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^ ]

ARCHITECTUEA NTJMISMATICA.

l^r^Mtentora Utrarismaluia ;

OB,

ARCHITECTUEAL MEDALS

CLASSIC MTIQUITY:

AND

THE DESCBIPTIONS OF ANCIENT AUTHOBS,

AND COPIOUS TEXT.
ONE HUNDBED LITHOGRAPHS AND WOODCUTB,

T.nEi/DONALDSON, Ph.D. Aechitbct.

Pro/euor of ArcMUeiure a$td Corutrtietum at th€ Uniioenitff College, London; M.I.B.d.i Corr eo pt ni eni

of the IntHhUe of Franee ; and Member ^f the Aoademiee of Fine Arte at ilome,

Florence, Bologna, Nt^lea, Venice, Milan, Parma, Vienna, Berlin,

Stockholm, Antwerp, Bruaeela, Copenhagen, Bre,

LONDON:
DAY & SON, LITH0GEAPHEB8 TO THE QUEEN.

GATE STREET, LINCOLN'S-INN FIELDS,

1869. ^

LONDON :

PRINTED BV COX AND WTMAN, 6BEAT QUERN BTBEET.

LINCOLN*.S-INN FIELDS.

.-• .y

• ..: ••

: • •• •. : .•-:

• ,•

* • • • •

' V •,.-..• •:

• • •

•

• • • •"

♦ • *«•

•

,•,

• • *•• • • • •

• •••• •*.:

•^«

• • •

• ••••*•! I

• • •

• •• • •• ••••

VISCOFNT PALMERSTON, EG.

'$tt Hl^estn's ^rhuiyal J^ttrttars «f Siuit,

THE

ENUGHTENED ADVOCATE OF CLASSICAL AECHITECrrUEE ;

A TRIBUTE OF GBATEFUL EESPECT

AND

PERSONAL ATTACHMENT

FBOM

THE ATJTHOE.

TABLE OF CONTENTS.

PAOI
DlDIOATIOK V

Intbobuotiok. — On the Abohitectubal Mbdalb of the

AnOIBVTB ILLIT8TBATING THE EDUriOBB AlTD CiTBTOMB

OF THE ObEEKS AlTD BoMANB ix

OV THE YaBIOVB MoDEB OP BEPBEBENTING AbOHITEOTITBAL

FOBMB AKD DeTATLB ON ANTIQUE GoiNB Zvi

LiBT OF Medalb of Glabbical Antiquttt illubtbateb

IN THE FOLLOWING PAGES

Debcbiptionb and Illitbtationb OF Mebalb, No. L-XGII. 1-644

VIGNETTES AND OCCASIONAL ILLUSTRATIONS.

^0^

Plan of Temple of Jxtpiteb Gapitoldtub 9

„ „ GONCOBB 17

Bab-belief in Bbitibh Mitbeith of Baochvb and Silencts 76

Plan of Tabebnaole of Astabte 82

„ „ Gtbele 84

Plan of the Temples on the Platfobm of Baalbeo ... 123

Elevation Eebtobeb of the Pboptlaum of Baalbeo ... 124

Plan of Bogus of Faustina Seniob.— Eebtobeb 187

„ OF THE Tbiumphal Abch OF Nebo 222

„ OF Tbajan's Fobum, Bome 265

Section of the Babujoa TJlpia in Bome 267

View of the Buinb called the Tbophieb of Mabiub,

Bomb, fbom Du Pebac ; 276

Eletation and Plan op City Gate at P^stum 804,309

ERRATA.

Page 1 line 13— (•M. 4) ihould he (•M. 6).

„ 4 „ 6-(M.3) „ (M.4). '

„ 42 „ 4-(M.6) „ (M.7).

,) 68 „ 7 — Testant „ Testantur.

„ 69 „ 10 — premet „ prement.

,,232 „ 4-(M.5) „ (M.4).

,,269 „ 8-(M.5) „ (M.4).

N.B. — ^The interpretation of the epigraph on the reverse of Medal
No. LXXXin. has been omitted : according to Eckhel it may be
thus rendered —

EH • EITEI • POY^^OY • HPEC • KAI • ANTI • TOY • CEBAC •
BIZYHNON

SVB • ITTIO • RVFO • LEGato • ET • PROpnetori • AVGVSti •
BIZYENORVM

INTRODUCTION.

ON THE <

ARCHITECTURAL MEDALS OF THE ANCIENTS,

A8 ILLUafTRATnrO

THE EDIFICES AND CUSTOMS OF THE
GRBBEB AND ROMANS.

Among the questions upon architecture, suggested in
the pamphlet issued by the Boyal Institute of British
Architects in the year 1836, and addressed to cor-
respondents and travellers for their direction, occurs
the following sentence : — " Another source of informa-
tion is ancient coins and medals, which firequently
represent upon the reverse some building, the erection
of which they are designed to commemorate. Series
of these have been chronologically arranged at Rome
and sold in sets. From them Piranesi and other
architectural writers have derived authority for the
restoration of many ancient buildings."

'Although so many years have elapsed since this
suggestion was printed, yet no architect has hitherto
taken up the subject, and it was reserved for my ex-
cellent friend the Rev. H. J. Rose, Rector of Houghton-
Oonquest, to be the first in this country to call general
attention practically to this special matter, in a brief but
very effective paper on " Architectural Medals," read in
1852 before the Bedfordshire Archaeological Society.

X INTRODUCTION.

The following series were therefore compiled in
order to convey to my professional brethren, the
members of the Royal Institute of British Architects,
an impression of the rich treasury of reference, which
medals offer ; and to explain some of the peculiarities
relating to them, which have been variously described
by different writers, who, from want of the technical
knowledge of our art, have misunderstood some of the
features, which the experience of the architect could
alone rightly interpret.

A passage from Addison's " Dialogues on Medals '*
shows the sagacity, with which that intelligent writer
could seize the peculiar value of such a topic. " All
this, however, is easily learnt from medals,'* says
Philander, " where you may see likewise the plans of
many of the most considerable buildings of old Rome.
There is an ingenious gentleman of our nation, ex-
tremely well versed in this study, who has a design of
publishing the whole history of architecture, with its
several improvements and decays, as it is to be met
with on ancient coins. He has assured me, that he
has observed all the nicety of proportion in the figures
of the different orders, that compose the buildings on
the best-preserved medals. You here see the copies
of such ports and triumphal arches, as there are not
the least traces of in the places, where they once stood.
You have here the models of several ancient temples,
though the temples themselves, and the gods that
were worshipped in them, are perished many hundred
years ago. Or, if there are still any foundations or
ruins of former edifices, you may learn from coins,
what was their architecture when they stood whole
and entire. These are buildings, which the Goths and

INTRODUCTION. Xl

Vandals could not demolish, that are infinitely more
durable than stone or marble, and will perhaps last as
long as the earth itself. They are, in short, so many
real monuments of brass."

A casual remark by a contributor to the Edmbv/rgh
Review of July 1856 takes a different view of the
subject. " The representations of edifices upon coins
we consider of less importance. One temple so much
resembled another, that the artist was tempted to
satisfy himself by introducing a part only, and that
part sometimes rather according to a conventional
type, than as a strict resemblance of the reality/* I
trust, that the result of this volume may be to confirm
the accuracy of Addison and to persuade the writer in
the Edivhwrgh Bevieiv, that his remark was hasty, and
doubtless arose firom this part of numismatics not
having hitherto been treated with sufficient precision
and individuality.

I soon found it necessary, when I entered upon
this subject, to visit the medal-room of the British
Museum, and I there experienced fi^om the courtesy
of Mr. Hawkins, my valued Mend the late Mr. Burgon,
Mr. Poole, Mr. Vaux, and their colleagues, the most
unwearied patience in submitting for my inspection
for entire days tray after tray of that rich collection.
They also placed at my service their vast fund of
knowledge and experience readily and firankly. I met
with the hke indulgence in the Cabinet de Medailles
of the Imperial Library at Paris, where Monsieur Le
Normand, Meurier and other assistants were equally
obhging and considerate. I must also acknowledge
the kindness of the late Professor Cowper, curator of
the Hunterian Collection of Medals at Glasgow, who,

b %

XH INTRODUCTION.

with the concurrence of Dr. Macfarlane, the late Rev.
Principal, afforded me every facility of access to that
choice series. My friend, Mr. Hobler of Islington,
also placed at my disposition his noble collection of
imperial brass coins, collected with judgment and taste
and at great cost.

Authors on medals have adopted various systems
of periods, countries, classes, families, and such-like
arbitrary divisions. Captain Smyth limits his descrip-
tive catalogue to Roman imperial, large brass, medals.
He thus restricts it to a particular country, a royal
series, and a metal of fixed size. I consider myself
therefore at liberty, treating of architectural medals,
to adopt a classification peculiar to the subject ; and
to consider every other circumstance as subordinate
to that ; my object not being to illustrate the medallic
history of a colony, province, country or dynasty, nor
the series of any particular metal or size.

The illustrations are divided therefore into five
classes : these reflect, as it were, the customs and
habits of the ancients, chiefly during the Roman
empire, in reference to their edifices, and reveal to us
observances and practices, which otherwise had been
imperfectly known, and of which they alone offer
indisputable evidence.

1. Sacred. — Including Temples, Altars, Tabernacles,

iEdicules and Funereal Edifices, such as those
connected with the apotheosis of the Roman
emperors.

2. Monumental. — As Rostral or Sculptured Columns,

Votive and Triumphal Arches, Trophies.

INTRODUCTION. XUl

3. Of Pvi>lic Utility. — ^As the Forum, Basilica, Macel-

lum, ThermaB, Villa Publica, Bridges.

4. Of Public Games. — As the Theatres, Stadia,

Circi, Amphitheatres.

5. City Gb^tes, Cities, Camps, Harbors, Ports, Pharos.

It seems to be admitted, that medals in general
were the current coin of the day, although some of
them, as the medallions for instance, may be assumed
to have been unquestionably struck on special occasions
to record an event, for the purpose of distribution
as a largess, or, as Suetonius tells us in his life of
Augustus CdBsar, for private presentation to fiiends,
clients, or followers.

We may learn from Erizzo, in his " Discorso,** a
ftolher illustration of the proverb, " that there is
nothing new under the sun;" for he says that the
Roman boys at the time of Hadrian tossed up their
coppers and cried " head or ship;'* of which tradition
our " heads or taiW^ and " man or woman" is certainly
a less refined version. We thence gather, however,
that the prow of a vessel would appear to have been
the more ordinary device of the reverse of the brass
coin of that classic period.

The brass medals resist least the injuries of time,
exposure and use. The gold and silver are generally
the best-preserved, the most brilliant, and sharpest.

It is necessary for me to state, that, in general,
it is not my intention to represent any particular
individual medal, but rather the type of a particular
series ; the absolute fidelity of adherence to any indi-
vidual coin, which is so precious to the numismatist.

XIV INTRODUCTION.

not being my object. For so imperfect generally are
the coins of this class, that it is almost impossible
to find any one, so sharp and well preserved, as to
retain all its parts clearly defined. It was therefore
necessary to consult many of the same type in order
to find every detail and to interpret accurately all the
minutiae. My system has therefore been this: — To
consult with a powerful glass all the examples, I could
meet with in the collections already mentioned or in
my own possession, for such a study creates the
appetite of purchasing specimens. I then with my
own hands scrupulously drew the details to an enlarged
size, from six to twelve times the original dimension.
This necessitated a most faithful, laborious, and posi-
tive illustration ; in which nothing could be overlooked
or negligently rendered. Photography alone could
reproduce these to the desired reduced size, without
any departure fi^om the minute accurate precision of
tlfte original drawing ; and the prints are on a scale to
enable the reader at once to comprehend the minutest
detail. Montfaucon, Piranesi, Canina, Rosini, and
other writers have largely availed themselves of coins to
illustrate their remarks on antiquities. But the repre-
sentations have generally been so imperfect, inaccurate
or loosely done, and in some instances misconceived,
that instead of rendering this a work of supererogation,
I have felt it to be absolutely necessary to make it a
speciality. And I may observe, that I by no means
exhaust the subject, as there are many medals of
considerable interest, that I have omitted to illustrate.
But I believe, that I have adopted the most important
examples, and that imless I had confined myself within
certain limits, I might have swelled out the work

INTRODUCTION. XV

to a bulky size, that might have rendered it perhaps
less incomplete, but certainly less available and less
compact for the architect. I leave to others the task
of supplementing this contribution to the Uterature
of my art,

I have no pretension to any profound acquaintance
with the strict science of Numismatics ; and an in-
terval of nearly half a century, between the period of
my early studies in the Uterature of Homer, Xenophon,
Cicero, and Horace, and the entering upon a fresh topic
like this, may have led me into some inaccuracies on
these points. For these I plead no excuse, except that I
could not altogether pass them over, and that they are
not the material objects sought to be illustrated ; but
rather the architectural features upon coins, upon
which I may be less liable to error, as I have sought
to render available my knowledge of antique buildings,
and the finiits of my travels in those lands, in which
still exist the ruins of many edifices herein described.
It will, I trust, be found, that these researches will
have brought to light many curious structural arrange-
ments of the ancients, for which there is no other
authority extant. Thus the medals and the antique
remains explain each other, and enlarge our acquaint-
ance with the manners and customs of the classic
periods.

Bolton Gardens, Kussell Squjlre.
September, 1859.

XVI

ON THE VARIOUS MODES OF BEPBESENTING

ARCHITECTURAL FORMS AND DETAILS

ON ANTIQUE COINS.

Usually edifices are represented in geometrical eleva-
tion ; but there is a large number of medals, in which
buildings appear in perspective. At times there are
groups of buildings, as in some of the temples
(Nos. VII., VIII., XXX., XXXIIL, XXXVI.,
XXXVII., &c.), which are shown with their sur-
rounding courts, propyla, and other accompaniments.
The circus, with its attendant dependencies of the
spina, temple or pulvinare, arches, quadrigsB and
occasionally the chariot-races (No. LXXVI.) forms a
conspicuous assemblage. The Coliseum (No. LXXIX.)
with its portico and Meta Sudans, and the interior
arrangements crowded with spectators ; and the ports
of Ostia (No. LXXXIX., XC.) with the moles, temple,
warehouses, pharos, crowded vessels at ftdl sail and the
recumbent statue in the foreground, form admirable
combinations.

The fa9ades of the temples have usually the columns
close together on either side of the central inter-
columniation ; which however is itself extravagantly
widened, so that the statue of the divinity, supposed
to be inside, may be displayed in ftdl view.

Very frequently medals have crowded groups of
figures mixed up with buildings, as in the allocutions

BAC'^E

CONVENTIONAL /ir/j

ARCHITECTVRAL ,/-
ON ANCIENT

refre:;pntatiom.t r,^

rx' Tj.fil L^^uN

ABGHITEGTURAL FOBMS ON MEDALS. XVU

and sacrifices of the emperors, many of which occur
in front of a temple. But in the following series care
has been taken to avoid any examples of such a mixed
character, unless the building be greatly predominant,
and shows some marked feature, as in that (No. XIII.)
inscribed with the words NIKH • OnAO^OPOC

We will now consider the details of the order and
other features of the buildings, proceeding from the
base upwards.

The bases are variously represented, sometimes with
a single angular torus (as fig. 1) somewhat raised above
the step, at others with two as (figs. 2 and 3).

Occasionally there is the usual Attic base; but
generally the height is exaggerated in order to mark
the feature more distinctly. On the gold coin of
Vesta (No. XVIII.) of the Emperor Vespasian there
are two angular tori with a central bead. At the
bottom of the columns of one coin of the Temple of
Juno Martialis of Trebonianus, there is a curious
figure of an ox-skull at the foot of the shaft (as fig. 4)
as though it were intended for the boucranion to act
as a base.

The shafts are usually plain, but in truth, although
we may presume them to have been firequently chan-
nelled, the specimens are generally so worn, that any
appearance of fluting is effaced. Sometimes the shafts
consist of three reeds as it were, as in the example of
Vesta (fig. 9) and Juno Martialis (fig. 4). Frequently
in later periods they were twisted, as in the Samian
medal of Herennia (fig. 5). And in the Syrian medals
especially, I am inclined to think, that the colimms
were in later times generally twisted ; but they are so
worn, that I am not able to state very decidedly.

XVm MODES OF B£PB£S£NTINa

whether I can trust to the indications^ which they
present.

The capitals to columns have in many instances a
peculiarly capricious and conventional representation.
Of the Doric very few perfect examples remain ; but
in the medal of the Basilica ^Emilia (fig. 6) and of
the Basilic8B of NicaBa (Nos. LXX. and LXXI.) this
feature is very primitive and differs little from that
of the base.

The Ionic capital is very distinctly shown on the
medal of Claudius (No. XXIV.), representing the shrine
of the Ephesian Diana (fig. 7), and is very effective ;
the volutes consisting of complete circles without any
necking. In other medals the volutes have the usual
indication of volutes and necking beneath, as in the
votive Arch of Claudius (No. LV,) On the elevation
of the Temple of Artemis at Ephesus (No. VI.) the
peculiar capital of the Ionian type is characteristically
maintained.

The Corinthian capital has many varieties. Those on
the medal of Csasar Augustus (No.XTV.), to Mars Ultor
(fig. 4), and the Basilica TJlpia (No. LXVI.), are repre-
sented by two palmet-leaves and a double bead at the
neck. The elevation of the temple at Emisa (No. XIX.)
at the time of CaracaDa gives a mere sphere (fig. 10)
being of the same type, but not so graceful, as the
capital of thq Temple to Vesta (fig. 9) on the gold
coin of Vespasian. In this (No. XVIII.) instead of
the astragal at the neck, there are five pearls, the centre
one being the largest and the others diminishing in
size; as though to give a perspective appearance of
vanishing away. Often the abacus is omitted, and
there are one or two rows of sharp-pointed leaves to

ARCHITECTURAL FORMS ON MEDALS. XIX

indicate the capital, as (in figs. 11 and 12) on the medal
of Martial Juno (No. XVII.), the Neokor medal of
Smyrna (No. XXXIX.), and inedal of Antiocheia
(No. XXVIII.). At other times the usual treatment
of the Corinthian capital is observed with some of the
minor parts suppressed, and the whole rendered in a
broad way.

The entablature is sometimes represented merely by
a thick line, sometimes the three divisions are thrown
into one large mass, as in the Arch of Fostumus
(No. LIV.) Often the architrave or fiieze, as the
case may be, is suppressed ; but at others the three
divisions of architrave, fiieze and cornice are well
marked. It is to be observed, that fi'equently the
horizontal lines are conventionally shown by lines of
dots, one or two or more figuring the entablature or
interspersed with plain faces. The Temple to Vesta
(No. XVIII.) has two Unes of astragals, surmounted
by a row of beads of large size (as fig. 15). On a
medal of Commodus struck at Pergamus, of which
there is a very clean fi*esh impression at the British
Museum, the arrangement of level and inclined cornices
of the pediment is more complex ; but the appearance
is very satisfactory (fig. 17).

On the Temple to Juno Martialis of Trebonianus
(figs. 13 and 14) the entablature is figured by an upper
and lower row of pearls and between them are wreaths
and festoons. On the Basilica j^milia there are shields
equal in height to the entablature (fig. 16). And often,
as in the medal of NIKn • OnAO*OPOC and in the
medals of Nicasa, there is a large-sized inscription on
the fiHieze and entablature. It may be observed, that
the medals, which have all their mouldings rendered

XX MODES OF BEPEESENTING

by lines of pearls, as in those of Tripolis and Samos,
are of a late period.

The entablature is generally kept horizontal and
unbroken; but sometimes it is interrupted by a
central arch, as in the medals of Samos (Nos. XXII.
and XXIII.) and Syria, and occasionally breaks
round over the columns, as in the Temple of Concord
(No. v.), in the entrance to the Forum of Trajan
(No. LXVI.) and in the triumphal Arches (Nos. LIV.
and LXI.)

Of the running openworked fret ornament above
the cornice, the ridge and the inclined lines of the
pediments, like that, which surmounted the entablature
of the Choragic Monument of Lysicrates at Athens,
the medals present frequent instances. This is parti-
cularly perceptible in the temples of Jupiter Capitolinus
(No. III.), Artemis at Ephesus (No. VI.), of Mars
Ultor (Nos. XXVI. and XXVII.), of Trajan (No. VII.),
and in the Baflilica Ulpia (No. LXVII.)

The pediments are richly varied. The tympanum has
generally sculpture in it, often with a central sedent
figure or other object in the middle with a reclined
figure to the right and left. The apex has a fleuron,
a pedestal and statue ; or a pedestal and quadriga ; or
a group of figures ; and at the springings there may
be acroteria, or honeysuckle ornament, or figure as a
Victory or even a trophy. And hardly a pediment
occurs without these necessary accompaniments to
finish off the composition. On the Neokor medal from
Smyrna (No. XXXIX.) the fastigitun or apex of each
of the three temples is encircled by a wreath, which
gives great animation to the group. And I would call
particular attention to the medals of the temples of

ARCHITECTURAL FORMS ON MEDALS. XXI

Capitoline Jupiter (No. III.) and Concord (No. V.),
which have numerous large figures all along the in-
clined outer line of the pediment.

The roofs are usually represented, particularly in
the Neokor series, as constructed of large square slabs,
three in the height of the roof and divided by ribs or
ridges ; the Villa Publica (No. LXVIII.) giving a
curious example of the acroteria or antefixae. Roofs
of circular temples present a great variety of treatment,
both as to form and ornamentation. On the gold medal
of Vesta (No. XVIII.) and the bronze one of Augustus
(No. XIV.), where the circular temple is flanked by
two piers surmounted by animals, the roof is simply
inclined, not spherical ; and divided by vertical ribs,
the former example having also horizontal ones giving
the appearance of square panels. The two medals of
Mars TJltor (Nos. XXVI. and XXVII.) those of the
" Ex Oraculo ApoUinis" (No. XV.) of Nike Oplophoros
(No. XIII.) and the tomb of Maxentius (No. XLVI.)
are all plain domes surmounted by a flos, a pine-apple
or an eagle. The temple of Melicertes (No. XVI.)
has the dome enriched with leaves inclined downwards,
that of the Macellum Augusti (No. LXXII.) has
certain offsets, as it rises, and vertical lines of balls in
lieu of ribs- On the temple of Jimo Martialis (No.
XVII.) there is a continuous series of ribs with a
smaller fillet between, which add great richnesd of
effect. On another example of this temple the dome
is, as it were, merely indicated by seven radiating
ribs quite distinct and with nothing to combine them
(fig. 10).

On several of the buildings, and particularly on the
city walls, the jointing or channelling of the courses

XXll MODES OF KEPRESENTING

of stone is distinctly Taarked by raised lines ; some-
times this jointing oc t on the cella walls of temples,
and seen in the intercolumniations, of which a fine
example occurs in the British Museum collection upon
a coin of Caracalla, struck at Cerasus Ponti ; it is kept
in the drawer Neocesarea.

On a medal of Adada Pisidia, there is represented
a six-columned Ionic portico, in the intercolimmiations
of which the letters composing the name are inscribed
between the columns ; and the columns themselves are
remarkable, as having a pedestal or statue in firont of
each of them.

Perspective representations of temples with courts
occur in medals Nos. VII. and VIII. : but with regard
to some of the medals, containing perspective repre-
sentations of buildings, as in that of Astarte at Byblus
(No. XX.), that of Cybele (No. XXI.) and of Astarte
at Tripolis (No. XXIX.) and most probably that of
Antiocheia (No. XVIII.) the figure can only be
accounted for on the supposition, that it is intended
to represent three sides of the object, or rather an end
and two sides : this is a very startling theory ; but
after much attention and great anxiety to account for
the peculiar aspect presented, no other method seemed
sufficiently satisfactory to account for the delineation
on the medal.

Such are a few brief suggestions on these several
points, which, where necessary, are more fully
developed in the descriptions of the individual
coins.

It is generally supposed, that the engraver of
medals has been ordinarily content to satisfy himself
in the representation of buildings by giving a part

ARCHITECTURAL FORMS ON MEDALS. XXlll

only instead of the whole, ar ^ " that part/' as the
Edinburgh Review critic, July - . JS, observes, " rather
according to his conventional fype than as a strict
resemblance of the reality." Now there is much of
truth and some inaccuracy in this statement. I know
no occasion, where the fa9ade of a temple is given, in
which a temple of a hexastyle portico is represented
with a front of eight or four columns, or vice versa an
ocstastyle or tetrastyle by six : where the Corinthian
is shown for the Greek Doric order, or the Ionic, or
the reverse. In fact I am led to believe, that the
ancients adhered with remarkable fidelity to the leading
features of the origiual, and that we may rely from
well-known examples upon the truthfulness of their
authority. It is true, that certain conventionalisms
exist; as for instance the widening of the central
intercolumniation and the compression of the others ;
and the part of the building for the whole, as in
the Macellum of Augustus and in the Villa Publica.
But to the experienced eye of the numismatist such
departures do not mislead. The purpose is obvious ;
it is a kind of short-hand : but there is no substitution
of feature. It is remarked in support of the theory of
this wide conventionalism, which admits of substi-
tution to any extent, that the same temple on coins
of different epochs shows various treatment of the
details.

But this is no valid objection ; for it is well known,
that the buildings themselves from time to time were
altered; that they received a variety of treatment,
when restored from fire, from the incidents of political
tumults, or the decay of time ; and that the temples
of Capitoline Jove and Vesta, the Coliseum, the

XXIV ABOHITECTUBAL FORMS ON MEDALS.

Basilica uEmilia, and other monuments differed in
subsequent periods from the original more or less. I
think it therefore safer to assume, that the repre-
sentation coincides with great precision with the
original building, and that if any difference exist, as in
the Coliseum or the perspective view of a temple, it
only abbreviates, where the omission is obvious and
cannot mislead the intelligent observer.

LIST

AECHITECTURAL MEDALS

CLASSIC ANTIQUITY.

XXVll

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''dT.kVnL OF B.^CCHVS A'\'-^H'>:S

ABCHITECTTIRA N^T^tISMATI('A.

Nos. I. & II.

ATHENIAN MEDALS.

Having made these few preliminary remarks, to
render fiiture observations more intelligible, we wiU
now commence our review of the medallic series ; and
we shall begin by examining the two solitary coins
of Athens, which still remain to us bearing repre-
sentations of edifices. They are in brass, and may be
attributed to the latter end of the third century. On
the obverses of both is a head of Minerva (A0HNH).

No. 1.
ACROPOLIS GROTTO OF PAN.

This medal is if of an inch in diameter (*M. 4), and
exists in the French Cabinet, It has on the reverse
a view of the Acropolis of Athens with the Grrotto
of Pan, .and the letters A0HN. Pausanias, in his
description of the city of Athens, after describing
the edifices of the citadel (Attica, chapter xxviii.),
proceeds to say : " Descending fi^om the Acropolis
towards the lower city, but a little imder the Pro-
pylaea, there is a fountain, near which is a sanctuary
of Apollo and Pan in a cave. There they report

* This aUades throughout to the scale laid down by Mionnet.

I ARCHITECTURA NUMISMATICA.

Apollo to have prevailed over Creusa, the daughter
of Erectheus." To this latter circumstance, the fol-
lowing lines of Euripides refer, in his ** Ion," as
translated by Potter : —

" Erectlieus was its king.
His daughter, calPd Creusa, to th' embrace
Of nuptial love Apollo strain'd perforce,
"Where northward points the rock beneath the heights
Crown'd with the Athenian citadel of Pallas,
Caird Macrai by the lords of Attica."

A reference to the corrected plan of the Acropolis,
given in Weale's new edition of Stuart's "Athens,"
as also the view attached to Mr, Penrose's learned
volume on the Parthenon, will immediately enable
those, who have not visited the spot, to identify the
correctness of this medal of Athens, giving a view
of the Acropolis. It presents a rocky elevation, in
the face of which are two hollows, as of cuses. On
one side is a flight of steps leading up to the summit,
and at the top is the representation of a building,
evidently intended for the Propylsea. Next to this is
a lofty figure, which we may suppose to have been the
colossal bronze image of Minerva by Phidias, noticed
by Pausanias (Attica, chapter xxviii.), having been
one of the dedications from the tenth of mihtary spoils
in honour of the victory gained over the Medes at
Marathon.

" On the shield were sculptures of Lapithge fighting
with the Centaurs. This statue's head was so placed,
that the crest of the helmet and the point of the spear
were seen in sailing from Sunium towards Athens."

The larger building beyond cannot but be meant for
the Parthenon. My colleague, Mr. Kinnaird, in his

ACROPOLIS, ATHESN — GROTTO OF PAN. 6

note upon the explanation of the plan of the Acropolis,
observes : " There is no doubt of the cavern (pointed
out by Pausanias and represented on this medal)
being the identical sanctuary of Apollo and Pan.
This grotto is a natural formation, improved some-
what by art. It is about 20 feet wide and nearly of
the same height, and 12 feet in depth : it is adjacent
to a descent from the Acropolis, at the northern end
of the platform in front of the Propylaea ; and steps cut
in the rock still remain, and possibly mark the route
of the return of Pausanias towards the lower city*'*

By Lucian the god was said to inhabit a cave
beneath the Pelasgic wall, with which the site here
specified coincides, and also with that called Maxgal
UsT^ai, or long rocks, by Euripides, either as large
masses of detached rocks not far distant, or as the
very rocks of the Acropolis here present themselves,
corresponding with the epithet * long.' " No archi-
tectural ornament appears in this coin to have been
applied to the front of the cavern ; but it is highly
probable, that some enclosure was adapted to the
approach of the adytum ; and traces may be observed
on the spot itself of some structure of a lower age,
possibly of a Grreek church, replacing an original
screen before the shrine. Within the cave are two
recesses, supposed to have been made for the statues,
one larger than the other ; and square sinkings have
also been cut in the rock for the insertion of votive
tablets."

By the aid of a powerful glass, I could perceive
within the cave a crouching human figure, possibly
intended to represent Pan himself.

B 2

4 AKOfHTErTUBA NUMISMATICA.

No. II.
THEATRE OF BACCHUS, ATHENS.

This brass medal was originally in the possession
of the present Earl of Aberdeen, and is in R. Payne
Knight's collection in the British Museum. It is
full f of an inch (M. 3) in diameter, with a head
of A0HNH on the obverse. It represents on the
reverse the koilon, or cavea of the Theatre of
Bacchus, with its back to the Acropolis, and the
monuments supposed to be seen from its pulpitum.
The word A0HNAIIiN encircles the group. The
pulpitum itself may be intended to be represented at
the bottom of the figure, and immediately over it is
the semicircular orchestra, of small diameter, as was
usual. From it rises up the xoTxoy, or hollow circle of
the seats, divided by flights of steps in the ascent.
This brings us to the distinctly-marked Sia^oi/ux
(called by the Latins prcBcinctio)^ and by which the
series of seats were divided in two, affording a gallery
of communication all round. Above this diazoma is a
second flight of seats with steps, and up above are the
semblances of caverns hollowed in the face of the rock,
one being, like the choragic monument of Thrasyllus,
divided by a central pillar. A mass of rough rock-
work surmounts the theatre. One of these recesses
may possibly be alluded to by Pausanias in the following
passage : " On the summit of the theatre is a cavern
in the rocks under the Acropolis. Upon the cavern
stands a tripod ; within it are images of Apollo and
Diana destroying the children of Niobe." On the right

THBATBE OF BACCHUS, ATHENS. 5

of the medal appears a rude indication of a columnar
building, which, from its position, we may presume to
be the Propylaea ; and higher up is the semblance of the
Parthenon. We may remark at once, that in coins
the representation of objects is frequently of a con-
ventional nature, in which the purpose has been less
to give exact portraits than free and striking types,
without strict reference to proportion or correctness
of detail.

Drawings of both these coins are in Colonel Leake* s
" Athens.*' Millin gives the former in his " Galerie
Mythologique,** PI. XXXII. 133, and refers to the
" Voyage d*Anacharsis, Atlas," xxxix. 2. It is also
to be found in Weale's edition of Stuart*s " Athens.**

b ABCHITECTUEA NUMISMATICA,

No. III.

TEMPLE OF JUPITER CAPITOLINUS, ROME.

Tms bronze medal, 1^ incli in diameter (M. 11),
is from the French Cabinet. It has on the obverse
the head of the emperor, with the legend —

IMP • CAES • VESPASIANVS • A VG • P • M •

TRP PPCOS VII

IMPeratop CAESar VESPASIANVS AVQuatus, Pontifex Maximus,
TribunitiA Potestate, Pater Patriae, COnS. VlT.

On the reverse is the hexastyle Corinthian Temple of
Oapitoline Jove, raised upon three steps, with* the
sigles S. C. in the exergue. The three central inter-
columniations represent three cellae; the middle one,
which is the widest, shows Jupiter elevated on a
lofty pedestal, seated on his throne, in his right hand
the thunderbolt, his upraised left hand resting on a
spear or staff. The intercolumniations next on each
side are narrower ; the one to his right has the figure
of Minerva on a pedestal lower than that of Jupiter, but
her head ranging in height with his ; she is ftiUy draped,
has in her right hand a hasta, or spear ; the hebnet
on her head. In the corresponding intercolumniation
on the other side is a standing figure of Juno, draped
up to the waist, the upper part of her body naked ; in
her right hand she holds apparently a patera, and her
left is upraised, as though intended to hold a wand,
hasta pura, or staff. The outermost intercolumniations
are narrowest, and contain no statue, as they represent

N^ 3

IMPCAESVESPASIANV:; /V/b r M TRPPP CO.S Vll

TEMPLE OF jvi'riFR ■ ca: : ^:li::;:^ p li-.i.

TEMPLE OP JUPITER CAPITOLINDS, ROME. 7

the peristylia; but outside the temple, on each side,
is a male figure ; that next to Juno holding a patera
in his right hand ; the one nearest Minerva resting his
right hand on a spear or staff, and his left enfolded in
drapery.

A rich entablature surmounts the columns, consist-
ing of a double row of beads, forming two lines of
bedmouldings under a greatly-projecting cymatium,
on the extremities of which at each end is a noble-
sized eagle. Rows of beads form the inclined cornices
of the pediment, surmounted by a continuous scroll
ornament, running up to the apex, where there is an
undistinguishable mass, intended to form the topmost
central acroterium, and possibly a quadriga or type
for the statue of Jove himself, placed during the
consulship of L, Volumnius and App. Claudius. On
each side above the raking cornices rise two horses'
heads with the body of a warrior seemingly in a biga,
which, however, is wholly hid.

The tympanum is completely filled by sculpture.
The Father of the Gods is in the centre, seated on his
throne ; in his right hand the fiilmen, in his left a staff
or spear. A standing figure of one of the gods to his
right, and that of, probably, Minerva to his left. Next
to Minerva, in the angle of the tjrmpanum, are two
figures apparently forging on an anvil, one most likely
represents Vulcan. In the corresponding angle, on
the opposite side, are also two figures, and a block
between them, seemingly occupied in some mechanical
operation.

The whole composition, architectural and^sculptural,
forms a very busy and brilliant group.

Bckhel (vol. vi. p. 327) remarks upon the peculiar

8 AHCHITECTUBA NUMISMATICA.'

position of honour given to Minerva, by placing her
statue on the right hand of her father in the inter-
columniations, and the assigning an inferior position
to Juno on his left, which seems not to have been an
unusual allocation, when the three were together ; but
the Greeks followed a contrary order.

We shall more particularly advert to the circum-
stances connected with this remarkable temple, from its
consisting of three cells, the lateral ones, for the especial
worship of the two inferior divinities, being called by
Dion Suvvooi. Tarquinius Prisons was the founder
of the first temple, in Mfilment of a vow to Jupiter,
Jimo, and Minerva in his last war with the Sabines ;
but as he died four years after the commencement,
and before it was completed, it was consecrated by
Marcus Horatius Pulvillus, after the Tarquins had been
driven from Rome. Plutarch describes it particularly
in his life of Publicola. But the original temple having
been destroyed in the civil wars, it was rebuilt by
Sulla and consecrated by Catulus after his death.
This second edifice was destroyed in the Vitellian
tumults, and rebuilt from its foundation by Vespasian,
which last is the one represented on this coin.

It appears, from the description of Dionusius (lib. iv.
c. 6), that the temple stood on the northern summit of
the Capitoline Hill, on the site now occupied by the
church of the Ara Coeli ; and that it was erected on
the remains of a pre-existing temple, which measured
eight plectra on each side, ten jugera in circuit,
equalling nearly 200 feet, with the slight difference of
15 less in width than in depth. These proportions
were religiously observed when the temple was suc-
cessively reconstructed ; and the second temple only

TEMPLE OP JUPITEB CAPIT0L1NU8, ROME. 9

differed from the former in the greater sumptuousness
of the materials. On the front to the south was a
portico of six columns, three deep ; but on the flanks
there were only two rows. The temple itself was
divided into three cells, dedicated to Jupiter, Juno,
and Minerva, and one common roof covered the three.
This disposition will be more evident from the subjoined
plan, taken from Canina, Foro Romano, PI. IV. A.

T. JOVIB CAFITOLIKI.

He quotes Vitruvius to prove that this disposition was
quite consistent with the Tuscan arrangement; and
the sculptures of the tympanum were of terra cotta,
so as to be as light as possible. Pliny mentions that
the columns employed in Sulla*s restoration were taken
from the temple of Jupiter Olympius at Athens, built
by Cossutius, according to Vitruvius. The magnificence
of the frontispiece is described by Cicero in the third
book de Oratore. During the reign of Titus (A.U.O.
833) the temple was again destroyed by fire, and by
him the reconstruction was immediately commenced ;
it was continued and completed by Domitian, who,
according to Plutarch (c. 5), spent twelve thousand
talents in the gilding alone. The columns were
of Pentelic marble, but were made too slender for
their height. A coin mentioned by Bckhel (vol. vi.
p. 377, Domitian) shows the elevation of this temple,

10 ABCHITECTURA NUMISMATIOA.

with the words OAPIT • RBSTIT-, and a tetrastyle
portico, instead of a hexastyle as originally. Eckhel
is in doubt whether the medal represents the actual
front, or whether the artist had exercised a license,
sometimes used, of reducing the real proportions and
features of the front. But it is remarkable that on
the bas-relief of an arch of Marcus Aurelius, now
existing on the walls of the staircase of the Palazzo de*
Conservatori, there is represented the front of a
tetrastyle temple with three doorways in the three
intercolumniations, supposed to represent the eruvvaoi
of Capitoline Jove. The one dedicated by Domitian
figured on the medal of that emperor. I am, however,
inclined to think the medals and bas-reliefs represent
some other smaller temple dedicated to Capitoline Jove^
in another place.

The two chariots, indicated on the inclined lines of
the pediment, are doubtless intended to represent the
two gilt quadrigas put up by M. Tuccius and Junius
Brutus. In what portion of the roof could they have
really existed ? These are questions difficult to resolve
with any certainty; doubtless they were there, but
how they could have been introduced with propriety
in the original buildings, and in what part of them, is
extremely problematical.

The following summary from Dempster's " Rosini
Romanarum Antiquitatum Corpus" (p. 106) will aptly
illustrate many points already alluded to : — " Anno
CCCCLVIII. L. Volumnio, App. Claudio, Coss., ex
bonis foeneratorum in publicum redactis, Cn. et Q.
Ogulnii -^dUes Curules, senea in Capitolio limina, et
trium mensarum argentea vasa in cella Jovis, Jovemque
ipsum in culmine cum quadrigis posuerunt (Livius).

TEMPLE OF JUPITBB CAPITOLINUS, BOMB. 11

Anno IqLXXT. M. Tuccius et P. Junius Brutus,
-ffidiles Ourules, de mulcta damnatorum foeneratorum
quadrigas inauratas in Capitolio posuerunt, in cella
Jovis, supra fastigium SBdiculas, et xii. clypea inaurata,
qualia etiam paulo ante ex multatitia pecuariorum
pecunia in fastigio aedis Jovis posita fuerunt (Livius).
Joyis, simulacri facies diebus festis minio illini solebat
(Servius in 10 Bclogam, et Plinius) ; qui etiam scribit
Turianum a Fregellis Romam fiiisse accitum, cui locavit
TarquiniusPriscusefl&giem Jovis inOapitolio dicandam;
fictilem earn fdisse, et ideo mirari solere: fictUes
etiam in fastigio templi ejus quadrigas. Fuit in hoc
templo etiam signum Jovis Imperatoris. Ad hoc
templum victimas gratulationis causa mactabant. In
hoc templo consules eo die, quo magistratum inibant,
singuli singulos boves immolabant, et ex eo togam
sumebant. In hoc templo imperatores, ad bellum ituri,
vota nuncupabant ; et postea reversi triumphali pompa,
in id deducebantur, Jovi in eo sacrum faciebant et
convivium celebrabant. In hoc etiam templo Senatus
nonnunquam habebatur; in hoc homines religionis causa
incubabant (Plautus in Ourculione). Sed quis omnia
enimieret ? " — " Frontone di Giove Oapitolino, Annali
dell' Institute Archeologico di Roma.*' 1851, p. 289,
vol. v., PL XXXVI.

12 AECHITECTURA NUMISMATICA.

No. IV.
TEMPLE OF ANTONINUS AND FAUSTINA, ROME.

Brass medals, botli of the large and middle size,
and several silver ones, struck by Antoninus Pius, in
honour of his profligate wife Faustina the elder,
who was deified after her death, give us the next
illustration. On the obverse is the head of the em-
press with the epigraph

DIVA FAVSTINA

The reverse presents the elevation of a hexastyle
temple, the one to Antoninus and Faustina, now in
the Campo Vaccino at Rome, and formerly close to,
although not in, the Roman Forum. Around, near
the border, is the ABTERNITAS and the sigles S.O-
It appears that this temple was originally erected for
the worship of the deified Faustina ; but, after the
death of the virtuous Antoninus, it was dedicated to
them both, and it now bears the inscription

DIVO ANTONINOET

DIVAB • FAVSTINAE • EX • S • C

A remarkable circumstance occurs in the arrange-
ment of this incription, the words Divae Faustinae ex
S.C. appear on the architrave, and as such existed,
doubtless, at the death of the emperor. Probably his
successor, or the senate, oflfended at the scandal of
the divine honours paid to so base a woman, sought

NO 4-

TEMPLE- OF FAVSTINA ROME

N? 5

TEMPLE- OF CONCORD ROMAN • FORVM

TEMPLE OF ANTONINUS AND FAUSTINA, ROME. 13

to modify or neutralize the dishonour, by inscribing
his name in letters almost twice as large on the
architrave above, after the deification of the emperor.

If we keep our eye on the medal, as we follow the
description of the temple, we shall see how closely the
type follows the original, except in the conventional
enlargement of the central intercolumniation. The
portico is hexastyle, the order Corinthian; it sur-
mounts a lofty stylobate, containing a flight of steps,
and it is crowned by a pediment. Until some years
ago, the pedestal and part of the columns were lost in
the accumulation of soil ; but the spirited excavations
of the French and subsequent researches revealed
the whole of the substructure, with a paved roadway
running in fi'ont. Before the angular columns two
statues, apparently female and elevated on pedestals,
are distinguishable on the medal ; there is also in
advance an open, lofty enclosure, or barrier (clathri,
cancelli, reticula), by which the front was enclosed
and access to the steps prevented, except at stated
periods. The central intercolimmiation is, a« usual,
widened to reveal a sedent female figure in the interior
of the cella ; her right arm stretched out and holding
a globe surmounted by a stork or crane ; the head is
encircled by a nimbus with spikes on the outer margin ;
she has the hasta pura in the left hand, and is seated
in a rich bronze chair. The line of the aperture of
the door is distinctly perceptible over her head. The
centre part of the flight of steps is occupied by some
large object, which I should conceive to be the altar
for the public sacrifices.

The pediment has at the angles lofty trophies in one
example, and statues in another, variously arranged in

14 ARCHITECTURA NUMISMATICA.

different specimens ; and the apex is surmounted by a
pedestal, on which is a quadriga and statue.

In the tympanum, is a figure, apparently of the
empress ; on her right is a bird, seemingly a peacock,
in allusion to her assumed character of Juno.

There are one or two remarks to be offered on the
temple itself as it now exists.

The cornice is of the simplest composition, but
noble and imposing; the frieze is enriched on the
flanks with a magnificent series of griffons and can-
delabra, boldly engraved by Firanesi, superb in design
and exquisite in execution.

The shaft of each column consists of a monolith
block of Cipolino marble, 38 ft. 9"1 in. high ! — ^the
lower diameter 4 ft. 10-3 in., the upper one 4 ft. 2*8 in.
The rest of the the temple is of white marble.

An extraordinary coincidence exists between the
dimensions of this temple and the Pantheon; the
entablature of the latter being 10 ft. 10-8 in. high,
and that of Antoninus and Faustina 10 ft. 8'8 in., a
difference of only 2 inches. The columns, however,
differ in height 2 ft. 2^ in. ; those of Antoninus being
48 ft. 7-7 in., of the Fantheon 46 ft. 5-2 in. The
shafts of both are monoliths, those of the fane of
Agrippa being of granite, ranging from 4 ft. 10*4 in.
to 5 ft. in diameter.

It preceded that of Faustina by above one hundred
and fifty years ; but the same purity and high dignity
of art prevail in both.

See " Taylor and Oresy's Antiquities of Rome."

No. V.

TEMPLE OF CONgORD, ROME.

This large brass medal, measuring in diameter
If inch (M. 10), exists in the British Museum in
nimierous varieties, with the proportions of the
figures and details considerably altered, struck by
several emperors ; and very fine specimens are also in
the French Cabinet, firom Augustus downwards. The
obverse has the head of the Emperor Tiberius, with
the legend

TI- CAESAR DIVIAVGFAVGVSTP M-
TRPOTXXXIIX

Tiberius CAES AE • DIVI • AVGusti Filias AVGVSTub • Pontifex
Maximus TEifounitift FOTestate XXXYIII.

with the S.O, in large letters. We may assume the

date of the medal, therefore, to be about A.D. 11.

On the reverse is a building with a central hexastyle

portico of the Corinthian order, flanked by wings, at

the external angles of which are pilasters or columns,

with the pedestal and entablature breaking round ; the

whole is raised on a lofty stylobate. The central part

is occupied by steps leading up to the portico, flanked

on each side by a panelled pedestal, and on each of

which is a statue, apparently of an armed warrior. The

stylobate of the wings has also a panel in its height.

The central intercolumniation is considerably widened,

to admit a view of the statue in the temple, which is

apparently a female sedent on a pedestal, bearing in

her right hand a crown or globe. The doorway opening

into the temple has a wide aperture, and the architrave

around it is distinctly marked. In each of the spaces

16 ARCHITECTURA NUMISMATICA.

between the outer columns of the portico and the
angular columns, or pilasters of the wings, is a niche
with a statue in it. The portico is surmounted by a
pediment having in the tympanxmi the letters S.P.Q.R.,
Senatus Populus Que Romanus. Above the inclined
lines of the pediment are full-sized statues, the central
three apparently forming a group, with their arms
entwined, flanked on the right by an armed warrior,
and on the left by a female having the " hasta pura'*
in her right hand, and holding a cornucopia in her left ;
while on each of the lower angles is a Victory in
vigorous action, with outstretched wings. There is
an undistinguishable object over each of the angular
columns or pilasters, probably trophies. All these
figures, fi'om the state of the difierent medals that I
have consulted, are very difficult to make out; but
firom a minute inspection and consideration of them,
I believe that they admit of this attribution just
given : Guiseppe Visconte says, " creduta della Con-
cordia."

The question arises as to the destination and pur-
pose of this edifice ; and it is now by common consent
generally assumed to be the representation of the
Temple of Concord, at the foot of the Capitol next the
Forum. Canina (" Architettura Romana," Part II.
p. 201, PI. LVII.) in noticing the temples of various
form, observes : " Among these temples we will first
observe this celebrated one of Concord, situate at the
head of the Roman Forum under the Capitol, the plan
of which has in part been laid open in these last years.
The aspect of the front part or pronaos was arranged
in the manner of hexastyle prostyle temples ; but the
cella behind stands, as it were, in the contrary direction ;

TEMPLE OP CONCORD, ROME.

so that on account of its greater breadth it extends
beyond the portico on each side.

TEMPLUM COWCORDI^.

This disposition was doubtless produced by the ne-
cessity of having a large cella for the meetings of the
senate, which were frequently held within it ; and, as
there was not space to extend it in the line of the axis
of the portico, on account of its backing against the
hill and substructures of the Capitol, it was necessary
to enlarge it in width. And such a disposition, although
in certain respects defective, must have presented a
fine facade, which we must consider as an ingenious
arrangement of the architect who had the direction of
the temple. (See Canina's " Plan of the Forum.")
This would place it behind the triumphal arch of
Septimius Severus, and just above it, and separated
from the Mamertine prison by the flight of steps leading
up to the Capitol or cUvils asyli, and agrees with the
site assigned to it by Nibby (" Del Foro Romano'*).

This latter author gives the following historical par-
ticulars of this temple : " The Temple of Concord was
so near the Forum (Festus, sub voce Senacula) that
it might almost be considered one of its buildings;

18 ABCHITECTUBA NUMISMATICA.

it stood, however, between the Capitol and the
Forum ; its face turned towards the Forum and to the
Comitium (Plutarch, a CamiUo, c. xiii.), and on its
flank it was near the (Mamertine) prison (Dion,
lib. Iviii. p. 720). It was built by the senate and
people, after Camillus had in his last dictatorship
made the vow, when the two orders agreed and the
plebeians gained the privilege, that one of the consuls
should be selected from them. During the republic it
was a place where the senate assembled to treat of
important matters, and they met there on the occasion
of the conspiracy of Catiline. (Sallust, * Catiline
War,' c. xlvi.) It appears under Augustus to have
been rebuilt, Tiberius having dedicated it (Suetonius,
Tiberius, c. xx. ; * Dedicavit et Concordise aedem'),
and put his name (Dion, lib. Ivi. p. 671) upon
it, and that of his deceased brother Drusus, the
eleventh year of the Christian era. It must have been
burned in the Vitellian conflagration, and rebuilt under
Vespasian. It continued to exist under the empire,
and it is affirmed upon questionable authority to
have been repaired under Constantine. It is mentioned
as, at all events, in part existing till towards 1143,
and up to that time preserved its name. It was
probably destroyed by the ferocious Brancaleone in
1257, to deprive the potent families of means of
defence. In ancient times there were in the temple
works of celebrated Greek artists ; according to
Pliny (1. xxxiv. c. viii.), a group of Batton adoring
Apollo and Juno, a work by Bedas ; Latona in the
act of holding her two children, Apollo and Diana,
the production of Euphranor ; Esculapius and Hygeia,
of Nicerates ; Mars and Mercury ,^ by Pisicrates ; and.

TEMPLE OF CONCORD, ROME. 19

lastly, there were Ceres and Jupiter and Minerva, by
Sthenis. Of pictures there were admired a Bacchus of
Nicidas, and a Cassandra of Theodosius.**

On the summit of the pediment there was a Victory,
which, being struck by lightning, communicated it to
others placed near it. (Livy, 1. xxvi. c. xviii.) " In
asde Concordiae Victoria, qU89 in culmine erat, fiilmine
icta decussaque, ad Victorias, quae jam ante fixsB erant,
haBsit, neque inde procidit."

" The image of the goddess may be seen on the
medals of the Didia family, where she is represented
under the form of a veiled female. On this site, in
the summer of 1817, was found the cella, with four
inscriptions — aU votive, in three of which was read the
word Concordia. They were in a prodigious heap of
small fragments, some of which appeared to have
belonged to colossal statues, and the greater part to
architectural ornaments which decorated the ceUa;
among the rest some vases. All were highly carved,
but in a style much too charged.

" Of the later walls only a few feet in height remain
above groimd; they were faced with Numidian and
Phrygian marble, with which the floor also was paved,
as also with African marble. It appeared from the
fragments, that the cell was adorned inside with fluted
columns, also of Numidian and Phrygian marbles, but
calcined by fire."

The preceding allusions to the profusion of sculp-
tures, to the Victories on the pediments and other
parts, are to a great extent confirmed by the facade ;
and particularly the winged Victories recorded to have
been struck by lightning, and conspicuously presented
to us by our coin, which was probably voted by the

c 2

20 ABOHITECTURA NUMISMATICA,

senate upon the occasion of the dedication, when the
rebuilding had been completed by Tiberius.

The cella of the temple must have been of imposing
size, for it seems, according to Canina's plan (IV. A.
in his " Foro Romano*') to have been 125 feet long
by 65 deep, and probably the columns of the portico
were nearly five feet in diameter. In fact its size
rendered it particularly adapted for the meetings of
the senate. Canina, in his plan, plages to the right
and left of the portico a monumental column, one
being that to Duillius ; but our medal bears no indi-
cation of such an arrangement.

N9 6
AYTKMANT-rOPAIANOC

TEMPLE- OF ARTEMIS AT- EPHESVS

No. VI.
THE ARTEMISEION;

OR,

TEMPLE OF ARTEMIS (DIANA), AT EPHESUS.

This medal of M. A. Gordiaxius is one of a series of
the same type, with some slight modifications ; for we
have a like one of Hadrian, given by MiUin (Ghlerie
Myth., PI. XXX. 109); and another of Antoninus Pius
exists in the French Cabinet, No. 286, shelf 33.

It is architecturally an extremely interesting illus-
tration of ancient monumental art, as it relates to
one of the most famous and magnificent of the sacred
fanes of antiquity, and is the only authority left to
set at rest the conflicting descriptions of the temple
given by Pliny and Vitruvius.

This is drawn fi-om a great bronze. If inch in dia-
meter (M. 10), in the French collection.

The legend on the obverse round the portrait of
the emperor is —

AVT KM- ANT • TOPAIANOC

IMPerator Caesar Marcus ANToninus GOEDIANVS.

On the reverse is the legend —

E*ECiaN • r • NECKOPCN

Of the Ephesians Neokors Three.

Consequently it was struck upon one of the most
solemn occasions, and imdoubtedly would represent
the chief temple of the goddess, and not any second-

22 AECHITECTUEA NUMISMATICA.

ary temple of that divinity, if any such did exist in
Ephesus. The edifice is an eight-colmnned temple, of
the Ionic order, raised on three steps. It is remark-
able that in this medal the peculiar Ionian base, with
the large torus and smaller astragals and scotiad
under, and the ample voluted capitals, are defined
with remarkably characteristic exactitude. This pre-
cision is not a mere fancy ; for, seen through a power-
ful glass, it is as decided as here shown. But it will be
observed that, at about one-third of the height of the
shaft, there is a species of band encircling each column.
MiUin, ut supra, considers this feature to indicate a
statue, in front of the columns, and absolutely so figures
them in his Plate XXX.; but, upon a minute comparison
of the several varieties, I came to the conclusion that the
indications were different fi'om those on other medals
with statues, as that of the Temple of Antoninus and
Faustina, and of Concord, and of Trajan; and that
the marks were meant to represent something on
the columns themselves, either of a temporary or per-
manent nature. I say temporary or permanent ; for
possibly the columns may during this festival have
been bound roimd with chaplets or floral wreaths.
Or the lower part may, up to that height, have been
carved ; as some of the columns in the church of
S. Pietro in Vincoli, at Rome, and as some marble
columns in the collection of M. Fauvel, which I drew
at Athens, in the year 1820. Such a decoration is
most rare, in fact not known, upon auy existing
remains of a temple vn, situ, and might be considered
as a sign of a late epoch in art ; but the evidence of
the coin is irresistible, and, however qualified, must
be admitted : besides which, Pliny has a very striking

THB ABTEMISEION, AT EPHESUS. 23

remark, saying that " thirty-six of the colunms were
sculptured, one by Scopas.^^ May this be the indication
of those carved columns ?

The capitals give unmistakably the Ionian type, the
ample volute and the absence of any necking. The
entablature presents the usual conventional form, and
the cornice of the pediment is surmounted by a range
of ornamental crockets, with acroteria at the lower
angles. The tympanum is filled in with sculptures of
a peculiar character, allusive doubtless to the worship
of the goddess. In the centre is a table, upon which
is a disk, probably of the moon ; and some other shape-
less objects are on either side in flat relief.

In two subsequent fanes of the same goddess will
be perceived the same disk in the tympanum ; but in
that of Claudius the disk assumes the form of a shield,
and might lead to the supposition of its being the
federal emblem, like the shield of Thebes ; Bphesus
representing the centre of the Ionian confederacy.
MiUin evades the question, or perhaps it did not occur
to him, for he merely says, " Sur le fironton on voit
deux petites figures qui sacrifient devant un autel,'*
which corresponds with the tympanum of the temple on
the medal of Claudius, hereafter given, but where the
disk is distinctly apparent. See I^os. XXIV. & XLI.

Within the central intercolumniation appears the
statue of the goddess with all her characteristics.
The Artemis of the Ephesians was a very peculiar
emblematic myth. When we consider the ideal
of the goddess as created by Praxiteles (Jacobi,
" Dictionnaire Myth.," sub voce), we regard her as the
sister of Apollo, adorned with beauty, vigour, youth.
As a huntress, she is represented with a graceful, supple

24 AROHITECTURA NUMISMATICA.

form ; narrow liaimches, her face regularly oval, a broad
forehead, large eyes, the tresses bound up behind, and
forming a knot upon the head with some locks falling
on the shoulders; the fuU vest-covered chest; the
tunic gathered just above the knee, and her feet bound
with the cothurnus. Her attributes, the bow, the
quiver, the lance, the stag, the dog.

As the moon (Lima), she has the face veiled ; she
carries torches (lucifera) ; the crescent on her fore-
head, and a long tunic descending to the feet.

Let us now contemplate the Ephesian ideal of their
great goddess. She had no identity with the Hellenic
Artemis, but appears to have been the personification
of the fertilizing and nourishing principle of nature.
In her temple at Ephesus, where, it is said, the
Amazons established her worship, her image was
imder the form of a mummy, the head crowned and
surmounted by a triple-faced temple and backed by a
nimbus. Her breast was covered with nipples. The
lower part of the body is divided into formal compart-
ments, fiUed each with an animal ; either hand rests
on a beaded staff or reed, or chain, which inclines to her
feet, brought close together. The meaning of this staff
or chain, has never yet been explained : it appears also
on the coin of Samian Jimo, hereafter described. (See
XXIL, XXIII.) This statue was of wood, but whether
of cedar or ebony, Pliny and Vitruvius do not agree.

A passage in Pausanias, referring to the temple
at Olympia (EUs, c. xii.), leads to the supposition,
that a curtain of rich material, usually hung before
the statues of these divinities. " The linen curtain,
ornamented with Assyrian embroidery and of Tyrian
purple, which is seen at Olympia, was presented to

THE ABTEMISBION, AT BPHESUS. 25

the God by Antiochus. This curtain is not drawn up
towards the roof, as that of Diana at Ephesus, but it
is lowered down by loosening the cords."

Plutarch, in his Pericles (xii.), enumerates the artisans
employed under the direction of Phidias, and mentions
the TtroixiT^rcu^ who were weavers of variegated stuffs, —
embroiderers, whose tapestries {iraqoLTrsraa-fJuiTa) must
not be forgotten, observes Miiller, when we wish to
call up the idea of the total impression of their temples
and ivory statues. Acesas and Helicon, the Salaminians
from Cyprus, weaved magnificent tapestries for the
Delphian Apollo. (Compare Ion, Euripid. 1158 ; Athen.
ii. p. 48 Z.; Bust, ad Od. i. 131, p. 1400; Apostol.
ii. 27 ; Xenob. i. 56.) This art was practised in an
especial manner in Phoenicia, Cyprus, and Carthage.
(Athen. xii. p. 541 6.)

Of the same class was Hiram's curtain before the
Holy of Holies.

The sanctuary of Artemis was accessible only to
virgiDS, and eunuchs were her priests.

We will now enter upon another architectural
question of some moment, which this coin may serve
to decide, as to the greater reliance to be placed on
the description of Vitruvius or that of Pliny relating
to this temple.

