Mars andRheaSilvia *

RIvKÁ GERSHTAND SONIA MUCZNIK

RESUME

This paperpresentsa new typology of the worksof art in various mediawith thedepictionsof the MarsandRheaSilvia myth. Theanalysisof the ico-nography,the literary and visual sourcesof the representationshasled to thenewidentificationof severalfigures,whichweberepresent.In addition,acías-sificationof the typesandof the mediabasedon their frequencyandchrono-logy is also included.

RESUMEN

Las autoraspresentanen su trabajouna tipología nuevade las obrasdearte, en sus distintasformas,con representacionesdel mito de Marte y RheaSilvia. Analizanla iconografla,las fuentesliterariasy visualesde lasrepresen-tacionesy presentanunanuevaidentificación de variasfiguras. Asimismo,lostipos y la “media” (i.e. pintura,esculturay artesmenores)son clasificadosse-gún su frecuenciay cronología.

*Theideafor this joint article aroseduringa tour in SouthItaly.As we lookedat he RHEA

SILVIA sarcophagusin thecloisterof dic cathedralof Amalfi, it becameclearthen thatwe werebothworking on therepresentationsof Ihe MARS andRl-lEA SILVIA myth in Romanworksofart.Wc thereforedecidedto mergeour data,aswell asthe ideasforniulated in Ihis joint article.

Gerión, 6. 1988. Editorial de la UniversidadComplutensede Madrid.

116 RivkoGershtano’ SoniaMucznik

The stateof research

The representationsin art of MARS and RHEA SILVIA myth haveúotbeenentirely ignoredby art histórians.Sincethe daysof Winckelmann,scho-lars bavementionedtbis theme,often including no more thanone work ofart; lists of the worksof art knownat the timewereflrst compiledafter 1914’.A few writershavepresentedthemyth in so-called“iconographic”studies.Ro-bert 2 in addition to his descriptionof the sarcophagiof MARS and RHEASILVIA, mentionsin a short introductionthe samesubjectin othermedia,aswell as sorneof theliterary sourcesof the myth. In a simplefootnote,Dawson(in Romano-CampanianLandscapePainting)’ addsseveralmonumentstothosealreadypresentedby Robert,anddividesthesein four groups:

A. RHEA SILVIA lies asleep while MARS steps down toward her.B. RHEA SILVIA lies asleep and MARS walks along the ground.C. MARS flying horizontally,RHEA SILVIA asleep.D. RHEA SILVIA awake.Even Aichholzer in an extensiveand inclusive study doesnot, in fact,

adddirectly or indirectly to what had beenalreadyproposedby RobertandDawson.

Thus, the stateof researchindicatesthat a re-examinationof tberepresen-tations of the MARS andRHEA SILVIA myth in art is calledfor. Ihereforethispaperproposes:

— A typology of the representationsin the variousmediá,basedon the po-sition of Mars in relationto RHEA SILVIA.

— An iconographicalanalysis,a studyof the literary ás well as of the vi-sualsources.

— An examinationofthechronologyandfrequendyofIhe typesarid media.

Topology

TypeA

MARS descendsfrom the skies, coming down from tbe right towardsRHEASILVIA, whois recliningasleepon amoundon theleft, supportingher-selfmi herright arm,her left arm overherhead.A himation coverspartlyher

RE lA, 1, col~ 345; RoscherLexikon IV, cols. 65-69; EAA vi, 665-666; LIMC II, c:v.Ares/Mars,nrs. 390-407,489493;Pietrangeli,L’(Jrbe VIII (1943>, 4-9.

2 Roben,AS)? 111/2,227 fE

Dáwson,169-170,note 200.Aichholzer, 68-76,kat. 143-174.

Mars ano’ RheaSilvia 117

lower body, leaving her upperbody nude. MARS is nude but for a chlamysfloating in the wind; he hasa shield,aspearanda helmet.

MARS andRHEA SILVIA are the sole figures representedin two of thefour works of artof this type: the gemin the B.M. (fig. 1) andthe Belvedererelief in the Vatican (fig. 2) 6 Other figures are addedin the two remainingworks of art of this type. In the gem of The Haag (fig. 3)’ a flying EROS isincluded,holdingaburning torch, as HYMENAEOS 8. in the paintingof theDomusAurea (fig. 4) afigure of an oíd beardedmanwith wings or hornsonhis head,leanson a moundon the left, holdinga branch.This figure hasbeenínterpretedas SOMNUS ~. However,in other representationsof MARS andRHEA SILVIA, SOMNUS is shownwith wings on his back andholding ahorn from which a sleepjuice flows ontoRHEA SILVIA (figs. 26, 27, 28);astheseelementsarelackinghere, this figure maybe seenas thepersonificationof the place

Type .8

The position of MARS andof RHEA SILVIA in the six works of art ofthis íype is oppositeto thatof typeA. The representationsof MARS areverysimilar, thoughwith slight variations,whereasRHEA SILVIA is shownlyingin threedifferent poses.Similar in the AntoninusPius coin (fig. 5)2 and inthe sarcophagusfrom Aquincum(fig. 6) “, herposeis herethenegativeof thatín typeA. Althoughsheis alsoasleeplii tbe mosaicof Ostia(fig. 7)84 herheadrestson herarms, as shelies on an overturnedvaseftom which waterflows.In anotheruniquepose,RHEA SILVIA is shown,herbackturnedto tbe spec-tator on the bronzevase(fig. 8) 1 Thoughsheis awake,it is obviousthat sheis not aware of the two figures aboyeher, MARS and EROS, as HYME-NAEOS 6 for she turns her headin the oppositedirection.

Walters, BMGems, lIS, pl. XIV, n. 982; Aichholzer, kat. 173; LIMC II, 551, n. 407.Robert,ASR¡11/2, 227; Amelung,SkulpturenVatMus11, n. 36, taf. 9; VermeuleJHS77

(¡957)294; Aichholzer, kat. 149; LJMCII, 550, n. 395a.Maaskant-K]eibrink1, 271, o. 740; Aichholzer, lcat. 174, Abb. 172; LIMC II, 551, n. 407a.

8 This identificationis accordingto Robert,AS)?111/2, 236.Roscher,LexikonIV, cols. 67, 68, n. 12, fig. 3; ReinachRPGR, 58.7; Strong,Art II, 25, fig.

286; Aichholzer,kat. 144; LIMC II, 550, n. 392.~ Aichholzer, 71.

A similar figure is depictedon asarcophagusofthe MuseoNazionaleRomano,cf. Giulia-no MusNR,1,1,323,cat. 190.

