Antinous as Dionysus, Ny Carlsberg Glyptotek, Copenhagen
© Carole Raddato
Inv. N° 1960, exhibited in the Central Hall. Found ca. 1700 in the Garden of the now-demolished Villa Casali in Rome. Called the “Antinous Casali,” after its origin. «Der Kopf wird von vielen für den schönsten gehalten» (Friedrich von Ramdohr, 1787)
On this day in 130 AD, Hadrian founded Antinoöpolis (Antinoë, Egypt), in honor of his favorite, Antinous, who had drowned in the Nile a few days earlier. Now modern Sheikh Ibada, it is located on the east bank of the Nile. The site was originally an Egyptian city with a temple erected by Ramesses II and has remains dating from the Predynastic Period.
The artefact chosen this week is a painted portrait of a woman from Antinoöpolis dating from 120-130 AD. It is on display in the new galleries devoted to the East Mediterranean in the Roman Empire.
Portrait of a woman, known as “L’Européenne”, AD 120-130, from Antinoöpolis (Antinoë), Egypt, Louvre Museum
© Carole Raddato
From the first to the third century AD, a unique art form, the mummy portrait, flourished in Roman Egypt. Stylistically related to the tradition of Greco-Roman painting, but created for a typically Egyptian purpose, these are startlingly realistic portraits of men and women of all ages. Egyptian mummy portraits were placed on the outside of the coffin over the head of the individual. They were painted on a wooden board at a roughly lifelike scale. It is possible to date some mummies on the basis of the hairstyles, jewellery and clothes worn in the portrait, and to identify members of a family by their physical similarities. (Source: British Museum)
You can find detailed information about this portrait here.
Located at the Southern tip of of the Istrian peninsula, Pula sits at a location highly appreciated by ancient civilizations. It is a town of extraordinary beauty and culture with a three thousand year long history. This important Istrian port boasts a rich and varied cultural heritage that has attracted visitors for centuries.
According to legend, Pula was founded by the Colchians, who pursued the Argonauts here after the latter had stolen the Golden Fleece. They called it Polai, signifying “city of refuge”.
Pula was originally founded as a fortified settlement of the Histri, the pre-Roman inhabitants of Istria after whom the peninsula is named. In the Illyrian period, until the arrival of the Romans in 177 BC, Pola was no more than the surroundings of nearby Nesactium, the political, administrative, military and religious centre and capital of the Histri. As a result of intensive colonization, trade routes, as well as the importance of its military position, Pola took over the leading position. Numerous trades developed in that period: agriculture, viticulture, olive-growing, fishing and pottery for the transport of olive-oil, wine, wheat and fish.
Economic map of Histria Romana
Pola was elevated to colonial rank between 46–45 BC under Julius Caesar as the tenth region of the Roman Empire. During that time the town grew and peaked at about a population of about 30,000. Pola became a significant Roman port. During the civil war that followed Caesar’s assassination in 44 BC, Pola took the side of Cassius, since the town had been founded by Cassius Longinus, brother of Cassius. After Octavian’s victory, the town was demolished. It was soon rebuilt at the request of Augustus’s daughter Iulia and was then named Colonia Pietas Iulia Pola Pollentia Herculanea. Pola was transformed into an imperial city where some of the best examples of Roman architecture were built.
The rich itinerary of ancient monuments definitely begins with the amphitheatre, locally known as the Arena. Set a short walk north of the city centre, its outer walls are remarkably preserved. It is one of the best preserved amphitheatre and justly compared to the Colosseum in Rome, the Arena in Verona and the amphitheatres in Pompei, Nimes and Arles in France, and El Jem in Tunisia. Today, the arena is used as a venue for many concerts and film festivals.
Pula Arena, Roman Amphitheatre, Pula
© Carole Raddato
An early arena made of wood was constructed when Augustus ordered Pola to be rebuilt. This was replaced by a successively enlarged stone building completed during the reign of Vespasian. Such a large structure (132 m x 105 m) was built outside the city walls along the Via Flavia, the road from Pula to Aquileia and Rome. The amphitheatre could hold about 20,000 spectators.
Pula Arena, Roman Amphitheatre, Pula
© Carole Raddato
Since the amphitheatre was built on a slope, the part facing the sea consists of three stories, while the other part has only two stories. The exterior wall consists of 72 arched and rectangular apertures constructed in limestone.
The amphitheatre at Pula is unique as it features four rectangular towers that had been included into the outer wall mantle. Each of them held a wooden staircase leading to the top rows and to the water reservoirs. Each of them was filled with rainwater that could feed a fountain or to refresh the spectators.
One of the four towers of the Pula Arena
© Carole Raddato
A series of underground passageways were built underneath the arena along the main axis from which animals and fighters could be released; stores and shops were located under the raked seating. Today the underground area hosts an permanent exhibition devoted to viticulture and olive growing in Istria in ancient times. The exhibits include reconstructions of machines once used for the production of olive oil and wine (mills, presses, vessels) and amphorae used for storing and transporting olive oil and wine.
Amphorae are specific vessels that were used for storing and transporting olive oil, wine, salted fish and preserved fruit. The characteristic Istrian amphora has a very pronounced egg-shaped body with a long neck narrower than the body and small handles on opposite sides.
Two other notable and well-preserved ancient Roman structures are the 1st-century AD triumphal arch, the Arch of the Sergii and the temple of Rome and Augustus.
Temple of Augustus, Roman Forum of Pola
© Carole Raddato
The Temple, situated in the Forum, was dedicated to goddess the Roma and the Emperor Augustus. It was constructed between the year 2 BC and AD 14 when the Emperor died. According to its shape it follows the typical pattern of the Roman temples. The function of the Temple changed through the years: with the ending of the pagan ancient era its original pagan function ceased and the temple was afterwards used as a church, granary, and in the beginning of the 19th century it was a museum for stone monuments.
