand at the ends on rounded
bases, the lower part of the obelisk is in the centre, with the
statue of Cybele on her lion under a palm tree below, with the
stand with eggs on the right and the dolphins on the left.
Besides these there is a shrine, a statue of Victory on a high
pillar on each side, and a number of smaller trophies. These
consist of a pair of statues of youths in pursuit of wild beasts
on the right, while on the left are figures of slaves, standards
(signa, cf. Pl. 39, fig. 7), and statues of Hercules and athletes.
All these details are no doubt carefully copied from the circus
at Barcelona.
Only four chariots are shown racing. One of them has com-
pletely come to grief at the metae on the left. The foremost
chariot has already passed the winning line, and is being driven
back to the stable. The winner belongs to the party of the
green (factio prasina}. The attendant who stands before him
waving a water-pot has a coat of green. The victory is pro-
claimed by a herald, who stands near the metae with white, red,
and blue cloths over his left arm, waving with his right one o
green. This shows that green has won, and at the same time
he shouts “ Eridanus,” the name of the trace-horse (funalis} on
the near side. All the horses have their names inscribed,
Eridanus, Ispumosus (the initial “ i ” is characteristic of the
Spanish pronunciation), Pelops and Lucxuriosus in the first;
Pyiripinus, Arpastus, Eufrata and Eustolus in the third ; Botro-
cales in the fourth. Over the unfortunate charioteer is “ Isco-
lasticus, the glorious driver” (Lscolasticus regnator famosus}.
The drivers of the second and third chariots, who belong to the
white and red parties respectively, seeing that the race is lost,
are checking their horses and turning to retire. One of the
most interesting features in the mosaic is that the horses are
branded on the side with the name of the stable to which they
belong. Thus the first belongs to Nicetus, the second and
third to Concordius.
It should also be noted that the trace-horses (funales} have
their tails tied in bobs to prevent them catching in the
wheels. The arched doorway at the back of the metae in the
left is also remarkable, it gave access to the seat of the clerk
who recorded the laps.
Fig. 3.—Baton.
Basis of a Statue in the Palazzo Doria, Rome.
Formerly in the Villa Pamfili.
Matz-Duhn, Bildwerke, No. 3625.
Winckelmann, Monumenti inediti, Pl. 199; Opere, Pl. 172.
Guhl and Koner, Life of Greeks and Romans, fig. 502.
Seyffert, Diet., p. 255.
Winckelmann points out that the Emperor Caracalla
honoured a famous gladiator of the name of Baton, with a
magnificent burial (Dio Cassius 77, 6 wοθανόντα .... περιφανεΐ
ταφή Ιτίμ-ησε). This may be the man. He is armed as a
Hoplomachus, secutor, or Samnite, i.e. with long, rounded shield
(scutum}, short straight sword (gladius}, a single greave (ocrea}
on his left leg, a small gaiter and straps on his right. He
wears a thick loin cloth (subligaculum} girt with a broad belt,
63
has straps across his chest, and a necklet round his neck. His
head is much damaged, and the drawing gives no idea of its
present appearance.
His helmet is fixed on a pole to the right.
Above is the inscription “ Batoni.”
Fig. 4.—Venator.
Cippus from Velleia, in Parma. Roman, Reign of
Hadrian.
Lama, Inscr. Antiche, p. 69.
DOtschke, Bildwerke Nord-Italiens, v., No. 953.
This figure is shown to be a hunter by the boar-spear with its
two side prongs springing from the neck of the blade (cf. Pl. 80,
fig. 8). The object in his right hand is probably a whip,
though some authorities call it a sling.
His dress consists of a short tunic, and trousers bound to
his legs below the knee by overlapping thongs (fasciae}, in the
manner adopted by the Camel Corps in the Nile Expedition of
1884 (cf. Pl. 63, fig. 8). Round his chest he wears a leather
cuirass, suspended from his shoulders by straps.
The back of the cippus is inscribed (Orelli-Henzen, No.
3,805)—L . SVLPICIO I L . F . GAL . NEPOTI I FLAM . DIVI HAD
RIANI I AVGVSTAE | IVDIC . EX . V . DEC | II . VIR . AVG I II VIR .
PLAC I EVTHALES LIB . [ PATRONO . R . P | DD.
Lucio Sulpicio, Lucii filio, Gali nepoti, Flamini Divi Had
riani, Atigustae (Bagiennorum in Liguria} judici e quindecem-
viris, duumviro Augustali, duumvir0 Placentiae, Euthales
libertus patrono. Reipublicae (Velleiatium) dono dedit, i.e.
“Euthales, a freedman, dedicated this monument to his patron
Lucius Sulpicius, a municipal magistrate of high rank.”
The relief can scarcely represent Sulpicius, but may possibly
be Euthales himself. Though there is no reason to suppose
that the hunter represented took part in the venatio of the
amphitheatre, it serves none the less as an illustration, since
the venatores had no special attire but fought in that of their
native country.
Fig. i.—Victorious Charioteer.
Relief in the Villa Albani, Rome. Roman, Imperial
Period.
Zoega, Bassi Rilievi, Pl. 35.
The charioteer (auriga} in his characteristic dress stands in
his four-horse chariot (quadriga}. His right hand is restored
as holding a whip. This is probably wrong, one would ex-
pect him to hold a palm or crown. Two cupids hover behind
him bearing his cap. A third cupid supports a long heavy
wreath. In the background on the right is a lofty pedestal,
intended most likely for a statue in the victor’s honour.
