peopled scrolls. a hellenistic motif in imperial art

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Peopled Scrolls: A Hellenistic Motif in Imperial ArtAuthor(s): J. M. C. Toynbee and J. B. Ward PerkinsSource: Papers of the British School at Rome, Vol. 18 (1950), pp. 1-43Published by: British School at Rome

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PEOPLED SCROLLS: A HELLENISTIC MOTIF IN IMPERIAL ART*

The peopling f floral crollswith iving reaturess a decorative evicewhichenjoyed nrivalledopularityhroughouthewholehistoryf Imperial rt and inalmost veryountryf theEmpire. tsfull ultivationndfloweringere chievedntheRoman ge;but tsroots,ikethose fnearly very oman rt-motif,re nthe ateclassicalGreek nd Hellenisticworlds.These rootswerevaried nd complex.Theprimitiveotion f piritsndwellingntreesndplants,ndat a later tage ersonifiedin visible

hape,mayhave

played part;ome fthe onstituentlementsan

certainlybe traced acktoreligious ymbolism;ndmore mmediate asthe nfluencef thenaturalisticrend ffourth-centuryrt,whichfavouredhe dea ofrenderingirds,insects,nd smallbeasts n their ative etting. n Hellenistic nd mperial imes, sthese lements ingledndthemotif ecamemorewidespread,ancyamegraduallyooutweighact; nd delightn ncongruityortsown akefound eady xpressionnthepeoplingfvine- nd acanthus-rinceauxithmythologicalndgenrecenesndfigures,framednthefoliage rpoised nslendertems, rwithhuman iguresndsuch olidquadrupedssdogs, ulls,horses,ears, anthers,nd ions, areeringhroughhe eafywhorls r springingrom he hearts fflowers. hese alternativeonceptionsftheanimatedcroll, hefactualnd thefanciful,ersistedidebysidedown otheendofthe ncient orld ndfar eyondt;butwhile ntheRoman gethedetailed reatment

often eflectsloving bservationfnature,hecompositionsually etrays markedpredilectionor hefanciful.

* The following ublicationsare cited throughoutn abbreviatedform

AJA . . . AmericanournalfArchaeology,Arch.An^j. . . Archaologischernzeiger,upplementtoJDALAth.Mitt. . . Mitteilungenesdeutschenrchá'ologischennstituís: thenischebteilung.Benndorf nd Schóne . O. Benndorfnd R. Schone,Die antikenildwerhees ateranensischenuseums,867.Boll, d'arte . . Bollettino'Ariedel MinisteroellaPuhblicastru^ione.Bull. Com. . . Bullettinoella CommissionercheologicaelComune(Governaíoraío)i Roma.CRAcad . . . Comptes-RenduseVAcadcmieesInscriptionst desBellesLetfres,

Espérandieu . . E. Esperandieu,Recueil eneral esbas-reliefse a Caule romaine.Gusman . . P.

Gusman,L*art

dicoratifeRome, vols., 1914.JDAI . . . Jahrbuchesdeutschenrchá'ologischennstituís.

JRS . . . JournalfRoman tudies.MAAR . . . MemoirsftheAmericanAcademynRome.Mendel . . G. Mendel, Muséesimpcriauxttomans:atalogue essculpturesrecques,omaines t

byzantines,vols., 1914.Peirceand Tyler . H. Peirce and R. Tyler,L'art by^aniin, vols., 1932,Pergamon . . AltertumeronPergamon,ols. i-x, 1885- 1937.Rom. Mitt. . . Mitteilungenesdeutschenrchá'ologischennstituís: romischebteilung.Squarciapino . . M. Squarciapino, La Scuola di AfrodisiaStudi t Materialidel MuseodelVlmpero

Romano, ), 1943.Strong . . E. Strong,La sculturaomana, vols., 1926.von Blanckenhagen . P. H. von Blanckenhagen, lavische rchitehturnd hre ehraiion, 1940.

B







2 THE BRITISH SCHOOL AT ROME

To avoidmisunderstanding,t iswell t theoutset o make t clear hat hewriters

havedeliberatelyvoidednydetailed iscussionf themeaning,fany, hataybehindthe everal sesofthevariousypes fpeopled croll.Some, t sclear, ame n time obe used as purely ecorativeevices, evoidof inner ignificance,ave in theverygeneralisedensen whichtmaybearguedhat ntiquityever chievedocompletedivorcementromontents thatwhich haracterisesuch fthe rnamentfthepost-medievalworld. To thiscategory ouldseem,forexample, o belongmany fthearchitecturalsesof thepeopled canthus-scroll.thermotifsgainwere ndoubtedlyused with deliberatendconsciousymbolism.Many,perhapshemajority,fthepaganvine-scrollsrethetangiblexpressionfthecomplex f ritual bservancendafter-lifepeculation hich onstitutedheDionysiacults; nd ustas these ultshadborrowedndreinterpreteduch hatwasolder, o thevine-scrollassednaturallynd

easilyntothesymbolicanguage ftheearlyChristian hurch. n the ight-heartedincongruitiesf these igured,croll-workatterns,ymbolismound readymeans fexpression,nd, nreturn,tgavefreshife omotifslreadyanctionedycenturiesfdecorativese. The relativemportancef these woaspects, hesymbolicnd thedecorative,annot lways e easily ssessed; ndwhilebothmaybe essentialo a fullunderstandingfthedevelopmentnduseofa particularecorative otif,t is legiti-mate ndusefuloclear heground ythemoreimitedtudyf tsformalevelopmentandof tsgeographicalndchronologicalncidence.

The material iscussedn thefollowingagesranges rom heHellenistic o thelateclassical geand is drawn rom lmost very rovinceftheRomanEmpire. nattemptingo coverowide field,t sessentialtthe utset o defineertain ecurrent

forms.Thesedidnot,ofcourse, xist nddevelopn isolation: n thecontrary,herewas a constantnterplayf ideas,a constantmergingnd re-emergingf identity.Nevertheless,ertain ecorative evices nd fancies,nceestablished,id display nastonishingenacity;nd it is with heirncidence nd themanner ftheir reatmentwithinhebroadly evelopingtream fRoman rt, hat his apersmainlyoncerned.

In thefirst lacewe havetodistinguishetween hree asicforms ffloralcroll:thefree croll,nwhich he temwinds cross he vailable roundna free,urvilinearpattern; hesinglerunningcroll,horizontalr vertical, itha single tem oopedalternatelyo filla narrow orizontalrverticaltrip fpattern,uchas a frieze rpilaster;ndthedouble croll rmedallion-scroll,orizontalrvertical,nwhich wostems nterlaceo form ircularrovalmedallions.The representationffiguresn

conjunctionith hese s

veryarious.

Theymayescattered

reelyithin he

field,s

decorativedjuncts o thepatternatherhan s essentiallementsf t,as in theAraPacisdado p. 8); theymay hemselvese themost mportantlementn thedesign,loosely ramedwithin more r essindependentettingfscroll-work,s in theS.Lorenzoarcophagusp. 24) orthemosaicnthebaths f the Seven ages'complextOstia (p. 22); ortheymaybe integralndequalelementsfthescroll-workattern.In the atter ase wo ecurrentormsmay edistinguished.n the netheliving iguresareentwined ithin,ndmove hrough,hewhorlsfthe croll, itherna continuousseries ralternatingithflowers.n theother hefiguresmerge, aist-highr knee-high,from heflowersn thecentre f eachwhorl The figureshemselvesmaybeisolated uppets; rtheymay e inked y commonheme, characteristicotifbeing







PEOPLED SCROLLS: A HELLENISTIC MOTIF IN IMPERIAL ART 3

that fputtihunting;ut n cither asethey emainn integralart fthe croll-work

pattern,onformingoitsevolutionsndemphasisingtsrhythm.Finally here re thefigureshich tand, rhover,t the pringfa scroll. Here

a useful ormalistinction ay edrawn etweenhose, n the nehand,which onsistoffree-standingigures,rtheupper arts ffigures,isingrom hefoliaget the entreof the croll,nmuch he ameway s thefiguresescribedn theprecedingaragraphemergeromheflowersnthecentres f thewhorls;ndontheother,hosenwhichthe entral iguretself onstitutesheroot f the croll,which reaksway, kirt-like,fromhe ower art f thebody rsometimes,n thecaseofananimal, romhetail.Thelatteronceit, hichnoneformranotherlayedo arge partnRoman ecora-tive rt, anges ver field arwider han hatwhich orms he ubject-matterf thispaper. It constitutes,owever, partof the essential ackground,ndthepoints f

impactndofover-lap eremany.Forconveniencefpresentationhematerials heregrouped eographically.t iswell,however,oemphasisetthe utsethat his rouping,hichervesounderlinehelocalcharacteristicsfthe everalegions,s oneonly f everal ossible lassificationsfthe ubject-matter.woofthese, lassificationycontentndbyform, avebeen ug-gestedn theprecedingaragraphs:third,n tsownwayno ess ignificant,s that ymaterial.t is abundantlylear hat heminorrts ngeneral,ndpossiblymetal-workinparticular,layednall-importantartn the nitial evelopmentnddiffusionftheseveralmotifs;nd thattheir se in the minor rts nd in the field farchitecturalornament,hich romts nature ulks o largelyn the urvivingody fmaterial,onotat all necessarilyoincide.Withthese eservations,owever,ndbearingn mind

the imitationsfthe vidence,hegeographicallassifications both imple nd useful.Of the ections hich ollow,hefirstsdevotedo thepre-Imperialeginningsfthe severalmotifs.The followingevensections escribe rieflyheir ubsequentdevelopmentnRomeand talydown o late classical imes, nd,as a pendantothisstory,heir enetrationnto heEuropean rovincesf theEmpire.Thematerialromthe asternrovinces,hichmightogicallyave eceivedride fplacehad tnotbeentooscantyoafford continuousequence, ollows ext; ndthe ast ectionsdevotedto theclosely elatedAfricaneries.These sections re convenientorpurposes fexposition,nddo, in fact, orrespondo certain roadgeographicalivisions fthesubject-matter.tmust ot,however,or moment e maginedhat heyepresentard-and-fastoundaries,ormust hefact, hat achregionndeachprovince adat any

onemomenttsownfavoured otifs nditsown

stylistic annerisms,e allowed o

conceal he mportancef the constantxchange etween neregion nd another fcraftsmenndof deas. It wasthisorganic nity fRoman-ageecorativertwhich,perhapsmore hat nyother ingle actor,ccounts or heremarkableersistencendvitalityf somany f ts constituentlements.

1 The re-Imperialackground.1The roots fmany fthemotifs numeratedn the ntroductoryection an be

tracedwellback ntopre-Imperial. J.times. Architecturalculpture,hich ulks o large. J.. J.

1 Thewritersre ndebtedo Dr. Berta egall ormuchvaluable elpandadvice n thepreparationf this um-maryof the pre-Roman evelopmentf the peopled

scroll, and in particular or information egardingHellenistic etal-work.








inthe atermaterial,nteredhefield elativelyate;and t is totheminorrts, nd n

particularo themetal-work,hatonehas to turn or he first ecordedsesofthepeopled croll. So many f thevitalpages f thehistoryfHellenisticrt reyet o bewritten,hat t is hardly ossible odo more han ite representativeross-sectionfthe vailablematerial* espite heseimitations,owever,ome uch urveysneeded,ifthe ucceedingomanmaterials toappearnitsproper erspective.

A fine olddiadem, oundn a tombnear heDardanellesndnow nthe Metro-politanMuseum,NewYork, hows hat lready ytheend ofthefourthenturyx.miniatureiguresereppearingoised nor monghe oliagefformalcrolls(Pi. I, i .2

Cast ov a Hellenistic Helmet found at Memphis,Detail (p. 5).

Ten smallfiguresreseated nthe tems, layingmusicalnstruments,hileDionysosandAriadneeclinebove he entrefthe croll. n a group f imilar iadems,oundwith coinofAlexanderheGreatna tomb tKymen Aeolis ndnow ntheBritishMuseum, hefiguresreErotes,eated, oldingorches,nthe croll-work,rpoisednflighteside perchingove.3Amonghepreciousatethird-centuryroup fgypsumcasts ndmoulds rom metal-worker'shopat Memphis, neofthefewpiecesofdirectvidence hichwe

possessrom

Egyptianoilfor he

greatHellenisticchool f

metal-workingentrednAlexandria,s thecastofpart fa cup,ofthe amegeneralforms the o-calledMegarian owls,with slender igurelimbinghroughhecoilsofscroll-work.4n a goldmount rom hehead-dressftheprincipal urial n theKoul-ObaTumulus, earKertch,emale iguresitthronedmonghetangledoliage.5These examplesufficeo showthatduring hefourth nd third enturies .C. the

a Bulletin f theMetropolitan useum fArt,NewYork,, 1906,11 -1 0: xxxv, 040, 11 ill.).8 F. H. Marshall, atal.of heJewellery,reek,trus-can, ndRomannthe ritishMuseum, 901, os.1611-4,p. 172 figs.).4 OttoRubensohn, elUnistichesilbergeratnantiken

GipsabgüssenFestschrift urErb'ffnunges Pelizaus-Museums uHildesheim\qik no. 10.ol. ix.* S. Reinach, núquitésuBosphore immérien,892,pL ii, 1; E. H. Minns, cythiansndGreeks, ambridge,i9i3,fig.9<S.








peoplingffoliatecroll-workithhuman igures,ndoccasionallyith easts rbirds,

was lreadyn establishedeaturefornamental etal-work.A fourth-rearly hird-centuryolddiademn theBritishMuseum, funknownprovenience,6erves oillustratehe ource f thefoliate-skirtedreature hich iguresso largelyn aterdecorativeculpturePL II, 1). Wearing hekalathos,ndclutchingthe tems f thetwocoiled endrilsntowhich he ower art f herbody sresolved,she seasily ecogniseds a form fthe ime-oldGreatGoddess' fAsiaMinor.Some-times he s figuredlone, ometimes,s here, lankedybeasts n herrole ofttótvicc0T)pc5v;ometimeshe lutchesnimal-headedoils, ometimesendrils;nd he sfoundmost ommonlyt this arly ate n northernreecendSouthRussia.7A fineecond-century.C. ?) example iguresn a plastermodelof a helmet rom he amemetal-worker'sache tMemphis.7" er malecounterpartigures,houghesscommonly,n

similar uiseas Dionysos-Sabazios.8Manyof therepresentationsf thisfigurerefunerary,9ndit is significantor tsfutures a decorative otif hat t hadalreadybegun obeassimilated ithinhewideningircle fDionysiacpeculation.

The scrollwithprotomaif beasts r human iguresmergingrom hewhorlssnotfound t this arlytage. It is possible, owever,hat osses rspouts,uch s thelion-headpoutswhich igurentheChertomlykilvermphora,10etneatly ithinheloopsofa spreading,ormalcroll,mayhave uggestedhemotif,many ftheearliestsurvivingses of which re to be found n thefieldof metal-workp. 9). Thesamevase, n thegeneral elation ffigureso foliage,ooks forwardo suchearly-Imperialilver esselssthe arge raterromheHildesheimreasurenda pair fcupsfromheBoscorealereasure,11hile hedoves ndstorkserched eraldicallypon he

foliagemaybe held to foreshadowhe wans ftheAra Pacisdado.In MagnaGraecia arlymetal-workxamplesre acking. nstead here resomeSicilian erracottaesselswith elief-decorationonsistingffrontaleads nthe oopsofrunningloralcrolls11*ndthe eries fApulian unerarymphorae,nthenecks ndshouldersfwhich recommonlyainted uman eads pringingrom flowerrfromthefoliaget theheart f scroll,rwhole igureseated rhoveringetweenhe pread-

6 Marshall, p. cit.no. 1610,pl. xxvii. BertaSegall,Museum enaki, then: atalog erGoldschmiedearbeiten,1938, 8-9,no. 24, pl.7, llustratesvery imilar iademin theBenakiMuseum,ndcites nother,lso inAthens,in the NationalMuseum,no. 10832. She stresses hefuneraryonnotationsf suchdiadems.

7 M. Rostovtzeff,Le uitede la grande éessedans aRussieméridionale',ev. EtudesGrecques,xxii,1919,

462-481, itingherelevantublications. he formwithanimal-headedoils,sometimesn theshapeof stylizedtendrils,ometimeserpent-likee.g. Marshall, p. cit.ynos. 1265-6, l. xvi, wo seventh-r sixth-centuryoldplaquesfromCerveteri;Minns, p. cit.,fig. 54,horse'sfrontalrom svmbalka),s perhapsheprototype.

7a C. C. VanEssen,Modellen anWapensuithellen-istischenijd',Bulletin andeVeraenigingotBevorderingderkennis an de antieke eschaving,, I, 18-21,figs.1and 3. C. S. Ponger,Katalogdergriechischenndromi-schen kulptur,er teinernenegenstandendder tuck-plastikm Aliar Pier onMuseum uAmsterdam,942,pp.86-7,no.177, ig. ,pl.xxxix. Seefig. pposite.8 L. Curtius,JDAI, xlin, 1928, 281-297; foundalreadynthe th enturyna three-sidedase tAthens,datedprobably 55-4B.C. Ath.Mitt, i, 1926 117 ff.);

cf. hemarble croteriontLeningradibid.pl.xix.1) onwhich hefigurelutcheswobeasts ythehorns. For asurprisinglyaterepresentation,eetheAntonineomb fQ. LolliusLiberalisntheLateranMuseumCurtius,oc.citfig. 9); each f he iguresests hand nthe houlderofthedeceased,nd t sevidenthat, t east n a funerarycontextuch s this, hefoliate-skirtediguretill etaineda definiteymbolic ignificance.9

E.G. thegolddiademworn ythe ueen n heKoul-Oba tumulusReinach, p. it.pl. i,3). It is found om-monlyon wooden sarcophagi f the fourth nd thirdcenturiesC. Watzinger, riechischeolisarkophageusderZeit AlexandersesGrossen,eipzig,1905, p. 37-8,figs. 5-6; p. 53, fig. n; p. 62,nos.r ands; Minns, p.«i.,figs. 234,276).10N. P. Kondakov,J. I. Tolstoi,S. Reinach,Ann-quités e a Russiemeridionales891, igs. 56-7; Minns,op.cit^ figs. 6-7; M. Rostovtzeff,ranians ndGreeksnS. Russia, 1922,pl. xxi, 2; P. Jacobsthal, rnamenteGriechischerasen.1921, ls. 142-3.11E. Pernice ndF. Winter, er HUdesketmeraber-fund, 1901,pls. xxxii- xxiii;Monumentst Mémoires:Fondationiot.V, 1899,pls. x-x.

lla Ausonia, iii,19 3,27-34,figs. ,a andb, 2.








ingvolutes.12 heseamphoraenable s to date numberfexamplesnothermedia.