Temple of Augustus, Pula
© Carole Raddato
The temple of Augustus was built on a podium with a tetrastyle portico of Corinthian columns. It is 17.65 m long, 8.5 m wide and 13.17 high. The temple was part of a triad consisting of three temples. The Temple of Augustus stood at the left side of the central temple, and the similar temple of the goddess Diana stood on the other side of the main temple.
The back of the Temple of Augustus, Pula
© Carole Raddato
The temple of Augustus is one of the most beautiful example of early Roman imperial temple architecture.
The luxurious Corinthian columns of the Temple of Augustus, Pula
© Carole Raddato
In 1944 the Temple of Augustus was hit by a bomb and completely destroyed. It was reconstructed between the years 1945 and 1947 and nowadays it houses a collection of ancient stone and bronze sculptures.
Although the larger central temple has not survived, the whole back side of the Temple of Diana is still clearly visible due to its incorporation into the Communal Palace, built in 1296. The temple of Diana is believed to have been constructed at the same time and in the same style as the Temple of Augustus.
The back of the Temple of Diana, Pula
© Carole Raddato
A short walk from the Forum, at the south-east entrance to the town centre, stands the Arch of the Sergii (a famous patrician family in ancient Rome). This arch was built at the end of the 1st century BC (around 29 and 27 BC) by Salvia Postuma Sergii with her own money, in honour or the three members of her family who took part in the battle of Actium.
Arch of the Sergii, Pula
© Carole Raddato
The 8 meter high Arch was constructed in Corinthian style with strong Hellenistic influences. It is richly adorned with relief decorations of grapevines while its centre depicts a scene of an eagle fighting a snake. Two winged victories stand between the inner half columns. Above the cornice, rest the stone pedestals were the sculptures of the three members of the Sergii family we laid with inscriptions. The sculptures have not been preserved.
In Roman times the whole city was surrounded by walls and was entered through twelve gates. In the 19th century, the walls had become old and unnecessary so they were pulled down. Parts of the walls however have been preserved until today.
The City Walls, Pula
© Carole Raddato
Seven gates were located near to the sea and five gates were built inland. Three of the five inland gates have been preserved. Standing between two medieval towers, the Gate of Hercules is the oldest surviving Roman structure in Pula.
Gate of Hercules, Pula
© Carole Raddato
A carving of the head of Hercules and his club is clearly visible at the top of the arch.
Gate of Hercules, head of Hercules and his club, Pula
© Carole Raddato
A damaged inscription bearing the names of two Roman officials can be found next to the club. The first one, Lucius Calpurnius Piso, was Caesar’s father-in-law while the second one, Lucius Cassius Longinus, was the brother of Gaius Cassius Longinus (one of the two leading instigators in the assassination of Julius Caesar). They had been entrusted the duty to establish a Roman colony in the bay of Pola. Today the Hercules gates is the entrance to the seat of the Italian Community.
Just a hundred meters away from the Hercules gate stands the most beautiful Roman gate in Pula; the Porta Gemina also called Twin Gates. It was built between the end of the 1st and the beginning of the 2nd century AD.
The Twin Gates (Porta Gemina), Pula
© Carole Raddato
The Porta Gemina was once the entrance to the city. Its road led to the Arena and further to Nesactium.
The Twin Gates (Porta Gemina), Pula
© Carole Raddato
The Twin Gates today lead to the Archeological Museum of Istria (sadly closed to visitors since April 2013) and the Roman Theatre. In addition to the Amphitheatre, Pula had two theatres during the Roman period. The larger one, which has not been preserved, was situated outside the city walls, on the slopes of Zaro hill (Monte Zaro). The other theatre known as the Small Roman Theatre was situated within the city walls. It was built in the 2nd century AD.
Roman Theatre, Pula
© Carole Raddato
The remains of the scene, semicircular orchestra and cavea have been partly reconstructed.
Roman Theatre, Pula
© Carole Raddato
Roman floor mosaics are one of the wonders of Pula. Many are kept in the Archaeological Museum of Istria. After the bombing of World War II, remains of Roman houses with mosaics were found under the block of houses. The most impressive and popular of all is the “Punishment of Dirce” which has been preserved at the site where it was found.
The Punishment of Dirce mosaic, Pula
© Carole Raddato
The subject of this artwork is the horrifying punishment inflicted on Dirce by the sons of Antiope whom she had mistreated. The twins Amphion and Zethos are tying her to a bull who will drag and trample her to death. The entire floor is divided into 40 areas dominated by geometrical patterns with animal details (fish and bird). The mosaic covered the floor of a central room of a Roman house, probably from the 3rd century.
The Punishment of Dirce mosaic, central panel, Pula
© Carole Raddato
There is another Roman house named the Agrippina’s house located on the southeast corner of the Roman forum. A marble bust of the empress Agrippina Minor was found in 1988 during excavations.
Here you can take a virtual walk through Pula.
For more information about Pula, visit the official site of the Pula Tourism Office here.
Further photos can be viewed from my image collection on Flickr.
The NY Carlsberg Glyptotek in Copenhagen has a spectacular imperial Roman sculpture gallery. Their collection of portraits of the members of the Nerva-Antonine dynasty is particularly impressive.
The Nerva–Antonine dynasty was a dynasty of seven Roman Emperors who ruled from 96 AD to 192 AD. These Emperors are Nerva, Trajan, Hadrian, Antoninus Pius, Marcus Aurelius, Lucius Verus, and Commodus.