Vitruvius says (lib. iv. c. 1) : " The lonians obtained
from the human figure the proportions, strength, and
beauty of the Doric order. With a similar feeling they
afterwards built the Temple of Diana. But in that,
seeking a new proportion, they used the female figure
as the standard, and for the purpose of producing a
more lofty effect, they first made it eight times its
thickness in height. Under it they placed a base.

26 AECHITECTUEA NUMISMATICA.

after the manner of a shoe to the foot; they also
added volutes to its capital, like graceful curling hair
hanging on each side ; and the front they ornamented
with cymatia and festoons in the place of hair. On the
shafts they sunk channels, which bear a resemblance
to the folds of the matronly garment. The successors
of these people, improving in taste, and preferring a
more slender proportion, assigned 7 diameters to
the height of the Doric column, and 8^ to the
Ionic/*

Lib. iii. o. 1 : " The dipteros is octastylos, like the
former (pseudo-dipteros), and with a pronaos and
posticimi; but all roimd the cella are two ranks of
columns. Such are the Doric temple of Quirinus,
and the temple of Diana at Ephesus, built by
Chersiphron/*

Vitruvius (lib. vii. c. 1) says : " In four places only
are the temples embelUshed with work in marble, and
from that circumstance the places are very celebrated,
and their excellence and admirable contrivance are
pleasing to the gods themselves. The first is the
temple of Diana at Ephesus, of the Ionic order, built
by Chersiphron of Gnossus and his son Metagenes ;
afterwards completed by Demetrius, a priest of Diana,
and Paaonius the Ephesian.**

In the same chapter he previously says: "Chersiphron
and Metagenes produced a treatise on the symmetry
of the Ionic order in the Temple of Diana at Ephesus."
In book X. c. 6, he mentions the contrivances of
Chersiphron and Metagenes to transport the shafts of
the columns of the Temple of Diana at Ephesus from
the quarry to the works, and those of Metagenes, his
son, to transport the blocks of the entablatures ; as

THE ABTEHISEION, AT EPHESUS. 27

well as the blunders of PaBonius to convey, in the time
of Vitruvius, the block for the pedestal of Apollo, from
the same qnany to the temple of that god.

And in c. 7 of the same book he notices the
discovery of the quarry whence the stone was ex-
tracted for the temple.

Oiu" next authority regarding this temple is from
Pliny (lib. xxxvi. c. xiv.) : —

" A magnificent object, worthy of admiration, exists
in the temple of the Ephesian Diana, erected by all
Asia in 220 years. They built it in a marshy soil,
lest it should be affected by earthquakes. Again, as
they placed the foundations in so moving and unstable
a soil, they threw in a layer of charcoal and thereon
sacks of wool (velleribus lanae). The length of the
whole temple is 425 feet, and the breadth 220.
The 137 columns, set up by as many kings, were
60 feet in height ; of those, thirty 'Six were sculptv/red,
one of them by Scopas. Chersiphron, the architect,
directed the work. The architraves were of such a
large size, that it was a miracle to raise them. This
was effected by bags full of sand, and being brought to
the level of the caps of the columns by a slight incline,
they were gradually emptied, and so, little by little,
subsided into their proper position. But the most
difficult was the lintel placed over the doorway, for it
was an enormous block, and the architect could not
sleep, the very fear of death seeming to hang over the
event. It is said, that in the dead of the night the
goddess appeared to him exhorting him to live ; that
she set the stone in its proper position; and as it
appeared the next day, apparently settled down in its
place by its own weight.

28 AIKJHITECTURA NUMISMATICA.

** Box, ebony, and cypress are thought inde-
structible; and, by common consent, cedar of all
materials is the most so, as appears in the Temple
of the Ephesian Diana, which was erected in four
himdred years, all Asia contributing to it. The roof
is acknowledged to be of cedar beams. Of the image
of the goddess there is a doubt. Some state it to be
of ebony. Mutianus, three times consul, who saw it
and wrote about it, states it to be of the vine, and
never changed during the seven times the temple has
been rebuilt. It is said that the doors are of cypress,
and they have now lasted five himdred years, and are
as good as new." (Lib. xvi. c. xiv.)

It will be perceived, that Vitruvius positively states
the temple to have been dipteral and octastyle. Pliny
says, that there were 120 columns 60 feet in height ;
so that if the columns were, as Vitruvius states,
8^ diameters high, the diameter must have been about
7 feet ; and if we suppose the intercolunmiation to have
been eustyle, or 2^ diameters, the breadth of the front
from outside to outside of the angular colimms, that
is, the breadth of the portico, if octastyle, would be
168 ; if decastyle, 213 ; and although 4 or 5 feet might
be added to produce the total width of the upper step,
that would only give 173 feet for the breadth. With
sixteen intercolumniations on the flank, the extreme
length would be about 273, which would not approach
the 220 feet by 425, as stated by Pliny. And again,
there is the like discrepancy as to the number of
columns; for if octastyle, with seventeen lateral in-
tercolumniations, there could not be more than 104
columns, instead of the Plinian number of 120;
which, however, would be the correct number for'

THE ABTEMISEION, AT EPHESUS. 29

a decastyle temple, as laid down by Leake. (** Asia
Minor," p. 351.)

There is something very specious about the dimen-
sions and numbers given by Pliny ; and it might be
presumed, that the magnificent temple built by all
Asia to Diana, would not be less in importance than
that of her brother, Apollo, at Didyme, or of Juno
at Samos, which were decastyle. PKny only quoted
other authors. Vitruvius, on the contrary, was a
master of architecture ; perfectly acquainted with his
subject, had more positive knowledge of the matter,
and although he must have relied on others, yet he
gives his authority, Chersiphron and Metagenes, the
architects of the temple, and who wrote, as he says,
a treatise upon it.

There is no inconsistency in a dipteral temple being
octastyle, for the Temple of Minerva at Magnesia on
the Maaander, only a few miles distant, and the Temple
of Cybele at Sardis, were pseudo-dipteral and dipteral
and octastyle, as were also the Temple of Aphrodisias
and that of Jupiter at Aizani, as given by Texier in
his"AsieMineure.'* In such conflicting circumstances
one naturally recurs to an impartial witness ; and what
can be a more trustworthy one than the present medal,
which is octastyle, and thus confirms the statement of
Vitruvius ; and there is no other medal of the Bphesian
Artemiseion extant.

We may sum up the history of the temple briefly as
follows : — The Ionian settlers at Ephesus, according to
tradition, found the worship of Artemis there, or of
some deity to whom they gave the name of Artemis.
(Callim. in Dion. 238.) A temple of Artemis existed
in the time of Croesus, who dedicated in the temple

30 AROfllTECTURA NUMISMATICA.

" the golden cows and the greater part of the pillars,"
as Herodotus records (i. 92). He mentions the temple
at Ephesus, with that of Hera (Juno) at SamoSi as
among the great works of the Greeks (xi. 46) ; but
the HersBum was the larger. The architect of the first
temple, that the lonians built, was a contemporary of
Theodorus and Rhoecus, who built the Herssum at
Samos. The name of this architect is stated by Strabo
to be Chersiphron ; but this is supposed, according to
Muller, to be a corruption, and that the true reading
is Dinocrates. This temple was enlarged, and was
burned down by Herostratus, it is said on the night
on which Alexander was bom.

The temple was rebuilt, according to Vitruvius, in
the proem of his 7th book, by Chersiphron, of Gnossus,
and his son Metagenes ; according to Strabo (Ionia,
1. xiv.), by Cheiromocrates. It was afterwards com-
pleted by Demetrius, a priest of Diana, and Psdonius
the Ephesian.

Alexander, when he entered Asia in his Persian
expedition, offered to pay all the expenses of the
temple, if he might be allowed to inscribe his name
upon it as the dedicator to the goddess. This the
Ephesians declined, the women contributing their
ornaments, and the people their property, and some-
thing was raised by the sale of the old pillars. . But it
was 220 years before the temple was finished, and it
was engulfed in the swamp by an earthquake.

It would take a book, says Pliny, to describe all the
temple ; and Democritus of Ephesus wrote one upon
it. The following passage occurs in 1. xxxvi, 4, 10, of
Pliny's " Natural History :**—

" In great esteem is also the statue of Hercules and

THE ARTBMIBEION, AT EPHBStTS. 31

Hecate of Menestratus, at Ephesus, behind the Temple
of Diana. In looking at which the superintendents
(aedittd) warn people to beware, on account of the
bright reflection of the marble.*'

Mr. Akerman mentions the following remarkable
inscription, said to have been discovered in Spain.

TEMPLVM • DIANAE
MATRIDDAPV
LEIVSARCHITEC
TVSSVBSTRVXIT

Consult Choiseul GrouflBer, "Voyage Pittoresque dans
la Grrece," vol. i. p. 190 ; and Ct. Caylus, " Recueil
d'Antiquites," t. iv. p. 164.

I learn that the Imperial Cabinet of Vienna possesses

the following varieties of this medal, stated to represent

the Temple of Diana on the coins of Bphesus.

Hadrian (brass). Bey. Octastjle temple, with astragals on the
Antoninus (brass). Ditto ditto. [columns.

Septimius Severus (brass). Octastyle temple, the columns without

[astragals.

The following, also, are stated to belong to this

class, but in truth they may belong to the series,

which illustrate the small temples or tabernacles of

Diana of the Ephesians, erected in Rome or Italy,

and to which reference is more particularly made

(No. 20), where they are described.

Claudius (silver). Tetrastyle temple on four steps, columns without
Yespasianus (brass). Ditto ditto. [astragals.

Hadrian (silver). Ditto ditto.

„ (brass). Ditto ditto.

Caracalla (brass). Ditto ditto.

Maximinus (brass). Ditto ditto.

Decius (brass). Ditto columns with astragals at one-third

[the height.

32 ABOHITECTURA NUMISMATICA.

Arcliitectural Medals of Ephesus, enumerated by
Mr. Akerman, in his remarks on the coins of Bphesus,
read before the Numismatic Society, 20th May, 1841,

M 7. — ObY. deputy Kaitrap. Laureated head of Nero.

!Etev. Ai)(jwK\ri AovioXa AvOvwarw £^. Neoifcopufv. Side view

of Temple. Eckhell, Doct. Num. Vet., vol. ii. p. 159.

M lOi.-Obv. A^piavoc Kac<rapOXv/iirioc. Laureated head of Hadrian.

Bev. £^<rictfv. Statue of Artemis within an octastyle temple.

M 10. — Obv. Same legend and head.

Bev. ^Eouav Alc Nfuficopctfv. Temple of Artemis with her
statue.
M 11. — Obv. Same legend and head.

Sev. Same legend. Two octastyle temples.
M 9.— Obv. Bare head of jElius.

Bev. E0c0'i4i;v A(c Ncbficopafv. Octastjle temple, ornamented
with busts of Hadrian and ^lius, and containing
statue of Artemis.
M 10. — Obv. T. AcXcoc Kat<rap AvnavtivoQ, Laureated head of
Antoninus.
Bev. £0£0'cctfK Aic Neaiiropaiv. Three temples, each having
within it a statue, the centre one being that of
Artemis.*
M. — Obv. Avr. K. M. Awp. AvrwvtivoQ Cf/3. '

Bev. Aoy/ian CvvtjXijtov E(J>i(nwy HXiot N£ot. '* By decree of
the Senate of the Ephesians. The new suns." Four
temples, containing severallj statues of Severus,
Domna, Caracalla, and Oeta.
-^ 10.— -Obv, Avr. K. M. Avp. AvrwyeivoQ Cc/3.

Bev. 'EApeffiwy TLpwToty Ao'cac A. Neuiic. Four temples.

I must here interpose, one in my own possession, omitted bj
Akerman.

-S 11. — Obv. AvT. K. M. AvT.TophiavoQ. Laureated head of Gordian.
Bev. Efl>€<riu}y. Octastyle temple with statue of Artemis in
central intercolumniation.
M 6.— (Vaillant). Obv. Map. ilra. Cevripa Cf/5. Head of Otacilia.
Bev. E^etrtwy Koiyoy Uayiwytiay. " The community of the
Ephesians with all Ionia." Tetrastyle temple.

* The central temple is seen in face, the lateral ones in perspective.
— T, L. D.

N° 7

TEMPLE TO • TRAJAN • ROME

N° 8

TEMPLE • TO • JVPITER THE • AVENGER

No. VII.
TEMPLE OF TRAJAN.

A LARGE bronze medal in the French Cabinet,
If^ inch in diameter (M. 11), bears on the obverse
the head of Trajan, with the inscription —

IMP • CAES • NERVA E • TRAIAJNO • A VG •

GER.DACPM-TRPCOSVPP-
On the reverse is the legend —

S • P • Q • R • OPTIMO • PRINCIPI
with S • C in the exergue which surrounds a per-
spective representation of an octastyle Corinthian
temple, apparently in the centre of an open area,
with a distyle portico on either side, and in front
the representation of an altar.

The temple itself is raised on three steps, and in
front of each of the angular columns is a statue on a
pedestal. The central intercolumniation is wider than
the rest, to admit the representation of a sedent
colossal figure. The tympanum of the pediment is
enriched with sculptures, having a seated figure in the
middle and a recumbent one on either side ; and these
may be supposed to represent a much larger group,
thus condensed to avoid conftision. At each lower
angle of the pediment is a winged Victory, bearing a
trophy ; and on the apex is a larger figure, with a spear
in the right hand. An open-worked metal enrichment
runs up the inclined line of the pediment. The distyle
portico on either side is also Corinthian, the two end
columns being surmounted by a pediment, and the
lines of steps, of the entablature and roof run up in

34 ABCHITECTUEA NUMISMATICA.

rapidly-inclined perspective. Along the ridge of the
roof, and also above the upper moulding of the cornice,
is a series of open-worked ornament, apparently of
metal, producing a rich and busy effect. In front of
the temple, and in centre of the whole group, is a
colossal altar, which does not appear on other examples
of this medal, evidently representing the same temple,
but with the side porticos in less rapid perspective.

This beautifrd composition is intended, doubtless,
to record the temple erected by the Roman senate
and people in honour of this beloved emperor, and
compienced even during his lifetime, but finished by
his successor Hadrian. It formed part of the Forum
of Trajan, being one of the edifices built round the
famous Cochlid column. It may originally, perhaps,
have been intended by Trajan as the fane of some god^
and possibly its destination was changed by the senate
after his death, and then dedicated to him after his
apotheosis. Canina, in his " Storia dell' Architettura
Bomana" (parte i. cap. iv. p. 340), alludes to some
remains of this temple, consisting of shafts of columns
of red granite, discovered near the Trajan column, in
a spot corresponding with the supposed front of the
temple, together with other smaller fragments of its
architecture transported to the suburban Villa Albani —
a portion of a cornice elegantly and magnificently
sculptured, proving that its decorations were of the
best times of ancient art.

The sigles S. G. seem almost a surplusage, when the
letters S'PQ'R* appear on the legend ; but perhaps
the latter allude to the dedication of the temple as an
homage of the people and senate of Rome to their
sovereign, and the sigles refer to the medal itself.

TEMPLE OF JUPITBE AVENOEB- 35

The date may be assumed to be towards the close
of the reign of the emperor, in A.D. 117,

The whole composition has great analogy with the
fane and subordinate porticos of the Temple of Venus
and Rome, built near the Colosseum, by Hadrian, the
details of which maybe seen in Burgess's " Rome,"
and are described in the illustration of medal No. IX.

There are many varieties of these medals, with and
without the altar in front, as has been abeady noticed.

No. VIII.

TEMPLE OF JUPITER AVENGER.

The next medal is a middle brass one in the French
Cabinet, 1| inch in diameter (M. 8), struck during
the reign of the Emperor Alexander, A.D. 226 — 236,
by a decree of the senate, to Jove the Avenger ( Jovi
TJltori), possibly to commemorate the erection of a
temple to that Deity. The Father of the Gods of
Olympus seems to have been a favourite of this reign,
as Smyth, who does not notice this medal, mentions
another, CCCCIV., in honour of Jovis Propugnatoris;
but he adds, " Jovis is not common on legends with
this device.** Erizzo, however, when describing a
Greek medal of Alexander, the Roman emperor, with
the head of Jupiter Ammon, observes that Alexander
was so named in consequence of having been bom in a
temple dedicated to Alexander the Great. He affected
much to imitate all the peculiarities of his great
predecessor, who .boasted of being descended from
Jupiter Ammon ; and he struck many medals of him-
self habited like the Macedonian king in the spoils of

D 2

36 ABCHITECTURA NUMISMATICA,

a lion's skiii. We can, therefore, easily understand
the reason of his paying special reverence to Jupiter.

On the obverse is the head of the emperor, with the
legend —

IMP CM- AVR • SEV • ALEXANDER • AVG •

On the reverse of the medal is the epigraph, in
continuation, apparently, of the one just quoted on the
obverse —

lOVIVLTORI • P • M • TR • P IIICOS- II • PP-

There is a large-sized hexastyle temple raised on
three steps. In the centre the wider middle inter-
columniation displays the sitting colossal statue of the
Thunderer, with the himation sunk down to the loins,
— " the idea," as Muller observes (p. 40), " of tranquil
power, victorious rest." The pediment has a figure at
each angle, and is surmounted by a quadriga with
four horses, and a statue, doubtless of the emperor,
in the car. The temple stands in the centre of a
court or peribolus, surrounded by a portico, enclosed
by a wall towards the outside, and next the court
by an arcade, which leaves in the middle of the front
a wide open space, closed by an arched propylasa,
surmounted by statues, affording access to the temple
court, and approached by a flight of fiteps. The
exergue presents a lower level, as of a forum or public
way, outside the precincts of the temple ; and another
flight of steps leads from the lower level to the upper
one, and is enclosed by an ornamentally-pierced parapet
or " pluteus."

The whole grouping forms a rich composition, and
illustrates admirably the arrangement of this class of
temple, surrounded by a closed court.

N9 9

TEMPLE TO • VENVS • AT • ROME
NO 10

COKMFMORATIVE COLVMN -AND -TEMPLES MACEDON

No. IX.
TEMPLE OF VENUS AND ROME, ROME.

This is a large brass, 1^ inch in diameter (M. 9).
It has on the obverse the head of the emperor, with
the legend —

HADRIANVS • A VG • COS • III • P • P

On the reverse are the sigles S ' C on either side, and
in the exergue again —

EXSC

The centre of the field is occupied by a noble decastyle
temple, flanked on the left and right by a commemo-
rative column, surmounted by a statue. This group
seems to accord in so many circumstances with the
ruins of the magnificent fane erected by Hadrian on
the Via Sacra, near the Colosseum and Arch of Titus,
in honour of Venus and Bome, that the medal is now
generally accepted as being intended to represent that
edifice. There is a lofty ascent of steps up to the
plane of the colonnade, which presents a fayade of ten
columns of the Corinthian order; the central inter-
columniation being widened to offer to view th? statue
of a female on a lofty pedestal. The tympanum of
the pediment is enriched by sculptures, and the apex
is crowned by a group, which almost seems to repre-
sent Venus and Bome, with Cupid near the former
divinity. At the lower angles of the pediment are
acroteria of trophies or some other objects, the precise

38 AEOHITECTUBA NUMISMATICA.

forms not being distinguishable on any of the medals
that I have been able to consult. On each side the
temple rises a lofty pedestal, equalling in height the
flight of steps connected with it. On these pedestals
are the commemorative or triumphal columns, of the
same order and of the same elevation as those of the
portico, but ftdler in their proportions. A dwarf
entablature surmounts the capital, and on this rises a
figure equalling in height one-third that of the column.
There are several varieties of this medal, another
having the sigles S • P • Q • R over the temple, and
four statues on pedestals in front of columns, dis-
tributed at regular distances along the portico, of
which there are no indications on our medal.

This temple, which must have been one of the most
superb of Roman art, was situate in the fourth region
and variously denominated, " TEMPLUM TJRBIS—
TEMPLUM VENERIS— ROM^ ET VENERIS.**
It was designed by the Emperor Hadrian, who must
have had considerable knowledge of architecture^
acquired doubtless during his travels in Greece,
Egypt, and other countries. It is said, that the em-
percH-^ ambitious to possess the reputation of being a
great, architect, was desirous to emulate the skill of
ApoBodarus, who had executed with so much taste
and grandeur the gorgeous group of the Trajan
Forom^ with its ample court, its basilica, CochHde
pillar^ libraries, temple, and porticos, and to excel
the Greek architect of Trajan. ApoUodorus had been
sent into exile ; but even there the genius of that
great artist followed him, for the emperor, anxious to
ascertain his opinion of the design for this temple,
which he iiad prepared, sent it to him. ApoUodorus^

TEMPLE OF VENUS AND HOME, ROME. 39

with indiscreet freedom, called in question various
details of the imperial design. Hadrian, who could
not brook the criticisms of the architect, according to
the statement of Dion Cassius (^'Histor. Bomsd,"
1. Ixix. p. 1153), ordered the head of the incautious
critic to be cut off. Mr. Burgess, in his valuable
work on the ^* Topography and Antiquities of Rome"
(vol. i. Diss. VI.), records the researches of the Signer
Pardini, an able Lucchese architect, who made the
existing remains of this monument his especial study.

The temple was decastyle pseudo-dipteral, and was
divided in its length into two cellas back to back, the
one dedicated to Rome and the other to Yenus ; the
division wall between the two having colossal niches,
in which, it is to be inferred, were the statues of the
two divinities. The celld9 were vaulted and possibly
hypethral; but this point cannot be decided, for
although a considerable portion of the vaulting still
remains with its rich coffering, yet not enough of the
central part exists to prove whether there was an
aperture in the centre, as possibly there might have
been. The general construction was of commoner
materials, travertine, stone, and brick ; but the
external casing, columns, and principal features were
of marble, the columns being, according to Signer
Pardini's calculation, 6 ft. 2*4 in. in diameter, and
consequently rising to the probable height of nearly
60 feet Enghsh ; the cella itself being about 90 feet
high. Such were the magnificent proportions of the
sacred fane, as presented to us in the medal ; but it had
majestic accompaniments, that contributed to its glory.
The conception of the emperor-architect must noi
fall short of the position^ which his edifice occupied in

40 ABCHITECTUKA NUMISMATICA.

reIa4ion to the wondrous magnificeDce of the Boman
Forum, and the gigantic proportions of the Flavian
Amphitheatre, between which it stood, and with which
it could not admit of rivahy. It must also be worthy
of the supreme deities there worshipped, and of the
exalted rank of the architect. The platform, the centre
of which was occupied by the fane to Venus and
Borne, mistress of the world, was raised considet^bly
above the general level of the area of the Forum
and of the Via Triumphalis, which passed at its side.
Towards the Colosseum there was a lofty terrace,
above 25 feet high, thus giving the sacred edifice
a commanding elevation. But the area was also
surrounded by a colonnade 70 feet distant from the
peristyle of the temple; this continued round the
two sides and the Forum end of the precinct, but
next the Colosseum it was left open and exposed to
view. In the mid-length of the temple, and near the
lateral subordinate porticos, uprose the commemorative
columns shown on the medal ; thus presenting a most
gorgeous group, gigantic in size, harmonious in pror
portions, and of a vastness and richness of detail and
materia], that must have been most impressive, the
very pavements being of choice marble.

Those, who have not minutely entered into the con-
sideration of all the accompaniments and parts of these
heathen temples, now unhappily to be contemplated
only as fragments, and who have been accustomed to
see our Gothic cathedrals in all their completeness,
are apt to imagine that the temples of classic antiquity
will not bear comparison with the grandeur and variety
of the buildings of the mediaeval period. But if
the former be carried out to their just conclusion, if

T£MPLE OF y£NUS AND BOM£, BOHE. 41

the imagination of the well-informed architect rises to
all 4he imagery embodied in those majestic fanes of
heathenism, it will be found, that they did not fall
short of aU those elements of grace and grandeur, and
even religious sentiment, which are by some considered
the peculiar attributes of the Gothic cathedrals. The
area occupied by the Temple and Court of Venus and
Bome was about 530 feet long, by 380 feet wide.
The Temple of Jupiter Sol at Heliopolis (Baalbec), as
shown on the plan given in this Volume (see Nos. 34
and 35) covered a surface of 850 ft. by 450 ft. ; the
level of the courts was 25 feet above the general
surface of the country, raised on substructions. The
whole consisted of marble ; the shafts were of blocks
of a magnitude which the mediaeval architects never
contemplated, and the carving was elaborate through-
out. When all this assemblage of groups of buildings
were complete, the niches filled with statues, the
courts enriched with votive offerings and altars, and
all the sumptuous splendours of heathen rites were
solenmized, although the temple itself may not have
equalled in length some of our largest cathedrals, nor
the towers have risen with such aspiring loftiness as
the spires of Salisbury or Strasburg ; yet their beauty
and magnificence consisted in other elements of the
sublime no less imposing, and to the heathen mind
creating emotions in connection with their poetry and
mythology no less religiously impressive.
. See Caristie's " Plan du Forum Romain.'*

42 ABCHITBCTURA NUMISMATICA.

No. X.

TEMPLES AND COMMEMORATIVE COLUMN,
MACEDON,

This bronze medal, one inch in diameter (M. 6),
is one of a numismatic series of tlie same sub-
ject, variously represented. This has a head of
Alexander the Great on the obverse with the name
AAEEANAPOT. The reverse has the fronts of two
tetrastyle temples of the Ionic order with one step,
and each surmounted by a pediment with acroteria at
the summit and at the angles. Between the temples is
a commemorative column of the Corinthian order,
without any pedestal, the base resting inmiediately on
the ground. The column rises higher than the apex
of the pediments, and is surmounted by a statue, the
height of which equals two-thirds that of the column.
It is in an heroic attitude, with the inverted hasta in
the right hand, and the parazoniimi in the left. The
figure is clothed in simple armour, and is repeated
singly on the reverse of various medals of this con-
federacy. There are the words —

KOI • MAKEAONON

Meaning the community (KOlvov) of the Macedonians.
This and other medals like it exist in the British
Museum ; but there are also others examined by me in
the Hunterian Collection at Glasgow, noticed in the
catalogue of Taylor Coombe. The reverse of these

TEMPLES AND COMMEMORATIVE COLUMN, MACEDON. 43

latter present also hexastyle temples, but in per-
spective; in general arrangement, however, they are
like the lower temples of the Neokor medals of
Pergamos (see No. XL.), with a column rising up
between them as in this example. From the numeral
letters on the exergue of some of this series, B.N.C,
the date of these medals may be supposed to be about
the time of Caracalla, A.D. 211 — 217, or of Alexander
Severus, A.D. 222-«-235, who affected affinity to the
Macedonian king ; and they may record temples dedi-
cated to the worship of Alexander, and a column
between the two erected to his honour, very possibly
by the Macedonian confederacy out of compliment to
the Boman emperor, and recorded by this medal.
There were apparently some letters on the exergue of
this medal, but it is impossible to decipher the precise
form, being much defaced; they probably indicate
merely the date, as already stated*

This is the earliest numismatic record that we have
of a columnar monument in honour of an individual
in Greece; but it is at least one hundred years
posterior to the time of Trajan, whose column forms
the special subject of a medal (No. L.). But it would
be unsafe to assign the date* of the erection, whether
as a purely Greek tribute, or one originating under
the Roman rule.

See J. J. Gessner, " Numismata Regum Macedoniae."

Tab. III. Fig. 8.— Two tetrastyle temples in perspective. No
column.
„ 18. — Two hexastyle temples, with colamn crowned
by a figure between them.

Of this second one (fig. 13) Gessner says : " Duo

44 ARCHITECTURA NUMISMATICA.

templa in quorum medio columna, cui vel Jovis vel
Minervsa statua insistit/'

Tab. III. Fig. 9. — Miles armatus, d. hastam, s. parazonium.

,, 14i. — Two hezastjlo temples seen in front. No
column.

Of these several medals there are five examples in the
British Museum.

]Mo ]i

PFKi^lF T'; JVPiTI^H Vn.'RlT-r^S .A^^ITO! RCKF.

No. XI.
TEMPLE OF FERETRIAN JUPITER, CAPITOL, ROME

The next illustration offers itself in a small silver
consular medal of the Olaudian family, possessed by
the British Museum, ^ of an inch (M. 5) in diameter.
On the obverse is a head, supposed to be the portrait
of M. C. Marcellus, the conqueror of Sicily, struck
by his descendant, Oomelius ?• Sertulus MarceUinus,
B.C. 18, with the Sicilian symbol, the triquetra, or
triple leg, and the name MAROELLINVS. It re-
presents on the reverse Marcus Claudius Marcellus
dedicating the spolia opima^ a term by which those
trophies were specially known, that a general had
taken from the body of a general of the enemy,
whom he had himself slain. These were in all cases»
agreeably to the original institution, dedicated to
Jupiter Feretrius (Brosini, 1. x. c. 29), in his temple
on the Capitoline Mount (Bosini, 1. ii. c. 5), originally
built by Bomulus, and respecting which Propertius
wrote the following lines (1. iv. eL vii.) : —

'^ Causa Feretri,
Omine qnod certb dux ferit ense dacem,
Seu quia victa suis humeris htec arma ferebant ;
Hinc Eeretri dicta est ara superba Jo^s."

Dionysius mentions, that this temple was on the
very suinmit of the Capitol, on a plot traced by
Bomulus himself, of no . great extent, for it did
not exceed fourteen feet in length. There Bomulus

46 AECHITECTUItA NUMISMATICA.

deposited the spoils he had won from Aero, king
of the Caeninenses ; the next were placed there by
Aulus Oomelius Cossus, taken from Lar Tolumnius,
king of the Veientes ; and the third by M. Claudius
Marcellus from Viridomarus (or BgiTo/togro^ according
to Plutarch), king of the Galsalae ; — ^the three occasions
noticed by Propertius—

'' Armaque de ducibas trina reoepta tribus."

Indeed, the whole elegy well deserves perusal, from its
elegant allusions to the several occasions of the spolia
opima.

Oomelius Nepos states, in his life of Atticus, that
Augustus restored the roof, decayed by time and
neglect, Marcellus is represented on the medal in
vigorous action, covered by a veil, carrying his trophy,
consisting of a helmet, cuirass, and shields, and about
to mount the steps which lead up to the four-columned
portico of the temple, and within which is perceptible
an altar or altar-table. Inside the cella were deposited
the spolia opima. The aspect of the temple presents
a simple character, indicative of a remote antiquity.
The order is Tuscan; the columns are raised on
a lofty stylobate, and have above them a plain
entablature without triglyphs, surmounted by a high
pitched pediment, the upper inclined line being fringed
with a raised ornament, and the angles decorated with
acroteria.

This primitive and simple character of the enrich-
ments, and the small size of the temple, concur with
the early date of the building and the description of
Dionysius, and prove the exact correspondence of the
features here presented by the medal.

TBUPLB OF FBBETBIAN JUPITER, ROME. 47

The field on each side of the temple is occupied by
a Tertical hne of inscription thus —

Plutarch, in his life of Marcellus, records this cir-
cumstance in his life in the following words : " The
senate decreed a triumph to MarceUus only; and
whether we consider the rich spoils that were displayed
in it, the prodigious size of the captives, or the
magnificence with which the whole was conducted,
it was one of the most splendid that were ever seen.
But the most agreeable and imcommon spectacle was
MarceUus himself, carrying the armour of Viridomarus,
which he had vowed to Jupiter. He had cut the trunk
of an oak in the form of a trophy, which he adorned
with the spoils of that barbarian, placing every part
of his arms in handsome order. When the procession
began to move, he mounted his chariot, which was
drawn by four horses, and passed through the city
with the trophy on his shoulders, which was the
noblest ornament of the whole triumph. The army
followed, clad in elegant armour, and singing odes
composed for that occasion, and other songs of
triumph in honour of Jupiter^ and their general.
When he came to the Temple of Jupiter Feretrius,
he set up and consecrated the trophy, being the third
and last general who, as yet, has *een so gloriously
distinguished.*' — (Langhome's Translation.)

48 ABCHITECTURA NUMTSMATTCA.

Theire seem to have been three classes of " spolia
opiTna ;" the law of Numa Pompilius, in regard to the
first, is expressed in these terms : —

QVOIVS A VSPICIO CLASSE • PROCINCTA-

OPEIM A • SPOLIA • CA PI VNTVR • lO VEl FE-

RETRIO • BO %E;M • CAEDITOQVEI • CEPIT •

AERISDVCENTADARIEROPORTETO

The custom of dedicating the spoils of a conquered
king is of remote antiquity, as witness the conduct of
the Philistines mentioned in the tenth chapter of the
First Book of Chronicles, as also in the Book of
Kings, They stripped the body of Saul, and took his
head and his armour, and put. his armour in the house
of their gods (Ashtaroth), and fastened his head in the
Temple of Dagon.

No. XII.

TEMPLE OF JANUS, ROME

This large brass metal, from the British Museum
collection, is If inch in diameter (M. 10), and bears
on the obverse the head of Nero, with the words —
IMP • NERQ • CAESAR . AVG • PONT • MAX •

TR • POT P • P

The reverse presents us with the representation of a

T^emple of Janus, with the legend —

PACE • PER • TERRA • MARIQ • PARTA •

JANVM • CLVSIT

Peace having been produced by land and sea, he shut the Janus—
and the sigles S • C

l^EMPLE OF JANUS, ROME. 49

As here represented, the Janus is in perspective,
Bho¥ring the side and end, and is a mere cella of
an oblong or quadrangular form, having pilasters at
one end; the whole space of the opening between
being occupied by a large single- valved door, having
two panels in width and three in height, with a
knob at the intersection of the middle style and
rails, and in the middle of each panel. The upper
part of the two middle panels have also a knocker or
handle, represented by a ring hanging from the mouth
of a cranion or Uon*s head.

The aperture of the doorway is surmounted by an
arch springing from the architrave, and a festoon
hangs from angle to angle.

There are one or two mouldings to figure the cornice,
but above these is the continuous line of a high
crowning parapet, richly decorated with a honeysuckle
ornament. The flank has five courses of stone or
marble, with horizontal and vertical channellings for
three-quarters of the height of the pilaster ; the rest
of the height to the frieze is divided into apertures,
five in the length and three in the height, as though
intended for windows. On this side is a regular
division of the entablature into an architrave, firieze,
and cornice; the firieze being overpoweringly lofty, and
filled with a richly-designed flowing piece of elegant
foliage. The parapet above described runs also along
the fliank above the entablature.

There are many varieties of this medal, struck by
different emperors. In some the temple is repre*
sented in the reverse directions, the doorway being to
the left instead of to the right; and several other

50 ARCHITBCTUBA NUMfSMATICA.

differences of detail, but all essentially give the same
general features.

The original Temple of Janus, at Borne, was built
by Quirinus or Bomulus. Macrobius (1 Saturn, c. ix,)
says: "We invoke the double-headed Janus, Janus
as it were the father-god of the gods; Quirinus
Janus, powerful in war ; Janus Fatulcius and Clausius,
because his doors are open in war, closed in peace/^
He attributes the origin of the rites of Janus to
the Sabine war, — "when," he says, "the enemy,
rushing into the city through the Porta Janualis, were
overwhelmed by a vast torrent of boiling water,
which impetuously flowed from the Temple of Janus ;
on which account they decreed, that in time of
war, as the God had come to the aid of the city,
his doors should be open.'* The Janus Quirinus,
according to Suetonius (Oct. c. xxii.), had been for
the third time closed by the Emperor Augustus —
" Janum Quirinum ter clusit ;" it having been pre-
viously closed by Nimia, then by T. ManUus Tor-
quatus, after the first Punic war. (Hor. Carm. lib. iv.
ode XV.)

Canina (Architettura Bomana) places such a build-
ing in the centre of the court of the Hieron or Forum of
Nerva. He has surmounted it with a colossal four-
£a.ced terminal bust, Janus being represented with two
or four heads, bifrons et quadrifrona.

A large square archway, near the arch of the
Goldsmiths in the Forum Boarium, at Bome, and
which is penetrated on both its axes by an archway,
is traditionally identified as a Janus, He and Yer-
tumnus were considered to preside over those who
bought and sold in the markets, and near their

TEMPLE OP JANUS, EOME, 51

statues and temples were the shops of the booksellers.
Hence, Horace, Epist. ad Librum suvm : —

" Yerfcuranum Janumque, liber, spectare videris.'*

According to Rossini Dempster! (Rom. Antiq. Corpus,
lib. ii. 0. iii.), there was also a temple of Janus Quadri-
frons, with four doors, in the Roman Forum, built
by Augustus ; also one of Janus Ouriatius, built by
Horatius, after the celebrated combat of the Horatii
and Curiatii ; and a Janus Septimianus, probably built
by Septimius Severus.

In fact, Jani Quadrifrontes existed throughout all
the regions of the city, some incrusted with marble
and adorned with military ensigns and statues, two
of which especially were at the Arcus Fabianus.
The various annotators on Horace fully refer to all
these.

The following lines from Virgil mark the ceremonies
and solemn manner in which the Temple of Janus
was opened or shut (^neid, vii. 607) : —

'' Sunt geminfld belli port® (sic nomine dicunt),
Beligione sacne et BSBTi formidine Martis ;
Centum flerei claudunt Tectes, letemaque ferri
Bobora, nee custos absistit limine Janus.
Has ubi certa sedet patribus sententia pugnsBy
Ipse, Quirinali trabeft cinctuque Ghibino
Insignis, reserat stridentia limina consul," &c.

There were several medals of Janus struck by
Hadrian, Antoninus, Pertinax, and Gallienus, with
slight variations; and some with the figure only of
the god.

Eckhel (vol. i. p. 129) mentions a curious instance
of error (in mendosa literarum metathesi) as occur-

£ 2

62 AEOHITECTTJBA NUMISMATICA.

ring in one of these medals, where the words lANVM •

CLVSTI are put instead of lANVM • OLVSIT •
There are medals of Augustus and Nero, bearing on
I the reverse a simple elevation of the end of a Janus,

I a pilaster at each angle, and a small circular-headed

door in the centre, with the letters IAN. CLVS.

The words " Terra marique pace parta," were a
I frequent formula upon the moneys and statues of

Augustus, agreeably to a decree of the senate after

the defeat of Sext. Pompey,

N^ 1:

:enple to mars cr armovr clad victory

TEMPLE • TT' AV:^>VSTV^

No. XIII.
TEMPLE OF MARS, ROME;

OB,

NEIKH OnAO^OPOS
(AEMOTJE-CLAD VICTOET).

This bronze medal exists, of various sizes, in the
French Cabinet, one of them If inch in diameter
(M. 10). Another, in Mr. Hobler's possession, is a
middle brass, one inch in diameter. Our present ex-
ample, taken from the French collection, has on the
obverse a head of the emperor, with the legend —

IMP • GORDIANVS • PIVS • PEL • AVG

The legend on the reverse is VICTORIA • AVG-
Victoria Augusti. We have here a circular temple
of the Doric order, with a tetrastyle portico in front,
above the pediment of which rises a dome, surmount-
ing the. cornice of the cylindrical wall of the circular
c^lla. The entablature of this portico runs round the
circumference of the temple. Within the tympanum
is the word NEIKH, and on the frieze, in large
characters occupying the width of the portico, the
word OnAO^OPOC, meaning " Armour-clad Vic-
tory."

The portico appears to be in antis, and to project
from the circular face of the cella, which it must
do in order to motive the pediment. The central

54 AECHITECTUEA NUMISMATICA.

intercolumniation is conventionally widened as usual,
and discloses what might be supposed to be Mars
armed, but which, according to the inscription, may
be Victory clothed in a warrior's armour, the casque,
the cuirass, and greaves ; holding in her right hand
the spear, and standing upon a pedestal.

The intercolunmar lateral space next the antae or
pilasters, is latrated or fiUed in with open lattice- work,
of which examples are to be foimd in several bassi-
relievi. The antae, or pilasters, show their return faces
to the columns ; and it wiQ be perceived that there is
an additional width beyond the pilaster. Three lofty
steps, occupying the whole width of the temple, lead
up to the portico.

This noble representation of the sacred edifice, which
occupies a principal portion of the field of the medal,
is flanked on each side by a group of great interest.
On the left is the emperor, in the pontifical robes,
ofiering a sacrifice on an altar, fi*om which arises a
flame ; and he is accompanied by a group of attendants,
two of whom appear. On the opposite side of the
temple is the sacrificator, with the raised axe about to
slay an ox, which is kneeling on its fore knees, and
behind which is an assistant to the sacrificator. These
groups, which recall the cartoon of the sacrifice at
Lystra by Eaphael, are artistically arranged, so as not
to intercept any portion of the temple, and are of such
fiill size as with the lettering and temple to occupy
entirely the field of the coin.

This goddess (Fausanias, Attica, c. xxii.) had various
appellations. Attached to the propylea of the Acropolis
at Athens was the Temple of NIKH • AHTEPOC
(Wingless Victory). And it is curious to remark the

T£MPLB OF MABS, SOME. 55

Greek characters on the front of this temple, as though
it were intended to represent a Greek &.ne ; but the
form of the temple and style of the architecture pre-
clude that supposition. The question, then, arises, In
commemoration of what victory of the emperor was
this medal struck, and where did he offer this sacrifice P
Bossini (lib. ii. c. 10) states that at Rome the goddess
Victory had three temples, two aediculsB, and one grove
and altar. The most ancient was on the Aventine,
built, according to Dionysius Halicamasseus, by the
Arcadians. Another was on the Palatine, on the spot
where had formerly stood the house of P. Valerius
Publicola, and which L. Posthumius caused to be built
in his curicle edileship with the moneys raised by
fines. In this the Roman matrons worshipped an
image of Mars, brought from Pessinus, before his
own temple was consecrated. M. Fortius Cato, when
consul, vowed in the Spanish war an a^dicula to
Virgin Victory, according to Livy; and the same
author mentions a golden statue * of Victory, weighing
320 pounds, sent by Hiera, king of Sicily, as a mark
of congratulation, and placed in the Temple of Capi-
tohne Jove. But in the enumeration no notice is
taken of a temple to N/xi) OxXo^ogo^. Millin (Gallerie
MythoL, PI. XXXTX. 160) also gives an illustration
of a consular medal of the Cossutian family with a
Nixij NixKi^ofos (a Victory-bearing Victory), as she
holds a Victory in her hand. Jupiter and Minerva had
medals of Nikephoros. Eckhel (vol. vii. p. 314) notices
three medals of this subject, which he classes under
the term " Antica incerta.** One has the inscription

* The Victory in the middle of the pediment of the temple at
Olympia was gilt. (Fausaniasy Elis, c. x.)

56 ABCHITEC5TUBA NUMISMATICA.

©EOT 6nAO*OPOr with the legend MART • yiC-
TOR; another 0EOS OnAO*OPOS and VIC-
TORIA • AVGVSTI ; and a third is the same as our
illustration. It is worthy of remark, that in these
inscriptions the sigma is written with the S and C ;
the % from the time of Hadrian being rarely used^
and after Antoninus Pius never.

Bckhel considers these medals to have been struck
in commemoration of the Eastern conquests of the
emperor, which oflTers the presumption of its being a
provincial coin ; but he does not decide whether the
statue in the temple is meant to represent Mars
Armiger or Victoria Armigera. In the two first
temples it appears most probable to have been intended
for the god ; in the last instance, which is ours, for the
goddess.

There are frequent instances of bilinguar inscrip-
tions on Greek and Roman and provincial medals;
and Eckhel (vol. i. p. 93) quotes these medals as
illustrations of that usage.

No. XIV.
TEMPLE TO AUGUSTUS.

Another example of a circular temple occurs in the
brass medal of large size, l-j^ inch in diameter (M. 10),
containing on its reverse a circular peripteral temple.

The legend on the obverse is DIVVS • AVGVSTVS'
PATER round the head of the emperor, and proves

TEMPLE TO AUGUSTUS. 57

that this medal was struck after the death of Augustus,
and represents one of the numerous temples erected
in his honour and to his worship in Rome and the
provinces. During his life, when the servile flattery
of his admirers had resolved upon erecting a temple
to him, he revised the dedication unless he were
associated with Eome, and he destroyed various silver
statues raised to his premature deification. His
successor, anxious to give greater solemnity to the
acts of him, by whose will he succeeded to the empire^^
had him deified some twenty years after his decease,
upon which temples and altars were raised to his
worship throughout the Eoman rule.

This medal appears to record one of these sacred
edifices, and seems to be placed within a precinct
surrounded by a lofty waU, upon the extremities of
which, or on piers, are two animals, which we may
presume to be a calf and a lamb. The temple has
three steps leading up to the Corinthian portico, which
encircles the cella. A doorway is in the centre, but
in my impression of the medal I do not perceive any
indication of a statue. The cella was probably domical,
but covered on the exterior by a flattish conical roof,
the ridges to the tiles or slabs being clearly dis-
tinguishable.

Eckhell says : ** Sacrarium Eomaa D. Augusto
aadificatum a Tiberio, domumque Nold9 in qua decessit,
in templum refert Dio (1. Ivi. p. 46) ut Plinius
(1. xii. s. 52). In Falatii templo, quod fecerat D.
Augusto conjux Augusta, proponitur illud in numis
CaligulsB, serius in numis Antonini inscriptis :
TEMPLUM • DIVI • AVG • EEST.

'* Bina animalia, quad hinc et illinc comparent, et ab

58 ABGHITEGTUBA NUMISMATIGA.

aliquibus pro bove et ariete habentur, eleganter a
Fatino explicantur citatis versibus Prudentia : —

Hunc morem yeterum docili jam state secuta,
PoBteritas mensa atque adytis et flamine et aria
AuguBtam aluit, YITYLO plaoavit et AQNO,
Strata ad pulvinar jacait, reaponsa poposdt.
Testanttituli, produnt oonsulta BenatuSy
CAESABEYM Jovis ad spedem Btatuentia TEMPL A.

Et Yituli ad Augosti aram mactati meminit marmor/'
— " Gruterianum," p, 223, n. 8.

Suetonius (Aug. c. 52) states, tliat although Au-
gustus knew that many proconsuls wished to decree
him temples, yet he would allow none to be so dedi-
cated, unless they received the double ascription of
the name of Rome as well as his own. For in the
city he most pertinaciously abstained from this honour ;
and being informed that certain statues in silver had
been dedicated to him, he ordered them to be melted
down, and causing tripods to be made of the silver,.he
had them gilt, and placed them in the temple of
Palatine Apollo. (Dion, lib. 51.)

N-^ lo

TEMPL£ OF KFLICERTES COR > NTH

No. XV.

TEMPLE TO JUPITER.
EX ORACULO APOLLINIS.

This brass medallion, 1-^ incli in diameter (M. 12),
exists in the French cabinet. On the obverse it has
the heads of Philip I. and Octacilia his wife, with the
legend—

CONCORDIA • AVGVSTORVM

We may give the date of A.D. 244 to this medal.
On the reverse is a circular temple, with the words —

EX • ORACVLO • APOLLINIS •

the meaning of which Eckhel (vol. viii. p. 321) seems
to consider uncertain, it being impossible, without
fiirther information than history fiimishes, to know to
what circumstance to attribute the medal: whether
to Philip's having accepted the empire in consequence
of some response or prophecy from the oracle of the
Delphine or Oapitoline Apollo, who is probably alluded
to by Virgil in his -^neid (viii. 720) —

*^ Niveo candentiB limine Phcsbi;*'

Or, as I think, it may apply to his having erected
a temple to Jupiter by direction of that god, which
this medal might be intended to commemorate. Buo-

60 AECfllTECTUEA NUMISMATICA.

narotti and Venuti both allude to this coin. The
temple is circular and apparently pseudo-peripteral;
but this cannot be positively asserted, for the conven-
tionalism of numismatic representations might permit
it to represent a peripteral temple, that is, with a
detached colonnade encircling the cella. The colon-
nade is raised upon a lofty stylobate, equalling
two-thirds of the height of the columns; and the
stybolate has a regular plinth and base mouldings,
die, and surbase mouldings, like the Temple of Vesta
at Tivoli. A narrow flight of steps leads up to the
peristyle, which is represented by four colimms. In
the central intercolumniation is a wide and lofty
doorway, which is open, and discloses to view a
colossal sedent figure of the god, having in his right
hand a patera or some such object, and resting his
Upraised left hand on a staffs

' An excessive height, equalling that of the stylobate,
is given to the entablature, which consists of a regular
architrave, frieze, and cornice ; the latter is repre-
sented in perspective surmounted by an enriched
open fret-work. A conical dome (tholus) crowns the
whole ; itself surmounted by s, noble-sized eagle, the
emblem of Jupiter, seated on a ball or globe.

Venuti sees in his medal three idols, which he
supposes to mean Capitoline Jove, Pallas, and Juno.

Suetonius, in his life of Augustus, alludes to a
temple to Apollo in the palace, and in a note is given
a woodcut of a medal representing on the reverse an
hexastyle temple with the letters on either side,
APO — LLIN; but whether this was the temple on
the Capitoline or Palatine hill does not appear.

No. XVI.
TEMPLE OF MELICERTES, CORINTH.

The bronze medal of Lucius Verus (A.D. 161 — 169),
one inch in diameter (M. 7), was struck at Corinth ;
it has on the obverse the head of the emperor, with
the titles —

IMP • CAES • L • AYR- VERVS • AVG •

The reverse gives the elevation of a Corinthian cir«.
cular temple, consisting of a rustic basement with a
round-headed aperture or doorway; on this rises a
monopteral colonnade, six columns of which appear
surmoimted by a cornice. Above is a dome, having
the outside surface sculptured with leaves or scales,
somewhat, though in a ruder style, like the dome of
the choragic monument of Lysicrates at Athens. A
central ornament rises above the summit, of the dome.
The middle intercolumniation is widened, in order to
display Melicertes on the back of a dolphin ; behind
this group is a fir-tr^e, and on each side of the temple
is a tree to indicate a grove.

Pausanias, in the 44th chapter of his book on Attica,
is leading the traveller from Megara to Corinth, and
taentions a narrow part, where there are several rocks
consecrated by various traditions. " From the rock
Moluris, it is said that Ino cast herself, with her
youngest son, Melicertes, when the elder son, Learchus,
had been killed by his father, Athamas. The body of
the child having been carried on the back of a dolphin

62 ABCHITEOTUBA NUMISMATICA.

towards Corinth, Melicertes obtained, nnder the name
of PalsBmon, various honours ; among which was the
institution of the Isthmian games." The fir-tree was
preserved (Corinth, c. i.) at the time of Fausanias ;
and an altar, near which the body of Melicertes was
carried by the Dolphin. " The Temple of Melicertes
or Palsamon (Corinth, c. ii.) was in the precinct of the
Temple of Neptune. The temple, called * Adyton*
(secret), has the entrance under ground^ and Palaemon
(Melicertes) is said to be hidden there." I am led to
conclude fi:om this passage, that the Adyton is meant
to be here represented. The trees on each side figure
the grove of the precinct of the Temple of Poseidon.
Melicertes is shown lying on the dolphin. The fir-
tree is within the temple, which was most probably
enclosed ; but here, by a dramatic licence, the interior
is laid open to view^ And lastly, the arched opening
beneath the dolphin represents the subterranean
{itTToyuog) entrance of Pausanias.

The letters C*L-I-COR on the exergue mean Co-
lonia, Latina, Juha, Corinthia, according to Erizzo;
others suppose the letter L to stand for Laus. I leave
that difference of opinion to the decision of the learned
numismatist. A similar legend appears to have pre-
vailed on the coast of Syria, recorded by various
classical authorities, and particularly in a story of
Oppian*s, elegantly translated many years since by Dr.
Milner, Dean of St. Paul's. The following is Elian's
version (" Hist. Animal." 1. vi.), noticed by a corre-
spondent in the Athencemn Journal, 1853, p. 655 : —

" A boy of Jassus or Jasus — ^a town in the island
of that name on the coast of Caria — contrived to
familiarize a dolphin, and by degrees trained th^ fish

TEMPLE OP MELICEKTES, CORINTH. 63

to carry him, so that the wondering islanders frequently
saw him bounding through the sea on the back of his
aquatic friend. The fish, like a faithful steed, was
always ready for the excursion, when its master came
to bathe, after the exercises of the gymnasium ; but
on one unhappy occasion the boy, fatigued with his
exertions, threw himself carelessly on the dolphin's
back, and received a mortal wound from one of the
dorsal fins, while it was expanded. The sequel is in
keeping : — ^the dolphin, bounding away, became aware,
first by the inert weight, then by the blood-stained
waves, of the fatal accident. He resolves not to
survive his lord ; and still bearing the lifeless child,
' with the swiftness of a Bhodian ship,' dashes himself
to death against the rocks, ^lian proceeds to tell
us that a common tomb received them, and that the
story of the boy and dolphin was commemorated not
only in a marble group, but on the coins of the place."

A marble group, supposed to represent this subject,
has been attributed to Raphael upon the authority of
a passage in a letter of Count Baldassare Oastiglione,
BaphaeVs friend, three years after the great painter's
death. Writing from Mantua, the 8th of May, 1523,
to his agent in Bome, he says : " I wish to know, if
he (Giulio Bomana) still has that child in marble by
the hand of Baphael, and what would be its lowest
price." — ^Lett. Fitter, v. p. 255.

InCavaceppi's « Baccolta d'Antiche Statue" (1768),
1, PI. XLIV., we find a representation of the wounded
child, bome by a dolphin, with an Italian title to this
effect : " A dolphin carrying to the shore a boy, who,
while sportively conveyed by the fish through the sea,
was accidentally killed by one of its spinous fins ; a

04 ARCHITECTURA NUMISMATICA.

work of Raphael, executed by Lorenzetto, and now
in the possession of his excellencry M. de Breteuil.'^

This assertion of Cavaceppfs has been demurred to,
on the ground of the inferiority of skill in Lorenzetto,
who was supposed to be incapable of producing a work
of the merit shown in an existing group, considered
to be the one executed by Raphael, and which formed
one of the objects of the Great Exhibition at Dublin
in the year 1853.

" With regard to the migration of the relic in
question to Ireland, it appears that its late possessor,
the Earl of Bristol, Bishop of Derry, who resided some
years in Rome, obtained it either from M. de Breteuil
or from some subsequent collector. Passavant, in his
life of Raphael, states that he was unable to trace it.
The merit of publishing the fact that it existed at
Down Hill, belongs to a writer in the Penny
Magazine, July 17, 1841, in which number a wood-
cut of the group is given. Sir Charles Eastlake noticed
this in his * Contributions to the Literature of the
"Fine Arts,' p. 257 ; and having called the attention of
the Dublin Exhibition Committee to the circumstance,
alluding to it also at the dinner of the Royal Academy,
the present possessor. Sir H. Hervey Bruce was re-
quested to allow it to be exhibited, and he immediately
consented." — Lett. Pittor. v. p. 255.

With regard to internal evidence, Passavant, who
had seen a cast of the marble in question at Dresden,
observes : " Judging from this cast, it really appears,
that not only the conception, but, in part, the execution
may be ascribed to Raphael. The natural, beautiful
position of the child, the treatment of the head and
hair, the form of the dolphin's head, which closely

TEMPLE OF MELICEETES, COEINTH. 65

resembles that in the fresco of the Qulatea ; these and
other indications are so many grounds for concluding,
that we have before us the statue of the child mentioned
by Count Castiglione/'

It was probably that friend of Raphael who sug-
gested the subject, which he had found in jiElian.
" The cast at Dresden was formerly in the posses-
sion of Mengs, — ^no unsldlfal judge of the works of
Raphael.''

Li the possession of Lord Viscount Palmerston, at
his seat, Broadlands, Hants, is a group of the same
subject attributed to Nollekens,

G6 ARCHITECTUBA NUMISMATICA.

No. XVII.
TEMPLE TO MAETIAL JUNO.

In order to continue our illustrations of the circular
temples, we will now consider the representation of
one upon a brass medal 1 ^ inch in diameter (M. 9),
with the head of the emperor on the obverse and the
legend of

IMP • CAES • C • VIBIVS • TREBONIANVS •
GALLVS • AVG

who reigned for the short period of only three years,
between A.D. 251 and 254.
The reverse bears the words —

IVNONI • MARTIALl • S • C

It is in Captain Smyth's collection, No. 478. In the
middle is a circular monopteral temple, in the centre
of which is a female seated on a throne, having on
one side a peacock, emblem of Juno. She appears to
hold pendent in her right hand an object, of which it
•has puzzled writers on coins to determine the exact
purport and meaning — ^whether an olive-branch, ears
of wheat, or heads of lances, shears, or a bunch of
herbs. Eckhel (vol. vii. p. 359) supposes it a pair of
shears, — " forficulam offerre." Smyth himself oflfers
no conjecture. It may possibly be^neant for some
portion of armour or military trappings, or a wreath.
However, my object is less with such a detail than the

N^ ] "^

TKKPL.r.OF KARTIAL JVNO

N-^ 18

TEMPLE TO VESTA ROME

TEMPLE TO MARTIAL JUNO. 67

architectural features. The temple is raised on three
steps, and a circle of columns surmounted by a dome
constitutes the fane. The order is Corinthian, with a
rich entablature, the fiieze having series of wreaths,
and aU the members being sculptured, but not in
very good taste, as we might infer from the date, A.D,
251-4, when the arts were in a state of decline. The
outer face of the dome is highly decorated with
radiating circular roUs and intermediate fillets, pro-
ducing a pleasing effect. On either side of Juno, and
next each of the outer columns, the surface of the
medal shows a small lump, as though part of a figure
or object ; but the surface is too much worn in all to
distinguish the precise object. Festoons hang from
the inner face of the dome, and the inner columns are
represented in perspective, so as to give the whole
sweep of the entablature round the circumference.

On another brass medal, f of an inch in diameter,
the goddess has on her right an object, which has the
appearance of a dolphin; and at the feet of each of
the two columns a boucranion, as shown on the
sheet of conventional representations on medals at the
beginning of the volume, is very evident. This may
be in allusion to some rite, for which even the ingenious
Eckhel (vol. ii. p. 359) does not satisfactorily account.
Nor are there any authorities, which explain the martial
title of Juno.

When we take the whole composition into con-
sideration, it does not appear improbable that this
may be a tabernacle and statue of Juno, instead of
being meant for an actual temple. The varieties of
the type are very numerous.

F 2

68 ABCHITECTUKA NUMISMATIOA.

No. XVIII.
TEMPLE OF VESTA.

The importance of the worship of this goddess
by the Romans may be inferred from the numerous
temples erected in her honour at Rome. We may
judge of the attention bestowed upon the elegance and
refinement of their design by the gracefiil example
ascribed to her, and which still remains near the
banks of the Tiber close to the church of Santa Maria
in Velabro, and by the picturesque and striking ruin of
that at Tivoli.

This small gold medal, f of an inch in diameter
(M. 6), exists in the British Museum. The obverse
bears the head of Vespasian, with the legend —

IM P • CAES • VES • AVG • CENS

IMPerator CAESar VESpasianus AVQuBtuB CENSor.

The reverse has the word VESTA, and a repre-
sentation of one of the temples of the goddess,
although the three steps and the side figures seem to
indicate a tabernacle, if we can suppose that she ever
had a tabernacle in the cell of other deities ; for it is
not to be presumed that in the small circular temples
usually attributed to her there would be room for a
canopy over her statue.

According to Plutarch, the circular form, in imita-
tion of the earth, given to the Temple of Vesta, arose
from the appropriate adoption of that figure by Numa
Pompilius, allusive to her in that character; Vesta
and Terra being identical. Reference to this cir-

TEMPLE OF VESTA. 69

cumstance is gracefully made by Ovid in Fast, lib vi.
V. 263, et seq. : —

** Forma tamen templi, qaas nunc manet, ante fuisse

Didtar ; et formffi caossa probanda subest :
Vesta eadem est qusB Terra ; subest vigil ignis utrique :

Significant sedem terra foeusque suam.
Terra pilie similis, nullo fulcimine niza,

Aere subjecto tarn grave pendet onus.
Ipsa Yolubilitas libratum sustinet orbem ;

Quinque premet partes angulus omnis abest."

And the description is completed by the following
lines, which seem to allude almost to this very
example : —

^ Arte Sjracosia suspensus in aere clauso

Stat globus, immensi parva figurapili.
Bt quantum a summis tantum secessit ab imis

Terra ; quod ut fiat, forma rotunda fiicit.
Par facies templi : nullus proeurrit in illo

Angulus ; a pluvio vindicat imbre tholus."