A latefourth-centuryebblemosaic tDurazzooffersstrikingarallel;13ndthere reat leasttwosurvivingxamplesn architecturalculpture. he firsts a fragmentflimestoneedimentrom eglie,nearBari,now n theBostonMuseum f FineArts,which igureshesurviving emberfa pairofsymmetricallylacedErotes erchedlightly pona coiledtendrilPL III, i).14 This fragment,ith tsvigorous,ibbedfoliagendthe lender,oyish igureftheEros,notyet he hubbyaby fHellenistictaste,maywellbe as early s the atefourthentury. he second s one ofa pairoffriezesn a latethird-centuryypogeumt Lecce.15A human eadspringsrom hecentralalyx facanthuseaves; ndthroughhefoliagef the croll camperminiatureEroteswithbutterflyings ndanassortmentf smallbeasts nd birds. The capitalsof the samehypogeuminkthese outh-Italiannimatedcrollswith hewell-known

series fsouth-Italian,ateEtruscan,ndRepublican oman apitals,n which umanheads rbusts recombined ithvolutes ndacanthus-foliage;16ndat least neotherlate Etruscanmonument,terracottarieze rom erveterin the MuseoGregoriano,mustbemore r essdirectlyerivativerom he ame ourcePL I, 2).17 The centrefor ll thisworkwasTaranto; nd whilethere re nevitablygreatmany oints fcontactwith heHellenistic eopled crolls f the easternMediterranean,hesouth-Italian eries as on thewhole clearlyefinedharacterf tsown.

The Leccefriezemaybeas lateas the loseof the hird entury.C.; nd t wasatabout hisdatethat hepeopled crollmakes ts first ecordedppearancen themonu-mentalrchitecturefthe astern editerranean.hetemplefArtemiseukophryeneatMagnesiawasbegun oon fter20B.C., nd finishedarlynthefollowingentury.

The IonianArtemis as noneother han Hellenised ersionf the GreatGoddess',and it was natural hereforehat,winged nd foliate-skirted,alathos n head,sheshouldhavefiguredrominentlyn the architecturalrnamentf thetemple, nceclutchinghe tems ftheformalriezewhich nrollsorightnd eft rom he owerpart fher ody long he nnerace f he wo ntaePLII, 2),and nce isingmajesticallyinthemiddle f the croll-workf the entral croterionf theeastgable.18 t is easyto seehowthis astfigure,he ower art fwhich s partlymasked ythe canthus-calyx elow, ame ntime o ose tsfoliate kirt ndtofigureimplysa winged eingrisingrom hefoliage.The ineofdescent rom his igureo thewinged ictoryftheacroterionftheTraianeumtPergamon19s clear nd direct.

Whetherrnot the rchitectftheArtemision,ermogenes,asthefirst o usethismotif nmonumental

rchitecture,hefact ndthemannerf tsuse constitute

12E. Gerhard,ApulischeVasenbilderes koniglichenMuseums uBerlin, 845, assim.The *Great oddess'figure, ithkalathos ndfoliate kirt, iguresnceonly(&</.,pl. A, 1); forother nstancesf thisfigure romHellenistictaly, eeVanEssen, p.cit.13C. Praschniker, ahresheftees osterreichiechenarchdologischennstitutes,xi-xxii, 922-4, 03-214, igs.122-3; c£ %• 124,from he shoulder f an Apulianamphora.14L. D. Caskey,MuseumfFineArts, oston CataLofGreekndRoman culpture,925, . 105,no.49;A.W.Lawrence, aterGreekculpture,927, l.xcb; H. U. v.Schoenebeck,MnemosynonheodorWiegand, 938,56,pl. xxi, .

15Áusonia, iii, 91 ,7-26,pl. .

16E. v. Mercklin, rch.An\.1925,164 f.;K. Ronc-zewski,Rom. Mitt,xlv,1930,59-79; F. Krauss ndR.Herbig,Der korinthisch-dorischeempel m Forum onPaestumDenkmalerntiker rchitektur,) 1939, 6.17Photo:Alinari, oma1**74.

18J.Kohte ndC. Watzinger, agnesia mMaeander,1904,figs. 57, 60, 61 (acroterion),nd 65, 69 (frieze).Prideof place shouldperhaps o to the smallwingedfigure t the centre f thescrollfrom hesmaller,ndprobablylightlyarlier, emple f ZeusSosipolis n thesamecity,now in Istanbul Mendel, , pp. 4*3-4>no.194). Here, oo,the stems f thescroll pring rom nacanthus-calyxndnot fromhebodyof thefigure.19Pergamon, , 2, 33-4,pls.xiv-xv.







PEOPLED SCROLLS: A HELLENISTIC MOTIF IN IMPERIAL ART 7vital tep n tsdevelopment.hesamewingedreature,alathos nhead ndclutchingineither and he oiled temspringingromhe nvertedalyx f canthus-leaveshatopensout belowherwaist, iguresot ongafterwardsn thepilaster-capitalst theangles fthe eliaof the emple fApolloDidymaiostMiletus.20tmay erywellbethat nthisdetail heArtemisionervedsa model or he rchitectsf theDidymaion;and certainly, ith ts use on these wogreat oniansanctuaries,hisvariant f thepeopledcroll-motifassednto he cceptedanon fHellenisticrchitecturalrnament.

There s no need ofollowll the ubsequentdventuresfthemotif.The foliate-skirted igure, ithorwithout ttendanteasts,wastopersist,ittle ltered, ntil tbecame part fthe tock-in-tradef taliandecorativertfrom ompeii nwards. nassociation ith hepeopled crollttends o ose tsdistinctiveharacterndtobecome,in Roman imes, wingless emalefigurer a Victory, ising rom hefoliage t the

centre f a scroll rhoveringbove hecentralalyx. n this atter ormt is found tleast s early s theHellenisticgeonnumerous pulian mphorae,ndon a marblerelief-fragmentrom he Athenian cropolisa small lion, shelteringeneath hefoliage,urthernlivenshe cene).21 y ate-Republicanndearly-Imperialimes thadbecome commonplacefdecorativert, iguringnpainting,tucco-work,erracotta,and sculpture.22 n interestingate Hellenisticvariant t Pergamon ortraysnelaboratelyrowned ictorylutchinghetwin tems,which ork oframe er t thetopof formal,erticalcroll n each fthe wo arved aces f marble ilaster:n oneofthewhorlsfthe croll re he emainsf figurelutchingkantharos.23t east slate,however,s the second entury .D., pairofpilaster-capitalsromHeraclea-on-Marmarap. 31) attest hecommon erivationfall these ariantorms.

It isnot t allsurprisinghat he uins fPergamon,herehenaturalisticenderingofflowers,ruit,ndplantswas cultivated ith uch uccess,24houldhaveyielded heprecursorsfthe wotypes fpeopled crollmost avouredhroughoutmperial imes.Thesearethesingle unningcroll horizontalrvertical) fvine,or acanthus,r acombinationf thetwo,variouslynhabited y living hings,nd the doublescroll(horizontalrvertical)fwhichhe wo nterlacedtems ormvalorcircular edallionsframingsolated iguresrgroups.The well-known osaic orderromhe oyal alaceoftheAttalids ontainshorizontaline-cum-acanthusinceau,xecutednpolychromeona blackground, ith iny utti,ocusts,tc.,flittingmong he eaves, endrils,ndflowersPL III, 2).25 The subject-matterollows stablishedanons:26t is only he

20Th. Weigand, Didyma, i (H. Knackfuss,Die

Baubeschreibung),erlin,1941,nos. F. 248-251, pls.107-9, n<l emarksn p. 66. Forthe hronologyftheDidymaion,see E. Pontremoli nd B. Haussoulier,Didymes, aris,1904;C. C. VanEssen,Bulletin e Corre-spondenceellénique,xx,1946, 07-616.21Gerhard, p. cit.passim;O. Walter,BeschreibunderReliefsmkleinenkropolismuseumnAthen, 923,p.221,no. 450 fig.).22E.g. G. E. Rizzo, Le pitture elta Casa di Livia*(Monumenti eltapittura ntica scopertin Italia, iii,fase.3) 1936,fig.10; Gusman,i, pl. 73 (theFarnesinastuccoes); hid., l. 88 circularmarble ase ntheTermeMuseum); bid., ii,pl. 164 terracotta uralplaques ntheLouvre; cf. theplaquesfromMyrina n the samecollection).28Pergamon, ii, 2, pp. 328-30,no. 412 (fig.). In

every ssential hisarrangementlready nticipateshe

topmost eature f one of thepilasters f the Severanbasilica tLepcis Magna p. 38).24E.g. the ircularltar f EumenesPergamon,u,2,322,pl.xli); themarble elief-fragmenthowing prays fcorn ndpoppies ibid., o.408,fig.); ndthe ragmentfa terracottaeaker,now at Marburg,withputtoandgarlandTransactionsf heOriental eramicociety,ix,1942-3, l.ua). .25Pergamon,, 1,Textbd.pls. xxvii-xxxvm;atbd.pls. xvii, xviii; M. Rostovtzeff,ocial and EconomicHistory ftheHellenisticWorld,i, 1941, 60,pl. xxiv, .

28To the metal-workxamples lready itedmaybeadded gypsum astfrom he atethird-centuryetal-worker's hop at Memphiswithtinyputti cramblingthroughhenaturalisticoliage fa vine-rinceauRuben-sohn, p.cit., o. 25, pl.viii;v.supra, . 4,n.4).








medium nd theemphasisn naturalisticetail hat renew, ndthese re ufficientlydistinctiveo establish eyond oubt hederivation,ither rom ergamonr fromcommonource, f twofirst-century.C. acanthus-scrollsrom ompeii, ne in theborder fthefish-mosaicrom heHouseof theFaun PL III, 3),27 he thern a hori-zontal ainted riezeromheVilladeiMisteriPL III,4).28 Both re enderedn darkgroundndboth howminiatureutti n thefoliage, hile hepaintinglsoportrays,below he piralsf he croll, diminutiveare ndrunningound.Amarble tele romPergamon,ow n BerlinPL XXII, i),29withwidelypaced esignsn owrelief,ndplant-formsomewhatnusuallyonventionalisedorwork fthis chool,s a Hellenisticforerunnerf theverticalmedallion-scrolL n either ace wo stout canthus-stems,springingrom leaf-calyxt thebottom fthe tele, ross ne notheralf-waypandfill hefieldwith woovals. In theupper, ndsmaller,fthese, nbothfaces, large

bunch fgrapesnd twovine-leavesprout romhe canthus-stem.n the ower,ndlarger,valon one face woSatyrs ontemplatesleepingMaenad:thecorrespondingscene ntheopposite ace hows couple fgoats eared eraldicallygainsthemouthof anamphora.Herewemay ecognisenembryodecorativechemewhichwill con-front s later nFlavianRome, t Baalbekn thesecond entury .D., nd nSeveranLibya.2* TheAugustanndJulio-Claudianeriods nRome nd taly.

The Italian eries fearly-Imperialarved crolls, unningrspreading,iscreetlypeopledwithsmallbirds, nsects,mice,snails, izard,frogs, abbits nd such-likecreatures,ieson theperipheryfoursubject. t isdistinguishedy he oving aturalismwithwhich he ndividual

plant-orms,

otablyhe tems,eaves, lowers,nd fruit f

therich canthus-rinceaux,retreated, naturalismn nowaydiminished hen heseare ombined ith praysfvine nd vyfreven ars fcorn.Outstandingxamplesfsuch crollsre hose hat iguren the ower, uter adooftheAraPads,30 n thedoor-wayof theBuildingfEumachia t Pompeii,31ndon the eries f ateJulo-Claudianpilasters,fwhich nesections intheUffizi allery32ndfour thersn theBelvedereoftheVilla Medici.33These all belong o a sober ndrelativelyactualworld.Theinhabitingauna re llmore r ess nscale ndquite econdaryothe uxuriantegeta-tion. Humanbeingsndthe argeruadrupedsavenoplace.

It is very ifferenthenweturnnstead otheproductsfanother, ore ancifultrendndecorativert,whichmade tsappearancen Italy arlyn theAugustange.Thesefancies ound xpressionn third-styleall-painting,hichwas ntroducedot

later han . 30B.C.;andfrom itruvius' riticismfthis tylewemay nferhat heycamefrombroad,ndspecificallyromhe asternrovinces.34e condemnshe tyle27E. Pernice,Die hellenistischeunst in Pompeji;

Pavimente nd igürliche osaiken, 938,150,pls.Hi. iii.28 bid.150,pl. xliii, .29Pergamon,ii,2,pp.323-6,no.407,fig. ndBeiblatt

xliii; Mnemosynonheodor Fiegand,938,59,pl. xxiii(one face nly).80G. Moretti, raPactsAugustae, 948,pls. -iv,x-xviii.

•* Arch.An%. 934, 73-4, fig.19; V. Spinazzola, eartidecorativenPompei nelMuseoNa&onale iNapoli,1928, ls.xxib,xxii. Photo:Alinari, apoli 1004?.82Moretti,p. cit.y01-3,fig. 62. Photos:Anderson,

Firenze 320, ndBroei,Firenze, 301.38Capitoliumyiii, , April1923,167- 71, igs. 5-19.The suggestionhat heymaycomefrom ie forum fCaesar must be rejected. They are altogethermoredelicate ndwidely pacedthantheDomitianic crollsfromhat ite v. infra,. 12). Thedeeply-drilledorder-moulding, owever,uggests date ittle,f atall,beforethemiddle fthefirstentury.34De Architectura,ii,5,3-5,publishedfterhe attleof Actiumn31 B.C. ndbefore he ssumptionfthe itleAugustusn27 B.C.








in general s an innovationue to thedepravedasteofhis ownday,and inveighsspecifically gainstsurgentesx radicibusumvolutis eneri iotes abentesn se sine rationesedentiaigilla, onminusoliculi imidiataabentesigilla lia humanis,lia bestiarumapitibus.Haec autem, e continues,nee untnee ieri ossunt ee uerunt.Quemadmodumnim otestcoliculus arn enuis t mollis ustinereedenssigillum,utderadicibustcoliculisxparte loresdimidtataqueigilla rocrean? few ines ater ecompareshird-styleaintings ith hefantastictage-scenerynventedyApaturiusfAlabanda or hetheatret Tralles.FortunatelyorRoman rt, nd for he art of medieval nd Renaissance urope, nwhich he life of theGraeco-Romaneopled crollwas to be prolongedormanycenturies,hese iteral-mindedtricturesassedunheeded.

Many fthese anciesanbeseen lreadyn use n the ate econd-styleaintingsfthe House of Livia on thePalatine, nd in particularn the Room of thewinged

friezes', here veryne of thefiguresepresentedindstscounterpartn themetal-work fthe Hellenisticge or in Apulianvase-painting.35heseheraldicallyosedgrotesques,owever,ie on themargin f thepresentnquiry The painting ftheAugustange does not appearto have includedpeopledscrolls f a moreformal,architecturalharacter;nd in particular e missone of the commonerf the atersculptural otifs,hepeopled crollwithprotomai,alf-lengthrthree-quarter-lengthfiguresf human eingsndanimals,mergingromheflowers. hewords f Vitru-vius,coliculi imidiata abentesigillaalia humanis,lia bestiarumapitibus, ightequallyrefero thatother orm f foliate eing, lready iscussedn connexion ithsuch

objectssthe tótviocr|pc6viademn theBritish useump. 5),a form hich ppearsalreadyn Italianpaintingn theHouse of Livia and, in bothhuman nd animal

guise,wastobecome stock eaturef the ater ompeiantyles. t maybe that hescrollwith nimal-protomaiasderivedather rommetal-work. ertainlymong heearliesturvivingxamplesre four roups fsilver esselsntheHildesheimreasure,some f themmportedfromAlexandria?),omeprobablyf ocal,Gaulishworkman-ship.36Somesuchmetal-workriginalmusthave erveds a modelfor heArretinevessels, iguringheprotomaif horsesndofbullsspringingrom lowers,rom he

workshopfthe ateAugustanndTiberian otter,M. Perenniusargathes,fwhich

cup in New Yorkwill serve s an example.Fromthebasesof tall acanthus-sprayssprout oureafypirals,achterminatingna flower, hich isgorgesromtscentrethe orepartf horserof bull Pi. IV, 2).37 A paintingntheHouseoftheVettii t

Pompeii epicts heforequartersf two eopardspringingutwardsromheflowers

of an acanthus-scrolletagainst he stemof an elaborateandelabrumPi. V);and

it maywellbe that uchthree-dimensionaletal-workepresentationsirstnspiredwhat s otherwisevery uaint onceit. t wasnotuntilthesecondhalfofthefirst

century.d. that hemotif assed nto rchitecturalculpture.In the croll-bordersfthePergamene osaic ype,nimatedydiminutiveuman

andanimal igures,hemain ccent s still aiduponthefloral lements.During he

86G. E. Rizzo,Le pittureellaCasa di Livia' (Monu-mentiella itturantica copertin talia, ii,fase. ) 1936,11-14, figs. -10.

86E. Pernice ndF. Winter, er Hddeshetmerilber-fund, 901,pp. 25-6,pl. iii; pp. 37-41,pls.xiii-xvi;pp.57-r9,l. xxix;pp.67-9, pls.xxxviii-xl.

87 Corpus VasorumAntiquorum:U.S.A. fase. 9,Metropolitan useum fArt, ase. i, 1943» o>pi-xxx»Cf Karl Schumacherestschrift,930,303,pl. xxxv,5;H. Dragendorff--. Watzinger,Arretintscheeliej-keramik,948,nos.231-2,266.







io THE BRITISH SCHOOL AT ROME

first entury.d. Romano-Campanianall-paintingseature newtype frunningscroll,n which he nterests more venly istributedetweenhevegetationnd tsliving ccupants. he latter owform n ntegralart fthe crolltself,eing ctuallycontained ithin hewhorls.A third-styleorder rom housebeside hebasilica tPompeii hows his volutiont an early tage.Threefriezes,nehorizontalnd twovertical,re filled yacanthus-scrollsone n polychromen a darkground:n everythirdpiral s a creature,dove, rog,rroe( ),while he entresf eachpairof nter-veningpirals old flowers.38 he Casa del Sirico, heowner fwhichwas duumvirof Pompeii n A.D. 6o,39has early ourth-styleaintingsf the ate fiftiesr earlysixties.Thecircular olutesf rich canthus-rinceau,aintednbrightoloursgainsta dark ackground,re gain ccupied y lternatinglowersnd nimals, acingorightorleft.40Onlyslightlyater,tmaybe, in theseries,ndpossibly ythe amehand,

is thehorizontalcanthus-friezentheNaplesMuseum rom heporticofthe empleof sis atPompeiia.d. 63-79),also xecutednpolychromen dark roundPLVI, 3).Every therpiral erminatesn a large lower:heothers rame varietyf creatures:putti, irds, uadrupedsuch shorses, ears, anthers,ulls, ndgoats, tandingn,orprancinghrough,hefoliage;Niloticbeasts; ndcrouchingpes.41From heCasadiNaviglio tPompeii, . A.D.70, comes notherimilarcroll,with oliate-skirteduttiandanimals n itsroundels,aintednyellow n a dark round;42rom erculaneumyet nother ithhorses, oats, tags,ions, nd bulls n its volutesndNiloticfigurespopulatinghe entralalyx.43n these crolls,svonBlanckenhagenasobserved,44hebeasts hread heirway nwardsndoutwardshroughhe oopsof thewhirlingpiralsin which heyreentwined. hey rethusnotmereadjunctso thefoliage,utrelated

toitspatially.Very ifferentntreatments a stucco ilastern the mall ubsidiaryhrine fthePompeianseum PL VI, 1). A doublevertical canthus-scrollprings rom calyxbelow. Itsnarrowtems, ightlyheathednslendereaves,nterlocks they limb hefaceof thepilaster,roducing succession froundmedallions, ithin achofwhichis an Isiac emblem a sistrum, pairofcymbals, flaskwithprojectingandlesor,possibly, head-dress),seated aboon, nd the argelyefaced igurefa warrior itha shield.The baboon ndwarriorrebalanced nthe tems, hile he itual bjectsreslung ncords romheir oints f ntersection.or hepeoplingf floral crollswithinanimateobjectsthere s Hellenistic recedentromPergamon, marblefrieze-fragmentnBerlin, epictinggroup fweapons, Gallic arnyx,crested elmet,ndaquiver

nanacanthus-spiral,

neloop

ofwhich erves s apeg

onwhich ohang

hehelmet.45

A series froughlyarvedtone riezes,omepreservedn theTermeMuseum nRome,46thersnmunicipalmuseums,rinset ntobuildingsfpost-classicalate,47

88W. Zahn,Die schonstenrnamentendmerkwürdig-stenGemdldeus Pompeji, erculaneumnd tahiae, , 3,1828, l.xxix. Cf.vonBlanckenhagen,?,n. 4.89vonBlanckenhagen,{, n. ?.