The Empress Faustina the Elder, wife of Antoninus Pius, c. AD 140, Ny Carlsberg Glyptotek, Copenhagen
© Carole Raddato
Lucius Verus, c. AD 160-170, Ny Carlsberg Glyptotek, Copenhagen
© Carole Raddato
The Empress Crispina, wife of Commodus, c. AD 180, Ny Carlsberg Glyptotek, Copenhagen
© Carole Raddato
In the view of Dio Cassius, Commodus’ accession marked the descent “from a kingdom of gold to one of iron and rust” (Dio Cassius 72.36.4) – a famous comment which has led some historians, notably Edward Gibbon, to take Commodus’s reign as the beginning of the decline of the Roman Empire.
Many more portraits of the Nervan-Antonines can be viewed from my image collection on Flickr.
Curetes Street and the Temple of Hadrian, Ephesus, Turkey
© Carole Raddato
It is one of the best preserved and most beautiful structures on Curetes Street. The temple of Hadrian was built before 138 A.D by P.Quintilius and was dedicated to the Emperor Hadrian, who came to visit the city from Athens in 128 A.D. The facade of the temple has four Corinthian columns supporting a curved arch, in the middle of which contains a relief of Tyche, goddess of victory. The side columns are square. The pedestal with inscriptions in front of the temple, are the bases for the statues of the emperors between 293-305 CE, Diocletian, Maximian, Constantius I, and Galerius; the originals of the statues have not been found yet.
Inside the temple above the door, a human figure, probably Medusa stands with ornaments of acanthus leaves. On both sides there are friezes depicting the story of the foundation of Ephesus – Androklos shooting a boar, Dionysus in ceremonial procession and the Amazons. The fourth frieze portrays two male figures, one of which is Apollo; Athena, goddess of the moon; a female figure, Androkles, Herakles, the wife and son of Theodosius and the goddess Athena. The friezes that are seen today are copies, and the originals are displayed in Ephesus Museum.
Hadrian’s Wall Trust has launched a new fundraising campaign to ensure the World Heritage Site survives for future generations.
People are invited to attach their names to a stone, not on Hadrian’s Wall itself but on a virtual realisation of it on the website adoptastone.co.uk.
Hadrian’s Wall
© Carole Raddato
Linda Tuttiett, Hadrian’s Wall Trust chief executive, explained: “The budget for the maintenance of the Hadrian’s Wall Path National Trail suffered a major reduction and now needs additional support. We are determined to maintain the trail in excellent condition.” The trust is aiming to raise £20m to secure the future of the wall over the next 10 years.
I have myself adopted a virtual stone near Housesteads, my favorite place along Hadrian’s Wall.
My stone in Hadrian’s virtual Wall.
Adopt a stone at www.adoptastone.co.uk Your contribution will go towards conserving and preserving Britain’s greatest monument, now and in the future.
More on Hadrian’s Wall Trust at www.hadrianswalltrust.org
Bronze caliga from a over life-size statue of a Roman cavalryman
© Carole Raddato
Caligae were heavy hob-nailed military boots worn by the Roman legionary soldiers, auxiliaries and cavalrymen throughout the Roman Republic and Empire.
This bronze caliga was part of an over life-size statue of a Roman cavalryman from the 1st or the 2nd century AD. It is exhibited at the Museo Civico Archeologico of Bologna. However this photo was taken at a temporary exhibition held at the Museum und Park Kalkriese.
Bronze caliga from a over life-size statue of a Roman cavalryman
© Carole Raddato
Lucius Ceionius Commodus, the future Lucius Verus, was born on December 15 in 130 A.D. He was the son of Lucius Aelius Caesar, Hadrian’s first choice as a successor. Lucius’ father died when he was only seven years old. Having lost his first choice as successor, Hadrian designated Antoninus Pius to be his successor and required him in turn to adopt Lucius as well as Marcus Aurelius. Marcus Aurelius and Lucius Verus ruled jointly for eight years, from 161 AD to 169 AD.
As the tribute to Lucius Verus’ 1883rd birthday, I am posting a selection of his surviving portraits.
Lucius Verus as a child (Type I), from Ostia Antica, Italy
© Carole Raddato
Young Lucius Verus
Ny Carlsberg Glyptotek, Copenhagen
© Carole Raddato
Lucius Verus (Main type), Marble, 160 -170 AD
Altes Museum Berlin
© Carole Raddato
Marble head of Lucius Verus (Main type), from Perge
Antalya Museum
© Carole Raddato
Head of Lucius Verus (Type IV), found in 1926 at the Villa Chiragan (France)
Musée Saint-Raymond, Toulouse
© Carole Raddato
Lucius Verus, c. AD 160-170
Ny Carlsberg Glyptotek, Copenhagen
© Carole Raddato
Marble bust of Lucius Verus
Glyptothek Museum, Munich
© Carole Raddato
Lucius Verus, from Mahdia (Tunisia)
National Museum of Denmark, Copenhagen
© Carole Raddato
Marble bust of the emperor Lucius Verus, from Rome, circa 161-170 AD
British Museum
© Carole Raddato
Bronze bust of Lucius Verus, probably made for a private lararium
Louvre Museum
© Carole Raddato
Lucius Verus is remembered for being a fairly successful military conqueror. He made successful campaigns in Armenia and Mesopotamia and sacked Ctesiphon, the Parthian capital (see Lucius Verus and the Parthians). Verus also campaigned with Marcus Aurelius in the vicinity of Pannonia against the Marcomanni. Returning home in 169 AD, the junior emperor fell ill and died soon after at the age of 38. Rome was left with a sole ruler again.
More portraits of Lucius Verus can be viewed from my image collection on Flickr.
Off the coast of Istria, just a few kilometers from Pula, lies the Brijuni archipelago, which includes 14 small islands. Famous for their scenic beauty, the islands are a holiday resort and a Croatian National Park. In Roman times, numerous Roman villae rusticae adorned the coast of these islands referred to by Pliny the Elder as Insullae Pullariae.