2 Aichholzer,kat. 163, Abb. 162; LIMC II, 551,n. 403.Robert,AS)? II, 236-237,n. 192; LIMC 11, 550, n. 397; Aichholzer, kat. 150.Pietrangeil,L’Urbe VIII (1943)4-9,tav. IV; Becatíl,Scovi di OstiaIV, 36-37, 308-310.Tav.

CV, 59; Aichholzer, kat. 145; LIMC II, 550, n. 393.‘5

Reinach,RRCRII, 52,2; Aichholzer, kat. 161; LIMC II, 567,n. 491.Cf. nole8 (supra).

118 Rivka GershtandSoniaMucznik

In the Aquincum andOstia representationsshe is shown lying under atree; in the Pompeianpainting (fig. 9)7 where the meeting of MARS andRHEASILVIA is part of the sceneof the foundationof Rome,she lies on theslope of a hill with a templeof Vestaon its summit ‘~. The fragmentarystateof the Arlon relief (fig. 10) ~ does not permit a detailed examination.

TypeC

MARS, as in typeB, approachesRHEA SILVIA from theleft, but insteadof flying in the air, is shownherestriding towardher.This typeincludestwomosaics,onefrom Lixus (fig. 11) ~oandanotherfrom Bell-Lloch (fig. 12) 2’, thepedimentof the Igel monument(fig. 13)22 a sarcophagus(fig. 14)23 the AraCasali(fig. 15)24 coinsof AntoninusPius(fig. 16)23 (fig. 17)26 andof Gallie-nus(fig. 18) 27 a clay medallion (fig. 19) 28 anda gem(fig. 20) ~.

RHEA SILVIA in this type, as in the Aquincum relief (fig. 6) andon thecoin of AntoninusPius (ftg. 5) of type B, reclineson her side with her rightarm raisedover her head, with two exceptions:the clay medallion (fig. 19)and the Londongem(fig. 20). Thesceneis reducedto the mainfigureson thecoins (figs. 16, 17, 18), as well as in the mosaicof Bell-Lloch (fig. 12), whereas in the remainingworksof art, otherdetailsareadded.

The naturalbackgroundis suggestedby sorneplants,by the rockson whichMARS walks, andby the object—abushor rock—underRHEA SILVIA’s headandupperbody in the Lixus mosaic(fig. 11). In the Igel pediment(fig. 13),this is indicatedby the rocks on the left side, as well as by the vase on the

‘7

8 Dawson, 103-104,pl. XVIII, n. 46; Aichholzer, kat. 143; LIMC 11, 549, n. 391.Thehill is identifiedasthePalatineby Dawson,103.Onthetempleof Vesta,TypeFhereby.LIMC II, 567, n. 490; Aichholzer,kat. 151.FA 111, 1948 (1950), col. 334,n. 3490, fig. 83; Sichtermann,AA, 69 <1954), 442 fE Abb.

117-118;Aichholzer, kat, 146, Abb. 141b; LIMC 11, 550, n. 394.2)

Balil, BRAH, 151 (1962), 314-315, 1am. 29, fig. 6; Aichholzer, kat. 147; Blázquezet alii,AEArq 59(1986>,130-131,fig. 60.

22 Zahn,Igeler Saute, 35; Aichholzer, kat. 159; LIMC 11, 566-567,n. 489.23 Aichholzer, kat. 153; n. n.

Roben,AS)? 11/2, 235-236,n. 192; LIMC II, 544545, 351: 550,399.

24Amelung, SkulpturenVatMus, 11, n. 87a,Taf. 15; Schefold, Wort u. Bild, 122, Taf. 10.l;Ro-

ben Hermeneutik,242, Abb. 190; Aichholzer,kat. 154; L¡MC II, 550,n. 398.Mattingíy, SMC IV, pl. 6.14; Vermeule,JHS77(1957),293, pI. 11.7; Aichholzer, kat. 162,

Abb. ¡64.2627 Vermeule,JHS77(1957),293, pl. 11.8.

Cohen,MonnoiesV, 438, n. 1003; Aichholzer, kat. 167; Roscher,Lexikon IV, col. 65, n.2, fin. 2.

Wuilíeumier/Audin,Medaillons, 154-155,n. 293, four identical medallionsare includedAichholzer, kat. 160, Abb. 160; LJMCII, 567,n. 491.

29 Walters, BMGems,160, n. 1433,pl. XX; Smith, BMCems,183; Aichholzer, kat. 169,Abb.167.

Mars ano’ AheaSilvia 119

right. This vase,from which water flows, is similar to that in Ostia (fig. 7).But, whereasthis last is thevaseshehadtakento the fountain,in the Igel pe-dimentit maybe interpretedasthe symbolofthe river, asanothervaseis pla-ced nearRHEA SILVIA.

The sceneof MARS andRHEA SILVIA in thesarcophagus(fig. 14), as inthe Ara Casalirelief(fig. 15) is partof arepresentationcomprisingseveralsee-nes.The sarcophagusincludespairsof lovers, whereasthe Ara Casaliis dedi-catedto the legendof RomulusandRemus. In both thesereliefs other ele-mentsareaddedto the main figures:EROS,with a burning torch, as HYME-NAFOS, in the sarcophagus;a fig tree, as well as a beardedmanholdingabranch,in the Ara Casali. The beardedman,who resemblesthe figure in thepainting from Nero’sDomusAurea(fig. 4), seemshereas there,to be the per-sonificationof the place,althoughtheofBell-Lloch (fig. 12). Whereas in theremainingworksof art, otherdetailsare added.

Tbenaturalbackgroundissuggestedby someplants,by therockson whichMARS walks, andby the object—abushor rock—underRHEA SILVIA’s headandupperbody in the Lixus mosaic (fig. II). In the Igel pediment(fig. ¡3),this is indicatedby the rocks on the left side,as well as by the vaseon theright. This vase, from whhe woman on the clay medallion, thoughnamed‘ILIA’ by the inscripction, is RHEA SILVIA, since both namesrefer to thesamefigure”.

TypeD

This type, the negativeof the last one, is representedon the TermeMu-seumrelief (the so-calledpedimentof the VenusandDeaRomatemple)(fig.21) ‘~ and on a gem (fig. 22)”. On the relief the sceneis placedin the rightpart,with the sceneof the LupaRomanain the leÑ; on the gem, the two fi-guresare accompaniedby a moon andstar.

TypeE

In the threeexamplesof this type RHEA SILVIA is shown in the rightside,wbile MARS standson theleft, lookingat her. Ihe stateofpreservationof the gem (fig. 23) 36 doesnot permit more thana summaryexamination:

Amelung, SkulpturenValMus, 239; Roben,Hermeneutik242; Aichholzer, 74; cf. icono-graphicanalysis,hereby.