40Spinazzola, p. cit., l. cv.41Zahn, op,cit. , i, 1828,pls. v, vi; I, 5, 1828,pl.

xlix; II, 1852,pl. vii; von Blanckenhagen,l. xxix, 1;O. Elia, Le pitture eltempio i hide (Monumentiellapitturantica copertin talia, ii,fase. -4) 1941, igs.

and5,pls.vi,vii.42Zahn, p, it.. , 7, 1829, l. xvi.48MuseoBorbónico,833, x,pl.xxiv.44vonBlanckenhagen,?.45Pergamon,ii,2, 306-7,no. 396,Beiblatt0.46E.g. inv. no. 59506,from heAbruzzi;above, a

horizontalcanthus-scrollithman nd bird nd,below,a fragmentarynscription,ngoodfirst-centuryettering:...VLLI. L. PHILO SEVIR...O MENOPHILO







PEOPLED SCROLLS: A HELLENISTIC MOTIF IN IMPERIAL ART n

illustrateocal talian aste npeopled crolls.These rehard o datewith recision,n

view of their uasi-provincialtyle. But thewide spacing nd stylisationf their•designs,ombinedwiththecareful,ccasionallyaturalistic,enderingf theplant-forms,uggestshat he stones hemselves,r the models romwhich hey re drawnareearlyndmight allbetween he astyears f theRepublic ndthe atter alf f thefirstentury.d. Two exampleswill sufficeo indicate heir haracter. he one,afrieze t Aquino, unninglong hetopofan inscribedrchitecturalragment,howsat the pringftwofloral crolls winged, aked emale igure,mergingtthigh-levelfromnacanthus-calyxndgraspingn either and he tems ftheplant,nwhich wobirds are perchedPi. II, 3).48 The secondpiece,at Parma, ontains horizontalacanthus-rinceau,ith vysprays, rapes, nd pecking irds, wistednto a centralroundel,nwhich hefiguref a nakedwoman, oldingn apple, s framed: igure-

groups f men nd beasts ppear t eithernd below he croll.493. TheFlavianAge nRomend taly.

Downto the third uarter f thefirstentury .D. thedevelopmentfpeopledscrolls n Romeand Italyseems o havebeenmainly hework fwall-paintersndminor raftsmen.he Flavian ge awtheirdoptionymetropolitanculptorsn stateemploy,nd their irstublic ppearances integrallementsn theornamentationfofficial onuments.

Acanthus-scrollsith animal-protomai,nfortunatelyuchweathered, iguretwice n the rch f DivusTitus, rectedn the arly ears fDomitian's rincipate.50Withinthearch,flankinghe twofamous eliefs,renarrow,ertical anels, ach

bisected rom ottom o top bya straighttem,fromwhichwhorls, erminatingnflowers,ud offnpairs oright nd eft. Forepartsfhorses,ions, ulls, ndbearsspring rom he flowersfeveryther air Pi. VII, i).51 In the offitf the rchitraveon the ast ideofthe rch hemotifmakes second ppearance,his ime ntheformof a horizontalrieze, romheflowersn thewhorls fwhich pringheforepartsfanimals, ncludingulls,rams, nd bears PL VIII, z).52 The flowingreatmentfthesinuous temsmatchesheplasticmodellingfthebeasts.

From heAulaRegiaof Domitian's alaceonthePalatine omes series f scrollsthat anbe datedwithin fewyears f .d. 90. TheAulaRegiawascompletedfterheEmperor's ermanicriumphf 86 and89,to udge romhe ypes f rms epictednthe TropaeaFarnese',whichwerefound here ndarenow n the nner orch f the

LIBERTO . . . TIOPAE LIBERTAE VXORI. (R.Paribeni, e Terme iDiocU\ianodil MuseoNa^ionaleRomanoy932,p. 61,no. 41); and nv. no. 120709, romOtricoli, horizontalcanthus-scrollith miniatureigand a bird C. Pietrangeli, cricolumItalia Romana:municipicoloniey, 7) 1943, . 98,no. 34; pl.xvi, illus-trates part fthe amefrieze); nd nv. no. 34219, romChieti foundwith heremainsfthe omb fC. LusiusSorax),a funerarytelewith scroll-workorder, nevolute fwhich s filled ya maskwith tiny ird boveit MonumentintichLix,1008, 82,n. 1, fig. 7").

47E.g. two horizontal rieze-fragmentsithbirds tFoligno.48 Inscribed: RBITRATV C. BETVTI M.F. OVF.ET P. ALFI P.L. PHILOMVSI. FormerGermanArch.

Inst.,Rome.neg. 31. 3979.49FormerGerman rch. nst.,Rome,neg.33.437.50A Nervan-Trajanicatehas beenproposedby D.

McFayden ClassicalJournal i, 1915,131 ff.) nd F.Magi (/ rilievilavidelPalazo dellaCancellería,ome,1945, 160 ff.); but the reasonsadvancedare hardlysufficiento justifyherejection f thetraditionalate,confirmedy K. Lehmann-HartlebenBull, Com. xii,1934, 9-122) and von Blanckenhagenpp. 62-4). SeeJRSxxxviL 947, 90.51L. Rossini,GliArchi rionfalt,836, l.xxxiv;vonBlanckenhagen,l.xvi.51.58L. Rossini,op. at. pl. xxxiv. Photo: GabmettoFotográfico azionale, eg.26503.








PalazzoFarnese;53nd we earn romMartial hat hepalace s a wholewascompleted!by92. The Tropaea retwoprojectingntablaturelocks, n the hort, ront acesofwhich reVictoriesndtrophies,ndoneach ong ide nacanthus-rinceau,pringingfrom foliate-skirtedutto t theforwardngle ndencircling powerfullyodelledbeastwithin whorl ffoliage. o the ame eries elongs damagedragmentffriezein theNaplesMuseum;55ndtheres a fine ragment,ow n theadjacent eristyle,,showing horsewith weepingailgallopinghroughn acanthus-whorl,leaffromwhich ncirclestsbellyPL IX,2).56 Foliate-skirtedutti igurentwo therntabla-ture-fragmentstNaples,which lso comeprobablyrom heAulaRegia.57They reidenticalntreatmentith hose lreadyescribed,utrathermaller;ndthey epict»in theonecase, wo onfrontedutti lankingcandelabrumnd, n theother, singleputto acing candelabrumt the ngle fthe rieze.Both reak ntouxuriantcanthus

scroll-work,ut there s nofiguren the ingle urvivinghorl.The sculptureftheAulaRegia sonly fewyearsater han hat fthe rch fTitus; but,despitetsfrag-mentaryharacter,t is clearthat ts lush,plasticquality epresents considerableadvance n thebold,butmore estrained,egetationn the arch fTitus.

Only fewyearsater gain s the culpturalrnamentftheForum ransitoriumorForumNervae. The forum as dedicated yNerva nA.D.97;58but thadbeenbegun t least a dozenyearspreviously,eforeMartialpublished is first ook ofEpigramsn 85-6,59 ndits decorativeeaturesateprobablyromheearly r middlenineties fthecentury.Among hem, n the ntercolumnaroffit-panelsfan archi-trave,s to be seen ninterestingariantfthepeopled croll, Medusamask ormingthe centralmedallion f a schematic,utluxuriant,nd intenselyively, canthus-

scrollPL XII,2).60 Thescroll-framedasksanotherfthe ecurrentotifs orwhichthere s Hellenistic recedent, marble rieze-fragmentrom ergamon, epictingMedusamask nanaegis na surroundfrinceaux.61

There follow wo monuments hich,both n date and 111haracter,eflecthetransitionrom he firsto thesecond entury,rom herobust xpansivenessftheFlavian getothemore ober lassicismfthe gewhich ollowed. hefirstfthesesthetemple fVenusGenetrixntheforumfCaesar. Of the offitsromhe ntabla-ture fthis emple,wo rere-erectedn itu,while third s set n a wall nthegardenof theVilla Medici.62 n thecentrefeachpanel nakedputto tands nee-deepnanacanthus-flower,romwhich ourpiralsmergendfill verynch fthefield,s inthe soffitsrom he ForumTransitorium.he interplayf ight ndshadeproduced

bythe

highelief,herichnessfthe

foliages a

whole,ndthenaturalismfthe

risp,curling,ndividualeavesfind heir ounterpartn the plendid canthus-scrollhichunfurlstself rom calyx f eaves long hefrieze.63 he latter,ndeed,sdevoid f

53F. Bianchini, el Palazo de*Cesan,Verona,1738,50 ff.,pls. ii-v; M. Durry, Les trophéesfarnéses',Melanges 'archéologietd'histoire,xxix, 922, 03-318,pl.viii;vonBlanckenhagen,p. 64-7,with ibliography.64Epigr.vu, 56.55Ruesch,Guida illustrata el Museo Na^ionalediNapoli,191 ,no. 1020;von Blanckenhagen,l. xix, 56and57.86Von Blanckenhagen,l. xx,58; cf.pl. xx,59,fromtheAulaRegia.67Ruesch, p. cit.,no. 1020;von Blanckenhagen,ls.

xxii, % xxiii, 6 and67.68CIL VL <m = 11211.M£Wr.i,2,8.60vonBlanckenhagen,l. xiii, q and40.61Pergamon.ii,2, 1908, . 307,no. 397 fig.).62C. Ricci, A. M. Colini, V. Mariani% ia dell*

ImperoJtinerariei Musei e Monwnenti*talia, 24),Rome,1933,p. 43 (fig.);AJA, xxxvii, 933,pl. lvi. 2.Photo: Comune iRoma,neg.21 X 27,1000.68MAAR, xiii,1936, l. iii,1.








figures,ut tsclearlyefinedeatures,hedouble pirals fthick, ibbed,uicy tems,

encirclingntheirwhorls andsome,ull-blownlowers ith railingistils, he arge,fleshy, eavily eined eaves, hecombinationf formal atternwiththeexquisiterenderingfdetail, ndthetapestry-likepread f thedesign ver he entire ield, llchesefeaturesurnishmportantriteriaor hedating fpeopled crolls funknownor uncertainrovenience. fragmentf another canthus-scrollyingnear-by, ithbirds littingn thefoliagenda differentouldingelow,must avebelongedosomeother rchitecturaleaturefthecomplex; ut nstylet is closelykin othetemple-frieze.64We know romAurelius ictor hatTrajanRomae Domitianooeptaorumtalia multaplusquammagnificeoluit rnavitque;^nd from heFasti Ostienses that Tem-$lumVenjerisnforo aesaris ♦ ♦ dedicavitnA.D.113*66The second f these assagesmight e taken oindicatehat hetemples substantiallyTrajanicmonument. ut

despite hedateof theformalompletionfthe empleandwith heforum fTrajan,also dedicatedn 113, approachingompletion,t maywell be thata considerableintervallapsed etweenhemainwork n thetemple fVenusGenetrixnd ts com-pletionnddedication),t is clear hat nspirit hegreaterart f the urvivingrchi-tecturalecorationelongsssentiallyo theFlavian poch, ndwasexecutedycrafts-menwhohad beentrainedn thegreat omitianic uilding-projects.67he handofTrajan'sdecorators aybe seen nthe omewhat ore lassicizingrieze fputtiwitharms,whichmay ome romhe nteriorfthe elia,68nd nthepanels, erhapsromthe exteriorf thetemple-walls,ach withtwoputtitrailingcrolls nd flankingcandelabrum. he latter,s canbe seen n the urvivinganel n theVilla Albani,69adopta more tylisednd ess exuberantype fvegetation,nda harder,harper,nd

moremetallic xecution hantheir ounterpartsn the Flavianfrieze-fragmentstNaples. Theyarerelated athero the well-knownragmentsn the Lateran romfriezenTrajan'sforum,ortrayingoliate-skirtedutti, riffins,ndamphorae.70

The Trajanic ateofthe ast-namedieces s certain,ince atefifteenth-rearly-sixteenth-centuryrawingshowportionsf an entablatureith denticalmotifstillinsitu nthe ineofthe outh etaining-wallftheforumtitseasternnd.71The twosurvivinganelswere oundn the ime fClement III (1 592-1604), togetherithmagnificentragmentfacanthus-scrollrieze, lso now in theLateran,72nder hechurchf S. Eufemia.73he churchtood usttothe outh fthe olumn,well tothenorth f the outhwallof theforum,ndthe twopanelswerenot thereforen theiroriginal osition, hen ound, utmusthavebeenmovednantiquity. he samemay

verywellbetrue fthefragmentf

canthus-scroll,hich annothereforee

assumed,64MAAR, xiii,1936,pl. liii,3.65Lib. deCaes.13.66Notirie egli can*1932, 01.67See also von Blanckenhagen,. 77. Characteristic

of Flavian rchitectures the nsertionf two small ingsl>etween hedentils f theentablatureG. Lugli,Bull.Com.xlvi, 91 1920), 5,note ); cf. onBlanckenhagen,pls. xxi,60 and xxvi,72-3). Compare lso the sima-ornamentMAAR, xiii, 936, l. i,2) andthe laboratelydecorated ases R. Naumann, erQuellbe^irkonNimes(Denkmaler ntiker rchitektur,), 1937,46 ff., l. 39;JRS, xxxviii, 948,64, no. 17) with hoseof die AulaRegia (von Blanckenhagen,l. xxi, Si and 62; F. Bian-chini,Del Palazo aVCesari, erona, 738, l. ii).

68AJA,xxxvii, 933,pl. lvi, 1; MAAR, xiii, 1936,pl. i,1 Ricci.Colini, ndMariani, p. it.p.44 fig.).69M. Squarciapino,Pannello onamorini elForodiCesare',Am Figurative.\1946, 9 ff., ls.xxix ndxxx.

70Benndorfnd Schone,pp. 38-9, nos. 59 and 60;Strong,,pl.xxxiii;Gusman,i,pl.cv. Photos Anderson,Roma185 and1852.71A. Bartoh, La recinzionemendionaledel roroTraiano', Atti delta Pontificia ccademiaRomana diarcheologia,eries3, MemorU, , II, 1924,177 ff.,pl.xxxvii: 85, ie.5.

72Gusman,ii,pl.cl. Photos: Anderson, oma1850;Moscioni, oma2932.78Bartoli,p.cit.183-4, igs. and4,








as is often hecase,to havebeena part ftheornamentfTrajan'sforum. t could

equallywellhave ome rom heforumfCaesar,which irectlydjoined part fthesouthwallofTrajan'sforum. n general ormnd ndetail tso closely esembleshefrieze f thetemple fVenus Genetrixhat t could wellhave comefrom hesamebuildingnd from he amehand. Whetherrnot twascutduringhe arly ears fTrajan'sprincipate,t is essentiallylateFlavian iece;and it can not be adduced sevidencef the urvivalf theFlavianmonumentaltylento he econd ecade fthesecond entury.

The secondmonument,hichmaybe selectedoillustratehe ransitionromheFlavian ge, s very ifferentn characternd comes rom very ifferentocialback-ground. rom he reatfficial onumentsf he apitalwepass o agroup fsculptureswhich dornedhe tomb f one whomayhavetaken modest art n their onstruc-

tion.74Thehomogeneouseries fsculpturesn theLateranMuseum, hemembersfwhich elongeitherertainlyrwith reat robability)otheHateriimonument, aybe dated,bothon iconographicnd on stylisticrounds,o theturn f thecentury.75Inthe roup ffuneraryortraits,othnthe ound76nd, n themausoleum,nrelief,77Flavian emale oiffuresre combined ithTraianicmaletvpes fbust ndhair-stvle:while n the treatmentfvegetationhefaithfulenderingf ndividualeaves, ruitflowers,nd tendrilsreretained,longsidef a newrefinementnd there-emergenceof thebackground,hich hedecoratorsfthegreat lavian uildings ad tended oobliterates a factorn thedesign.

Threepiecesfrom his omb reofparticularnteresto thepresentnquiry.Onthemausoleum-panel78re hown wopilasters,ne ateitherndof the idewallofthe

podium. Up thefaceof eachclimbs looped canthus-stem,hrowingff s it goescurlingendrilshrough hich pring orses,tags, oars, ndbears, erymuchnthemannerf he ourth-styleaintedcrollsPi.XVI,2). Apilaster,elievedohave omealso from he Haterii omb, s carved none facewith verticalmedallion-scroll,hetwostems fwhich, heoneof ivy nd theother fvine, pring rom n acanthus-calyx.Threaded p thecentres a slendertand, arrying lamp, ndornate hyrsoiframe he croll n either ide. In thefoliageurk iny irds ndbeasts; nd neachofthefour valmedallions,ormedythe ntersectionsfthetwo tems, tands, oised,a Dionysiac igure: youthfulatyr, Maenad, beardedilenus nd secondMaenad(Pi. XIII).79 One hasonly o setthismedallion-scroll,ith tsskilful radationsfrelief ndexquisite lasticmodellingffruitndfoliage, eside tsPergameneroto-

typePi.XXII,

1)to realisehowfarthenaturalistic

enderingfplant-

orms adtravelledinceHellenisticimes. A second ilasterromhe ame omb sof omewhatcoarser orkmanship.t taperslightlyowardshetopand scarved nall four aces»ontheback ndsideswithfloralmotifsnd on thefront ith loosely oiled, ingle,verticaline-scroll.mallbirds eck t thegrapes,nd nthefoliagetand wovintageingfigures,putto nd Maenad;while tthefoot quat Panand Satyr,readinghe

74See F. Castagnoli, ull* Com. xix,1941,50--69,convincingnterpretationf themuch-discussedopo-graphical anel s representingseries fFlavianmonu-ments,n the constructionf which thedeceasedhadtaken art.76vonBlanckenhagen,. 105.

76Strong, i, 179,fig. 26.77Gusman,, pl. 27. Photo:Anderson. oma 87*b.78Gusman, e. cit.79Benndorfnd chone, .225,no.350;vonBlancken-

hagen, 01, l.xxxvi, 8. Photo:Anderson, oma24123,.