The fall of the Illyrian capital of Nesactium in the year 177 BC marked the onset of a long period of Roman rule, which brought considerable economic, social and cultural changes to the entire Istrian peninsula, including the Brijuni. The Roman navy found on the Brijuni Islands and Fažana channel a safe and natural shelter. The Romans built many luxurious summer residences and palaces where they could relax and live from the products they produced. Palaces such as these were situated in the bays of Verige and Dobrika, on mounts Kolci and Gradina, in Mali Brijun’s St Mikula Bay, and on Vanga’s east coast.
On the eastern coast of Brijuni, along the picturesque Verige Bay, you can explore the ruins of a once magnificent Roman villa rustica, the largest in Istria. Its construction began in the first century B.C., reaching its heyday in the first century A.D. Some parts of the villa were used until the 6th century.
1924 artistic reconstruction of the Roman Villa in the Bay of Verige, Brijuni Islands, Croatia
The villa was owned by the senatorial Laecanii family and probably came under imperial ownership in the second half of the first century AD. It is said to be among the three most luxurious villas in the Roman Empire alongside a Villa in Pompeii and another one on the island of Capri.
General view of the Roman Villa
© Carole Raddato
The villa consisted of several buildings of residential and economic character situated in different parts of the bay. The villa also had a library, three level terraces and huge gardens.
Roman Villa in the Bay of Verige
© Carole Raddato
Roman Villa in the Bay of Verige, Brijuni Islands, Croatia
© Carole Raddato
Along with the luxurious villa, constituent parts of the complex also included temples (to the sea god Neptune, the Capitoline Triad and the goddess Venus), diaeta, palaestra, and thermae, all interconnected by colonnades. The whole complex covered an area of over six hectares.
The Temple of Venus
© Carole Raddato
The Temple of Venus and the Roman Villa
© Carole Raddato
The columns of the Temple of Venus
© Carole Raddato
All these buildings were connected by a system of opened and covered promenades stretching one kilometer along the sea in harmony with the landscape.
The ruins of one of the monumental porticoes facing the bay
© Carole Raddato
On the opposite side of the bay were the other areas dedicated to production activities as well as the thermae.
The production part of the Villa
© Carole Raddato
The Thermae
© Carole Raddato
The Thermae
© Carole Raddato
This villa was lavishly appointed with mosaic floors and frescoes, stucco decoration and precious marble.
Brijuni coastal villa and residential area reconstruction
(BEGOVIĆ DVORŽAK, 1990)
The Brijuni islands stretch along the south-west coast of the Istrian peninsula, they are separated from the Istrian mainland by the Fažana Channel. The island can be reached by boat from Fažana, where the official boats leave. The entrance to Brijuni used to be free but now you have to join one of the official excursions arranged by the park. Officially, day-trippers are supposed to stick with their guide for their full 2.5 hours ride by tourist train, but I managed to explore the island on my own and to have the site of the Roman Villa all to myself. Alternatively, you can also book a guided sightseeing tour of the most important archeological sites on the island.
Roman Villa in the Bay of Verige
© Carole Raddato
Further photos can be viewed from my image collection on Flickr.
Sources:
Roman Villas in Istria and Dalmatia, Part III: Maritime Villas
On this day (January, 8) in 1860 was born Edward Perry Warren, known as Ned Warren, an American art-lover and collector. Warren is now best known as the former owner of the Warren Cup, now exhibited in the British Museum.
Warren Cup, front view of a man and youth and a slave at the door
© Carole Raddato
The Warren Cup, created early in the first century AD, is a remarkably important and beautiful masterpiece of Roman art. It is made of silver with a little copper, and small traces of gold and lead. The scenes on either side show a pair of male lovers in low relief.
On one side (image above) the erastes (older, active lover) is bearded and wears a wreath while the eromenos (younger ‘beloved’, passive) is a beardless youth. A servant tentatively comes through a door. In the background is a draped textile, and a kithara (lyre) resting on a chest. (Source)
Warren Cup, back view of a youth and boy
© Carole Raddato
In the scene on the other side (image above) the erastes is beardless, while the eromenos is just a boy. Auloi (pipes) are suspended over the background textile, and folded textiles are lying on a chest. (Source)
To learn more about this luxurious silver cup, listen to this A History of the World in 100 Objects podcast about the Warren Cup.
Further photos of the Warren Cup can be viewed from my image collection on Flickr.
The ancient Roman city of Narona, now the village of Vid (3km from Metkovic) in Croatia, had a very beautiful temple; the Augusteum, a site of imperial cult named after the imperial title of Augustus.
Reconstruction drawing of the Augusteum, Archaeological museum Narona
Narona was part of the Roman province of Dalmatia. The city was established after the Illyrian Wars and was located on the alluvial plains. It was founded as a Hellenistic emporium in the 3rd/2nd century BC, first time mentioned by the Greek historian Pseudo-Skilak in the 4th century BC.
“And from Nestians is the Naron river: and the voyage into the Narona is not narrow: and even a trireme voyages into it, and boats into the upper trading town, being distant from the sea 80 stades.” – Pseudo-Skylax, 24.
Narona became a major Roman stronghold in the 1st century BC and probably received the status of Colonia (Colonia Julia Narona) from Augustus.
Archaeological research conducted in 1995 and 1996 led to a sensational discovery of the remains of a Roman temple – the Augusteum – and seventeen monumental marble sculptures of Roman emperors and their family members.
The remains of the Augusteum and fifteen marble sculptures exhibited on a platform, Archaeological museum Narona
© Carole Raddato
The Augusteum at Narona seems to have been built in about 10 BC and was later dedicated by Publius Cornelius Dolabella, the governor of the province of Dalmatia.
Inscription honoring the emperor Augustus, erected by Publius Cornelius Dolabella, the governor of the province of Dalmatia, 1st half of 1st century AD, Archaeological museum Narona
© Carole Raddato
It had four columns across the front supporting a triangular pediment. The single chamber (cella) had a simple mosaic floor.