The circular form was not exclusively given to the
temples of Yesta, but was equally ascribed to Diana
and Hercules or Mercury. (Festus in Virgilium, lib* ix.
^neid. v. 408.)

Our medal presents a circular peripteral temple,
as we may infer from the roof, which, as Ovid says,
was of Syracusan brass. Four of the columns of the
peristyle are shown. In the central intercolunmiation
is the half-draped figure of Vesta on a pedestal, holding
a patera or some such object in her right hand, and
her upraised left hand resting on a staff. Outside the
temple, and flanking on each side, are two female
draped statues in forced attitudes on pedestals ; that
to the right of the temple holding in her right hand
a mirror or sistrum, or some sacrificial instrument;

70 AECHITECTURA NUMISMATIOA.

that on the left in an attitude similar to the goddess.
Three steps lead up to the central intercolumniation.
The whole of the architectural details are represented
with strange conventionalisms. There is the base,
shaft, and capital to each column, the last being re-
presented by a large central disque, intended possibly
to figure a wreath or shield suspended from each
capital ; and a pi*ojecting horn or stem on each side
indicates the angular volutes or caulicoU. Two hori-
zontal lines, surmounted by a range of balls, mark the
entablature. The roof or tholus {rotundvm tectum of
Vitruvius, 1. vii. c. 5) is the most rational part, the
slabs for the cover-joints or ridges being well expressed;
and on the simimit there is a curious object with horns
for the crowning " flos*' of Vitruvius.

Still, in spite of quaint petty incongruities, there is
a grace and energy and purpose in the meaning of all
these details, which are very striking and attractive,
although forced and exaggerated.

In the judgment of Nibby (" Foro Romano,*' p. 72),
it would appear, that the principal temple of Vesta at
Rome was at the foot of the Palatine on the Via Nova,
which led from the Forum to the Circus Maximus.
It had annexed to it an atrium, once the Begia of
Numa : —

** Hie locus exiguos, qui sustinet atria Yest®,

Tunc erat intorsi Begia magna Numsa." — Ovid, Fast, vi.

It had also a sacred grove.

Val. Max. (1. iv. c. 4, § 11 ; 1. i. c. 4, § 4) informs us
that there were preserved the sacred fire in a fictile
vase, under the care of the vestSl virgins ; and the
Palladium, one of the most sacred penates of the

TEMPLE OP VESTA. 71

Eoman people ; and which, under Commodus during a
conflagration, was saved by the gallantry of Metellus
from the destruction with which it was threatened,
he rushing in and carrying it off to a place of safety.
This temple underwent various vicissitudes. During
the time of the republic it was (544 A.TT.C.) in danger
of being burned. At a later period it was damaged
by an inundation ; burned and restored under Nero ;
and under Commodus, as we have already said, de-
stroyed by fire. It was again rebuilt and maintained
its original splendor, although profaned by Elaga-
balus, until it was suppressed by Theodosius about
A.D. 380.

Eckhel (vol. vi. p. 332, ann. xv. 41) mentions both
silver and gold coins of this type, and quotes a passage
from Tacitus, showing that Vespasian restored the
principal monimients and sacred edifices of the city,
which had been destroyed by fire during the Neronian
conflagration^ amongst others, " delubrum Vestas
cum penatibus populi Romani ;** which latter fact this
coin may possibly record.

In some medals Vesta is represented sacrificing at
an altar, attended at one time by three and at others
by six Vestals.

72 ABOHITECTUBA NIJHISMATIGA.

No. XIX.
TEMPLE OF JUPITER (EL GABED AT EMESA.

We shall now pass over to the coast of Syria, and
examine some of the coins of Emesa, Byblos, Tripolis,
and Antiocheia, towns lying on or near the shore,
which forms the east end of the Mediterranean sea,
near Tyre, Sidon, Beyrout, and Baalbec. Here we
shall find, as indeed we may expect on account of
their later period of art and remoteness firom the
centre of taste, greater license of treatment, but at
the same time larger development of plan —

This bronze medal, 1-^ inch in diameter (M. 9),
was struck at Emesa, in the province of Seleusis
Fieria, and now called Hems, between 219 and 222
of the Christian era, during the ephemeral reign of
the voluptuous Elagabalus, who was bom there ; being
the grandson of Julia Madsa, priestess of the sun in
that city and niece of Julia Domna the wife of Septimius
Severus. It has on the obverse the head of the emperor,
with the name and titles —

ATT • K • MAP • ATP • ANTONEINOC • CEB

The elevation on the reverse presents a six-columned
portico of the temple of El Gabel (Jupiter Sol), ele-
vated on a lofty plinth, with a flight of steps leading
up to the central interoolumniation, which is extra-
vagantly widened, according to the usual conventional

TEMPLE- OF- IVP^TER AT EMISA

TEMPLE OF JUHTEB AT EMESA. 73

licence, in order to give a fuller view of the large
conical stone, the type of Jupiter. He was here
adored under the form of a huge aerolite; and this
appears to have been also, according to Herodianus,
the type under which Jupiter Amnion was worshipped
in Egypt. It is enclosed, as was the statue of Olym-
pian Jove at Elis, according to Fausanias (Elis, c. xi.),
by a balustrade, which is distinctly indicated ; and on
it rests a noble eagle in front of the sacred stone.
Over this, and evidently inside the temple, and
within the architectural features of the portico, which
serve as a kind of frame, is perceptible a canopy or
shrine or tabernacle, consisting of two columns and
a frieze above, the lower parts of the columns being
hidden by the aerolite.
The words —

EMECaN— KOAON

are on either side of the portico and in the exergue
the letters —

HK-*

marking the epoch and denoting the last year of the
Emperor Elagabalus, A.TT.C. 422 (A.D. 222).

Although on this medal we find Emesa designated as
a colony (xoXov), yet on others of the same emperor
we find it elevated to the dignity of a metropolis.
Emisa, Emesa, or Emissa, was reckoned by Ptolemy
to be that part of the district of Apamene, on the
right or eastern bank of the Orontes, to which Pliny
assigns a desert district beyond Palmyra. It is chiefly
celebrated in ancient times for its magnificent temple
of the Sun, here worshipped under the name of
EL ' GABEL, two Syriac words, meaning, according

74 AECHITBCTUBA NUMISMATICA.

to Wotton in his History of Rome (p. 378), BLA god,
GABEL to form. Its young priest Bassanius, other-
wise called Elagabalus or Heliogabalus, was raised to
the imperial dignity in his fourteenth year, through
the bribes of Julia Msesa, by the Roman legionaries of
Syria, A.D. 218. " It was to this protecting deity that
Elagabalus, not without some reason,'* says Gibbon,
" ascribed his elevation to the throne. The display of
superstitious gratitude was the only serious business
of his reign. The triumph of the god of Emesa over
all the religions of the earth was the great object of
his zeal and vanity ; and the appellation of Elagabalus
(for he presumed as pontiff and favoimte to adopt that
sacred name) was dearer to him than all the titles of
imperial greatness. In a solemn procession through
the streets of Rome, the way was strewed with gold-
dust ; the black stone, set in precious gems, was placed
on a chariot, drawn by six milk-white horses richly
caparisoned. The pious emperor held the reins, and
supported by his ministers moved slowly backwards,
that he might perpetually enjoy the felicity of the
diviQe presence. In a magnificent temple raised on
the Palatine Mount, the sacrifices of the god Elagabalus
(EL • GABEL) were celebrated with every circum-
stance of cost and solenmity. Upon numerous altars
the richest wines, the most extraordinary victims,
and the rarest aromatics were profiisely consumed'.
Around, a chorus of Syrian damsels performed their
lascivious dances to the sound of barbarian music;
whilst the gravest personages of the state and army,
clothed in long Phoenician tunics, officiated in the
meanest functions with affected zeal and secret indig-
nation." — Gibbon, vol. iv. ed. 1802, 8vo. pp. 233-4.

TEMPLE OT JUPITBE AT BMESA. 75

According to Herodian, lie erected a smnptuous
temple to his god at Emesa, resplendent with orna-
ments of gold and silver. And Lampridius (in Blio-
gabalo) mentions, that the emperor erected another
temple to his god in the suburbs of Rome, of vast size
and great magnificence, to which he every year con-
veyed in solemn procession the image of the deity.

With regard to this medal, Bckhel may be consulted
(vol. vii. p, 250) : he quotes the following passage fi:om
Herodianus : '' Lapis est maximus, ab imo rotundus, at
sensim fastigiatus, propemodum ad coni figuram."

A stone of the same form is seen on the Roman
coin of Blagabalus, with the epigraph —

SAJNCT • DEO • SOLI • ELAGABAL

The union of the emblems and names of J U TITER
and SOL is remarkable, fi:*om the coincidence with
the temple of Jupiter Sol, the larger one of those at
Baalbec. (See No. XXXIV.)

Also compare Falconet, Mem. de T Acad des Inscrip.
vi. p. 513; Miinter, Antiq. Altfiandl. s. 257 ; Von Dal-
berg liber Meteorcultus Alterthum. 1811 ; De Wette,
Archaol. s. 192.

On one of the coins of Blagabalus are an urn between
two branches of laurel and the words H AI A IITQIA :
showing that there were special games celebrated at
Emesa, in connection with the worship of the Sun,
HAIOC, as well as the Pythian.

On an aureus of Elagabalus there is a representation
of a conical block of stone being carried on a quadriga,
(Hobler Cabinet, No. 1330-1.)

AECHITECTUEA NUMISMATICA.

ON TABERNACLES.

BAB-BELIXF IN THB BBITISH MUSEUM, TOWITLBY COLLEOTIOK.

It has been the custom of numismatists, when
describing the reverses of those medals, which display
the appearance of a columnar edifice, to caU it a temple ;
and in such examples as those, which we have just
been examining, the designation is correct. But I
am led to believe that these columnar representations
may be divided into two classes — the temples, and the
tabernacles of temples. The first display the elevation
of the temple with its portico, and occasionally various
accompaniments, as sculptures and surrounding por-
ticos and courts. The second class, being intended
to represent rather the divinity than the building, have
a delineation of the god and the tabernacle, canopy or

ON TABERNACLES. 77

baldachino, under whicli the statue stood; thus dis-
playing a part of the temple for the whole. The
portative temple of the Jews during their wanderings
in the wilderness, and even until the erection of the
Temple of Solomon, was so called. The inner portion
of the Holy of Holies was called the Sanctuary, and it
had its own peculiar decoration. Among the Egyptians
this sanctuary, where the idol or animal god was kept,
was occasionally constructed of granite, while the rest
of the Mmo was merely of stone. By the Greeks the
place where the statue stood was called c%^; and
when we turn to the splendid description, which
Pausanias gives in the 11th chap, of his book on
Elis, of the statue and throne of Olympian Jove, we
find it was surrounded by a balustrade or railings,
ix^ia, i^ujttara, noticed by Smith in his Dictionary of
Greek and Boman Antiquities. There is not any
allusion to a canopy above the statue; but among
the Romans the end of the temple behind the statue
frequently received a more noble decoration, as in the
Temple of Yenus and Bome, and in those at Baalbec
and Palmyra. And we know that the statues of
inferior divinities were placed in niches on the side
walls of temples, as in that of Yenus and Bome.
Now it is admitted that the Boman Catholic Church
borrowed many of its customs traditionally from the
usages of the ancient Bomans ; of which the ciborium
is an instance. And this has been defined to be
" a small erection supported by four columns and
surmounted by a dome, covering the altar and holy
utensils." The ciborium sometimes means the altar
containing the body of a saint, which we designate a
shrine. At others the word ciborio defines any taber-

78 AECHITECTUBA NUMISMATICA.

nacle totally isolated. History records the magnificent
one erected by Justinian in Santa Sofia, when he
rebuilt the church, in the 12th year of his reign. A
silver dome uprose above four columns; on the
summit was a magnificent globe of gold of the weight
of 118 lbs. A large cross, weighing 75 lbs., of gold,
surmounted the whole. The most magnificent one of
modem times is that of St. Peter's at Bome, designed
by Bernini and which covers the high altar. It con-
sists of four bronze twisted columns, the metal of
which, it is said, was taken from the Pantheon; a
barbarous spoliation. Above is a rich entablature of
the same metal. At the four angles at top are angels
and festoons, with a canopy in the middle ; the total
height being within a few inches of 130 feet, and thus
exceeding in altitude many steeples of our churches.

In studying the representations of columnar edifices
on coins, they seem to indicate that some of them were
actually meant for temples ; and others, the canopy,
ciborium, or baldachino, which was intended to add to
the importance and dignity of the god. It will be
remembered, that, in the description of the medal of
Bmesa with the temple of Jupiter, was noticed not-
only the frontispiece of the sacred edifice, but also the
efl&gy of Jupiter, with a columnar canopy and a balus-
trade ; showing that at all events in the Roman period
this arrangement certainly obtained, and was specially
recognized.

In support of this opinion there occurs a very
appropriate illustration, which is at the head of this
chapter, taken from a bas-relief in the Townley Collec-
tion of the British Museum. This evidently represents
a composition of this kind. The group of Bacchus

ON TABERNACLES. 79

and Silenus is under a canopy, which stands either in
the centre of a temple indicated by the pilasters at the
ends or in a court surrounded by a colonnade ; and
thus justifying the supposition that medals of the class,
now about to be considered, represent the shrine or
edicule in the temple, and do not figure the temple
itself. In fact Pausanias throughout alludes to the
general practice of groups, figures, and other votive
offerings of the pious zeal of the heathen being very
numerous in their temples. Such canopies existed
over the statues on the spina of the Soman Circus, as
we see in the numerous bas-reliefs which illustrate that
favourite subject of the Romans.

This article may be illustrated in the Roman
Imperial series, by the well-known coin of Domitian
performing sacrifice at an altar erected before a statue
of Minerva, which is placed in a tabernacle ; also the
statue of Jupiter placed in a decorated recess or arch,
on the coin of Antoninus Pius —

ANTONINUS • AVG • PIVS • PP • TRP • XXIII

Laureated head of the emperor to the right. Reverse —
COSIIIISC

A statue placed on a circular plinth under a deco-
rated arch ; the hasta pura in the left hand, the right
hand raised and holding some object.

See also a remarkable third brass of Pergamus of
Commodus, with a statue of Pemesius Telesphus
under a canopy.

A passage in a chorus of the " Birds' ' of Aristophanes,
1114-17, seems to indicate that the heads of the statues
of the gods were surmounted by some object, like

80 ABCHITEOTUBA NUMISMATICA.

those over samts and the Saviour in the Ghreek and
Boman Catholic pictures : —

^ Hasten and provide jourselyes each with a little silver flats,
Like the statues of the gods, for the protection of his pate." —
Tramlatwn by the Bight Han. J. R. Frere.

No. XX.

TABERNACLES OF ASTABTE AT BYBLOS
(PHOENICLffi).

This bronze medal, one inch in diameter (M. 7), is
from the French Cabinet, and has on the obverse the
head of the Emperor Elagabalus, with the legend —

AT • K • M • ATP • ANTONEINOC

IMFerator • Gains • Marcus • AVEelius • ANTONINUS

On the reverse is the representation of a columnar
erection, with the word lEPAC above and BTBAOS
in the exergue beneath. The term *Icf c^, observes
Eckhel (vol. iii. p. 359), is probably derived from the
circumstance, that Adonis, the Syrian Thummus,
according to Strabo (1. xvi.), was worshipped here, and
Eustathius ad Dionys. (v. 912).

It may be remarked, that this peculiar epithet,
which is not observable on any other of our medals.

N- 2

BYBAOr

f' AGTARFf A.

Tv'' CVBLLK

TABEBNACLE OF ASTAETB AT BYBLOS. 81

although many belong to cities of higher reputed
sacredness, gives to Byblos an odour of great sanctity.
It may also be noticed, that this maritime city was of
venerable antiquity, since Sanchoniathon attributes its
origin to Saturn, and later to the goddess Baaltis, as
does also Dion. Plutarch (de Iside et Osiride) men-
tions, that Isis came hither to seek the body of Osiris,
cast on the shore at Byblos.

Byblos lay on the seashore at the foot of Mount
Lebanon, between Sidon and the promontory of Theo-
prosopon. Its inhabitants were celebrated as stone-» .
masons, and also as caulkers of vessels. The modem
name of the town is Jubeil, and, according to Thomson
(" Biblia Sacra,'* vol. v. p. 259), it contains the remains
of an ancient Roman theatre, the area of which ia
nearly perfect with its concentric rows of seats, divided
by the praBcinctions and the " cunei" quite distinguish-
able. Burckhard, in his " Syria,'* mentions many
fragments of columns as lying about. Bckhel (vol. iii.
p. 359) notices the coins of the city, as having
frequently the type of Astarte, as also of Isis, who
came here in search of the body of Osiris. Euripides
records Byblos as famous for its wine in the following
words from his " Ion,*' in the description of the events
which occurred at the feast given by Xuthus : —

'* The sacred bowls we fill
With wine of Byblos^"

The edifice on the reverse of our medal presents six
Corinthian columns, raised on two steps, surmounted
by an entablature. The central intercolumniation is
five times as wide as the lateral ones, and is surmounted
by an arch, the entablature being discontinued; but

82 ABCHITECTUBA NUMISMATICA,

above the narrow line, which indicates the arch, is a
kind of perforated radiated trellis-work, as it were, of
a fanlike shape. The central intercolumniation is
occupied by the turret-crowned Astarte or Astargate,
the Syrian Aphrodite, or Venus ; according exactly
with the figure hereafter described on the medal of
Tripolis, No. XXIX. And it may be remarked, that
the same figure alone appears fi-equently on medals
of these cities ; and a bronze of Commodus gives the
central compartment alone. I am, therefore, led to
conclude that this group represents the tabernacle or
shrine, with the statue under, the fi'ont consisting of
the two columns, with two intercolumniations or three
columns on each flank, a conventional representation
of the three sides of the tabernacle.

TABERNACLE

OFASTARTE

On another medal the mass under the foot of the
goddess, instead of the prow of the vessel, appears to
be a serpent twisted on itself in circles, and forming,
as it were, a cushion. Another medal of Byblos repre-
sents Astarte under a polygonal canopy of a different
figure, probably as existing in another temple.

The copiousness of monumental illustrations and
the variety and splendour of its religious worship make
Byblos assume an importance, that it does not possess
in the ordinary records of antiquity.

No. XXL
TABERNACLE OF CTBELE.

This bronze medallion, 1^ inch in diameter (M. 11),
is in the French Cabinet, It has on the obverse
the veiled head of the Empress Faustina the elder,
with the legend —

DIVAE • AVGVSTAE • FA VSTIN AE

On the reverse is the inscription —

MATRI • DEVM • SALVTARI-

Cybele is represented under a tabernacle seated,
probably on a chariot, as was usual with her, and
having on her head a turreted and mural crown ; her
left hand rests upon a tympanum or cymbal, with a
lion on each side of her. Her feet rest on a stool.
Attys, with the Phrygian cap, stands outside. He is
clothed with chlamys, holding in his right hand a
pastoral stick, and a Pan's pipe in the other. Close
to Attys is a branch of a tree or flower.

The canopy, under which Cybele is sitting, is
seemingly represented so as to show three sides of
the tabernacle in perspective, the two ends and
flank. The end, under which Cybele appears, has
two Corinthian columns surmounted by an entablature,
above which rises an arched head, the outside edge
having a running ornament. There is some difficulty
in explaining the rest; but it may be supposed to
figure a side of the tabernacle with three columns

G 2

84 AECHITECTUBA NUMISMATICA.

with a continuous entablature; and the return end
is indicated by the circular head or arch, and a
column; but it is difficult to account for the small
intermediate arch : the deficient column may be sup-
posed to be intercepted by the group of Cybele.

The plan of the whole may be presumed to oflTer this
arrangement.

TABERNACLE

This was evidently a coin struck after the death of
the empress, and numerous instances occur on coinSj
examples of which appear in our series, of the em-
presses assuming the emblems of various goddesses,
and of their having their attributes given to them after
death. We may presume that this coin records the
tabernacle or canopy in the Temple of Cybele over the
statue of the goddess.

Ulpian (Tit. 23) mentions the following decree,
showing that the Temple of Cybele at Smyrna was
among those which had the privilege of receiving
legacies (qui h«Bredes institui possunt). It is in these
words : — " Decs instituere haBredes non possumus,
praeter Jovem Tarpeium, Apollinem Didymeum, Mar-
tem in Gallia, Minervam Iliensem, Herculem Gadi-
tanum, Dianam Ephesiam, Matrem Deorum Cybelem
quad Smymae colitur^ et coelestem Salinensem Cartha-
ginis.'^ This is curious as enumerating those temples

TABERNACLE OF CYBELE. 85

which had the privilege ; and it appears that not more
than one divinty in any city had the like faculty, and
there were only eight of them in all.

It is evident, that Cybele must have had a temple
at Rome to receive the sacred stone of the goddess.
In conformity with an oracle in the Sibylline books,
the Bomans had sent during the second Funic war
a deputation to bring it over from Pessinus in Phrygia,
with the consent of Attains king of Asia. We may
form some idea of the powerfiil influence of Rome
over the nations of the world, when we find the
Pessinuntines, who had a magnificent temple of the
goddess, which is illustrated in Texier's "Asie Mineure**
(tome i. p. 163-9), willing to giye up the great object of
their worship to be carried away to a foreign state.
Her priests were the Corybantes, who were all cas-
trated, and worshipped her by the sound of drums,
tabors, pipes, and cymbals. The rites of the goddess
were disgraced by great indecency of expression.

Juv. Sat. ii. Ill —

** Hie turpis Cjbeles, et fracta voce loqaendi
Libertas, et crine senex fanaticus albo
Sacroram antistes."

As also Sat. viii. 175 —

** Inter carnifioes et fabros sandapilarum
Et lesupinati oessantia tympana Oalli."

86 AROHITECTITRA NUMISMATICA.

Nos. XXII. & XXIII.
MEDALS OF SAMIAN JUNO.

Two Greek medals in brass, the one struck dimng
the reign of Domitian, A.D. 81-96, and the other
bearing the name of Herennia BtrusciHa, the supposed
wife of the ephemeral Emperor Decius, A.D. 249-51,
are struck in honour of Jimo of Samos. One is ahnost
led to suppose that a great spirit of rivalry existed
between the priests and worshippers of the Ephesian
Diana or Artemis and Samian Juno. The costume of
the statues, the attitudes, the ciuious beadlike string
or reed, which each holds in her hands, the two fawns
of Diana and the two peacocks of Juno, show that one
city sought the adoption of the like emblems of the
neighbouring town and temple to attract worshippers.
Samos is not far from Ephesus, and the identity of
such details induces such an inference.

The obverse of the earlier medal has the head of the
emperor, with the letters —

ATTOKPATflP • AOMITIANOC • KAI • CEBAC-
TOC • TEPM A

It is lA ii^ch in diameter (M. 8). The reverse
presents a tetrastyle facade raised on three steps
with four Ionic columns; the bases have the Ionian
peculiarity of the large torus, the capitals are of the
same type and the shafts plain. The central inter-
columniation is much wider than the lateral ones, the
columns of which appear almost to be coupled ones,

N^ 22

TABERNACLES ■ OF • SAMIAN JVNO

N^ 23

MEDALS OF SAMIAN JUNO. 87

and contains the statue of Jirno typically composed to
imitate, as I have said before, the idol of the Ephesian
Artemis. The entablature is represented by three lines
of beadp, the inclined lines of the pediment by one.
There are acroteria at the springings and sunmiit of
the pediment.

The tympanum contains a disc or globe in the
centre, — another point of resemblance with the
Ephesian temple. On the field of the medal are the

letters —

SA— MI— CN

the MI being in the exergue.

The like description is equally adapted to the coin

of Herennia Etruscilla, which has on the obverse a

female head, with the legend —

EPEN • ETPOTCKIAAA • CEB

HEEENnia • ETEVSCILLA • A VGusta ;

but the steps are stopped at the ends by a plinth,
which follows the rise of the steps ; and the central
intercolumniation has an arched opening, which breaks
through the entablature, and runs up into the tym-
panum of the pediment. The columns are twisted
spirally. The size of the medal is 1| inch in diameter
(M. 8).

From the peculiar circumstances above described^
which are so much at variance with the grave and
dignified character of templar architecture, and firom
the limited size of the portico, I am led to conceive
that these medals represent the baldaquin or canopy
over the statue of the goddess, inside the temple, and
not the temple itself, which was one of the noblest and
largest of the fanes of Asia Minor.

88 ARCHITECTUBA NUMISMATICA,

No. XXIV,
TABERNACLE OF DIANA OF THE EPBESIANS.

A SILVER medal in the British Museum, one inch in
diameter (M. 7), has on the obverse the head of the
emperor, with the legend —

TI • CLAVD • CAES • AVG •

On the reverse is a tetrastyle Ionic frontispiece,
raised on three steps, with the sigles DIAN • EPHE*
There is an entablature above the colimms surmounted
by a pediment, the tympanum or drum of which is
occupied by a large shield or disc resting upon a table,
flanked by two small figures; there are also two
smaller tables or altars, and in each of the angles is a
small bird. The shield probably represents the Ionian
confederacy, of which Ephesus was the chief town.

The statue is distinctly marked with all the peculiar
attributes of Artemis, and occupies the central inters
columniation, and the sigles DIAN • EPHE no less
marking the object intended.

It cannot be imagined that this medal is intended
to represent the very temple at Ephesus, which,
according to Vitruvius, was octastyle, and so indicated
on the previous medal. No. VI. Had such been the
intention, the inscription would doubtless have been
in Greek. Besides, the ancients in later periods and
during the times of the Romans never represented

w- "1

TO DIANA OF EPHE3V5

TVJO ^^ K

TO MERCVRY

TABERNACLE OP DIANA OP THE ^BPHESIANS. 89

buildings on so large a scale without giving them the
lull number of columns, as we have ah-eady seen in
many preceding examples.

We may reasonably infer that it represents a
tabernacle or baldaquin in a temple of Diana ; or if a
temple itself, it must have been a small one at Rome
or in a provincial town, and the Latin inscription
seems to confirm this inference.

Pour or five temples are enumerated by Rosini
{p. 114) as existing at Rome, with some curious
particulars ; but not one of them has the Ephesian
dedication in particular recorded.

For as Serapis was domesticated at Fozzuoli, Isis
at Pompeii, and other foreign divinities at Rome^
we cannot but suppose that Diana of the Ephesians
had her fanes, her priests, and her worshippers in
many a Roman as well as Grecian town.

Buonarotti (when describing this medal in his
" Osservazioni sopra alcune Medaglie,'* p. 20) is led
to conclude that the representation on the reverse may
be intended for a small cell, in which the statue of the
goddess may have been placed as a tabernacle.

Venuti (in the second volume of the " Saggj di
Cortona," p. 214), following up this idea, notices that
the ancients had " tdbemacolif o edicoUy^ some of
which were fixed on the ground or inserted in walls ;
others were movable, so as to be carried about " on
plaustra, thensae, and carpenta," called by the Greeks
a^v)], a term used by Homer and Fausanias to
mean a certam vehicle or carriage. The ancients also
built small templets or shrines, as mentioned in the
Acts of the Apostles, in the same manner as the
Roman CathoUcs do the representation of the holy

90 ABOHITECTUEA NUMISMATICA.

sepulchrei observes Venuti, and these were made of
silver. These ancient slirines served as prizes to the
conquerors at the famous games, in the same manner
as the table, the vase, the palms, and the apples
shown on the medals. Such are the treasuries
mentioned by Pausanias (1. vi. p. 378) presented as
donations to the temples, and containing a small
statue of the deity.

Of a like character are those figures on medals
holding a temple or two, similar to those representa*
tions of saints or pious foimders of sacred edifices
containing the models of churches or basilicas erected
by them.

In Rome there was a vast quantity of the edicules
in the principal streets, circi, and some attached to
the walls of the temples, as in the Roman Catholic
churches. Thus many of these representations indicate
nothing more than models, ornaments, niches, edicules,
shrines, tabernacles, or chapels, placed within the
temples in honour of their deities.

In the description of the medal No. VI., illustrating
the Temple of Artemis at Ephesus, a list is given of
the varieties of this type existing in the Cabinet of
Vienna.

No. XXV.

TABERNACLE OF MERCURY.
RELIGIO ATJGUSTL

We have next to consider a large bronze medal,
If inch in diameter, of Marcus Anrelius, whose head is
on the obverse, with the legend —

M • ANTONIJNVS • AVG • TR • P • XXVII

He had assumed the name of his predecessor eleven
years before this coin was struck, out of respect to the
excellent Antoninus Pius, who had adopted him.

The inscription on the exergue of the reverse is
RE • LIG • AVG^ — ^and the titles of the emperor follow
the sweep of the margin —

IMP- VI COS III

with the S • C in larger characters on either side of
a facade, consisting of four terminal hermes with the
*' phallus " mounted on three steps, and carrying an
epistylium, surmounted by a circular pediment, the
outside margin of which is fringed with a serrated
ornament. Between the two central termini is the
statue of Hermes. He stands on a peculiarly-designed
pedestal, and holds in his right hand a patera, in his
left the caduceus, and has the winged cap on his head ;
in another like medal he has wings to his feet.

The tympanum of the pediment is filled by his
attributes, the tortoise, the cock, and the ram, as also

92 ABCfllTBCTUEA NUMISMATICA.

the winged helmet, caduceuB, and the magic purse.
The exergue bears the abbreviation of Beligio Augusti.
Perhaps I may be pardoned in adopting the old adage,
not inapt in the present instance : " Non ex quovis
ligno Mercurius fit ;" nor can I make a temple out of a
quadriterminal portico surmounted by a circular pedi-
ment. Amid all the caprices of ancient art, and within
a few years after the classic temple of Antoninus and
Faustina had been erected, it is impossible for those
who have studied the monuments of ancient taste, to
suppose that this frontispiece represents the elevation
of a temple. It is true that the triple temple of the
Athenian Acropolis has its caryatid adjimct, but the
details are pure in design, and refined in execution,
and redeem the original questionable conception. But
there is something so ungraceful and undignified in a
terminal figure, and the circular pediment appears so
at variance with the canons and all existent examples
of sacred art of this period, that we can only satisfac-
torily account for the irregularity by supposing it a
licence allowable in a subordinate detail. I am led,
therefore, to consider this to represent the statue with
its canopy ; and to commemorate, as Smyth suggests,
the reparation or erection of a temple to Mercury,
whose statue occupies the centre.

It is not to be supposed that the senate would have
solemnized, by such an important act as the striking
a medal, the erection of an edicule or small fane ; it
seems, therefore, only reasonable that this is an
emblem of a more magnificent edifice taken from an
important, but in point of size an inferior, feature of
the temple.

Eckhel quotes this as the first instance of the

TABERNACLE OP MEECUKY. 93

introduction on a medal of the expression RELigio
AVGusti; and although M. Aurelius was ever su-
perstitiously devoted to religious rites, it is not obvious
why he should have chosen Mercury as the peculiar
object of his veneration. But Diodorus Siculus (1. i,
c, 16) relates that Mercury first introduced the worship
of the gods and sacrifices in Egypt, and that Osiris
was materially aided by his councils in regulating the
sacred rites. For this same cause probably it is that
on the medals of Decius we find the words PIETAS •
AVG accompanying a statue of Mercury,

Sculpture derives its origin firom round blocks
roughly marked out in form of heads upon cubes or
columns, and such were the hermes. But they did
not always necessarily signify Mercury. At first these
rude conceptions did not indicate the sex, but subset
quently the distinction was shown in the middle of the
blocks

94 ABCHITEOTURA NUMISMATICA.

Nos. XXVL & XXVII.
TEMPLES TO MARS AVENGER.

The former of these medals is one struck .upon the
occasion of the recovery of the lost standards. It is
^ of an inch in diameter (M. 5) and is of silver. On
the obverse is the head of Augustus, with the legend —

/ C^SAR • AVGVSTVS

On the field of the reverse is a circular temple, four of
the columns only being apparent, placed in couplets,
two close to each other or half-diameter, apart to
the right and to the left. The bases consist of two
clumsy tori, the capital represented by two leaves as
it were, with an abacus above. There are three steps
leading up to the aadiculum and a cornice surmounts
the columns, above which rises the dome (tholus) with
a central flos. Along the upper margia df the cornice
is a series of antefixaB, with a curious kind of horn at
the extremities. The central intercolumniation is
occupied by " Mars Gradivus," his helmet on his head,
a fold of drapery hanging firom his left arm, and
buskins on his legs; and he carries in his right
hand the imperial and legionary standard surmounted
by the eagle with extended wings, the other or cohort
standard in his left composed of a wreath, crescent,
and other emblems. The distiQctive difference between
the legionary and cohort standard is apparent in the
sculptures on the Trajan column. See " Bartoli Co-

KAr'> THr AVEN'oFX K',Mr.

N^ 27

. TEMPLE OF MABS AVEKGSB. 95

lonna Trajana," obi. fol. Roma. The words MAB •
VLT are to the right and left.

Eckhel mentions this coin (Augustus, p. 95), and
also notices one in large brass (vol. i. p. 100).

On another like silver medal, in the central inter*
columniation is a triumphal chariot, without horses>
with the standard surmounted by the eagle in the
centre of the chariot ; as though it were preserved in
the temple, and the very chariot in which the standards
were conveyed in triumph, to be deposited in the
temples specially appointed for the purpose, or ex-
pressly built to receive them. It is not impossible
that the figure may be intended for the representation
of a small temple, or rather a tabernacle erected in the
precinct or interior of some larger temple, for the
special purpose of receiving the standards in question.

This, and the following medal, were doubtless in-
tended to commemorate the recovery of standards
after vengeance taken upon the enemy, as those of
Cassius or Varus, and their reception into the Temple
of Mars, where they were preserved in special aedicules
of the form here represented. Sometimes the words
" Signis receptis,^^ for the standards received occurs on
such medals, and ^'Givibus et signis militarihus a Parthis
recuperatis " also testified the general exultation upon
the honour of the empire being redeemed by such
signal success after an inglorious defeat ; the loss of
standards being then, as now, a mark of great disgrace.

Dion states that Augustus decreed and carried into
effect sacrifices to be offered on the occasion, and
erected a temple to Mars Avenger (Marti Vindici) in
the Capitol, in imitation of that of Feretrian JovCj
where those military standards might be suspended.

96 AECHITECTURA NUMISMATICA.

And Tacitus (lib. ii. c. 41) mentions, that towards tlie
end of the year (A.D. 16) a triumphal arch was
erected, near the temple of Saturn, in memory of the
Varian eagles lost in the war with the Germans, and
recovered under the conduct of Germanicus and the
auspices of Tiberius.

Horace, alluding to a like circumstance in his 18th
Epistle, to Lollius, says : —

** Qui templis Parthorum signs refixit.**

And in the 4th book of his « Odes,** 15 :—

** Et signa nostro restituit Jovi
Derepta Parthorum superbis
Postibus ;"

Showing that the recovered standards were suspended
as trophies.

No. XXVII,
TEMPLE TO MARS AVENGER.

This silver medal, |f of an inch (M. 5) in diameter,
inscribed to Mars Avenger, has on the obverse the^
head of the emperor, with the epigraph —

CAESARIAVGVSTO-

The reverse presents a circular aedicule of the
Corinthian order, technically called peripteral monop-
teral. There appear four columns elevated on one
step, surmounted by an entablature and crowned by a
dome, at the summit of which is a pine or fir apple*
A series of antifixae rise above the cornice, and at the

TEMPLE OF HABS AVENGES. 97

ends are curious overhanging bunches or garlands,
the meaning of which I do not pretend to explain.
Within the colonnade are three Roman military
standards ; the one in the central intercolumniation
being the legionary or imperial eagle with extended
wings, resting on the " brutum fulmen." The inter-
columniation, on each side the central one, has a plain
cohort standard with two wreaths and a crescent.

On one side of the temple are the letters MAR, on
the other VLT ; that is.

MARti • VLTori

This was probably an aedicule erected in the temple
of Mars the Avenger, or to Mars the Avenger in some
other temple, as possibly that of Capitoline Jove^

98 ARCHITECTITRA NUMISMATICA.

No. XXVIII.
TABERNACLE OF ANTIOCHEIA

(Eni OPONTH).

This middle brass coin, l-^^^incli in diameter, in the
British Museum, has on the obverse the following
epigraph —

ATTOK • K • TA • OYIB • TPEB • TAAAOC • KAl •
OTOATCCI ANOC • C EBB

Emperors Cesar Caios Yibius Trebonianus G-allus and Yolusianus

Augusti.

Gbllus succeeded Decius A.D. 251, by the election of
the soldiers, and associated his son Yolusianus with
him on the throne. They were both assassinated by the
soldiers at Temi in Italy, in 254, after a reign of little
more than two years.

On the reverse, here represented, there is a^ legend
in Greek characters of

ANTIOXEIQN • MHTPOKOAQN

a distinction mentioned by Strabo, xvi. 750 ; Josep.
Ant. xii. 3 ; and which it lost under Theodosius in
consequence of the iconoclastic tendency of the inhabi-
tants (A.D. 387, 388). And there are the secular
letters AE (AsXra "Erou^, of the fourth century), and
in the exergue the Latin characters S. C. (Senatus
Consulto).

N'-^ 2 3

ANTIOCHEIA ON THE ORON'I L5

TEMPLE OF ASTARTE AT TRIFOLIS

TABERNACLE OF ANTIOCHEIA. 99

The building may represent a four-columned cella,
or a canopy or baldaquin within a great temple. The
colimms are of the Corinthian order, conventionally
represented with an entablature over. I am inclined
to think that it is meant to figure a tabernacle with
two firont columns, and showing the two columns on
the return on each flank, the flat arch being raised
.over the centre to allow of a better view of the statue,
and running up into a pediment, surmounted by an
ornamental apex. Or, possibly, the upper part may
be intended to indicate a depressed dome, above which
is a ram, in other medals, although not in this
instance, combined with a star. The ram indicates the
vernal sign of the zodiac, under which the city was
founded, and reminds us, as Smith observes, of the
astrological propensities of the people of Antioch, and
which they had in common with all the inhabitants
of these regions.

The statue of the turret-crowned Antioch is repre-
sented seated on a rock, emblematical of Mount Silpius ;
beneath her is the upper part of the body of Orontes
above the navel, and with outstretched arms he is
rising above the waves of the river. Beneath the base-
line is the emblematic flowing- water line, as though
indicating that the river flowed into the sea near the
city. On various medals of Antiocheia this central
group is alone given. The medal is also in the French
Cabinet.

There existed in the city a famous allegorical statue,
Tupfij *Avrio;f«/a^, according to Ammianus Marcellinus
(xxiii. 1), which personified the city, and which was
doubtless the one represented on the coins of the town.
It was the work of Eutychides of Sicyon, pupil, of

H 2

100 ARCHITECTUKA NUMISMATICA.

Lysippus. It represented Antioch as a female seated
on the rock Silpius, and crowned with towers, with
ears of com, and sometimes with the pahn-branch in
her hand, and at her feet the figure of Orontes rising
from the waters of the stream, A copy of this statue,
of the time of Septimius Severus, exists in the Vatican,
and is illustrated in Visconti's " Museo Pio Clemen-
tino" (iii. 46). Dr. Smith says the original statue was
placed within a cell of four columns open on all sides
near the river Orontes, and ultimately within the
nymphaeum.

This capital of the Greek kings of Syria was situate
in the angle, where the southern coast of Asia Minor
running east and the coast of Phoenicia running
northwards meet, in the opening formed by the river
Orontes, between the ranges of Mount Taurus and
Mount Lebanon. It is about twenty miles distant
from the sea. Its Greek name, Avriop^fia M *Ogovrjf),
indicates its situation on that river, of which it occu-
pied the left bank ; and it was called i} irgof Aa^yi}v on
account of its contiguity to the Grove of Daphne in
the immediate neighboiurhood, and which was conse-
crated to Apollo. The city stood partly on the plain,
and partly, where the ground rises in abrupt and
precipitous forms, towards Mount Casius^ Masses of
ancient walls are still conspicuous along the crags of
the heights formerly occupied by the town. At the
mouth of the Orontes was the harbour of Seleucia.
Antiocheia was famed for its beautiful climate, and
was so abundantly supplied with water, that not only
the public baths were well provided, but also every
house had its fountain.
Antioch was founded by Seleucus Nicator about 290

TABERNACLE OF ANTIOCHEIA, 101

B.C., and called after the name of his father, or, as
some say, his son. C. 0. Miiller, in his " Antiqnitates
Antiocheiae" ((Jottingen, 1839), gives a good plan of
the ancient city, founded upon the notices of ancient
authors.

The city of Seleucus was built in the plain between
the river and the hill, and at some distance from the
latter, to avoid the danger to be apprehended from the
torrents. Xenaeus was the architect, who raised the
walls, which skirted the river on the north. This was
only the earliest portion of the city, to which three
other parts were subsequently added, each surrounded
by its own wall ; so that Antioch became, as Strabo
says (1. c), a tetrapolis. The arrangement of the
streets was simple and symmetrical; at their inter-
section was a fourfold arch.

Dr. Smith, sub voce, gives an able summary of
numerous magnificent edifices with which this city
was adorned, enumerating a long street with double
colonnades, like that at Pahnyra built by Epiphanes ;
as also a senate-house, temple of Jupiter Capitolinus,
described by Pliny (lib. xii. 20) as " magnificent
with gold," a liymphasum, a musaeum, a palace, a
theatre, forum, circus, and aqueducts, baths, groves,
and gardens.

The " Chronograph " of Malala contains a long Cata-
logue of the .works erected by successive monarchs>
and Libanius describes a particular part of the city»

It was at Antioch that the followers of the Saviour
were first called Christians ; and for centuries it occu-
pied a prominent position in th6 Church, ranking as
a patriarchal see with Constantinople and Alexandria.
Ten councils were held here between 252 and 380 ;

102 AR(5H1TECTURA NUMISMATICA.

and various domed churches contributed to its embel-
lishment during the centuries of its decay, till its ruin
was confirmed by a succession of earthquakes.

From the time of the original conquest of Syria, by
Pompey, Antiocheia had the privilege of a mint, with
the power to strike coin " Senatus Consulto" for the
supply of the eastern provinces of the Roman empire.

No. XXIX.

TEMPLE OF ASTAETE AT TRIPOLIS
(PHGENIOIiE).

A MEDIUM bronze in the British Museum, 1^ inch in
diameter (M. 8), has the head of Elagabalus on the
obverse, with the legend —

ATT KM- AYP • ANTQNEINOC

The reverse presents the Temple of Astarte, with the
word TPinOAITCN and the secular letters AA*
indicating the epoch. It is remarkable, that although
Bckhel, who gives the letters AA* on the exergue,
casually alludes to this medal (vol. iii. p* 376), yet he
does not particularly describe it; which probably
arises from his having already mentioned this temple
as a frequent type on medals of Berytus (and of which
we have already given an example in the medal
No. XX.), Byblos, and the neighbouring cities. Astarte
was a powerfiil divinity of Syria, the same as the

TEMPLE OP ASTABTE AT TEIPOLIS. 103

Venus of the Greeks. At Hierapolis was a celebrated
temple, served by three hundred priests always
employed in offering sacrifices. The mother of
Elagabalus, Julia Soemias, had various medals struck
in her honour, with the reverse of the Syrian Venus,
Astarte, the Ashtoreth of the Sidonians. Soemias
was a Syrian, residing much at Emisa, where her
mother, Julia Moesa, as I have already observed, was
priestess of the Sun. This medal represents most
probably the Temple of Astarte, as she appears in the
central recess, her head crowned with a turret, a long
robe covering the lower part of the body, one of. her
feet resting on the prow of a yessel. She has one
hand stretched forward, and holds in the other a
crooked staff in the form of a cross. • Before her is a
column, which serves as a pedestal to a figure of
Victory, who is crowning her. The central feature of
the recess is flanked by a Corinthian column on either
side, with an entablature over and a circular head,
surmounted again by a high-pitched pediment. A
flight of steps leads up to the centre ; and on each
side is a wing consisting of a four-columned portico of
less dimensions than the centre columns. The whole
composition has an imposing aspect, fi-om the mag-
nitude of its apparent scale, and the variety of the
parts. The combination is very effective, and presents
a novel grouping or union of architectural features,
whether representing one facade of a sacred fane, or
intended with a hcence, which is apparently sometimes
taken by the ancient medallist, to represent the three
sides of the edifice, to which supposition I rather
incline.

In the 33rd verse of the 11th chapter of the First

104 ABCHITECTUEA NUMISMATICA.

Book of Kings, Astarte is tlie goddess alluded to in
the following words : — " They have forsaken me, and
have worshipped Ashtoreth (Astarte) the goddess of
the Zidonians/' In connection with the preceding
subject is a curious instance of a coin of this temple
in the British Museum presenting a double im-
pression. The first stroke appears to have produced
an imperfect figure ; and a second stroke having been
given, either the medal or the die was moved, and the
second impression is lower down, leaving a part of the
fia'st still perceptible, as also a portion of the inscrip-
tion. This produces the effect of a magnificently-sized
edifice in perspective, new in its design and suggestive
in motive.

NO 30

TEMPLE OF- ADONIS -AT- BYBLOS
N° 31

TEMPLETO VENVS- AT- PAPHOS

105

No. XXX.
TEMPLE AT BYBLUS.

This bronze medal from the British Museum, 1^
inch in diameter (M. 8), bears on the obverse the head
of Macrinus, with the legend —

ATT • KAI • MAKPINOC • CEB

He was one of the ephemeral emperors, who at the
beginning of the third century succeeded each other
with great rapidity, at one time the favourites and at
another the victims of the rapacious and disorganized
soldiery. During his short reign of fourteen months
was struck the bronze medal of the Phoenician City of
Byblus (A.D. 217), where Strabo mentions a temple
of Adonis. It offers on the reverse a small temple
with a flight of steps leading up to the porch or cella,
in the centre of which appears to be a tripod standing
upon an open-worked pedestal.

This sddicule is distyle in antis, and the masonry
of the wall and the slabs of the roof are distinctly
marked. At the back of the temple and attached to
it is a court surrounded by a colonnade, the roof of
which is plainly indicated by the tiling. In the centre
of the court is a conical monument within a trellised
dwarf enclosure ; and the outside elevation of the
precinct shows a colonnade raised on a lofty stylobate,
with a flight of steps leading up to the level of the
colonnade. We could hardly suppose this to be a ceme-

106 ARCHITEGTUBA NUMISMATICA.

tery, as within the precincts of a sacred enclosure no
dead were generally allowed to be buried : were it not
that there were certain exceptions to this rule, and we
have instances, observes Dr. Smith (in his Dictionary
of Greek and Roman Antiquities, sub voce Tem-
plum), of persons being buried in or at least near
certain temples. Possibly this medal may have been
intended to represent the Temple of Adonis, and the
conical erection his monument, the object of great
veneration and religious worship. Or perhaps this
may have been a typical form of all the divinities in
these parts, as we have seen it to be that of Jupiter
at Emisa and of Yenns at Cyprus. The star is
again seen near the word Byblus in the exergue.
We have already noticed another medal of Byblos,
No. XX.

Byblos, the * Gebal ' in Phoenicia, is mentioned in
connection with Tyre by Ezekiel (xxvii. 8, 9).

No. XXXI.
TEMPLE OF VENUS AT PAPHOS.

Bt a remarkable coincidence, medals in bronze and
silver struck at Cyprus during the reign of Caracalla
(211 — 217), who erected the famous baths at Borne,

TBMPLE OP VENUS AT PAPHOS. 107

fiimish us with an idea of the famed Temple of
the Paphian Venus. A bronze medal in the British
Museum, l-f^ inch in diameter (M. 10), bears the head
of CaracaUa encircled with the legend —

M • ANTCNEINOC • ATrOTCTOC

On the reverse is the inscription KOINON-KTnPICN
with an architectural group in the centre occupying
the whole field. The elevation is so different from
all other types of temples, that we might ahnost be
pardoned in supposing it rather a bower in the
Paphian Grove, than a sacred edifice erected for the
worship of one of the deities of Olympus. Its caprice,
however, may not be misapplied on such an occasion
alid for such a purpose. There are two lofty turrets,
surmounted at their angles by pinnacles ; between these
towers is a recess, within the central space of which
stands the conical-shaped stone, under which form the
Queen of Love was here worshipped. But for this
peculiar type Cornelius Tacitus states there did not
appear to be any particular reason. Cartari gives
an explanation, but not a very modest one, for the
adoption of this form (" Imagini dei Dei," svh voce
Venere). Tacitus (1. xi. c. 3) : " Simulacrum desB non
effigie humiana ; continuus orbis latiore initio tenuem
in ambitum, metsa modo exsurgens." Maximus Syrius
(diss. 38) : " Statua similis et pyramidi albae." Servius
(ad -ffin. 1,720) says, " In modo umbilici, vel ut
quidam volunt metaa, colitur." Philostratus (Vit. Apol-
lon. 1. iii. c. 58) mentions the statue of Venus as
symbolically formed.

Her altars daily smoked with the sacrifice of one

108 ARCHITECTUEA NUMISMATICA.

hundred male animals, and a profusion of Arabian
frankincense. On either side a species of low portico
or alcove flanks the towers as a wing, with an Ionic
column at the angle, and above projecting eaves or a
cornice, and in the centre beneath an ornamental stand
or tripod, which possibly may have served for fountains
or candelabra ; and on the top of each of these alcoves
is a large dove. The whole of the frontispiece just
described is elevated on a lofty rusticated stylobate,
beneath which is a circular space enclosed by a
trellised parapet, having open gates in the centre. It
is difficult absolutely to state what this circular enclo-
sure is meant to represent. It might indicate a piece
of water with a bird swimming upon it, and leaves or
flowers floating on the top of the water, with lines to
indicate a waving surface. Some, however, suppose
it to represent a mere area, and the lines to mark the
joints of the stone- work, forming possibly a species of
aviary to rear the sacred doves; or perhaps it may
represent the area mentioned by Pliny, on which it
was said that the rain n6ver fell.

The whole composition departs as much as possible
from the canons of sacred or templar architecture,
and exhibits a Hberty of treatment, that leads one to
suppose it merely represents a portion of the Paphian
Bower, without pretending to give the forms and
proportions of the more sacred templar edifice, — an
architectural licence not altogether inapt in such a
subject. The star between the towers is an emblem
not unusual in the neighbouring coast of Syria, as is
noticed by Smith, who considers it peculiar to the
coins of Caracalla. I pretend not to define the reason
of the introduction of the crescent beneath the star.

TEMPLE OP VENUS AT PAPHOS. 109

Fausanias (Arcadia, c, v.) states, that the Arcadians
and Agapenor, on their return after the fall of Troy,
were thrown in their vessels on the coast of Cyprus,
where Agapenor founded Paphos, and erected in that
town the celebrated Temple of Venus. There is a
curious coincidence between the name of Agapenor
and the word 'Ayamj.

See Miiller, " Ancient Art and its Remains,** by
Leitch (p. 215) ; "Passeri Gemmaa AstrifersB " (1, 16,
77 f 78) ; also the representation of Paphos, " Pitt, di
Ercol." (iii. 52) ; Lenz, " Die Gottin von Paphos**
(1808) ; Miinter, " DerTempelderhinmilischen GU)ttin
von Paphos ;** second supplement to the " ReL der
Karthager.**

" The court of the temple wasl50 x 100 paces, divided
into two halves, in one of which the small temple was
placed. Two piUars or obelisks stood in front of it,
connected by a chain. A semicircular balustrade
surrounded a fore court (a dove- preserve). The
central pQrtion rose considerably higher than the side
porticos. In the adytum stood the goddess as a
painted column surrounded by candelabra.**

Silver medals in the British Museum also give
the Paphian temple, struck by Domitian, Vespasian,
and Titus. This type occurs also on coins of Trajan^
Julia Domna, and others.

Eckhel does not describe this temple.

110 ARCHITECTURA NUMI8MATICA.

No. XXXII.
TEMPLE OF YENUS AT ERYX, SICILY.

OuE next illustration is derived from a consular
silver medal of the Gens Considia, ^ of an inch in
diameter (M. 5), and is remarkable as the only Sicilian
medal giving the representation of a building, among
that abimdant mass of exquisite coins, which are the
glory of Sicilian art, and place it on a rank with that
of any other part of Grreece.

On the obverse is a head of Venus, with a laurel
wreath over a diadem, " perhaps as Victrix," observes
MiQler (Ancient and Modem Art, by Leitoh, 1st ed.
p. 405) ; surrounded by the legend —

C • CONSIDINONIANI • S • C •

the name doubtless of the son of the contemporary of
Cassar and Cicero.

Allusion has already been made to the privilege
possessed by certaiii consular families of striking
coins, upon which subject Riccio has written a very
interesting and elaborate work. The legend on the
obverse shows that this was struck by a decree of the
senate (S. C).

On the reverse is represented the Temple of
Erycinian Venus, mentioned by Pausanias (Arcadia,
c. xxiv.), as being held in great veneration from the
most remote times, and which yielded not in riches to

N^ 32

TEMPLE OF VENVS • AT ■ ERYX SICILY
NO 33

TEMPLE- ON -KOVNT- 6ERIZIM

TEMPLE OP VENUS AT EEYX, SICILY. Ill

that of Paphos, noticed in the last description. It
appears from a preceding passage, that Erycinian
Venus had another temple at Psophis in Arcadia. We
here see a tetrastyle temple placed on the top of
the rocky mountain famed for its steepness. It
has a pediment with antefixas at the angles, and the
appearance of a door and other frame-work in the
three intercolumniations, but no representation of the
goddess herself.

The word ERVC, in Latin characters, is marked
on the face of the rock, and immediately imder is a
wide gateway flanked by towers, with circular sweeping
walls to the right and left, at the ends of which rise
up two lofty square towers several stories in height,
crowned by embrasures, evidently intended to represent
the enclosure of the sacred precinct (ispiv). The
courses and joints of the masonry are roughly indicated.
Eryx is the name of a city and mountain near the
north-west point of Sicily, about six miles from
Drepana, and two from the seacoast. (Leanti, " Stato
presente della SiciUa," p. 85.) The mountain, now
called Monte S. Giuliano, is a wholly isolated peak,
rising in the midst of a low imdulating tract, which
causes its elevation to appear much more considerable
than it really is, so that it was regarded in ancient
as well as modem times as the most lofty summit in
all the island next to ^tna, though its real elevation
does not, according to Smyth (" Sicily,*' p. 242) exceed
2,184 English feet. Hence we find Eryx alluded to
by Virgil and other Latin poets as a mountain of the
first order of magnitude, and associated with Athos,
^tna, &c. On its summit stood a celebrated temple
of Venus or Aphrodite, founded, according to the

112 ABCHITECTUBA NUMISMATICA.

current legend, by j^neas ; from which circumstance
the goddess derived the surname of Venus Brycina,
and by this title she is often mentioned by Latin writers.
Another legend, followed by Diodorus, ascribed the
foundation both of the temple and city to an epony-
mous hero named Eryx, who was said to have received
Hercules on his visit to this part of Sicily, and
contended with him in a wrestling match, but was
vanquished. In the first Punic war we find Eryx
again in the hands of the Carthaginians, and in B.C.
260 Hamilcar destroyed the city, removing the inha-
bitants to the neighbouring promontory of Drepanum,
where he founded the town of that name. The old
site, however, seems not to have been wholly deserted,
for a few years later we are told that the Roman consul
L. Junius made himself master by surprise both of the
temple and the city. The former seems to have been
well fortified, and from its position on the summit of
the mountain constituted a military post of great
strength. Hence, probably, it was that Hamilcar
Barcas, suddenly abandoning the singular position he
had so long held on the mountain of Ercte, transferred
his forces to Eryx, as being a still more impregnable
stronghold. But though he surprised and made him-
self master of the town of Eryx, which was situated
about half-way up the moimtain, he was unable to
reduce the temple and fortress on the summit, the
Roman garrison being able to defy aU his eflforts.
Meanwhile Hamilcar maintained his position in the
city, the remaining inhabitants of which he transferred
to Drepana ; and though besieged or blockaded in his
turn by a Roman army at the foot of the mountain,
he preserved his communications with the sea, and was

TEMPLE OP VENUS AT ERYX, SICILY. 113

only compelled to abandon possession of Eryx and
Drepana when the great naval victory of Lutatius
Catulus over the Carthaginians forced that people to
sue for peace.

Cicero alludes to the temple, but never notices the
town ; and Strabo speaks of it as in his day almost
uninhabited. Pliny, indeed, enumerates the Erycini
among the municipal communities of Sicily ; but the
circumstance mentioned by Tacitus, that it was the
Segestans who applied to Tiberius for the restoration
of the temple, would seem to indicate that the sanctuary
was at that time dependent, in a municipal sense, on
Segesta. (Cicero, " Verres," ii. §. 47.) No trace of the
subsequent existence of the town of Eryx is found ;
the remaining inhabitants appear to have settled on
the summit of the hill, where the modem town of
S. Giuliano has grown up on the site of the temple. No
remains of the ancient city are extant ; but it appears
to have occupied the spot now marked by the convent
of Sta. Anna, about half-way down the moimtain.

It is certain that the sanctuary had the good fortune
to be regarded with equal reverence by the PhcBuicians,
Carthaginians, Greeks, and Romans. As early as the
time of the Athenian expedition to Sicily (B.C. 415)
we learn from Thucydides, that it was rich in vessels
and other offerings of gold and silver, of which the
Segestans made use to delude the Athenian envoys
into a belief of their wealth. The Carthaginians
appear to have identified the Venus Erycina with the
Phoenician goddess Astarte, and hence showed her
much reverence ; while the Romans paid extraordinary
honours both to the goddess and her temple, on
account of their supposed connection with -^neas.

114 ABCHITECTUEA NUMISMATICA.

They were, indeed, unable to prevent their Gaulish
mercenaries from plundering the temple at the time
of its capture by Junius ; but this appears to have
been the only occasion on which it suffered, and its
losses were quickly repaired, for Diodorus speaks of it
as in a flourishing and wealthy condition. The Boman
magistrates appointed to the government of Sicily
never failed to pay a visit of honour to this celebrated
sanctuary ; a body of troops was appointed as a guard
of honour to watch over it, and seventeen of the
principal cities in Sicily were commanded to pay a
yearly simi of gold for its adornment. NotwithstancQng
this, the decay of the city and declining condition of
this part of Sicily generally appear to have caused
the temple also to be neglected. Hence, in A.D. 25,
the Segestans applied to Tiberius for its restoration,
which that emperor, according to Tacitus (lib. iv. c.
xliii.), readily undertook " ut consanguineus," but did
not carry Snto effect, leaving it to Claudius to execute
the intention at a subsequent period. This is the
latest mention of it that occurs in history; and the
period of its final decay or destruction is unknown.
At the present day the site is occupied by a castle,
converted into a prison. A small portion of the sub-
structions, built of very large and massive stones
(whence they have been erroneously called Cyclopian),
is all that remains of the ancient edifice; but some
fine granite columns, still existing in other parts of
the town, have doubtless belonged originally to the
temple. It has been already mentioned that the temple
itself was surrounded by fortifications, so as to consti-
tute a strong fortress or citadel, quite distinct from
the city below.

TEMPLE OP VENUS AT ERYX, SICILY. 115

Fausanias, in his " Arcadia** (c. xxiv.), notices that
there was at Psophis a temple of Erycinian Venus,
then in ruins, and which was stated to have been
erected by the children of Psophis, and with Bome
appearance of truth, as there was in Sicily, he adds,
in the country (or town — iv rf x^?^ '^ ''Eguxo^)
of Eryx a temple of Erycinian Venus, held in great
veneration ever since the most remote periods, and
which did not yield in wealth to the temple (of Venus)
at Paphos. After the disastrous defeat of the Thrasi-
mene Lake the Romans determined to erect a temple
to Erycinian Venus in accomplishment of the vow of
the dictator Q. Fabius Maximus. It was placed in the
Capitol. (Canina, " Arch. Rom." parte i. c. xi. p.
128). Rosini (" Romanarum Antiquitatum,'* p. 32)
mentions in the fifth region of Rome a temple of
Erycinian Venus, with a portico at the Porta CoUina,
near the Forum of Saflust, and not far from the
Thermae of Diocletian, and which had been erected to
fulfil a vow of the consul Lucius Porcius in the
Ligmian war. Both these are noticed by Canina in
his " Architettura Romana" (parte i. c. iv.)