PEOPLED SCROLLS: A HELLENISTIC MOTIF IN IMPERIALART 15

grapesna vat PLXVI, i).80 Thepilasters of nterest,otonly or he tylisticreat-

ment,nwhich,venmore trikinglyhannthepreviousxample,he ffectsachievedby he ubtle radationfrelief ndtheharmonyfpatternndbackground,ut lso forthe ubject-matterpp. 23-6).

Someofthemoremportantrchitecturalragmentsith eopledcrolls,he tylefwhich etraysheir inship ith hat fFlavian crollsffixedate,may ebrieflyisted:

Rome, n the BasilicaAemilia.Two oblong anels, achdecoratednhigh eliefwith centralcanthus-calyxlankedya pairofwhorls, rom hecentres fwhich mergeheprotomaif twoconfrontedeastslionand horse?),hind(?) andpanther).Gusman,,pLxiit ; Strong,, 122,fig. 7. Photo:Vaticanneg.xix.ii.2.

Rome,VillaAlbani.Frieze-fragment,loselykin o theprecedingxample,how-

ing wowhorlsf n acanthus-scrollith onfrontedeastshind ?) and ion)to the ightf fragmentarycanthus-calyx,onBlanckenhagen,l.xxxiv,4.Rome,LateranMuseum Sala ix,440). Two fragmentsfacanthus-scrollrieze

with nimal-protomai,losely kin to theprecedingwoexamples.The sur-viving orderfone s the ame s that ftheBasilicaAemilia anels.

Naples,NationalMuseum. Partof a horizontalrieze,muchdefaced,with eaf-entwinedeastseaping hroughhewhorls fanacanthus-scrollnd,betweenalternateairsofwhorls, untingutti, fwhich cantyraces nlyremain,vonBlanckenhagen,l. xxix, 0. Ruesch's tatementGuida llustrataelMuseoNa^ionaleiNapoli, 911,p. 247,no. 1 19), that tcomes rom ompeii,s nototherwiseupportednd sprobably istaken;t canhardlye asearly. Photo:

former erman rchaeologicalnstitutenRome,neg.1936,1 11 PI.VIII, 1Rome, n theatrium fS. Omobono, oundn theadjoiningxcavations. rag-ment fa monumentalilaster, ith heprotomefa lionemergingrom hecentrefa whorl,nhigh,moulded elief.LateFlavian.

Rome, nthe triumfS. Saba. Fragmentfthe ngleblock f a frieze, ith heprotomefa griffinnanacanthus-horl noneface, ndon the djacent acetheprotomai f twobulls in whorls, lankingn acanthus-calyx.robablyFlavian.Photo:Moscioni,Rome22107. PL XII, 1.

Rome, Vatican Museum(Museo Chiaramonti).Horizontalfrieze with twopantherspringinghroughcanthus-spiralsn eitherideof a vase. PerhapsFlavian. W. Amelung,Die Sculpturenes vaticanischenuseums,. 3, 1903,

p. 650,no. 513b,pl. 69. PhotoAnderson,oma23923.Milan,Castello forzesco.Horizontal riezewithputtoon left, eatedto leftastridehe tem f nacanthus-scroll,hile n the ight beast pringsowardstherighthroughwhorl.Probablylavian.Former erman rch.nst.neg.1930, 709.

4. TheSecond enturyn Romend taly.The fashionor eopled crolls s a theme or rchitecturalculptureidnot ong

survive hedeath fthe astofthe FlavianEmperors.Roundaboutthe turn fthe

century,rveryhortlyfterwards,hemotiftself nd,for time, omethingfthe80BenndorfndSchone, p. 226-7,n°» 353-








vigorous, lastic tyle n which t had beenrendered ererelegatedo thesphere f

minor elief-sculpturend oftheotherminorrts; ndtheret seems ohave emained,inRome nd taly, ntil heFlavianRenaissance*ndereptimiuseverusndCaracalla.A series ffuneraryltars, angingromateFlavian o Hadrianic imes, eproduces

in miniatureheheraldic cheme ftheBasilicaAemilia anels p. 15). Betweenhecapitals fthe wopilasters, hich lank he nscribedaces fthese ltars,uns narrowhorizontalrieze f canthus-scroll:he entraleaturefmost s a calyx f eaves, romwhichpringwo rfourwhorlsontainingull-lengthiguresf eaping easts r nimalprotomaintheir erminallowers*uch aretwo lmostdenticallyecoratedltars ntheTermeMuseum,which omefromhetomb f theLicinii n theVia Salaria, heone to C. Calpurnius iso Crassus rugiLicinianus nd the other o C. CalpurniusCrassus rugiLicinianus,onsul uffectusowardshe ndofthefirstenturyndput

to deathbyHadrian PL XIV, 2, 3);81thealtars f CossutiaPrima82ndofAgriaAgatha83n theBritishMuseum;thatof JuliaAufidena apitolinan theVatican(MuseoChiaramonti);84nd an altarntheUfEziGalleryt Florence.84* he altar fP. Junius ornumidantheVaticanGallería elleStatue)hastheprotomaifanimalsandputti;85 hile hat fPlaetoría ntiochis,lso ntheGallería elleStatue, astwothree-quarter-lengthiguresfputti mergingromhe entresf theflowersndhold-ingup betweenhem,n a shell, he bust ofthedeceased,who wears distinctivelyFlavian air-style.86

In spiteoftheir mall cale andundistinguishedorkmanship,hese ltar-scrollsshow omethingftheplasticity,aturalism,ndspacial ffectsf thelarger lavianscrolls.But n otherminorculpturesfTrajanic ndHadrianic imes hese ualities

tend to disappear.The scrolls re stylised nd attentuated;nd despite hecarefulgradingftheir elief nd the kill ftenavished ntheir etails,heyeem oexist essfor heirwn akes han spatternso adorn hefield verwhich heywere paced.Thechanges illustratedyan early econd-centuryarcophagusn theVatican GalleríaLapidaria),hefront fwhich ears symmetricallyisposed esign.On eitherideoftwo uperimposedcanthus-calices,s a pairofgriffins,hosetailsdevelop ntotwotiers f preadingcanthus-scroll,romheupperwhorlsfwhichpring utti ndfromthe ower nimal-protomai.87he putti,now ncomplete,ppear ohavebeen imingspearstthe easts eneathhemPL VII, 2). Thegeneralcheme fcompositionecallsthat fthe arge ateranfrieze-fragmentsromTrajan'sforum;nd thepiecemaywellbeofTrajanic ate.

Fourfragments

f small rieze fblackishmarble,

nen theTermeMuseum ndthree n themagazinesftheVatican,88ontinuehe toryfpeopled crollsnto he

81W. Altmann, ie romischenrabaltdreerKaiser-\eit, 905,p. 40,no. 4, fig. 6; pp. 42-3,no. 9, fig.30.Inv. nos.78165, 8166.88 nv. no. 2364; BritishMuseumMarbles, ,»i826,pl.v. 1-3.83Catal,ofSculpturen theBritishMuseum,ii,1904,341-2,fig.52.84W. Ameiung,Die Sculpturen es vaticanischenMuseums,,4, 1903,p. 639,no. 497a,pl. xviii;Altmann,op.cit., . 146;no. 163.84aFormerGerman rch. nst.neg. 1933, 426.85Altmann,p. it., . 147,no. 168, ig. 20;Ameiung,

op.cit., i,3, 1908, . 426,no. 356a.86Altmann,p. t.,p. 164,no. 206, ig. 33;Ameiung,op.cit. i, 3, 1908, . 420,no. 2«a, pl.xlvi.

87Ameiung, p. cit., , 2, 1903,p. 256,no. 126,pl.xxvi;Gusman,, pl. iv;J.M. C. Toynbee, heHadrianicSchool, 934,pl. xlviii, .88R. Paribeni, oll, d'arte,1914,279-83,fig.3; R.Paribeni, e Terme i Diocle^iano il MuseoNaliónaleRomano, 932,p. 266,no. 833; G. Kaschnitz-Weinberg,Sculture el maga^ino del Museo Vaticano, 937,pp.193-4,nos.429-31,pl. xxvi.Aliñan,Roma38254.








Hadrianic ge. Theyarebelieved o have come fromHadrian'svilla at Tibur;and

indeed heirmaterial,ndthe tyle, xecution,nd contentftheir culpturedecora-tion areall distinctivelyharacteristicf his time. The main frieze s divided ntorectangularanels, omeundecorated,thers arvedwithmythologicaligures,ult-objects,ndrusticcenes,nd s framedbovebya narrow,orizontalorder,nwhichruns,ikea twistedibbon, verymuch onventionalisedcanthus-scroll,ithnarrowleaves ightlyheathingts stem.Protomai fputtiburst rom heopenflowersntheupper wists fthe croll,ndof nimals rom heflowersnthe wists elow: heputti,equippedwith pears ndquivers,rehuntinghebeastsPL XIV,4). The interestsconcentratedn the nimal ndhuman igures. he scroll as ittle ifeof tsown:theflowers,hile lasticndvariedn theirmodelling,avebut slight rganiconnexionwith heir arenttem. Averyimilareliefnthe amemarble,nce n theLansdowne

Collection, asfoundn Hadrian'svilla n 1 69.a9 It terminatest either ndin averticalesign,tthetop ndbottomfwhichre wohalf-figures,mergingromcan-thusups,ndbetweenhemwo omplete igures,tandingnspirals.n these adrianicsculpturesiguredanels nd ornamentalordersreequally lassicalnstyle.

Second-centuryloor-mosaicsnRomeand talycarryn themotif. A pavementfrom orMaranciantheVatican asa floralcrollwith ourmedallionsn tscorners,eachcontaininghefiguref a naked ancer.90 imilarmedallionsrame usts ftheSeasons, upped n acanthus-flowers,n a pavementrom . Trinitá ei PellegrininRome.91A mosaic from tomb ntheVia Portuensisearsa widely pacedvinewithvintagingutti n thewhorls,92precursorf theclose-set,ll-over ine-scrollsof later imes; pp. 23-6). The tomb ftheValerii n theVia Latina,datedby ts

brick-stampsf A.D. i 59, contains good example f peopled crolls n Antoninestucco-work.he lunettesntheend-wallseneathhebarrel-vaultold ymmetricalandwidely paced rabesquesnwhich everal amiliarariantsrecombined foliate-tailedgriffins,rotomaifbeasts mergingrom erminallowers,nd human iguresrising rom alycesndclutchinghestems,r eated, oised n tendrilsPL VI, 2).93Thedeliberateymbolicntent fthisast xamplesparticularlylear; nd t s nterest-ing o note hat nspiritnd na numberfdetails t iesfar loserothe ateHellenisticoriginalshan hegreatmajorityf the nterveningcrolls, articularlyhemonumentalscrolls f the Flavianperiod. It wouldsuggest hat,whilemonumentalsageun-doubtedlylayed n important,nd at times decisive, art n thedevelopmentfthesemotifs,heminor rts ontinuedoproviden importantlementfcontinuity,

one,moreover,nwhich

uneraryymbolismound naturalutlet.

trikingvidencef

this ssociationffuneraryymbolismith ateHellenisticndearlymperialworksfminor rt s tobe seenona silver upfromHerculaneumn theNaplesMuseum, nwhich nacanthus-rinceauontains omer, arriedoheaven n thebackof an eagle,inthecentre, ithpersonificationsfthe liadandOdysseyeated n tendrilsn eitherside.93*

89A.Michaelis, ncient arblesn Great ritain, 882,459,no. 76; R. Paribeni, oll»d*Arte,914,283,fig. ;Auction atal.ofAncient arblesn theLansdowne ol-lection. arch , 1930, . 48,no.69.

90MAAR, xiii, 1936,pl. xxxix. .9*/¿¿¿,pl.xxxix. .

92Ibid.,pl.xxxix. .93Gusman,, pl. 1; MAAR, iv, 1924,pls.xxandxxi.9SaF. Cumont, tudes yriennes,917,p. 78, fig.32;

Lux Perpetua,949, . 295,fig. ; S. Reinach, epertoirede reliefs,ii, 1012,p. 76; Ruesch,Guida llustrata elMuseoNaliónale iNapoli,191 ,no. 1879.

C








A pairofmonumentalilastersn thechurchfS. GiovanniMaggioret Naplesdatesprobablyromhemid-secondentury.tsassociations,owever, ould eem oliewith he ontemporaryork fAsia Minor atherhan f taly, nd t s accordinglydescribedelow nSection (p. 35).

5. The everan ge n Romend taly*The immediate ccasion or hereinstatementf thepeopled croll s a decoratif

motif n monumentalrchitectureas thedecisionfSeptimiuseveruso restorendtoextendheDomus Palatina. t is conspicuouslybsent romheSeveranrchntheForumRomanum,ompletedn a.d. 203, an absence hat s themore trikingn asmuch s thepeopled crolls oneofthemain hemes n the ontemporaryrch tLepcisMagna p. 37). On thePalatine, owever,twasnaturalhat he everanestorershould

have opied motif hathadbeen o liberallyndsuccessfullymployed ytheir re-decessors,ne,moreover,hat ould owellbeadapted o thedemandsfcontemporarytaste; nd from he Palatine t wascarried o thenew Severan omplex,hebaths fCaracalla,where,uriouslynough,twas used n a formwhich pproximatesarmoreclosely o theFlavian riginalshando themajorityf the urvivingeveranxamplesonthePalatine.

The mainsurvivingemains f this FlavianRenaissance',rom oth ites,havebeen isted, llustrated,nd discussed yvonBlanckenhagen.94is analysis ftheirstylistic eatures,nd of the interaction ithin hisgroupof earlier, irst-centuryinfluencesndofnew,contemporaryrinciples, akesdetailed iscussion ere uper-fluous.Broadly peaking,heFlavian asteforvigorous,hree-dimensionalodelling

and for rnamenthich, oweverich, everoses nterestn the ndividualonstituentelements, aybe contrastedith hecontemporaryendencyorely nbroad, ver-alleffects,n whichthe contrast f the patternedurfacewiththe deeplyundercut,shadowed round lays predominantart. Theseconflictingendencies,learly is-tinguishablen theother everanmonumentsfRome,95rewellexemplifiedn thecontemporaryeopled crolls rom hePalatine nd fromhebaths fCaracalla. FromthePalatine onBlanckenhagenistinguisheshefragmentsf three eparate riezes,eachwith differentariant fthepeopled croll:a) a foliate-skirtedymph lankedbygriffinsndcandelabra;h) a foliate-skirtedutto nd an animal eaping hroughwhorl; nd c) a hunting-scrollithfull-lengthutti tandingetweenhewhorlsndanimal-protomaimergingrom heflowersPL X, i).96 To thesemaybe addeda

fragmentfyet

notherrieze, ortraying

heupperpart

f ahunting?) puttowithina whorl fcoarselyibbed ndveinedacanthus-foliage.97f thefriezesnthebaths f

Caracalla,withbeastsloosely ntwinedn thewhorls ndchivvied yputti tandingbetween,hree ragmentsemainn itu:(a) a length omplete ithmouldingsbove ndbelow; b) thewell-knownunningoar; nd e) a mutilated,ead-lesseast.98Other

94von Blanckenhagen,p. 67-8, 00-0.85See notably on Blanckenhagen'snalysis f thearch f heArgentarii,p. 90-2. The nfluencefFlavianmonumentsn the rch n theForumRomanum s lesspronounced,ut s attestedysuchfeaturess theringsbetween he dentils f thecornice lankinghecentralpassage-way:eealso vonBlanckenhaeen,o. 02-1.96 (a) Ibid.,pl.xxxii, 9,fromheAulaRegia,now n

NaplesMuseum; jb) bid., l. xxxiii, 1, nsitu; c) ibid.ypl. xxxiv, 2, in situ; lso two smaller ragmentsn theVillaMills.

97 In situ.98 (a) Ibid.,pl. xxxv,95; cf.thestylisticallyimilar

fragmentsntheVaticanMuseumsMuseoChiaramonti)^withputtistanding etween he whorls and animal-protomaiemergingfromthe terminal lowers,W*








survivingragmentsre: i) intheTermeMuseum,muchmutilated;e) intheLateran,

threeragments;/) walled nto he orreColonna; nd ¿) twomore ubstantialengthsinthe loister fthe S. Quattro oronati."The stylisticiversityisplayeds considerable. he fragmentsrom hebaths f

Caracalla ave, uperficiallyt anyrate, stronglylavian ook,while hose rom hePalatine ouldnever e taken or nythingutthird-centuryork; nd evenwithinhelatter roup ome,which opyclosely lavianmodels e.g. theSeveranntablature-blocksfrom heAula Regia,which redirectlymodelled n the TropaeaFarnese',describedbove, . 12),100chieveomethingftheplasticmodellingf theoriginals,while thers(e.g. the mallhunting-scrollriezewith utti ndprotomaifbeasts, onBlanckenhagen,. 96, pl. xxxiv, 2), no lessdirectly opyinghe substancef suchFlavian riginalss theNaplesfriezep. 15), do so in a strictlyontemporary,lack-

and-white,ace-workechnique. he comparisonetween hishuntingrieze rom hePalatine ndtheequivalentrieze rom hebaths f CaracallaPL IX, i)101 llustratesvividlyire angenddiversityfthe everantylisticepertory.

It is a diversityhich onfrontshe tudentn other ields f Severanfficialrt.Hieratic rontality,onsciousenaturalisation,anoramicictorialffects,nd traight-forwardlassical aturalism,ll find heir laceon thecontemporaryistoricaleliefsandmythologicalarcophagi,otonly fRome tself ut nprovincial fricaoo,ontheSeveranrch t Lepcis Magna,most tartinglyombinedwithin he imits f asinglemonument. he peopled crolls fthis, ndoftherelated ripolitanianuild-ings, re discussed elow pp. 37-9)» In thepresentontextt is sufficiento notethat,while heSeveranculpturefTripolitaniaisplays similar iversityf detailed

treatment,tsmain tylisticffinityhroughouts with heRoman crolls f thenewstyle, hemoreprogressivef thetwocontrastedtyles epresentedn theSeveranremainsrom hePalatine.Withthe attermay ecomparednumberf rchitecturalfragmentsfuncertainrovenienceithinRomeand Italy, nd ofminor eliefs fkindredtyle,ome fwhich rediscussednthefollowingaragraphs.hesecarrysfar eyondhe imits ftheFlavianRenaissance'roper,ased nthedeliberateevivalofmotifs rawn rom lavian uildingsxtantnRome: ndeed,hey etraynapprecia-tion fthedecorativeossibilitiesfthepeopled croll o decided nd, n some espects,so novel, hat t canhardly avetakenplace except nder he mpact fsome suchexternaltimuluss thatwhich rovokedhegreat fflorescencef animatedcrollsnSeveran epcis.