The Augusteum cella’s mosaic floor, Archaeological museum Narona
© Carole Raddato
The statues were vandalized in the 4th century when Christianity replaced paganism as the official religion of the Roman Empire: they were discovered some 20 years ago, lying on the floor and their heads broken off.
At the beginning of the temple history, there was only a small podium on which were placed statues of Augustus and his wife Livia (and perhaps Agrippa, Augustus’ right-hand man).
The head of Livia was acquired by British archaeologist Arthur Evans in 1878 who carted it back to the Ashmolean Museum (see picture here). The head was re-united with its body at an exhibition in Oxford in 2004 (source: Guardian).
After Augustus’ death in AD 14, Publius Cornelius Dolabella, the governor of Dalmatia, added two more statues of the imperial couple, as well as one of the new emperor Tiberius.
From left to right: Lucius Caesar, Gaius Caesar, Julia, Agrippa and Antonia Minor, Archaeological museum Narona
© Carole Raddato
There were further additions over the next couple of centuries, including statues of emperors Claudius and Vespasian; so many in fact that the podium was extended.
From left to right: Germanicus, Drusus, Claudius, Agrippina the Elder, Agrippina the Younger, Vespasian, Archaeological museum Narona
© Carole Raddato
The remains of the Augusteum with its gallery of imperial sculptures became the core of the modern architecture of Narona Archaeological Museum. The museum which is built on the ruins of the ancient town was opened to the public in 2007. It is the first museum in Croatia located in situ.
Archaeological museum Narona, Vid, Croatia
© Carole Raddato
The museum contains other finds discovered during the excavations in the area around the temple; sculpture fragments, coins, glass, metal and bone artefacts, pottery and oil-lamps. The exhibition includes a total of roughly 900 finds, allowing us to track the city’s history from the end of the third century BC through the fifteenth century AD.
Archaeological museum Narona
© Carole Raddato
Further photos can be viewed from my image collection on Flickr.
Narona Archaeological museum official website: http://www.a-m-narona.hr/en/
The museum is opened from September 16th to June 14th
Tuesday – Friday: 09:00 – 16:00
Saturday: 09:00 – 17:00
Sunday: 09:00-13:00
Sources and further reading:
Conservation of Roman Marble Sculptures from Narona
The Rise and Fall of an Imperial Shrine: Roman Sculpture from the Augusteum at Narona
The remains of the Augusteum and fifteen marble sculptures exhibited on a platform, Archaeological museum Narona
© Carole Raddato
On this day (January, 13) in 101 AD Lucius Aelius, Hadrian’s first intended successor. was born. Aelius was the son of a powerful senatorial family. He served as consul in 136 AD and was officially adopted by Hadrian as his heir in 137 AD. However Aelius died before Hadrian on January 1st, 138 AD of tuberculosis. Hadrian was therefore forced to choose a new heir; Antoninus Pius.
Heroic statue of Lucius Aelius Caesar, Louvre
© Carole Raddato
“Verus was a man of joyous life and well versed in letters, and he was endeared to Hadrian, as the malicious say, rather by his beauty than by his character.” Historia Augusta
If you want to learn more about Lucius Aelius, I highly recommend you read Gareth Harney’s excellent article Aelius – Forgotten Prince.
Pullum Particum (Parthian Chicken) is so far my favorite Apician recipe. I have cooked and tasted it twice and it is an absolute delight! This is one of the best chicken dishes I have ever had.
But is Pullum Particum Parthian? Sally Grainger, the highly knowledgeable food historian, suggests that the name originated with the use of asafetida in the dish. Asafoetida is native to the mountains of Afghanistan and would have come to the Romans via trade with their Parthian neighbours. Or perhaps, the dish was Parthian in origins, but adapted by the Romans to their taste (by adding caraway).
The following recipe was adapted from Apicius by Andrew Dalby and Sally Grainger. It can be found in their book, The Classical Cookbook. I chose to serve this dish with Parthian chickpeas and a spoonful of some home-made date paste (as suggested by the excellent Pass the Garum). They make the ideal accompaniment to the chicken.
Pullum Particum recipe in Latin:
Apicius 6.9.2: Pullum Parthicum: pullum aperies a naui et in quadrato ornas. teres piper, ligusticum, carei modicum. suffunde liquamen. uino temperas. componis in Cumana pullum et condituram super pullum facies. laser et uinum interdas. dissolues et in pullum mittis simul et coques. piper aspersum inferes.
Parthian Chicken & Chickpeas – Ingredients
© Carole Raddato
Ingredients (serves 4)
Method:
Place the chicken in a casserole dish and sprinkle it liberally with pepper.
Wash the leek and slice it into pieces. Add these to the dish with the chicken.
Combine the wine, fish sauce and asafoetida, add the lovage and caraway/cumin seeds and the pieces of dried dates and pour over the chicken.
Cover and bake in a pre-heated oven at 375° F (190° C/gas mark 5) for 1 hour. Half-way through the cooking time remove the lid to brown the chicken.
Serve with a little of the sauce poured over the meat.
Parthian Chicken & Chickpeas accompanied with Date Paste
© Carole Raddato
For the Parthian chickpeas, I pretty much followed the recipe posted by Pass the Garum, adding some white wine.
Recipe in Latin:
Apicius 5.3.7: Aliter pisam sive fabam: despumatam subtrito lasare Parthico, liquamen et caroeno condies. Oleum modice superfundis et inferes.
Ingredients (serves 2)
Method:
Boil the chickpeas for around 10 minutes and skim off.
Drain and add the asafoetida, fish sauce, white wine and grape syrup. For the boiled white grape juice, take a desired amount of white grape juice and boil it until until it thickens. Pour over the olive oil and give everything a mix.