I 2

116 ARCHITECTURA NUMISMATICA.

No. XXXIII.

TEMPLE OF FLAVIA NEAPOLIS STRI^
(MOUNT GERIZIM).

This large-sized bronze, If inch in diameter (M. 10),
is in the French Cabinet. It is given by Mionnet
(t. V. 499), and an inaccurate engraving of it appears
in the supplement (t. viii. PL XVIII. p. 346). On the
obverse is the head of the emperor with the legend —

ANTGNINOC • CEB • ETCE • ATTOK • KAICAP

ANTONDTVS • AVGustus • Plus • IMPerator • C^S AE.

The date would consequently be 138 — 161. On the
reverse is a magnificent and full representation of
Mount Gerizim, with the temple and other features of
the Hieron, surrounded by the words —

*A • NEACnOAEaC • CTPIAC • nAAAICTINHC

FLavi© NEAPOLIS STEI^ PALiESTIN^.

At the base of the moimtain is a colonnade of eight
intercolumniations, with a lofty arch at one end and
another interoolumniation. At the further end of the
colonnade an open space appears, and then there is
another short colonnade with an arched opening. A
carriage-road seems to run along the base of the
mountain behind the long colonnade, and then to wind
up the slope of the hill on the left side of the medal,
and turning round a projecting mass of rock near the

TEMPLE OF FLAVIA NEAPOLIS. 117

summit, loses itself (as it were) on the other side.
Rough rocks appear next the margin on this side,
surmounted at their top by a building, apparently
meant to represent the arx or citadel, which is ap-
proached by a winding path from the carriage-road,
and immediately under the arx is a cavern cut in
the rock.

From the end of the arched colonnade previously
mentioned there mounts a rapidly steep ascent of steps
in an almost straight direction. (Eckhel, vol. iii.
p. 434 : Observante Norisio ex vetere hodoeporico
anonymi, "ascenduntur usque ad summum montem
gradiis numero CCC.*') At the sunmiit is a peripteral
temple with four columns on the flank and two in
front, between which stands the statue of the god.
The pediment and roof of the temple are quite distinct,
and behind the temple is a large square tomb, or
edicule or altar, on the same level as the platform of
the temple. The rocks are rudely carved into masses,
and various chapels or caverns are cut on the face of
the rocks at different heights or levels.

There is a striking identity between the situation
of the Samaritan temple of Mount Gerizim, as shown
on this coin, and that of the Parthenon at Athens ; and
the features on this medal suggest many topics for
consideration in relation to the Athenian Acropolis.
In spite of the excavations of late years by the Ger-
mans, and the recent researches of Monsieur Beule
(" L'Acropole d'Athenes"), which have brought to
light the appearance of a peculiar inclined plane in the
centre of steps leading up to the propyleum, as though
for the ascent of chariots to the Acropolis of Athens,
yet the fall is too rapid to render such a solution

118 ARCHITECTURA NUMISMATICA.

completely satisfactory. Is it impossible, in spite of
no traces of such an arrangement being now perceptible,
that the Athenian Citadel may have had a winding
road, by which the chariots and animals of the pro-
cession of the Panathenaic festival may have reached
the propyleum by a gentler ascent, instead of the
break-neck and steep direct line by which they are
now supposed to have climbed up to the fane of the
goddess Minerva ?

Neapolis SyrisB, or Gerizim, was a moimtain of
Palestine, always associated in the sacred narrative
with Mount Ebal; from which it is separated by a
narrow valley, in which is situated the town of
Nablous (Neapolis), the ancient Shechem, Josephus
calls it the highest of the moimtains of Samaria.

That Grerizira was regarded with special veneration
by the Samaritans, prior to the erection of the temple,
by which the schism was perpetuated, cannot be
doubted. The circumstances that led to the erection
of the temple are mentioned by Josephus. Manasseh,
the brother of Jaddua the high priest, having married
Nicaso, the daughter of Sanballat, was required by
the Jews either to divorce his wife, or to withdraw
from the priestly office. His father-in-law persuaded
him to retain his wife, on the promise that he would
procure permission to erect on Mount Gerizim a
temple similar to that at Jerusalem. This permission
he obtained from Alexander the Great, while engaged
in the siege of Tyre, and its erection could scarcely
have been completed, when Sanballat died. From
this time forward sacrifices were offered at this temple
to the Most High God, until the Samaritans, in order
to escape a participation in the persecutions of the

TEMPLE OF FLAVIA NBAPOLIS. 119

Jews under Antiochus EpiphaneSj requested of him
that their temple might be dedicated to Jupiter
Hellenius, according to Josephus (Ant. xii. 5, § 5),
but according to the author of the Second Book of
Maccabees (vi. 2), followed by Eusebius (Ohron.), to
Jupiter Xenius. Shortly after, in the debate before
Ptolemy Philometor (Ant. xiii. 3, § 4), the Samaritan
advocates ignore its pagan dedication, and claim
Mosaic authority for its erection ; failing to establish
which, they were put to death. The temple of
Sanballat was destroyed by Hyreanus, the Jewish
high priest, after it had stood two hundred years
(Ant. xiii. 9, § 1) ; and we have no notice of its
restoration. Indeed, the allusion of the Samaritan
woman (John iv. 20) would seem to intimate, that
" this moxmtain " was no longer the seat of their
worship; but a temple was afterwards erected,
probably over the ruins of the former, to Jupitfer,
according to Damascius (ap. Phot. Bibl. Cod. 242,
p. 1055).

There can be no doubt that this is the temple repre-
sented on the reverse of the coins of Flavia Neapolis
from the time of Titus Volusianus. (Bckhel, vol. iii.
pp. 433, 434 ; Williams, " Holy City,'* p. 241, n. 4.)

It was in the possession of the Samaritans in the
fifth century, when, in A.D. 474, it was transferred to
the Christians by the Emperor Zeno, in reprisal for
the ruin and desecration of five churches by the
Samaritans in the city of Neapolis. The church,
dedicated to the Virgin, was slightly fortified, and
guarded by a small detachment of the large garrison
of the city.

In the reign of Anastasius it was recovered for a

120 ABCHITECTURA NUMISMATICA.

short time by the Samaritans, who w^re finally ejected
by the Emperor Justinian, when the mountain was
more strongly fortified, (Procopius, " De jEdil," v. 7 ;
Robinson, " Bib. Res." vol. iii. pp. 123-5.)

From that time to the present the Samaritans have
had no edifice on the site, but for a very long period
have been in the habit of sacrificing on the mountain
at their three great festivals; a practice which is
continued to the present day. " The spot where they
sacrifice the passover, seven lambs among them all, is
pointed out just below the highest point, and before
coming to the last slight accUvity. It is marked by
two parallel rows of rough stone laid upon the ground,
and a small round pit, roughly stoned up, in which the
flesh is roasted."

A little beyond this, and higher up the mountain,
" are the ruins of an immense structure, bearing every
appearance of having once been a large and strong
fortress." They are called El Kulah (the castle) by
the Samaritans, and are probably the remains of the
fortress erected by Justinian. (Robinson, vol. iii.
p. 99.)

Round a large naked rock, a Uttle to the south of
the castle, which is reputed the most sacred place of
all, are traces of walls, which may possibly indicate the
position of the temple, particularly as the Samaritans
profess that this is the place where the ark formerly
rested in the tabernacle. Further south, and indeed
all around upon this eminence, are extensive founda-
tions, apparently of dwellings, as if ruins of a former
city. There are also many cisterns, but they are now
all dry.

The Rev. Mr. Stanley, in his interesting volume

TEMPLE OF FLAVIA NEAPOLIS. 121

on Sinai and Palestine, alludes to the sacred spot
illustrated by our medal.

Other medals of different sizes are in the British
Museum of the same type, but varied in the inscrip-
tions: some with an eagle with outstretched wings
on the exergue.

122

No. XXXIV.

TEMPLE OF JUPITER SOL AT HELIOPOLIS
(BAALBEC).

This bronze medal, 1^ incli in diameter (M. 11),
has on the obverse the head of the emperor, with the
legend —

IMP • CAES • M • IVL • PHILIPPVS • FE

who reigned between 244 and 249 of the Christian era.
On the reverse is the representation of a colonnade,
raised upon a lofty flight of steps, and flanked by two
towers, with the epigraph —

COLIVLAVGFEIOMH-

COLonia lYLia AY Gusfca FElix lovi Optimo Maximo Heliopolitano.

and on the exergue COL • H ; that is, COLonia Helio-
politana. The building is the propyleum or entrance
portico, leading to the great Temple of Baalbec; and
reference to the work of Wood and Dawkins, and that
of Cassias, identifies immediately the medal with the
building. A flight of steps, equal in height to the
columns themselves, extends almost along the whole
front of the colonnade or portico, flanked at each end
by a noble pedestal, the width of which extends from
the extreme column to the centre of the tower. This
coincides remarkably with the plan, as given by the

N° 34

PROPVLEA OF TEMPLE-OF'JVPITERSOL BAALBEC
HELIOPOLIS
NO 35

TEMPLE OF JVPITER BAALBEC

TEMPLE OF JUPITEB SOL AT HEUOPOLIS. 123

authors above quoted, and here added as an illustrative
cut. The colonnade consists of twelve columns and
thirteen intercolunmiations, the central one being con«
ventionallj widened, to show a cedar according to
Mionnet, or an ear of com according to others. Eckhel
(vol. iii. p. 355) considers it to be a cypress, a tree
sacred to the sun.

The line of entablature is interrupted by an arch
over the central space, and above the four central
columns there is a pediment, on the centre of which
rises an acroterium. It is remarkable that the three
central intercolumniations are wider than the others.
On the flanks of the colonnade arise two lofty masses
like towers, evidencing the correctness of the medal,
corresponding as it does so exactly with the actual
remains as described in the article Baalbec, written by
Sir Charles Barry in the " Dictionary of Architecture'*
of the Architectural Publication Society : —

" The Acropolis seems to have been occupied
almost exclusively by two Corinthian temples and their
appendages. The larger, or that supposed to be
dedicated to the Sun, occupies the north-west angle
of the Acropolis ; the smaller, being about 130 feet to
the south of it, is supposed to have been dedicated to
Jupiter. The approach to the great temple was by
means of a flight of steps, now entirely demolished,
from the former lower dty, 125 feet in width, and
rising about 25 feet, to a portico in antis of a similar
width, and about 35 feet in depth; this portico is
flanked by towers 40 feet square, in which the order
is repeated. The columns of the portico, twelye in
number, were 4 feet 3 inches in diameter ; the
pedestals only now remain, and bear inscriptions of

124

AECHITECTURA NUMISMATICA.

dedications to the gods of Heliopolis. There are
openings at each end of the portico into the towers,
formed by square pilasters. In the external walls of
these towers are two stories of square recesses or
aediculsB, with highly-enriched dressings."

Hitherto it had been usual to consider the colon-
nade and inclosures at the end as representing one
continuous straight ordonnance, but the medal aflfords
authority for a more noble elevation, as given in this
restoration.

This large temple has been generally thought to be
that of the Sun, of which this forms the Propyleum ;
and one would be led naturally to suppose that in
the city of the Sim the principal temple would be
the one sacred to the divinity of the place. But the
sigils I • • M • H immediately mark \mmistakably
the peculiar destination of the temple to the great
Jove himself. And it is remarkable that Canina
(" Architettura Romana," pp. 128-45), with his usual
perspicuity, is led to the same conclusion by a passage

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TEMPLE OF JUPITER SOL AT HELIOPOLIS. 125

from the writings of John of Antioch, sumamed Matala
(" Hist. Chronic." lib. xi.), in which he says, that
Antoninus Pius built in honour of Jupiter in the city
of Heliopolis, near Mount Libanus of Phoenicia, a
temple, which passed for one of the wonders of the
world. He adds, that it is known that Septimius
Severus granted to Heliopolis Italian rights. He hence
concludes that the principal temple was dedicated to
Jove, represented under the aspect of the Sun, to whom
the city was more specially sacred ; and doubtless the
less temple was dedicated to Jupiter in his own special
character, as his worship was there more peculiarly
established. Lucian (" De Syria Dea") mentions a
large and sumptuous temple in Phoenicia, which was
named from the peculiar rites and worship of the Sun,
adopted from Heliopolis, a city in Egypt ; and in that
he confirms the statement of Macrobius ("Saturn."
lib. i. 593), that the statue represented at the same
time Jupiter and the Sun ; it was of gold beardless,
holding in the right hand the charioteer's whip and in
the left the fiilmen and ears of com.

" Assyrii quoque Solem sub Jovis nomine, quem A/a
'HXiOTToX/njv cognominant, maximis caeremoniis cele-
brant in civitate, quae Hehopolis vocatur." See Wood
and Dawkins' " Baalbec and Palmyra."

A medal (silver) of Elagabalus has on the reverse
the words SANCT • DEO • SOLI with the quadriga
carrying the conical stone, symbolical of the god
Heliogabalus, brought to Rome from Emisa, showing
the identity of the worship of Jupiter Sol in many
places in Syria.

126

No, XXXV.

TEMPLE OF JUPITER AT HELIOPOLIS
(BAALBEO.

This bronze medal of the middle size, measuring
1-^ inch in diameter (M. 9) has the head of the
emperor on the obverse with the epigraph —

IMP • CAES • M • 1 VL • PHILIPPVS • PIVS
PEL • A VG

and may therefore be presumed to be between A.D.
244 and 249.

On the reverse is the legend —

COLIVL-AVGFELHEL

COLonia lYLia AYGhista FELiz HELiopolitana.

corresponding with that of the previous medal, except
that it omits the letters I • • M • H ; that is " lovi
Optimo Maximo Heliopolitano ;'* which is important,
as it shows that there is a distinction purposely
drawn between the two temples.

It is to be regretted that this does not bear the
dedication also. A temple is represented in per-
spective on a lofty platform, octastyle, peripteral, with
eleven columns on the flank, standing on a podium,
with a flight of steps in front leading up to the end
portico. The side of the roof is distinctly shown, as
also the pediment and the tympanum ; but there are
no acroteria at the angles, and no lines of the tiling
appear.

TEMPLE OF JUPITER AT HELIOPOLIS. 127

In front of the temple is an object, which has the
appearance of a circular altar, and between it and the
temple a vase. A wall forms round the temple a
square enclosure, from the nearer angle of which, in
front of the temple, descend three steps flanked by a
parapet ; the steps here take a turn, and then descend
in a straight line for a considerable length, till they
reach the bottom of the medal.

Between the descending parapet on one side of this
flight of steps and one side of the precinct wall there
is the appearance of rocks and trees, indicating a
mountain or rocky eminence,^ on the summit of which
the temple is to be supposed to stand.

No travellers have mentioned the remains of any
temple on the hiUs, which are close upon the ruins of
Baalbec, so that conjecture is at a loss in the absence
of any particulars to suggest the destination of the
temple. It might be supposed that the figure like the
caducous, the emblem of Mercury, may have been
meant to convey the idea that this temple was sacred
to that god; the more appropriate, as Heliopolis,
being on the line of the great traffic from the coast to
the east through the desert and Palmyra, must have
been a great commercial city.

On comparing, however, the representation of the
temple on the medal with its loffcy position, the rocks
and trees, and flight of steps, in reference to the plan
previously given, it seems evident that the group may
be meant to represent the smaller and better preserved
temple, which immediately adjoins the great one to
the south, thus described in the article by Sir Charles
Barry, already quoted : " The smaller temple, or that
supposed to have been dedicated to Jupiter, is in

128 AECHITECTUEA NUMISMATICA.

great part entire, and is 205 feet long and 112 feet
wide. It is octastyle, and has had fifteen columns in
flank, a triple row of columns to the pronaos, and no
posticum. The order of the temple, which seems in
its proportions and decorations to be generally a copy
on a smaller scale of the great temple, is Corinthian,
and it cannot have been less in height than 74 feet.
There are sixteen columns of the peristyle with their
entablature standing ; their lower diameter is 6 feet 5
inches, the square of the plinth 7 feet 9^ inches, and
the height of it 16^ inches."

The lines of inclosure-waUing concur in their direc-
tion with those of the medal, and the remarkable
recess in the south-west angle corresponds with the
steps in the medal ; but the indications on the medal
of rocks and trees lead to the supposition of a hill,
whereas the platform of the whole is stated to be
artificial and carried on substructions. But may not
the soil have accumulated in this part firom the debris
of the ruins, as in the Fonmi of Rome, and filled up
a greater height than is now apparent, so that the
substructions may themselves have been built over a
rocky elevation ?

There is also a medal of this city with the head of
Severus, which has on the reverse a perspective view
of a temple exactly corresponding with this one, but
without any of the adjuncts. It is octastyle and
peripteral, but the point of view is fi'om the other side,
and the roof is divided into square compartments, as
is usual, to show the tiling, which consisted generally
of large slabs. The temple stands on a lofty podium
or stylobate, with a flight of stops in front.

This coin is not noticed by Eckhel.

N? 36

TEMPLE ■ AT ZEVGMA
W 37

TEMPLE TO • POMONA

129

No. XXXVI.
TEMPLE AT ZEUGMA (COMMAGENIS SYRI^).

This middle brass, 1^ inch in diameter, in the
British Museum, presents on the obverse the head of
the emperor with the legend —

ATTOK KM- lOTAI • *IAinnOC • CEB

IMPerator • CaBsar • Marcus • IVLIua • PHILIPPVS • AVGustus

which gives the date A.D. 244-249.

On the reverse is a four-columned temple of the
Corinthian order. Within the centre intercolumniation,
which is the widest, is seated the statue of the god.
The regular entablature continues only over the side
columns, stopping at the central intercolumniation,
where an arch breaks up into the tympanimi of the
lofty pediment. This has acroteria at the angles and
on the summit.

In front of the temple is an IfpoV, or sacred in-
closure, having to the right and left a colonnade, of
which the roof slabs only are shown, and in front is a
lofty panelled wall, meant without doubt to represent
a propylon or portico two stories high. The centre
of the court is remarkably figured, so as to represent
the rock or hill, on which the temple is supposed to
be situate or a grove of trees. On the exergue is a
Capricorn, one of the many devices of animals adopted

130 ARCHITBCTUBA NUMISMATIGA.

by various cities on coins from the time of Caracalla,
as Eckhel remarks (voL iii. p. 253).

The name of the citizens ZEVrMATECN in large
characters encircles the temple.

This city occupies no place in history, and Eckhel
merely names it, without citing a single author who
mentions it.

No. XXXVII.
TEMPLE OF FLORA OR POMONA.

Another medallion from the French collection, 1^
inch in diameter (M. 11), struck by Antoninus Pius
about 153, offers a most gracefrd composition, consist*
ing of a monopteral temple to Flora or Pomona in the
centre of a court, backed by a circular colonnade. The
fane itself is on a lofty podium, in front of which is a
curious indication, which seems to be an altar or tri-
pedal table to receive offerings, and not steps as might
be supposed at first sight. The standing figure of the
goddess on a high pedestal carries in one hand some
finits, in the other a thyrsus, the end terminated by
the apple of the pine or fir-cone. Two columns re-
present the temple surmounted by a full- sized enta-
blature in perspective, above which is a round ribbed

TBMPLE OP FLOEA OB POMONA. 131

dome with a ball on the summit. Festoons are sus-
pended over the head of the goddess. On her right a
figure is approaching the fane leading a goat; and
on the opposite side is a youth bearing a basket or
Vase filled with fiiiit. The circular colonnade, which
forms the court, is of the Corinthian order, of
slender proportions with a meagre entablature, on
the top of which are a series of vases. The whole
composition is at once firee, novel, and graceftd ; ex-
tremely suggestive ; boldly, yet harmoniously grouped
together.

On the obverse is the head of the emperor with
the inscription —

ANTONINVS • AVG • PI VS • TR • P • COS • IIII

This medal is noticed in an essay by F. Venuti, in
vol. ii. of the ^^ Dissertationes Academiao Cortonensis,"
and by him called a temple to Bacchus. (Venuti,
t. xxiv. fig. 1.)

K 2

132 ABCniTECTUEA NTJMISMATICA.

Nos. XXXVIII.— XLL
NEOKOR MEDALS OF TEMPLES.

This and the three following medals illustrate more
particularly than the preceding one of Ephesus (No,
VI.) and Cyzicus (No. XLIII.), inscribed with the
word NECKOPQN, a class of buildings and a subject
of which little architectural notice has hitherto been
taken, and which had only been partially investigated
by Albertus Rubenius (de TIrbibus Neocoris), Graevius
(" Thes. Antiq. Rom." tom. xi.), and by Eckhel (vol.
iv. p. 288 et seqq.), and others, until it was taken
up by the learned J. H. Krause in his treatise entitled
"NECKOPQN, Civitates Neocorae sive -^Edituae,'*
&c. (8vo. Leips. 1844). This word occurs on many
hundred medals, and on a few inscriptions, and notably
on those of the Oxford Marbles ; but it is rarely met
with in ancient authors, and then only in a casual
way. It is found in the 19th chapter, verse 35, of the
Acts of the Apostles, in the following passage, and
forms a curious undesigned coincidence in proof of the
authenticity of the sacred Scriptures : *'Ap^sg 'E^io-ioi,
rig yag Jemv avdqcoTog og ou yivcoirxu rr^v *E^s<ria}v ttoXiv
psmxo^ou oZa-av TTjg fJLsydXrjg dtag ^Aqrifuiog xa} roi
Aio^srdSg ; which is thus rendered in the English
version, ^* Ye men of Ephesus, what man is there that
knoweth not, how that the city of the Ephesians is a

KDOEOB MEDALS OF TEMPLES. 133

worshipper [guardian of the Temple] of the great
goddess Dianai and of the image which fell down from
Jupiter?"

English commentators, in further explanation of the
word NECKOPOC, here imperfectly translated as
worshipper, recur to the common and ordinary meaning
of the word, as a temple cleaner or sweeper. But
architecturally considered NEQKOPOC embraces a
large topic of deep interest, ultimately carrying with
it the erection and endowment of a temple by a city,
by a community, or by a union of states. This
honorific title of superintendence and guardianship
of the sacred fane and its treasures, as also of the
rites, ceremonies, festivals, games, college of priests
(flamines), and communities connected therewith, was
accompanied by great power, dignity, and honor.
Plato (v. 130, seq.) gives this title to the person or
priest, whose duty it was to take care of a temple and
of the sacrifices ; the same name is applied by Xenophon
(Exp. V. 3, 6) to that officer of Artemis at Ephesus.
In the " Ion** of Euripides is portrayed such an
individual, and his duties are supposed by commen-
tators to be thus defined : —

Mebgtjbt.
** O'er the treasures of the god
The Delphians placed him, to his faithful care
Consigning all, and in this royal dome
His hallow'd life he to this hour hath pass'd.

I see
This son of Phoebus issuing forth t' adorn
The gates before the shrine with laurel-boughs."

loir.
** My task, which from my early infancy
Hath been my charge, shall be with iaui*el-bougbs

184 ABGHITBCTCrBA NUMISMATIOA.

And lacred wreaths to cleanse the Testibule

Of FhcdbuSy on the pavement moistening dews

To rain, and with my bow to chase the birds^

Which would defile the hallow'd ornaments.

A mother's fondness and a father's care

I never knew : the temple of the god

Claims then my servioei for it nortured me." — Potter.

But the Neokor was originally in the temple of gods
alone. In later times, however, the office existed in
the fanes erected in honour of deified men.

We have already alluded, in the description of the
Temple ROMAE • ET • AVG, to the commencement
of a system of deification of the Roman emperors, —
a superstitious adulation, which degenerated into a
general system of consecration of each emperor after
his decease, becoming a wide-spread practice among
the towns of Asia Minor, where, fi-om the peculiar
character and antecedents of the people, it found a
genial soil, and became the source of important privi-
leges and wealth.

Tacitus (" Annal.'* iv. 56, p. 13) states, that at
the end of the second Punic war the Smymians had
erected a temple to the " city of Rome ;*' and their
legates before the senate claimed it as a merit, " that
they had been the first to do so, ere the state had
arrived at its most palmy height, Carthage still stand-
ing, and the kings of Asia in power." Not long after,
the inhabitants of Alabanda erected a like temple to
Rome. Prom Dion Cassius (L li. c. 20) we learn
that during the lifetime of the emperor Augustus this
worship of Rome, the city, greatly spread among the
Asiatic cities, and thence extended to other Roman
provinces. The four first cities, which the emperor

NEOKOB MEDALS OF TEMPLES. 135

constituted as Neokor, were Ephesus, Nicaea, Per-
gamus, and Nicomedia. The concession was granted
to Bphesus and Nicomedia to erect jointly a temple to
Rome and Julius GaBsar. Tacitus (lib. i, c. 68 ; Krause,
p. 7) mentions that in A,D. 15, Tarragona in Spain
had the privilege accorded of erecting a temple to
Augustus.

In what did this distinction consist ? We have seen
that the term Neokor signified a person connected
with a temple, its rights and treasures. But when
Augustus was emperor, the dependent states of the
Roman empire found that the personal favor of the
sovereign carried with it such important advantages,
that they were anxious to secure the special patronage
of the sovereign, and therefore petitioned the senate,
that they might be permitted to erect a temple to his
worship, which, if granted, required the confirmation
of the emperor himself. The Seleucidan kings of Syria
and the Egyptian Ptolemies are frequently designated
as 0«oi on coins and inscriptions ; consequently we can
understand how the eastern provinces of Rome should
have been the first to imagine this species of adulation
to conciliate the fiavor of their rulers. Krause draws
attention to the distinction made by Augustus in the
concession of imperial worship. He would not allow
Roman citizens to erect a temple to himself, but " Urbi
RomaB et Jul. CaBsari.'* And Suetonius in his life of
this emperor (1. ii.) mentions that he would not permit
any divine honors to himself within the city, and
melted down all the silver statues, that had been
erected to him, and converted the whole into tripods,
which he consecrated to Apollo Palatinus. But to
foreigners it was conceded to raise a temple to a living

136 ABCHITECTURA NUMISMATICS.

emperor, — a thing unheard of in Borne or Italy, as
Tacitus and Dion bear witness ; nor was it allowed to
Roman citizens even in the provinces.

Eckhel (vol. p. 136) has the following remark :
" In the marble of Cymes jE tides, edited by Count
Caylus, there is named Polemosas priest TAS •
POMAS • KAI • ATTOKFATOFOS • KAISAFOS •
0EC • TIC • SEBASTC. Therefore the Cymseans
had a temple of Augustus while living and even then
designated ©EOS SEBASTOS.**

The privilege so much desired was that of erecting
a temple for the worship of a certain emperor, with
his statue whether in bronze or marble^ an altar, a
regular college or establishment of ministering priests
(flamines), certain rites and festivals, periodical games,
immunities and rights as those of an asylum, and
probably tributes for the maintenance of the worship.

This was sometimes assumed by a single city, as
Ephesus, occasionally by two or more then called
'OjbboVoia, frequently by a metropolitan city in behalf of
a province ; and thus a city, state, or union had the
title of NEOKOFQN. In order to commemorate and
make generally known this distinctive honor, and
possibly to attract a large concourse of strangers to
the festivals, from which great wealth was probably
derived, medals were struck bearing the distinctive
word NECKOFCN, often without any particular
edifice on the reverse ; sometimes with an altar, as in
the instance of Cyzicus (No. XLII.) ; again, with a
female holding one or two temples in her hand, as in
one of Perinthus (Mionnet, t. i. p. 414, n. 333), or with
a single temple on the reverse ; and that either of the
Neokor temple, or of the principal one of the place.

NBOKOB MEDALS OF TEMPLES. 137

as in the medal of Ephesus to Artemis already given
(No. VI.) ; at times with two, three, or four temples
as in our examples. On the reverse of a Neokor
medal of Commodus, struck at Nicomedia, there are in
the upper part two temples in a line represented in
perspective, and beneath them a full-sized vessel with
one bench of rowers and the usual ornamental prow
and stem ; thus showing that there were naval games
also.

Buonarotti (" Osservazioni Istoriche sopra alcime
Medaglie,** 4to. Rom. 1698, p. 751) is of opinion in his
observations on a Neokor medal of Perinthus, that the
multiplicity of temples may indicate the small temples,
probably made of silver or gold, given as prizes to the
conquerors in the games. He also suggests, that they
may be meant to represent the temples, not of marble
or stone but merely temporary erections of sUghter
materials, put up on the circi (Pausan.. de Circ.) or
theatres, with the image of that god or emperor in
whose honor the games were celebrated ; particularly
as they might before those images make the sacrifices
usually offered previously to the beginning of the
courses. In Uke manner on such occasions the circi,
theatres, and other public places were temporarily
adorned with statues and ornaments, which were
removed after the games. Thus Pliny (1. 36, c. 2)
mentions the 360 columns of precious marble, which
were put up for the temporary decoration of the scene
of the theatre erected by Severus in his edileship.
And Spartian notices a prodigy, which occurred before
the death of Severus, when certain plaster-cast figures
of Victory having been put up during the days of the
Circensian festival, a thunder-bolt struck down the

138 ABCHITECTURA NUMISMATICA*

shield, which one of them held in her hands (probably
part of a trophy that she bore). In like manner, says
Buonarotti, may have been made of wood or other like
matter the temples and statues of the deities, to whom
the games were dedicated. Possibly those, who made
them, were the fabricators in contradistinction to the
sculptors. Thus Formicus, " Tomatores aut simu-
lacrorum sculptores vel fabricatores ;" and above,
" Fabricatores, deorum facit vel divinorum sculptores
simulacrorum, aut deorum omatores."

But there will be observed the numerals B • T and A
on these medals : and by a curious coincidence in these
instances they frequently correspond with the numbers
of the temples on the reverse, and would seem to
refer thereto. But various instances may be cited,
where that correspondence does not exist. Nor can
these numerals relate to the second, third or fourth
occasions of the celebration of the festivals, for the
medals of a later emperor have in some cities an
earlier number than that on a medal of a preceding
reign, and vice versd. Thus the Neokor coins of
Nicomedia (Mionnet, t. v. sup. p. 209 seq. ; 219, seq.),
under Alexander Severus, have TPIC • NECK;
under subsequent emperors AlC; and, again, under
Valerian and Gallienus TPIC. Ephesus (Bckhel, vol.
iv. p. 294) alone had a fourth Neokorate. Perhaps
the numeral may refer to the number of the contests
(agones) or prizes.

The term NECKOPOC, therefore, signifies the
temple and divine worship paid to a Roman emperor,
and the attendant festivals connected with that privi-
lege, the care and celebration of which were conferred
as a special grace and favour on certain cities, com-

NEOKOB MEDALS OF TEMPLES.

139

mimities, or provinces ; or that the place, on whose
coin it occurs, had been invested with the privilege of
erecting a temple, &c., and providing the fitting
priests, games, &c., in honor of the Roman emperor,
whose name and titles appear on the obverse.

NEOKOE CITIES.

Deci^lit.

Oaira.

Zydia.

Sythmia.

Abila.

Halicamaasus.

Attalia.

Juliopolis.

Nysa.

Philadelphia.

Nicomedia.

Ploenieia.

Taba.

Sardes.

Nictea.

Tripolis.

Tralles.

Qalatia.

Oappadocia.

Moetia infer.

Satnaria.

Ancyra.

Cffisarea.

Tami.

Fl. Neapolis.

Famphilia.

S^ria.

Phrygia.

Perga.
Side.

Macedon,
Thessalonica.

Laodicea.

^monia.

Ibttia,

Hierapolis.
Laodicea.

Myeia,
Cyzicus.

Tkracia.

Mantalns.

Pergamus.

PerinthuB.

Ephesus.

PhiilppopoUs.

Magnesia.

Fontus,

Miletus.

Cilicia.

Amasia.

Smyrna.

^gffi.

Neoc8Marea.

Hispania,

Teos.

Tarsus.

Heracleia.

Tarragona.

140 ABCHITECTUEA NUMISMATICA.

No. XXXVIII.
NEOKOR MEDAL OF PERINTHUS IN THRACE

This bronze medallion, If inch in diameter (M. 13),
is in the British Museum, and has on the obverse a
head of Caracalla, with the legend —

ATT KM ATP • CEOTEP • ANTCNINOC • ATF •

IMPerator • Caius • Marcus • AVEeliua • SBVERub • ANTONINUS

AUGastus.

The date may be assumed between 196 and 217.

On the reverse are two octastyle peripteral temples
shown in perspective ; a flight of steps in each temple
leads up to the peristyles, and one of the temples
shows six columns on the flank, the other seven. The
order is apparently Ionic, with a necking under the
cap. A high-pitched pediment surmounts each front
with acroteria at the extremities and on the summit
of the raking cornices. In the tympanum is repre-
sented some undistinguishable object, and the tiling
of the roof is divided into nine large square slabs.
Above the temples are two baskets (calathi agoniae),
or, as Colonel Leake calls them, prize-vases, with a
palm-branch in each, in allusion to the prizes in the
Actian and Pythian games, named in the inscription,
which is in the following terms : —

nEPIN0IflN • NEI2K0PCN • AKTIA • niT0IA

showing that this medal was struck in commemoration
of a Neokor festival during the reign of Caracalla.

N'r 38

PEK1NTKV3

)F SMYRNA

NEOKOB MEDAL OP PEBJNTHUS IN THBACE. 141

Perinthus was a very celebrated city of the Propontis.
(Mionnet, t. i. p. 403 seqq). The earliest mention of
it, as a Neokor city, occurs in the time of Septimius
Severus, and many coins were struck under that
emperor with the simple designation of NEI2KOPOC
and the names of the games, 4>TAAAEA*EIA •
AKTIA • nT0IA ; the first being supposed to allude
to the " brothers^^ Caracalla and Geta, as on a Niccean
medal.

During the reign of Caracalla they are frequently
repeated, one of which is the present medal here
illustrated. One of the Perinthian medals has on the
reverse a female, holding one temple in each hand,
with the legend (Mionnet, t. i. p, 414, n. 333) —

DEPINeiflN • IQNQN • B • NEQKOPQN

Krause quotes an instance of a medal struck by
the Smymeans, with the following inscription
(Mionnet, t. iii. p. 200, n. 1415) —

nEPIN0IQN • AIC • NECKOPCN • OMONOIA -
CMTPNAICN

in proof that where cities were in amity one would
mention the Neokor of the other, without reference
to its own. He also quotes another medal of the
Perinthians, where with great want of delicacy they
assume the precedence (Mion. t. i. p. 414, n. 335) —

nEPIN0ICN • B • NECKOPCN • KAI •
E*ESmN OMOiNOIA

The Actian games are frequently conjointly men-
tioned with the Pythian on medals and in inscriptions,
and refer to those celebrated ones founded by Augustus

142 AECHITECTUBA NUMISMATICA.

after his victory over Antoniniis and Cleopatra at
Actium, near Nicopolis, which city was built to record
that event. The lesser Pythian were celebrated by
many cities and have been described at length by
Krause in his work De Pyth. Nem, et Isthm.

Four great festivals, in which the games held so
proDMnent a place, were particularly famous in Grecia
Propria. The Pythian, those celebrated at Delphi in
honor of the Pythian Apollo ; the Nemecm to Hercules ;
the Isthmian^ near Corinth, to Neptune ; and the
Olympic to Jupiter at Blis. Three of them, it is to be
remarked, were in Peloponnesus. They were flocked
to, not only by all the Greeks, but even by their
colonists; and foreigners thought it an honour to
appear as competitors. Nero himself esteemed it a
high distinction to have carried off the Olympic prize.
The Panathenaic festival of Athens was more of a local
nature. At these Neokor festivals the Pythian and
Actian contests appear to have been the ones peculiarly
appropriate.

In the present medal there is a curious interpolation
of the letter I in the word niT0IA, for which I
cannot account, as it does not occur in others of
our medals, and probably is an error, but which I
did not think myself justified in omitting. Eckhel
gives frequent instances (vol. i. p. cxxix.) of this
superfluous addition of a letter in words and names,
as OPITIMVS for OPTIMVS ; or transposition as
CLVSTI for CLVSIT, blunders of the medallist.

Eckhel does not notice this medal specially. Con-
sult for other Neokor medals of Perinthus, Leake's
admirable work " Numismata Hellenica," svJ) voce
Perinthus.

143

No. XXXIX.
NEOKOR MEDAL OF SMYRNA.

This bronze medallion, If incli in diameter (M. 13),
exists in the Britisli Museum. On the obverse is a
head of Caracalla with tlie legend —

A • K • M • ATP • ANTCNEINOC

On the reverse is a representation of three tretrastyle
Corinthian temples with the following important in-
scription —

TCN • CEBA((rra>v) • EniCTPA(«3you) ATP(gXiou)

XAPIAHMOT • CMTPNAION • nPOTCN •

ACIAC • r • NECKOPON-

Of the Augasti Aarelius Gharidemus being Director of the
3 Neokors of the Smjmsdans first of Asia.

The three temples are in a line standing on one
common plinth with the geometrical prostyle elevation,
the centre intercolumniation of each is widened for the
statue, the middle temple having a sedent figure, the
others a standing one, that in the temple to the right
being probably the emperor himself. At each lower
angle of the pediments is an acroterium ; but the summit
has a large full-sized wreath with the bandlets forming
a very graceful grouping. In the tympanum of the
middle temple are the letters PO for Roma. In that

144 AECHITECTUEA NUMISMATICA.

to the right of the medal TI for TIBERIVS. It is

impossible to make out the indications in the third
pediment, Spanheim reads on a medal of M. Aiu'elius
Antoninus ATP ' AN ■ SE as though they were Marcus
AureliuSy Antoninus Pius, and Sept. Severus. But
others consign the temples to AVP • ANtoninus
AVgustus.

We have already recorded the fact, as related by
Tacitus (Annal. iv. 56), of the Smymaeans being the
earliest people of the Asiatic provinces, who erected a
temple to Rome in the consulate of Marcus Porcius
Cato, and of their assuming the credit of their servility
in the race of flattery to the Roman people before the
senate, who granted them the preference of building a
temple to the emperor and senate, which was con-
tended for by eleven cities. " The people of Hypaepa,
the Trallians, Laodiceans, and Magnesians were deemed
unequal to the expense, and for that reason were
thrown out of the case. Hium and Halicamassus
contended in vain, and Pergamus made a merit of
having already built a temple in honour of Augustus ;
but that distinction was deemed sufiicient for her. At
Ephesus, where Diana was adored, and Miletus, where
Apollo was worshipped, a new object of veneration
was deemed imnecessary. Sardes also pleaded a claim
of kindred preference."

Smyrna was one of the chief cities, not merely of
Ionia, but of all Asia ; of which we have proof not
only on this, but numerous other medals. Situated
at the end of the finest bay of this coast, it offered
great facilities for the commercial transit of goods, as
it even now does, to the cities of the interior ; and its
proximity to Ephesus, Sardes, and other cities of Asia

NEOKOE MEDAL OF 8MTENA, 145

of like consequence, was of great advantage to her.
There is a fine lofty eminence which backs the town,
and the summit is crested by the walls of the citadel,
some of the constructions of which mount to a high
antiquity, while other parts are due to Italian military
engineers. No remains now exist of the architectural
splendor, which must have distinguished this city,
and these medals alone attest the magnificence of its
buildings.

146 AfeCHITE(.^TURA NUMISMATICA.

No. XL.
NEOKOR MEDAL OF PERGAMUS MYSIiE.

This bronze medallion. If inch in diameter (M. 13),
is in the British Museum ; it has on the obverse the
head of the emperor, with the legend —

ATTOKPAT • K • MAPKOC • ATP • ANTCNEINOC

IMPEEATor • C»8ar • Marcus • AVEeUus • ANTONINrS
(CAEACALLA).

On the reverse three temples occupy the field, the
vacant spaces being filled in with the words —

EniCTPA KAIPEA ATTAAOT nEPPAMBNCN
nPCTCN • r • NECK0PI2N

Caereas Atfcalus being the director of the Pergamenians first 3 Neokors.

The Neokor honor was first conferred imder An-
toninus Pius. In this medal we find the distinction F.
On a base line immediately above the exergue are
placed on three steps two Corinthian temples face to
face and in perspective, showing five columns on the
principal fronts and six on the flanks, that is ten
columns to each temple. It is difficult to decide
whether these temples are meant to be tetrastyle or
hexastyle, for the medallist has taken considerable
licence in order the better to develop the buildings.
If they were tetrastyle, they must have been pseudo-
peripteral, but if hexastyle doubtless peripteral ; and

IL .- r^i L. o V ,

NEOK.OB MEDAL OF PERGAMUS. 147

there being not enough room to represent the six
columns of the facade and the eleven of the flank, the
front has only five and the flank six. There is some
object indicated in each tympanum, but the form is
not distinguishable. At the three angles of the pedi-
ment are acroteria, and a fringe borders the inclined
outer line of the pediments. The ridges of the roofs
have also antefixae, and the incline of each roof is
divided into twelve pannels, indicating the tiling slabs.
A tetrastyle Corinthian temple, seen in front, is placed
over the vacant space between the temples beneath,
and its lower step is level with the ridge of the temples
under. There are two steps to this central temple ;
the outer columns are very close together, so as to
give an ample opening to the central intercolumniation,
in which is a colossal figure of Jupiter, with a fiilmen
or victory in his right and a spear or wand in his left
hand, seated on a bronze throne. Possibly this was
intended to represent ZETC • *IAIOC, who was
worshipped at Pergamus (Bckhel, vol. ii. p. 466), as
is proved by coins of Trajan; or ZETC • IIEIOC.
The other temples may possibly have been intended
to represent, one the worship of Rome, the other that
of the emperor. Medals given by Morell and VaiUant
represent a tetrastyle temple, in which is a standing
statue of Augustus, clothed in armour, a spear in his
right hand; another coin gives a like temple with
Trajan in the same attitude, and a third shows
Augustus seated in ^, four-columned tetrastyle temple,
crowned by a female holding a cornucopia. One
bearing the legend COM • ASIAE represents a
hexastyle portico, with the inscription ROM • ET •
AVGVST on the frieze; and again another of

L 2

148 AECHITECTUBA NUMISMATICA,

Claudius, with the inscription COM ' AS I, presents
a two-columned frontispiece, with Augustus in armour
and a spear in his hand ; he is crowned by a female
holding a cornucopia, and there are the letters
ROM • ET • AVG.

All these are noticed by Eckhel, although he does
not allude to our medal. Tacitus and Dio mention,
that Augustus granted permission to the Asiatic
provinces to erect a temple at Pergamus to Rome
and himself. On a medal of Trajan that emperor is
represented standing in a four-columned temple,
crowned by Victory, So that it would seem that he
was held in equal honor with Augustus. The worship
of JEsculapius was conspicuous in Pergamus, and on
one of the medals Caracalla is represented sacrificing
near the temple of this god at Pergamus.

Pergamus owed its original importance to the family
of Attains, having been the seat of government of
that dynasty. In it were deposited the treasures
of Lysimachus Agathocles ; and after the death of
Attains Philometer it became a Roman province, that
prince having constituted the Romans his heirs. The
town (from M.S. Journal of T. L. D.) was situated on
the same site as the modem one, at the foot of a
mountain of rapid ascent, forming one of the range
which runs direct from the sea into the interior. The
acropolis or citadel crowns one of the sunmiits of this
range. The present fortress is very extensive, but
the antique citadel occupied only a small part, and
the walls are easily distinguishable from the later
construction, and are excellent in execution. In the
centre of the acropolis are the ruins of a temple of
the Roman Corinthian order, apparently of the time

NEOKOB MEDAL OF PEEGAMUS. 149

of Trajan, and probably the Neokor one alluded to
already. The columns are about 3 feet 9 inches in
diameter. One pilaster remains in situ, but it is
impossible to determine if the temple was tetrastyle
or hexastyle ; if the latter, it was peripteral, if the
former, of course it was not. Possibly these ruins
may be those of the temples above described as erected
by the COMmunio ASLE, and having the inscription
ROM • ET ' AVGVST. The walls are of the stone
of Pergamus, but the columns and cornice of marble,
the bases being richly carved. The portico was raised
on an elevated platform, the vaulted substructions of
which, being open, can be examined. To the west of
the town is an amphitheatre placed between two
mountains, occupying the valley formed by the two,
and the substructions arising from this circumstance,
in order to afford a passage for the waters, are, like
that at Cyzicus, curious. This has led travellers to
suppose it to be a naumachia; to which purpose it
might, indeed, have been occasionally applied, but only
as a secondary object. Near this amphitheatre are
the remains of a theatre of considerable extent, placed
on the sloping side of a mountain and facing the
plain.

In the town are many considerable fragments and
innumerable bridges. On entering the town from the
south are two large tumuli with constructions. To the
north, about a mile and a half out of the town, is a
line of aqueduct. In one of the Turkish baths is a
large antique tazza with an alto rehevo of figures on
horseback ; a drawing of which is given by Texier in
his " Asie Mineure'* (vol. ii.), as also illustrations of
the other antiquities.

150 AROHITECTURA NUMISMATICA.

No. XLI.
NEOKOR MEDAL OF EPHESUS.

This is a large brass medal in the British Museum
collection, 1^ inch in diameter (M, 9). It presents on
the obverse the head of the emperor and the inscrip*
tion —

ATT KM- ATP • ANTCNEINOC • CEB •

The EMPeror Cttsar Marcus AVEelius ANTONINVS AVGuetua.

And its date is between A,D. 196 and 217.

On the reverse are represented four temple, two
below in perspective and two above in geometric
elevation, all of them Ionic. The inscription is dis-
tributed over the surface as follows : —

E*ECICN • nPOTCN • ACIAC • A • NECK •

Of the Ephesians the first of Asia 4 Neokors.

The two lower temples, which are seen in perspective,
are distyle with four columns on the flanks, mounted
on a lofty flight of steps.

In the front intercolumniation of each is represented
a standing figure with a spear or staff in the right
hand. There is some undistinguishable object or
acroterium over the centre of each pediment, and
antefixae along the ridge of the roofs. The two
temples above are placed each on three steps; they
are tetrastyle in antis, the central intercolumniation

NEOKOB MEDAL OF EPHESUS. 161

widened in order to admit the standing statues of the
divinities ; the one to the right of the medal being
that mnltimamjnian eflfigy, " quam Graeci xoXwjuuxo-rov
vocant'* (S. Jerome, in Epist. Pauh et Ephes,), to which
we have ah'eady alluded. In the tympanum of the
pediment is a disc ; there are acroteria at the angles,
and a firinge runs along the upper line of the inclined
cornices. The temple to the left of the medal is ahke
in its architectural features, but has a square object in
the tympanum, and the central intercolumnar space is
occupied by a standing robed figure, holding in his
hand what is apparently a patera, and possibly
intended to represent the deified emperor.

In my notes, taken when at Ephesus, I find mention
of the ruins of a Corinthian temple of the Roman
period, lying on the slope of Moimt Coressus. They
form a confused heap of blocks of marble, among
which may be distinguished the capitals, the en-
tablature, the cornice of the pediment, and shafts of
columns ; which, though broken, were evidently mono-
Uthic. It was impossible to trace the lines of the
plan. The style evinced the dechne of the art, and it
was evidently unfinished, the flutings of the columns
being incomplete. The temple was surrounded by a
peribolus with colonnades on three of its sides, so
that it had evidently been an edifice of importance,
and possibly may have been the Neokor temple of one
of the emperors.

Ephesus was to Asiatic Greece what Delphi was to
European. That was sacred to Apollo — this to his
sister Artemis. The Pythian in lame verse declared
obscurely the will of the Parnassian god. A eunuch
divulged the oracles of the goddess, on which have

152 AEOHITEOTUBA NUMI8MATICA.

depended some of the most important events in
Grecian history. The Greeks united in amphictyonic
council round their Delphic temple. The states-
general of Ionia held their deliberations near the
splendid fane of Artemis. Bach has been the object
of reverence or rapine to the mightiest of conquerors
and sovereigns, as their admiration, rapacity, or
revenge urged them.

Of the Temple of Apollo scarcely one block of
marble remains to mark its site. And so entirely has
that of Artemis been engulfed by an earthquake,
that the traveller wonders where it can have been,
and searches in vain for some remnant of its former
existence. But the acropolis, a palace, a palaastra, a
gymnasium, a stadium, a theatre, baths, an aqueduct,
temples, lines of colonnades, vaults, walls, " tazze,"
and fragments in marble and granite, lying about in
wild confusion, prove Bphesus to be inferior only to
Rome or Athens in the extent of the magnificent
ruins, which it offers to the wonder and contemplation
of the thoughtful traveller.

See medals Nos. VI. and XXIV.

N'-'^ 42

/a ! 1 ;\R - • F A VS T 1 N A RO M E-
N9 43

r^L T.\p. OF-pPCS£kT-.M£

153

No. XLII.
ALTAR OF FAUSTINA (SENIOR).

This middle brass, 1^ inch in diameter (M. 7), is
in the French cabinet. It bears on the obverse the
head of Faustina the elder (A.D. 138—141), with the
incription —

DIVA • A VGVSTA • FAVSTINA

On the reverse is an altar with the words —

PIET • A VG

That is PIETas AVGusti or -ce ; and the sigles S • C
on the exergue.

The altar is here represented as a lofty erection,
with a kind of plinth figured by a series of beads or
balls at the base. There appears a wall of six courses
of stone construction, the joints strongly marked. In
the centre is a door rising up five of the courses, and
with architraves on each side, and a cornice over.
From each end of the cornice hangs a festoon sus-
pended at the other extremity firom the angle. The
door-opening is filled in with a bivalve two panels
high, divided by mouldings, with a knob in the centre
of each panel. The whole is surmoimted by a shght
cornice indicated by a row of beads or pearls, and

154 AECHITECTURA 2JUMISMATICA.

having carved ancones or horns at the ends. From
the centre rises a flame. Were it not for this feature
it might be taken for a tomb, and from the word
DIVA evidently erected after her death, apparently
by the senate, to receive the sacrifices to the deified
Faustina. The whole composition is very effectively
designed.

The present altar seems to have been one of con-
siderable importance both in size and decoration, and
with an inner chamber, perhaps to contaiu relics, or
votive offerings for the shrine, and with a perennial
flame, which might never be allowed to be extin-
guished.

But there are several varieties of this coin, both
as to size and treatment, in some of which the flame
does not appear; and it is remarkable that in such
instances the festoons do not exist ; whence it may be
inferred, that the festoons were only suspended from
the horns of the altar when the sacred flame was
lighted. In some medals the bandlets are on the field
pendent from the end of the festoons and floating in
the air, and occasionally the cornice is surmoimted by
a running perforated ornament, a species of trellis.

In all times altars have been held in the highest
reverence, conferring rather than receiving sanctity
from the temples, ia which they might be placed.
They might be ia the open air, in the fora, the public
ways, in private houses, on the summits of moimtains,
in the fields or groves. With regard to their position
in temples, those, upon which the burned sacrifices of
animals were offered, were outside ; but the bloodless
offerings of incense, fruit, and such objects, were on
altars within the temple, near the statue of the

ALTAE OF FAUSTINA. 155

divinity. Upon altars the most solemn oaths were
taken :

" Tango aras, mediosque ignes, et numina testor."

JEneid. zii. 201.

They were a refiige and sanctuary in time of violence
and danger, the suppliants being there considered
imder the immediate protection of the god.

Altars were of various sizes ; some were low, so as
to admit of the offerings being easily placed on them ;
others were more loffcy, and sometimes had chambers
within, which afforded the opportunity of working
upon the superstitious feelings of the worshippers by
portentous soimds and strange voices, as though
responses were conveyed by the god himself, as was
the case apparently in the altar of the Temple of
Jupiter in the forum of Pompeii.

Some of the most distinguished artists of antiquity
appeared to have lavished all the resources of art on
these sacred accompaniments of pubhc worship, many
beautiful ones being still preserved and enriched with
the most refined sculptures, as the one in the Temple
of Neptune at Pompeii. (Donaldson's " Pompeii.")
Vitruvius (1. iv. c. viii.) notices, that if an altar be
erected before the statue of a god, it should always
be lower than the statue, before which it was placed ;
and in the fifth chapter of the same book, he requires
that the temple should be so arranged, that the altars
of all the gods should be placed towards the east.

In the illustrations of the two next medals, we shall
have to notice varieties in the decoration and arrange-
ments of this interesting feature of ancient art, which
varied in size; in form being sometimes round, at
others square ; and sometimes fixed permanently in

156 ARCHITECTUBA NUMISMATICA.

their position, at others portable and removable from
place to place as circumstances required; and composed
of various materials, as stone, marble, bronze, &c.

It would also appear that numerous others might be
in the same temple, besides the principal one; some
of them votive and independent, or attached to some
special statue.

No. XLIII.
ALTAR OF PROSERPINE AT OTZICUS.

This bronze medal, which is 1^ inch in diameter
(M. 11), is in the French Cabinet, having on the
obverse the head of Proserpine crowned with spikes,
with the name KTCIKOC. There are many varieties
of this medal, two of which, in the same collection and
representing the same subject on the reverse, have the
heads of the serpents turned the other way and the
figures differing in action. This example seems to
represent the altar, most probably of Proserpine,
flanked by two large-sized lighted torches twined round
with serpents. On the summit of the altar are three
females, each carrying two torches, and possibly
representing Ceres with her attendants on foot, in
search of her daughter Proserpine. In the centre of

ALTAR OF PBOSERPINE AT CYZICITS. 157

the altar is a doorway, with apparently a four-panelled
bronze door, the stiles and rails of which are decorated
with ornamental knobs. The altar seems to stand on
two steps, and the courses and joints of the stones are
distinctly marked ; it has a regular entablature, with
architrave, fideze, and cornice, the frieze being enriched
with festoons suspended from boucranes or ox-skulls.
The legend of the reverse round the group just
described is

KYSlKHNflN • NEOKOPQN •

MiUin (in his " Galerie Mythologique," PL CVT. ;
421) gives the representation of another medal of Cyzi*
cus, with a like obverse, but with the reverse having
a very small altar in the centre and a flame upon it,
on each side a gigantic torch, round which a serpent
twists, as in this medal ; the legend is identical.

MiUin describes it as a medal allusive to the worship
of Proserpine. In PI. XXX. he gives a painting from
the neck of a vase described in No. 496, representing
a female in a chariot or quadriga, whom he calls
Aurora preceded by Diana Lucifera, in which the latter
goddess is shown carrying a torch in each hand ; and
which at the first glance might have been taken for
Ceres, preceded by an attendant going in search of
Proserpine ; but there are no serpents to identify that
goddess. Eckhel does not notice our medal.

Cyzicus was a city of the Hellespont, a metropohs,
and one of the most celebrated of Asia, and governed by
a praetor. The inhabitants worshipped Proserpine,
daughter of Ceres, before all other deities as
AHIOKEPCA, and under the name of KOPH •
Ci2TEIPA ; and it is reported that the city was given

158 AECHITECTUBA NUMISMATICA.

her as a portion by Jupiter, and that she had a
very large and splendid temple on Mount Dindymus ;
hence Proserpine was called, as Xiphilinus relates,
Dindymene. It was destroyed by an earthquake at
the time of Antoninus, but was restored by Aurehus
and Verus. (Dion Cass. Ixx. c. 4 ; Plin. xxxvi, 22.)
In the time of Augustus, Livia and Julia affected the
names of Ceres and Proserpine, as was frequently the
case with the empresses, Faustina assuming that of
Proserpine, and being represented on medals imder
her attributes.

According to Krause (Neoixo^o^, p. 36), it would
seem that the Cyzicenes had a temple to Augustus ;
for it is mentioned, that having neglected the
ceremonies, the privilege was taken from them by
Tiberius ; but under Hadrian the title of " Neokoria
Imperatoria'* appears on the Cyzicene coins. Under
M. Aurehus and Commodus the " Prima Neokoria" is
constantly recorded. Under Septimius Severus the
Cyzicenes designated themselves B • NEiSK. Under
Caracalla promiscuously and simply NEi2K and B •
NE. In the same manner, under the following
emperors a fluctuatiug numeral of first and second is
used. Boeckh (c. i. n. 3663-5) records a Cyzicene
Neokor inscription : Ec^^0ap;^o3vTo^ rrig TiafJLTrpaTarrjg
[ATjTpoTToXsioSy * AtTiag 'ASpiav^^ pecoxopoo ^iTioa-e^dtrroi}
Kt>^ixt>v&v TToTiswg. (See Mionnet Supplement, t. v. p.
318, n. 225.)

To, the east of the narrow strait of the Hellespont
(the modem Dardanelles), rendered illustrious by the
graceftd tale of Hero and Leander, is to be found the
site of Cyzicus or Cyzicum in the middle of the south
side of the sea of Marmora. It was an illustrious city

ALTAR OF PROSERPINE AT OTZICUS. 159

of the Propontis, on an island near the shore of the
isthmus on the east side. The Turks call the ruins
of Cyzicus Bal-kiz, the second syllable of which seems
to be a part of the ancient name, and Bal is probably a
Turkish corruption of the Greek IlaXaia. (Smith's
** Dictionary,'* subvoce^ p. 575 ; Leake's "Asia Minor,"
p. 271 ; Hamilton's " Researches," vol. ii. p. 103.)

Strabo describes Cyzicus as an island in the Pro-
pontis, joined to the mainland by two bridges, and
very fertile; about 500 stadia in circuit, and which
contained a city of the same name close to the bridges,
and two closed harbours, and ship-houses above 200.
One part of the city was on level ground, and the
other close to a hill, which they called Bear Hill.
There was another hill, that lay above the city, a single
height called Dindymon, which contained a temple of
Dindymene, the mother of the gods, which was founded
by the Argonauts.

The ruins of Cyzicus are among cherry-orchards and
vineyards. There is a heap of ruins covered with brush-
wood, where there are many subterraneous passages,
some of which may be explored to the length of more
than 100 feet. These passages are connected with
each other, and appear to be the substructions of some
large buildings. Cyzicus in Strabo' s time had many
extensive buildings, and it maintained three architects
to look affcer them and the machinery. It possessed
three storehouses, one for arms, one for the machinery,
and one for com.

Aristides, in his oration on Cyzicus, states that the
agora contained a most magnificent temple, and he
speaks of the parts below ground being worthy of
admiration.

160 ABCHITECTUEA NUMISMATICA.

Xiphilinus says that the great temple of Cyzicus
was destroyed by an earthquake. This temple is
described by Xiphilinus as of extraordinary dimensions.
The colunms were fifty cubits high, and of one stone.
The Cyziceni used the white marble of Proconnesus
for building. " About a mile N.B. by N. from these
substructions are the remains of an amphitheatre,
built in a wooded valley to the north of the plain,
where are the principal ruins of the city. Many of
the pilasters and massive buttresses of granite have
yielded to the influence of time, but seven or eight are
still standing on the west side of the vaUey, by which
the circular form of the building may be distinctly
traced." There were only two in Asia Minor, the
other being at Pergamus, noticed in the Neokor medal
of that city. Each of the two had a stream through
its centre*

The site of the theatre, which forms the S.W., is
almost entirely overgrown with luxuriant vegetation.
It is very large, and appears to be of Greek con-
struction, but it is in a very ruined state. Some parts
of the substructions can be traced, but there is not a
block of marble to be seen, nor a single seat remaining
in its place. There are vestiges of the city walls in
various parts, but it does not appear easy to trace
their whole extent. The theatre, the agora, a portico,
and a temple with its temenos, form a noble group
together. (Texier, " Asie Mineure," t. ii. p. 175.)

Hamilton in one place speaks of " heaps of ruins,
long walks, and indistinct foundations, but so over-
grown with vegetation that it was impossible to make
them out."