In the church f S. Lorenzo-fuori-le-Muras preservedfine eries f re-used

architecturalragmentsarvedwithfloralcrolls fa widevarietyf dates ndstyles.Thesenow onstitutehe ntablaturefthe ower fthe wo rdersneitherideofthepresbytery,hebody, hats,ofthe arliesturvivingart fthepresenthurch.102hemajorityf these ragmentsear imple, orizontalcanthus-scrollsrawn rom hreeseparatemonumentsffirst-r second-centuryate,whilethoseof thethirdnter-

Amelung, ie Sculpturenesvatlcanischenuseums,, 4,1903, . 629,nos.487aandc,pl. xvi; ¿) Gusman,ii,pl.clxxvi, ; Strong,i,309, ig. 87;photo,Moscioni, oma2992; c) unpublished.99(i/)Unpublished;e) Benndorfnd J>ch6ne,. 198,nos. 314-6; /) photo, x-German rch. nst.31. 1678;

(g) A. Munoz, / estauroelta hiesa delchiostroeiSS.Quattro oronati,914, 27-30, igs. 69 nd170.100vonBlanckenhagen,l. xxxii, 8.

101vonBlanckenhagen,l. xxxv, 5.102 or a general iewofthese ntablatureseephoto,Alinari, oma5862.







2o THE BRITISH SCHOOL AT ROME

columniationrom heweston either ide are of late third-centuryorkmanship(p. 23). Thoseof the econd ntercolumniationonsistf a pairofup-endedilasters,rectangularn sectionndcarved n two djacent aces oserve s the ngle-pilastersfan arch r thejambs f doorwayPL XVII). On thenarrowerace feachpilastersaverticalcanthuscroll,with ull-lengthiguresfputti ndprotomaif beastsssuing,alternatelyorightnd to eft, romheflower-centres.n thebroader ace sa similarscrollwith rotomaifbeasts nly.Thescrollsre ingle; utthe endrilshrownff orightnd eft f themain tem url nto lmost ompleteircles, ivinghe mpressionof medallionsound heterminal lowersndfigures. he figuresf bothputti ndanimals re nhigh elief ndgenerously odelled, articularlyn thenarrowerfthetwofaces.Thescrollshemselves,n the ther and, re omewhatummarilyxecuted,withdeeply ndercuteaves nd stems f which he urfacesreflattenedutparallel

tothebackground,o as toproduce uniform,wo-dimensionalffect. verypandrelbetweenhe piralssoccupied y bird rminute east,with he esult hat he ntirefieldneach ace scoveredy fret-ork fdesign.The twopilastersn the hurchf .GiovanniMaggioretNaples p. 18),of he ame eneralormnd imilarlyrnamented,are lmostertainlyalf-a-centuryarlierndate. They redescribedelowp. 35). Thenext-of-kinotheS. Lorenzo ilastersretobe found nthe everan asilica tLepcisMagna.

Twofragmentsf pair fverticalilastersn theLateranannot,espitehe eportof their iscoverynTrajan'sforum,e pre-Severann date.103 he set-out ftheirdesignss, ndeed, ery ifferentrom hat fthedesignsnany f he everanragmentsso fardiscussed.The thick-setrape-vineshich limb hem o notformhemselves

intowell-defined,unningcrolls, ith egular horlsrmedallions,ut motherveryinch fthe urface ith nall-over,preadingattern, hich eliberatelybscuresheformalramework.heexuberancefthe cheme,hedelicate einingnd ndentingfthe eaves, nd the arefulmodellingfthe tems ive n llusion fnaturalism,ntil tis observedhat lmost veryeaf ndeveryengthf stem s identical ith tsfellowsand thatthe whole urface f thefoliages completelylat. The effects, in fact,essentiallyhat ftheLiberPater ilastersn theSeveran asilica t Lepcis p. 38),aneffect oreike hat f vory-carvinghan f culptureroper, roduced ydeepunder-cuttingndby workinglmost ntirelyn twoparallel lanes.The lowerendof oneof thepilaster-facess preservednd showsthe largechalicefromwhichthevinesprings.The surface f this s likewise overed ll over withvine- nd ivy-sprays,renderedn the ame

flat, wo-plane,lack-and-white

echnique.On both

panelshe

vines realivewithminiaturenhabitants: irdsperchingn the tendrils,mother-birds t theirnests, harebusily eedingngrapes iled n a wicker asket, snail,anda mongoose-likereature.One panelcontains ladder etdiagonallycross hevine;but thetwoputtiwho weremounted ponit to harvesthegrapeshavebeendeliberatelyefaced.Anotherutto n thecompanionanelhassufferedhe amefate(PL XV).

Very imilarn charactero the Lateran ine-pilastersrefive ertical anels ntheMuseoPetriano, hich nceserved s tomb-decorationsn theGrotteVaticane

108BenndorfndSchóne, p. 199-200, os.320,320a;Gusman, ii, pl. cxxi; Squarciapino, l. L b. Photo:

Anderson, oma24122.








(PLXVIII)*104 ne sconsiderablyroaderhan he est,ndon tthemain tems ivide

andre-uniteo form ivemajor valmedallions, ithfour airs f subsidiary horlsspringingutwardst thepoints fjunction* he medallionsontainlternateiguresandfoliage:from ottomotop) Apollowith riffinndtripod; praysfvine nd vy;thebustofTellus;spraysfquince ndolive;Apollo ndMarsyas. n the ubsidiarywhorlshalf-lengthiguresise from he flower-centres:bovetheDelphic Apollo-medallion, inged riffins;boveandbelowtheTellus-medallion,he FourSeasons;belowtheApollo-and Marsyas-medallion,ragedyndComedy.On thispaneltoothespandrelsrealmost ll peopledwith iny igures. he human igures,fslightlyheavy,reexuberantlyodelled; utthefoliage-medallionsrepurelywo-dimensional.It is instructiveo comparehemwith hetruly aturalistic,hree-dimensionalpraysofquince ndcitronnthewell-knownlavian anel ntheLateran.105n each f the

narroweranels single canthus-scrollprings rom n acanthus-calyxo form inequasi-medallions,fterhemanner fthe . Lorenzo ilastersp. 20). From he entralflower feverytherwhorlhereteps putto, imingwith pear rbow tthe nimal-protomentheheart ftheflowern thewhorl elowhim; ndeverylternatepandrelis peopledwith hetiny iguresfputti, easts, irds, r nsects,ll ingay nd ivelymovement.Hunters nd victims like arevaried ndvigorous,nd it is onlywhenexaminedn detailthat omeof thefigures,otably hepairofputti,upholdingwreath,t theheadof each of thescrolls, etray certain eavinessf countenanceandclumsinessf imb. A revealingapseon thepart fthe rtists therenderingftwoofthefiguress if for horizontalnstead f a verticalcroll. For ll theplasticityand freshnessfthefigures,oth hetechniquend the tyle ndcompositionf these

thickly-populatedcrolls roclaimheir everan ate.106A large, arly hird-centuryarcophagus ithrounded nds,from he tomb ofCaeciliaMetella,nowin thecourtyardf the Palazzo Farnese, howsthestronglymodelled eads ndnecks ftwo nimals, horse nda hind ?), protrudingrom hecurvedtriationsn itsfront.107he lid is carvedlong hefront ndround he ideswith reelypreadingcanthus-scrolls,hich ill he paces bove nd below series fheavy, eeply rooved,orizontallyurvingands, achterminatingt eithernd navolute.The upper crolls repeopledwithbeasts f twosizes,theforepartsf thelargerfwhich mergeromheheartsfflowers,hile he mallerre hownnfull.The largernimalsnclude lionanda bull,which ppear wice ver, onfrontingneanother,n thefrontf the id: othersrestags ndhounds,he atter ashingut of

ambushnpursuitftiny

inds nd hares.The

creaturesrevigorous

nd ife-likentheirmovements;ut thetechniques evenflatterndmore igidlyonfinedo twoparallel lanes han ntheMuseoPetrianoanels.The crowdedompositionroducesthe haracteristicallyeveran lack-and-white,ace-like,ll-overffectPL XXI, 1).

Apartfrom he Naples pilastersmentionedbove,two architecturalragments104H. Brunn, leine chriften,, 1898, 4-70;Gusman,

ii, pls.xdii,xdv; Photos:Aliñan,Roma 26318,26319,26320; Anderson,Roma 20325,20515; Vatican,neg.xv.2.27.

106Gusman, , pl. xli; Strong, , 120, fig. 75; vonBlanckenhagen,l.xxxvi, 7.1MContrast trong,i, 305 sarebbe uttavia ifficilesuggerirena dataesatta er questo avoro. La técnica

sembranfatticcennarel terzo ecólo,mentreo stilela composizione richiamano fasipiü antiche pre-sentano lementi amiliariiá airarteflavia traianea*.For theplastic reatmentf thefiguresf. theHerculescapital n theBathsof Caracalla Gusman, , pl. xliii,Strong, i, 307,fig.185).107Gusman,,pl.xl.








flowersPL XI, 1). In contrasto thegaiety f thefigures,hefoliage s lank and

drooping,nd the alyx, romwhich he crolls ranch,tiffndstylised*113The furtheristoryfthemotifn the atethird ndearly ourthenturiess oneofsteadily ecreasing italitynd technical ompetence. ourexampleswill serve oillustratehisdegeneration.he firsts a horizontalrieze-fragmentrom he exedrawhichConstantineddedto thebasilica fMaxentiusPL IX, 3);114 hesecond, hefragmentfa horizontalrieze ow n the substructuresfthe ex- illa Mills on thePalatine,howingheprotomef a frontalutto ising rom hecentref a flowerndflankedya dog ?) andanostrich-likeird PL X, 2);114ahethird, pairofsquarebases,now at the entranceo theVaticanLibrary,arvedwithfoliate-skirteduttitendingandelabrandputti onfrontingeastswhich tand nacanthus-spirals;115ndthe fourth pairof architravese-used n thepresbyteryfS. Lorenzo-fixori-le-Mura

(p. 19),on each fwhichcanthus-scrollsontainingheprotomaifhunting utti ndbeasts nroll rom central,oliate-skirtedigure:he eliefsshallowndtheornamentcrowdednd neffective,ndthemarked ifferenceetweenhetwoblocks s sympto-matic fthehesitancyf a dyingradition.

For ll theirwkwardnessndflatness,owever,he xamplesited n thepreviousparagraphre tillwithinhe ealm f culpturenthe lassical ense.Butwhenweturnfromhem o the ontemporarycrollurroundinghedoor fDiocletian'somb, ow heCathedralt Spalato c. a.d. 30 ),116werealise hat ts final isruption asat hand.The acanthus-rinceaux,pringingrom centralhalice, ontainhefamiliarorepartsofanimals nd a mask n thevolutes.Butthetechniques thatof black-and-whitedrawingatherhan fstone-carving.here s practicallyomodelling,he eaves re

completelytylised,ndtheflowersuppinghebeastshavebecomemere rills oundholes, gainsthe dark nteriorsfwhich heprotomaitand utin flat,white elief.Thefinaltage fdegenerationnthe culpturedcrollsf taly anbe seennthe erticalpilaster-facesormerlye-used o frame hetopof the nscriptionsn the tombs fPopesLeo , II, III, and V andGregoryII. Theputtihavebecomeifelessuppetsndthehalf-beastsregrotesque, ooden reatureslasteredn to flat, late-like lowerswithinhehard rills hich oduty or canthus-whorlsPi. XIX, 3).117

7. The ormal ine-scrollith intagingutti n Romend taly.The subject ftheDionysiac intages one of thecommonplacesf classical rtof

allperiods. tscompositionnto ormal,croll-workatternssalreadyoreshadowedn

such objectsas the late Hellenistic tele fromPergamon,escribedbove (p. 8,Pi.XXII, i);117a ut twasnotuntil relatively aturehase fRoman rt hat oliageandfiguresere ullyntegratedothe equirementsf formalattern, hetherntheshape f linear crolluitable or hedecorationf rchitecturalembersr, n accord-

113 nv. no. 1 75 . Káhler, p. it. ig. .114Toebelmann,p.cit., 24-5, g-97 Kahler, p. cit.,fig. 2;H. P. UOrangeandA.vonGerkan, erspatantikBildschmuckesKonstantinsbogens,939, igs. 0, 51.114a e over-loadingf ornamentn thearchitravesuggests latethird- rearlyfourth-centuryate. ForworkbyMaxentius n thePalatine 'thermasn Palatiofedt'~~seeM.G.H.: Chron. in. , 148.115Amelung,p. cit., , 2, 1903, . 183,no. 23; p. 226,

no. 82; i, 3, 1903,p. 510,no. 297a,pl. liii; , 4, 1903, .654, no. 516 Ca, pl. lxix. Photos: Anderson,Roma23923;Vaticanneg.1.3.23.116Peirce ndTyler, , pl.xi,a andb.

117Photos:Anderson, oma20514, 0516.117fl n early-Imperialxample s to be seen on a

paintedpanel of first-century.d. date in the Louvre(P 71), which howstwo vertical ine-branchesnter-locking, ith intaging utti erchedpon hem.








aneewith well-markedendencyn ateRoman rt, evelopedver broad urfaces

a continuous,ll-overattern. mportantvidence or heeast-Mediterraneanriginfsuchcompositionss furnishedy thesilvergobletwithgilt relief-ornamentromHermoupolis,ow ntheGraeco-Romanuseum tAlexandria.118hefigures,rawnfrom hefamiliar ionysiac epertory,regay ndvaried, uteachhas tsplacewithinthe arefullyomposedrameworkftheformal ine-scroll. he *templefBacchus'tBaalbek p. 33) andthe vine-scrollilasterst Lepcis Magna (the workof Cariancraftsmenp. 37f.)show hat,n the ormf inearmedallion-scrolls,hemotif aswellestablishedn thearchitecturalculptureftheeasternMediterraneanythe endofthe second entury .D.,while ingle inear crollswithbirdsbut without intagingputti) refound t Palmyraver centuryarlierp. 34). In Romeand taly, n theother and, ll-overcrolls rethemore ommon orm.The majorityreofthird-r

fourth-centuryate and form comparativelyomogeneouseries,whichcan con-venientlye consideredogether.Someofthe talian xamplesf the ll-over,nhabitedine-scrollre dentifiables

actual mportsrom he East. Such s thewell-knownarcophagusn theporch fS.Lorenzo-fuori-le-Mura,dentifiedy Rodenwaldts an Atticpieceof early hird-centuryate,on the scoreof its strikingnalogieswithcontemporaryarcophaginAthens.119 uchagain s the colossal orphyryarcophagusf Constantiarom antaCostanza, ow n theVatican,Egyptian ork fthetimeofConstantine.120mongtheearliest orkswhichmayhavebeenmade ocally re theearly hird-centuryine-scroll ilastersntheLateranp. 20). To the amedateprobablyelongs fragmentof a marble ilastern thePalazzodei Conservatori,oundnear hePortaMaggiore,

carveds ifboundwith spiral and fvine-scroll-with-puttiver basis f piral luting.The date sconfirmedythe haracterf thefoliage, ythe arefulmodellingndpro-portionsftheputti ndbytheelegant longationfthefiguresfDionysosnd thetwo Maenads n theassociatedapital,which ind heir ounterpartn contemporaryRoman arcophagi.121n Italian arcophagihemselvesn nterestingxamples to beseen n a narrowilaster,dorned ithDionysiac iguresn a verticaline-scroll,t theextremeeft f thefrontftheDionysosndAdriadnearcophagus,ow nBaltimore,dating rom. a.d. 2oo.121a tsnearestffinitiesrewith hevine-scrollilastersntheSeveranrch t LepcisMagna p. 37).

Itwaswith hedevelopmentfChristianrt,however,nthe ate hirdenturyndin theConstantiniange,that he scrollwithvintaginguttifirmlystablishedtselfwithin he

culpturalepertoryfRome. Both he

vintage-scrollndthemore aturalis-

118A. Adriani, e gobeletn argent es amours en-dangeurs u Musée d* lexandria,939. Contrast uchvintage-sceness that n theglass BlueVase* tNaples(ibid., 14, fig.7), in whichthe putti re outsidetheschematizedcrolls; r themany lassical intage-scenes,which how realvines,growing aturalistically,nsteadofspreadingn attice-workcrolls cross he ntire ield.119G. RodenwaldtJDAI, xlv,1930, 6-189, ^. v-vii) refuteshe uggestionfF. H. Taylor ArtBulletin,x, 1927,47-59) that hefigured anels re a fifteenth-centurye-workingf classicaltrigil-sarcophaeus.

180G. Lippold, Die Sculpturen es vaticanlschenMuseums,ii, 165,no. ¿66; K. Michalowski, b'm.Mitt.xliii, 928,1 1-146;R. Delbrueck, ntike orphyrwerke,

1932, 19, pl. 104;E. Sjóqvist ndA. Westholm,krifterutgivnav svenskanstitutetRom, v,1935, -46. For aderivativeragment,fRomanworkmanship,alled ntothe former tudioof Canova, n via Canova,seeRom.Mitt, liii, 28,143, ig. .121Bull. Com. i,1878, 99ff., l.xvi; H. Stuart ones,Catal. of theSculpturesfthePalazo dei Conservatori,1926, . 93,no. 29a column), . 117,no.70 capital), l.xfi;Gusman ii,pl. 122. For similarlylongated igureson sarcophagieeStrong,i,324, fig.198;K. Lehmann-Hartleben nd E. C. Olsen, Dionysiac arcophaginBaltimore,942, ig. .1210Lehmann-HartlebenndOlsen, p. it. ig. .








ticrepresentationsf thevintagereconstantlyssociated ith iguresrobjectswhich

belong pecificallyo theDionysiac epertory;nd of thepaganmonumentso orna-mented,hosewhich erved funeraryunctionertainly,ndmany thers robably,hada definiteeligious ignificance,ymbolisingheDionysiac aradise.122 notablerecent indwithin hiscategorys a sarcophagusound t Vila Francade XiranearLisbon. It is shapedikea vine-press,ith urvednds, nd n thecentre f thefrontis a medallion,isplayinghebustof a girlwith mid-third-centuryoiffure:rombasket elow hemedallion wogreat ine-scrolls,eopledwith utti, irds,ndgrape-baskets,preadike a netover heentire urface ftheface nd ends.123 hristianitybaptised hetheme; nd thevintaginguttiwerepromoted, ithouthange fguise,to the rank f cherubs atheringn thevintage f the Lord.124 uchscenes retoofamiliaro needdetailed iscussionere. A few haracteristicxamplesreenough o

illustrateheformalange: tillwithinhenaturalisticraditionretwopanels n oneendof the arcophagusfJunius assus;125ttheotherxtreme,hefifth-centuryaultmosaicn thechurchfS. Prisca, earCapuaVetere,with tstight, ymmetrical,ll-over atternfformaline-scroll,halices,ndbirds;126nd,betweenhe wo, hevault-mosaicnddestroyed,entralloor-mosaicf antaCostanza, ith ine-scrollsore r essformallyevelopednd enclosingcenes f thevintage,heformer ithputtialsoclimbingere ndtheremong hefoliage.127wo lessfamiliarxamples, oth nS.Ambrogio, ilan,may e taken o llustratehe ate-classicalevelopmentfthemotifinsculpture. hefirst,rectangularanelwalled nto he triumfAspertus,howsnaturalistic,ll-overcrollwith wovintagingutti n thebranchesnda third elow,pursued ya cock Pi. XIX, 1). It canhardly e later han he middleofthefourth

century.he second, frieze,e-useds the intel f door eading romhe ampaniletothenave,withputti n a very tylisedpreadingcroll, s much aterwork, fthefifth,ossiblyven fthe ixth, enturyPL XIX, 2).128

Spirallywistedolumns,nwhich ands fspiral lutinglternate ithbandsofall-overintage-scrolls,orm seriespart ndmeriteparatetudy.Here t s sufficientto note thatthe best-knownroup,nowin St. Peter's nd believed hroughoutheMiddleAges o have omefrom heTempleof Solomon, onsistsnfactof theninesurvivorsftwelvehatwere iven o St. Peter's,npartbyConstantine,hobroughtthem eCrecías,npart ytheExarch utychiusnder opeGregoryII (7 31-741).129Columnsof normal hapewithfigured ine-scrollrnamentre not uncommonlyillustratedn arcophaginRome, .g.on the arcophagusfJunius assus, lankinghe

two entralcenes,n theLateranarcophaguso.174 Pi. XVI, 3),andona

fragmentarysarcophagusn themuseum f S. Sebastiano.130t maywell be thatthese oo are122 ee therecenttudy yK. Lehmann-Hartlebennd

E. C. Olsen of a groupofDionysiac arcophagi oundnear he orta ia,now nBaltimore,ionysiac arcophagiin Baltimore.042.

128AJAy ii,1949,158,pl.xxvii,A.124The easypassage f thetheme rom he old faith

to the new s well llustratedy a latesecond- r earlythird-centuryagansarcophagus ith vineyard-scene,convertedater oChristiansebythe imple ddition fa freshnscription;rom he SyrianTripolis,now atConstantinopleMendel,ii,pp.408-412, o. 1169;JDAIxlv,1930, 77-9, igs. 4~5)- . _ _ .125Most recentlywithfullbibliography,. Gerke,

Der Sarkophas es unius assus. 1936, igs. 2and35.126J. Wilpert, ie romischenosatken ndMalereien

der irchlichenauten onV-XIII Jahrhundert,917,50,pl. lxxv.