Parthian Chicken & Chickpeas accompanied with Date Paste and Roman red wine
© Carole Raddato
Making the date paste is easy. Take a handful of dates and plunge them in boiling water for 15 minutes. Then blend using a blender with a little water (2 or 3 tbsps).
This savoury and sweet dish should be served with some Roman red wine. I highly recommend this extraordinary spiced wine (conditum paradoxum) that you can buy online via the Der-Roemer shop here.
Next week, on Friday the 24th, it will be Hadrian’s 1938th birthday. To celebrate this important event I will prepare a Roman feast (see last year’s birthday cake here). In Sally Grainger’s classical cookbook, there is a chapter about Hadrian’s Wall which includes a few recipes of dishes that soldiers stationed there probably enjoyed. I have chosen to cook a Minutal Matianum (pork with apple) and a Patina de piris (a sort of pear souflé) for the mensa secunda, the dessert. You will see some pictures in due time.
Roman Floor Mosaic – Pear
© LiMarMu
Related posts:
A taste of Ancient Rome – Aliter Patina de Asparagis (Omelette with Asparagus and Fresh Herbs)
A taste of Ancient Rome – Minutal ex Praecoquis (Pork and Fruit Ragout)
It is Hadrian’s birthday this week (January, 24); the perfect time to celebrate the man and his legacy. I also want to take this opportunity to start of a new set of pictures called “Art and sculptures from Hadrian’s Villa”.
Hadrian was an unrivaled patron of the arts. His imperial villa at Tibur was adorned with the very best of what the Roman empire had to offer in terms of works of art and building materials. Tivoli is seen as a key site for our understanding of the art and culture of the early imperial period. Hundreds of statues, reliefs, architectural marbles and other decorations were found in the villa. Many of them have been lost, other are in Museums and private collections around the world.
Of particular interest is the central panel (emblema) of a large mosaic depicting a pair of centaurs (mythological creatures with the head, arms, and torso of a man and the body and legs of a horse) fighting wild cats. It is one of the most significant Roman mosaics.
Pair of Centaurs Fighting Wild Cats Mosaic from Hadrian’s Villa, c. 130 AD, Altes Museum Berlin
© Carole Raddato
Mosaics were used throughout the complex but polychrome mosaics were only used in the noble buildings, mainly paved with opus sectile. This mosaic was found in situ along with other ones that bore depictions of landscapes, animals and masks. It was part of the floor decoration of the dining room (triclinium) in the main palace. Presumably, it was modelled after a Greek panel painting or mosaic from the Hellenistic period.
The dramatic scene depicts a centaur casting a rock at the tiger who has slain his female companion. The female centaur lies dead, bloodied by the raking claws of the beast.
Detail of the Centaur Mosaic; the male holding a rock aloft above his head
© Carole Raddato
The mosaic is made of thousands of small, closely set tesserae (1-2 millimiters) called opus vermiculatum.
Detail of the Centaur Mosaic; the tiger has managed to bring the female centaur to the ground
© Carole Raddato
This exquisite mosaic is on display at the Altes Museum in Berlin, along with stunning sculptures of Hadrian and Antinous.
Hadrian’s Wall has long attracted hikers and history fans and is now the heart of an 84-mile-long (135 km) National Trail through some of Britain’s most beautiful countryside. Hadrian’s Wall stretches coast to coast across northern England, from Wallsend in the east to Bowness-on-Solway on the west coast.
Hadrian’s Wall path map
Three years ago, I set out to explore Hadrian’s Wall, following in Hadrian’s footsteps and of the Roman soldiers who once patrolled the empire’s frontier. Hadrian’s Wall consists not only of the visible remains of the Wall itself, but also of its associated forts, milecastles, turrets and earthworks. The sites of several Roman forts lie along the route including Segedunum at Wallsend, Chesters, Housesteads, Vindolanda and Birdoswald. Naturally, I visited all of them and I will certainly report on them in the future.
My walk began near the Roman Army Museum, close to Carvoran’s fort. After visiting this great museum -which gives you a rare insight into the daily life of a Roman soldier- I started to walk east along Hadrian’s Wall Path, all the way to Vercovicium (Housesteads, the best preserved Roman fort in Britain). This section covers a distance of around nine miles (15.5 km) and offers the most exciting walk of the entire Wall. It can be sometimes strenuous, but the views are magnificent and there are a number of well-preserved milecastles and turrets along the way.
This article contains a selection of my best photos, covering the Wall section from milecastle 42 to milecastle 37 (walking west to east).
Hadrian’s Wall, Milecastle 42 (Cawfields)
© Carole Raddato
Milecastle 42 is believed to have been built by the Second Legion. Each milecastle on Hadrian’s Wall had two associated turret structures. A fragment of a tombstone and a Hadrianic building inscription were found there.
Carrying on, the path descends into Caw Gap reaching the remains of Turret 41a. These turrets were positioned approximately one-third and two-thirds of a Roman mile to the west of the Milecastle, and would probably have been manned by men from the milecastle’s garrison.
Hadrian’s Wall, Turret 41A (Caw Gap)
© Carole Raddato
Continuing walking east, the Wall runs on past Thorny Doors (where it stands 13 courses high) and Winshields Wall, the highest point along Hadrian’s Wall.
Hadrian’s Wall, walking east to Milecastle 39
© Carole Raddato
Hadrian’s Wall, walking east to Milecastle 39
© Carole Raddato
Hadrian’s Wall, walking east along Peel Crags to Milecastle 39
© Carole Raddato
Hadrian’s Wall, heading to Milecastle 39 and first glimpse of Highshield Crags and Crag Lough
© Carole Raddato
The path now reaches Milecastle 39 (Castle Nick). It was probably built by the Sixth Legion. Inside are the remains of barracks and other buildings. The milecastle is now consolidated and the walls are up to 1.75 metres high.