“ Walters, BMGems,160.32 Aidhholzer, 74.

‘~ Cf. iconographicalanalysis,hereby.Dawson,168, note 196; Strong,RomanSc.,239, pl. XXII; Aidhholzer, kat. 148; LlMC II,

n. 395.~‘ AGD 1.2, n. 1467, Taf. 143, andsametype n. 1468, Taf 143; Aichholzer,kat, 172; LIMC

II, 551,n. 406.~ Aichholzer, kat. 170; LlMC II, 551, n. 405.

120 Rivka Gersht ano’ SoniaMucznik

MARS standswith bis left leg bent, while nothing can be seenof RHEASILVIA.

A personiftcationis shownbehindRHEA SILVIA on a coin (fig. 24) “ andon amedallionof FaustinaMaior (fig. 25) 38 On the latter the figure sits un-dera treeholdingwhat seemsto be a cornucopiaor a branch;if what the fi-gureholdsis a cornucopia,thenthiswould be thepersonificationof the ríver.Rut, if it is abranch,this would indicatethat it is the personificationof theplace,as shownin the DomusAureapainting andthe Ara Casali(figs. 4,15).An overturnedvaseon which RHEA SILVIA seemsto lean, is shownon themedallion as well ason the coin; in the last,an EROS-HYMENAEOSis in-cludedbetweenMARS andthe personification.

TypeF

This type, which includesfour sarcophagi(fig. 26) (fxg. 27) (fig. 28) 42

(fig. 29) ‘~ is basedon the locationof MARS andRHEA SILVIA in thecentreof acomplexcomposition,thoughthe figuressurroundingthem vary. As Ro-bert describedin detail thesesarcophagi,we will mention only thosefigureson whose identificationwe disagree,or thoseimportantfor the comparisonwith otherfigures.

Two seatedfiguresareshownin Ihe uppercomerof the two sarcophagiofthe PalazzoMattei. On one(fig. 27) theseareplacedon both sides of Miner-va, on the other(fig. 26), on bothsidesof the temple. Thesefiguresare iden-tified asVENUS andVULCAN by Robert,andthe templeas thatof VenusandDea Roma~‘. Robert’sidentificationof the goddessasVENUSbasedonthe seatedcult statueof the goddess,which is mentionedby CassiusDio(LXIX, 4,4-5) should be re-examined.This imageis moresimilar to that ofJUNO 46 on VESTA ~‘. According to Plutarch (Par. 314,36),RHEA SILVIAwas JUNO’s priestess.But otherancientwriters agreein consideringRHEASILVIA as a priestessof VESTA 48 Sinceno connectionexistsbetweenJUNO

AJl~1di, Kontorniag, 87, rs. 264,Taf. 112.9; Aichholzer,kat. 168, Abb. 16638 Gnecchi, Medaglioni. 11, 24.7, Tav. 57.3; Aidhholzer, kat. 165; LIMC II, 551, n. 404.

‘~ Gnecchi,Medagtioni II, 24,7.Roben,AS)?111/2, 228ff.,n. 188; Aichholzer,kat. ¡56; LIMC II, 550, a. 401.Roben, AS)? 111/2, 233-235, a. 190; Aidhholzer, kat. 157; LIMC II. 550, n. 401a.

42Roben,AS)?111/1, 108-110,n. 88; Aichholzer, kat. 158; LIMC II, 550, n. 400.

~‘ Roben, AS)?111/2,237-238, n. 193.Roben,ASR111/2, 230-233.

~‘ Roben,AS)?111/2,230; Aichholzer, 73.46 Reinach,ASO)?11, 245.5; Bieber,Copies, fig. 761 (thoughsheis standing>.~‘ E~<A VII, 1149, f¡g. 1281.48 Ovid, Fasti III, II; Plutarch,Romulus,III, 2-3; Serv.Aen. 1, 273.18-20/21[1,273.13-16),

Vi, 777 CassiusDio, )?omonHistory 1, Tzetzesin LycophrA/ex. V. 1232;Dionys. Halic. 1,76.3.

Mars ano’ RheaSilvia 121

andVULCAN, while that betweenVESTA andVULCAN is evident,we be-lieve the seatedcouplelo be VESTA andVULCAN. Livy (XXII, X,9) makesthis relationshipclear, for he writes that in the celebrationsof the lectister-nium amongthecouchesdisplayedwere thoseof VULCAN andVESTA. Con-sequently,the temple shouldbe consideredas Vesta’stemple, whereRHEASILVIA servedas priestess.

The sceneon the right half of the Lateransarcophagus(fig. 28) is dedica-ted to SELENEandENDYMION, thusoccupyingthatpart whereVULCANand VESTA wereplacedin the two sarcophagimentionedaboye.As a result,the sceneof MARS andRHEA SILVIA is not representedin thecentreof thepanel,andthe numberof the figures accompanyingthem is reducedto eightonly.

The threesarcophagimentionedaboye,havesomeelementsin common:SOMNUS,whopourssleepjuice from the horn in his handonto RHEA SIL-VíA, EROS,and the personificationof Ihe river.

The fourth sarcophagus,of Amalfi (fig. 29) belongsalso, in our opinion,to thistype.Though themain figuresareusuallyidentifiedas MARS andVE-NUS ~ webelievetheseareMARS andRHEA SILVIA, which areaccompa-niedby the godsandgoddesses,as well as by two personifications.From leftto right: APOLLO LYKEIOS, DIANA, with adogatherfeet, VULCAN, SOL,HERCULES,DIONYSOS-BACCHUSwith apanther,MERCURIUS,JUNO,JUPITERandMINERVA. CAELUS andTELLUS arerepresentedat JUPI-TER’s feet.

At first, it mayseemthat no connectionlinks thesefigures with represen-tations of the myth of MARS andRHEA SILVIA on sarcophagi.But, in fact,alí thesefigures,with the exceptionof CaelusandHerculesareshown alsoonthe sarcophagiof the PalazzoMattei: SOL, VULCAN, andTELLUS on one(fig. 26),andon theother(fig. 27) in addition to these,MINERVA, APOLLO,DIANA, JUPITER, JUNO, MERCURIUS, and DIONYSOS-BACCHUS.HERCULES,absentfrom thesetwo sarcophagi,is shownon the uppercomerof the Lateransarcophagus(fig. 28).

Therefore,andas, to the bestof our knowledge,Ihereis no similar repre-sentationof MARS andVENUS, the sceneon the Amalfi sarcophagusshouldbeconsideredas arepresentationof theMARS andRHEASILVIA myth. TheLUPA ROMANA shownon oneof the sidesof this sarcophagus‘~ isafurtherargumentfor thisidentification.