127Ibid.,290,pl. vi; C. Cecchelli, rchitetturaArttdecorative,i, 1022, . 15,fig. thedestroyedloor-mosaic).

128photos: Zuecca, Milano, nos. 161 and 1195respectively,btainedhroughhekindnessfDr. N. DeGrassi.

129 iber Pontificateed. Duchesne, 38 and 194;VArte, , 1898, 77-384.130G. Wilpert, sarcofagtrtstiantntichiy,1929,pl.xiii Junius assus);pp. 175-6,pl. cxxi, (Lateran 74);








derivativerom broad. Figured ine-scrollolumns, are n Italy,131re common n

Gaul (p* 28); and they re representedn at least one GaulishChristian arco-phagus,which s probablyf ocalprovincial anufacture.132

As a motif n Christianrt thepeopledvine-scroll asbynomeans onfinedosculpturend mosaics.Metal-work,vory-carving,ood-carving,ndfabricsre allrepresented.ere gain tmust e sufficientoreferoa few uchwell-knownxamplesas thedome-shaped,ilver asket nd theflask rom heEsquiline reasure,133he vorythrone fMaximian tRavenna134nd,outsidetaly, hewooden oor f the hurchfSt. BarbaranOld Cairo.135Whetherrnot he wo ast-namedepresentspecificallyAlexandrianradition,136heironnexion ith he easternMediterraneanscertain;ndin general ermst seems learthatthestronglyast-Roman ias of the motifwasmaintainedown othecloseoftheclassicalge.136*

In conclusiont maybe notedthat, lthoughhevine-scroll, ith ts stronglyChristianonnotations,s inevitablyheform fpeopled crollmost ommonlyepre-sentedn ate ntiquityoth n taly nd n theprovinces,hedecadencendeclipse fthe classical raditionf monumentalculpture id notby anymeans nvolve heabandonmentfthepeopled canthus-scrolls an ornamental otifn othermedia. InItaly tself, hemosaics fRavenna ffordeveral utstandingxamples;137ndelse-wherehey igurensuchvariedmedia s silver-work,ood-carving,nd fabrics.138

8. The WesternndNorthernrovinces.In Gaul, s in theotherwesternndnorthernrovincesftheEmpire,hedevelop-

ment f thesemotifs asmainly erivative.t doesnotbyanymeans ollow, owever,

that he ourcewas nallcasesRome tself;nd lthoughhe eciprocalnfluencef uchprovincial orkuponthe mainstream f developmentn Italyand elsewhere asgenerallylight,xcept erhapsn ate ntiquity,hepeopled crollsfGaul nparticulararenotwithoutignificanceor hebroadericture.This swellexemplifiednwhat sprobablyhe arliesturvivingallic xample,he xternalntablaturefthenorthideofthecavea ftheAugustanheatret Aries. This includesn architraveftriglyphspp. 178-9,pl. cxlix S. Sebastiano);Gerke, p.cit., igs.4-5, 13, 40-1; F. Gerke,Christusn der spdtantikenPlastik*040, l. xi.

181A colonnettenthe museum t Ostia s carved nhighreliefwithputti intagingmongthefoliage f aspirally oundvine.

132Wilpert, p.cit.,pl. cxlv,1.133O. M.Dalton,Bnnsh Museum,Catal. of EarlyChristianntiquities,901,pp. 64-^7, os. 305-6, pl. xix.

See alsotwo other ilver esselsntheBritishMuseum,late third- r early ourth-centuryirrorrom ulgaria(H. B.Walters, atal. f ilver late,1921, . 28,no. 106,pl. xv) and a fourth-centuryluted ilverbowl in theMildenhallreasure;nd thesixth-century?) patera fBishop aternustLeningradL. Matzulewitsch,y^anti-nische ntike, 929, ls.26 and27).134C. Cecchelli, a cattedra i Massimiano, ome,1935-1944, 8-95, pls. i-xiii, withfullbibliography;Peirce ndTyler, i, pls. 3, 5,and8. See also the voryDionysos-panelsftheAachen ulpitPeirce ndTyler,ii, pls. 155and 191; llustratedyCecchelli, p. ciu,pls.xxxviii-xxxix,o be discussed n a projected econdvolume); and a fourth-century?) ivory diptych t

Trieste P. Arndtand W. Amelung,PhotographischeEinzelaufnahmenntikerkulpturen,893,600).185A. Patricolo and U. Monneret e Villard,TheChurchfSitt Barbara n Old Cairo, 922;for hedate,c. a.d. 500, eeE. Kitzinger, rchaeologia,xxxvii, 938,212.

136Kitzinger,p.ciu,210-5.i36aAmong atemetal-workxamples f thepeopledvine-scroll re: (1) a hemi-sphericalilverbowl in the

BerlinAntiquarium,n whichDionysiacfigurestand,eachwithin loosely-formededallionY. I. Smirnoff,Argenterieriéntale, 909,pl. cxii); (2) a silverflagonfrom ersia n the BritishMuseum, howing intagingputti. hare, irds tc., n a spreadingine ibid., l. i).137E.g. the ateralunettesf the so-called omb ofGallaPlacidia, ndthepresbyteryault fS. Vitale.

138E.g. twofourth-centuryragmentsfsilver esselsfrom heTraprain aw treasure,n EdinburghMuseum(A. O. Curie,The TreasurefTraprain,923, 4,fig. 2;pl. 23); a woodenpanel ntheKaiserFriedrichMuseum(Peirce ndTyler, , pl. 169); fabricsibid, , pl. 168,b;ii,pl.75).








andmetopes,arvedwith heforequartersfbulls ndrosettes,ndabove ta runningfrieze f canthus-scroll,ithhalf-lengthiguresfputti ndprotomaif beastsssuingfrom he whorls nd,in thespandrels, utti nd birds*139he use of triglyphndmetope n an architraves unusual;but there oesnot seento be anyvalidreason,structuralrstylistic,or scribinghepresentrrangementotheConstantinianecon-structionfthe heatre.140he incisedines,which mphasisehe ontoursf the crollandof thebulls n themetopes,indheir ounterpartnthemore r esscontemporarymonumentftheJulii t St. Rémy.141 n evencloser, ndvery uggestive,arallel,with he ame cored ontours,s the preadingcanthus-rinceauith nimal-protomai,which dorns he tall silver ankardrom he Hildesheimreasure,tself robablyfAugustanate ndGaulishworkmanshipPL IV, i).142 fanAugustanatebeacceptedfor herawtf-entablaturefthe heatretAries,taffordsn instancefthe pplication

to architecturalculpturef therunningcrollwithprotomait a dateconsiderablyearlier hananyso farknownn Rome. It is interestingo speculatewhetherhisrepresentshespontaneousocalapplicationf a theme lready urrentn the minorarts,or whethert was derived rom stablishedrchitecturalracticend reachedheHellenisedProvincia,ndependentlyf Italy,directfrom omeeast-Mediterraneansource. It shouldbe noted n thisconnectionhat heHildesheim ankard oesnotstand lone. Themotif fthe canthus-scrollith nimal-protomaiigureswice lse-wherenthe ame reasure,n the im f flat ish PL IV, 3),143ndon the ower oneof a pairofcupswithDionysiac iguresndtheatrical asks.144 he borderf a thirdvessel, heHercules owl, onsists facanthus-scrolls,pringingromhehindquartersof twopairs fconfrontedriffinsndframinghefiguresftiny easts ndbirds.145

Yet another essel romhe ame reasure,large rater ithputtipoised, ishingndspearingea-creatures,mong hewhorlsf anall-overcroll,146loselyesemblespairof cupsfrom he Boscorealereasure.147 hetherrnot thefrieze fthetheatretAries e derived romome uch ource,t is evident hat his nd similarmotifs ad,already ytheearly irstentury .D.,gained widecurrencyn Gaul throughhemedium fmetal-work,omeof it importedndsomeofit probablyf ocalmanu-facture.148

Fortherest, heGallic culptural aterialswellcoveredyEspérandieu'monu-mentalRecueileneral esbas-reliefse a Gauleromaine,nd it mustsufficen thepresentcontext o indicate fewsalient eatures.Of thenumerousrchitecturalnhabitedscrolls f RomanGaul,noneare in situon datedmonuments;nd in viewof their

provincial orkmanshipttemptso date themby style loneare

precarious, heyrange rom uch seeminglyarly xamples anacanthus-scrollrieze rom aison-la-romaine,whichfigures putto nd smallbirds nd beasts n thefoliage nd in the

139Espérandieu,, 206;L. A. Constans, riesAntique,1 21,293-4.140M. JulesFormigé,nspecteur eneralHonorairedesMonuments istoriques, rites:La frise u rinceauestprise ans e méme locque estriglyphestplacee udessus.La constructionue en coupe semble ntacte tsansremaniment*.

141Espérandieu,, 114;Rom.Mitt, ii, 1937,pls. iv-xiii.

142 . Pernice ndF. Winter,er Hildesheimerilber-fund, 01,pls.xxxviii-xl. hoto:Giraudon 367.

143Ibid.,pl. xxix. Photo:Giraudon 650.144Ibid., pls.xiii-xvi.145Ibid.,pl. ii. Photo:Giraudon 641.148Ibid.,pls.xxxii-xxxiii. hoto:Giraudon 639.147MonumentstMémoires; ondation iot,v, 1897,

pls. x-x. Photo:Giraudon 913.148Another otable ieceof mportedmetal-work?Alexandrian)s the ilver-inlaidronze lagon romGap,now n themuseumtLyon;onfour f he erticalanelsare formalvine-scrollswith vintaging utti; GazetteArchéologique,ii, 1877, 1,pls.viii-ix.








spandrelsndmightwellbederivedrom nItalianJulio-Claudianodel,149oa largeand varied roup f vine-scrollilastersndcolumns, hichmay n somecasesbe aslate as thefourthentury.D. Notable mong he atter s thefacade f the baths tSens, he ngaged alf-columnsfwhichwere arvedwith n elaboratemedallion ine-scrollwithbirds, easts,ndvintagingutti.150 he relative requencyf suchvine-scrolls,most f themwithvintagingutti nd somewith ther ionysiac igures,s astrikingeaturef theGallic eriessee ists,nfra). hey nclude oth he inglecroll,,vertical r horizontal,nd theverticalmedallion-scroll,ithor without centralthyrsosr other xial feature.Many spring rom n acanthus-calyx,nd thefiguresfrom he tock lassical epertorynclude nudefemale igureising nee-highrom hecalyx n a pilaster rom indenheim,ow n themuseumtSpeier.151Witha singleexception,t Périgueux,152he scrollwith rotomaif animals rparts f thehuman

figuremergingromhewhorls,srestrictedoNarbonensis.Outsidethe fieldof architecturalculpture,here s rathermorevariety.Thefuneraryltar fM. Attius aternustNimes,153 ith nimals pringinghroughhewhorls fa short orizontalcanthus-scrollbovethe nscription,s closely elated otheRoman eriesp. 1 ) andmaywellbe an mport,r hework f travellingraftsman(PL XIV, i). It isprobablylavian. A securelyatedpiece s an inscriptionoJuliaDomnaat Mainz,withbirds n the oopsofa vine-rinceauorder.154 remarkablemosaic t Ste. Colombe, howing ycurgusntangledn thecentref a great, ll-overvine-scroll,ogether ith ther iguresrom heDionysiacycle,mayprobablylsobedated o theearly hird entury;155nd thecontinuedopularityf thepeopled ine-scroll hroughateantiquitys attestedn such ubjects s a fourth-centuryhristian

sarcophagustSt. Maximin nProvence, ith utti n medallion-scrollsn the olumnswhich lank he entralcene,156nd on three ifth-centuryarcophagif theVisigothicseries,t Cahors,t Loudun ndatPoitiers.157

The followingist summariseshemain motifs epresentedn theGallicseriesillustratedy Espérandieu. eferencesrebyvolume umbernd erial umber:

Acanthus-scrollsithmallbeastsndbirdsrputti reelyisposedmonghe oliage,rgroupedn thepandrels:

Espérandieu,. 208, 210, 264, 291, and 703; IV. 3288 and 3540; V. 3954(medallion-scrollfmixed oliage pringingromnacanthus-calyx);I. 5019;VII. 5441;XL 6865; XL 7735.

Acanthus-scrollsithartsfhumanfiguresr rotomaifbeasts ithinhewhorls:Espérandieu,. 206 (theatretAries, . supra), 05 (lion-protomen whorl), 91

(also II, p. 422 and X,p. 326,funeraryltar o M. Attius aternus,.supra),608 (half-lengthutti mergingrom hecentre f an acanthus-rosette),64

Espérandieu,, 291; J. Sautel,VaisondansVanti- 155 nventaireesmosaíquese a Gaule, , i, no. 236;quité, ii, 1926, pl. lxiii. 5. Now in theMuséeCalvet, D. Levi,Antioch osaicPavements,, 1947, 11, ig. 88.Avignon. "« Wilpert,p.ciu, , 1929, l.cxlv. ; E. Le Blant, e*160Espérandieu,v,28 . Sarcophageshrétiense aGaule, 86,pl. iv. .151Ibid.,viii,5961. i" Archaeologia,xxxvii, 937, 7,note3,nos. 35,48,152Ibid., i, 1284. and77; cf. birds nly)no. 31,pl.xxxi. = E. Le Blant,168Ibid., , 491; iii,p. 422; ix,p. 326. Les Sarcophageshrétiense a Gaule, 886,pl. xxxiii, ;154Ibid.,x,7338. Peirce ndTyler,i,pl.xvii b).








(malebust n whorl) nd 761 (head of Attis n whorl); L 1284 (animal-protomainwhorls).Except or he ast tem, tPérigueux,ll arefrom alliaNarbonensis.

Vine-scrollsith intagingutti, irdsand nimals:

(a) Columnsndhalf-columns:spérandieu 213 medallion-scroll,l.XVI,4, fromAries);V. 2856 (half-columnsf facade n baths tSens,v. supra); . 3937(figurefDionysos)nd398 Maenad ndputto);VI. 5033 medallion-scroll);VIII. 5960 (medallion-scrolls,atyrs,ndputti); X. 7188 (medallion-scroll).

(b) Friezesnd ilasters:spérandieu. 217 (figurefSilen); I, 1296and1451;IV.3462-3;V. 4203 (frieze,fwhich ie arger,entralutto mergesnee-highfrom pairofflowers)nd4226; VI. 4991 (sarcophagusront JDAI,xlv

1930, 185, fig. 58), 5011 and 5097; VIII. 5961 (nudefemale igureisingknee-highrom he canthustthefoot fa medallion ine-scrollilaster)nd6291 (freemedallion-scrollithputti,goatandbirds). Alsofragmentfahorizontalrieze tNarbonne, ith frontal ictorytandingna vine-scroll(former erman rch.nst.neg.33. 1639;not llustratedyEspérandieu).

Vine-scrollsith irdsr nimalsut ohumanigures:(a) Columnsndhalf-columns:spérandieu,I. 1289 (medallion-scrolls)nd 1356;

III. 2735 (medallion-scrolls);X. 6957.(b) Friezesndpilasters:spérandieuI. 1 14; V. 4229 and4234; VI. 5011 and

5096 table-supportithformalcroll); X. 6972; X. 7338 (Severannscrip-tion, .supra); I. 7727.

Thematerial romheSpanish rovincess lessreadilyurveyed,nd t seems hat,in any ase,thepeopled croll layed smaller art han tdid inGaul.158Thatonecharacteristicariant, owever, ad penetratedo thearchitecturalculpturef theextremeWest s shown ya fragmentfa horizontalriezentheMuseum fArchae-ology tBarcelona,arved ith runningcanthus-scroll,romhe wo urvivinghorlsof which mergehehalf-lengthiguref a putto ndtheforepartfa beast, erhapsliorse: etweenhewhorlsrea bird nda frog.A second rieze-fragmentnthe amecollectionhows human ead bove he canthus-calyxtthe entref plainrunningacanthus-scroll.n theMuseum fCórdoba heres a fragmentf a marble anelon

which bird nda lizard lay mong hefoliagefa plain canthus-scroll.159FromRomanBritainhree ragmentsf ndigenous orks xhibit amiliarariantsofthepeopled croll:a) a small,horizontaltone riezentheCirencesteruseumB2116) with wreathedemale ead abovethespring f thestylisedcanthus-scroll;(b), twohorizontal osaic anels rom heRomanvillaatWellow, omerset,n eachof which wo potted easts tand na floral croll;160nd (c) partof a stone lab,probably romCorbridgend nowinHexhamAbbey,with woputti, goat, nda

158 Prof.J.de C. Serra-Ráfols,ho haskindly entphotographsf the woexamples ere ited rom arce-lona,confirmshat hey re, o hisknowledge,nique nCatalonia,nd hat e knows fno otherpanishxamples.

159P. BatlleHuguet,ArteRomanaArsHispaniae,i,Madrid, O47),35i% *7>160Victoria ountryistory,omerset,,fig. 2.







3O THE BRITISH SCHOOL AT ROME

cock in a vertical ine-scroll.161he second ndthird fthese bjects recertainlyoflatedate;the firstmight e ofthe second r thirdentury.The Danubeprovincesurnisht leastone importanttem. To theTropaeumTraiani tAdamklissielong ortionsfa horizontalrieze, hichmayhave ncircledthe drum of themonumentust belowthe metopes'. Each whorl f its runningacanthus-scrollerminatesnthehead of a wolf.162 erri scribes hefrieze oa Con-stantinianeconstructionfthetrophy.163ut thefoliages widely paced,notunpnaturalistic,ndnotdeeply ndercut,nd t sbetteregardeds the ffortf militaryor ocal craftsmanfTrajan's ime han s fourth-centuryork.