Hadrian’s Wall, the remains of Milecastle 39, near Steel Rigg
© Carole Raddato
Hadrian’s Wall, the remains of Milecastle 39, near Steel Rigg
© Carole Raddato
The path then has one of its steeper descents to reach Sycamore Gap. It is one of the most iconic and best Hadrian’s Wall views, and a much photographed point. The tree famously featured in the film Robin Hood, Prince of Thieve (1991).
Hadrian’s Wall, Sycamore Gap
© Carole Raddato
Hadrian’s Wall, Sycamore Gap
© Carole Raddato
Hadrian’s Wall, Sycamore Gap
© Carole Raddato
This is a particularly enjoyable section with great views all the way back to Peel Crags and Windshield Crags.
Hadrian’s Wall, heading up to Highshield crags looking back to Sycamore Gap, Peel Crags and Windshield Crags in the distance
© Carole Raddato
Continuing walking east, the view ahead is dominated by Highshield Crags and Crag Lough. Crag Lough is an inland lake located at the foot of the crags.
Hadrian’s Wall, Highshield Crags and Crag Lough, an inland lake along Hadrian’s Wall, at the foot of a line of crags
© Carole Raddato
The next section of path crosses Hotbank Crags and milecastle 38. Little remains of this milecastle. However, it is notable for the joint inscription bearing the names of Hadrian and his close friend Aulus Platorius Nepos, governor of Brittania at the time the Wall was built. The milecasle 38 inscription proves that Hadrian commissioned the wall that now bears his name (you should watch this video which shows the inscription and explains its importance). It is on display at the Great North Museum in Newcastle.
Hadrian’s Wall, Hotbank Crags, heading towards Milecastle 37 and Housesteads Roman Fort
© Carole Raddato
The path continues to Housesteads milecastle (37). It is perhaps the most visited milecastle due to its location, close to Housesteads Roman fort. Inscriptions found here shows that it was built by the Second Legion.
Hadrian’s Wall, heading towards milecastle 37
© Carole Raddato
Hadrian’s Wall, North gate arch of Milecastle 37
© Carole Raddato
The path then reaches Housesteads (Vercovicium), the best-known fort and my favorite place on Hadrian’s Wall. But this will be the subject of a future post.
Barracks, Housesteads Roman Fort (Vercovicium)
© Carole Raddato
Hadrian’s wall trail is an extraordinary journey which gives you a unique insight into a fascinating era in history as well as a massive respect for the soldiers who engineered and built the Wall.
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Important Roman figures and emperors have frequently been depicted in popular culture; in music, literature and the arts. Caesar, Nero, Caligula are certainly the most portrayed figures of Ancient Rome. But what about Hadrian? Although there have been a few films taking place in the time of Hadrian, there is only one representation of the emperor on screen; in the Italian TV production “Le Memorie di Adriano” (1992), a theatrical adaptation of Marguerite Yourcenar’s Memoirs of Hadrian. The play is set in the picturesque and enchanting scenery of Hadrian’s Villa in Tivoli. Italian actor and film director Giorgio Albertazzi is playing the emperor Hadrian. You can watch his extraordinary performance here (in Italian).
In painting, the only depiction of Hadrian I know of is by my favorite Neoclassical painter; Lawrence Alma-Tadema (1836 – 1912), a Dutch artist renowned for his paintings of opulent scenes in classical settings. His paintings are noted for fine detail, smooth finish, and realistic representations of ancient artefacts.
Alma-Tadema visited Italy a few times during his life-time. He was very impressed by the archaeological remains he saw in Rome, Naples and especially in Pompeii and his love for Roman antiquity grew big. He spent a significant amount of time studying the site of Pompeii, going there daily. These excursions gave him an ample source of subject matter as he began to further his knowledge of daily Roman life.
Hadrian in England: Visiting a Romano-British Pottery is -quite obviously- among my favourite paintings of Alma-Tadema’s extended catalogue. The emperor is shown taking an interest in ordinary life by visiting a Romano-British Pottery with his wife Sabina.
Hadrian Visiting A Romano British Pottery, 1884
Oil on canvas (cut and repainted),
Stedelijk Museum (Amsterdam, Netherlands)
This artwork is in the public domain (not copyrighted)
The scene takes place during Hadrian’s visit to Britannia in 122 AD and in this painting Alma-Tadema follows the account of the Roman historian Cassius Dio:
“Hadrian travelled through one province after another, visiting the various regions and cities and inspecting all the garrisons and forts. He personally viewed and investigated absolutely everything, not merely the usual appurtenances of camps, such as weapons, engines, trenches, ramparts and palisades, but also the private affairs of every one, but of the men serving in the ranks and of the officers themselves, — their lives, their quarters and their habits…” Cassius Dio Epitome of Book LXIX
The depictions of Hadrian and Sabina are based on portrait busts of the imperial couple like those included in Alma-Tadema’s photographic collection. The photograph he used for depicting Hadrian was of a portrait bust of Hadrian from Hadrian’s Mausoleum (on display in the Vatican Museums – see picture below).
Bust of Hadrian (Chiaramonti 392 type), from Hadrian’s Mausoleum, possibly created following the emperor’s death in 138 AD, Vatican Museums
© Carole Raddato
Alma-Tadema collected sketches, drawings and photographs, mostly of archaeological remains from classical Rome and Greece but also of imperial portraits and artefacts of daily Roman life. Many objects were integrated into his paintings. This was the case with his Hadrian Visiting a Romano-British Pottery painting. The pots depicted in this painting imitate actual Romano-British pots, sketches of which the artist kept for reference.
A selection of pottery found in Roman Britain, including wares made in Britain and others imported from abroad
© Carole Raddato
Alma-Tadema was dissatisfied with the general effect of the whole composition and eventually cut the painting into three sections. The second section depicts a workman carrying pots on his head.