There are quarries of fine marble on the hills about

ALTAK OF PROSERPINE AT OYZICUS. 161

Cyzicus, and near Aidinjik on the mainland; but
granite was much used in the buildiags of Cyzicus,
and it is of a kind, which is rapidly decomposed. The
consequence is, that a rich vegetation has grown up,
which itself destroys buildings and buries them.

It seems likely, that excavations would bring to light
many remains of a rich city, of which Strabo says,
that in his time " it rivals the first cities of Asia in
magnitude, beauty, and its excellent institutions, both
civil and military, and it appears to be embellished
in like fashion with the city of the Rhodii, the Massa-
liotas, and the Carthaginians of old." But the great
mass of its columns and other architectural features
have been carried away to adorn the buildings of
Constantinople, to which Cyzicus is so near.

Pliny (xxxvi. 15) remarks that there was in his time
a temple of Cyzicus, in which the architect had placed
a golden thread along all the joinings of the polished
stone. The contrast between the gold and the white
marble would probably be thought to produce a good
effect. He also mentions a building at Cyzicum called
BowXfwnJpiov built of wood and the timbers put to-
gether without iron fastenings, so that the beams
appear as though without joinings (sine suturis).

Polybius (xxiii. 18, 1) mentions a temple of
ApoUinias wife of King Attains erected by the
Cyzicenes for her worship.

The great temple according to Dio Cassius (hx. 4)
was the largest and most beautiful of all temples with
monolith (?) columns 75 feet high and 24 in circum«
ference.

See Aristides " Paneg. Cyzic." i. p. 241 ; Malalas^
p. 119 Ven. Aristides divides the great temple into

162 AECHITECTUEA NUMI8MATICA.

the xarayim^ the juio-o^ and iirepwog. Q-alleries or
thoroughfares Spoftoi ran through it in all directions*
Were these side aisles ?

The temple of Apollo was built by Attains IE.

Consult also " Hamilton's Researches/' vol. ii. p.
98—103, and Texier « Asie Mineure," t. ii. p. 167-76.
The Cyzicenes seem to have acquired great reputation
for their architecture. Vitruvius in the 6th chapter
of his 6th book mentions '* the Oeci Kuffxijvoi, as
facing the north with a prospect towards the gardens,
and having doors in the middle. They were of such
length and breadth, that two triclinia with their
accessories might stand in them opposite to each
other. The windows, as well on the right as on the
left, opened like doors (as French casements), so that
the verdure might be seen through them, whilst
the guests reclined on the couches." — (Gwilt's Trans-
lation.)

.■_-h w^C :- --'JM

163

No. XLIV.
ARA LUGDUNENSIS (GALLORUM).

This large brass medal 1 J inch in diameter (M. 9)
is in the British Museum. On the obverse is a head
of Augustus with the legend—^

CAESAR • AVGVSTVS • DIVl • F • PATER .
PATRIAE

Cssar Agustua son pf the god (Julius Cesar) father of his country.

There is hardly a medal, of which there is so great a
nimiber of repetitions and so many varieties ; for the
same type was struck under several emperors.

On the reverse is a representation of an altar ; on the
front is sculptured in the centre a bold oak wreath,
which the senate caused to be suspended at the gate
of the imperial palace. On each side of the wreath is
a branch of laurel, for which in some instances palm-
branches are substituted. At the extremities, are two
tripods surmounted by an apple or orb, and sometimes
by a wreath, which either indicate the worship of
Apollo, and the ensigns of the pontificate, or the
prizes to be carried off by the victors. Upon the
altar itself are various objects : the two central ones
appearing to be two small tripods with apples placed
upon them. On either side of these small tripods
are three circular balls the precise form not being
distinguishable.

M 2

164 ARCHITBCTUKA NUMISMATIOA.

On each side of the altar is a short detached column
flanking it. They are of the same height as the altar,
with base, shaft and capital ; surmounted by a lofty
winged Victory, as high as the altar, draped and
crowned with a wreath, and holding in the right out-
stretched hand a chaplet with bandlets, and in the left
a palm-branch.

In the exergue are the letters —

ROMETAVG

proving, that this is an altar inscribed to Rome and
Augustus, or the altar of a temple dedicated to that
emperor. Allusion has already been made to the
^^orship paid to Augustus while living, and which he
reftised to accept unless his name were associated with
that of Rome ; and instances have already been given
of temples erected for that purpose.

There is a passage in Strabo (vol. ii. 1. iv. c. 3.
p. 46, ed. 1806) which seems to refer specially to the
monument represented on this medal : —

" After Narbon this city (Lugdunum) is the greatest
of all Gaul and very populous. For the prefects of
the Romans use it as an emporium, and strike there
gold as well as silver coin. And in this city, at the
confluence of the rivers, is placed a temple, decreed by
the unanimous consent of all the Gauls to Augustus
Caesar. It has a remarkable altar with the inscription
of the whole number of the sixty nations, and images
of each, and there is also another great altar."

It is clear from this passage that Strabo alludes to
three distinct objects; 1. The temple. 2. An altar
with the sixty nations. 3. And a great altar. Evi-
dently this coin represents an altar; but it has no

ABA LUGDUNBNSIS. 165

figures of the sixty nations. Consequently we may
presume it to illustrate the other great altar.

The altars of the ancients were of various sizes and
frequently expanded into large and spacious structures.
(Miiller " Ancient Art and its Remains'^ by Leitch,
p. 275.) That of Jupiter Olympus was 22 feet high
and 125 in circumference. (Pausanias, 1. v.) The
altar of Parion was a stadium square, according to
Hirt (" Gesch." ii. § 59). One of equal size was at
Syracuse; and there was one of marble 40 feet in
height with a Battle of the Giants in relief at Per-
gamus. (Ampelius, c. 8.) That of Hercules at Rome
was designated ** Ara Maxima."

In the year 726-27 of Rome, three years after the
battle of Actium, or that of the dedication of the
temple of Apollo by Augustus, he went to Lugdunum,
and created it a metropoUs of sixty nations, and caused
it to be established by Agrippa as the centre of the
four great roads of the empire. We hence see how
many titles the emperor had to the gratitude of the
inhabitants for the benefits and prerogatives, that he
had bestowed upon their town ; which was increased
also by his residence among them from 12 to 9 B.C.

Mons. Artaud (in his learned " Memoir sur I'Autel
de Lyon") assumes, that this altar of Lyons was one
of those important erections, not unfrequent among
the Greeks and Romans, and connected with the
celebration of sacred games. He supposes, that it may
have assumed the arrangement of a j3i9/ta or species
of tribunal, near which the judges were seated, who
dispensed the prizes gained by the victors in the
various exercises of the body and productions of the
mind. This he deduces from the victories on the

166 ARCHITECTURA NUMISMATIC A.

column, holding out the wreaths and carrying a pahn
in their right hands ; and from the emblems on the
front, and the objects on the top. He imagines, that
the altar had in the interior a species of chapel, a
sacrarium, in which were deposited the idols, the " ex
Yotis,'' the offerings and donaria and instruments of
sacrifice.

The following lines occur in " Juvenal" (sat. i.
42, 45).

" Bt sic
Falleat, ut nudis pressit qui calcibus anguem,
Aut Lugdimensem rhetor dicturus ad aram."

A pleasant allusion, which is explained by a passage in
Suetonius (Cal. 20) : " Caligula instituit in QaUia
Lugduni certamen Grsscsd Latinssque facundisB, quo
ferunt victoribus praemia victos contulisse, eorundem
etlaudes componere coactos. Eos autem, qui maxime
displicuissent, scripta sua spongia linguave delere
jussos, nisi ferulis objurgari aut flmnine proximo mergi
maluissent.'' The choice of the ferule or a ducking
in the Soane or Rhone could have been no very
pleasant option, and may well have made the rhetorician
pale, lest by a slip of the tongue he should incur the
penalty.

In fact this altar, which must have been of colossal
dimensions, is supposed to have been situate at the
confluence of the Soane and Rhone, near a spot where
various antiquities have from time to time been dis-
covered. In the contiguous church d*Asnay, which is
of remote antiquity, are granite shafts of columns,
which must have been of the Corinthian order and
are presumed to have been those figiu'ed on the
medal.

PUTBAL LIBONIS, £0M£. 167

Lyons in fact is a city full of historical and archaso-
logical interest* The exquisite Roman mosaics pre-
served in its richly*stored museum, its churches of
remote date and other antiquities carry the visitor
back to ancient periods; while the splendor of its
more modem edifices and the magnificence of its
recent Rue Imperiale render it worthy of ranking
with the finest metropolitan cities of Europe, a
splendid iQustration of the architecturally magnificent
reign of Louis Napoleon III.

No. XLV.
PUTEAL LIBONIS, ROME.

This denarius is in the British Museum and bears
on the obverse a female head with the words —

LIBO- BON EVENT

On the reverse is a puteal or well-stone in the form
of an altar; above is the word PVTBAL and on the
exergue SCRIBON, which would indicate, that it was
struck by the " Scribonia gens," a plebeian fianily, of

168 AECHITBCTUEA NUMISMATICA.

whom variouB coins remain in gold, silver, and brass.
Some of the silver pieces were restored by Trajan.
In respect to the puteal in the Comitium, there was
an old tradition in Rome, that Accius Narius, a famous
augur in the time of Tarquin, beidg asked if he could
divine what was passing in the mind of the king, and
could say whether he could accomplish it, replied in
the affiimative. " I was thinking,'* said Tarquin,
** whether I could cut this hone with this knife/*
" Certainly," replied Narius, and immediately the hone
was cleft. To commemorate this event a statue was
raised on the spot to Accius Narius in the Comitium,
with the hone and knife under it. Cicero (lib. i. de
Divinatione) mentions that some years after, the hone
and knife having been dug up in the Comitium, a
puteal was erected on the spot, and on it oaths were
taken, as a spot peculiarly sacred for the purpose.
Of these puteals many examples abound in Pompeii, in
the courts of the temples and houses, and also over a
shaft or well attached to the Temple of Neptune.
They are in the form of circular altars and are ofben
richly decorated with sculptures. This one, which
was apparently in the Julian portico near the Arcus
Fabianus, has a lyre suspended on each side with a
festoon hanging down in the middle, and at the
bottom is a hammer. It would seem therefore, that
this puteal was renewed with considerable elegance
and cost by L. Scribonius Libo, and hence was called
by his name ; the medal being struck to record the
munificent piety of the restorer of the puteal. Some-
times the word CONCORDIA with the head of that
goddess appears on the obverse of the coin. Sextus
Rufus mentions the Senaculum Aureum, the Puteal

PUTEAL LIBONIS, ROME. 169

Libonis and the Oomitium together. And it is noticed
in two passages by Horace : —

<< 'Forum putealque Libonis
Mandabo siociB."

Sput. lib. i. 19, 8.

^ Ante Becondam
BoBcius orabat, aibi adesses ad pateal eras."

Sat. 1. ii. 6, 84.

Consult Erycius Puteanus, de Jurejurando, &c., in
quo de Puteali Libonis, in Graevii Thesauro Antiq:
Bom. Festus 8vi> voce Scribonianus.

Canina in his work on the Roman Forum, and in
vol. iii. of the new series of the ** Annals of the
Institute of ArchsBological Correspondence at Rome,"
and more particularly in his folio work " Descrizione
deFantica Citta di Veii," Roma 1847, PI. XLII.
p. 88, describes a marble altar existing in the New
Lateran Museum, which had been found in the
excavations made in 1812 at Veii, in every respect
corresponding with the one represented on this and
like medals. There appear to be three lyres in the
circimiference of the cylindrical altar with a pendent
festoon of fruit between each. There was a hammer,
pair of pincers, a die and an anvil under each festoon
respectively, and over one of the festoons the words

PIETATIS
SACRVJM

Hence it may be inferred that the " puteal Libonis"
was a type imitated in other places and possibly for
different purposes, since Canina suggests, that the one

170 AECHITECTUEA NIJMISMATIOA.

at Veil may have served as a pedestal to a statue of
Piety. At Borne the puteal was evidently the altar
for the tribunal in the Forum, upon which people
took oaths. Canina considers that the letters BON *
EVENT and the head of BONVS EVENTVS refer
to the success of Libo as praetor in the year 559
of Rome (B.C. 194) when he and his colleagues for
the first time gave the scenic games called Megalesia.
(Livy xxadv. c. 54.) And he infers that the hammer
and other objects are allusive to Juno Moneta, and not
to Vulcan, as has been usually supposed.

N° 46

TOMBOF- SARDANAPALVS • TARSVS CILICIAE

N^ 47

PYRE OF ANTON INVSFIVS ROME

171

No. XLVI.
SHBINE OR TOMB OF SARDANAPALUS.

A siLVEB tetradraclim in the British Museum 1-;^ inch
in diameter (M. 9) has the head of tiie King Anti-
ochus Yin. Epiphanes (B.C. 140) on the obverse
without any inscription: but on the reverse is an
edifice or shrine with the inscription on either side in
vertical columns —

a z S

^ t o >

ME I g g

The monument in the centre has a basement con-
sisting of a lofty podium with plinth, die and cornice ;
the die is occupied by a large central panel, in which
are suspended three festoons with four pendents at
the points of suspension. From this pedestal rises a
pyramidal mass, at the summit of which the margins
on either side assume the forms of volutes with a
disk between them; up above other similar volutes
are formed without the disk. Then comes a circular
pedestal, on which sits an eagle with outstretched
wings. The panel of the pyramid is filled in with a
bas-relief, representing at the base an animal supposed

172 ABCHITECTUBA NUMISMATICA.

by some to be a lion with goat^s horns. Before and
behind it is a cap, like those of the Dioscuri, similar
to the ones on a medal of Berenice wife of Ptolemy
Euergetes, and which have not as yet been accounted
for by any antiquarian or numismatist. Above the
animal rises a figure with his outstretched right
arm, in action resembling the Roman emperor when
addressing an allocution to the soldiery or populace.
In his left the figure holds some object as though
transfixed on a sword. Behind him is a parazonium.
From his shoulder floats, as it were, a robe or mantle,
or as my late Mend Mr. Burgon suggested a quiver
with arrows and the bow. The head has a long beard
and a species of cap surmounted in fi:*ont by a small
figure, recalling altogether the character of an Assyrian
monarch on the Nineveh sculptures.

Until within a few years these tetradrachms were
unknown, but a considerable number were discovered
near Tarsus in Cilicia, thus connecting them imme-
diately with the city, the brass coins of which were
already known to possess the same emblem. There is
a large variety of this type fi*om Antiochus VIII.
Epiphanes to Demetrius II. Nikator (A.D. 200)
whose medal bears the inscription —

BASIAEOS • AHMHTPIOT • eEOT •
NIKATOPOS

Strabo mentions Anchiale, which was about a day's
journey fi-om Tarsus, as situate a little above the
sea, and Aristobulus states it to have been built by
Sardanapalus, and that there was there a monument
of Sardanapalus, the stone image of whom showed
the fingers of the right hand as though they were

SHEINE OR TOMB OF SARDANAPALUS. 173

snapping. There were, he observes, who said, that
there was inscribed in Assyrian characters the following
sentence —

SARDANAPALVS • SON • OF • ANACYN-
DARAXES • BVILT • ANCHIALE • AND •
TARSUS • IN • ONE • DAY • BVT • DO • YOV •
O • STRANGER • EAT DRINK • AND • PLA Y-
FOR • ALL • THESE • ARE • NOT WORTH

THAT

^* a snap of the fingers/' After which are quoted six
hexameter Greek verses, a lengthened paraphrase of
the exhortation.

Athensdus gives another story about a monument of
Sardanapalus, the inscription on which recorded, that
he built the two cities in one day " BVT IS NOW
DEAD," which suggests a less profane reflexion than
the former.

Arrian, who copies his description of the same
monument from the writers of the age of Alexander,
mentions the figure as having the hands joined in
clapping. (Smith, " Geogr. Diet." sub voce Anchiale.)

Colonel Leake in his ** Numismata Hellenica,
Asiatic Greece" (p. 129), describes these coins; and
in his " European Greece" (p. 28) he notices the
bronze coins of Tarsus, on which appears the same
identical monument, placed under an arched canopy,
which is upborne by a human figure at each end, as
though the group formed the shrine in a temple. These
date as recently as the third century.

Sardanapalus seems to have been deified, apparently
by the Assyrians, and had a place given him in the
same temple with the Babylonian Venus at Hierapolis,

174 ARCHITECTUBA NUMISMATICA.

the holy city. Smith (** Biogr. Diet.*') alludes to the
identity of the god Sandon and the king Sardanapolus,
which was first asserted by K. 0. Miiller, supported
with further arguments by Movers.

It appears therefore, that the inhabitants of An-
chiale had erected a tomb to their founder, and that
at Tarsus also there was a shrine made to assume the
firm proportions and features of the tomb erected to
his memory, and which may possibly have been similar
to the one erected at Nineveh or elsewhere in Assyria.
Hence the reason of the adoption of the type on the
bronze coins of Tarsus and on the silver tetradrachms
of the race of the Antiochi.

The form of this edifice is of peculiar interest, being
of a type prevalent in those parts, the earliest of
which were the stepped mounds of Assyria, in Nineveh,
the city of Sardanapalus and Babylon, &c. After
these in chronological series came the Pyramids of
Egypt, some of them also stepped, others with a smooth
revetment. Then we have the description of the
tomb of Mausolus at Halicamassus as given by
Pliny, having a lower peristyle, above which rose a
pyramidal stepped roof crowned on the summit by the
king in his chariot. All these show an unity of
design. But of these examples this pyramid alone
had an inscription, imless the one recorded by
Herodotus on the pyramid at Grhizeh be admitted,
and certainly our medal is the only record of a
sculptured surface.

Colonel Leake and others consider without a doubt,
that the figure stands upon the animal ; and Layard
in his " Nineveh and its Remains" (8vo. London,
1849, p. 456) gives a plate of the Hera or the Assyrian

SHRINE OE TOMB OF SARDANAPALUS. 175

Venus from a rock tablet near the ancient Pterium,
showing a figure standing on an animal, which occurs
also on a medal.

Another remarkable feature, connecting such a
monument with the rogus of the Romans, that is the
arrangement of the square pedestal with its central
panel and festoons, exactly corresponds with the like
distribution in the pyre of Antoninus next giyen;
and the eagle on the summit with outstretched wings
is identical with the eagle, which was let loose and
flew away as the imperial corpse was consuming.
Hence we may presxmie that the Roman pyre in its
design was a tradition adopted from the East.

The M and ME are merely the marks of the mint*
masters. And this is the only coin of our series, which
dates previously to the Roman rule, and far before the
Christian era. The sunmiit of the pyramid, in this
illustration, immediately under the circular pedestal,
on which the eagle rests, is completed from another
medal of the series, as this portion was indistinct upon
this coin of Antiochus VIII.

This is the earliest medal extant, which bears an
architectural monument.

176 ARCHITECTUBA NUMISMATICA.

No. XLVII.
THE PYRE OF ANTONINUS PITTS.

This large brass medal, If inch in diameter (M. 10),
is in the British Museum collection, and bears on
the obverse the inscription around the head of the
emperor —

DIVVS • ANTONINVS

being struck by a decree of the senate after the death
of Antoninus Pius.

The reverse has the word OONSECRATIO, and
the sigles S • C on either side of a magnificent rogus
or pyre, upon which it was customary to consume the
body of the deceased emperor by fire. It consists of
four tiers or storeys ; the lowermost of which repre*
sents a plain podium with pilasters at the angles;
having loosely-hanging drapery in front, with three
large festoons, and the profile of a festoon at each end.
The next tier formed the sepulchral chamber for the
reception of the dead body. In the centre is a pair of
panelled folding doors, flanked by two niches on each
side with statues, and surmoimted by a cornice. The
storey above has five square-headed niches with
statues, and a cornice represented by beads ; and the
upper forms a lofty plain attic with hanging drapery
in fi'ont, the folds of which are very marked.

A colossal lighted torch flanks each end of this
upper storey, which forms a pedestal surmoimted by
the quadriga of the deceased, with his statue in the

THE PYEE OF ANTONINUS PIUS. 177

cbariot and holding a palm-leaf in his left hand. All
the storeys diminish in width from the base upwards
so as to assume a pyramidal form.

The origin of these stupendous and gorgeous
temporary erections^ the whole of which was to be
sacrificed to the vain pomp of a passing show, and
consumed by fire, was due to the Greeks ; and the
pyre of Hephestion was the model followed in those
of the Roman emperors. Quatremere de Quincy
(Dictre. d'Arch. mot Mausolee, p. 104) has the
following passage : —

" Alexander,*' says Diodorus Siculus, ** having called
together architects and a great number of skilfiil
artists, caused the site to be levelled, where he in-
tended to erect the pyre, and gave the space the form
of a square, a stadium wide in every direction. The
plot being divided into thirty compartments, platforms
of carpentry were erected quadrangular in plan, and
ornaments were placed aU around.

" The decoration of the basement consisted of one
hundred and forty prows of quinquiremes with figures
of archers. Above this rose the next storey, orna-
mented with large torches 15 ft. high, which served as
columns, and surmounted by eagles with outstretched
wings ; beneath were dragons. The third stage was
decorated with a frieze representing an animal-hunt ;
the frieze of the fourth combats of centaurs. On the
fifth was an alternation of lions and bulls. The
platform was occupied by trophies, consisting of thC
arms of the Macedonians and barbarians. The whole
was crowned by figures of syrens, hollowed so as to
receive musicians within them, and the height of the
entire monument equalled 130 cubits.'*

N *

178 ABCHITECTUBA NUMISMATICA,

It will be at once perceived how great was the
analogy between the Greek and Roman pyres, which
extended also to the ceremonial of the bnrial, the
magnificent car of Hephestion answering to the
carpentum of the Romans, until at length no model
seemed so fitting for the more enduring memorial of
the deceased. Hence the typical idea of the tomb
of Mausolus with its many stages, and the stupendous
mausolea of the Roman emperors, as those of Augustus
and Hadrian, which for solidity seemed to bid defiance
to the ravages of time, and for sumptuousness of
decoration even rivalled the splendor of the temples of
the gods. The first laws of the twelve tables related
to sacred things, and among the earliest were the
regulations connected with the dead. The second
ordained, that no corpse should be buried or burned
within the city. " Hominem mortuum in urbe ne
sepelito neve urito." Numerous exceptions however
occurred in favour of the emperors and Vestal virgins,
as also of many men, who, like Y. Fubhcola and
P. P. Tubisto and Fabricius, had deserved well of
their country, as noticed by Plutarch and Cicero.

The twelfth is to this effect : — " Rogum bustumve
novum ne proprius asdes alienas 60 pedes invito
domino adjicito ; neve forum sepulchri, bustumve usu-
capito." It hence appears, that no pyre could be
erected nearer than 60 feet to the property of an
adjoining owner, who objected to it ; nor could the
precinct of a sepulchre or burning-place be taken by
prescription.

Rosini (Romanarum Antiquitatum Corpus cum notis
Demsteri, lib. iii. c. 18) enumerates the various cir-
cumstances and ceremonies, which according to Dion

THE PYEE OP ANTONINtfB PIUB. 179

and Herodian attended the consecratioii of deceased
emperors by the Romans.

This custom of the Romans was first instituted by
Augustus out of respect to Julius Csdsar; before
which time there is no recorded instance of an
apotheosis among the Romans. Funeral games were
decreed and the practice was followed up by Tiberius.
This honor was conceded to those emperors, who at
their death left sons or successors, who might imme<>
diately assume the imperial dignity. When the defunct
emperor was to be consecrated, his loss was first
deplored by the sorrowful mournings of the whole
oily, mixed up with certain fHes^ for they buried him
with the most sumptuous rites. A waxen likeness of
the deceased was prepared with a deathlike pallor on
the countenance, and clothed in golden vestments. It
was placed upon a lofty ebony and gold couch in the
vestibule of the palace. On each side of the bed sat
numerous mourners, senators in black on the right,
and matrons connected in affinity with the emperor on
the left — ^these latter being clothed in white and
without any ornaments. These ceremonies, which
even now prevail in almost all countries, lasted several
days, and the physicians visited the figure day by day,
and announced his appar^it gradual decay. Upon
the day of his supposed formal decease, the fimaral bed
was borne on the shoulders of some of the most noble
order of knights and senators, and carried by the Via
Sacra into the Old Forum, where the Roman magis««
trates were accustomed to lay down their commands
and dignities. A wooden tribunal of stone-color was
erected in the Roman Forum itself, upon which was
constructed an edifice, surrounded by columns and

N 2

180 ABOHITECTURA NUMISMATIOA.

variously adorned with ivory and gold. Upon this
was placed another like couch, to which were affixed
heads of animals and fishes, mixed up with purple
and golden ornaments, and whereon was carried with
great ceremony the waxen image of the emperor,
attended by a youth of gracefiil form, who fanned
away the flies, as though the emperor was slewing.
The new emperor, the senators, and wives of senators
clothed in like robes were grouped around the hearse
and followed in procession, until they reached the
Forum, where the women sat under the porticos, bufc
the senators in the open part. On either side of the
Forum were series of seats rising one above the other
like steps, on one side for the chorus of noble and
patrician youths, and on the other for illustrious
females, singing hymns and paeans in honor of the dead
in moumM strains. The funeral pomp in like order
proceeded fi*om the Forum to the Campus Martins
without the city.

First were carried the statues of all the ancient
illustrious Romans, who had existed fi:om the time of
Romulus to the present period. Then bronze images
of the provinces and nations subject to the Roman
sway, distinguished by various ornaments peculiar to
each country. And Tacitus (1. i. c. viii.) mentions
that on the occasion of the funeral of Augustus it was
proposed in the senate, that the procession should
pass through the triumphal gate, and that the titles of
all the laws of Augustus and the names of the con-
quered nations should be carried before the body.

Afterwards followed the various orders of the
citizeiis, lictors, scribes, succeeded by the hosts of
illustrious men, who had distinguished themselves by

THE PYBB OP ANTONINUS PIUS, 181

their talents or their services to their country, the
knights and armed infantry, gladiators, horses and
other objects, which had been sent to take part in the
funeral obsequies by the princes, the priests, their
ivives, the most distinguished knights, nations or
classes of the people. Lastly was carried a golden
altar, adorned with ivory and precious stones. As
these passed away, the new emperor ascended the
rostrum and praised the defunct ; and while he spake
the senators around him frequently cried out, some
lauding, others lamenting the deceased; but once
the discourse ended these cries of sorrow and praise
became still more vociferous, so that when the body
was to be moved these exclamations assumed a more
intense expression of sorrow louder and louder, and
all joined in impassioned emotions of grief. At length
the high priests and magistrates of the present, and
those elected for the following year, attended by some
of the knights, raised the bier from the platform, and
carried it to the Campus Martins, outside the city, pre-
ceded by part of the senators, the emperor following
last.

Where the Campus Martins was widest a rogus
or pyre was erected, square in form, of equal sides,
formed of nothing but large beams of wood and in the
shape of a tabernacle ; the interior was filled with dry
fuel, but without adorned with mouldings, worked
with gold, and enriched with various ivory sculptures
and statues, and hung with the richest tapestries.
Above was another smaller ' tabernacle, like in form
and decoration, but with gates and doorways. A third
and a fourth and sometimes other storeys, were placed
thereon, gradually decreasing in size, until the last,

182 AECHITBCTURA NUMISMATICA.

whioli was smallest of all. On the summit was the
golden chariot of the emperor in which he used to be
borne.

The bier was deposited in the second tabernacle,
and all sorts of perfumes, odors, fi^dts, herbs, and the
most exquisite aromas were profusely heaped around
the body ; for there was not a nation, or city, or any
person distinguished by any honor or dignity, but
sought to bring some last tribute of respect to the
deceased emperor, and thus a huge pile of offerings
filled the lofty erection.

The new emperor and other relatives of the deceased
then approached, and kissed his image, which being
done the prince ascended the tribune, and the senators,
with the exception of those who were magistrates, sat
on a platform prepared for them; from which they
might witness the ceremonies both conveniently and
also in safety. The magistrates and other dignitaries
of the state were accommodated according to their
rank.

The cavalry and infimtry then marched round the
funeral pyre with a certain pace and in regular order,
'^ motuque Firrichio;" and then came chariots, in
which were the rectores clothed in purple and per*
sonating the most distinguished of their past generals
and illustrious princes. The reigning emperor then
Beized a torch, and approaching the tabernacle cast it
thereon, after which the consuls first, and then the
magistrates and other orders, threw fire upon the
pile ; and the whole, being composed of inflammable
materials, quickly took fire. Presently from the upper-
jnost and smallest compartment, as from the summit,
an eagle was let fly, which was supposed to carry

THE PYBB OF ANTONINUS PIUS. 183

the Boul of ihe deceased emperor from earth to the
heavens, where he was henceforth worshipped as a
god. During these cereinonies combats of gladiators
took place and hundreds of lives were offered to the
manes of the deceased. The corpse of the emperor
had been carefiilly shrouded in a sheet of asbestos, so
that, when the rogus had been completely consumed,
the utmost care was taken to gather up the cinders of
the imperial corpse, which were placed in an urn and
thrice sprinkled with water by a priest. The urn
was then carried with like ceremony to the imperial
sepulchre.

The ancient kings of Thebes began the excavatior
of their tombs in the valley of Bibac al Moluck as soon
as they ascended the throne. In the same manner
Augustus, Hadrian and other Roman emperors be-
gan their stupendous mausolea while living. Rome
has still the remains of the mausolea of Augustus
and Hadrian now converted to other uses. These
imperial tombs of the Augusti for their families,
relations, friends, freemen and slaves, consist of series
of chambers filled with columbaria and vases for the
bones and ashes of the dead, and form some of the
most striking features of the Campagna.

Of these monuments of the pious grief of the
successors of the emperors medals have preserved us
no record. We have the carpentum and the pyre
and the apotheosis of the deceased, figured by the
sovereign rising up to heaven upborne on the wings of
an eagle, or the empress, as Faustina, carried by a
peacock. But the mausolea have not received the like
numismatic distinction.

184 AfiCHITECTUEA NUMISMATICA.

No. XLVIII.
ROGUS OF JULIA DOMNA.

There are three brass coins of Julia Domna in the
British Museum, all struck at Emisa ; they are of the
average diameter of a Aill inch (M. 7). Each has the
head of the empress on the obverse with the name
in Greek —

lOTAIA AOMNA

And to one is attached the title ATT. On the reverse
of all, is the same type slightly varied, the rogus of
Julia Domna, surrounded by the words —

EMIC12N • K0A12NIAC

and the letters Z K * on the exergue.

The lower part consists of two loffcy steps or plinths,
above which rises a square die about twice as wide
as it is high. - At each angle is a species of panelled
pilaster without base or capital, the panel of the
pilaster being enriched with carved leaves. Between
the pilasters are two rows of niches, one over the
other, rudely proportioned and as rudely executed.
Each niche forms a distyle feature with a squat
column on each side, and a rough base and block
capital surmounted by an arched archivolt, as wide as
the diameter of the column ; the lower ones being flatly
elliptical, the upper semicircular. There is a full-sized

N° 48

PYRE OF FAVSTINA- ROME

NO 49

PYRE OR- ALTAR AT EMISA

BOGUS OP JULIA DOMNA. 185

,figure occupying the ground of each niche. Above
.the upper range of niches rises a rudely-indicated
cornice, exceeding one-third the height of the die, and
the archivolts of the upper niches rise up into the bed-
moulding.

Above the cornice is a species of attic, as lofty as
the cornice is high, having its cornice-mouldings and
.three unequally-sized festoons. Upon the centre of
this attic is a metal couch, from the whole upper
surface of which flames rise up.

In this instance we have another variety in the
arrangement of this funereal pyre, with features distinct
from the usual Roman type. There is not the door of
the chamber which contained the imperial body ; and
the two rows of niches, instead of occupying distinct
.storeys, are here thrown into one. Instead of the
quadriga with the statue of the emperor, here is a
couch with flames. May this have arisen from the
circumstance, that the body was burned outside on the
summit, instead of within in the centre of the fabric ?
possibly a local custom.

Julia Domna, daughter of Bassianus, was bom at
Emisa. She became the wife of Septimius Severus,
and the mother of Geta and Caracalla. She survived
her husband and Caracalla, and after the death of the
latter was allowed to retire to Antioch, but being
supposed to be tampering with the troops, and there-
fore ordered to quit Antioch forthwith, she destroyed
herself, some say by poison, others by starving herself.
Smith {mb voce) says, that her body was transported
to Rome, and deposited in the sepulchre of Caius and
Lucius Caesar ; but afterwards removed by her sister
Muesa, along with the bones of Geta, to the cemetery

186 ABCHITECTURA NUMISMATICA.

of the Antonines. But this coin leads to the supposition,
that the body was consumed upon a rogus at Emisa^
her natiye city ; and then her ashes would hare been
carried to Borne.

The preceding remarks were written before I had
the opportunity of conferring on the subject with my
friend Colonel Leake, whose learned work ** Nuim-smata
Hellemca,^* I have had frequent occasion to quote.
iTpon consideration, he abandons the idea borrowed
from Mionnet, that this medal was intended to
represent a Basilica. He considers, however, that
it is the record of a highly-enriched altar of the
temple of Emisa, an opinion which deserves every
consideration. If however the conjecture be correct,
that Medal XIX. be a representative of the chief
temple at Emisa, it is evident that, if this be an altar,
it could not have been the principal one in that temple,
for the tabernacle represented on that coin and the
altar on this would have been antagonistic and too
equally important, and the one would have obscured
the other.

187

No. XLIX.

BOGUS OR TOMB OF FAUSTINA.

BOeVS 07 fAtrflTUTA BXir.— &18T0BIB.

This large bronze medal 1*]^ inch in diameter
(M. 10) exists in the British Museum. It has on the
obverse the head of Faustina the elder with the

name —

AVGVSTA • FAVSTINA

On the reverse is the usual posthumous term CON*
SBCRATIO with the letters S • on the exergue.

The centre of the field is occupied by a mi^nificent
edifice^ which so departs from the usual type of the
rogus, that it affords the presumption of its being in
all probability a tomb.

There is a loffcy podium^ the width of which equals
six times its height the front of this base is divided
into five compartments by five festoons, between which
and at the outer angles are either pedestals or pendent
festoons. Above the ^Kxlium, whidi serves as a sub-
basement, is a fine Corinthian faQade, whose width

188 ' ARCHITECTUBA NUMISMATICA-

equals five-sixths that of the podium, and is twice as
wide as it is high. The columns, which are eight
diameters high, are raised on a stylobate or pedestal
one diameter and a half high, and surmounted by
a regular entablature four diameters high. In the
central intercolumniation, which is nearly five dia-
meters wide, is a bold doorway ; the colimms project
on either side, the entablature breaks forward and
is surmounted by an arched pediment, thus forming
a distyle arrangement. The gates are valved, two
panels high, occupying two-thirds the height of the
intercolumniation ; the other third forms an hyper*
thyrum or open space to admit light and air to the
interior. On each side of this central distyle feature
are three . intercolunmiations, two diameters wide,
divided by columns ; but on the outer side flanked by
two broad piers, two and a lialf diameters wide, the
stylobate and entablature profiling roimd, so as to
indicate a projection.

Up above the entablature rises a circular attic,
extending as wide as the centre of the two columns
on either side the centre, and half as high as the order
beneath it. This attic has a cornice moulding and a
central festoon and a half festoon on either side, with
intermediate pendent festoons. A circular pedestal
^iirmouhts. the ^attic equalling it in height, and having
a crowning moulding, above which is a biga with the
empress in it. It wiU be perceived at once,' that with
,the exception of the lower podium and its festoons
jand the crowning biga, which is common to all sorts
of monumental edifices, this building has little identity
with the rogus previously given. The imposing single
order, constituting one storey only, whereas in the

BOGUS OB TOMB OP FAUSTINA. 189

other examples there are always two and sometimes
three, each of comparatively low dimensions, indicates
either a very essential departure from the usual
arrangement, or that it must be some other edifice of
a sepulchral kind. Now in the Campagna of Rome
and on the road between Rome and Naples within the
territory of the latter state, are frequently found tombs
of this class, in which occasionally the colonnade is
concave and consists of attached columns, so that the
curves assume the form of diagonal branching horns:
These edifices, the mass of which consisted of brick
construction with a casing of choice marbles, are of
considerable dimensions, and form very picturesque
groupings with great play of outline by the boldness
of treatment in plan and the variety of the parts. The
tapestry hangings, usually observable on the other class
of rogi, are not here perceptible.

The great objection to the tomb is, that it is not
to be supposed, that her remams would be deposited in
a sepulchre apart from her husband, who it may be >
presumed would be interred in one of the extensive
mausolea of the Caesars, or a magnificent one of his
own family ; but it does not appear, that Antoninus
Pius had a distinct place of sepultiu-e.

190 ABOHITEOTUBA NUKISMATICA.

No. L.
TOMB OF MAXIMIANUS.

This bronze medal one inch in diameter (M. 7)
has on ihe obverse the usual head of Maxentius, with
the inscription —

IMP • MAXENTIVS • DIVO • MAXIMIANO-

SOCERO

On the reverse is the representation of a circular
tomb with the legend—

AETERNA • MEMORIA

with the letters MOSTQ on the exergue.

The tomb itself is apparently peripterali with Co-
rinthian columns raised on three steps; the central
interoolmnniation is widened as usual and exposes to
view a bivalved door^ one of the leaves of which is
represented as open, typifying that it had just received
its tenant. Each valve presents a large square panel
with a circular patera in the centre and four knobs
at the angles. The aperture is nearly as high as the
shaft of the column, and in the space above it and
under the entablature is a species of frieze with three
wreaths. The entablature equals in height one-sixth
of the column, and is shown as a flat inclined face
with a flat waving line and rosettes as an enrichment.
There is on one side a circular ball at the springing

NO 50

TOMB- OF- MAXIMIANVS
N° 51

TRAIANS • COLVMN ROME

COLUMNA TBAJANA CX)CHLI8. 191

of the dome which surmounts the tomb ; and on the
other side a projecting bunch or wreath seen in profile.
On the summit of the dome is a full-sized eagle with
outspread wings.

This evidently represents a tomb erected by the
Emperor Maxentius to his fieUhOT-in-law Maidmianus,
and was stmck at Treves according to the letters on
the ezBrgoe, which may be thus interpreted —

Moneta * Obsignata * Sacra * TreYeria * Quinto

On which point Sabatier's ^^ Hotels Monetaires"
(8yo. 1856) may be consulted.

No. LI.

COLUMNA TRAJANA COCHLIS.

This large bronze medal exists in the French col-
lection, and is 1^ inch in diameter (M. 9). It has the
head of Trajan on the obverse with this legend —

IMP • CAES • NERVAE • TRAIANO • AVG .
GER • DAC • P • M • TR • P • COS • VI • P • P

IMPeratori • CASSari ' NEBYAE • TBAIANO • AY Guato • GEB^

manico . DACico * Fontifici * Maximo * TBibaniti& * Poteetate *

COnSul • VI • Patri • Patrto

The reverse presents the cochlid column erected to
that emperor by the senate during his absence at the

192 ARCHITECTUEA NUMISMATICA.

period of the Partliian war, but which monuinent of
his victories he never saw (Bosini, "Antiq. Rom."
p. 663); for he died as he returned from Persia at
Seleucia Syriae from a fluxion of blood. His body was
brought to Borne and there buried, his being the only
instance, according to Eutropius, among the emperors
of being buried within the city (Marlianus). The
column is represented with remarkable fidelity: the
pedestal has the same divisions as the original, with
the central door that leads to the staircase, and the
panel of the inscription over it, upheld by two angels.
There is the lofty plinth, with the festoon hanging
from the necks of the eagles at the angles, to which a
very expressive size and prominence are given. Thence
rises the column with its simple Tuscan base, the shaft
covered with a spiral range of sculptures, and then its
bold and characteristic capital. There is a low pedestal
over the capital, in that respect differing from the
original, which now has a lofty pedestal ; and above it
is the statue of the emperor, his left hand upraised and
resting on a staff or spear, and in his right out-
stretched hand holding a ball or globe, which it was
said contained his heart. A mantle is thrown over his
shoulders and hangs graceftdly from his right arm.

The legend in bold letters foUows the line of the
margin —

S • P • Q • R • OPTIMO • PRINCIPI

And the letters S. C. are on each side of the column.
Quatremere de Quincy well obverves (in his ^* Dic-
tionnaire d' Architecture," mot Trajane) that " the
Trajan column is the finest, the most entire and most
temarkable monument of Roman magnificence."

COLUMNA TRAJANA COCHLIS. 193

The panel over the door, which affords access to
the interior, states the reason of its erection and its
dedication to Trajan in the following words —

SBNATVS • POPVLVSQVB • EOMAJ^VS •

IMP • CAB8AEI • DIVI • NBBVAB • F • NEEVAB •

TEAIANO • AVG • GERM • DACICO • PONTIP •

MAXIMO • TEIB • POT • XVII • IMP • VI • COS • VI • P • P •
AD • DBCLAEANDVM • QVANTAE • ALTITVDINIS •
MONS • ET • LOCVS • TANTIS • OPEEIBVS • SIT • EGESTVS

It hence appears, that this column, which was situate
in the Trajan Forum, and of which ApoUodorus was
the architect, was erected by the senate and people to
Trajan, to mark of what height were the mountain and
place occupied by such great works. The construction
of this column is such a masterpiece of execution,
whether we consider the material, the gigantic size of
the blocks, or the refined execution of the sculptures,
that I cannot forbear to subjoin some memoranda of
dimension, noted on the spot. I give also some
parallel particulars of the sister column of Antonine;
which, although inferior as a work of art, is still of
sufficient importance to deserve being compared with
its noble prototype, with which it has every analogy of
size, purpose, execution, and material.

The mass of the column is supposed to have been
built up solid, and afterwards to have had the spiral
staircase, which winds round the newel, cut out of the
solid, with certain apertures for light pierced through
the wall and so ingeniously introduced among the
sculptures, as almost to escape casual observation from
the outside.

194

ARCIIITECTURA NUMISMATICA.

Plinth of pedestal square

Height of die of pedestal in two courses

4' 6-8 ( ^^*i*^ Column

Square of die

Total die consists of four blocks in two
courses.

Cornice of pedestal and plinth aboye ditto
one course high

Torus and cavetto ditto

Eighteen frusta in the height of the
shafb of T. C. and one block for the
capital.
Each frustum and the capital have an
average height of 5 feet.

Seventeen ditto of A. C. ayeraging 5*^ 1'
in height and capital 6^ O'

Total height of columns including the
plinth and torus of base, the shaft
and capital

Total original height of pillars from pave-
ment to top of capital

Present pedestal surmounting capital

Lower diameter

Upper diameter

TBAJAN.

AITTOiriHK

ft. in.
20: 80

ft. in.
21: 0-0

10: 01

10:100

17 : 11-0

18: 6-0

6: 4-6S
5: 11

4: 6-4
5: 0-0

97: 91

116: 6-8

9: 60

12: 2-2

10: 90

97: 81

185:

18:

12:

1-6
10
1-9
11

From indications upon medals, particularly upon a
silver one in my possession, it is evident that there
was on the top of the abacus of the capital an orna-
mental bronze railing to prevent accident, and the
holes sunk to receive the standards, still exist and are
shown on Piranesi's engravings of this colxmm.

The bronze statues of the emperors Trajan and
Antonine have, under papal Rome, been succeeded
by bold figures of S. Peter and S. Paul.

The original pedestal to the statue of the latter

COLUMNA TEAJANA COCHLIS. 195

column, however, seems to have been truncated, it
being now very short, having probably not more than
half its original height ; above is a pedestal for the
statue, too small to surmount the column and too
large to come under the figure, and thus by want of
proportion destroying the symmetry of the top of the
pillar as a crowning feature.

The architectural objects of the spiral sculptures of
this column, as engraved by Bartoli in his " Colonna
Trajana,'' have never obtained that attention, which
their importance deserves, as illustrations of various
classes of buildings, both of the Germans and Romans.
The lowest spandril of the series consists of a group
of two mihtary granaries surrounded by stockades ;
two huts, and a two-storied watch-tower within a
stockade, having an outside gallery with a doorway,
from which is protruded a lighted torch, and the roof
is hipped rising up to a central flos. Next come two
other towers exactly similar. To these immediately
succeeds a kind of village on the banks of a river, partly
surrounded by a stockade. The houses are two storeys
high, the central one with a lean-to roof over the door,
and there is a columnar building with a door at the
side and the roof hipped. The army is seen issuing
from the other end of the village through an arched
gateway, crossing the river over a bridge of boats, and
landing on an ingeniously-framed jetty of carpentry.
Various camps are shown surrounded by walls of
regular masonry. The tents for the emperor and other
superior ofl&cers are apparently of wooden huts temple-
shaped ; the front closed with curtains. The soldiers
and workmen, masons, carpenters and labourers are
seen carrying on their various constructive operations,

196 ARCHITECTUEA NUMISMATIGA.

directed by their architects or overseers. In several
instances there are representations of amphitheatres
with steps, seats, &c. In plates 45 and 54 we see a
camp with the gates flanked by posts and surmounted
by an open-work, which forms a part of the door, as
appears in plate 43, where it is thrown back. This
probably served as a gangway to enable the soldiers
to pass over without interruption along the upper
circuit or gallery of the walls. In plate 59, showing
the conmiencement of the second Dacian war, there
are several important public buildings. A tetrastyle
pseudo-peripteral temple in perspective with the statue
in the doorway, as occurs generally on the coins. It
stands in a court, and there is also an archway sur-
mounted by statues. The emperor and his army are
represented crossing a river in superb triremes, and
approaching a city with numerous porticos of the
Corinthian order.

At plate 64 the emperor lands on a quay, which
consists of a series of open archways, and there is a
iDonsiderable display of magnificent architecture : a
very fine theatre, occupying the central space, richly
adorned with colunms, and the postscenium grandly
composed. On plate 74 is a very graphic elevation
of the celebrated bridge erected by Trajan over the
Danube. It consisted (according to Dion) of 20 piers
pf squared marble, 150 feet high, 60 feet wide, and
170 apart. The piers were surmounted by wooden-
framed arches. Open parapets appear on both sides
of the bridge, the roadway of which is shown in per-
spective. Plates 87 and 88 display a long line of
.city waUing, consisting of rough rubble-work with
tiers of regular bond, in that respect diflfering from the

COLUMNA TEAJANA COCHLIS. 197

regular masonry of the other city walls. In plate 92
is a city with houses of various forms, square, oblong
and circular, with panelled doors and windows. In
this, as in many other instances, the embrasures on
the city walls are distinctly marked. This rapid
review of these structural illustrations will serve to
show, how usefiil the study of these sculptures may
prove to the architect, as weU as to the antiquarian,
the sculptor and military engineer.

Eckhel, vol. vi. p. 429, also 431, Columna, super
quam Mostin.

198 AECHITECTURA NUMISMATICA.

No. LII.
COMMEMORATITE COLUMN TO ANTONINUS PIUS.

This large bronze medal, 1^ inch in diameter
(M. 9) is in the British Museum, and a copy is in
my own possession. On the obverse is the head of
Antoninus Pius with the legend —

DIVVS- ANTON IN VS

proving it to have been struck after his death.

On the reverse is the representation of one of the
commemorative columns, erected to the memory of
this excellent prince by the pious affection of his
successor, and the gratitude of the senate ; with this
inscription —

DIVO • PIO
and S • C.

We have the representation of a Corinthian column,
the pedestal surrounded by a lofty enclosure, con-
sisting of four upright posts or columns, or probably
termini, with open treUis-work in panels; the outer
posts being larger and taller than those in the centre.
The pedestal of the column is very simple with some
appearance of a panel in the middle. The column
seems to have an attic base with two tori, a plain
shaft and capital surmounted by a figure of the em-
peror, resting his left hand on a spear and holding in
his right hand apparently a wreath ; but the proper-

N° 52

MONOLITHIC COLVMNTO ANTON I NVS PIVS -ROME
N° 53

TRIVMPHAL- COLVMN TODVILLIVS ROME

COMMEMORATIVE COLUMN TO ANTONINUS PIUS. 199

tions of the statue are not so gracefiillj maintamed, as
in that of Trajan.

The leading features of this representation of a
commemoratiye column to this emperor would lead to
the supposition, that it is not intended to represent
the fajnous cochlid column, erected in the Campus
Martins, and which still exists at Rome in the Piazza
Golonna ; but rather the smaller Corinthian one with
a monolithic shaft of Sienite granite, which, broken in
several parts, lies in a small court behind the courts
of justice. It was some 45 feet high and about 5 J feet
in diameter. This had been erected to Antoninus
Pius by the senate fifteen or twenty years before
his death, upon the western slope of the hill, at
present called the Monte Citorio. (Quatremere de
Quincy Dicty. Antonin.)

The pedestal to this column is now in the Vatican
garden, and has the inscription —

DIVO • ANTONINO • AVG • PIO
ANTONINVSAVGVSTVSET
VERVS • AVG VSTVS • FILII

The terms of this inscription prove its dedication by
his sons aft«r his death. Three of the sides of this
pedestal are enriched with sculptures, that are en-
graved by Aquila in five sheets. The fourth side is
occupied by the inscription. The subjects of two of
the bas-reliefs are battles; and the apotheosis of
Antoninus and Faustina that of the third. The em-
peror and empress are upborne upon the wings of an
eagle, holding in the left hand a globe, and a serpent
on the globe emblem of wisdom ; at the feet of the
genius is an allegorical figure holding an obelisk,

200 ABCHITEOTUEA NUMISMATIC-A .

emblem of immortality ; opposite to which is the city
of Rome seated, holding in her right hand a shield, on
which is represented a she-wolf with Romulus and
Remus. The whole style of design and executian is of
the noblest class of art.

These smaller commemarative columns were not by
any means unusual among the ancients, if we may
judge from those, which still remain and from notices
of authors.

There are several tripedal ones on the Acropolis Hill
at Athens, just above the great theatre and Choragic
monument of ThrasyUus. (Stuart's " Athens," vol. ii.
Choragic Monument of ThrasyUus).

" Over this building," says Stuart, " but higher up
the rock, stand two columns of diflTerent heights ; the
diameter of the tallest measures 4 feet 2^^ inches ; of
the other 3 feet -f^ inch. They have never made part
of any building, but are each of them insiilated, and
have been evidently erected for the sole purpose of
supporting a tripod, for so the form of their capitals
plainly shows. They are triangular, like that of the
flower on the dome of the monument of Lysicrates,
and like that have cavities sunk in their upper surface
at each of their angles, in which cavities, there can be
no doubt, were fixed the feet of the tripod, which
they supported. These capitals are of uncommon
forms ; but, though adorned with foliage and volutes,
are not to be admired for any extraordinary elegance
of invention, or delicacy of workmanship.

To the preceding extract Mr. Kinnard, the editor
of the new edition of Stuart's "Athens," adds the
following note : —

" There is a correspondent footing and base to be

COMMEMORATIVE COLUMN TO ANTONINUS PIUS. 201

seen in the Elgin drawings, of a third tripodial column,
which was at an equal distance from the western
column, as that from the remaining eastern one. The
shafts of these two columns, which consist of pure
PenteHc marble, are composed of several frusta, some
of which appear to have been slightly displaced, pro-
bably by the concussion of earthquakes."

Texier found at TJrgule in Asia Minor, near CsBsarea,
a column of a simple character with steps, plinth,
shaft, and capital, the shaft of which was built in
courses of stone, the whole about 33 feet high. It
stood near a tomb. (" Asie Mineure," t. ii. p. 75).

Of the Roman times may be cited the one at Alex-
andria, called Pompey's Pillar, a Corinthian column
raised on the usual pedestal; the total height from
the bottom of the pedestal to the top of the capital
being 87 ft. 9 in. 6. The shaft, which is a monolith
of granite, is 8 ft. 5 in. in diameter, and 65 ft. 1 in. 3
in height.

This column, however, does not equal in its dimen-
sions the fine monolithic shaft of the Alexandrian
column at St. Petersburg, erected by De Montferrand,
architect for the late Emperor Nicholas, to his brother
and predecessor; the shaft of which is 12 ft. 6 in.
in diameter and 84 ft. high, of a single block of
Peterlaxen (Finnish) granite.

At Constantinople exists the column of Theodosius.

202 . AECHITBCTUBA NUMISMATICA.

No. LIII.
ROSTRAL COLUMN OF DUILLIUS, ROME

This denarius f of an inch in diameter (M. 4)
exists in the British Museum, and is by no means
rare; it bears on the obverse the head of Augustus
without an inscription, but on the reverse it has the
letters

IMP • CAESAR

on either side of a rostral colunm, which stands
upon a pedestal rudely represented. The shaft has
a simple torus somewhat flattened, and the capital
cojiventionaUy figured of the Doric character. The
shaft has on each side three projecting prows of
vessels, and the whole face in front is occupied by two
enormous anchors, one over the other, out of all
proportion to the other parts; but of course this is
one of the extravagant licences assumed by medallists
to give greater emphasis to their characteristic features.
The whole is surmounted by a colossal statue of a
warrior with the parazonium in his left hand, his
mantle pendent from his shoulders and a spear in his
right. All these details seem to indicate, that it was
intended to represent the colunm erected to comme-
morate the victory over the Carthaginians gained by
C. Duillius, and placed in the Roman Forum, as Pliny
states in the 5th chapter of his 34th book : " Antiquior
Columnarum celebratio, sicut C. Moenio, qui devicit

ROSTRAL COLUMN OP DUILLIUS, ROME. 203

priscos Latinos ; item C. Duillio, qui primus navalem
egit triumphum de Poenis, qu8B est etiam nunc in foro."
Quinctilianus also casually mentions the same £act,
1. i. c. vii. ; Servius also in his remark on the 8rd
Georgic of Virgil —

" Ac navali surgentes aere oolumnas " —

thus writes : " Jidius CaBsar erected rostral columns
for the naval victories over the Carthaginians, one of
which is in the Rostra, and the other we see before the
arch (near the Circus) on the side of the gates." One
was dug up, nearly two hundred years ago, with its
base not far firom the arch of Septimius Severus ; but
another was found with the famous archaic inscription
relating to C. Duillius, greatly shattered and now
preserved in the Capitoline Museum. This inscription
has been interpreted and completed by many learned
antiquaries, and particularly by Ciacconi. (See
Graevius, vol. iv.) It is very minute in its details of
the spoils taken in the fight, and recites the number
of ships with their crews> the triremes, quinqueremes,
and septiremes captured or sunk, the quantity of gold
and silver money and the weight of the brass all
deposited in the public treasury. It also recite^ the
number of captives led in triumph. Cato mentions
his remembering to have frequently seen m his youth
Duillius returning from a supper, preceded by pipe-^
players to attract notice and recall attention to the
conqueror of the Carthaginians.

There were four rostral columns erected by Augustus
in the Capitol, which being destroyed by fire were
restored by Domitian, a fact commemorated by denarii
with the same reverse struck at the time. These

204 ABCHITECTUBA NTJMISMATICA.

columns are not named, but probably one of these was
to Duillius, one to Q. Lutatius for another Cartha-
ginian naval victory, and another to On. Octavius for
the Macedonian.

Juvenal (in his 10th satire) alludes to rostral
columns : —

^ Bellorum exayisB, trancis affixa trophsBis
Lorica, et fracta de casside buccula pendenB,
Et curtum teinone jugam, Yictadque triremiB.*'

And Olaudian also, de VI. Cons. Honor : —

*^ ^raque vestitis numerosa puppe columnis
Consita."

Vitruvius (lib. v. c. ix.) has the following passage :
" Athenis Odeum, quod Themistocles columnis lapi-
deis navium malis et antennis e spoliis Persicis per-
texit." (Editio Schneider, LipsiaB, 1807.)

Cicero in his " Divination" specially alludes to the
column of Duillius, which was the first rostral one
erected at Rome.

Consult also Canina, " Arch. Rom." c. xii. p. 677 ;
and " Foro Romano," p. 403.

In his plan of the Roman Fonmi, he places it close
in firont of the side of the Temple of Concord, with
the Columna Menia on the other to correspond, but
without any precise authority, for according to Servius
it was in the Rostra.

205

Nos. LIV.— LIX.
TRIUMPHAL ARCHES.

Before we proceed to examine the varieties and
decorations of the triumphal arches, presented to
observation in these medals, it will assist our full
appreciation of their arrangement and embellishments,
if we are acquainted with all the particulars of the
triumphal processions, which the arches were intended
to embody and commemorate.

Triumphal processions were of very early origin,
and although writers are not agreed as to the precise
conqueror, by whom they were instituted ; yet most
appear to consider that Romulus was the first; who
thus celebrated his victory over King Acron, whom he
slew, and whose armor he deposited in the Temple of
Feretrian Jove in the Capitol, being the first to
dedicate such trophies as " spolia opima." This topic
has abeady been enlarged upon in the consideration of
the Medal of Marcellus (No. XI).

From this time to that of Vespasian and Titus
there were no less than a hundred and thirty
triumphs ; yet so jealous had the Romans been, lest
these ceremonies should be too easily decreed, that it
was a law, that no triumph should be allowed unless
five thousand of the enemy had been slain in one

206 ARCHITECTUBA NUMISMATICA.

battle, and this was required to be verified on oath by
the general.

The conqueror having written to demand of the
senate a triumph for himself and army, the pro-
position was scrupulously examined, to ascertain if
any objections existed to granting it, and none coidd
receive the distinction unless he were dictator, consul
or praBtor. And these triumphs might be of two
kinds : the principal one, when the imperator passed
in procession in a chariot through the city; or an
ovation when he triumphed only on foot or on horse-
back, or with his troops proceeded to the Temple of
Jupiter Latialis on the Alban Mount, a few miles from
Rome. In the mean time the general with his cohorts
awaited the decision of the senate outside the Porta
Capena, and in the plain under the Janicular hill,
between the Vatican and present castle of S. Angelo.
As soon as the permission was conceded, sacrifices
were offered to Mars, Juno and Jupiter, by himself,
if he had the dignity of the pontificate ; if not, by the
Pontifex Maximus. He then robed himself in his
triumphal habit, assumed the laurel crown, and with
the palm-branch in his hand distributed honors and
rewards to his brave companions in arms. To some
he gave collars or rings, to others consecrated spears
and money and ornaments ; to these golden crowns,
to those silver ones. If any one had first mounted
the enemy's walls, he had the mural crown. If he
had seized a castle the castellated one. If he had
distinguished himself on board the vessels a rostral
crown ; or had he performed any brilliant feat as a
cavaky soldier the equestrian crown. Each had his
appropriate rewards : and bucklers, cuirasses, helmets,

TRIUMPHAL ARCHES. 207

shields, swords or greaves, sumptuously carved by the
most eminent artists or most elaborately decorated,
were profusely given; not only to individuals, but
to cohorts and legions, as standards or portions of
the spoils taken in the war. Nor were the people
forgotten. To propitiate their good wiU abundant
largesses were distributed profiisely right and left.

All the temples were thrown open and the several
porticos, theatres, fora and other public buildings
were hung with festoons and all sorts of ornaments ;
the houses also and palaces on every side were deco-
rated with hangings and tapestries, and everythiag
was done that could contribute to the splendor of the
festival, which was that of the people as much as of
the general and his army, and a source of joy to every
rank and grade.

The procession, passing through the triumphal gate,
was met by the senate and accompanied by that
august body over the triimiphal bridge along the
triumphal way, passed the Circus Agonahs, the Theatre
of Pompey, the Circus Flaminius, the Portico of
Octavia, the Theatre of Marcellus, the Circus Maximus.
After this it fell into Via Appia imder the arches into
the Via Sacra, along which it proceeded through the
Forum Bomanum, and then ascended the Capitol to
the Temple of Jupiter. This circuitous route was no
doubt adopted in order to afford to all the opportunity
of witnessing the magnificent cortege^ and allow of
a greater display of the objects, which swelled the
lengthened procession.

The conqueror rode in a chariot, which was round
in the form of a castle, and in the earlier periods was
drawn by white horses. Pompey or Camillus was the

208 AECHITECTUBA NUMISMATICA.

first to substitute elephants ; Heliogabalus introduced
tigers and lions, to imitate the triumphs of Bacchus
and Mars ; and Aurelian was drawn by stags.