~ Roben,AS)?111/2,237-238;LIMC II, 545,n. 358,549,n. 387.However, Duliére,LupaRo-mana, 95, n. 286, mentionsthe Amalfi sarcophagusamongotherrepresentationsof MARS andRHEA SILVIA.

50 Robert,AS)? 111/2,238, fig. 193b

122 Rivka Gershzano’ SoniaMucznik

Unclassúied

Fourworksof art aredifficult to classifywithin the typesestablishedabo-ve. The stateof preservationof the fragmentfrom Capua(fig. 30)” makesitimpossibleto know whetherit may have belongedto typeC (if it includednonebut the figuresof MARS andRHEA SILVIA), or to typeF (it as on thesarcophagi,thesewere part of a largercomposition).

The position of MARS in relation to RHEA SILVIA on the silver relief(fig. 31)52differs from alí thetypes,for in alí thoseRHEA SILVIA lies on oneside and MARS approachesher from the oppositedirection. Here, the formof the handledictatesthe positionof the figures:RHEASILVIA lies with twoErotesnearher, in the centrallower zone, while MARS walks aboye,or be-hind her, in the narrow part of the object, and turus his headbackwards.

The scenesin two worksof art: the Esquilmewall painting (fig. 32)” andthe sarcophaguspanel(fig. 33) ~ divergefrom the schemeadoptedin theot-herworksof art. Both arepart of a cycle of thefoundationof Rome, andthe-reforethe main figureshavebeenidentified as MARS andRHEASILVIA. Inthe Esquilmepainting theseare depictedin the centreof the composition:RHEA SILVIA haslet her vasefail as sheis surprisedby MARS on her wayto the fountain; MARS approachesfrom the left. Behindhim the personifica-tion of the place reclines,holdinga branch,while FORTUNA standswith acornucopiain herhand;a flying VICTORIA andtwo shepherdsareshownonthe right sideof the painting.

The presenceof FORTUNA andof VICTORIA seemsto beout of con-text, althoughthey havebeenexplainedas announcingthe birth of Romu-tus~ The scene,acceptedas the meetingof MARS andRHEA SILVIA 56 in-dudesonepeculiar feature: MARS, representednude in alí the otherworksof art, is herefully dressed.In the light of our inocographicalanalysis” theidentificationof thisfigure should,we think, be reviewed.This is true alsoofthe figure that leadsRHEA SILVIA on the sidepanelof the Vaticansarcop-hagus(fig. 33). Here, thetwo principalfiguresareplacedin the left uppercor-ner, while the personificationof the place, holding a branch,is seatedon amoundor rock in theoppositecomer.In the inferiorzoneofthe panelthe per-

Roben,ASR111/2, 227; Aichholzer, kat. 152; LIMC II, 550, n. 396.

52 Walters, BM SilverPIare, n. 73, pl. IX; LIMC II, 550-551,n. 402.

Paribeni,257-258, n. 801; Horda,Fil/ura, 172-173;Alfóldi, Valerdes Vaterlandes,11-12Taf. III, 2; Reinach,)?POR, 177.4; LIMC II, 549, n. 390.

Roben,AS)? 111/2, 232,n. lSSa.

Rosdlier,Lexikon IV, cols.68, 69, n. 17.

56 Cf. note53 (supra).“ Cf. conographicalanalysisa) Iiterary sources.

Mars ano’ RheaSilvia 123

sonificationof the river sits on the right sideand two lambs he in the fieldson the left.

Iconographicalanalysis

a) Literary sources

The comparisonbetweenthe literary sourcesandthe works of art seemsto point out that the visual representationsdo not conform textually to anysingle source.It was therefore,necessaryto haverecourseto severalhiterarysourcesto ftndparallelfeatures;while somearenot contemporaryto theworksof art, they often reflect earlier traditions. Dionysius of Halicarnassos(1,77,1-2) himself quotesversionsof otherwriters, probablyrelying on carliersources:

“The fourth year afier Ihis, fija, upon going lo a grove consecrated to!vfars tofeíchpurewaíerfor usein Ihe sacrifices, was ravishedby so-mebodyor oíher in Ihe sacredprecincí. Somesay thaI the auíhor ofIhedeed was oneofIhe maiden‘s suitors, who wascarneo’awaybyhispassionfon theginí; oíhenssayit was Amulius...he had arnayedhim-se/finsuchanmouras would rendenhim mosíterrible lo behoidano’thai he a/so kepíhisfeaturesflisguisedas effective/yaspossible.Rutmosíwniíers relate a fabu/ousstory to ihe effect thai it was a spectneofIhe divinity to whom iheplace was consecrated;ano’ lhey ado’ thatIhe adventurewas altendedby manysupernatuna!signs, inc/udingasuddendisappeananceofihesunand a danknessthai spneadovenIheskg and that Ihe appeananceofthe spectnewasfan moremanve//ousIhan lhat ofa man both in síalureand in beautgAno’ theysaythaithe ravisher, lo comfontthe maiden(by which it becameclear thaI hewasa god) commandedher nol tognieveal al/al whal hadhappened,sinceshehadbeenunitedin marniagelo Ihe divinity ofIheplace, andas a resulí ofhenvio/alion whou/dbeantwo sons...AndhavingsaidIhis, he was wrappedin a c/oud, ano’ beinghfledfromIhe eaníh, wasborneupwardsíhrough Ihe air.”

When he usesihe nameILIA he meansRHEA SILVIA, for both namesreferto the samecharacter(1, 76,3).Otherwriters do the same58 The nameILIAinscribedon the clay medallions(ftg. 19) seemsto imply that artists werealsoawareof the identity of thesefigures.

58 Serv.Aen. 1, 273. 18ff., VII, 569; CassiusDio, Tzetzesin Lycophr. Alex. V. 1232; Lydus,

Maf. 1, 21: Ovid, Fasti IV, 54-56; PIut. Moratia. 314 F., )?om III, 3; Statius,Silvoe1, 2.243.Cf. note28 (supra).

124 Rivka GershtandSoniaMucznik

Ihe versionof AMULIUS’s deceptionmentionedalsoby Plutarch(Rom.IV, 2) seemsreflectedin theEsquilmepainting(fig. 32) identifiedunanimouslyas the sceneof themeetingof MARS andRHEASILVIA. However,the ano-malitiesobservedaboyein this work of art ~ hasled us to think that the sce-ne should be interpretedas showingAMULIUS “dressedin armor”. A simi-lar interpretationmaybe assumedfor the figure on the side panelof the sar-cophagusin the Vatican (fig. 33).