The Roman Potters in Britain, 1884
Oil on canvas (cut and repainted),
Royal Collection, The Hague
This artwork is in the public domain
The third section depicts a slave or a workman ascending the stairs.
The Roman Potter, fragment of ‘Hadrian Visiting a Romano-British Potter’, 1884
Oil on canvas (cut and repainted)
Musee d’Orsay, Paris, France
This artwork is in the public domain (not copyrighted)
Nowadays Alma-Tadema is regarded as one of the principal classical-subject painters of the nineteenth century. Very few artists have managed to depict scenes from the ancient world with such care and exactitude. His work is now admired for its beauty, mastery of light, colour and texture and will be of interest to painting and ancient history enthusiasts alike.
Source: Lawrence Alma-Tadema by by Rosemary J. Barrow – Phaidon (the best book on the artist with beautiful reproductions – buy it on Amazon)
“Hymne À la Muse” by Atrium Musicae de Madrid & Gregorio Paniagua (Atrium Musicae was an early music ensemble from Madrid, Spain, founded in 1964)
Mesomedes, a Greek lyric poet and composer of Cretian birth, was a freedman and the court musician of Hadrian. He wrote paens glorifying his patron and his policies, such as the “Hymn to the Muse”. The hymn is addressed to Calliope, the Muse of epic poetry. The Delian child of Leto is Apollo, and “Paean” refers to Him as Savior (source).
Sing, Muse, dear to me,
and prelude my own song,
Let a breeze come forth from your groves,
make my soul tremble.O wise Calliope,
who directs the gracious Muse,
and you whose wisdom initiates the mysteries,
Son of Leto, Delian Paean,
help me with your favour. *
A total of fifteen poems by Mesomedes are known. Only four survive which preserve the ancient musical notation written over the text; the other three are ”Hymn to Nemesis”, “Hymn to the Sun”, “Invocation of Calliope and Apollo”.
Hymn To The Sun By Mesomedes Of Crete by Petros Tabouris
Calliope and Apollo (Mesomedes) by Ensemble De Organographia
Enjoy! ♫
Related post: Music for Hadrian (part one)
Links and further reading: Wikipedia, Find A Grave, An Ancient Greek Hymn to the Muse,
* Traduction by D. Yeld, Musique de la Grèce antique, Madrid – Saint-Michel de Provence, 1978
Apollo Kitharoidos. Painted plaster, Roman artwork from the Augustan period, Antiquarium of the Palatine
© Carole Raddato
Today we celebrate the anniversary of the accession of Trajan to the imperial throne (28 January 98 AD). As a tribute, here is a selection of images from the Temple of Trajan at Pergamon, an ancient Greek city in Aeolis.
The Temple of Trajan (Trajaneum) was one of the most spectacular structures built on the upper acropolis of Pergamon. It is situated at the highest point of the acropolis and is the only building that is truly Roman. Its construction started around 114 AD during the reign of Trajan but was completed after his death during the rule of Hadrian. Both Emperors were worshipped here. The temple was surrounded by Corinthian columns on all sides (peripteros), with six on the short side and nine on the long side. The temple suffered much from several earthquakes and ended up in ruins.
Between 1976 and 1994, restoration works were carried out by the German Archaeological Institute. Statues of Trajan and Hadrian were found which are now in the Pergamon Museum in Berlin. New excavations also revealed previous constructions such as terraced residential and trade buildings from the Hellenistic period.
Peripteral hexastyle Temple of Trajan, Upper Acropolis, Pergamon
© Carole Raddato
Peripteral hexastyle Temple of Trajan, Upper Acropolis, Pergamon
© Carole Raddato
Fallen columns from the North portico, Temple of Trajan, Upper Acropolis, Pergamon
© Carole Raddato
The restored North portico of the Temple of Trajan (view from the South), Upper Acropolis, Pergamon
© Carole Raddato
The restored East and North porticoes of the Temple of Trajan, Upper Acropolis, Pergamon
© Carole Raddato
Fluted columns surmounted by entablature (view from the North), Temple of Trajan, Upper Acropolis, Pergamon
© Carole Raddato
The partially restored stoa of the Temple of Trajan (Trajaneum), Upper Acropolis, Pergamon
© Carole Raddato
The Temple of Trajan, view from the South-East, Upper Acropolis, Pergamon
© Carole Raddato
North-East corner of the Temple of Trajan (view from the East), Upper Acropolis, Pergamon
© Carole Raddato
West flank of the Temple of Trajan, Upper Acropolis, Pergamon
© Carole Raddato
Headless torso, part of a statue of the emperor Trajan, Temple of Trajan, Upper Acropolis, Pergamon
© Carole Raddato
The Temple of Trajan, view from the North portico, Upper Acropolis, Pergamon
© Carole Raddato
Video: 3D visualisation of the sanctuary of Trajan
—-Read more: The Temple of Trajan – My Favorite Planet; Temple of Trajan
This week’s sculpture from Hadrian’s Villa is a marble statue of Apollo (Apollo Citharoedus). It was found on the site of the round Temple of Venus (tholos) by the 18th century owner of the Villa, Conte Giuseppe Fede.
The god is depicted with his attributes; the lyre and the sacred snake Python. The tree trunk around which the snake is wrapped is inscribed with the words “Apollonios made it”.
Apollo, from the Temple of Venus (Casino Fede) at Hadrian’s Villa, Ny Carlsberg Glyptoteket
© Carole Raddato
The statue dates to circa AD 150 (during the reign of Antoninus Pius) and was restored circa 1790 (Item number IN 1632).
Detail of the statue of Apollo holding the kithara, from the Temple of Venus (Casino Fede) at Hadrian’s Villa, Ny Carlsberg Glyptoteket
© Carole Raddato