9. TheEasternrovinces.The scatterednd all tooscanty emains fRoman rchitecturalculpturen the

easternrovincesreofparticularmportanceor hehistoryf thepeopled croll.Notonlywasthis heregionnwhichhad beenevolvedmost f thestock ariantsf themotif, hatwere ater urrentn Italy nd theWest; but,as in so many ther om-parable ields,tremained source or heperiodicnrichmentnd refreshmentf thestylisticepertoryfthecapital nd of someof themore avouredrovinces.t was*moreover,ntheeasternrovincesf theEmpire hat henewprinciples,hatwere o.playso large part n thetransformationfclassical ecorativert,firstmadethem-selves elt, hethery nfiltrationromeyondhe rontiersrby he e-emergencef ub-mergedative lements ithinhem;nd twas he raftsmenhomoulded he evelop-ment f thepeopled crollnAsia Minor nd nSyria,who ustainedhefirstmpact fthesenewdecorativerinciples,ndexperimentednexpressingnthe anguagef the

newideas the traditionalrtistic ormulaef theHellenisticworld. Some of thefeatures,oted n thepreviousections s characteristicf the ater crolls f Romeand taly,were nticipatedeveral enerationsarliern theEast. It can be no merecoincidence,orexample, hat the exploitationf animated crollsby east-Romandecoratorsn thenew tatebuildingsfSeveran epcis p. 37f.) wasfollowed lmostimmediatelyytheir eappearancen theornamentationfofficial onumentsn thecapital.Therewasin this ase, t is true, contributoryactor,he nfluencef con-genialFlavianmodels n theSeveran estorers;ut a comparisonetweenuchearlythird-centuryieces s thepilastersn S. Lorenzo p. 20; cf.the earlier ilasterstNaples, p. 35), andthose rom hebaths t Aphrodisiasp. 34) and tLepcisMagna(p. 38) can eavenoreasonableoubt hat he nfluencefeast-Romanraftsmenndideas also

playedn

importantart.It is

particularlynfortunate

hereforehat hematerialoesnot urvive or consecutiveccount fthedevelopmentfthis ranch feast-Romanecorativert. All that spossiblesa briefurveyftheprincipalariantsof nhabitedcroll-worknvoguenthese asternreas,whethernown romecordsrfromxisting ragments.

The female igureoised bove, remergingrom,hecentref a scroll, eappearsin all itsvariantsn the rchitecturalsculptureftheRoman ge. In theAugusteumt

161T. D. Kendrick,nglo-Saxonrt oA.D.900,1938,pl. xvi.4.lea QmTocilescu, Das Monument on Adamklissi:Tropaeum raiani, 895,18,fig.12,pls. ii, iii; A. Furt-wangler, as Tropaion onAdamklissiAhhandlungener

philosophisch-philologischenlasse der kon,bayerischenAkademieerWissenschaften,2), 1903,pl. iii,3, 4; F.Studniczka, ropaeumraiani. 004, . 04,fig. a.

168 . Ferri,Arteromana ul Danubio,1933, 371- ,.figs. 04 nd505.








Ankara,Victoryovers bove n acanthus-calyxetween loralpirals n one ofthe

pilaster-capitals,ndnude,winged iguresreperched ere ndthere n theadjacentacanthus-frieze.164ingless,oliate-skirtedymphsisefrom tier facanthus-leavesandclutch hestems fflankingcroll-workn a pairof elaborate ilaster-capitalstIstanbul, rom hemain,eastentranceo theHadrianic aths t Aphrodisias.165similarreature,utwinged, ccupies hepedimentfoneof theornamentaliches nthenorth-westxedra fthefore-courtt Baalbek;166nd as lateas the closeof thethirdentury.d. the canthuscroll-workfoneofthedecorativeriezesfthe rch fGaleriustSaloniki pringsrom wingedndfoliate-skirtedigure,hichs indirectline of descent rom hefiguren theArtemisiont Magnesia PL II, 2).167Three-quarter-lengthemale igurespringromcanthus-foliaget the entre ftwo urvivingeast-Romancrolls:n the entraledimentfthe cenaefronsfthe heatretAspendos,

f. A.D. 155,on which nude iguretands nee-highithinnacanthus-calyx,lutchingthe tems ftwo preadinginceaux;168ndona pair fpilaster-capitalsrom eraclea-on-MarmaraPerinthos), ith draped emale igureising rom he highs ehind hecentralf three canthus-leavesndclutchinghe tems f scrollswhich ill heupperangles.169 second air fcapitals,romhe ame et stheseast, igureuttiwith heattributesfHercules,170ndall fourmaybe datedprobablyo the second entury.Yet another ellenistic ariant,he acroterionf the Artemisiont Magnesiap. 6)reappearsn Romanguiseon theTraianeumt Pergamon.171o thesetraditionalrepresentationsfthehuman igure,nwhole r npart,may eadded diversityf essformal ses,of which hefollowing ay erve s examples.A remarkableunette tKhirbetl-TannurnTrans ordaniaortrayshebust fAtargatis,itheaves prouting

from erface,neck, ndchest,n the centre f an elegant, preadingloral croll.172Scrollswithmasks r facesframedn thewhorls anbe seen n thesecond-centuryNymphaeumt Aspendos,173nd in a late Romanfrieze-fragmentromKhirbetKeraze, alestine;174ndbusts, lankedy crolls utunattachedothem, igurenthetemplet BurkushnSyria.175hefacade fthe ibrarytEphesusc.A.D. 115) showsa series fspread-eagleslankedyacanthus-scrollsn thefrieze f ts ower rder,ndMedusa-maskslankedy crollsn the wo oundededimentsf tsupper rder.175*

Protomaif beasts ppearnanunusual orm tBaalbek,where series fconsolesin theshapeof theforequartersf alternateulls andlions, inkedby garlands,on-stitutehefrieze fthemain ntablaturef eachof thetwomain emples.176Forthe

164C. Texier ndR. P. Pulían,ThePrincipal uins f

Asia Minor llustratednd described,865, pl. xxv; D.Krenckernd M. Schede,Der TempelnAnkyraDenk-rnaierntiker rchitektur,), 1936,pl. xlvii. .

165Squardapino, l. xxi; Mendel, i, pp. 185-8; nos.494-5. For the urviving emberf hepair f canthus-scroll ilasters hich arried hese apitals, . nfra,. 34.166B. Schulz ndH.Winneteld,aalbek,, 1021, l. 96.

167K. F. Kinch,UArc deTriompheeSalonique, 890,pl.vi: Peirce ndTyler, , pl. .

188Texier ndPulían, p. cit.,pl. xxxix;K. Lancko-ronski, tddte amphyliensndPisidiens,, 1890,113,fig. 9.169Mendel,ii, 547-9,nos.1 41-2.170Ibid.,549-551, os. I343-4-171Pergamon,. 2,Das Traianeum,3-4, pls.xiv,xv.

172RevueArchéologtque,,1937, 46 fig. ); AJA,xli,

1937, 75,figs. 4,15. Cf. thebust t stanbul, rom he

Hadrianic aths tAphrodisias,fAtargatisnher fish-goddess orm; atomus,i, 1949, 57 ff., l.xvi.178Lanckoronski,p. at., 100, fig.78; JDAI, xhv,

1929, 69,fig. . __ _ -...._..174Quarterlyf he epartmentjAntiquities,alestine,x, 1944, l.xxviii, . _ _ . .175D. Krenckernd W. Zschietzschmann,omischeTempelnSyrien, 938, 37and239,figs. 62and364.

i76ayf/tWilberg, Jahresheftees osterreichtschenarchaologischennstitutes,i, 1908,122-3,figs. 4-6.

176B. Schulz ndH. Winneield, aalbek, , 1921,pls.xxiii, x (great emple, irstentury .D.); D. Krencker,Th. von Liipke,H. Winnefeld,bid., i, 8, fig.12; 10,fig. 4; 11,fig.16= Syria, xiii, 942-3, 9>ng- small,or Bacchus-', emple,econd entury. d.).








significancef thesefigures,. infra») t maywell be thatsuchthree-dimensional

examplescho he ource f themore amiliarrchitecturalsagewithhuman rotomaiand animals mergingnrelief rom he terminallowersfthewhorls fa running,single croll p. 5), The latter, s thefollowingxampleshow,waswidely ppliedto monumentalrchitecturen the easternprovinces romearly mperialtimesonwards:177

'Atil,Djebel Haurán, rom ne ofthe twoclosely elated emplesH. C. Butler,American rchaeologicalxpeditiono Syria,1899-1 900, part ii, Architecturendotherrts, 43-7; one of thetwo s dated o a.d. 151): fragmentfa basaltfriezewith deer mergingrom flowern the entre f oneofthe urvivingwhorls.PLXX,2.

Baalbek: rieze bove hegreat oor f the Temple fBacchus';n additionopro-tomaiof beasts, full-lengthtanding utto occupiesone whorLBaalbek,ii,pls.xlix ndL Forthe dentificationfthe hree iguresfa youth, lion,and a bullwith heHeliopolitan riad eeSyria, , 1929,314-356andxxiii,1942-3,49.

Kanawát, jebelHaurán: ragmentf a basalt riezewith simple canthus-scroll,withinhewhorlsfwhichppear wohornednimals' eads. PLXX, 3.

Palmyra:offit rom heperistylef thetemple fBel,dedicatedn a.d. 32,anelaborateomposition ith central ictorynd,toright nd eft,hunting-scrolls:most fthefigureshreadheir ay hroughhefoliageutone, horse,emergesrom he entrefone of thewhorls.PL XX, 1. Syria, v,1934, 37.

Palmyra:riezefrom he

mid-second-centuryest toa ofthe

templefBel;

R.Wood,Palmyra,753,pls. xiv,xv;Th. Wiegand, almyra,932, 144. M.SeyrigonfirmshatWood'sdrawings,houghnaccuratendetail, rerightnprinciple. orthedateof this toa, eeSyria, iv,1935, 295.

Si'á, nowin SoueidaMuseum: wofragmentsf a basaltfriezefiguringlion-protomemergingrom flower-centre,ndthebust f girl, ppearingbove,andclutching,stem; n example fgood ocalwork, robablyfthe econdcentury.M. Dunand, eMuséee oueida,aris, 934,nos. 138-9,pl. xxx.

Soueida Museum: fragmentf a basalt friezeof unknownprovenience,frough, ocal workmanship; ithin the two surviving olutes,protomaiof a bull and of a boar. Ibid.,no. 129,pl. xxix.

SoueidaMuseum:fragmentfa basaltfrieze funknownrovenience,ith nacanthus-scroll,n oneof thewhorlsfwhich rouchesbeast.

Qasr Rabbah,TransJordania:rieze-fragmentsromthe Nabataeantemple, s-signedothe arlyecond entury. three-quarter-lengthuman igurendtheforequartersfa lionandofa gazelle mergeromcanthus-whorls,hich reexecutedn a deeply ndercut,wo-plane,lack-and-whiteechniqueeminis-cent fwestern ork f thefollowingentury. JA, liii,1939, 384-5,figs.9-1 1 Quarterlyf heDepartmentfAntiquities,alestine,, 1944, pl. xxvii.9.

AnavarzaAnazarbas), ilicia: on theso-called rchofJustinianthird-century177For informationoncerning eopled scrolls in

Syria, nd for hephotos llustrated e are ndebted oM. Henri Seyrig,Director of the Institutfranjáisd'archéologie, eirut.








a.d. ?) there s an acanthus-friezeith nimal-protomai.nformationrom

M. Gough.AphrodisiasCaria):seepp. 34, 35.Myra:frieze rom he heatre.Ch.Texier ndR. P. Pulían,The rincipaluins f

AsiaMinor, 865, pl. 4 5.IstanbulMuseum: womarble labsofuncertain,utpossiblyocal,provenience,

eachdecoratedn the forwardnd lateral dgeswith acanthus-scrollsithprotomaifbeasts nd, n onecase, human ead. At the entre feach crollis a nudefemale ust, heonerising rom nacanthus-calyx,heother oliate-skirted.Mendel,Hit 19-622,nos.1409and1410.

Themotif asnot onfinedo rchitecturalculpture.t canbeseen, or xample,n

the ower orderfan early hird-centuryarcophagusrom

idon,now n theBritish

MuseumPL XXI,2),178 n the id of nother,lsoofeast-Roman orkmanship,n theCastle fTripoliPLXXI, 3), ndonthe ower ordersf t east hree thers fthe ameseries,t Kertsch,ear parta, ndat Agrigento.179n instance fthesamemotif nmetal-workfeasternrigin an be seenon a silver late n theHermitage,ecoratedwith circularoneof sixfrilledmedallions,ontainingachan animal-protome,ndconnectedy verytylisedeaf-scrolls,hrough hich trideixputti.179*

Themedallion-scroll,everommonnRome nd taly, ad a wide urrencyntheRoman ast,bothwith ndwithoutigures. orthe atterhree otablexamplesmustsufficenthe resentontext:he urroundf hemain oor f heAugusteumtAnkara,double canthus-scroll;180pilasternthe Museum tIstanbul, rom yzicus, oubleacanthus-scroll,

loselykin n treatmento the

pilasterrom he Hadrianic aths t

Aphrodisias:181nd thehandsome, oublevine-scrolln the curvedfrontof anengagedolumnwith lat ides, lso n theMuseum t stanbul, heretwas found e-used n theEastSea Palace.182 he outstandingigured, edallion ine-scrolls thaton the urroundfthegreat oorofthetemple f Bacchus tBaalbek,withvintagingputti nd ong-robedacchantesn themedallionsPi. XXII,2).183 Here thevertical,flankingciolls re ontinuedorizontallycrosshe intel, far essfamiliarorm hichisrepeatednanotheryrianxample, basalt intel rom anawátn theHaurán, owin SoueidaMuseum.184hisis a skilful,ively ieceofthe ate econd, rearly hird,centuryepictinghebirth fDusaries-Dionysos,hoappearsnthe entres a wingedputto tandinghigh-deepn an acanthus-plant,romwhichdeeply-cut,oublevine-scrolls reak way orightnd eft,withputti atheringhegrapesneachmedallion.

A handsomeatethird-centuryxamplewithbirds n themedallionsan be seenon a178C. Robert,Antike arkophagreliefs,i, 1890, 129,

pl. xlv,fig.no; Catal. f culpturenthe ritishMuseum^iii,1904, 11ff., o. 2303.179Robert, p. at., 11, 6-9, no. 21, pl. vm and ix(Kertsch);bid,ii, 175-6,no. 147,pl.xlv= Suppl.pl.vii(near parta, owdestroyed)ibid,ii,178-181, o. 152b,pl.xlvii*=Arch.Ani.y 940, 03-4,fig. (oneendofthewell-knownippolytusarcophagustAgrigento).

1790 . I. Smirnoff,rsenteneriéntale,909, l.xiv.180D. KrenckerndM. Schede, er TempelnAnkyra

(Denkmalerntikerrchitektur,), 1936, ls.xiv,xxvi.181Bulletin e Correspondanceellénique>lv, 1921,

436ff.; quarciapino,l.M.

182Mendel, ii,424-7,no. 11 9 (fig.);E. MambouryandTh. Wiegand, ie KaiserpaldsteonKonstantinopel,1934, l.xxxix. stanbulMuseum hotos, os.2058-2060.Mambourynd Wiegandsuggest Severandate,withwhich he lat reatmentftheplant ccords; ut hewidespacing fthedesigns s more reminiscentfAntoninework.

188Baalbek, 1, 923, ls.h-lu.184M. Dunand,Le MuséedeSoueida, 934, 4-15,no.

3, pl.v. Cf.Syria, ii,1926,pi lxiii, ; xxiii, 942-3, 5,fig.15, 1. There s partofwhat ppears o be a com-panionpiece,also fromKanawát,now in the Louvre(A.O. 11.078).

D








pilasterf theDiocletianic ort tPalmyra.185rom he ame ite omes nexamplen

sculpturef thefree,ll-over ine-scroll ith intagingutti,n the offeringfoneofthegrave-towers*186It has already eenremarkedp. 23) that n Romeand Italythe formal ine-

scrollwithfigures as introducedelativelyate, and it has been suggestedhatthe ource romwhichtwasderived,romwhich ndeed omeof thefinest omanexamples ere mported,ay n theRomanEast» Thattheeast-Romanine-scrollfthe mperialge, ome ftheoutstandingxamplesfwhich re istedn theprecedingparagraph,s derivedn its turn romarlier,ocalmodels, f a decidedlyative, on-classicalharacter,s one ofthemost ignificantesultsftheFrenchxcavationsithintheprecinctf thetemple fBel at Palmyra. ound e-usedn thefootingsf a wall,whichwas subsequentlyemolished t thebeginningf theFlavianperiod,were

numberf oftimestonelocks. Theseblocks,which anhardly e later han he ndofthefirstentury.C., recarvedn reliefwith varietyf decorativeesigns, ro-minentmongwhichrevine-scrollsormedya single temooped lternatelyorightand to left,with ingle ine-leavesndbunches fgrapes etschematicallyithinheloops. The characterfthe relief nd the unusualmouldingslainlymitatewood-carving, hile herigorouslyeometricomposition,hetwo-dimensional,lack-and-white ffectf some f the crolls,nd the uriousriangulareatureromwhichmanyofthem pringreall without aralleln contemporary,estern, raeco-Romanrt.M. Seyrig'suggestionhatthey rederived rom source till furthero theeast,probablyromran,withwhichPalmyra as linkedbytrade, arries onviction.186*Thesescrolls rewithout igures. fewdecadesater he ame crolls refound,his

time ncorporatingirds eckingtthegrapesnda malebust, nthe arved rnamentofthe uperstructuref theperistylefthetemple fBel.1866 he architecturalon-text ndthe trictlylassical haracterfthe ccompanyingouldingsonfirmhat heintroductionffigures ustbe attributed,ikethepeopled canthus-scrollrom hesamebuildingp. 32),tothe mpact fclassicalmodels n thisnative,asternradition.

Perhapshemostmportantingletem rom heRomanEast,certainlyneofthefinest,sa pilaster,ow n stanbul,he urviving ember f pairwhich nce dornedthemain ntranceotheHadrianic aths tAphrodisiasPi.XXIV,2). Thismasterpieceofmid-second-centuryecorativerthasbeen ully escribednd llustratedlsewhere.187The subject-matters remarkablyaried:within hewhorls, usts or three-quarter-length iguresmergingrom lowers,ull-lengthiguresallopinghroughhefoliage,orwhole

iguredroups;nd nthe

pandrels,wealthf maller

eings,easts,ndbirds.