The supernaturalphenomenaof the moon and the sun, mentionedbyDionysius of Halicarnassosaboye, is also describedby Plutarch(Moralia,320B):

“Ihe sun was eclipseo’ and came into exact conjunclion wilh Ihemooncnt Ihe limewhenMars,agod, consortedwiíh Ihe mortalSilvia...”

Thesephenomenaaresuggestedin severalworks of art by elemenissuchas a star wtih a crescentmooncloseto it shown on the gem in Munich (fig.22); the chariotof the Sun or the Moon movingacrossthe sky in the left up-per comerof the Pompeiipainting (fig. 9) ~ A similar chariolis includedintheuppercomerof the sarcophagusof the PalazzoMattei (fig. 26)which Ro-bert identifiesas SOL 62. the presenceof LUCIFER nearbyfurtherunderlinesthe supernaturalphenomenamentioned.SOL is also representedon theot-her sarcophagusof the PalazzoMattei (fig. 27) underthe guiseof ZODIAC;moreover,APOLLO andDIANA shownon this, as well as on theAmalfi sar-cophagus(fig. 29) mayalso be interpretedin theseas the Sun andthe Moon.Anotherstrangeocurrenceis mentionedby Dionysosof Halikarnassosin theaboyetext:

1..hewas wrappea’ in a clouo’, andbeing/iftea’from theearth, wasbor-ne upwarcislhrough the air.”

However,thiseventwasnot depictedon anyoftheworksof art,but MARSis shown flying down through the air as Juvenal(Sat. XI, 106-107)writes:

Cf. unclassifiedhereby.Oawson,¡03.

62 Robert,AS)? 111/2, 231.

Mars ano’ RheaSilvia 125

“...the mideeffigy ofIhe (Sodcomingdown in a swoopwith spearano’shie/o’...’>

This imageof theged,thoughmentionedby Juvenalin differentcircums-tances,seemshowever,appropriateto the representationsin the worksof artof typesA andB. Of thesethewallpainting frem Nero’sDomusAurea(fig. 4)seemsto be the only enein whichcleudsareshownsurreundingthefigure ofMARS as he flies threughthe air.

The place of the eventwas, accordingto Dienysiusof Halicarnassos,aswell as CassiusDio (RomanHistory 1, Tzetzesin Lycophr. Mex. 1232),agro-vesacredto MARS to whichRHEA SILVIA hadcometo fetchwater.The per-senificationofthis sacredgroveis shownholdinga branchin tite DomusAu-rea painting (fig. 4), the Ara Casali relief (fig. 15), tite FaustinaMaior meda-Ilion (fig. 25), the Esquilmepainting (fig. 32), anda sarcophagus(fig. 33). Inetherworksof art a tree or bushare included,probablyte suggestthe samegrove: in the sarcopitagusfrom Aquincum (fig. 6), the Ostia mosaic (fig. 7),tite clay medallion(fig. 19), and theLixus mosaic(fig. II).

Anotherancientwriter who providesa detaileddescriptionof this eventis Ovid (Fasti,III, 11ff):

“Si/via Ihe Vesta/ (why nol síaní from hen?) wenl in the morning lofeích watento wash the ho/ythings. Whenshehad cometo whenethepalh nangenl/ya’own Ihesloopingbanksheset down heneanlhenwanepiíchenfromherhead. Weany,simsat henon Ihe groundand openea’her bosomto catch íhe bneezes,ana’ composeo’hernuifiedhair Whi/eshesal, the shadywil/ows and Ihe tunefulbinds and sofi murmurofthewaíerino’uced lo s/eep.Sweets/u,nbenovenpoweneo’ana’ crepísíealí-hi/y ovenhereyes,ana’ her /anguio’ hano’dnoppeo’fnomherchin. Marssaw her; Ihe sighí inspinedhim with desire, ana’ his desirewasfo//o-wedbypossession,but byhispowerdivinehehidhissto/enjoys.S/eep/efi her...”

RHEA SILVIA’s pitcherof water,anelementconnectedwith thecircums-tancesof the myth, mentionedby Ovid, was often igneredby the artists. Infact, only five works of art include it: the Ostiamosaic(fig. 7), tite ¡gel pedi-ment (fig. 13), the FaustinaMaior medallion (fig. 25), the coin (fig. 24), andthe Esquilmewallpainting(ftg. 32). Anothervase,includedas the attributeoftite personificationof theriver, is representedin titreeworksof art,ah ofwhichare sarcephagi:of the Vatican (fig. 32), the Lateran(fig. 28), andtite PalazzoMattei (fig. 27). This overturnedvaseas the symbolof the river, is depictedin additiento thatof RHEA SILVIA, in the ¡gel pediment.

RHEA SILVIA, “...o’ercome by deceilful síu ,nber, laid her side on Ihe ni-ver’s bank accordingte Statius(Silvae, 1, 2,243),andshe t..openedherbo-somto catchIhe bneezes as Ovid mentiens.This imageis adoptedin alí the

126 Rivka GershtandSoniaMucznik

types,with only two exceptions:the bronzevase(fig. 8), andthe PalazzoMat-tei sarcophagus(fig. 14). In the first shelies withherbackto thespectator,whe-reasin the secondsSeis shownwith Serupperbody covered.It is diff¡cult toascertainin sornecaseswhetherRHEASILVIA is asleepor awake,in spite ofher recliningpose:on the clay medallions(fzg. 25) andthe Bonn vase(ftg. 8).On two sarcophagi:tite PalazzoMattei (fig. 26) andtite Lateran(fig. 28) sheis no doubt,awake, for she is shownwith open eyes. Theseheadsare por-traits, probablyof the deceased63 a fact which could explain the divergencebetweentheserepresentationsandthe literary sources,which describeRHEASILVIA as asleep.Sheis depictedstanding,fully dressedin two worksof artconnectedwith the Amulius’ versions,mentionedaboye”.

Ihe union of thegodwith RHEA SILVIA referredto by Dionysiusof Ha-licarnassos,Plutarch(Moralia, 320B), and Virgil (Aen. VII, 659-661) is sug-gestedby the presenceof HYMENAEOS, mentionedby Statius(Silvae, 1,2,238). This figure is representedon tite gemfrom tite Haag(fig. 3), on titebronzevase(fig. 8), on the PalazzoMattei sarcophagus(fig. 14), on the relieffrom Capua(fig. 30), and on the silver reliefoftheBritish Museum(fig. 31).