If the general had children, they sometimes were
with him in his chariot ; or if he had several grown
up they accompanied him on horseback. . Appius
Claudius had his sister Claudia the Vestal virgin with
him, when he triumphed.

The description given by Plutarch of the triumph
of Paulus jEmilius is so graphic and minute, and
illustrates so fiiUy the actual circumstances of this
pomp, that we shaU now adopt his words, in order
to convey an adequate idea of the splendor of that
festival, which exceeded any that had hitherto been
given, and does not seem to have been surpassed in
after-times : —

" The triumph is said to have been ordered after
this manner. In every theatre or, as they call it,
circus, where equestrian games used to be held, in
the Forum, and other parts of the city, which were
convenient for seeing the procession, the people
erected scaffolds and on the day of the triumph were
all dressed in white. The temples were set open
adorned with garlands, and smoking with incense.
Many lictors and other officers compelled the crowd
to make way, and opened a clear passage. The
triumph took up three days. On the first, which was
scarcely sufficient for the show, were exhibited the
images, paintings, and colossal statues, taken fi^om
the enemy, and now carried in two hundred and
fifty chariots. Next day, the richest and most beau-
tiful of the Macedonian arms were brought up in a
great number of waggons. These glistering with new

TRIUMPHAL ARCHES. 209

furbished brass and polished steel : and though they
were piled with art and judgment, yet seemed to be
thrown together promiscuously ; helmets being placed
upon shields, breastplates upon greaves, Cretan
targets, Thracian bucklers, and quivers of arrows
huddled among the horses* bits; with the points of
naked swords and long pikes appearing through on
every side. All these arms were tied together with
such a just Uberty, that room was left for them to
clatter^ as they were drawn along ; and the clank of
them was so harsh and terrible, that they were not
seen without dread, though among the spoils of the
conquered. After the carriages, loaded with arms,
walked three thousand men, who carried the silver
money in seven hundred and fifty vessels, each of
which contained three talents, and was borne by four
men. Others brought bowls, horns, goblets, and
cups, all of silver, disposed in such order, as would
make the best show, and valuable not only for their
size but the depth of the basso-relievo.

" On the third day, early in the morning, first came
up the trumpets, not with such airs as are used in a
procession of solemn entry, but with such as the
Romans sound when they animate their troops to the
charge. These were followed by a hundred and
twenty fat oxen, with their horns gilded, and set oflF
with ribbons and garlands. The young men, who led
these victims, were girded with belts of curious work-
manship ; and after them came the boys, who carried
the gold and silver vessels for the sacrifice. Next
went the persons with the gold coin in vessels, which
held three talents each, like those that contained the
silver, and which were to the number of seventy-seven^

210 ARCHITECTURA NUMISMATICA.

Then followed those, that bore the consecrated bowl
of ten talents weight, which ^milius had caused to be
made of gold, and adorned with precious stones ; and
those, who exposed to view the cups of Antigonus and
Seleucus, and such as were of the make of the famed
artist, Therides, together with the gold plate, that had
been used at Perseus's table. Immediately after, was
to be seen the chariot of that prince, with his armour
upon it and his diadem upon that ; at a Uttle distance
his children were led captive, attended by a great
number of governors, masters, and preceptors, all in
tears, who stretched out their hands by way of sup-
plication to the spectators, and taught the children to
do the same. There were two sons and one daughter,
all so young, that they were not much affected with
the greatness of their misfortunes. This insensibility
of theirs made the change of their condition more
pitiable; insomuch that Perseus passed on almost
without notice, so fixed were the eyes of the Romans
upon the children from pity of their fate, that many
of them shed tears, and none tasted the joy of the
triumph without a mixture of pain, till they were gone
by. Behind the children and their train walked Perseus
himself, clad all in black, and wearing sandals of the
fashion of his country. He had the appearance of a
man that was overwhelmed with terror, and whose
reason was almost staggered with the weight of his
misfortunes. He was followed by a great number
of friends and favourites, whose countenances were
oppressed with sorrow, and who, by fixing their weeping
eyes continually upon their prince, testified to the
spectators, that it was his lot which they lamented,
and that they were regardless of their own. He had

TRIUMPHAL ARCHES. 211

sent to ^milius, to desire that he might be excused
from being led in triumph, and being made a public
spectacle. But ^Emilius, despising his cowardice and
attachment to life, by way of derision, it seems, sent
him word, * That it had been in his power to prevent
it, and still was, if he were so disposed ;' hinting, that
he should prefer death to disgrace.

** But he had not the courage to strike the blow,
and the vigor of his mind being destroyed by vain
hopes he became a part of his own spoils. Next were
carried foiu* hundred coronets of gold, which the cities
had sent to JSmilius, along with their embassies as
compliments on his victory. Then came the consul
himself, riding in a magnificent chariot ; a man,
exclusive of the pomp of power, worthy to be seen
and admired ; but his good mien was now set oflF with
a purple robe interwoven with gold, and he held
a branch of laurel in his right hand. The whole
army likewise carried boughs of laurel, and divided
into bands and companies, followed the general's
chariot: some singing satirical songs, usual on such
occasions; and some chanting odes of victory, and
the glorious exploits of ^Emilius, who was revered
and admired by all^ and whom no good man could
envy." — ^Langhome.

It seems to be admitted that triumphal arches are
of Roman origin, for we have no instance of such
edifices in Greece before the Roman dominion. It
may be presumed that they may have first derived
their form from the temporary erections of a rustic
character, which may have been constructed to greet
the conquerors, as they approached the capital; or
possibly were merely a more ambitious development

p 2

212 ABCHITECTURA NUMISMATICA.

of the rude city gates which were possibly decorated
temporarily, and called " arcus subitanei" for the
occasions, when the army retiuned after a victory.
Fabrizzi in his " Eoma" enlarges upon the subject, and
considers that probably the arch of Romulus was of
brick. Even now some are of stone, as that of Galienus
at Rome : but of course the most important are of
marble, as those of Septimius Severus and Oonstantine.
Some presented only one opening, with an attached
column at each outer angle ; as that at Susa and the
one at Aosta. An example of a central archway flanked
on each side by two columns is frequent. As in the
arch of Titus at Rome, and in that at Pola in Istria.
Others had two openings of like size, of which there
are instances at Verona, which also served as city
gates, and this arrangement was peculiarly adapted
for the purpose to prevent conftision in those entering
or going from the city. Another class consisted of
three archways, a central or larger one and two smaller
side ones, as in the arches of Septimius Severus and
Constantino at Rome. That city was not the only one,
which had triumphal arches in the centre of the city :
for at Palmyra and Antiocheia is one in the middle of
the grand colonnade or avenue, which traverses the
centre of these towns. Fourteen arches are enumerated
by topographers as having been at Rome, from the
description of historians and P. Victor. Of those
which remain the first erected to any emperor was
that to Titus. They were however frequent, wherever
the Roman rule prevailed : for we find them in every
province : in western Spain, to the south in Egypt,
and along the coast of Africa, to the east in Syria
and northward in Gaul. They also formed important

TRIUMPHAL ARCHES. 213

features in many public edifices, as in the Circi, each
of which had two or three, and in the Fora also as
at Pompeii. The Via Triumphalis and Via Sacra at
Rome had a succession of them.

The Romans seem to have used the utmost licence
in regard to the decorations of these monuments,
which, as being mere objects of show rather than of
use, might admit of some caprice, and not be bound
down to the severe canons of the art. It would appear,
that the composite order owed its origin to them, as
affording greater opportunity for an accumulation of
enrichment. But although it is considered to be
of a more elaborate and elegant character than the
Corinthian, yet in truth it departs from the grace of
the latter, and is heavier instead of being Ughter in its
proportions. The capital is obviously so, when we con-
sider the heavy volutes of the Ionic being substituted
for the caulicoli of the Corinthian. The pedestal imder
the columns is a peculiar feature of the triumphal
arch, as also the attic above the entablature, which
gives increased altitude to the mass, and tends to
upraise the glorious groups of sculptures, which sur-
mounted the whole as a crowning galaxy of splendor.
Nor did the ancients consider themselves confined to
any one order : for we find at Antinoe in Egypt the
Doric. This presents a tetrastyle frontispiece sur-
mounted by a pediment and having in front of the
pilasters on each side superposed Corinthian colimms
and entablature of less size. In others the Corinthian
or Composite is indifferently adopted. But the most
remarkable licence occurs in the arch of Aosta, which
has columns of the Corinthian order, surmounted by
a Doric entablature y a contrast, which recalls the trite

214 AECHITECTUEA JlUMISMATlCA.

remark of Horace, as being equally applicable to the
architect as to the painter : —

Humano capiti cervicem pictor equinam
Juogere si velit, et varias inducere plumaa
Undique oollatia membris, ut turpiter atrum
Deainat in piscem mulier formosa supeme.

Be Arte Poetiea.

The sculptures, which adorn them, are remarkable
and valuable, as they hand down to us many of the
incidents of the wars, which they were intended to
commemorate; or circumstances in the life of the
emperor, whose memory they were proposed to honor.
The arch of Titus bears even now the full-sized
representation of the seven-branched candlestick and
other trophies of the Jewish war. It also gives the
apotheosis of the emperor, upborne to heaven on an
eagle's wings.

And the whole surface presented an elaborate
profusion of sculptured embellishments. The sofl&ts
of the arches were richly coffered, the pannels were
filled with continuous scrolls, the friezes, with pro-
cessions, the spandrils to the central arch were enriched
with figures of Fame trumpeting the glories of the
conqueror, and the very keystones themselves were
emblematically carved with winged Victories.

The sculptures, which crown the attic must have
been most profuse and sumptuous, consisting of the
conqueror drawn in his triumphal chariot, attended by
Victories and his family on horseback, flanked by
trophies and spoils, forming together a numerous
retinue of attendants. These probably were most
frequently of bronze, possibly gilt.

TEIUMPHAL ARCHES. 215

But it appears, that they were also of marble, for
Pliny (1. 36, c. 5) mentions the triumphal arch erected
by Augustus to Octavius, surmounted by a chariot
with four horses, on which the figures of Apollo and
Diana were seated, all carved by Lysias out of one
block of marble, and highly praised for its excellence
and great artistic merit. In fact a triumphal arch
without these ftdl groups of figures would have been
considered deficient in its chief purpose and decora-
tion. The arch of Nero with its pendent festoon
shows how these monuments were decorated on festive
occasions.

It is remarkable, that Vitruvius never alludes to
triumphal arches. We may thence infer, that few
existed at his time, and these were not considered a
special class of edifices, and had not the peculiar
characteristics, particularly of the Composite order, by
which they were subsequently distinguished.

Oonsidt also Bergier, " Histoire des Grand Ohemins
de TEmpire Remain,'* 4to. Paris, 1628 ; Piranesi,
" Sopra gli Archi sparsi in Italia ;" Pauvinius (0.),
" Amplissimi Omatissimi Triumphi," 4to. Antw.

216

ABCHITECTUEA NUMISMATICA.

TRIUMPHAL ARCHES.

7» JSomi^.

TCU

8 Claudii Dni»i.

GonBtantini.

DolabelliB et Silani.

Domitiani.

FabrianuB et Allobrox in

Sscrk Via.

Qtillieni (Lapideus).

Gordiam.

TheodoBii.

Jani QuadrifrontiB.

Marci Aurelii et Lucii

Veri (in Corso).

Neronis in Capitolino

Monte.

Octavii.

De' Pantani.

S. Laarentii.

S. Sebastiani aut Porta

Capena.

Septimii Severi.

Septimii in Foro Boario.

Tiberii.

Titi.

In Itafy.

Ancoua.

Aosta.

Benevento.

Eimini.

Susa.

Verona (2).

In the Frovinces.
Pola in Istria.
Athens.
Antiocheia.
Palmjrra.

Antinoe in Egypt.
Africa (various).

In France.
Aries.
Autun.
Carpentras.
Cavaillon.
S. Chamas (Pons).
Orange (G. Marii).
Postumi.
S. Bemy.
Bheims.

1
t

N^ 5 4

VOTIVE ARCH OF POSTVMVS
R M E^ ' )

•1

VOTIVE ARCH OF- CLAVDIVS

217

No. LIV.
VOTIVE ARCH OF POSTUMUS.

This bronze medal 1^ in diameter (M. 8) is in the
British Museum. It bears on the obverse the head of
Postnmus, -with the inscription —

IMP CM- CASS • LAT • POSTVMVS •
PP- AVG

Cassius Marcus Latianus Postumus was an officer
of the army in Gaul, and was proclaimed emperor
there ; being one of the Thirty Tyrants, who claimed
to succeed to the empire after the death of Gallienus.
This coin was doubtless struck in Gaul, as it is
frequently found in France, and there are a great
many in the French Cabinet.

On the reverse is a votive arch of a single opening,
of rather barbaric design, quite consistent with the
epoch 260-266. The central archway has a pilaster
up to the impost, and an archivolt round the head of
the opening. A small pilaster rests on the impost on
each side, being of the height between the impost and
entablature. Two full-sized colimins of the Corinthian
order are at the extremities of the facade on each
side, and are surmounted by a large entablature
conventionally represented by the mass, being divided
into a double sunk panel with the word FELICITAS

218 AECHITECTURA NUMISMATICA.

in the centre, and the letters AVG (AVGusti) in the
exergue. The entablature considerably overhangs' the
columns at each end, and is surmounted in the centre
by a trophy of a cuirass suspended on the trunk of
a tree, flanked by two seated captives, their arms
seemingly tied behind their back —

<< Sammo tristis captivos in area." — Juv. Sat. x. 136.

Beyond these captives is another trophy at each end.
As there is no chariot on this arch, nor image of the
imperator, it may be considered as a votive memorial
of an ovation rather than that of a triumph.

No. LV.
VOTIVE ARCH OF CLAUDIUS.

This bronze medallion is in the French collection
1^ inch in diameter (M. 11): it has on the obverse
the head of the emperor with the epigraph —

TI • CLAVDIVS • CiESAR- AVG • P • M TR • P •

IMP

On the reverse is the arch with the inscription —

NERO • CLAVDIVS • DRVSVS • GERMAN •
IMP • S • C

The latter names being those of Claudius, before he
was elevated to the empire by the Praetorian guards

VOTIVE AECH OP CLAUDIUS. 219

upon the death of Caligula; the former showing his
assumption of the names of CaBsar and Augustus
after his accession. In this he was followed by his
successors, and by this means the name of Cd3sar,
peculiar hitherto to the Julian family, became a title
of dignity, and was given to the presumptive heirs of
the empire ; whereas that of Augustus was a mark of
sovereign power. (Suet, in Claud.) In some varieties
of the type the letters P • P are added. The Medal
of the Praetorian Camp subsequently given (No.
LXXXVIII.) belongs also to this emperor.

The monimient on the reverse represents an archway
in the centre. There are four Ionic columns raised on
a lofty stylobate with three equal-sized intercolumnar
spaces, the lateral ones being plain without any per-
foration or niche, with an enriched string somewhat
higher up than the level of impost of the central arch-
way, which has subordinate pilasters at its angles, an
impost, and archivolt. The columns are represented
as having behind them broad pilasters or piers. The
volutes of the capital are very large and there is a
necking beneath them. The entablature and attic
are very conventionally figured, the former by a very
narrow band, the latter with a disproportionate lofti-
ness. There is represented a pediment over the central
intercolimmiation, and the attic projects forward over
the two central columns, so as to form a square mass
to receive the pediment. The attic profiles over the
external or angular columns, representing pedestals
over which are lofty trophies.

Within the pediment some object is represented,
whose form it is difficult to define precisely. In each
of the triangular or spandril parts above the pediment

220 AIWmiTECTTJRA NUMISMATICA.

is an ornament : over the side intercolumniations, a
vase on one side occupies the whole height of the attic
panel, and on the other side there is a corresponding
shield. Within the panels of the pedestals over the ex-
ternal columns there are two pateras one above the other.

The trophies are extravagantly proportioned and
displayed, without cuirasses but consisting of shields,
swords and other arms. The principal feature is the
emperor on horseback in ftdl size, and occupying three-
fourths of the width of the arch and seen in profile,
" gardant passanf* to use an heraldic expression.
The group is in vigorous action, the horse rearing on
his hind legs and throwing out his fore ones. The
emperor has his cuirass, his head is without a helmet,
and he holds in his upraised right hand a spear or
sceptre of dignity his mantle floating in the wind.

The absence of a chariot seems to indicate, that this
arch was not intended to mark a triumph, but only an
ovation, perhaps the one on account of the victory of
his general Aulus Plautus on his return from Britain
A.R. 800.

The design is without any artistic merit, and the
details little correspond with this period of Roman art,
A.D. 41-54, which may be considered as a part of the
most flourishing epoch of architecture, rather on the
rise than on the decline.

This representation of the side of the equestrian
figure is for the purpose of giving it more importance,
than it would possess if seen in front, and also to fill
up adequately the vacant space. This peculiar licence
of representation was quoted to justify the unusual
position of the equestrian statue of the Duke of
Wellington on the Piccadilly arch.

VOTIVE ARCH OP CLAUDIUS. 221

Canina considers this coin to represent the triumphal
arch on the line of the aqueduct near the Porta Appia,
called by him the Arch of Drusus, and restored (Plate
CLXX. " Architettura Antica Romana"), but with con-
siderable licence, as he departs materially from the
proportions and features indicated upon the medal.

Consult the article by F, Hobler, Esq., on the arch
" de Britannis" of Claudius and the Barberini inscrip-
tion, in the Gentleman* s Magazine of January, 1859.

222

AECHITECTUBA NUMISMATICA.

No. LVI.

THE ARCH OF NERO.

This bronze medal 1^^ inch in diameter (M. 10) is
in the British Museum, It has on the obverse the
head of Nero with the inscription —

NERO • CLAVDIVS • CAESAR • AVG
P- MTRP- IMF- P- P-

GER-

On the reverse is no other epigraph, and merely the
sigles S • C on each side of a triumphal arch seen in
perspective, two of its sides being exposed to view.
This arch has a single aperture flanked with dwarf
pilasters, the capitals of which form the impost, from
whence springs the archivolt of the archway, having a
central keystone, that runs up into the cornice, and the
spandrils are filled in with winged Victories. These
keystones were in general highly enriched and usually
had on the face a Victory in fiill relief, in allusion to
the figure, which used to be placed over a triumphal

N° 56

TRIVMPHAL ARCH OF- NERO ROME

^ Ij^'h

N° 57

TRIVMPHALARCH OF DOMITIAN- ROME

THE AECH OF NERO. 223

arch, and which, when the conqueror was passing
under it, was made by mechanical contrivance to
descend and place a crown upon his head.

The main order of the edifice is Corinthian, raised
on a lofljy stylobate, equalling one-third of the height
of the column. The entablature is meagre in effect
being in height only one-fifbh of the column, and
consisting merely of a frieze and cornice, the frieze
not running over the central archway but the cornice
only. The stylobate has panels with sculptures, as
have also the pilasters on each side the archway.
There is a colimm placed diagonally at each angle of
the edifice ; one column and pilaster to the right, but
to the left there is shown only the column at the
angle. A colossal statue of Nero occupies the whole
intercolumniation on the return front of the archway.
He was fond of having gigantic statues, as witness the
golden one, probably brass gilt, put up in the Forum.
He is represented with a shield, devoid of all drapery,
and standing on a small pedestal, like one of the
athletes in the Olympic games, whom he affected to
imitate. Possibly this arch may have been erected to
commemorate his return as victor from those sacred
contests. Over the entablature above each angular
column is a statue in vigorous action. Above the
cornice rises a lofty attic equalling in height the
stylobate under the columns, the front being filled
with a bas-relief, the subject of which however cannot
be deciphered.

A full-sized quadriga with the emperor surmounts
the attic, the outer horses being led by winged Victories,
one of whom bears a cornucopia the other a palm-
branch. There is a pendent wreath in the archway

224 AECHITBCTUEA NUMISMATICA.

hanging from the impost on each side« There are
nimierous varieties of this coin each one diflferent
from the other. In one there is no double column
at the right angle. The horses of the quadriga
are supposed by some to be the actual ones now of
S. Marco at Venice, originally transferred from Bome
to Byzantium, and thence to the city of the Lagunes.

Bckhel (vol. vi. p. 177) refers to the AnTia.1a of
Tacitus, XV. 74; where it is stated, that statues of
Victory and an arch were decreed to Nero for the
victories of Corbulo in Armenia ; and that the senate
decreed, that a trophy should be put up in Eome and
an arch to the emperor in the middle of the Capitoline
Mount, for the victories over the Parthians. Annals,
vi. 18. Canina (" Storia dell' Arte," c. iv. p. 275)
considers this medal to be commemorative of the latter
triumphal arch.

The whole forms a very effective group, skilfully
combined, being a pleasing example of one of the
simplest compositions of a triumphal arch.

See Spartian (in v. 19) as to Detrianus who re-
moved the colossal statue of Nero.

225

No, LVII.
ARCH OF DOMITIAN, ROME.

This large brass l-j^ inch in diameter (M, 10) is in
the French cabinet and may be supposed to date
A.D. 85. It bears on the obverse the head of the
emperor surrounded by the words —

IMP • CAES • DOMITIAN • AVG • GERM •
COS • XI

On the reverse is a triumphal arch with the S • C
in colossal characters on either side of it.

To appearance the medal represents a square arch
with the four faces equal in size, of like decoration ;
but there is so much conventionalism in these medaUic
configurations, that one might be tempted to consider
that the two facades of the arch are meant and not a
side and a front, as is really the case. The columns
are of the Doric order coupled at the angles ; raised
on pedestals or a stylobate, which profile under each
column. A conventional arrangement represents the
entablature and attic as one feature^ and equaling half
the height of the column and pedestal together* At

'. ' the angle of this attic or entablature is a broad plane

face, above the coupled columns, in the front of which

? is a standing figure, and a panel with sculptures in the

centre over the archway between the figures.

' -^ ' Two chariots back to back, each drawn by four

C Q

f^"

226 ARCHITECTUBA NUMISMATICA.

elephants, surmount the attic ; and in each is a statue
of the emperor, one of them holding a wreath. These
double chariots are remarkable, and might give rise
to a conflicting doubt, whether the representation be
meant to record a positive fact, or merely to fill up
the space, if we had not the testimony of Martial of
the identity of the two cars, as in the 65th epigram of
his 8th book he refers to this very monument : —

'' Hie lauro redimita comas, et Candida cuitu

Boma salutavit voce manuque Ducem.
Grande loci meritum testantor et altera dona ;

Stat saoer edomitis gentibus areas ovans.
Hie gemini currus numerant eleplianta firequentem ;

Si:d9icit immensis aureus ipse jugis.
H»c est digna tuis, G^rmanice, porta triumphis :

Hos aditus urbem Martis habere deeet."

Pliny (lib. viii. c. 2) states that Pompey the great
was the first to have his triumphal chariot drawn by
elephants in reference to his Eastern conquests, and
his example was afterwards followed by successive
conquerors.

The archways are flanked by pilasters, which are
intersected by the mouldings of the podium. An
archivolt springs firom the capitals and forms the
arch of the aperture. Above is a circular sunk panel
encircled by an architrave moulding, and occupying
the whole height fi:om the extrados of the archway
to the top of the larger columns. Each contains a
bust of the emperor or of some other distinguished
personage.

This arch was erected in celebration of the return
of the emperor firom the German war. Jani and
archeSi with quadrigas and numerous other trophies

I AECH OF DOMITIAN, ROME, 227

of victory, were erected in all the regions of Rome ;
^ and Canina considers, that the Janus Quadrifrons of

the Forum Boarium may be one of these, Domitian
was a great patron of architecture, and Martial in the
54th epigram of the 7th book pays the following
brilliant compliment to his architect Babirius : —

** Astra polumque tua cepisti mentey Babiri :
Farrliasiam mira qui straia arte domum.
Phidiaco si digna Jovi dare templa parabit.
Has petat a nostro Pisa Tonante manos."

He also alludes to Rabirius in the 71st epigram of the
10th book.

Q 2

228 ABCHITECTUBA NUMISMATICA.

No. LVin.
ARCH OF TRAJAN, ROME

This large brass medal, It^incli in diameter (M. 10)
exists in the British Museum and French cabinet. It
bears on the obverse the head of the emperor with
this legend —

IMP • CAES • NERVAE . TRAIANO • AVG •
GER • DA C • P • M • TR • P • COS • V • P • P

And on the reverse are the words —

S • P • Q • R • OPTIMO • PRINCIPI

with the sigles S • C on the exergue corresponding
precisely with inscriptions on the medals of this
emperor recording his column, No, LVII., his Forum,
No. LXVI., and the Ulpian Basilica, No. LXVII.
This latter inscription surrounds a triumphal arch,
having one opening with a tetrastyle elevation. The
central compartment consists of the archway, occupy-
ing the intercolumniation between two pilasters
or columns of the Corinthian order five diameters
apart. None of the medals of this type are sufficiently
preserved to enable one to say, whether they are
colimms or pilasters ; but they differ materially firom
those at the angles, which are evidently pilasters, from
the ornament nmning up the centre and the angles
fringed with a row of beads. The columns and

N""' so

TRIVMPHALARCH OF TRAIAN ROME
N° 59

T^:VM?HAL A'^:C^-f CF AVvBXSTVS

ARCH OF TRAJAN, ROME. 229

pilasters arie raised upon a stylobate, which profiles
under each column and pilaster ; the entablature how-
ever is unbroken over the central columns and has
above it a pediment with sculptures in the tympanum,
representing in the centre a man erect, on one side a
sitting figure and on the other some indistinct 6bject-
Over the pediment rises an attic the full height of the
apex of the pediment with certain figures or letters
in the spandrils formed by the inclined lines of the
pediment. Another pedestal or upper attic, half the
height of the lower one, surmounts the whole with the
letters I • O • M (lovi Optimo Maximo) in large
characters. Upon it is a six-horsed chariot (sejugis),
with the emperor flanked by two warriors on horse-*
back, doubtless his relatives, according to the usage
already alluded to. Above each side intercolumniation
and over the entablature of the angular pilaster, rises
an attic two-thirds the height of the central one
without any second pedestal above it ; and on it is a
lofty trophy with another equestrian warrior outside,
as it were accompanying the chariot in the triumphal
procession, but of loftier proportions than the central
group.

We must now proceed to notice some of the strange
sculptures with which this arch is decorated; the more
remarkable as they indicate a rudeness of art, quite
in contrast with the taste and refinement, which
distinguish the other monuments of this period.

The central archway is flanked by a double dwarf
pilaster with a level lintel over, so that the aperture is
in effect square-headed. This lintel forms an impost,
from which springs the archivolt; the central panel
being sculptured with some indefinable object. Th^

230 AECmTECTURA NUMISMATIOA.

spandrils are filled in with winged Victories as usual.
The lateral interoolumniation, 2^ diameters in width,
is divided in its height into four panels by three
rows of pearls or beads, and each division contams
an animal or other object, which it is impossible to
discriminate as to their identity or intent. But the
attic over on each side is a little more distinct. One
shows a car drawn by two animals and the other a
tripod with a vase on it and a hind or stag.

The proportion of the whole group is graceful, the
general effect imposing and the multitude of figures
on the summit and of sculptures on the face give a
great richness of effect to the composition ; but the
barbarous style of the execution is most perplexing
and disappointing, when we consider the period A.D.
100-117 during which Trajan reigned, and the eminent
artists who illustrate this brilliant epoch of Roman
art.

It is extremely difficult to assign the place where
this monument was erected. Dion relates in the life
of this emperor, that, while this prince was occupied
in the subjugation of the most remote regions of Asia,
the senate prepared in Bome a triimiphal arch to
honor his victories, adorned with trophies, besides
many other similar ornaments and situate in his
Forum. But he did not live to witness these honors,
he died on his way home at Selinus in Cilicia after-
wards called Trajanopolis firom his name.

It is imagined that many of the sculptures now on
the Arch of Constantine, and which are supposed to
allude to Trajan, were taken firom the archway in the
Forum, and employed to decorate the Constantine
monument. Canina (" Arch. Antica Bomana," c. xii.

. ABOH OF TJIAJAN, ROME. 231

p. 485) suggests, that probably the arch of Constantine
was the one prepared by the senate for Trajan and
not the one in the Forum; and that its completion
was suspended in consequence of the death of the
emperor, and only had the finishing hand put to it in
honor of Constantine.

But it hardly seems likely, that Hadrian, who in-
curred such an expense in the erection of the octastyle
temple (No. VII.) to the deified emperor his pre-
decessor and father by adoption, should neglect so
important a testimony of the love of the senate and
people as a triumphal arch, one of the most imposing
memorials of the military successes of Trajan and the
Roman arms.

At all events this medal could not be meant to
commemorate the arch of Constantine with three
openings (fomices) for it has only one.

There were erected to Trajan an arch' at Ancona
and one at Beneventum, still remaining in good pre-
servation ; but they do not correspond in design with
the fagade presented on this medal.

We may assume, therefore, that this may be intended
to record the arch in the Forum ; but it is difficult to
assign it a proper place in that magnificent group of
buildings, if we place a* the entrance the edifice
(hereafter given. No. LXVI.) bearing imder it the
words FORVM TEAIANVM, aud which has to aU
intents the aspect of a propylon. But it is not im-
possible, that the triumphal arch may have been the
principal entrance, and that the propylon of the medal
may have formed on one or other side a lateral entrance
to the Forum.

232 ABGHITECTUBA NUMISMATICA.

No. LIX.
ARCH OF AUGUSTUS.

This silver medal of the Vinician family is ^ of an
inch in diameter (M. 5) and exists in the British
Museum, It bears on the obverse the head of
Augustus, and has on the reverse a triumphal arch
with the letters —

LVINICIVS

on the exergue.

The whole representation of this arch is extremely
conventional; it seems to present an elevation with
three perforations, a central large one flanked by a
smaller one on each side. The central mass has two
Corinthian columns about 5^ diameters apart, the
bases resting on the level of the roadway without any
pedestal or stylobate to raise them up. The archway
is 3^ diameters wide, and is flanked by Corinthian
pilasters with a species of entablature over them;
from which springs the archivolt, the extrados rising
up to the level of the top of the column. A square
panelled podium represents in one mass the entablature
and attic bearing the inscription —

S-P-QR
IMPCAE

On the top is a quadriga with the emperor.

ABCH OF AUGUSTUS. 233

On either side of the central mass just described,
and slightly separated from it, is the elevation of
the lateral archways. It consists of two dwarf
Corinthian columns 3^ diameters apart, surmoimted
by an entablature three-fifths as high as the columns,
and crowned by a pediment; above which rises an
attic, the summit being level with the top of large
columns of the principal front. This apparently pro-
jected somewhat from the return line of the front, as
the attic is surmounted on each side by a colossal
figure in violent action, carrying a trophy, and shield,
and some other object, neither of them very easily
distinguishable.

The whole group is very cleverly composed and
gracefrd in the general proportions.

There is nothing to indicate the precise town or
spot, where this arch was erected. The street, called
Yicus Jugarius, at Bome passed between the BasiUca
Julia and the Area Satumi, and led into the Forum by
the triumphal arch, erected in honour of Augustus,
after the famous battle of Actium. The medal may
represent this archway, or one in the provinces to
commemorate some benevolent act of the emperor.

Bckhel notices among the medals struck to Augustus
on account of repairing the great high roads of the
empire, inscribed QVOD • VIAE • MVNITAE • SVNT
many of which have triumphal arches, one having a
cippus and on the orb the words VINICIVS • L • F •
III • VIE, or Lucius VINIOIVS • Lucii FiUus TRIUM-
VIR, evidently the same individual, whose name is
on the exergue of this medal. And very possibly,
this may be one of the provincial arches intended to
do honor to Augustus for these works of public

234 AEOHITEOTUEA NUMISMATICA.

utility, more fiilly described in the medals LX — LXL
We have in the provinces several triumphal arches
erected to Augustus, as that at Susa the ancient
Segusia; and at Aosta the ancient Augusta in the
north-west of Italy ; and the one of Bimini, to which
archway Bossini considers this medal to be the illus-
tration and with great probability, as there are some
striking coincidences. In like manner he restores the
arch of GaUienus at Rome. ^Rossini, *'*Archi Trionfali,"
foL Roma, 1836),

-^ '

N^ 60

COMMEMORATIVE • ARCHES • ON • VIADVCTS

N--^ 61

235

Nos. LX. & LXI,
OOMMEMORATIYE ARCHES.

QUOD VI^ MXJlSriT^ SUNT.

This and the following coin struck to commemorate
two of the most important and useftd works of
Augustus are of silver \^ inch in diameter (M. 4) and
are in the French cabinet. On the obverse of both
is the legend —

S • P • Q • R • CAESARI • AVGVSTO

being after he had assumed the title of Augustus
decreed to him by the senate B.C. 29. And it is
to be remarked, that it does not bear the dignity of
Imperator, although he assumed supreme power after
the battle of Actium. Others have the letters DIP.

On the reverse of one medal there is represented a
quay or jetty with nine arches, as we know was the
custom of the Eomans to execute those marine con-
structions, instead of consisting of a solid mass as is
the case now with the permanent piers of our harbours.
In the centre of the field rises up a triumphal arch,
doubtless of a single aperture, represented in per-
spective and on both sides showing an opening in the
same manner as the arch of Domitian, already described
(No. LIL). This was a conventional representation,
not so much signifying a triumphal arch with two
openings, nor intended to indicate that the arch was
perforated by an arch on the sides, but to mark both

y ^ --

236 ARCHITECTUBA NUMISMATICA.

elevations of the fronts. Not that I desire absolutely
to indicate the impossibility of an arch being pierced
by two collateral carriage openings, for we have
examples at the Porta Portuensis, CarmentaUs and
the Maggiore, which are so arranged with two. But
in this instance it does not seem probable.

The prow of a vessel appears projecting from the
outline outside each angular pilaster or column, at
about two-thirds of the height from the base. There
is a regular entablature, and the whole is surmounted
by the emperor in a quadriga, drawn by four noble
horses and being crowned by a winged Victory behind
him, having large outstretched wings. The inscription
round the coin is in these words —

QVOD • VIAE • MVNITAE • SVNT

FOE • THE • HIGHWAYS • EEPAIEED

Suetonius (" Vita Augusti," c. 30) mentions of
Augustus, that in order to render the city (Rome)
more accessible from every part, and having taken
upon himself to make good the Flaminian way from
Ariminum (Rimini), he distributed the others to men
who had triumphed, in order that they might be paved
out of the (manubiali) funds made up from the spoils
taken from the enemy.

To this notice Dion (lib. liii. c. 22) adds other
particulars, fixing the epoch to the year A.IT.C. 727
(B.C. 26), and adding, " in that year, which we have
mentioned, when Augustus saw how much the roads
outside the city had been neglected and were difficult
to traverse, he caused some to be repaired by certain
of the senators at their own expense. But the Flami-
nian, as it was a military way, he himself imdertook,

COMMEMORATIVE ARCHES. 237

and that was forthwith restored, and on that account
statues to Augustus were put up on arches, as well
on the bridge of the Tiber, as on that at Ariminum
(Rimini), The other ways were repaired in after
times." We may therefore presume, that this arch
may have been intended to represent that on the Mole
of Rimini, for although there exists an attic on that
commemorative arch, and not on our medal, yet it
may conventionally have been omitted, in order to
display more ftdly the emperor in his car. And the
Signer B. Borghese (fol. Rimino, 1813), in his letter
upon this subject, mentions, that part of a fine head
of a horse was still preserved in the Palazzo Cima,
supposed to come fix>m the triumphal arch.

With respect to the prows of vessels, is it intended
by the artist to mark more distinctly, that this arch
was upon the mole of some seaport ? or to commemo-
rate some naval victory. In 725 occurred the battle
of Actium in which Octavius triumphed over the son
of Pompey. Possibly he may have returned to Rome
through Ariminum, landing at that port ; and these
prows may have been intended to mark that event, in
the same manner as we have medals to record the
return of various emperors with the legend FEL •
ADVENT or FORT • RED

No. LXI.

The other medal with the like obverse has however
a different reverse. It represents apparently a bridge
or viaduct having at each end a triumphal arch.

238 ARCHITEOTURA NUMISMATICA,

surmounted by an equestrian statue of the emperor,
loftier than the arch itself, and large military trophies
erected on a pole, consisting of a cuirass and helmet,
on the left a shield and on the right two weapons.
Between the arches are the words —

QVOD • VIAE • M VN • SVNT

Where the word rrmnitce, existing on the other
medal, is abbreviated to MVN,

Each arch consists of one opening with an impost
and semicircular archivolt. An Ionic pilaster or
colunm is at each angle and a regular entablature,
but there is no attic.

It is to be remarked, that the passage from Dion,
quoted in the description of the previous medal,
mentions " that statues were placed on arches as well
on the bridge of the Tiber as at Ariminum," Now a
little ambiguity occurs here ; for it is not very clear
whether the plural {in arcuhus) refers to arches on the
bridge over the Tiber, or to indicate one on the bridge
and one at Ariminum. K the former, this medal may
represent the two arches on the bridge supposed to be
the Pons Milvius over the Tiber ; but if the latter, we
Imust look for some other position, to which this medal
with its substratum of arches can appropriately refer.
Canina(" ArchitetturaBomana," PL OLXXXTII. ; see
also Bossini's "Views," § iii. p. 471, and p, 674, part 2)
mentions the Ponte di Nona outside the Porta Maggiore,
nine miles from Rome, on the road to Preneste
(Palestrina) and to the city of the Gabii, and also the
substructions of the Appian Way near Albano, which
latter formed a very stupendous viaduct, and either
of which from its importance and difficult height

COMMEMORATIVE ARCHES. 239

may be thought well worthy to be adorned by a
commemorative arch at either end, surmounted by
the equestrian statue of the emperor.

Having thus indicated the origin of these works,
and the occasions upon which the medals were struck,
it is of less importance to fix precisely the spots,
where each of these memorials were erected, for there
are several varying medals, which record arches for
the same purpose, and which works were probably
attributed to Augustus by the flattery of those, who
had superintended the reparation of the ways.

Eckhel quotes the following. On the obverse the
head of Augustus with the legend —

SPQRIMPCAESARI
and —

S P • Q • R ^ CAES ARI • A VGVSTO

On the reverse —

QVOD • VIAE • MVNITAE • SVNT

A bridge or arched work, upon which arches stand,
and upon them the emperor in a biga of elephants. A
Victory standing behind him.

Golzius (in Aug. t. 46, f. 13) and Oiselius (t. cviir.
f. 10) give an arch with three openings placed upon a
bridge, viaduct or mole, with the same legend —

QVOD • VIAE • M VN • SVNT

which is however considered spurious by some.

Eckhel mentions a medal with the head of the
emperor and the legend —

AVGVSTVS • TRibuniti® POTestate VIII

240 ABCHITECTURA NUMISMATICA.

On the reverse a, cippus, on which is inscribed — ►

S • P • Q • R • IMPeratori CAEsari QVOD • Vise •

Munitaa Sunt EX • EA • Pecunia Qnam IS • AD •

Aerarium DEtulit.

On the orb —

Lucius VINICIVS • Lucii Fihus III • VIR

importing, that the Roman senate and people struck
this in honor of the Emperor Caesar, because the ways
had been repaired out of the money, which he had taken
from the treasury. Lucius Vioicius son of Lucius
Triumvir. This is evidently of the date A.XJ.C. 738,
as also the following. . An equestrian statue of the
emperor upon a cippus, behind him the gate of the
city with the same reverse.

I have not given either of these last-mentioned
medals, as it appeared to me, that the two, which are
here presented to the reader, are sufficient to establish
the fact of these commemorative monuments, intended
to record the attention paid by Augustus to these
works, more usefiil than columns or other merely
ornamental erections and more honourable as memo-
rials of his active attention to the material wants
of his empire.^ A bridge with a triumphal arch at
each extremity, and of the Roman period, still
exists at S« Chamas, provence Isere, between Aix
and Aries.

N*=^ 62

WOODEN • BRIDGES

cosaipp

W 63

241

Nos. LXII. & LXIII.
WOODEN BRIDGES.

This large brass medal If inch in diameter (M. 10)
exists in the British Museum, and contains on the
obverse the head of Trajan with this inscription —

IMP • CAES • NERVAE • TRAIANO • AVG •
GER • DAC • P • M • TR • P • COS • V • P • P

the reverse containing the continuation or perhaps the
commencement in these terms —

SPQR-OPTIMOPRINCIPISC

being precisely the same legend, as that previously-
described, and on other coins of this emperor.

This and the following medal are most valuable
illustrations of the wooden bridges of the ancient
Romans. There is a conventional indication of running
water, upon which there appears to be a small boat
attached to the bridge by a rope. To the right is a
species of arched entrance to the bridge, surmounted
by an entablature, and above there is a figure of a
warrior with a spear between two trophies. On the
opposite side of the bridge are indications of a like
group at top. Steps seem to lead up to the archway,
and probably there was a guard-room at either end to
defend the approaches, as indicated by the blank space

242 ABCHITECTURA NUMISMATICA.

next the right-hand entrance. The bridge itself consists
of a Qne-spanned arch, with: apparently three tiers of
curved ribs and upright storey-posts securely framed
together ; the storey-posts of both sides of the bridge
being seemingly intended to be indicated. The ends
of the transverse beams of the roof, for it was evidently
a vaulted covered bridge, are distinctly shown. To
the left the under part of the bridge is in perspective,
and exposes to view the transverse ribs to form the
floor or gangway, and diagonal wind-braces, to tie in
the whole framing securely together.

It is obvious, that wooden bridges were of frequent
occurrence with the Romans, and doubtless there were
many in the Campagna of Rome thrown across the
Tiber, which above the city narrows to a moderate
width, and might be spanned easily by a single arch.
From a passage in Plutarch's life of Numa we are led
to conclude, that there was only one wooden bridge in
Rome, probably that which Horatius Codes defended
against the Hetruscans, whilst the Romans were cutting
it away in order to prevent their entering the city by it.
After mentioning the tradition, which he condemns as
ridiculous, that the term pontifex for the high priest
was derived from pons from their offering sacrifices
upon the bridge, he states : " These priests too are
said to have been commissioned to keep the bridges
in repair, as one of the most indispensable parts of
their holy office. For the Romans considered it as an
execrable impiety to demolish the wooden bridge,
which, we are told, was built without iron, and put
together with pins of wood only by the direction of
some oracle. The stone bridge was built many ages
after, when -^milius was quaestor. Some, however.

WOODEN BRIDGES. 243

inform us that the wooden bridge was not constructed
in the time of Numa, h^- mg the last hand put to it by
Ancus Marcius, who was grandson of Numa by his
daughter/' — (Langhome*sTranslation.) Phny(L xxxvi.
c- 15), as we have abeady remarked, in the description
of the altar of Proserpine at Cyzicus, notices a building
at Oyzicum, called 0ouXeuTf jiov, built of wood, and the
timbers of which were put together without iron
fastenings, so that the beams appear without joinings
{sine sutvHs), " which,'* he adds, " is also scrupulously
observed in the Pons Sublicius, when it was restored
after having been defended by Horatius Codes."
Hence we may conclude, that a kind of superstitious
veneration was connected with that class of construc-
tion, in the same manner as with the Jews in the
Temple of Jerusalem, as related in the 7th verse of the
6th chapter of 1st Kings, where it is recorded, that
" the house (of the Lord), when it was in building,
was built of stone, made ready before it was brought
thither ; so that there was neither hammer, nor ax:,
nor any tool of iron heard in the house while it was in
building."

It is not impossible, that this reverse may be in-
tended to represent the Pons Sublidus, so called
because it rested on posts and beams, and which united
the Mons Jaoiculus to the Mons Aventinus at Rome.

B 2

244 ARCHITECTUBA NUMISMATICA.

No. Lxni.

OuB next illustration of wooden bridges is derived
from a bronze medallion in the French Cabinet, If inch
in diameter (M. 14), with the inscription on the
obverse of

SEVERVS • PIVS • AVG

round the head of the emperor. On the reverse is the
continuation of the inscription —

PMTRPXIV- COS • III • P • P

half above and half below the bridge. It consists of a
single arch, having at each end a tetrastyle facade of
stone or marble, the three intercolumniations of each
being filled in with circular-headed apertures- The
columns or pilasters are of the Corinthian order,
surmounted by a regular entablature and a lofty attic,
above each of which is a quadriga with a figure, flanked
on either side by a trophy. The base of the whole
composition consists of a representation of flowing
water to indicate the river, and in the centre is a
barque with two or three figures in it and a lofljy carved
prow. The arch or parapet of the bridge is framed
with a lower and upper rib or plate in six divisions
with cross-framing. There are five figures of various
sizes : up above which rise four storey posts or pillars
supporting what appears to be a roof. Or possibly it
may be intended to represent the other side or parapet
of the bridge ; but the absence of the cross-trees or
framing seems to preclude this opinion.

WOODEN BBIDQES. 245

The earliest complete description, that we have of a
wooden bridge, is that in the " Commentaries** of Caesar
(lib. vi. c. 17), who threw one over the Rhine. In
that case it consisted of piles driven into the river and
beams to form the roadway, over which the army had
to pass. An able illustration of this was made by
Palladio, and is also given in Rondelet*s "Art de
Batir," and by Canina in his " Architettura Romana.'*
The next example is that of Trajan's bridge over the
Danube, the piers of which were in stone and the
superstructure of wood, with arches, and which was
considered by Dion Cassius the finest of all the works
of that emperor. There were twenty solid stone piers
each one 120 feet high above the foundations and 60
feet wide. They were 170 feet apart. His successor
Hadrian fearing, that this bridge might equally serve
the purpose of the enemy, and afibrd the Barbarians
the facility of invading the Roman territory, had the
upper part destroyed, so that the piers alone remained
at the time of Dion. A valuable illustration of this
stupendous work exists on the Trajan Column, and
may therefore be considered as an authentic record of
its construction. This is shown on the 74th plate of
Bartoli*s work already alluded to in the description of
the medal showing the Trajan Colunm. The piers are
marked with their courses of stone, that serve as
abutments to the wood arches, and above is a framing.
On these piers is a horizontal plate, which supports
the transverse beams of the gangway. The open
parapets on both sides are shown framed with cross-
braces. As there were nineteen arches it must have
been above a mile in length.

246 AECHITECTUEA NUMISMATICA.

Na LXIV.
PONS ^LIUS, ROMA.

This medallion 1^ inch in diameter (M. 11) is in
the French cabinet, and has on the obverse the head
of the emperor with this epigraph —

HADRIANVS • AVG • COS • III • P • P

On the reverse is a representation of the Pons ^lins,
which was erected in front of the mausoleum built on
the right bank of the Tiber in the fourteenth region, as
mentioned by Spartian " Fecit et sui nominis pontem
et sepulcrum juxta Tiberim:" — and attested also by
Dion. It consists of three central larger arches with
cutwaters in front of the piers. On each side are two
smaller arches, making seven in all. On the left side
two remarkable channels are indicated, as though they
were two collateral conduits, possibly for some land-
streams or sewers, and they lead under the smaller
arches. Over the four central piers are lofty pedestals
surmounted by columns, apparently of ihe Doric
order ; on each of which is a statue. Between the
pedestals is a parapet, which slopes down over the
two smaller side arches, and abuts against large-sized
piers at the foot of the bridge at each end. These
objects dre repeated on the other side of the bridge ;
the parapet, pedestals, columns, statues and piers
appear in perspective, and produce a busy effect. The
execution of this medal is very effective, particularly

N^-^ 64

BMOsi" AT /' U-rir.-:j{K'A CVKR THh i'lAhA

ANnOOHEIA OABLffi. 247

the water ; the wavy surface of which is extremely
natural.

This bridge still exists under the name of the Ponte
S. Angelo, and reflects the features of its antique
predecessor. But instead of lofty columns upon
pedestals surmounted by statues, statues from the
chisel of Bernini are placed on pedestals, immediately
over the four central arches of the bridge.

The three central arches remain the same, and the
two smaller arches next the Castle of S. Angelo. But,
on the other side, the quay or " place '^ at the foot of
the bridge next the city has encroached on the bridge
and blocked up one of those smaller arches.

Piranesi^s " Illustrations.*'

No. LXV.
ANTIOCHEIA (npos maianapq) CARIiE.

This medallion 1^ inch in diameter (M. 11) is in
the British Museum and is considered to represent
the bridge of the city of Antioch on the Marauder in
Caria. There are numerous varieties of this coin,
each with some peculiar difference ; but as this is the
only one of this class, which mixes up a living subject
with the architecture, I have selected it in preference
to others.

It represents a bridge of six arches on high piers
spanning the river, the waves of which are peculiarly

248 AEOHITECTUBA NUMISMATICS.

characteristic* Above the arches is a lofty parapet,
divided into panels; and at one end is an armed
horse-soldier riding over. At the further end of the
bridge is a triumphal arch, richly decorated, with
three openings, the central one being the highest.
The arch consists apparently of an order, above which
is an attic surmounted by a cornice : on the top is a
gigantic crane or stork. There appear to be arched
openings over the sideways, and pilasters or columns
on each side the openings, both below and above. It
will be observed, that the parapets on both sides of
the bridgeway are shown ; that they are level along
the centre but falling at each end ; indicating there
a rise in the roadway. On the further parapet is a
colossal recumbent statue of the river, holding a pahn
or olive branch in his right hand, and apparently a
cornucopia in his left. The upper part of the figure
is naked, the lower draped. The figure is not very
distinct on any of the medals. It will be perceived,
that in the spandril of the end arch to the right is a
smaU niche.

The medallion is 1^ inch in diameter and exists in
the collection of the British Museum and of the French
cabinet. Among the latter is one in the great case
showing statues at the further end of the bridge.

The legend contains merely the name of the people —
ANTIOXEGN

On the obverse is the helmeted head of a warrior of
rude execution and the words —

ATK-norAAA-NO

or Emperor Oassar PubUus Gallienus, son of Valerian,
which gives the date of A.D. 260.

ANTIOCHEIA CAEUE. 249

This was not one of the cities of Asia Minor visited
by the expedition of the Dilettanti Society under
Chandler.

According to Hamilton (" Researches/* vol. i. p. 829)
and Fellowes (" Discoveries in Lycia," p. 27) the ruins
do not appear to be of great importance. There are
the remains of massive walls of the Acropolis, and an
inner castle of a rude and barbarous style, without any
traces of Hellenic character. But there is a stadium
built in the same style and this seems to show the
antiquity of both. There are many remains of arches,
vaults, and substructions of buildings eastward of the
Acropolis. (Smith, " Geogr. Diet.," p. 146.)

It is remarkable that Eckhel (vol. ii. p. 676) does
not describe this medal, and merely refers to it as
noticed by VaiUant (t. ii. p. 47).

There is a very striking coincidence between this
medal and one of Valerian (M. 9) having on the
reverse the inscription —

AAP • MO*EATflN • ET • TKT

A bridge with water running below a similar arch, at
the fiirther end of the bridge a figure reclining with a
cornucopia; between the arches of the bridge are
written the letters AfiPEA and beneath nTPAMOC
the name of the river.

250

No. LXVI.
FORUM TRAJANI, SOMA.

This large bronze medal 1-^ inch in diameter
(M. 10) is in the French cabinet. On the obverse is
the head of Trajan with this inscription —

IMP • CAES • NERVAETRAIANO AVGGER-
DACPMTRIBPCOS-VI-PP

And on the reverse is the legend apparently in con-
tinuation of the preceding —

S • P • Q • R • OPTIMO • PRINCIPI

both which are identical with the inscription on the
medal of Tr^'an's Temple (No. VIL). And the
words —

FORVMTRAIANISC

are on the exergue.

The building here represented may be presumed to
figure the entrance, or propylon of the Forum affording
the approach to it. It forms an hexastyle facade
raised on two steps ; the columns are of the Corinthian
order, with a lofty attic at top surmounted by groups
of figures.

The two central columns are grouped together,
their entablature and attic forming a continuous Une ;
but the entablature profiles roimd over the other five

N° 66

TRAJANS • FORVM • ROME

N? 67

K>BnM TEAJANI, BOMA. 251

columns. In the centre is an arched opening with
a circular panel over, containing the bust of some
illustrious personage, probably the emperor. In each
of the side intercolumniations there is a podium about
a quarter of the height of the columns, upon which
stands a niche with a fall-sized statue flanked by
smaller columns, and surmounted by a pediment.
Above each niche and under the architrave of the larger
order is a circular panel and bust, as in the central
intercolumniation. Over the entablature rises a lofty
attic, equalling the entablature in height : beyond the
outer columns is a width of plain wall equalling half
the width of the intercolumniation. Upon the attic
is a group of the emperor in his car drawn by six
horses ; the outer ones being led by warriors carrying
palm-branches : then comes on each side a trophy of
sheaves, cuirass, helmet and shield, piled on a stem^
and beyond them a warrior canning a trophy on a
spear or pole. On some coins however this outer
figure on each side is a Victory. The whole forms a
rich and masterly group, worthy the renown of its
reputed architect Apollodorus.

Besides the various sculptures figured on this
fix>ntispiece, it may be presumed, that it was enriched
with numerous others on the Meze and other parts.
When the arch of Constantine was erected, tradition
represents it, and with every appearance of reason, to
have been embellished chiefly with the sculptures taken
firom this building.

This is one of four illustrations, which has been
handed down to us of the monuments that composed
the group of the Trajan Forum, which in magnificence,
extent and the variety of its monuments, was second

252 ABOHITECTUBA KUMISMATICA.

only to the Roman Forum, The Temple of Trajan
(No. YII.) has been abeady given, as has also the
Cochlid Column of Trajan (No. LI.). The present one
is the entrance to the grand court. Our next illustration
is that of the famous Ulpian Basilica.

No. LXVII.
BASILICA ULPIA, ROMA.

This large-sized bronze medal exists in the French
Cabinet and British Musexmi, If inch in diameter
(M. 10), and also in gold f inch in diameter in the
French Cabinet, beautifiilly and distinctly preserved.
On the obverse it corresponds precisely with the
previous one of the entrance to the Forum Trajanum,
and that of the Temple to Hadrian ; and the inscription
on the reverse coincides exactly, except in the exergue,
where there are the words —

BASILICA • VLPIA

under a magnificent building, representing the facade
of the Basilica, two storeys in height, respectively of
the Corinthian and Ionic orders.

The principal features consist apparently of three
tetrastyle porticos of the Corinthian order, the centre

BASILICA ULPIA, EOMA, 253

one being wider than the lateral ones. At the extreme
ends is a column or pilaster, over which however the
entablature does not profile. The entablature is made
half as high as the column, and is represented merely
as a lump or mass, without the indication of any
division into mouldings. Over the centre tetrastyle
division is a quadriga with the emperor, and an
attendant on each side leading the outer horses. Over
each of the lateral porticos is a biga, beyond which,
towards the angle, is a standard.

The angle of the upper storey is ornamented with a
species of standard, beyond which is another one with
a flowing banner at top. These possibly may be
the sculptures alluded to by Aulus G^llius (xiii. c. 23)
in the following words : " In fastigiis Fori Trajani
simulacra sunt sita circum undique inaurata equorum
atque signorvm milUcurivmj subscriptumque est ex
manubiis."

The contrast of the quadriga over the central and
of the biga over the lateral porticos is very remarkable,
for the three porticos all appear to be tetrastyle ; but
it will be observed, that the columns of the side porticos
seem coupled. The later researches of the Commen-
datore Canina seem to prove, that these side entrances
were distyle or of two colunms only, and possibly the
inner indications may represent the pilasters, which
formed the openings into the basilica.

A minute examination of various medals, and par-
ticularly of the gold one in the French Cabinet, was
productive of a very important discovery, indisputably
obvious with a powerfial glass, namely, of a series of
Ionic pilasters or columns in the upper order with a
cornice over them. This could not be distinguished at

254 ABCHITECTUEA NUMISMATICA.

a casual glance, the dots representing the capitals
being so much mixed with the heads of the figures, as
almost to seem a part of the sculptures. The ridge is
surmoimted by a triple-pointed ornament, seemingly
of metal. This arrangement of two external orders of
colunms has escaped the usually discriminating eye of
Canina, who has consequently only given the lower
order, representing a flat wall above (see Plate).

As the temple, the column, and the portal of the
Forum have been separately examined, we will now
consider the whole Forum, in order to understand the
relation, which all these edifices bore to one another,
and to comprehend the importance and magnificence
of this superb group of buildings, which forms one
of the grand illustrations of the reign of this noble-
minded emperor. A plan of the Forum is added,
founded upon the actual remains, the representations
on the medals, the descriptions of authors, and upon
the plans of my fellow-traveller Monsieur Huyot and
my finend Canina, as also upon the fi'agments of the
ancient marble plan of Rome in the Museum of the
Capitol : but in some respects varying firom the
restorations of the latter authors.

The Forum was designed and executed according
to Dion by ApoUodorus of Damascus the architect,
and covered an immense area between the Capitol
and Quirinal HiUs; it being necessary to remove a
considerable portion of the Quirinal, which stretched
out toward the Capitol, in order to render it leveL
This operation was so important, that, according
to the inscription upon the pedestal of the Cochlid
Column, it was thought worthy to be recorded, that
such a prodigious mass of earth, which rose to so

•IKMUVMl'-TPAlANl

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—4

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»4

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• In

— ^

•1\ . . n , ,

•••••• 1

lN(:'i'K:-:;vr^
FURVM BA^:iLl -A Vr.FlA COLVMNA COCULIS tU p. l.H'l HVCAK
KT PlVl lIATM^iA^jriFMFLVM HKST rVRA- T LD t)N ALDT OK.

BASILICA ULPIA, BOMA. 255

great a height, had been levelled and carried away in
order to realize the vast project of the Forum.

The entrance faced the south towards the Boman
Forum and presented the fogade of the preceding
medal erected of marble, emiched with sculptures
and of the most harmonious proportions. This led
into the Forum proper, a noble quadrangular area,
surrounded on three of its sides by porticos and shops
under the colonnades. On its fourth side was the
Basilica, which immediately faced the entrance. Thus
the spectator, after passing the entrance-gateway, was
struck with the magnificent spectacle before him. In
the centre of this fore court was an equestrian statue
of the emperor, of which the following anecdote is
recorded by Ammianus Marcellinus (lib. xvi. c. 17).
When Constantius visited the Forum, he was so much
impressed by the beauty, dignity and magnificence of
the equestrian statue of Hadrian, that he said, he
should like such a horse to be executed for himself;
upon which Ormisdas the Persian, who accompanied
him observed, alluding to the Forum in the centre of
which it stood, that he must first erect for it as
magnificent a stable : " At prius stahulv/m tale condas.^'

Various writers state, that a great number of statues
of the illustrious men of Rome surrounded the court
in fi"ont of the columns, as in the Forum of Pompeii.

With regard to the Basilica, excavations have fortu-
nately brought to light a considerable portion of the
area which it occupied : and firagments of columns,
steps, pavement and other decorative parts bear
witness to the sumptuousness of its embellishments.
The three porticos of the Basilica shown on the plan,
coincide with remarkable accuracy with the repre-

256 ABCHITECTTmA NUMSMATICA.

sentation on the medaU ** Taylor and Cressy*s Archi-
tectural Antiquities of Rome" (vol, 2, p. 37, PI. CIV.) ;
where however the lateral porticos are restored as
tetrastyle according to the prevalent opinion.