Fig. 2.—Ludi Circenses.
Mosaic from Barcelona, now in Madrid. 26 feet 6
INCHES LONG BY 13 FEET WIDE.
Ann. d. Inst., 1863, Pl. D.
Hubner, Antike Bildwerke in Madrid, p. 282.
Daremberg et Saglio, Diet., fig. 1520.
Baumeister, Denknidler, fig. 2338.
The features of the spina (cf. Pl. 28, fig. 1 ; Pl. 31, fig. 1) are
well shown. The conical metae stand at the ends on rounded
bases, the lower part of the obelisk is in the centre, with the
statue of Cybele on her lion under a palm tree below, with the
stand with eggs on the right and the dolphins on the left.
Besides these there is a shrine, a statue of Victory on a high
pillar on each side, and a number of smaller trophies. These
consist of a pair of statues of youths in pursuit of wild beasts
on the right, while on the left are figures of slaves, standards
(signa, cf. Pl. 39, fig. 7), and statues of Hercules and athletes.
All these details are no doubt carefully copied from the circus
at Barcelona.
Only four chariots are shown racing. One of them has com-
pletely come to grief at the metae on the left. The foremost
chariot has already passed the winning line, and is being driven
back to the stable. The winner belongs to the party of the
green (factio prasina}. The attendant who stands before him
waving a water-pot has a coat of green. The victory is pro-
claimed by a herald, who stands near the metae with white, red,
and blue cloths over his left arm, waving with his right one o
green. This shows that green has won, and at the same time
he shouts “ Eridanus,” the name of the trace-horse (funalis} on
the near side. All the horses have their names inscribed,
Eridanus, Ispumosus (the initial “ i ” is characteristic of the
Spanish pronunciation), Pelops and Lucxuriosus in the first;
Pyiripinus, Arpastus, Eufrata and Eustolus in the third ; Botro-
cales in the fourth. Over the unfortunate charioteer is “ Isco-
lasticus, the glorious driver” (Lscolasticus regnator famosus}.
The drivers of the second and third chariots, who belong to the
white and red parties respectively, seeing that the race is lost,
are checking their horses and turning to retire. One of the
most interesting features in the mosaic is that the horses are
branded on the side with the name of the stable to which they
belong. Thus the first belongs to Nicetus, the second and
third to Concordius.
It should also be noted that the trace-horses (funales} have
their tails tied in bobs to prevent them catching in the
wheels. The arched doorway at the back of the metae in the
left is also remarkable, it gave access to the seat of the clerk
who recorded the laps.
Fig. 3.—Baton.
Basis of a Statue in the Palazzo Doria, Rome.
Formerly in the Villa Pamfili.
Matz-Duhn, Bildwerke, No. 3625.
Winckelmann, Monumenti inediti, Pl. 199; Opere, Pl. 172.
Guhl and Koner, Life of Greeks and Romans, fig. 502.
Seyffert, Diet., p. 255.
Winckelmann points out that the Emperor Caracalla
honoured a famous gladiator of the name of Baton, with a
magnificent burial (Dio Cassius 77, 6 wοθανόντα .... περιφανεΐ
ταφή Ιτίμ-ησε). This may be the man. He is armed as a
Hoplomachus, secutor, or Samnite, i.e. with long, rounded shield
(scutum}, short straight sword (gladius}, a single greave (ocrea}
on his left leg, a small gaiter and straps on his right. He
wears a thick loin cloth (subligaculum} girt with a broad belt,
63
has straps across his chest, and a necklet round his neck. His
head is much damaged, and the drawing gives no idea of its
present appearance.
His helmet is fixed on a pole to the right.
Above is the inscription “ Batoni.”
Fig. 4.—Venator.
Cippus from Velleia, in Parma. Roman, Reign of
Hadrian.
Lama, Inscr. Antiche, p. 69.
DOtschke, Bildwerke Nord-Italiens, v., No. 953.
This figure is shown to be a hunter by the boar-spear with its
two side prongs springing from the neck of the blade (cf. Pl. 80,
fig. 8). The object in his right hand is probably a whip,
though some authorities call it a sling.
His dress consists of a short tunic, and trousers bound to
his legs below the knee by overlapping thongs (fasciae}, in the
manner adopted by the Camel Corps in the Nile Expedition of
1884 (cf. Pl. 63, fig. 8). Round his chest he wears a leather
cuirass, suspended from his shoulders by straps.
The back of the cippus is inscribed (Orelli-Henzen, No.
3,805)—L . SVLPICIO I L . F . GAL . NEPOTI I FLAM . DIVI HAD
RIANI I AVGVSTAE | IVDIC . EX . V . DEC | II . VIR . AVG I II VIR .
PLAC I EVTHALES LIB . [ PATRONO . R . P | DD.
Lucio Sulpicio, Lucii filio, Gali nepoti, Flamini Divi Had
riani, Atigustae (Bagiennorum in Liguria} judici e quindecem-
viris, duumviro Augustali, duumvir0 Placentiae, Euthales
libertus patrono. Reipublicae (Velleiatium) dono dedit, i.e.
“Euthales, a freedman, dedicated this monument to his patron
Lucius Sulpicius, a municipal magistrate of high rank.”
The relief can scarcely represent Sulpicius, but may possibly
be Euthales himself. Though there is no reason to suppose
that the hunter represented took part in the venatio of the
amphitheatre, it serves none the less as an illustration, since
the venatores had no special attire but fought in that of their
native country.