Theaboyementionedsourcescontributeto clarify tite iconographyof mostof tite worksof art. Thoughnot mentioneddirectly in tite literary sources,theiconographyof sorneof tite figuresrepresentedon tite sarcophagiis however,implicitly suggestedwithin thecontextofthe MARSandRHEASILVIA myth.

Thus,TELLUS (figs. 26, 27, 29) andCAELUS (fig. 29) seemclearlycon-nectedwith the supernaturalevent,especiallywith MARS’ divine andRHEASILVIA’s earthlynatures.SOMNUSandthe EROTESseemto symbolizetheideasexpressedin the literary sources:SOMNUS(figs. 26, 27, 28) emphasizestite fact that RHEA SILVIA was asleepwhen MARS saw her, and EROSsymbolizesMARS’ desire,expressedby Ovid (Fasti, III, 2 1-22).

HERCULES’ presenceon two sarcophagi(figs. 28, 29) may be interpretedas the parallelof ROMULUS, for his conceptionalso occurredin extraordi-nary circumstances,accordingto Plutarch(Moralia, 32GB, C). MoreovertSeinclusionof HERCULES,as well as DIONYSOS-BACCHUS,MERCURIUS,JUNO, JUPITER, andMINERVA, may be interpretedas tite “modusope-randi” of tite artiststo ascribea cosmicsignificanceto tite meetingof MARSand RHEA SILVIA.

b) The Visua/ Sounces

The similarity of the sceneof the meetingof MARS and RHEA SILVIAwith tite scenesof MARS andVENUS, of DIONYSOSandARIADNE, as

63 Roben,ASR111/2,229.

64 Cf. note57 hereby.

Mars ano’ Rhea Silvia 127

well as of ENDYMION, in Romanart, seemsto indicateidenticalor parallelsourcesof inspiration. These may have been scene of DIONYSOS andARIADNE 63 depictedin SouthItalian, Greek,andHellenistictraditions66 re-flectedon Etruscanpedimentsof CivitaAlba 67 andon Pompeianpaintings”.

Furthermore,parallelsmay be observedbetweentite imageof RHÉA SIL-VIA andtSe that of ARIADNE: both figuresare shownpartially nude, withonearm overtSe head,or with tite headrestingon onearm.

Other affinities may be seenin the various forms in which MARS andDIONYSOSarerepresented;the sameis true alsoof tite personificationsandof theFROTESwho figure in the MARS andRHEASILVIA, as well as in tSeDIONYSOS-ARIADNE

Theseanalogiescannotbeconsideredpurecoincidence,for the mythssha-re severalfeatures:tite love of agod for a mortalwoman;in bothmyths godsurprisesa sleepingwoman.Both seenesoccur in an areasacredto the god:one,in Naxos,DIONYSOS’ birthplace69 tSe other, in MARS’ sacredgrove 70•

Titerefore, it seemsevident that tite connectionbetweenthesetwo myths isnot only of visual form, but alsoof content.

The chronologyandfrequencyof types andmedia(Tables1-111)

We assumedthat the datesof the works of art would contributedataontSe scenesof MARS andRHEA SILVIA thatwould permit us to deducetSefollowing:

a) TSechronologyof the typesherebyestablished.b) Tite prevalenceof certaintypes in differentperiods.c) TSe mediummostfrequentat certaindates.Thesehowever,could not be determinedsincefor someworks of art no

definite dating hasbeenestablished.TSe mostevident exampleof a proble-matic datingis tSe reliefoftheTermeMuseum(fig. 21), for tite datespropo-sedby scholarsrangefrom tite Augustanto tSe Hadrianicperiods“. Anotherflagrant exampleof wide divergenciesin the datesproposedis thatof thecoin(fig. 24) which Alfóldi datesto 260-265A.D., whereasAichholzer datesit356-395A.D. 72

63 A visual parallelbetweenthe MARS andRHEA SILVIA sceneandthat of Dionysosfin-

ding Ariadnehasalreadybeensuggestedby somescholars:Aichholzer,75, Becatti,Scavidi OstiaIV, 37, 309,Dawson,169,BaIiIBRAH 151 (1962),314,but they wentno furtherthanareference.

“ Brendel,Etruscan, 426-427.67 ibid., pl. 32468 Reinach,)?FCR,112-113;RizzoFE)?, Tav. CIX, Cx; Borda, FUturo, 293, 365.

~ HomerieHymns.To Dionysus1, 2; Diod. Sic. ItI, 66, 1.70 Cf. p. 9 hereby.

Dawson,168, n. 196.72 Alfóldi, Kontorniat, 87, nr. 264; Aichholzer, kat. 168.

128 Rivka Gershtano’ SoniaMucznik

In general, we adoptAichholzer’s dating, but the dateshe proposesbrsorneworks of art are so far apartthat titis doesnot allow us to draw anyoftSe conclusionsmentionedaboye.SueS are the casesof the clay medallions(fig. 20), aswell as tite Bonnbronzevase(flg. 8), andIhe gems(figs. 1, 20, 22).Aichholzerdoesnot mention severalworks of art; tite dateswe adoptedforthesearebasedon Roben, Dawson,Alfóldi, andothers.

Thus,in spiteof theselimitations, severalconclusionshavebeendeducedandsummarizedin tables1-111. As canbeobservedin table 1, tSe MARS andRHEA SILVIA scenesare first representedin art in the Republicanperiod(probably the late Republican),and continuetilí the end of the third or thebeginningof tSe fourth centuryAD. Tite materialsadoptedvary greatly: se-mi-preciousstones,usedin gems;gold andbronzein coins; silver, clay, limes-tone,sandstone,andmarble for the variouskindsof reliefs.

Thelargestnumberof worksof artbelongto typeC (cf tableII), whicit isalsotite only type that is adoptedthroughoutalí tSe periods(cf table 1). Intite first centuriesB.C. andA.D. alí thetypesoccur,with tSeexceptionoftypeF, which is adoptedonly from tite secondcenturyonwards.TSe secondcen-tury is tSe period with tite largestnumberof works of art. In this periodalíthe typesare adopted(cf. table 1), unlessthe relief of the Terme(fig. 21) beconsideredof the first century;consequently,typeD would titen be the onlytypenot representedin tite secondcentury.In tite third centuryTypesC andF arepredominant(cf table 1).

Table III showstite correlationbetweentite varioustypesandmedia.TypeC is alsopredominantitere, for it is adoptedin alí tSe media,witit the excep-tion of wall painting.Type B is usedin five media,witile the othertypesareadoptedin oneto threemediaonly. But if tSe sarcophagiare includedwithtite reliefs, thenalí tSetypes, exceptE, are representedin this medium.Ihe-refore it seemspossibleto concludethat no singlespecific typepredominatesin alí tSe media (cf table III) or a speciflc medium in alí the types.