The fore court was paved with marble slabs six
inches thick, bedded on large slabs of traverstine stone
about seven feet by four feet. The area of the Basilica
itself was five feet above that of the Forum, and the
width between the walls was 174 feet, being divided
into five aisles by four rows of granite columns
feet 3 : 8*2 in diameter, the nave being feet 83 : 3*5
wide between the columns. This we know fi"om
Pausanias was covered with bronze from the passage
in his " Elis" (c. xii.) where he says : " Of all the
remarkable works which Trajan erected, the Agora
(Forum) at Rome is worthy to be seen, especially for
the roof built of bronze." And again alluding doubt-
less to the same edifice, he says, in his "Phocis"
(c. V.) : ** At Rome is the Agora (Forum), remarkable
for its extent and magnificence, and which is covered
with a bronze roof." The pavement of the Basilica
was laid out in squared slabs, an inch and a half thick,
of coloured and white marble, 6 feet 10 inches long.
The total length of the area of this noble hall between
the columns probably extended to 290 feet by the
widthof83:3-5II

The restoration of the section of a Basilica, such as
that of the Ulpian, is a very litigated question arising
fi'om the obscurity of the text of Vitruvius (lib. v.
c. 1), which is in the following words according to
Schneider (8vo. Lips. 1807) : " Basilicarum loca
adjuncta foris quam calidissimis partibus oportet con-
stitui, ut per hiemem sine molestia tempestatum se

BASIUOA ULPIA, BOMA. 257

conferre in ^as negotiatores possint ; eorumque latitu-
dines ne minus qnam eztertia,neplu8quamexdimidia
longitudinis (parte) constituantur, nisi loci natura
impedierit, et aliter coegerit symmetriam commutari.
Sin autem locus erit amplior in longitudine, Chalcidica
in exta^mis partibus constituantur, uti sunt in Julia
Aquiliana. Golumnffi basilicarum tarn altaa quam
porticus lat89 fuerint, tademisd videntur: porticus^
quam medium spatium est, ex tertia finiatur. Columnaa
Buperiores minores quam inferiores, uti supra scriptum
est, constituantur. Fluteum, quod fuerit inter supe-
riores columnas, item quarta parte minus quam supe-
riores columned fuerint, oportere fieri yidetur; uti
supra basiUcffi contignationem ambulantes ab nego-
tiatoribus ne conspiciantur. Epistylia, zophori, coronas,
ex symmetriis columnarum, uti in tertio libro diximus,
^xplicentur*''

It is not without hesitation, that one can presume to
restore the remainder of the buildings belonging to the
Forum ; or to decide, whether there was any opening
from the basilica to the area of the Cochlid Column ;
but most probably there was. This column stood in
the centre of a very small atrium or court siurounded
by columns, traces of which still remain in the solid
blocks of travestine now in place, and showing their
number and position. A fragment of the lower part
of the shaft of a granite column 5 feet 4^ inches
in diameter is shown by Taylor and Cressy, as lying
near this spot. It probably belonged to the Temple
of Trajan himself.

The area of the Cochlid Column had the basilica on
one of its sides and the two buildings, forming, it is
supposed, the Ulpian Library, on two others ; and the

258 ARCHITECTURA NUMISMATICA.

area of the temple of the deified emperor may bd
presumed to have been opposite to the basilica.

The fi'agments of the marble plan of Rome, preserved
on the staircase of the Capitoline Museum, afford the
authority for parts of the basilica, as two especially
have inscribed the letters BASILICA • TJLPIA
of the same size, and connected with porticos of like
dimensions. Attached to one of these, is a square
building, supposed to represent one of the libraries.
By the side of this there is the indication of a stair-
Case, probably one of those, which led to the upper
colonnades over the side aisles of the basilica.

A hemicyclar end of the basilica, also shown on one
of the Augments with the name LIBERTATIS,
corresponds in position with the chalcidicum or tri-
bunal, mentioned by Vitruvius as forming part of a
basilica, and found in the basilica of the Forum of
Pompeii, but there square in plan.

The temple and its court formed the northern
portion of the entire group, and the disposition is fiilly
shown upon the medal abeady illustrated (No. Vll.),
the cella being octastyle raised on a flight of steps
with an altar in fi'ont, and flanked by a distyle portico
or colonnade on each side. This arrangement is
followed upon the plan, which differs from that of
Huyot or Oanina, as the bronze medal would seem to
indicate, that the principal part of the temple did not
face the basilica to the south, but rather to the north.
Nor does it appear improbable, that the main fagade
should face the city, rather than the Forum, and that
its court should serve as one of the accesses to the
basilica and main area of the Forum.

N^ 68

VILLA PVBLICA- CAMPVS- MARTJVS ROME
N'^ 69

BASILICA AEMILIA- FORVM ■ ROMANVM

259

No. LXVIII,
VILLA PUBLICA, ROME

This silver denarius |^ of an inch in diameter (M. 6)
is in the British Museum collection. It has on the
obverse a veiled female head surrounded by the
epigraph—

P • FONTEIVS • CAPITO • III • VIR •
CONCORDIA

which proves^ that the coin is of the Gens Fonteia, a
plebeian fisonily of whom we have both silver and
copper pieces. On the reverse is a representation of
the Villa Publica surmounted by the words —

TDIDI'VILPVB

And the letters IMP on the exergue meaning —

Titos DIDIuB IMFerator VILla FYBlica.

The Yilla Publica was one of the most important
buildings at Rome, and may be presumed to cor-
respond in its arrangements somewhat with the Forum^
except that instead of its being a place for shops and
traffic, and the transaction of private affairs, the Villa
Publica was for the purpose of general assemblies of
the people, for the reception and entertainment of
foreign ambassadors, where they experienced the hos-
pitality of the Romans. Livius (1. xxxiii. c, xxv.) :

s 2

260 AROHITECTUBA NUMISUATICA.

*' Macedones deducti extra urbem in Villain Publicam,
ibique iis locus et lantia proebita/' There also a
review or census of the people took place^ eacb one
appearing before the censor. And we may note that
on this spot the monstrous slaughters of Sylla oc-
curred according to Valerius Maximus (1. ix. c. 2) :
** Quatuor legiones contrarian partis fidem suam
sequutas in Villa Publica, quas in Campo Martio
erat, Sylla obtruncari jussit/' It was situate there-
fore in the Campus Martins. (PauTinius, ^^ Civ.
Rom.** p. 276.)

The building on this medal has two orders of
columns of the Doric order^ the lower range sur-
mounted by arches^ which spring immediate^ firom
the caps of the columns, above which is a lofty
parapet divided into panels : an arrangement similar
to that supposed by some to be described by Vitruvius
for the interior of the Basilica (lib. v. c. i.)» '^ Columns
superiores minores quam inferiores (quarta parte) utr
supra scriptum est, constituantur. Pluteum, quod
fiierit inter superiores colmnnas, item quarta parte
minus quam superiores columnsd fuerint, oportere fieri
videtur ; uti supra basilicsB contignationem ambulantes
ab negotiatoribus ne conspiciantur.'' In this passage
the space between the columns would be, according to
the supposition above referred to, a pluteum, and the
diminished height of the upper columns corresponds
nearly with the Vitruvian rule.

There are five arcades below and five intercolumnar
spaces above ; but the latter are much narrower than
the former. The upper columns have a level entab-
lature over them, above which rises the roof divided
into large square slabs with inclined lines of coverjoint

BASILICA JBMILU. 261

tiles. It appears probable, therefore, that this may
represent a species of large covered building, like a
basilica, for the public assemblies. It stood most
likely in the centre of an ample area or court sur-
rounded by colonnades and various other buildings,
adapted for the public uses, for which the Villa Publica
was peculiarly appropriated in connection with the
Dampus Martius, of which it may be presumed to have
formed a part. (Yarro, xxxiii. 9; de Be Bustica,
. m. c. u.).

No. LXIX.
BASILICA (MmUk) PAULI iEMILII.

This silver family coin j^ of an inch in diameter
(M. 5) has on the obverse a veiled female head without
any legend, but which is supposed to be that of Vesta ;
probably, suggests Eckhel (vol. v. p. 127), because
the fire, which destroyed the original basilica, had
extended to the temple of that goddess.

The reverse presents us with a perspective view of
the basilica with the following inscription —

AIMILIA • S • C • REF • M • LEPI D VS

The building represents the Basilica Pauli or Basilica
:^milia, as it was indifferently called, and which stood
in the middle of the Boman Forum* Plutareh in his

262 ABCHITEGTUBA NUMISMATIGA.

life of Caesar states, that he presented the consul Paulus
with fifteen hundred talents^ which he Qmployed in
building the celebrated basilica near the Forum in the
place, where that of Fulyius had stood. L. ^miliuB
Lepidus was consul in 704 ; but he did not live to
see it completed ; it was dedicated by his son Paulus^
who had been consul with his father in 720 (B.C.).
Cicero (ad Atticum, 1. iy. ep. 16) praises it in these
terms : " Nihil gratius illo monumento, nihil glorio-
sius.'* See also Dio (1. xlix. c. 42). Pliny (1. xzxvi.
c. 15) calls it admirable for its Phrygian marble
columns, probably a species of calcareous alabaster.
It was afterwards burned in a conflagration, which
extended to the Temple of Vesta ; and was rebuilt by
the Mends of the Pauli, assisted by the generous
munificence of Augustus. Tacitus (Ann. iii. c. 72)
records, that, during the reign of Tiberius, Lepidus
applied to the senate to allow him with his own
money to repair and adorn the Basilica of Paulus, the
monument of the v^milian family. The period, at
which this coin was struck, has been the subject of
much controversy; but Eckhel inclines to that of
Augustus, and adduces in confirmation the archaism
AIMILIA.

The basilica is represented, as consisting of two
series of arches one above the other ; the lower range
being of the Doric, the upper of the Corinthian order.
We here see two sides: the lower columns are sur-
mounted by a regular entablature, in front of which
over the columns are suspended full-sized round shields,
whose diameter equals the height of the entablature.
The upper colonnade slightly exceeds in height half
that of the lower one.

BASILICA EMILIA. 263

The roof seems almost as if it were hipped ; but this
is hardly probable, and the lines doubtless are intended
to represent a pediment at the end. The slabs of the
roof and the antefixae are conventionally represented :
and in fact the whole of the architecture is rudely
rendered, but the leading features are distinct and
clear. One front has only two columns ; on the flank
are three intercolumniations with the columns of the
other side seen through, both above and below. Here
then we have a part for the whole. Possibly the
artist may have intended to give the colonnade, which
probably inclosed the space in the centre of which the
Basilica stood.

Statins (1. c.) calls the basilica the Begia Fauli,
and Cicero in his letters to Atticus (iv. 16) nientions
two basilic89 of the name^ one of which according
to him was built and the other restored by Faulus.
<Smith*s "Diet, of Antiquities," and " Diet. of'Biog.*'
vol. ii. p. 766 ; Le Beau, B. L., t. xziv. p. 205 ; Lucius
FaunuSy c. 14, 1. 2.)

T\Le practice of suspending. shields from the entab-
lature of temples was very ancient. The Parthenon
had beyond controversy the- Persian shields attached
to the architrave. See Plenrose's " Investigation of
the Principles of Athenian Architecture,'* &c.

Pausanias mentions those on the face of the Temple
of Jupiter Olympius at Elifi ; and we know that shields
were affixed in front of the Rostra in the Roman
Forum. When the Samnites were conquered under
the dictator Lucius Papirius, their shields chiselled in
gold and silver were carried to Borne and placed in the
Forum. (Livy.) .

264

Nos. LXX. & LXXI.
EDIFICES AT NICJEA.

As these two subjects relate to the same city, they
are here united under one head; the former is in
the British Museum^ the latter in the French Cabinet.
They are both in brass and 1-^ inch in diameter
(M. 8) : each being struck under one emperor^ re-
ferring to the same individual, and having the like
epigraphs, it wfll be unnecessary to repeat these
details. They both have on the obverse the head of
the emperor with this inscription —

TI • KAATAIOS • SEBASTOS • TEPMANIKOS
TIberiufl CLAYDIYS • AYaYSTYS • GEBUANIC YS

On the obverse the words are—

r • KAAIOS • POT*OS • ANOrnATOS

Gaiiw • C ADIYS • EYFYS • PEAESBS

On the firieze of the former medal and on the exergue
of the other—

NEIKAIEON

NICABOBYM

Both represent a two-storeyed columnar building of
the Doric order of four columns. In No. LXX
three steps lead up to the building. In the inter-

r;^ ^0

vILDTKC^f. AT • NICAEA

ir- ^i

EDIFICES AT mOMA. 265

columniations are suspended some curious objectsi
hitherto unexplained and which also occur on some
Greek vases. The upper range has the entablature
over the central intercolumniation omitted^ and an
archivolt is thrown over with a semicircular arch,
which rises up into the tympanum of the pediment.
There are acroteria at the angles and on the apez^

The lower one No. LXXI. is similar in its features
up to the top of the upper columns, which have over
them a horizontal entablature. A high-pitched arched
pediment surmounts the central intercolumniation;
large horns or acroteria are over the angular columns*
These buildings were doubtless attached to the agora;
but it would be useless to speculate upon their predse
destination though evidently they were of a com-
mercial character.

Nicsda was a town of Bithynia, situate upon the Lake
Ascanius according to Strabo (1. xiL), by whom the
title of " primaria BithyniaB urbs " is given to it.
It was square in plan, and was sixteen stadia or two
miles in circuit at his time, and surrounded by a very
barren plain. Antigonus, son of Philip, had founded
it, and given it the name of Antigoneia* Lysimachus
subsequently called it Nicaea after his wife, the daugh-
ter of Antipater. It is situate about twenty-five miles
from Brusa.

Colonel Leake in his " Asia Minor '' (p. 10) notices
the modem Turkish town Isnik, built upon a portion
only of the ancient Nicsea, from the ruins of which it
seems almost entirely to have been constructed. The
walls of the dilapidated mosques and baths are frdl
of the fragments of Greek temples and churches.
My fellow-traveller Monsieur Huyot, with whom I

266 AEOHITECTUBA NUMISMATICA.

journeyed in the lower parts of Asia Minor^ and Who
had visited Isnik, mentioned it as a place well worthy
a serious study, containing many curious and perfect
constructions of the middle ages. It was within its
waUs> that the famous Nicene Council of the Christiaa
.Church wafi held A.D. 326.

There is hardly any town of antiquity out of Bome^
which offers so many medals illustratiii^ yarious
edifices. Texier in his " Asie Mineure *' giyea a
description of this place. and some illustrations, but he
pmits all mention of its medals. For does Eckhel
notice these Basilica Medals, if they may be so called.
0ee medal No. LXXXYII. for the representation of
the city walls of Nicasa.

N^ 7 2
NRRO C.l.AVn f\^.F,SAR AYG GL-f^M PM IP P- IMP P P

k/V':el:.vm avg/st' fo::.^

267

No. LXXII.
MACELLUtt AUGUST!, ROMA.

This subject, which exists on medals of large and
middle brass, \\ inch (M. 11) and l-j^inch in diameter
(M. 9), has on the obverse the head of Nero with the
inscription —

NERO • CLAVD • C-aESAR • AVG- GER- P • M,
TRPIMPPP

On the reverse of several varieties of this medal

are the words

MAC • AVG • S • C

or " Macellnm Augusti Senatiis Oonsulto."

The macellnm was a meat-market, here represented
with a central circular building aurmounted by a dome
and flanked by lateral porticos ; the whole having in
the height two orders apparently Corinthian. The
c^itral circular building presents in its lower, order
four attached columns, with three intercqlumniations^
the middle being considerably wider than the others;
and an arch, the whole height of the column, is within
each lateral intercolumniation. A flight of steps of
the width of the centre intercolumniation, and flanked
by two pedestals, leads up to a middle archway, in
which is a lofl)y undraped colossal figure on a low
pedestal, resting on a spear in his left hand.

The upper order consists of three columns, one
being in the centre, forming an open colonnade of two
Jntercolumniations filled in with an Qp^n parapet one^

268 ABCHITfiCTURA NUMmMATICA.

third the height of the opening, and two festoons
han^ng from capital to capital. There is a very lofty
entablature equalling two-thirds the height of the
colunm^ and a dome enriched with three rows of palm-
leaves surmounted by a very remarkable apex of large
proportions! as though there were a large central
opening as in the Parthenon at Bome and metal
parapet round the aperture.

The lateral portion on the right side of the medal
has two intercolumniations, and the entablature of
those next the centre building is interrupted by a small
•arch, which however is omitted in some medals. The
order above is only as high as three-fourths of the lower
orderj and has a double festoon from capital to capital.

The porticos on the left side of the medal have three
intercolunmiations and are not so high as those on the
other side. The upper order has a podium under the
columns, which does not exist on the other side, ind
only a single festoon from capital to capital of the
upper columns. There is the appearance of some
ornament on the frieze over the columns of this upper
order. The lateral porticos have only two stejps instead
jof the flight, which leads to the centre of the central
building.

Eckhel (vol. vi. p. 273, Nero) remarks on this medal
the following passage of Plutarch (Qussst. Bom.) :
^* The Romans call Macella or MaceUas the place
where meat is sold." But Pliny (lib. xix. p. 162-3)
states that *' olera'' were sold in the Macellum, and
distinguishes between the Camarium and Macellum.
Yarro also has the Macellum as a herb-market. Dion
calls it a victuals-market (forum obsoniorum). AH
ihese terms are reconciled by the following passage of

MAOELLUM AUQUSTI, BOMA. 269

Varro: "All, that related to food, being united in
one place, a building was erected called the Macellum/'
XiphilinuB firom Dion (1. Ld. §• 18) has the following
words : " Then Nero, dedicated, the food-market, which
is called Macellum/' Suetonius also (in Tiber, c. 34)
notices the " provisions of the Macellum/* .

A careful study of the various examples of this type
leads to the conclusion, that the colonnades on each
side the central building indicate porticos of a fonim
or court inclosing the circular building, erected in the^
middle of the open space for the purpose of receiving
the statue of the emperor.

Facciolati quotes a passage from Yarro (apud
" Non." c. 6, n. 2) : " Et pater divum trisulciun
ftilmen igni fervido actutum mittat in tholum Macelli.'^
A critic, imagining that no slaughter-house (Macellum)
could have a dome, suggests a correction in the reading,
fay substituting tholvm Marcelli, the temple of Mar^
cellus. Our coin however, which gives the elevation
of a Macellum Augusti with a dome, shows, that the
suggested correction would have been a corruption of
the text, and proves how valuable such an authority
may be to indicate the original reading of a disputed
passage. The Macellum Livianum and others also
were in Rome.

Muratori (" Thes. Ins. Antiq." c. 469) gives the
following inscription connected with a macellum :—

L • ABVLIVS * DEXTER • MACELLVM •
PORTICVM • CHALCIDICVM • CVM • SVIS •
ORN AMfiNTIS • LOCO • ET • PECVNI A • SYA,

Showing the macellum in connection with decorative
edifices like those on the medal.

270 ABOHITEOTUBA NUMISMATIOA.

No. LXXIII.
NYMPHiEUM OF ALEXANDER SEVERTJS, ROME.

This medal exists in various sizes. The French
Cabinet has a medallion l^inch in diameter. The
British Museum a middle brass li^ in diameter (M. 7).
On the obverse is the head of the emperor with the
legend—

IMP • CAESMA VRSEV- ALEXANDERA VG

IMFenitor OASSar- Marcus* AYBeUaB- SEYems- ALEXANDER •

AVGuBtus

On the reverse the inscription is —

P-M-TR-P-V-COSIIPPSC

Fontifex • Mazimiifl - TBibuniti» - Potestate * Quinque * OOnSul - 11 *
Pater * Patriie * Senatus * Oonsulto

Eckhel (vol. vii. p. 272) apparently alludes to this
subject; he describes it as being on silver and brass
coins and as an elegant edifice (elatmn) adorned with
statues and enclosed by a portico. He says : " The
common opinion of antiquaries is, that this substruc-^
tion exhibits the thermaa, Alexander having led the
water to them, and both being called Alexandrmas ;
on which buildings Lampridius enlarges (cap. v.).
This emperor also built the Alexandrine Basilica
100 feet broad and 1,000 feet long, so that the whole
was hung upon columns, and some suppose, that this

N^ 73

NYMPIIAHVM OP • ALEXANDER HOMF

THERMAL -OF ALEXANDETk hO^'-"h

NTMPHJSUM OF ALEXANDER SBVEBtJd, BOME. 271

building is represented by this medal ; but Lampridiua
adds, that death prevented Severus Alexander firom
completing it." All this is however vain conjecture.

The medal seems to present us with an edifice, the
lower part of which appears to be a basin for water,
with an object rising up in the centre; the conven-
tional form of the wave on the plinth of the building
leads to this supposition. The lower storey in the
centre is occupied by five apertures or niches, two
being of larger size and square-headed, the three
others alternately Circular-headed. To the right and
left are peculiar wings, two' storeys in height with
circular-headed apertures and with inclined roofs,
surmoimted by two figures on each side.

The central mass rises up, having three circular-
headed niches or recesses, divided by columns ; in the
centre one, which is the highest, are two figures;
probably of the emperor and empress ; and in those
on either side a large trophy. There are sculptures
in the panels over these arches and an entablature
above. The return flank of the building appears on
either side. In the centre above the entablature is a
quadriga and flanked apparently by trophies recalling
the features of a triumphal arch.

Mere description cannot convey an adequate idea
of this medal, which can only be appreciated by an
examination of the object itself. But these few indi-
cations give the notion of a " castelhim Aquce,^' and
the trophies in the side niches suggest an appropriate
destination of the edifice.

This however has been so ingeniously investigated
by the intelligent chief of the French Cabinet in the
•* Revue Numismatique** for 1842, p. 332, that 1

272 AEOHITECTUBA NUMISMATICS,

cannot do better than adopt at onoe the masterly
description given by Mens. Le Normand in that
disquisition^ which sets the matter at rest, and
satisfactorily indicates the building, which this medal
commemorates : —

<< Among the monuments of ancient Rome, that
hare hitherto only received erroneous denominations,
we must indude the now almost shapeless ruins, which
are perceived at the forking of the two streets of the
Porta Maggiore and the Santa Bibiana, at a short
distance from the Arch of Gallienus ; and which, from
the middle ages until now, have been called ** The
Trophies of Marius.'' If the real name of this menu*
ment has hitherto remained a mystery, it is not the
case with its destination now perfectly understood.

*' It was a * chateau d'eau,' or rather a magnificent
fountain, fed by a branch of the * Aqua Julia.' Some
levels taken by Piranesi, who has published a memoir
on this subject, entitled * CaBtello dell' Acqua Giulia,'
demonstrate in fact, that the * Aqua Claudia' was too
high, and the * Aqua Martia ' too low for the situation
of the fountain ; and that the * Aqua Julia' was the
only one, which could frumish its supply. In 1822
some excavations made under the direction of M.
Gamaud, the pensioner of the French Academy at
Rome, confirmed the opinion of Piranesi ; from these
an exact idea could be formed of the arrange*
ment and of the magnificence of this monument;
which, difiering little from what is exhibited in the
present day at the fountain of Trevi and the
* Acqua Paolina,' poured forth its water through five
large openings, three on the front and one on each
side. Nibby, who records these details, emphatically

NYMPH^UM OF ALEXANDER SEVEBUS, EOME. 273

observes, that * it woxQd have been impossible to select
a better situation than this, which occupied the plat-
form of the Esquiline in the most elevated portion of
Rome, on the left bank of the river in front of the
Esquiline Gate, in one of the most frequented parts
of the city, and exactly at the intersection of the
Prenestina and Labicana Ways; the former corre-
sponding to the present street of Santa Bibiana, and
the second to that of the Porta Maggiore.* (* Boma
nell' Anno 1838,' Parte Antica, t. i. p. 359.).

** In 1535 the ruins of this foimtain were still
decorated with two trophies in white marble, which
Sextus Quintus caused to be removed to the top of the
stairs of the Capitol. A popular opinion caused these
trophies to be regarded as those of Marius, or rather
as those, which Julius Caesar had put up in memory
of the victory of Marius over the Cimbri and the
Teutons, to replace the trophies, which Marius had
himself erected, and which were destroyed by Sylla.
In the twelfth century, the spot where these trophies
existed was indicated under the names of ' Cimbrum,'
or • ad Cimbrum.* The unknown author of the
* Mirabilia Urbis RomeB,* published by Montfaucon
('Diar. Ital.' p. 295), an author, whom the learned
Benedictine considered to have lived in the thirteenth
century, expresses himself thus on the monument in
question: * In Esquilino monte ftdt templum Marii,
quod nunc vocatur Cimbrum, quod vicit Oimbros.*
It is probable according to this passage, that the
popular name of the monument was Cimbrum, and
that this name, which was doubtless only a corruption
of a word more ancient (Cymbariimi) having acci-
dentally awakened the remembrance of the Cimbri,

274 ARCHITBCTUEA NUMI8MATICA.

some of the learned of that day were desirous of
attaching to this remembrance the trophies, with
which the monument was decorated ; thence arose the
denomination of * Templum Marii/ employed by the
operatives of the ndddle ages. At an era, when the
impressions of antiquity were fresh in the midst of a
complete ignorance, the name of * Templum Mani '
is not more extraordinary than a hundred other deno-
minations accumulated in the Mirabilia, and among
which is most prominent ' the arrival of Phidiaa and
Praxiteles, celebrated magicians, at Rome under the
reign of Tiberius.'

'* However this may be, all the modem antiquarians
have agreed in rejecting the attribution of the trophies
of the Capitol to either Marius or Julius Cassar ; but
up to the present time there has existed a great
divergence of opinions, as to the age of these sculptures
and of the monument which they decorated.

" Cittadini, according to a fragment of an inscription
found in the neighbourhood on which is read IMP •
DOM • AVG, attributed them to the Domitian era.
Niebuhr affirms from Bellori, that the style and the
nature of the representation have a decided identity
with the monuments of the reign of Trajan. Canina
in support of this opinion points out the analogy,
which exists between the armour of which these
trophies are composed, and that of the Dacians on the
Trajan Column, and hence concludes, that the monu-
ment had been erected in memory of the victories of
Trajan over the Dacians. Nibby is not at all of this
opinion ; the character of the construction in brick-
work of this monument appears to him to indicate the
reign of Septimius Severus : he perceives a similar

NYMPHJIUM OP ALEXANDER SEVEBUS, ROME. 275

aspect in the ruins of the aqueduct, wMch conveyed
the waters to the fountain. The stiffness of the outline,
the affected style of execution, and the abuse of the
drill, which he remarks in the trophies, appear to him
so many signs of the epoch, to which the mass of
the monument belongs ; he thinks that the trophies
have been elevated for the victories which authorized
Septimius Severus to take the surname of Parthicus
and Adiabenicus. We are going to give the proof,
that the opinion of Nibby is that, which is the least
removed from the truth.

" There has long been known, and by sufficiently
numerous examples, a large and middle bronze medal
of Alexander Severus, which offers on the reverse a
monument of great magnificence but the details of
which, coniused and almost imperceptible, have up to
the present day eluded the most practised scrutiny.
The mention on three coins of the TR • P • V and
COS I • I answers to the year of Rome 979, after
Jesus Christ 226. It was agreed previously to Eckhel
to acknowledge in this monument the facade or an
important detail of the baths, which Alexander Severus
had caused to be constructed in the nineteenth region
of Rome, at a little distance from the Pantheon of
Agrippa. Eckhel, in his turn, would have preferred
seeing on these medals, the basilica built by Alexander
Severus, if Lampridius, who mentions this basilica
(xxvi.), had not added, that Alexander had not been
able to finish it. The truth is, that the monument
figured on the medals of S. Alexander resembles neither
baths nor a basilica.

" A fine medallion, of the same prince and the same
date, for a long period well known as existing in the

T 2

276 ARCHITECTUBA NUMISMATICA.

Cabinet of Prance, but until the present time little
noticed and ill described, appears to me to remove all
doubts.

" The existence of the two trophies on the medals of
Alexander Severus had excited my attention. Also
I could not avoid remarking a certain analogy of
arrangement in the monument represented on these
medals, with the remains of the construction anciently
known by the name of * Cimbrum :' but there was
wanting a witness more exact to clear away my doubts ;
wherefore I had recourse to the ancient views of the
monuments of Rome. This research was not fruitless
and in the precious collection of Du Perac I met with
a view of * The Trophies of Marius,' which permits
no ftuiiher hesitation on the subject. This view, of
which I give a reduced Copy, shows us the famous
trophies of the Capitol in the niches, which they
occupied before the time of Quintus Sextus, who had
them removed to the Capitol. If a comparison be
made of the general arrangement of the monument in
the view of Du Perac, with the medals of Alexander
Severus, a perfect identity is perceived, and one
definitively classes the fountain they represent among
the constructions of Alexander Severus. And at the
same time we must render a just homage to the sagacity
of Nibby, since fifteen years only elapsed between the
death of Septimius Severus, under which the Roman
antiquary placed the construction of the monument,
and the fifth year of Alexander Severus, at which epoch
the medals reproduced the beautiful fountain, which
the young emperor had just added to the magnificence
of Rome. Lampridius (xxv.) says in general terms,
that Alexander Severus was not contented with

. I

NYMPHiEUM OP ALEXANDER SEVEEU8, ROME. 27?

restoring the xnonumenta elevated by the ancient em-?
perors, but that he constructed a great many fresh
ones: * Opera veterum principum instauravit, ipse
nova multa instituit/

" We might content ourselves with classing the foun-^
tain of the Esquiline Moimt among these creations
indicated by Lampridius ; but if the precise testimony
of historians be wanting^ that of the Begionaries
appears to fiimish a positive indication. In the fifth
region of Rome, called the Esquiline, there existed a
monument named by Sextus Rufus, and * The notice
oftheBmpire,' NYMPHAEVM • ALEXANDRl ^
pudbyPubhus Victor NYMPH AEVM • D • ALEX.
ANDRI-

. ''In order to admit that this name might be
appropriate to our foimtain, let us open the dictionary
of Forcellini, and there we read the explanation of the
word Nymphaeum : * Pons manu extructus e lapide
cimi salientibus unde aqua effluit, ad omatum urbis
precipue factus, a NYMPHA pro AQVA/ This
definition is supported by the authority of Du Cange,
who has examined the question in his * Constantinopolis
Christiana* (lib. i. 26). As in general the antiquaries
are inclined to attribute this name of Nymphaeum to
grottos or other spots of repose, into which waters
were introduced, it is well to recollect that from the
authorities, accumulated by Du Cange, it results, that
the name of Nymphaeum, starting fi-om the third
century at least of the Christian era, has served to
designate public fountains, elsewhere termed in the
Greek language wSpsTa, and salientes in Latin. Among
the passages cited by Du Cange, one of the most
striking is that of the acts of St. Sebastian, because

278 ABCHITBCTUBA NUMISMATICA.

k offers the employment of the word Nymphsanm
in its most generic sense : * Circa insnlas, circa
vicos, circa nymphsoa, quoque erant positi compul-
sores, qui neque emendi copiam darent, aut hamiendi
aquam ipsam facultatem tribuerent, nisi qui idolis deU-
buissent.'

*' * They had placed police agents in the streets, in
the crossways, near the fountains, in order to interdict
the purchase of anything whatever, or to draw the
water by those, who had not sacrificed to the gods/

" The Nymphaeum D. Alexandri is mentioned by all
the Begionaries, not as being near the Amphitheatrum
Gastrense as has been affirmed, I know not wherefore,
by the authors of * The Description of Rome' in Ger-
man, but immediately after the Macellum Livianum.
The Macellimi Livianum was situate on the Esquiline
Moimt, in the vicinity of the Basilica Liberiana, now
called Santa Maria Maggiore.

" The * Ordo Romanus,* written by the canon Bene-
dict, towards the year 1143, says expressly, that on
Easter-day the Pope, after having quitted Santa Maria
Maggiore and turning towards St. John of Lateran,
went imder the Arch of GaUienus in the spot called
Macellum Livianum, and advanced towards the trophies
of Marius, passing before the Temple of Marius, which
is called *Oimbnmi.* Nibby concludes from this
text, that the Macellum Livianum extended between
the trophies of Marius, the Arch of Gallienus and the
Church of Saint Anthony ; he adds, that the Arch
of GuUienus should be near the entrance of the
* Macellum.*

" Among other indications ftumished by the Re-
gionaries, after the NymphsBum D. Alexandri are the

TSEBMM OF AIiEXAin>EB SEVBBUSi ROME. 279

gardens of Madcenas, which in fact were situated at a
short distance outside the EsquUine Gate, at the foot
of the Agger of Tullius Servins.

'* After all these coinciding testimonies, I think it
impossible, that there should be any hesitation about
assigning henceforth to the ruins, known under
the name of Trophies of Marius, or Chateau d'Eau
of Julia, the title of ' Nympharam of Severus
Alexander/

" The ancient Roman writers describe these Nym-
phsBa, of Marius, Alexander and Gordianus as still
existing at Rome/'

See Burgess's description of this monument, with
a plan and elevation restored, in vol. i. p. 202 of
his " Topography and Antiquities of Rome/* Also
Canina, ^* Architettura Romana,'' Plates.

No. LXXIV.
THERMS OF ALEXANDER SEVERUS, ROME

This brass medallion, 1^ inch in diameter (M. 10),
is in the French Cabinet. It has on the obverse the
heads of the emperor and empress-mother surrounded
with an inscription, as follows —

IMP • SEV • ALEXAND • AVG • IVLIA • MAM-

M AEA • AVG • MAT • AVG

IMPa»k>r • SEYeroB • ALEXANDer - AYaostas • IVLIA * MAM-
MAEA • AYGiuti • MATer ' AVGusta

280 ABOHITBCTUEA NUMISMATICA.

On the reverse is a building with the titles of the
emperor —

PONTIFMAX TRPVCOSIIPP

It is impossible by a description to convey a con-
ception of the features and proportion of the edifice,
which appears to be divided into two distinct buildings
placed one over the other, without any correspondence
of parts or unity of design to combine the one with
the other. The lower portion presents, as it were, a
circular building flanked on each side by a semicircular
wing about one-third as wide as the centre. The
lowermost feature is a range of arches like an arcade,
there being five in the central division. Above this
arcade is apparently a Doric entablature with triglyphs
and metopes alternately filled in with a disk. Then
comes another range of arched apertures, divided in
mid-height by a species of transom, with a pilaster
between each aperture. On this there is a kind of
cornice, and above it a sort of attic broken up with
square panels. All these features continue round the
three circular divisions. At this part the composition
offers a totally distinct aspect. The circular lines
cease, and the wings are not carried higher, having
on them groups of large figures. The central mass
presents a firontispiece of a tetrastyle arrangement with
two sides running off in perspective.

The central intercolumniation is nearly 4 diameters
wide, the side ones 1^. In the middle is a circular-
headed a^rchway, rising as high almost as the colunms,
which are Corinthian, 9 diameters high with an entab-
lature If high. In the central archway is a group
of two figures male and female two-thirds as high as

THEBMiB OF ALEXANDEB SEVEBUS, BOME. 281

the column^ and a figitfe in a niche between each of
the other columns in front and on the receding flanks,
and on the top of the entablature is a platform with
six large central figures, almost as tall as those below ;
and on each side a smaller figure, a trophy or some
such object.

Whether this be intended for a representation of
some one of the nimierous edifices erects or com-
menced during the reign of this emperor, as the
ThermaD ; or perhaps some one of many, to which
according to Herodian (lib. vi.) he gave the name of
his mother, it appears impossible to decide; for it
departs so materially from all the canons of archi-
tecture, and has a conventionalism so peculiarly its
own, that one is at &ult even to suggest the precise
class of monument, which this medallion is intended to
commemorate.

Lampridius ("Vita Alex.") informs us, that " Alex-
ander Severus built granaries in all parts of the city
for the use of those, who had none of their own. He
caused baths likewise to be erected in each quarter
of the city. He built a great many fine houses for
such of his fiiends and ministers, as had served him
faithfully and lived without reproach. He embellished
Rome with an incredible nimiber of stately buildings,
repaired most of the ancient structures, leaving upon
them the names of their founders, and erected in the
great square of Nerva statues in honor of most of the
emperors his predecessors with inscriptions or columns
of brass, containing succinct accounts of all their
memorable actions.**

My own impression is that the Thermae of Alexander
Severus are intended to be represented, as the arrange-

282 ABCHITEGTUBA NUMISMATIOA.

ment coincides somewhat with those of Antoninus
Caracalla at Rome, having two storeys : the lower one
with the constructions forms the front of the embank-
ment of the central elevated area, and was occupied
by the baths and washhouses of the lower orders or
plebeians. The central upper building symbolizes the
upper halls, therms^, &c. for the higher classes.

N° 75

STADIVMOF HERACLEIA- BITHYNIA
N9 76

ROMAN ■ CIRCVS

283

No. LXXV.
STADIUM AT HERACLEIA PONTICA.

This large bronze medal from the French Cabinet
(Mionnet, vol. ii. p. 443, No. OLXXIV. ; Fabretti,
" Columna Trajani," p. 175) is li^ inch in diameter
(M. 11). It has on the obverse the letters —

M • ANT • rOPAlANOC • ATT

Marcus • ANTonintus - OOSDIAl^S « IMPentor

And on the reverse the representation of a stadium or
circus with the legend—

HPAKAECTAN • MATPOE • AnOIKHN • nOAION

HBEACLI0TAEUMMATEI9C0L0NIAEVM • CIVITATUM

It appears to represent the stadium of the Greeks,
rather than the circus of the Romans ; for there is no
spina. The circmlar range of seats is shown, as
though fifled with spectators in two rows. On one
side is a six-columned portico and temple, apparently
m cmtis, surmounted by a pediment, and showing the
flank with the courses of stone distinctly marked,
and the tiles of the roof clearly defined. This temple
was by no means an unusual feature in a Greek
stadium. There are the traces of a platform for one
above the upper range of seats of the stadium at
Athens : and Pompey had a temple to Yenus in his

284 . ARCniTECTUBA NUMISMATICA.

Btone theatre at Borne as we sliall have occasion
hereafter to notice.

The front of the stadium corresponds with the usual
elevation of the circus, having a range of twelve
arches, with a loftier and wider one at one end. A
series of antefixaB run along the ridge of this facade.
The field or arena of the stadium is occupied by
two figures; the one is Hercules (Buonarotti, Fil.,
•* Osservazioni istoriche sopra alcune Medaglie,** p. 275)
seated on a chair, and the other a standing figure
'l8f^$ *Ay(oif ifixeiiimu, the Agon or tutelary god of the
gymnastic contests crowning himself, and bearing a
pahn-leaf in his left hand. The same figure occurs on
a medal of Antonine (Jacobi, " Dictionnaire My-
thol.,** siib voce)y and Pausanias mentions his statue,
as being at Olympia. Hercules in his chair, which
however is not very distinct from the condition of
the medal, with his right hand presents to the Agon
the calathus or basket, the prize of the agonia, the
same as those, which appear on the Neokor medals of
Perinthus. He is seated on his lion's skin, which
hangs down from the chair, his left haud rests on one
of the arms and his club is behind him.

Befer to Veil in "Delphi,** i. p. 20; Pausanias,
*' Olymp. T.,'' 1. V.

Heracleia was a. maritime city in Maryandinis of
Bythinia, a colony of Megara and Tanagra according
to Justinus (G. xvi. c. iii.) built by the Boeotians by
advice of an oracle. It was a powerM city and had
its own kings, named by Eckhel (vol. ii. p. 420). The
modem place which now occupies the site is called
Herakie or Erekli.

285

No. LXXVI.
CIRCUS ROMANUS.

This bronze medal, whicli is in the British Museum
collection, is If inch in diameter (M. 10). It bears on
the obverse the head of the emperor with the legend —

IMP • CAES ' NERVAETRAIANOAVG • GER-
DAC • P • M • TRIB • P • COS • V • P • P

And may be assumed to be of the date about A.D. 111.
It corresponds with Smyth (cxxvii.). There are
several varieties both as to size and treatment of this
medal; and many of the same type were struck by
different emperors, but this drawing may be supposed
to be very correct, as it is the result of a comparison
of numerous coins, without a minute inspection of
which it would have been impossible to account for the
several parts with sufficient precision. The reverse
bears the representation of a Roman circus with the
legend —

S'PQR- OPTIMO PRINCIPI
The Boman Senate and People to the best of Frinoes.

On the exergue are the letters S. C. " by decree of
the senate." The elevation of one of the sides of the
circus offers thirteen arches, with a lofty one at the
end like that of Heracleia : above the smaller arches
is a lofty attic with square divisions, like two rows of

286 ABCHITECTURA NUMISMATICA.

pilasters. On the left side of the medal is repre-
sented the end of the circus, with the oppidum or
carceres flanked by towers, on the summits of which
are quadrigas, the lofty arch of the further one rising
above the quadriga of the nearer tower. On the other
side of the medal is the curved end of the circus, with
the porta triumphalis in its centre, also surmounted
by a quadriga, with the chariot and charioteer distinctly
shown.

The further side of the circus has a four-columned
portico with pediment and acroteria, which may be
either a temple, like that of the medal of Heracleia,
or the pulvinare or box of the emperor. And there is
a lower range of continuous seats occupied by specta-
tors, above which is an upper row of boxes, also filled
by spectators and divided by pillars ; both ranges
continuing round the circular end up to the porta
triumphalis. The spina occupies the centre of the
field of the arena with the lofty obelisk in the centre ;
the metsB at the ends; there is an ediculum on one
side of the obelisk and what seems to be an animal
and man on the other side, but this object is very
indistinct on all the medals. Other coins represent
chariots running round the course or ring as the con-
tomiate medals.

Various particulars connected with the Circus and
its games may be found in Bianconi " Descrizione de*
Oirchi;" and Bulengerus " de Circo Bomano et de
Ludis Circensibus," and Smith's " Dictionary of Greek
and Boman Antiquities ;" also Burgess's " Description
of the Circus and the Via Appia near Borne."

These medals seem to have ftimished the old anti-
quarians with the authorities for the restorations, which

GIBGUS B0MANU8. 287

they give of the Roman Circus, and old engravings of
which exist by J. Black and others.

The Romans were passionately fond of these games,
so that successive emperors eiJarged that from time
to time of the Palatine valley, called the Circus Maxi-
mus, until it was capable of holding 260,000 spectators.
In A.D. 36 the circus near Mount Aventine was
laid in ashes and restored by Tiberius. There were
at Rome the Circus Caracallad, Circus Aureliani,
Circus prope Portam Collinam, Circus Floraa, Circus
Alexandri, Circus Neronis, Circus Intimus, et Circus
DomitisB. This medal seems to have been struck to
commemorate some occasion of games given by Trajan,
as an expression of gratitude from the people for the
liberality of the emperor, in gratifying one of their
leading wants " panis et ci/rcenses.^*

288

No, LXXVII.
THEATRE AT HADRIANOPOLIS THRACIJS.

This bronze medal exists in the French Collection
and is 1^ inch in diameter (M. 8). On the obverse is
the head of the emperor with the inscription —

A V • K • A • CEirri • CETHPOC • H

IMperator ' Caeaap • Augustus • SBPTImius • SB VEEVS • Pertinia

The reverse presents the scene of a theatre, evidently
of the Roman style fix)m the hemicyclar centre, and
surrounded in bold character with the legend—
AAPIANOnOAITflN, of which the eight last letters
alone remain. Immediately above the exergue, which
has the letters TON, rises the podium of the pul-
pitum, or as it would be called in the Greek theatre,
the Qt^fjJxri or stage of the chorus, with its elevation
or front highly decorated : but it is impossible to state
positively the ornaments, which are intended to be
represented, consisting of a line of circles and a row
of knobs above. On the centre above this podium is
an inchned figure, his left arm restmg'on a vase, from
which a stream appears to flow, and in his extended
right hand he seems to hold a crown or ship. At
each extremity of the platform is a pedestal, decorated
with columns and a central shaft, surmounted by an
equestrian statue; the rider of which is standing

N^-^ 77

SCENE-OF THE THEATRE HADRIANCPOLIS THRACE
N? 7 8

THEATRE AT RO ME

THEATBE AT HADEIANOPLE. 289

upon the horse, as though representing some feat of
gymnastics or horsemanship. The position of these
equestrian statues recalls those of the Balbi in the
theatre of Herculaneum.

Above the podium abeady mentioned and behind
the recUning figure is another podium, apparently that
of the stage itself, decorated with Ionic columns with
statues or figures between the columns at each end.
Above this second podium rises the scene, consisting
of two orders in height, having four Ionic columns
in the first or lower range, and seven columns in
the upper, with figures in the intercolumniations in
various dramatic attitudes. The centre part of the
scene is circular, as was usual in the Roman theatres
as those of Pompeii and Tauromenium in Sicily proving
it to have been built in the Roman times. A very bold
cornice surmounts the upper orders. The columns
of the lower series do not range under those of the
upper ; but occur under the intercolumniations above.
The fifth or supplementary volume of " Stuart*s
Athens " may be consulted on the form, arrangement,
and construction of the Greek theatres.

Hadrianopolis was the most important of the many
towns founded by the Emperor Hadriau. It was
situated in Thrace, at the point, where the river
Tonzus joins the Hebrus, and where the latter river,
havTQg been fed in its upper course by numerous
tributaries, becomes navigable. Prom Ammianus
Marcellinus it would appear^ that Hadrianopolis was
not an entirely new town, but that there had existed
before on the same spot a place, called Uscudama,
which is also mentioned by Eutropius.

The country around Hadrianopolis was very fertile,

290 AECHITECTUBA NUMISMATICA.

and the site altogether very fortunate, in consequence
of which its inhabitants soon rose to a high degree of
prosperity. They carried on extensive commerce and
were distinguished for their manufactures, especially
of arms. The city was strongly fortified, and had to
sustain a siege by the Goths in A.D. 378, on which
occasion the workmen in the manufactories of arms
formed a distinct corps. Next to Constantinople,
Hadrianopolis was the first city of the Eastern empire,
and this rank it maintained throughout the middle
ages ; the Byzantine emperors, as well as the Turkish
sultans, often resided at Hadrianopolis.

Eckhel was evidently unacquainted with this coin
(vol. ii p. 33), and it may be considered, as having
been never hitherto published, although so peculiar and
important an illustration of ancient architecture.

No- LXXVIII.

THEATRUM ROMANUM.

This gold coin if of an inch in diameter (M. 5),
hitherto unpublished, has on the obverse the head of
the emperor with the legend —

SEVERVSPIVSAVG

On the reverse is a representation of a theatre with
the letters P • P i. e. Pater Patrias, and on the exergue —

COS • III
consequently it dates (202-211). See EckheL

THEATBUM EOMANUM. 291

The architectural features are so strangely rendered,
that it is impossible without some hesitation to state
what is the precise building intended to be represented ;
for it partakes of the character of the stadium and
of the theatre. The absence however of the spina,
so striking a feature in all medals of the circi —
the omission of the triumphal arches surmounted by
quadrigsB — of the ranges of seats, and temple or pul-
vinare, leave us no other alternative than to adopt it
as intended to represent a theatre. The three large
arches, however, do not find any precedent in the
theatre of MarceUus or any other Boman theatre,
remains of which still exist.

However we may assume the building to present
one of its sides with the circular end at one extrendty,
and at the other a flat space for the scene. The side
oflTers a lofty podium or stylobate, on which is an
arcade two storeys high with a lofty arched entrance
in the centre, and a lofty arched opening of narrower
proportions at each end. Half-way up the central
archway there is a straight lintel with sculptures
between it and the arch. In each of the upper arcades
there is a figure, but so rudely carved, that they cannot
be distinguished, as to their form or meaning. A bold
cornice runs along the building over the upper range,
sweeps round the circular end and returns along the
further side. Above the cornice is a row of blocks for
the velarium, or some other undefinable object.

The elevation of the scene appears to be represented
by two columns or piers with arched heads. The
central space, or, as it were, the cavea or inside of the
building discovers a personage seated in a chair, with
a canopy over his head and a group of persons enacting

u 2

292 ABCHITECTURA NUMISHATICA.

ft scene in a comic or satiric piece. Immediately in
front of the seated figure are two boys wresfling or
dancing together ; then a male and female to livhoni
succeeds one playing upon a long pipe or trumpet.
Then come two others struggling and a third running
away or leading the others off the stage. The group
consists of large figures.

According to Suetonius (in August, c. 45) and
Seneca (de Clem. 1. i. c. 6) there were three theatres
at Rome — Pompeii, MarceUi, Balbi. Of the two
first there are still considerable remains, the site
of the last is uncertain, unless we concur with the
probable suggestion of Burgess (" Topography and
Antiquities of Rome," vol. ii. p. Ill) that it now forms
the base of the Palazzo Cenci. Pompey having excited
considerable suspicion and murmurs on account of the
erection of his theatre, he built within it a temple to
Venus and invited the people to assist at the dedica-
tion, calling the whole (Bdes Veneris^ and not to the
inauguration of the theatre, the gradus specta^ytdorum
being as he alleged subordinate to the purposes of
the temple. This theatre was suflBciently large to
accommodate 40,000 spectators and was contiguous
to the Portions, the Basilica and Curia erected by him.
The Portions is alluded to by Vitruvius and its purpose
in his 1. V. c. 9 : " Post scenam Portions sunt con-
stituends^, uti, cum imbres repentini ludos interpella-
verint, habeat populus, quo se recipiat ex theatre^
choragiaque laxamentum habeant ad comparandum :
uti sunt Portions Pompeianse.'*

Pompey justified himself fi^om the charge of extra-
vagance in erecting for the first time a " theatrum
lapideum^^ on the ground of its being an economy ; nor

THEATBUM BOMaNUM. 293

does the reason appear fiitUe, when we consider the
lavish expenditure of the Romans upon this class of
edifices. Scaurus, the son-in-law of Sylla, when he was
edile, built a wooden theatre capable of holding 80,000
spectators 1 ! ! The scene had three storeys decorated
with 360 marble columns ! the lowest of which was
38 feet high. Three thousand brass statues decorated
this magnificent edifice of ephemeral use, for it only
served the purpose one month ! Numerous pictures,
tapestries and other objects of costly and refined art
were profiisely scattered throughout, and the total cost
was about £800,000 of our money ! Consult Bulengerus>
" De Theatro Ludisque Scenicis."

294 AEOHITBCTUBA NUMISMATICA.

Nos. LXXIX. & LXXX.

THE FLAVIAN AMPHITHEATRE AT ROME AND
META SUDANS;

The medal) which presents this amphitheatre so
graphically, was struck during the reign of Titus, and
bears on the obverse the head of that emperor and the
legend of—

DIVO • AVG • T • DIVI • VESP • F • VES-
PASIAN • S • C

DIVO- AVGhisto -Tito • DIVI -VESPaaiani • Filio • VESPASIANo •
Senatos * Gonaulto

It is a large bronze If inch in diameter (M. 10)
and is in the British Museum. The reverse is the
illustration before us, and has not any legend what-
ever, but, what is more precious still, a representation
of the Flavian Amphitheatre, commonly called the
Coliseum, and by Fontana and others Colosseo, with
the explanation, that it derived that name from its
vast size. We have here a perspective birds-eye view
of the amphitheatre, with the representation of the
Meta Sudans on its right side, and on the left two
ranges of columns one over the other.

Each of these remarkable objects we will now suc-
cessively consider. At once it will be perceived, that
the utmost licence of conventional freedom has been

N^ 79

AMl^HITHEATRE OF VESPASIAN ROME

-H.TA SVDANS RCMj

THE FLAVIAIf AMPHITHEATRE, ETC. 295

exercised, in order to enable tlie artist effectively to
give the most striking features of the monument, and
yet convey a correct notion of the several parts — ^most
valuable are the authorities, which it affords for several
details, adopted by Fontana in his " L'Amfiteatro
Flavio descritto e delineate " (fol. pi. L'Haia, 1725,
p. 85). It is remarkable, however, that, although he
describes the medal and its legends, he does not give
an engraving of it, which would have been much more
to his purpose.

The real form of the CoHseum on its plan is that of
an elongated oval ; but the apparent proportion of the
medal is that of a circle. The indication of the three
heights of arches are correct with the exception, that
the proportion in each row is considerably curtailed,
and the five whole and two half ones inadequately
represent the eighty-four in each range; but the
greater width given to the central ones is very ac-
curate, as those on the axes are in fact wider than the
others. Each arcade of the two upper ranges has
statues, the central one over the imperial entrance a
quadriga.

It is remarkable, that Fontana in his work does not
give the projections in the podia under the centre of
each arch, which exist in the Coliseum, showing that
statues were once placed there. In the medal the
podia under each order are omitted. The uppermost
order or attic is greatly at variance with the present
uppermost order of the amphitheatre. In the medal
it consists of a series of short broad pilasters with
circular panels between, and in some medals alter-
nately a square and a round aperture between the
attic pilasters.

THE FLAVIAN AMPHITHEATEB, ETC. 297

of which hang two festoons to each box ; and, instead
of arches over the intercolumnar spaces^ there is a
horizontal beam or architrave, evidently proving, as
Maffei observes, that this upper range must have been
of wood internally —

'' YidimuB in ccelum trabibua spectacula textis
Sargere, Tarpeiam prope despectantia culmen,
Nomerosque grados."

In each of these boxes are seated two figures, the
busts of which are distinctly niarked.

To the right and left of the amphitheatre are two
subordinate monuments, which have puzzled all anti-
quarians. To the right is a circular fountain of three
niches surmounted by a cone, at the top of which is a
crowning ornament in the form of a lily. At the
bottom there is the appearance of a flowing stream..
This has been generally considered to have been the
" Meta SudanSy^^ where the weary and wounded gla-
diators would run to refresh themselves by ablution
or with a cooling draught. But Maffei (p. 41) considers
that the Meta Sudans was in a region different from
that of the Coliseum. Nibby (" del Foro Romano,'*
p. 245) however, whose authority is superior to that of
Maffei, recognizes the ruin existing near the Coliseum,
as the Meta Sudans without hesitation, and alludes to
it as highly ornamented, upon the authority of Cassio-
dorus (" Chronic," Domitianus ix. et Clemens ii.).

The portico on the other side is far more perplexing
to describe. No ancient author appears to notice any
portico or colonnade so near to the Coliseum. It might
reasonably be supposed, that a gallery might have been
constructed across the valley, which separates the

298 ABCHITECTURA lOJMSMATICA.

Palatine hill from the amphitheatre, and indeed Oom-
modus formed a subterranean passage to connect the
two, in which that emperor was nearly assassinated
by Quintianns. Maffei's (p. 43) lively imagination
creates a vestibule or propyleum or diribitorium ; but
this does not appear probable. Yet the orders seem
to me to correspond with those of the amphitheatre,
the lower one being Doric and the upper Ionic, but the
proportions are colossal in size in comparison with
those of the Coliseum.

Nibby (p. 239) conceives, that probably here was a
portico communicating with the palace of Titus on
the Esquiline hill ; and he mentions that in recent
excavations about 1819, fluted columns of Phrygian
marble were found near the imperial entrance.

It may not be inappropriate here to mention a few
leading facts connected with this remarkable monument
of the taste and scientific skill of the Bomans, and
whose vastness induced Martial (" de Spectaculis"
epig. 1) with much justness to compare it with the
pyramids and exclaim : —

" Omnis Gsssareo cedat labor ampbitlieatro."

Vespasian upon the conclusion of the Jewish war
commenced it, but dying soon after, it was completed
by his successor Titus A.D. 80, the year before he
himself deceased. At the dedication 6,000 or as some
say 9,000 beasts were slain. The games lasted 100
days, during which a naval fight was given in the
amphitheatre, for which purpose the substructions had
been prepared. It is unnecessary to enlarge upon the
gladiatorial combats, which took place on the arena,
by which thousands of human beings were cruelly made

THE FLAVIAN AMPHITHEATEE, ETC. 299

to shed each other's blood for the diversion of those
masters of the world.

During the short reign of Macrinus it was struck
by lightning, and greatly injured by the conflagration,
so as to be burned according to Dion Cassius (lib.
Ixxviii.) from top to bottom : and all the upper gallery,
which perhaps comprised a framing of woodwork,
was consumed. Heliogabalus and Alexander Severus
restored it, and a medal was struck on the occasion,
as also one by Gordian III. At the time of Decius
it again suffered by fire, and was restored by him.
Under Theodosius II. Rufus Cecina Felix Lampadius
the prefect restored the seats and arena and podium.

After a varieiy of dilapidations from various causes
and consequent reparation, it ceased in 523 to be used
for the games and contests of wild beasts ; but the
gladiatorial combats had ceased since the beginning of
the fifth century. Its fixture history is a succession of
spoliations, sieges and destruction, till it was reduced
to the state in which it now stands.

The major axis measures 623 feet 9 inches, the minor
516 feet 4 inches. The exterior elevation rises to the
enormous height of 157 feet 6 inches. It is calculated,
that there was sitting room in the three flights of
seats for 87,000 spectators, who would be comfortably
accommodated, and that there was space also in less
convenient accommodation and standing room for an
additional 30,000 persons. The construction is com-
mensurate with the importance of the fabric. Much
of the solid mass-work under the seats is of rubble or
concrete, but the piers, corridors, and external facing
are of Travestine stone, designed and executed with
severe yet majestic simplicity. Not that it was deficient

300 AECHITBCTUBA NUMISMATICA.

in decoration, for eacli arch of the two upper corridors
had a statue, as is perceptible on the medal, and the
stucco, with which the rougher construction was coated,
was embellished with fresco pamtings like those of the
baths of Titus. The seats also were of a rich material,
and many ornamental parts of marble, fragments of
which still remain to attest the magnificence of this
wondrous pile. (Taylor and Cresy's " Arch. Antiq. of
Rome,'* vol. ii. p. 45.)

There are several medals, to some of which we have
already slightly alluded, which illustrate this amphi-
theatre.

1. One represents on the obverse Titus, seated on
the chair of state, with a palm-branch in his hand and
surrounded by shields, spears, a cuirass, helmet, and
other apparent prizes for distribution to the successM
competitors in the eighth or last year of his considate.
The reverse gives the Coliseum, as on the medal which
has been illustrated. The apertures in the attic storey
are alternately square and circular ; but no festoons in
the iipper boxes.

2. Another presents Titus in the same attitude and
with the same accompaniments: but the year of the
consulate is not marked, and the reverse corresponds
with the former one, with the exception, that the
detached colonnade has three columns on the face
instead of two, and single festoons are suspended in
the upper boxes.

3. A third has the head of Domitian in the seventh
year of his consulate, with the reverse similar to that
of his brother Titus.

4. This presents a head of Severus Alexander, the
reverse of which differs materially from the preceding.

THE FLAVIAN AMPHITHBATEE, ETC. 801

The amphitlieatre occupies a xnucli less portion of the
field, and instead of continuous rows of seats and
spectators in the interior, the arena is represented
with a combat between a man and wild beast,
apparently a hippopotamus or rhinoceros. Instead
of the Meta Sudans there is a fi*agmental shaft of a
column raised on a pedestal, and the emperor is repre-
sented entering the amphitheatre, followed by a soldier
or attendant ; on the other side is a species of low porch
with a pediment. On the exergue are the letters S • C.

5. This has on the obverse a fine head of Gordian,
with a reverse materially varying from the preceding*
The seats are continuous with spectators and there
are no upper boxes. A buU is attacking an elephant
or hippopotamus, which has a rider on his back. AH
the windows in the attic are round. There is a single
figure and not a quadriga in the central arcade of the
first storey. Instead of the Meta Sudans there is a
colossal figure of Hercules, and on the opposite side
the porch of the last medal with a pediment and a
figure or statue beneath in the intercolumniation.

6. Another medal of Gordianus gives on the obverse
a head of the emperor in fiiU size with his spear and
shield, on the latter of which is represented a man on
horseback, probably the emperor, followed by a warrior
and preceded by a female holding a crown. The reverse
bears the legend MUNIFICBNTIA GORDIANI
AUG. ; and the amphitheatre is fiianked on the one side
by a colossal statue of Apollo, instead of the Hercules
already described, and on the other by the porch.
There are continuous rows of spectators with the
prefect of the games in centre^ but there is no upper
tier of boxes. In the arena is given, as in the pre-

302 ARCHITECTUBA NIJMI8MATIGA«

ceding, the contest between the bull and elephant. A
great difference exists in the arcades. There are no
statues, but the pier of the inner corridor appears in
each archway of the two upper storeys, and in the
lowermost one the inner archways also.

Tacitus in the 4th book of his " Annals** (c. Ldi.)
mentions the fearfiil disaster, which befell one at
Fidena, and erected probably for profit by a certain
Atilius son of a freeman. Being overloaded it gave
way at once and 50,000 were killed or maimed. Atilius
was condemned to banishment, and a decree passed,
that no man, whose fortune was under 400,000
sesterces, should presume to exhibit a spectacle of
gladiators; and that, till the foundations were exa-
mined, no amphitheatre should be erected.