In this paperthirty threeworks of artwere examinedunderdifferentas-pects:typology, iconographicalanalysis,tite chronologyandtite frequencyoftite types.TSe conclusionsdeducedfrom thesecan be appliedalso to otiterworks of art such as gems,coins,andmedallions;thus thesehavenot beenincluded.

TSefrequentrepresentationof tSe variousversionsof tite myth in suchawide rangeof media,throughan extendedperiodof time, indicateclearly titeimportancethattSe Romansattacitedto tite MARS andRHEA SILVIA myth.

Mars and RheaSilvia 129

ACKNOWLEDGEMENT

We wish to titank ProfessorAsherOvadiahfor readingour anide,as well

as for his helpful suggestions.

ABBREVIATIONS AND BIBLIOGRAPHY

Aichholzer = P.P. Aichholzer, Darsiellungen rómischer Sagen, Diss. tiniversitát Wien, 1983.;Alfhldi, Vater des Vaterlandes— A. Aífóldi, Der Vater desVaterlandesini rdmischenDenken,

Darmstadt,1971.AJfoldi, Kongorniaí — A. & ElisabethAlfóldi, DieKontorniat-Medaillons,Berlin, 1976.Amehung,SkulpíurenValMus— W. Amelung,DieSkulpturendesVatikanischenMuseunisII, Ber-

un, 1908.AGD 1/2 — E. Brandt & E. Schmidt,Anlike Gemnien in DeutschenSanimlungen,1/2, Múnchen,

¡970.Balil, BRAR= A. Balil, “Mosaicoscircensesde Barcelonay Gerona”Boletin de la RealAcade-

mia de la Historia 151 (¡962),257-349.Becatti,Scavi di Ostia IV — G. Becatti,Scavidi Ostia, IV, Mosaiciepavimenti mannorei,Roma,

1961.Bieber, Copies— M. Bieber,AncieníCopies,NewYork, 1977.Blázquezet alii, AEArq= J.M. Blázquez,O. López Monteagudo,ML. Neira Jiménez,MP. San

Nicolás Pedraz,“La mitología en los mosaicoshispano-romanos”,ArchivoEspañoldeAr-queotogia.59(1986), 101-162.

Borda, Piuuro — M. Borda, La pitiura Romana,Milano, 1958.Brendel,Etruscan= O. Brendel,EtruscanArt, Hamxondsworth,1978.Cohen,Monna¡es = H. Cohen,Descriptionhistoriquedesmonnaiessous ¡‘Empire Romoin, V,

Graz, 1955.Dawson— Ch. M. Dawson,Romano-CampanianMythotogicalLandscapeFainting, NewE-laven,

1944;Roma, 1965.Duliére, LupaRomana— C. Duliére, LupaRomana,Recherchesd’iconographieetessaid’inter-

prétation,Bruxelles, 1979.EAA — Enciclopediade/Varíeantica, ctassicaeorientale,Roma,1958-1966.FA — Fasti Archaeotogici.GiulianoMUSNR= A. Giuliano(cd.>, MuseoNazionaleRomano,1, 1, Roma, 1979.Gnecchi,Medaglioní— F. Gnecchi,¡ MedaglioniRomantMilano, 1912.LIMC II — Lexicon¡conographicumMythologiaeClassicae,Zúrich& Múnchen, 1984.Maaskant-Kleibrink— M. Maaskant-Kleibrink,Catatogueof the EngravedGemsin Ihe Royal

Coin Cabinet TheHague, Tite EtruscanandRomanCotlections,The Hague, 1978, 2 vols.Mattingly, SMC IV — H. Mattingly et al., Coinsof theRomanEmpirein ihe British Museum,

London, 1968.Parinbeni= R. Paribeni,Le Termedi Dioclezianoeit MuseoNazionaleRomano,Roma, 1932.Pietrangeli,L’Urbe VIII (1943), 4-9.RElA, 1 — A. Pauly/G.Wissowa,ReatencyctopddiederCtassischenAltertumswissenschaJl,Stutt-

gan, 1914.ReinachRPGR— S. Reinach,Répertoiredespeinturesgrecquesel romaines,Paris, 1922; Roma,

1970.ReinachRSGR— 5. Reinach,Répertoire de stof¿¿airegrecque et romoine,Paris, 1897-1930;Roma,

1965-1969.ReinachRRGR — 5. Reinach,Répertoiredes reliefsgrees et romains,Paris, 19 12.RizzoPER = CE. Rizzo, Lapilturo ellenistico romana, Milano, 1929.Roben,ASRII — C. Roben,Die ontikenSarkophag-Reliefs,Berlin, ¡890, Roma, 1968.Robert ASR 111/1 — C. Robert, Die antiken Sarkophag-Reliefs,Berlin, 1897; Roma, 1969.

130 Rivka Gersití ano’ SoniaMucznik

Roben AS)? 111/2 = C. Roben, Die Antiken Sorkophag-Reliefs.Berlin, 1904; Roma, 1969.Robert, Hermeneutik— C. Roben ArchoeologischeHermeneutik,New York, 1919, 1975.Roscher,Lexikon= W.H. Roscher,AusfuhrlichesLexikondergriechischenuno’ rómiscitenMytho-

logie, Leipzig, 1909-1915;Hildesheim,1965.Schefold, Worl u. Bild — K. Schefold, Wort ¿mdRilo’, Basal, 1975.SichtermannAA = H. Sichtermann,“ArchaeoíogischeFundeu. Forschungenin Spanien,von

1940-1953”,ArchdologischerAnzeiger69(1954),442ffSmith BMGems= AH. Smith, Caíologueoftite EngrovedGemsin titeBritish Museum,London,

1968.Strong,Romo»Sc. = E. Strong,RomanSculpturefromAugustuslo Constantine,NewYork, 1907,

1969.Strong, Art = E. Strong, Art in Anciení Rome, New York, 1928; Westport, Conn. 1970.VermeuleJHS— C.C. Vermeule,“HeraklesCrowning Himseíf” Journalof HellenieStudies,77

(1957), 283-299.Walters,BMSilverFlote= H.B. Walters, Caíalogueof theSilverFlate-Greek, Etrusca»andRo-

man in tite British Museum,London, 1921.Walters,BMGems= H.B. Walters, Catatogueof tite Engraveo’Gemsano’ Cameos-GreekEtrus-

conandRoma»,in tite British Mu.seum,London, 1926.Wuilleumier/Audin,Medoiltons = P. Wuilleumier& A. Audin, Les medoillonsd’oppliquégallo-

romoinsde lo valléedu Ritóne,París, 1952.Zalin, Igeler Saule= E. Zahn,Die Igeler Saulebei Trier, Kóln, 1976.

AncientSources

CassiusDio, RomanHistory, transí. E. Cary, TheLoebCíassicalLibrary, vol. 1(1961),vol. VIII(1968>.

DiodorusSiculus,transí. C.H. Oídfather,The LoebClassicalLibran’, vol. 11(1961).Dionysiusof Halicarnassus,Tite Romo»A nilquities, transí.E. Can’, TheLoeb ClassicalLibrary,

vol. 1(1960>.HomericHymns,transí. HG. Evelyn — White, TheLoeb ClassicalLibran’ (1959).loannesLydus, Tite Mogistracies,transí. A.C. Bandy,Philadeíphia,Pa.(1982).Juvenal,Sotires,transí.0.0. Ramsay,The LoebClassicalLibran’ (1961).Livy, transí.BO. Foster,The Loeb ClassicaíLibran’, vol. V (1963>.Ovid, Fasti, transí. Sir 3.0. Frazer,The Loeb ClassicalLibran’ (1959).Plutarch,Moraba, transí. F.C. Babbitt, The LoebClassicalLibran’, vol. IV (1957).Servianorumin Vergili Carmina Commentoriorum.editedRandet alii, Editionis Harvadianae,

Pennsylvania(1946).Statius,Silvae,transí. J.H. Nozley, TheLoeb ClassicalLibran’, vol. 1(1961).Virgil, Aeneid, transí. H. Rushton Fairclough, The Loeb Classicaí Libran’, vol. 11 (1966).

List of Illustrations

1. 0cm. London,British Museum.2. Belvedereretid, Rome,Vatican.3. Gem,TheHaag,RoyalCoin Cabinet.4. Wall-painting, Rome,DomusAurea.5. Coin,AntoninusPius.6. Sarcophagus,Aquincum, Budapest,NationalMuseum.

Mars ano’ RheaSilvia 131

7. Mosaic, Ostia, Rome,PalazzoAltieri.8. BronzeVase, Bonn, RheinLandesmuseum.9. Wall-painting, Pompeii,Domus Fabii Secundi.

lO. Funeraryrelief, Arlon Museum.II. Mosaic, Lixus (NorthAfrica).12. Mosaic, Bell-Lloch, Gerona.13. Funeran’relief, Igel Monument,Trier.14. Sarcophagus,Rome,PalazzoMattei.15. Ara Casali, Rome, Vatícan.16. Coin, AntoninusPius,London, British Museum.17. Coin, AntoninusPius.18. Coin, Gallienus.19. Clay medallion, Lyon, Muséearchéologique.20. 0cm, London, British Museum.21. Relief, Rome,MuseoNazionaledeleTerme.22. 0cm, Múnchen,StaatlicheMftnzsammlung.23. Gem,Ring-stone,Wien, KunsthistorischesMuseum.24. Coin, Leningrad,HermitageMuseum.25. Medallion, FaustinaMaior.26. Sarcopliagus,Rome,PalazzoMattei.27. Sarcophagus,Rome, PalazzoMattei.28. Sarcophagus,Rome,LateranMuseum.29. Sarcophagus,Amalfi, Cathedral.30. Relief, Capua31. Silver relief. Trulla, London, British Museum.32. WaIl-painting,Esquilme,Statilii Colombarium.33. Sarcophagus,Rome, Vatican.

uu

u—

—a

an

0<>

cc

HH

H~

uuo-

H

U.u

U.U

.<u

u—

uu

H~

HH

c2uaE-’

QQ

)

uou

uu

u.-’

.c,o

uu

~‘-

EE

>~

<u<u

<u

uau

uu

uu

uu

uS

N¿.4

——

fle

-uE

~E

O<

uce

cu

<u

ce

cm

O

uu

uu

<u

.—.-.-

—.=

accc

OO

OO

‘u—

—.-

—

<3<

3d

do

e->o

od

<3

dd

oo

CM

‘a-~

‘u‘a

-a‘u

ti,ce

ece

ce

—C

MC

~C

MC

M

e->

‘u—

---u-a

‘a‘

ena

ecca

eca

CM

CM

CM

qN

CM

CM

CM

CM

-e9-.”

<3

<3

<3

<3

<3

<3

r

—-a

-a‘a

-~-u

-a.,-

8-1-

8-8-

8-.0

qnqn

qnqn

qn«

2C

M,-

uu

uE-,

<u

e

uu

aa

HE

--

soo.1elba

uaH

Uu

J

uo.

1-

HE

-’E-

uu

~Q

uEoua>-eti

-EE4,

>~

.Ee

—

<u

<ue

-no

ea

<e<

u0

0

en

o-a

uu

—<

u

—8

-

uFrre-i;.

ao

<u<

u8-

8-’u

uu

uCfl

Oen

CM

CM

—~

QN

—C

MO

O—

O’

~‘t

en

8’-

Q~

Or—

Qn

00

Qn

‘t«

2o

ch

-«

2—

CMC

MC

MC

flCM

—C

M—

<fle

flCM

——

—C

MC

MtflC

MC

M~

’

Mars ano’ RheaSilvia

TABLE II

Types A B C D E F tlnclass¡fied

Numberof

worksofart 4 6 10 2 3 4 4

TABLE III

Types A 13 C D E F Unelassified

Coins — — —

Gems — — — —

Medallions — —

Mosaics — —

Wall paintings — —

Reliefs — — — —

Sarcophagi — — — —

133

Fig. 4. Wall Painting.Rome,DomosAurea.

- O

Fig. 12. Mosaic, BeIl - Lloch, Gerona.

Fig. 13. Funeraryrelief Igel monument,Trier.

tlt.>4

4Ir’

4

r

=0~

Fig. 15. Ara Casali,Rome, Vatican.

Fig. 16. Coin, AntoninusPuis, London, British Museum

-“

‘It’

.

‘4

Fig. ¡7. Coin,AntoninusPius.

Fig. 18. Coin,

Fig. 19. Clay medallien,Lyon, Muséearchéologique.

Fig. 21. Relíef, Rome,MuseoNazionaledelle Terme.

-1

j

.1

t

1A

.4

b7

1’ »

Fig. 22. 0cm,Múnchen,StaatlicheMúnzsammlung.

Fig. 25. Medallien,FaustinaMaior

FIg. 26. Sarcaphagus,Rome,PalazzoMattei.

4

Fig. 29. Sarcophagus,Amalfi, Cathedral.

Fig. 30. Relief, CupuaMuseum.

Fig. 32. Wall painting,Esquilme,Statilii colombarium.