J. Lipsius has written a learned work on this topic
entitled " De Amphitheatre." In chap. vii. of Canina's
work " Architettura Bomana" is an elaborate disqui-
sition on the subject.

At Bome there were the Amphitheatrum Flavium,
the Castrense, and that of Taurus Statilius in the
Campus Martins. Those out of Bome were those of
Verona, Pola, Nimes and Pompeii as the largest;
besides which there were those at Tusculum, Albano,
Amitemo, Oasilino, Cuma, Pozzuoli, Capri, Psestum,
Otricoli, Veleja, Faleria, Aquileja, Augusta Pretoria,
Prejus, Aries, Treves, Terracona, Syracuse, Catanea,
Pergamus, Tunis, and one at Carthage adorned with
three storeys of arches on the outside, and one at
El-Djem in Africa, measured by Mens. Coste and
described by L. Canina in the " Annali dell' Institute
Archeologico di Boma" (1852), vol. xxii. In Great
Britain also are indications of several : as far north as

THE FLAVIAN AMPHITHEATRE.

303

Callender between Stirling and the Trossaohs the
earthworks indicate an amphitheatre and circus of the
Bomans.

TABLE OP ANCIENT AMPHITHEATEES
{Extracted princvpdlly from the ArcJdteeturdl Dictianary).

Sitnatlon.

ColiBeain, Borne

Pozzaoli

Capri

Verona

Tarragona

Tunis

Pola

Aries

Fergamus

Pompeii

Nismes

Kzterioror
Mi^orAjdB.

628 : 9

626:6

667:5

605:10

486:6

457:2

462:1

447:9

446:9

445:0

433:8

Exterior of
Minor Ajdfl.

616 : 4
475:4
468:0
270:0
390:0
892:2
369:5
352:0
420:3
341:5
333:7

Interior of
Major Axis.

265:0
448:8
249:9
248:4
277:1
263:8
229:8
228:0
167:8
218:8
226 : 10

Interior of
Minor Axis.

179:6
216:1
158:4
145:8
181:2
188:1
147:0
129:1
121:5
261:1
126:5

Surface of
Arena.

40,000
62,245
29,466
28,379
39,304
37,425
26,488
23,089
15,400
19,723
22,498

Bckhel (vol. vii. p. 340) very summarily and too
hastily rejects this medal of the amphitheatre (and
that of Titus also) as spurious, on the ground, that
Vespasian died before the completion of the amphi-
theatre, and that their artistic execution is not Roman,
but of modem art. There is however no just reason
to doubt, that it might have been a posthumous tribute
of the filial piety of his successor, who might have
thought it more just and due, and more consonant
with his own feelings, to have inscribed this medal
with the bust and name of him, who conceived and
began, than of him, who had merely completed, what
his father had so far accomplished.

304

AECHITBCTUEA NUMISMATICA.

Nos. LXXXI.— LXXXVII.

ON THE GATES AND WALLS OF CITIES.

CITT GATEWAY AT F^STUH BE8T0BXD BY T. L. D.

IsiDORUS in his " Origines" (lib. xv. c. 2) explains
the definitions of the several words connected with the
walls, gates and other parts of cities, and enters into
an elaborate discrimination of the meaning of the
terms applied to towns, colonies, castles, camps, ifcc.

. ON THE GATES AND WALLS OP CITIES. 305

as the mcenia, mums, turres, propugnacula, promuralia,
port», vicus. He confines himself however to the
mere terms as a lexicographer, without entering into
the meaning and purposes of the things themselves : —

" Moenia sunt muri civitatis, dicti ab eo quod
muniant civitatem, quasi munimenta civitatis, id est,
tutamenta. Munium autem dictum, quasi manu
factum : sic et muri a munitione dicti, quasi muniti ;
eo quod muniant et tueantur interiora urbis. Moenia
autem duplicem habent significationem : nam inter-
dum moenia abusive dici solent omnia asdificia publica
civitatis, ut dividimus muros, et moenia pandimus urbis.
Proprie autem moenia sunt tantum muri. Murus
autem turribus propugnaculisque omatur. Turres
vocatur quod teretes sint et longae. Teres enim est
aliquid rotundum cum proceritate ut columna* Nam
quamvis quadratad aut latae construantur, procul tamen
videntibus rotundas existimantur, ideo quid omne
cujusque anguli simulacrum per longum aeris spatiimi
evanescit atque consumitur, et rotundum videtur.
Propugnacula pinnas murorum simt dicta, quia ex his
propugnatur. Promurale vero eo quod sit pro muni-
tione muri : est enim murus proximus ante murum.
Porta dicitur, quia potest vel importari vel exportari
aliquid. Proprie autem porta aut urbis aut castrorum
vocitatur, sicut superius dictum est. Vicus, ut praedic-
tum est, ipsaB habitationes urbis sunt, unde et vicini
dicti.''— Isidori " Orig." lib. xv. c. 2.

Vitruvius, who treats on this subject in the 5th
chapter of his 1st book, enters more at large into
detail, but even he is more brief than could be desired,
and does not describe many particulars, which still
require solution.

306 AEOHITBOTURA NUMISMATICA. ^

** When we are satisfied," says Vitruvius, " with
the spot fixed on for the site of the city, as well in
respect of the goodness of the air, as of the abundant
supply of provisions for the support of the population,
the communications by good roads, and river or sea
navigation for the transport of merchandise, we should
take into consideration the method of constructing the
walls and towers of the city. Their foundations should
be carried down to a solid bottom, if such can be found,
and should be built thereon of such thickness, as may
be necessary for the proper support of that part of
the wall, which stands above the natural level of the
ground. They should be of the soundest workmanship
and materials, and of greater thickness than the walls
above.

" From the exterior face of the wall towers must be
projected, fi-om which an approaching enemy may be
annoyed by weapons, fi-om the embrasures of those
towers, right and left. An easy approach to the walls
must be provided against : indeed they should be
surrounded by uneven groimd, and the roads leading
to the gates should be winding and turn to the left
fi*om the gates. By this arrangement, the right sides
of the attacking troops, which are not covered by their
shields, will be open to the weapons of the besieged.
The plan of a city should not be square, nor formed
with acute angles, but polygonal ; so that the motions
of the enemy may be open to observation. A city
whose plan is acute-angled, is with difficulty defended ;
for such a form protects the attacker more than the
attacked. The thickness of the walls should be
sufficient for two armed men to pass each other with
ease. The walls ought to be tied, fi-om fi-ont to rear,

ON THE GATES AND WALLS OP CITIES. 307

with many pieces of charred olive-wood; by which
means the two faces, thus connected, will endure for
ages. The advantage of the use of olive is, that it is
neither affected by weather, by rot, or by age. Buried
in the earth, or immersed in water, it lasts unim-
paired; and for this reason, not only walls, but
foundations, and such walls as are of extraordinary
thickness, tied together therewith, are exceedingly
lasting. The distance between each tower should not
exceed an arrow's flight; so that if, at any point
between them, an attack be made, the besiegers may
be repulsed by the scorpions and other missile engines
stationed on the towers right and left of the point in
question. The walls will be intercepted by the lower
parts of the towers, where they occur, leaving an
interval equal to the width of the tower ; which space
the tower will consequently occupy; but the com-
munication across the void, inside the tower, must be
of wood, not at all fastened with iron ; so that, if the
enemy obtain possession of any part of the walls, the
wooden communication may be promptly cut away
by the defenders, and thus prevent the enemy from
penetrating to the other parts of the walls without the
danger of precipitating themselves into the vacant
hollows of the towers. The towers should be made
round or polygonal. A square is a bad form, on
account of its being easily fractured at the quoins by
the battering-ram; whereas the circular tower has
this advantage, that, when battered, the pieces of
masonry whereof it is composed being cimeiform, they
cannot be driven in towards their centre without
displacing the whole mass. Nothing tends more to
the security of walls and towers, than backing them

X 2

308 ABCHITECTUEA NUMISMATICA.

with walls OP terraces ; it counteracts the effects of
rams as well as of imdemmiing. It is not, however,
always necessary to construct them in this manner,
except in places where the besiegers might gain high
ground very near the walls, from which, over level
ground, an assault could be made. In the construction
of ramparts, very wide and deep trenches are to be
first excavated ; the bottom of which must be still
farther dug out, for receiving the foundation of the
wall. This must be of sufficient thickness to resist
the pressure of the earth against it. Then, according
to the space requisite for drawing up the cohorts in
mihtary order on the rampart, another wall is to be
built within the former, towards the city. The outer
and inner walls are then to be connected by cross
walls, disposed on the plan after the manner of the
teeth of a comb or of a saw, so as to divide the pressure
of the filling in earth into many and less forces, and
thus prevent the walls from being thrust out. I do
not think it requisite to dilate on the materials, whereof
the wall should be composed; because those, which
are most desirable, cannot, from the situation of a
place, be always procured. We must, therefore, use
what are found on the spot ; such as square stones,
flint, rubble stones, burnt or unbumt bricks ; for every
place is not provided, as in Babylon, with such a
substitute for lime and sand as burnt bricks and liquid
bitumen ; yet there is scarcely any spot, which does
not furnish materials, whereof a durable wall may be
bmlt.''— (Gwflt's Translation).

Several cities of the empire still retain, to a greater
or less extent, dilapidated portions of the walls con-
structed during the empire, Rome itself has various

ON TUE GATES AND WALLS OF CITIES.

309

lengths erected at different periods. A considerable
part of the walls of the Acropolis and of the city of
Nicopolis in the Gulf of Arta, founded by Augustus to
record his victory over Anthony and Cleopatra remains
entire. Consult Hughes' " Travels in Sicily, Greece,
and Albania," particularly the plan of the Hexapylon of
Syacuse as illustrated by C. R. Cockerell, R.A.

By the kind permission of my friend Edw. Falkener,
Esq., author of the " Museum of Classical Antiquities,"
I avail myself of the opportunity of introducing, in
elucidation of the gateway of a Greek city, the plan
and restored elevation of the City Gate of Paestum,
contributed by me to that periodical. It serves to
render more clear the following medals, in connection
with the military architecture of the ancients.

310 ARCHITECTUEA NUMISMATIC A.

No. LXXXI.
CITY GATE OF ANCHIALUS (THEACE).

A MIDDLE-SIZED brass -j^ of an inch in diameter
(M. 6) exists in the British Museum collection of
the time of M. Aurelius (A,D. 161-181), having on the
obverse the head of the emperor with the epigraph —

AT • K • M • AT • ANTONINOC

On the reverse is a castle with the inscription—
OTAniANON • AFX I AAEON

Ulpianum of the Anchialei.

There is a central flat space of walling flanked by a
circular tower at each side. The centre walling is
about as high as three-fourths its width. There is
a square-headed doorway in the centre equalling in
width at the bottom one-fourth the width of the centre
wall, and the aperture diminishing at top one-fourth
of its width at bottom. It has a plain-faced architrave
equal in width to one-third the aperture, the top of
the lintel rising three courses high of the walling.
The walling is divided in its height into four courses
of stone-work with six vertical joints in its uppermost
course above the doorway; one on each side the
doorway, in the lowermost and third courses ; and two
on each side the doorway in the second course. The
diameter of the towers is a little less than one-third
the width of the central space; the joints of the
courses continue through the towers, and have alter-

N« 81

GATEWAY OF ANCHIALVS THRACE
N^ 82

GATEWAY OF- NICOPCLIS MAESIA INFERIOR

CITY GATE OF ANCHIALUS (tHEAOE). 311

nately two and one vertical joints in each course ; the
towers rising one course higher than the centre wall.
A pointed roof, somewhat overhanging the top of the
towers, forms the summit.

Over the central wall rise three semicircular rings,
apparently of a temporary nature, and probably con-
nected with the military engines used for the defence
of the gateways. The whole facade rests on a broad
band, which equals one-third the height of the centre.
Bckhel says that the city acquired under Severus the
name of OTAIIIANON from Ulpia the family name
of the emperor Trajan, and which was rarely omitted
in subsequent medals. Colonel Leake considers that
Ankhioldju in the Gulf of Burgos (JJOpyos) occupies
the site of Anchialus.

There is a gateway like this, but without the roofs
to the towers, on a medal of Nicopolis MaasisB Inferioris
(near Bulgaria) struck under Blagabalus.

312 AECHITECTUBA NUMISMATICA.

No. LXXXII.

CITY GATEWAY OF NICOPOLIS. MiESIJ!
INFERIORIS (BULGARIA).

In the French Cabinet is this brass medal of the
middle size 1^ inch in diameter (M. 8) with the head
of the Emperor Gordian and the letters —

A VT KM- ANT • TOPAIANOE • A VF

IMPeratop • Caius • Marcus • ANToninus • GORDIANVS •
AVGustus

On the reverse is the elevation of one of the city
gateways surrounded by the inscription —

Tn • CAB • MOAECTOT • NIKOnOAElTCN •
nPOC • ICTPON

PB«8idiB • SABini • MODBSTI • NICOPOLITOEVM •
AD • ISTRVM

Nicopolis ad Istrum was built by Trajan after the
Dacian war according to Ammianus (xxxi. c. 16),
Mionnet notices this medal (vol. i. p. 360, n. 42) and
one may be led to consider that the word apparently
Nolestou on the medal may be more properly read
Modestou.

The elevation presents a central wall flanked by a
circular tower at each end. The height of the central
wall equals nearly one and a half of its width. It is
divided in its height by nine courses of stonework,
which continue through the towers and have vertical

CITY GATEWAY OF NICOPOLIS, ETC. 313

joints. The opening of the gateway equals one-third
the width of the central space, with a broad jaumb on
each side the aperture equal to half the width of the
opening, which diminishes as it goes up, so that the
doorway at the springing of the semicircular head is
four-fifths of the width below, and the top of the
aperture rises to the middle of the sixth course. On
the top of the wall are four large-sized balls or disks
being probably some military object connected with
the warlike engines for the defence of the gate, as they
are to be found on the city walls of Nicaea hereafter
given No. LXXXVII.

The towers rise one-fifth of the height of the central
wall above that level, and are surmoimted by pointed
roofs with three ridges or rolls indicated upon them.
In the upper storey a central window is shown, cir-
cular-headed with a marginal dressing all round ; and
to the right and left on the profile are half-windows or
recesses. There is a general plinth line on which the
whole stands.

314 ABCHirECTUBA NUMISMATICA.

Nos. LXXXm. & LXXXIV.
CITY GATES OF BIZYA (THRACE).

Two bronze medals from the French Cabinet 1^^
inch in diameter (M. 8) and noticed by Mionnet
(t. i. p. 374) present on the obverse the head of the
emperor with the epigraph —

ATTO TPAIANOC AAPIANOC • KAICAPCEBT

IMPerator • TBAIANVS • HADEI ANVS • CAESAE • AVChistua

On the reverse of No. LXXXIII. is the inscription —

En • EITEI • POT*Or • nPEC • KAI • ANTI • TOT •

CEBAC

And on the exergue the word BIZTHNCN

On No. LXXXIV. the letters on the reverse are —

EniTINIOT*C OT

And on the exergue BIZTHNflN also.

These medals evidently represent two different fronts
of the same gate of the city, the inner and the outer,
the quadriga, which surmounts each, being identically
the same.

In the middle of the former is a semicircular gate-
way with an impost at the springing of the arched

W 83

CITY- GATES OF • BIZYA THRACE

N° 84-

CITY GATES OF BIZYA (tHEACE). 315

head. The central feature represents a tetrastyle
frontispiece of the Ionic order, flanked at each end by
a circular tower. The middle intercolumniation is
four diameters of the column wide, the lateral inter-
columniations equal one diameter. The colimms jare
six diameters high, and have a regular base, resting on
the ground and the usual Ionic cap without the
necking, and at about two-fifths of the height of the
column they have a band dividing each shaft into two
unequal heights. The entablature equals one-third
the height of the column, and has the three usual
divisions. Above is a species of attic of the same
height as the entablature, with four arches in the centre,
and a narrow one at each end; there is a pedestal
between each of the arches, one over each colunm,
and one over the centre of the gateway. Above the
attic is a colossal quadriga occupying the whole space
between the towers, the horses are at ftdl gallop and
a warrior, with an extended palm-branch of large
dimensions in his hand, stands in the centre of the
chariot.

Each of the towers equals in diameter one-third of
the space between them, and rises one-fourth higher
than the central frontispiece. There is a kind of attic
base at the foot of the towers and two large mouldings
form a species of cornice at the summit, equalling in
height one-third of the diameter of the tower. The
towers in their height are divided into seven unequal
courses of stone-work, divided by one or two vertical
joints, except in the lower course, where there is none.
In the tower to the right of the gateway there are two
square-headed windows, occupying the height of two
courses and with margins round them. At mid-height

316 ARCHITECTUBA NUMISMATICA.

between the fifth and sixth courses and in the centre
of the tower is a circular-headed window. In the
tower to the left of the gateway is only one central
window rising up the whole height of the sixth and
half the height of the seventh course of stones.

No. LXXXIV.

The general features of the gateway on the reverse
of the other medal are similar ; but the columns are
eight diameters high, the central intercolumniation five
diameters, and the outer ones three-quarters wide. The
arched opening of the gateway is almost two-thirds of
the width of the central intercolimmiation, three times
its width in height and with an architrave one-third of
the width of the openings. It has no impost at the
springing, and the top of the otiter edge of the archi-
vault rises as high as the under-hne of the entablature.
It is fiUed in with a panelled gate. There are seven
circular-headed openings in the attic, and the identical
quadriga and charioteer of the other medal.

The towers however vary materially in character.
The width of each tower exceeds somewhat the half
of the distance between them. There is a base and
cornice, as in the other medal, but the latter feature
is on a level with the top of the attic. There are no
indications of courses or jointings of stones. Half-
way up the towers is a bold string, above which is a

CITY GATES OF BIZYA (tHBACE). 317

central pier with a circular-headed window on each
side of it, each equal in width to one-fourth the
breadth of the tower, and twice as high as it is wide.
Above the cornice of each tower rise three T shaped
figures, forming embrasures between them, and as
high as one-sixth the height of the tower.

This last feature does not exist on the other medal,
and proves this to represent the exterior face. And
although the general proportions are somewhat dif-
ferent, and the character of the tower slightly varies
fi'om the elevation of the gateway on the other medal,
yet the two are merely the different elevations of the
same gateway.

318 ABCHITECTUEA NUMISMATICA.

No. LXXXV.
CITY GATEWAY OF AUGUSTA TRAJANI (THRACIA).

This large brass medal, l-s^ incli in diameter (M. 9),
is in the British Museimi collection. It bears on the
obverse the head of the Emperor M. Aurelius with
the letters —

ATT KM- ATPHAIOC • ANTflNINOC

The reverse presents a castrum or castellum sur-
rounded by the legend —

Hr • ciKiNNior • KAAPor • ArrorcT •

TPAIANHC

PE»8idifl • SICINNH • CLAEI • AVGVST® • TEAIANOPOLIS

Isidorus in his " Origines ** (lib. xv. c. ii.) says
" Castrum antiqui dicebant oppidum loco altissimo
situm, quasi casam altam.'^ Now the size of the
features of this edifice seem to indicate a castle or
camp, rather than a walled city. There is a central
space of walling, about as wide as it is high, flanked
by a tower at each end, the. diameter of which equals
one-third of the width of the space between them.
The height of the central space is divided into eight
nearly equal courses, with vertical joints forming
almost square blocks of stone ; but the upper course
is not so divided and may be meant to represent a
crowning blocking or plain cornice or parapet, seeming

;\-' ^5

CITY- GATE TRAJANOPO LIS • MAESIA
N? 86

■"^ITY -'.ATE- OF MERIDA 5PAIN

CITY GATEWAY OF AUGUSTA TEAJANI. 319

to overhang the face. In the centre is a square-
headed door surrounded by an architrave, the opening
equalling in breadth one-quarter of the centre space,
and the architrave one-fifth the width of the opening.
The doorway is a diameter and a half high, and filled
in with a four-panelled door with broad stiles and rails.
The towers rise two-fifths higher than the central wall,
and have a plain boldly projecting cornice, with the
courses of stone continued up thereto. Above the
cornice is a parapet as high as one-tenth of the tower
and divided into embrasures. Over the centre rises a
third tower, a trifle wider than the other towers, with
similar courses of stone, cornice and embrasures ; but
rising up above to the top of the parapet four-fifths
the height of the central wall beneath it. There are
no windows in the towers.

Eckhel does not notice this medal.

Mionnet (t. i. p. 423) mentions another of the same
emperor with this inscription on the reverse —

HFE • IOTA • MAHIMOr • ATrOTC • THC »
TPAINHC

Trajanopolis was situate on the Hebrus on the Via
Egnatia, the great Boman road from Dyrrachium to
Byzantium and to the south of Hadrianopolis : accord-
ing to Leake (" Num. Hell. Eur." p. 108) the site is
probably occupied by the Turkish town of Fereh about
twelve miles above the mouth of the Hebrus. See
also Smith's Dictionary sub voce.

320 ABCHITECTUBA NUMISMATIOA.

No. LXXXVI.
AUGUSTA MERITA (HISPANIA).

This bronze medal, which is IJ inch in diameter
(M. 9) exists in the British Museum collection. It
represents properly the walled city of Emerita, the
central and prominent feature of which is the fortified
city gateway, consisting of two arched openings flanked
by lofty circular towers, each of which has in the upper
part a large circular-headed window, and the summit
of the towers is crowned by embrasures. Over the
arched openings for the gates is an inscription in two
lines—

AVGVSTA

EMERITA

up above which are T shaped embrasures. On the
back ground above is a segment of the city wall with
the like T shaped embrasures, to indicate the whole
circuit of the walled inclosure of the town ; the beds
and joints of the stonework being as usual strongly
marked. The obverse contains the head of Augustus
with the legend —

DIV VS • AVGVSTVS • PATER

Augusta Emerita (Smith's " Diet, of Greek and Ro*
man Antiquities** subvocihus) the chief city of Lusitania
in Spain, was built B.C. 23 by Publius Carisius, the
legate of Augustus; it was a colony of veterans
(militum emeritorum) of the 5th and 10th legions.

CITY GATE OF AUGUSTA EMERITA. 321

whose term of service had expired, at the close of the
Cantabrian war; and from which circumstance the
city derived its name of Emerita, now Merida. It was
of course a colonia from the first, and at a later period
it is mentioned as having the " jus Italicum." It was
the seat of one of the three juridical divisions of
Lusitania, the Conventus Emeritensis. It speedily
became the capital of Lusitania and one of the greatest
cities of Spain. Emerita was the centre of a great
number of roads branching out into the three provinces
of Spain; few cities in the Roman empire have such
magnificent ruins to attest their ancient splendour.
It has been fitly called (Ford*s ^* Handbook of Spain,"
p. 258) " the Rome of Spain in respect of stupendous
and well-preserved monimients of antiquity/' Remains
of all the great buildings, which adorned a Roman
city of the first class, are found within a circuit of
about half a mile on a hill, which formed the nucleus
of this city. The Goths preserved and even repaired
the Roman edifices ; and at the Arab conquest,
" Merida'* called forth from the Moorish leader Musa,
the exclamation that, ^* all the world must have been
called together to build such a city."

The conquerors as usual put its stabihty to the
severest test, and the ruins of Merida consist of what
was solid enough to withstand their violence and the
more insiduous encroachments of the citizens, who for
ages have used the ancient city as a quarry. Within
the circuit of the city the ground is covered with
traces of the ancient roads and pavements, remains of
temples and other buildings, fragments of columns,
statues and bas-reUefs with numerous inscriptions.

A particular account of the antiquities, which are

322 ARCHITECTURA NUMISMATICA.

too numerous to describe here, is given by Laborde
and Ford. (" Itineraire de L'Espagne," vol. iii. p. 399
et seq. 3rd ed.) The circus is still so perfect that it
might be used for races as of old; and the theatre,
the vomitaries of which are perfect, has been the scene
of many a modem bull-fight. The great aqueduct is
one 06 the grandest remains of antiquity in the world ;
and there are several other aqueducts of less conse-
quence and the remains of vast reservoirs for water.

Carthago Nova (Humphrey's " Manual," vol. i.
p. 309) now Carthagena, Csesarea Augusta, now Sara-
gossa, as well as Emerita were the chief towns of
Spain, which had the privilege of striking their own
medals, a concession, that produced a large issue of
coins, as Spain was the chief seat of the Western
municipia; but it was withdrawn from many of the
Spanish cities, as early as the reign of Caligula.

The coins of Emerita are very numerous, most of
them bearing the heads of the Augustan family,
with epigraphs referring to the origin of the city,
and celebrating its founder in some cases with divine
honors. The most frequent type is this city gate,
generally bearing the inscription Emerita Augusta, a
device, which has been adopted as the cognizance of
the modem city.

M- 8-

-^^Xx^xxxocf-^

CITY- OF NICAEA

N? 8 8

PPAETORIAN CAMP- ROME

323

No. LXXXVII.
THE CITY OF NICiEA (BITHYNIiE).

This is one of the numerous medals struck by this
important city, upon the position and monuments of
which we have already enlarged (Nos. LXX & LXXI.).
This is a middle brass medal one inch in diameter (M. 7)
and exists in the British Museum collection. On the
obverse is the head of the emperor (A.D. 260-261)
with the epigragh —

TI • *OTA • lOT • MAKPIANOC • CEB

Tiberius • FVLvius • JVlius • MACEIANUS • AVGustus

On the reverse is represented the circuit of the city
walls having in the field within the city the letters —

APIETON • METsQwp

THE • BEST • THE • GEBAT

And on the exergue —

NEKAIEGN

Of the NicflBans

With regard to the assumption of this pretentious
title, which, as Bckhel observes, would be absurd, if
the term were supposed to apply to the inhabitants
themselves, it doubtless was an epithet relating to the
Neokor games celebrated at Nicaea. Eckhel (vol. ii.
p. 423) calls this Castra Prastoria (see Pellerinus,
1. c.) and at p. 428 notices a medal with three urns

Y 2

324 ARCIIITECTUIU NUMISMATICA.

and palms and the words Msy^trrmv Ap^trrcoif : and in
vol. i. p. 89 on a medal of Ephesus he quotes a medal
bearing the inscription —

E*ECimN • A • NECKOP • H • HPOTH • HA CON •
KAI • MEnCTA

Krause (pp. 61, 62, 63) devotes considerable atten-
tion (§ 16) to the application of this term, and gives
frequent instances bt its use by Smyrna, Ephesus,
Pergamus, as also by Nicomedia, a neighbouring
town to Nicsaa and calling itself the metropolis of
Bithynia.

We now approach the special object of our research
the architectural features of the coin. The circuit of
the walls represents an octagon, two of the sides being
occupied by the gates, and each angle of the octagon
is fortified by a lofty circular tower. The front side,
which is occupied by the city gate, is a little higher
than it is wide. In the centre is the circular-headed
aperture of the gateway, the opening of which equals
one-third the width of the side, and which is half as
high again as it is wide: the architrave around it
equals one-fifth the opening. There are three hori-
zontal lines at unequal heights hke strings or courses
of stone, the uppermost one of which just clears the
head of the gateway and with some vertical lines.
Above this third line are three semicircular openings.
Each tower at the flank equals in diameter one-sixth
the width of the central space and rises one-fourth
higher than the central space. There are four un-
equally-spaced horizontal bed-courses, but no vertical
joint lines. A bold and double bead forms the
cornices. Above the centre space over the gateway

THE CITY OF mCMA. 325

and at some distance behind it rises a repetition, as it
were, of the upper part of the front, with its three
semicircular apertures indicating one inner and outer
gateway with a court between, which was frequently the
case among the ancients, as at Messene in Peloponnesus
and at Passtum. The other sides of the city walls
recede in arbitrary perspective diminishing in height
as they retire: five of the sides have indications of
three courses of masonry in height with vertical joints,
but the side immediately adjoining the centre on its
right has four courses. The wall to -the left of the
gateway is surmounted by two spherical balls, like
those already noticed on the gateway of Nicopolis
No.LXXXIL

A central space forms an area in the middle, the
field of which bears the words AFICTON • MEF
already alluded to. The centre of the fiirther side
corresponds in its general features with the front and
its gateway. It is surmounted with two semicircular
rings, like those over the gateway of Anchialus
(No. LXXXI.) already noticed, and also on the side
to the left of the further gate are two semicircular
rings. However conventional in its mode of repre-
senting the various features, stiU the perspective of
the lofty walls, the jointed courses of the stones, the
high towers at each angle, the gateways and crowning
objects convey an impression of a walled city more
precise and definite than that aflforded by any other
representation painted or sculptured of antiquity.

Texier in his "Asie Mineure" (vol. i. pi. v. & vi.
p. 39) gives a detailed and very interesting plan and
description of the walls of this town, which appear to
be formed of two parallel lines, the inner wall or

326 ARCHlTECrURA NUMISMATICA.

momium with towers at irregular distance, and with
three land gateways and one water-gate next the lake.
One of these gates called Lefke presents a very beau-
tiful elevation of marble, on PL IX., of the Roman
period. At the distance of about 50 feet from the
outside face of the mcenium^ and which formed the
ancient dgger, runs the parallel outer line of lower
walling less lofty than the inner, having also its towers
at frequent distances, and serving for the defence of
the vallum on the brink of which it stood. The con-
struction is very different in various parts, being
doubtless of several epochs. The general construction
is of brick with the mass of the interior composed of
soHd rubble. In some portion of the facing it consists
of regular courses of masonry ; in others there are
three courses of rough blocks and two of bricks
alternately — and sometimes the bricks are placed
herring-bone fashion. The whole of these particulars
with the details of the towers, &c., are ably described
by Mons. Texier, to whose work the reader is referred
for fiirther details.

The medal corresponds with this general idea by
giving two city gates, the walling and angular towers.
But there is no indication of the second enclosure
wall.

The following extract from the 48th letter of the
10th book of Pliny's epistles and addressed to Trajau
contains a curious reference to the theatre and
gymnasium of this city : —

" The citizens of Niceea, sir, are building a theatre,
which, though it is not yet finished, has already
exhausted, as I am informed (for I have not examined
the account myself) above ten millions of sesterces

THE CITY OF NICiEA. 327

(about £80,000 English) ; and, what is worse, I fear
for no purpose. For either from the foundation being
laid in a inarshy ground, or that the stones themselves
were decayed, the walls were cracked from top to
bottom. It deserves your consideration therefore,
whether it be best to carry on this work, or entirely
discontinue it ; or rather, perhaps, whether it would
not be most prudent absolutely to destroy it : for the
foimdations, upon which this building is immediately
supported, appear to me more expensive than solid.
Several private persons have imdertaken to build the
compartments of this theatre at their own expense,
some engaging to erect the portico, others the galleries
beyond the cavea : but this design cannot be executed,
as the principal fabric is now at a stand. This city is
also rebuilding, upon a more enlarged plan, the gym-
nasium, which was burnt down before my arrival in
the province. They have afready been at some (and,
I doubt, a fruitless) expense. The structure is not
only irregular and ill-disposed, but the present archi-
tect (who it must be owned is a rival to the person,
who was first employed) asserts, that the walls, though
they are twenty-two feet thick, are not strong enough
to support the superstructure." — ^Melmoth.

328 ARCHITECTURA NUMKMATICA.

No. LXXXVIII.
PRiETORIAN CAMP.

This gold medal f of an inch in diameter (M. 4) is
in the British Museum collection. On the obverse it
has the head of the emperor with the epigraph —

J I • CLA VD • CJES\ R • A VG • P • M • TR • P

On the reverse is a representation of the emperor in
the centre of the Praetorian camp, with the inscription
on the waU of IMPER • RECEPT indicating the
elevation of Claudius to the throne, in connection
with which event there are so many circumstances
interesting in an historical point of view, of which this
medal is a striking record, that the events will be
briefly narrated.

When the emperor Caligula had been despatched by
Chaerea and the other conspirators, Claudius, upon
hearing of the death of his nephew, hid himself; but
being accidentally discovered and recognized by a
common soldier called by some Gratus by others
Epirius, and by him saluted as emperor, he was
immediately honored with the same title by the
comrades of his protector, to his great discomfort and
dread. He was well received in the camp, as we are
told by Suetonius (c. 10 : " Claudius receptus intra
vallum inter excubias militum pemoctavit"), and

PR^TOBIAN CAMP. 329

there passed the night in great trepidation, being
naturally timorous. We have, however, the concurrent
testimony of Dio (1. Ix. §. 1 : " Omnium consensu
militum ei, velut ex imperatorio genere orto ac viro
bono, imperium est delatum") that he was by the
common consent of the soldiery confirmed in the
imperial dignity, and through the persuasion of King
Agrippa induced to withstand the wishes of the senate,
that he should resign, and encouraged to lay hold of
the opportunity, which presented itself to confirm his
exalted position. The soldiers being conscious of the
necessity of an emperor to the state, and that it could
not exist with a republic, felt the importance of giving,
rather than of receiving, one. They therefore on the
very next day took an oath of allegiance to Claudius,
who promised them fifteen sesterces a man.

The people thereupon and the senate, after some
long and anxious discussions, confirmed the choice of
the Praetorians, and Claudius with the usual ceremonies
was declared emperor. (Josephus, " Antiq." 1. xix.
c. 3.) He modestly declined many of the honors, that
the senate had conferred on previous emperors, for-
bidding any one to pay him divine worship, or style
him a god, and reftising to use the word emperor.
Hence we see that the word IMPerator, so usual on
the other medals, is omitted on this among the titles
of Claudius on the obverse.

The figure on the reverse represents the Praetorian
camp, and Claudius, under the imperial tent in the
principia, and with the standard before him, exhibited
to the view of the soldiery, and receiving their allegiance
(Juramentum) sceptre in hand. The lower part shows
a circular wall with two gates, with the courses and

830 ARCHITECTURA NUMISMATICA.

joints of the stones distinctly marked, and in large
characters appears the inscription — IMPER • RE-
CEPT i. e. IMPERator RECEPTus.

Immediately over are five towers with arched open-
ings and turrets.

The mass above indicates a straight wall with two
circular-headed gateways, and on the top of each side
wall is a tower like those in fi-ont. The imperial
pavilion occupies the centre, in accordance with the
description of Polybius : " Loci ejus, qui maxime
idoneus videtur ad castrametandum, aptissimam par-
tem ad prospiciendum praesepiendumque imperatoris
tentorium occupat. Positoque signo, ubi ilium fixuri
sunt, &c." We also learn that there were generally
four gates to the camp, the praBtoria or questoria,
principalis, decumana and quinctana. " PrsBtorium
dicebatur tabemaculum quod duces exercituum vel
imperatores occupabant."

Our medal illustrates with remarkable minuteness
all these particulars. There are the four gates in the
circuit of the walls. There is the tabemaculum of
the emperor in an elevated position to see and be
seen, and there is the standard in j&ont of him in the
principia, which was a broad open space, that separated
the lower from the upper part of the Roman camp,
and extended the whole breadth of the camp. In this
place was erected the tribunal of the general, where
he either administered justice or harangued the army.
Here likewise the tribunes held their courts and
punishments were inflicted. The principal standards
of the army were deposited in the principia, and in it
also stood the altars of the gods and the images of the
emperors by which the soldiers swore.

PILETOEIAN CAMP. 331

Bartoli's work on the Trajan Column gives several
instances of the imperial tent quite in conformity with
this. The elevation oflfers the aspect of a templar
arrangement. A column at each angle of the facade
of the Corinthian order, surmounted by a pediment,
with acroteria at the end and a wreath on the apex,
an emblem of the triumph of the leader, who was the
soldier's choice. The date of the elevation of Claudius
to the imperial dignity is A.D. 41, of Rome 789.

In point of execution the whole is rudely figured,
and does not indicate the high state of art, which
prevailed at that period, but rather of the decline of
the empire.

332 ARCHITECTURA NUMISMATICA.

Nos. LXXXIX. & XC.
THE PORTS OF CLAUDIUS AND TIUJAN AT OSTIA.

The former of these, which represents the Port of
Claudius, is a large brass medal, 1^ inch in diameter
(M. 9), and exists in the British Museum. It has on
the obverse the head of Nero with the legend —

NERO • CLA VD • CAESAR • AVG- GERM •
TRPIMPPF

On the reverse is a representation of the Port of
Ostia near the mouth of the Tiber, called also that of
Claudius in contradistinction from the one of Trajan,
immediately adjoining but more inland. Remains of
the Port of Claudius still exist, but they are now situate
at the distance of a mile from the sea.

Ostia itself was a small town on the mouth of the
Tiber built by Ancus Martins, and being about eighteen
miles from Rome was much frequented by the citizens
in the summer season, as a watering place.

The construction of the Port of Ostia, here repre-
sented, was in fact commenced by Ancus Martins in
the year of Rome 127 ; he reigned twenty-four years,
and during the last ten years of that period was much
engaged in public works for the benefit of the city,
and Ostia was raised to a place of importance, and
became a part of Rome. It was subsequently neglected,
but was revived by Claudius, who repaired the dilapi-

N^ 89

PORT OF CLAVCIVS 05TIA

N-^* 90

PORT- OF TRAJAM OSTIA

POETS OF CLAUDIUS AND TRAJAN AT OSTIA. 333

dations and completed the port in the state it appears
on the coins. A period of 669 years having elapsed
from the death of Ancus Martins Y. R. 138 to A. D.
54 when this coin was struck. There are no coins
known of Claudius with the port of Ostia. It was
therefore decreed by the senate to record the building
of the port and its warehouses and granaries by
striking this coin, and to compliment Nero on the
politic measures, which he had taken to insure regular
supphes of com to the city.

The salt marshes, formed by Ancus Martins at the
first foundation of Ostia, also still subsist near the site
now called Casone del Sale.

The port is figured as consisting of two masses of
construction in the form of segments of a circle,
following the sweep of the outline of the medal, and
forming what were called by the ancients the " brachia"
or arms of the port. That to the right shows a circular
pier or jetty carried on arches, so as to admit of the
passage of the sea through them ; and at either end
indications of lower jetties, the one at the furthermost
extremity having an excrescence intended doubtless
to represent the pillar or prow of a vessel. To this
was attached one end of the chain, with which the
aperture of the port was closed at will, to prevent the
ingress or egress of vessels. And a corresponding
mass, although of a different form and resembling a
capstan, is observable at the further extremity of the
left arm for the same purpose. Next to this last mass
is a peripteral temple with a pediment and roof and
peristyle ; the two columns of the end are widened, so
as to show the statue of the god, as has been observed
previously in other temples. In front of the temple

S34 ARCHITECTURA NUMISMATICA.

is evidently an altar with a person sacrificing. Then
follow two masses of buildings with peristyles, pedi-
ments and roofs, the ranges of tUes. to which are
clearly shown. These most probably indicate the ware-
houses. Between the lower horns of these " brachia"
is a recumbent statue of a sea or river god, resting his
right hand on a helm, and in his left holding a dolphin
or other fish. The figure is partly draped, and the hair
of the head and beard ample and flowing. This may
possibly be meant to represent Portumnus, the Tiber
or the Mediterranean sea "Mare Tyrrhenum.'* It
cannot be intended for a Neptune, as in that case
the figure would have had the trident. There are
indications of waves beneath his extended leg, and
under him are the letters S • POR • OST • C and
at the top of the medal AVGVSTI meaning PORtus •
OSTiaensis • AVGVSTI • Senatus • Consulto. Canina,
usually so accurate, mistakes the former words for
S • P • Q • R OST • C • The recumbent statue of
Portumnus was probably upon a pier, placed between
the two inner points or extremities of the "brachia,'*
and in the middle of the channel, which led fi-om the
outer harbor of Claudius into the inner harbor of
Trajan.

The colossal statue of the emperor, a figure perfectly
erect and naked, resting his left raised hand on a spear
or staff and bearing in his right a globe or some other
object, stands upon a pedestal, which itself forms the
centre of a more extended base, and supported on
open piers with the indications of waves breaking
against them. This occupies a central position con-
siderably within the mouth of the harbor, although
not in the centre of the basin, and appears to serve

PORTS OP CLAUDIUS AND TRAJAN AT OSTIA. 335

the purpose of a beacon or light-house. There are
four larger masted vessels and three boats. The
central vessel has the sails furled, a sailor Kes reclined
on the yard, and another is climbing a shroud or
halyard next the stem. A second vessel is coming
into the harbor at full sail ; the divisions of the sail-
cloth are distinctly marked, and there are two figures
seated. On the other side of the statue of the emperor
is a trireme with several rowers and nine oars clearly
perceptible. In the fore part near the god is another
boat with the rowers and their oars quite distin-
guishable : the ripple of the waves is shown under
each bark.

Sir John Rennie in his splendid work entitled
" The Theory, Formation, and Construction of
British and Foreign Harbors '* (p. 321) gives plans
of the harbors at Ostia with the following scientific
description, which will fiirther illustrate the various
objects represented on this coin. It is to be observed,
however, that the isolated mole at the entrance of
the harbor is not represented on this medal.

Eckhel remarks (vol. vi. "Nero,'' p. 276) that the
outer mole with the lighthouse is omitted in all these
coins, but it is very ingeniously introduced in the
" Tabula Pentingeriana :'* —

" The outer harbor was formed by two artificial
moles about 1,900 feet long each projecting nearly at
right angles to the shore. Each mole consisted of
two arms or kants, the one nearest the shore was
straight for about 950 feet : the remainder formed the
quadrant of a circle 1,800 feet long ; the breadth of
these moles was about 180 feet, and the sea entrance
between the extremities was 1,100 feet. Immediately

336 AECHITBCTUfiA NUMISMATICA.

in front of the entrance was an isolated or detached
mole or artificial island 400 feet wide and 78 feet long,
leaving an opening between each end and the other
moles of 140 feet, thus giving a double entrance to
the harbor. The total length of the harbor was
3,000 feet, and the width 2,330 feet, covering a surface
of 130 acres, about one-third of which was excavated
out of the main land, and the remainder was gained
by projecting into the sea."

Miiller (" Ancient Art and its Remains," by Leitch,
p. 20) reminds us that a main constituent of the
ancient harbors was the arcades of the moles, which
had for their object the cleansing of the inside by
pouring in a stream of water. They are found in mural
paintings ("Pitt, di Ercolano," ii. 55) and in ruins
(Gell's " Pompeii," new series, PI. LVIIi) Millingen
(ii. 20), he remarks, illustrates a medal, representing
in an interesting manner the harbor Cenchrsea with
the ship-houses (trireme-sheds) the temple of Aphro-
dite at the one comer, that of Esculapius at the other,
and the colossal Poseidon with trident and dolphin on
a mole (x^fjLa) in the middle of the harbor, exactly
as it is described by Pausanias (ii. 2, 3.) That of
Carthage also was inclosed with Ionic columns, behind
which were the vswpoixoi. (Appian, viii. 96.)

Rennie ut supra : " The circular part of the northern
pier or mole of Ostia was open or constructed upon
arches, so as to give free access to the current, but
sufficiently close and solid to break the waves and
produce tranquillity within. The circular part of
the southern mole was solid to prevent the alluvial
matter of the Tiber from entering the harbor. At the
extremity of the detached, as well as of the other moles.

POETS OF CLAUDIUS AND TEAJAN AT OSTIA* 337

there were means of drawing chains or booms across
to close the entrances. The upper parts of the moles
were arranged for defence ; the lower were covered
with sheds and warehouses for the purposes of com-
merce, and colonnades for promenades. In the centre
of the detached mole, at the entrance of the harbor,
was placed the vessel, which brought the great Obelisk
fipom Egypt to Rome."

N.B. Consult also an essay " Sopra il Porto
d'Ostia," by Venuti in the " Saggi di Cortona," vi.
dis. i. ; and examine Bartoli " Colonna Traiana,"
where the bas-reliefs represent harbors or moles with
arches. Fea, Roma 1802 and 1827. Canina, " Porto
d' Ostia," 1837.

Also the " Harbor of Ostia," by Sir J. Rennie, Pres.
Inst. C. E., read at a meeting held May 27, 1845 (No.
717) 8vo.

Vitruvius devotes the 12th chapter of his 5th book
to the subject " of harbors and other buildings in
water'* generally, but does not allude specifically to
any particular works.

The 15th volimie of the " Revue Generale d' Architec-
ture," edited under the able direction of Monsieur
Cesar Daly, contains a description, by Mons. Charles
Texier of the Institute, of researches made at Ostia
and the results of certain excavations. He states that
the ruins of a theatre, several porticos and a large
vaulted hall apparently belonging to Baths still exist ;
as also two circular temples, the palaeje of the prefect
and of other public buildings. He notices also the
pharos at the entry of the port of Claudius, as having
been seven storeys high : the basement had a flight
of steps, and there was a terrace at each storey.

338 AROHITECTUHA NUMISMATICA.

A detacliment of the cohort of the harbor-master
occupied the basement to examine the vessels entering
or departing, and were also ready in case of fire.
Claudius established this cohort in his new town.

No. XC.

The port of Ostia^ enlarged from time to time and
notably by Claudius, served only to receive the vessels,
but did not afford sufficient accommodation for dis-
charging the cargoes particularly of com for the supply
of Rome, and receiving them into warehouses for
transport to Rome. The magnificent Trajan therefore
undertook the great work of forming an inner basin or
dock, which communicated with the outer harbor of
Claudius by two or three basins. This was hexagon
on plan, the basin having a diameter of 610 metres
(2,000 feet) according to Mons. Texier, as already
quoted, or 640 metres (2,068 feet) between the faces
of the inclosure wall, which lined the quays. One side
was of course pierced to afford an entrance for the
vessels. The quays were about 40 feet wide and at
distances were granite posts for attaching the cables
of the vessels, many still in their places, others lying
about : each had a number and there were about forty
of them in all. The quay walls are of brick and in
good condition ; the solid backing is composed of a
species of rubble consisting of lime, pozzolana and
broken tiles. The inclosure wall of the harbor was

POBTS OP CLAUDIUS AND TBAJAN' AT OSTIA, 339

pierced on each side by five openingSi which gave
access to the warehouses outside. But on one side
there was the citadel, and there was no inclosure
wall next the harbour, it was open to the basin. One
other side seems to have been occupied by a palace
supposed to have been that of the prefect of the port.
Both the harbors and* the buildings attached and town
were surrounded by a strong wall fortified by towers.

This brass medal If inch diameter (M. 10) has on
the obverse the head of the emperor with the name
and titles as usual.

IMP • CAES • NERVAE • TRAIANO • AVG •
GER • D AC • P • M • TR • P • COS • V • P • P

On the reverse is the representation of the inner
harbor itself with the words —

PORTVS • TRAIANI • S • C

All the medals, that I have been able to consult,
very indistinctly represent the objects it is intended
to record. In the centre at bottom over the sigles
S. C. is the opening for the channel of communication
into the harbor fi'om that of Claudius ; to the right
and left of which is a building with arcades and
openings vaguely indicated. The other five sides of
the basin have lofty edifices of one or two storeys ;
that opposite the entrance, probably intended to re-
present the ancient citadel, being fianked at each end
by a commemorative column surmounted by a figure
on the top. The basin represents a sheet of water
with the ripple of the waves and three triremes, with
one or two figures in each, having masts and the sails
of course fiirled, unlike those in the outer harbor which

z 2

e340 ABCHITECTURA NUMISMATICA.

are sailing about. It would be useless .to speculate
on the precise buildings, which, it might be supposed,
these forms were intended to indicate. But the medal
is very valuable from its strict adherence to the
hexagonal form of the basin, the clear indication of
the entrance, the important class of buildings, the
quays and commemorative columns, that coincide with
the descriptions left us by various authors, and the
actual ruins, which still remain.

N^ 91

PORT OF • SIDE
N9 92

\cW^ f rl :

FHAKOS • A J^ ALF.XANDRIA

341

No. XCI,
HARBOR OF SIDE (PAMPHYLIA).

The bronze medal, 1^ of an inch diameter (M. 8),
of Gkdlienus, who reigned 263-8, oflfers the represen-
tation of the Harbour of Side of Attalia in Pamphylia,
according to Strabo a colony from Cyme, and one of
the numerous cities, which fringe the indented coast
of Asia Minor. The vast ruins and superbly-decorated
monuments of ancient art of these ports prove the
wealth and magnificence of the various common-
wealths, which by legitimate and iQegitimate means,
as the high-minded merchant or the unscrupulous
pirate, drove a thriving trade and enjoyed for centuries
a prosperous commerce.

But Side especially assumed to herself on her
medals the honorary titles of AAMnPOTATHC most
splendid, and ENAOHOT illustrious.

On the obverse of this medal is the head of the
emperor surrounded by the legend —

ATT • KAI • no • AI • EPN • TAAAIHNOC • CEBA

IMPerator • CAEsar- PVbliusLIcinius- EGNatiuaG ALLIEN VS •

AYQustus

On the reverse we have in the centre a galley with
five rowers and ten oars. On the curved prow is the
standard and an upright spear or pole ; beneath is a
fish swimming. The gaUey is nearly in the centre of a

342 ABGHITEGTUBA NUMISMATICA.

circular harbor; around are sixteen receptacles for
galleys, under whicli they used to be drawn up, and
were thus protected from the sun and rain.

Just above the galley are the secular letters
AE ( Ax^a Etou^) and the whole is surrounded with the
legend —

CIAHTCN • NEflKOPCN • NATAPKIC

SIDETOEVM • ^DITVO JIVM ' NAVIS • PBABFECTI

Very great value attaches to this coin from the
circumstance of its proving the high position held by
..this place in being appointed one of the Neokor cities,
to which we have previously alluded, and possibly this
may be attributed to the sanctity, in which the Temple
of Minerva was held, mentioned so particularly by
Strabo. And so jealous was Side of her assumed pre-
eminence over the neighbouring cities of Pamphylia,
that her coins are impressed with this title. (Mionnet,
t. iii, p. 485, n. 226, 227-)

nPCTA • nAM*rACN • ciahtqn
and —

CIAHTQN • AAMnPOTATHC • EN AOBOT •

SIDETOEVM • SPLENDIDISSIMAE • ILLVSTEIS •
ABDITVOEVM

Captain Beaufort in his ** Karamania " (pp, 146-
162) describes minutely the present state of this highly-
interesting spot, and particularizes the harbors, of
which there were two, in the following words (p. 158) :
** The two small moles connected with the quay and
principal sea-gate are fifty yards in length : but it is
probable, that a third mole, in a transverse direction,
may, with them^ have formerly included a convenient

HAEBOB OF SIDE (pAMPHTLIa). 343

harbor for boats. At the extremity of the peninsula
there were two harbors for larger craft; they also
were artificial, and were probably placed there for the
greater depth of water, as along the adjacent beach it
is very shallow : both are now almost filled with sand
and stones, which have been borne in by the swell.
One of them is formed by a mole of large shapeless
rocks, and through the middle of it there is a narrow
entrance. Of the other there remains only one side, a
mole of hewn stones, about 260 yards long, which
presents its concave face towards the sea ; and from
this circumstance it may be concluded, that there
must have been a corresponding mole on the outside
of it, curved in an opposite direction, and enclosing
a harbor between them. A ridge of black rocks,
partly above and partly imder water and nearly in
continuation of the sweep of the rough mole, that
forms the first of these two harbors, seems to point
out where this destroyed mole was situated."

" It is possible that both these harbors were
originally united, and that a wall, which now separates
them, was built after the outer mole had yielded to
the ravages of the sea. In this case the entire harbor
would have been about 500 yards long ; a most spacious
station for the galleys of the Sidetians, who it appears
from Livy (Ub. xxxv. 48) were famed for their naval
skill and prowess.'*

Captain Beaufort also mentions the city walls and
remarks, that those, facing the land, are of excellent
workmanship, much still perfect and about 38 feet
high, with two galleries or platforms, and flanked by
towers at intervals of 200 feet. There are remains
of four gates, three from the port and one next the

344 ARCHITEOTURA NUMISMATICA.

country ; but doubtless there were many more. Near
the land-gate was a square agora about 180 feet in
diameter, the bases of a double row of columns, by
which it was surrounded on three of its sides still
remaining " in s^itu^ The fourth side is occupied
by the ruins of a temple and portico, and an avenue
leads from one of the three sides of the agora to a
magnificent theatre, a plan and details of which are
given by Captain Beaufort. The exterior diameter is
409 feet and the perpendicular height to the upper-
most seat rising to 79 feet. The cavea is in the horse-
shoe form usual in Greek theatres and still contains
49 rows of seats of white marble divided by one
diazoma. The decorations of the proscenium and
scene are destroyed, the wall alone remaining. Other
monuments highly enriched with sculptures are noticed,
so that the recital of the architectural splendors of
this town attests its former consequence, more than
the casual allusions of Strabo, Livy and other ancient
writers. And its peculiar maritime importance is
confirmed by the very type figured on this medal.

For fiirther particulars respecting Side consult
Millingen's " Silloge of Ancient Unedited Coins of
Greek Cities and Kings," p. 76, pi. iii. ; Fazio, " Sui
Porti Antichi," Napoli, 4to. (1821) ; and Rennie's
work on ancient harbors above quoted.

Humphreys in his " Coin-collector's Manual" re-
marks (vol. ii. p. 360) that with few exceptions the
noble series of Greek imperial mintage ceases with the
reign of Gallienus, of which this is one.

345

No. XCII.
TUE PHAROS OF ALEXANDRIA.

This bronze medal 1| inch in diameter (M. 8) is
in my own possession. On the obverse it has the
lanreated head of the Emperor M. Anrelius with the
legend —

ATT • K • TPIA • AAP • ANTONINOC • CEB • ETC

IMPerator • Ciesar • TEaJAnus • HADEianuB • ANTONINUS •
AUGustufl • Plus

On the obverse is the representation of the celebrated
lighthouse erected on the island of Pharos opposite
Alexandria. There are several varieties of this type
in the British Museum collection^ and from a com-
parison of the different coins it is evident, that this one
represents the two sides of the pharos, as it were in
perspective. In the British Museum specimens the
vertical central line of division indicating the angle of
the building may be distinguished. It stands on a
base line and a flight of steps on one front leads up
the side of the rock mentioned by Strabo to a doorway,
the opening of which is surrdimded by an architrave
and surmounted by a cornice upon which are four
balls. Inmiediately over the 'door are three discs,
and on the other corresponding side of the pediment
there are four discs intead of three, there being no
doorway on that face. The height of this first stage

346 ABOHITECTURA NUMISMATICA.

of the tower equals If of tlie upper width. A broad
band surrounds the sides and summit of this lower
storey, up above which there is a set off with an upper
tower equalling half the upper width above mentioned,
and about as high as it is wide, and in which were
probably the lights, as in our own lighthouses.

There is a colossal figure on a summit probably of
Ptolemy Soter, the left arm upraised, as though for
the purpose of holding a spear, and in the left hand a
disc or patera. At the two angles and on the set-off
above the main body of the tower there is on each side
a peculiar figure, as though lalf man half fish, and
holding a disc or some such object in the right hand.
It will be observed that the tower at the base spreads
but like the Bddystone Lighthouse. On one side of
the tower is the L the Aoxa^auTo$ of the Alexandrian
medals, which precedes the numerals, and here indi-
cating with H the eighth year probably of the reign
of the emperor.

Strabo (xvii.) informs us that " Pharos is a small
oblong island close to the continent with which it
forms a harbor (the great port) with two entrances by
the disposition of the coast, as the shore in this part
forms a recess, throwing out two capes with the island
between them, thus producing a gulf as its face runs
parallel with the shore. The eastern extremity consists
of a rock rising out of the water by which it is sur-
rounded, surmounted by a tower of several storeys
admirably constructed of white marble, and having the
same name as the island. It was erected by Sostratus
of Cnidos a favorite of the king for the safety of
navigators, as indicated by the inscription. And in
fact it was absolutely necessary on a shore, which on

THB PHAB08 OF ALEXANBBIA. 847

all sides is low, devoid of harbors and studded with
rocks and sand-banks, to place a lofty and remarkable
bea^^on in order that sailors arriying from the seaboard
should not miss the entrance to the part/^ Herodian
remarks that it diminished in width from below
upwards.

Pliny in his ** Natural History" (xxxvi, 19) also
notices this lighthouse in the following words:—
"Another tower erected by the king is highly exr
tolled : it is on the island of Pharos opposite the port
of Alexandria and which they say cost eight hundred
talents (£155,000). Nor must we omit the generosity
of King Ptolemy (son of Lagos), who allowed Sostratus
of Cnidos the architect to inscribe his own name upon
it." He adds in another part, " Lighthouses exist
in various places as Ostia and Bavenna," and he
observes that " this same architect is said to have
first of all made the hanging walk of Cnidos."
C83sar (" De Bello Civili," 1. iii.) notices that Pharos
(the islaad) was united to the city by a narrow cause-
way and bridge (angusto itinere et ponte) it being
eight stadia (about a mile) distant from it. And
this causeway was called the Heptastadium and had
two openings for the passage of vessels into the
harbor.

With regard to the inscription it appears from
Lucian (" Quom. Hist." 63) to have been —

SQSTPATOSKNIAIOS • AESI*ANOrS eEOIS-
SQTHPSIN • THEP • TON • nAOEIZOMENCN

SOSTBATOS • THB • CNIDIAN • SON • OP • LBXIPHANBS •
(BEBOTBD • THIS) • TO • THB • GODS • DBLIVBBMS
(SOTBES) • FOE • THB • PEOTBOTION • OP • N AVI-
GATOBS

348 ABGHXTEOTUEA NUMI8MATI0A.

The reigning sovereign is considered to have been
Ptolemy Soter (B.C. 300) whose queen was Berenice ;
he was the son of Lagos, and the second, who took
the name of SCTHP. The inscription may therefore be
considered as a dedication by the architect to the
sovereigns of that name, or " to the gods deliverers
from shipwreck." It however is to be remarked,
as noticed also by Spanheim (" De Praest. et usu
Numism!'* vol. ii. p. 415), that the term 0EOI]5
probably referred to the deified kings, a practice abeady
alluded to in the chapter on Neokor Medals of Temples
(p. 135), as existing on various coins of the Ptolemies.
Lucian mentions an improbable story, that Sostratus
had prepared an inscription, originally cut in a coating
X)f cement or plaister with Which the surface had been
rendered, and inscribed merely with the name of
Ptolemy; but that underneath he had engraved on
the marble the recorded inscription, which at his time
remained after the plaister had decayed away. Pliny,
however, notices the permission of Ptolemy for the
architect to inscribe his own name, but whether this
was a mere rumour or inference of Pliny's own, of
which there are frequent instances in that author's
works, it is impossible to determine.

We will now notice the information, that we have,
upon the size of this Pharos. Epiphanes Hagiopol
(p. 59) by Berkley, in Steph. Byzan, voce *apo^, states
the height to have been 306 orgyies, or English
fathoms, say 1,836 feet, which would be preposterous.
Now Edricy (in his " Geogr. Nub. Clin." 3) says,
** probably 50 metres,*' or about 165 feet English.
Josephus (" De Bello Jud." 1. v. c. 4) in speaking of
the tower of Phasael at Jerusalem, mentions 4t as 40

THE PHAROS OP ALEXANDRIA. 349

cubits (60 feet) square at the base and 90 cubits (135
feet) high, remarking at the same time that it greatly
exceeded in circumference the tower of Pharos {rf
w-epio;^ il voXw /tsi^ov ^y). Whence we must infer, that
the Pharos was less in width than 40 cubits. With
respect to the height, Josephus says, that the tower
of Phasael was like that of Pharos ; we may therefore
conclude the latter to have been about 90 cubits high,
or 135 feet English. But it is to be remarked, in
forming a judgment of the height of this monument of
ancient art, that it is impossible to decide, whether
the height was taken as above the level of the bottom
of the rock and whether it included the uppermost
storey. It possibly was about 50 feet wide at the
base, and probable rose to the height of 135 feet* —
See also Smith's " Dictionary of G^reek and Roman
Antiquities," Pharos.

THE END.

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Full text of "Architectura numismatica; or, Architectural medals of classic antiquity: illustrated and explained by comparison with the monuments and the descriptions of ancient authors, and copious text. One hundred lithographs and woodcuts"

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