Thisvarietyfcontentsmatchedy rich iversityftreatment.heformalityfthescroll-workattern,with its medallion-like horls, s combinedwitha carefreeexuberancefdetail; nd while hefigureshroughoutreplastic ndnaturalistic,he

185Th. Wieeand, almyra. 012, l. iv.188Ibid.,pl. liii.188aH. Seyrig,Antiquités yriennes,2: Ornamenta

Palmyrenantiquiora\ yria* xi, 1040, 79-128.1M*Syria, v,1934,pls. xix,xx (two pairsof sym-

metrical ine-scrolls,with birds, forming he lowerbordersof the figured anelsdecorating wo of thetransverseeams panningheperistyle; n one theres

male bust at the unction f the two scrolls) xxiii

(theborder fa figuredoffit,ine-scroll ith irds).187Mendel, i, 179-184,no. 493 (figs.);M. Schede,Meisterwerkeertiirkischenuseen, : griech. ndrdm*SkulpturenesAntikenmuseums,028,pls. xxxv,xxxvi;Squarciapino,ls. xix,xx. IstanbulMuseum hotos, os.1617-1622.For thecapitals elongingothese ilasters,,v.supra, . 31. For thedateof die baths, ee CRAcad*1006,167.








foliate etailhovers etween aturalismndthemorepatterned,rilliant,lack-and-

white ffectschieved y highreliefndundercutting.ere,both n subject-matterand ntechnique,re hemodels or hefinestnimatedcrollsf ater ate, hose ftheLepcisMagnapilastersndofthe MuseoPetriano anels.Meanwhile,loseparallels,in style ndtechnique,o theAphrodisiasilasterre tobe found n thepairof rect-angular ilastersn the hurch fS. GiovanniMaggioretNaples pp. 18, 20, 30),eachcarved n twoadjacent aceswithverticalcanthus-scrolls.n theone ofthese acesflowersccupyhe entresfthewhorlsndminute irds ndbeasts he pandrel;ntheotherredisplayedlower-cuppedrotomaifputti nd ofbeasts lternately.

On a smaller cale andperhaps alf-a-centuryater n dateare theunpublishedfragmentsf a small,marble rieze rom hegymnasiumt Aphrodisias,ow n theBritish useumPLXXIII).188 hewhorlsf he inglecanthus-scrollurl nto ircular

medallions,ithin hich igureslivelyssortmentfputti ndbeasts: our uttin theguiseoftheSeasons, cock-fight,seated pe,a houndpulling own stag, puttoreleasing birdfrom wickerage, notherescuing harefrom hound. Above hecentralalyx ises hebust f sphinx, ho lutcheshe tems fthe crollnher ower-fulclaws. Of another rieze romAphrodisias,rom he Hadrianicbaths,nowatSmyrna, fragmentnly urvives. xecutedna more ummaryechnique,tshowsvigorousoar ttackedya houndwithin quasi-medallion. nlytheforepartsfthebeasts reto beseen, mergingbliquelyrom hebackgroundPL XXVI,2).189

Egyptpresentsomethingf a specialcase. The importancef Alexandrias acentre or he rts nRoftianimes sa highlyontroversialopic.In thepresentontextit must e sufficientonote hat inds nEgyptianoil, uch s themetal-worker'sasts

fromMemphisp. 4) and theHermoupolisilver eakerp. 24), prove onclusivelythat ertain ormsfpeopled crollwere stablishedn the Alexandrianilver-smith'srepertorylreadyn Hellenisticndearlymperial imes; ndtosuggesthat heirworkmay ave layed considerableartn the iffusionf hemotif. tisnot,however,ntilthe ateEmpirehat heresany ertainrace f ts pplicationomonumentalculpture.The porphyryarcophagusf Constantiap. 24) andthefragmentfa similar arco-phagus in Istanbul90 re certainlyf Egyptianrigin.A limestone ilaster romBawit, ow ntheLouvre,191ndthewooden oor rom he hurch fSt. BarbaranOldCairo192isplay iguredine-scrolls,hich recloselyelatedncontentndstyle o theivories f theThrone f MaximiantRavennap. 26), itselfheproductitherfanAlexandrianorkshoprofa workshopndertrong lexandriannfluence;ndfriezes

from xyrhyncusnd Ahnás193llustratehe

passagefthe canthus-scrollith nimal-

protomairomateclassicalntoCoptic culpture.The series feast-Romanrchitecturalculptures ithpeopled crolls loseswith

twocolumn-fragmentsnIstanbul,withfiguredcenesncorporatednto ll-over ine-188 nv. no. 1 2 , 12-20,1237; CRAcad. 1904,703;

1906,155and 158.189A. Aziz,Guide uMuséedeSmyrna, 933, o. 162,pl. i. See also the acroteria f thepropyleion o thesanctuary f Aphrodite t Aphrodisias MonumentiAntichi, xxviii, 939, i, 125-6,pl. xl, 5) with three-quarter-lengthiguresfdeer eaping hroughhewhorlsof a complexcroll.

190Mendel, i, 447-8, no. 665; Peirceand Tyler, ,pl. 18; R. Delbrueck,Antike orphyrwerke,932, pl.

107,2; EarlyChristianndByzantine rt: an exhibitionheld t theBaltimore useum fArt,1947,no. 34, pl. x.

191Archaeologia,xxxvii, 938, 12,pl. lxxvii,.192Ibid., 12,pls. xxv, and xxvi,; A. PatricolondU. MonnereteVillard, heChurchf in BarbaranOldCairo, 922.198Archaeologia,xxxvii, 938,pl. lxxi, -5; U. Mon-neret e Villard, a Scultura d Ahnás, 923, igs. 6-7,cf.figs. 5,88, nd89.fromheFay rn.








scrolls:nthe ne, ecularsubjects,easants ith nimals;ndon the ther,mixturef

secularnd Biblical hemes,ncludingheBaptismfChrist.194hese olumnsmay eas lateas thefifth r sixth entury,utthey renotunreminiscentf earlierwork.Whilethedesignss a whole reworkedwo-dimensionallyndproduce flat,attice-like ffect,he ndividualiguresre omparativelyellmodellednd xpressive,he temsofthevinefirmlyrawn ndpliant, nd the eaveswelldrawn,with areful eining.Butthe cenes ndfiguresavenosuch ogical onnection ith hefoliages have hevintagingutti fearliercrolls, or re hey ramed ithint nor rganicallyntegratedinto t. The vine s spreadike a continuousapestryackground,ntowhich iguredpictures avebeenwoven ere ndthere.195

Evenwith he idof uch ast-Romanxportso theWest s the piral olumnsnSt. Peter's p. 25) and the S. Lorenzovine-scrollarcophagusp. 24), thepicture

presentedythe culpturaleries s sadly ncomplete. ortunately,owever,tcanbeconfirmednd mplifiedyreferenceo themagnificenteries fmosaic avementsromAntioch-on-the-Orontes.heserange rom he atefirstentury.D. to the arly earsof the ixth; ndalthought is notuntil he fourthenturyhat heparticular otifswhich retheprimaryubject f thispapermake nappearance,n more eneralermstheseries ffersn unrivalledpportunityortracinghestylisticvolution f thepeopled croll neast-Romanictorialrt. In theearliestf thehouses xcavated,helatefirst-centurytriumHouse,the ight-on-darkine-scrollorder,pringingrommasks nd nhabitedy tiny easts ndbirds,s ina traditionfnaturalismhat temsstraightromuchHellenisticmodels s thepalacemosaic tPergamon.196 light-on-dark canthus-scrollithmasks ndputti na rectangularosaic orderromhahba-

Philippopoliss renderednthe ame tyle. n the owerSeveran)eveloftheHouseoftheBuffetupper,he reatments still hree-dimensional,utreflectshe haracteristicfeaturesf tsperiodnthe trongccentuationfhighights gainsthedark round;197while ntheHouseof theBoatofPsychesa.d. 235-312) the ight-on-darkechniquehasbecome ntirelywo-dimensional.198hese asttwoexamplesombinemasks ndformaloliaternament,utdonot therwiseelongt allcloselyothe resentnquiry.In theConstantinianilla,ontheother and,notonly oeseachof theSeasons tand,amid ppropriateoliage, nee-deepnanacanthus-calyx,romwhich pringhe temsofa running,canthus-scrollorder,nsetwithmasks;199ut n theadjacent oomthererefragmentsf a vine-scrollorder, ith iguresn thewhorlsnd masks t theangles.200 he line-drawingffiguresndplants like s delicate ndrealistic; utthere s

virtuallyomodelling,ust

a successionfflat, uperimposed

urfacesfightanddark. In this especttmaybe contrasted ith he aterearly ifth-century),ut

more enuinelyaturalisticndplastic,canthus-scrollorders, ithmasks, irds,ndfruitnthewhorls,n the mperial alace nConstantinople.201tAntioch further

194By^antirdscheeitschrifty, 1892,576-88,pl. i andii; Peirce nd Tyler, , pl. 127; Mendel, i,435-42,nos.658-9 (figs.); Early Christian nd Byzantine rt: anexhibitioneld t theBaltimore useum fArt,1947, 2,no.54,pl.iv. _

■_ _ _ _ _ _195Cf. themuch isputed ntioch halice, eirce nd

Tyler, , pls. xcix,c; forbibliography,ee OrientliaChristiana,926-7, -10; A. Adriani, e gobeletn rgentdes amoursvendangeursu Musée d'Alexandrie,939,

37-8.196D. Levi,AntiochMosaic Pavements,947,pls. i,b andcxlvi, .

197Ibid.,pls.xxiii, andcxlii, .198Ibid.,pls. xxxv, , andcliii,b.199Ibid.,pls. iv-lvii.200i&V.,pl.cxliii,b-e.201The Great alace oftheByzantinemperors,947,

pls. xxviii, xix, xxi, l,xliii, lix, nd1.








stagenthis evelopmentonfrontssin the unningcanthus-scrollromheHouseof

theRams'Heads c. 500),with utti ndanimal-protomainthewhorls,202nd ntheacanthus-scrollithbirds ndputtihuntingeastsn thecontemporaryouse of theWorcesterunt,203 here hedelicacynd realism ftheConstantinianraughtsman-shiphave ompletelyanishedndhard, ryinesdefinehefoliage.Withthesemay ecomparedhe ixth-centurycrollswith easts, irds, ndhuman iguresn theirwhorlsinthemosaics f theGlassCourtupper evel)and Church f St. JohnheBaptisttGerasa.203*he final tage n thedenaturalisationf thepeopled croll t Antiochsreachednthe ompletelychematised,epetitiveordersfthe ixth-centuryartyrionofSeleucia204nd of the ontemporaryouseof theBirdRinceau.205 his s the ameworld s thatofthedouble-vine-scrollorder,withrepeated airsofhuntsmenndtheir uarry,n thepavementf the ixth-centuryhurch t Nikopolis,206nd of the

great ifth-nd ixth-centuryll-over ine-scrollavements ith egular,lose-setowsoffigured edallions,uch s that t Beisan,with welve cenes fcountryife,207rthatfromQabr-Hirám, earTyre,nowin theLouvre,withthirty-one edallionsframingutti, untingrvintaging,ndanimals.208

10. North frica.Outstandingmonghepeopled crolls romhe outhern editerraneanea-board

is therich culpturaleries, omogeneousn dateandprovenience,hich dorned hegreat everanuildingsfLepcisMagna. Notonly oesthe omplexs a whole ffordanunusuallylear icturef ome fthe ross-currentst workwithinhebroad treamof mperialrt;but t offersninvaluableixed ointn the hronologicalevelopmentof several f ts constituentlements. he whole

programmeascompletedetween

A.D.193,atearliest,nd216; anddespite diversityf treatmentndofstandardsfartisticompetence,hich etrayshework fmany ands,ntechniquendstyle hearchitecturalcrolls hroughouthe seriesbearthestampof a distinctivend quiteunmistakableamilyikeness.

Among herelief-sculpturesf thefour-wayeveran rch at Lepcis,completedprobablyn 203, three roups fanimatedcrollsmaybe distinguished:a) verticalsingle crolls fvine, ach pringingrom chalice,with hick ndstronglyccentuatedmain tems ndvintagingutti ndbirds'nests n thevolutes; heywereoriginallyeightnnumber,roupednpairs oformhefourarge ngle-pilastersf thearch;209(V)verticalingle crolls facanthus, ith nanimal-protomen the erminallowerfeachwhorl,wenty-fournnumber,roupednpairs o formhetwelvemallerngle-pilastersfthepassage-ways;nd r)horizontalunningcrolls f canthus, ith imilaranimal-protomai,nthe ower fthe wofriezesfeach fthefourmain ntablatures.210Allthreeeries,he irstnd hirdnparticular,isplay strikingnequalityfworkman-ship,whichrevealsunmistakably,ideby side withtheskilledcraftsman,he un-practisedand f the pprentice.211

202Levi,op.cit., l. lxxxii, .203Ibid.,pl. cxliv, -c.203a d. C. H. Kraeling, erasa,City f heDeeapolis,

1938, ls. viii, , Ixix, ; Peirce ndTyler, i,pl. cxxiii.204Levi,op.ctt., l.clxxxi,.205Ibid.y ls.xci,xcii, andclxxxi, .206npoocTiKÓc,915,76 ft., igs.10, 12-19.207Peirce ndTyler, , pl. cxcv.

208Orientabahristiana,926-7, l.xxiii;C. Cecchelli,La cattedraiMassimiano, ome, 1935-44, . 86 (fig.).209Africataliana, v, 1931,56-60; Squarciapino, ls.xxxb andxxxi;JRS,xxxviiL 948, l. vii,1 and3-5.210Africataliana, v, 1931, 9-70, figs. 0-1.211JRS, xxxviii, 948,72-3. Several ections f thefrieze re executedn a hard,drymannerwhich s instrikingontrast ith hat f thepublished ragments.








Oftheeight ilastersn the everan asilica212ompletedn216,fourredecorated

oneach fthreeideswith double erticalcroll, reelyomposednto nformal edal-lions. On twoofthem he crolls onsist fgrape-vinespringingrom halices ndframingcenes rom he riumphfDionysosLiberPater) nd thefiguresf membersofhistrain,with irds, easts,ndputti n the pandrels. he correspondingairpor-trays,imilarlyramednthefoliagef grapelessine ?), theLabours fHerculesndfiguresf he oddrawn rom he epertoryffamiliar ellenistictatuaryPLXXIV,1).Liber aterndHercules,tmay enoted,were he ity's atron ivinities. he remain-ingfour ilastersPLXXV,2) bear ouble canthus-scrolls,omposed ore ormallyntomedallionsndspringingachfrom n acanthus-calyx,n which tands, nee-deep,naked emale igure,lutchinghe temsnherhands. Within hewhorls reflowers,mostly ith nimal-protomaimergingromhecentres,everal ull-lengthutti, nd

inonecase frontalemale ace.Thespandrelsre livewith maller utti ndbeasts,andone ofthe crolls nds t thetopwith draped rontal ictory,therswithhalf-palmetteshat ecall hepilastersrom phrodisiasp. 34) andfrom yzicusp. 33).

The ndividualiguresn allofthesecrolls,xcept or hose bviouslyssignedo themasters'esspromisingupils,213ear the mpressfa goodtraditionfmodelling.This is particularlyrueof theHercules ilastersn thebasilica. But thefoliageseverywherextremelylat;nd hedecorativententionsessentiallyhe ame llthrough.All invaryingegreembodyhe ace-workechnique, hichwasalreadyurrentntheeasternMediterraneanp. 35) andappears or hefirst ime nwesterncrolls f con-temporaryrofslightlyater ate p. 20). It is notreliefn thenormallassicalense,in which heraisedworkgrows utof,andbelongs o, itsbackground. he closely

packed esignwasfirstrawnuton the urfacef hemarble,fter hichhe ntersticeswerebored way nd thefiguresndfoliageo deeply ndercuthat hey ppear o bestretchednspace, rilliantlyighted,gainst blackvoid. Themost ompletembodi-ment fthisconceptionfrelieftLepcis anbeseen nthe woLiberPater ilastersnthebasilica.As compared ith hepredominant,ll-overmpressionf ace-work,hemore lastic enderingf ndividualiguressof ittle ignificance.ven nthe canthus-scroll ilastersndfriezes rom hefour-wayrch,where hebackgrounds more nevidencend theundercuttingatheress stronglyeveloped,heconceptions stilltwo-dimensional,ith hedesignaidparallel o thebackground,ithoutnyorganicconnectionith t.

Commono thepilastersoth f he rch ndofthebasilica re hemouldingsfthe

frame,he etail fwhich

ppearsnflat ounter-reliefgainstpunched-outackground(Pis. XXIV, 1 XXV, 2). Theyresembleery losely hose f theHadrianic ilaster

fromAphrodisiasPLXXIV,2), the losekinshipfwhichwith heLepcis ilasters .Squarciapino as clearly emonstrated.214er inferencehat he atter epresenthework f imported phrodisianrtistsassisted ylocal imitators)mustbe accepted,with he mportantodificationhat heseweremuchmore robablyrawn irect romCariathan romheAphrodisianolonynRome. In theHadrianiccrolls hefiguresare, smight eexpectedtthis arlierate,more lastically odelledhan remany f

212Africataliana^ , 1927, 4-72,figs. 0-18;Squarci-apino, ls.xxviii, xix, ndxxx ;JRS, xxxviii,948, 3-4,pls.vii,2 andviii,1-3.

213JRS. xxxviii, 948, l. vii,4.214Squarciapino, . 88.








those t Lepcis, hefoliages morenaturalistic,heundercuttingesspronounced,nd

the onceptionfreliefmore hree-dimensional.utfrom heir hole chemefdesign,from he ontentf their igure-subjectsndfrom he mploymentnsubsidiaryetailsofthe ame ntaglio echnique,t is clear eyond oubt hat hey onstitutevital inkinthepedigreeftheLepcis crolls.

Apart rom hedifferencesmposed ymaterial,he tylisticnd technical eaturesof theSeveranmarble crolls ecurntherunningcanthus-scrollsrom he imestoneentablaturef theporticoesurroundinghe ForumNovumSeverianumt Lepcis.Thesearecoarserndfor hemostpartunpopulated. ut nonesurvivingragmentrosetteisgorgesheforepartf a lion;and n another smiling uman ace, ramednpetals, uggestsn animatedunflower. fragmentf themarble rieze f theForumTemple epictsheprotomef a bullemergingrom hewhorl fan acanthus-scroll.n

theNymphaeum,hichwassubstantiallyomplete eforehedeath fSeverus,herearenopeopled crolls; utthe detailof thesuperimposed arble rders isplaysheintaglio,ace-workechniquen itsmost xaggeratedorm.

The Severanmonuments erenot thefirst o usepeopled crollsnTripolitania.The arch fMarcusAureliusndLuciusVerus nOea (Tripoli)215ncorporateseveraleast-Romaneatures;ndwhile hepeopled crolls not monghem,hevine-scrollsfthe ngle ilastersffordvaluableriterionor ating therecond-centuryorkntheprovincePL XXVI, 3). Thesepilastersesemblehose ftheLepcis rchnthe latnessof he urfaces,he epth fundercuttingnd he ccentuationf themain tems,ut heleaves remore ensitivelyrawnnd faithfulonature;ndwhile he rtist asworkedto a large xtent n twoparallel lanes, hebackgrounds notyetreduced o a mere

shadow ndhas a functionf ts own n thedesign.The bordersredone nshallowrelief,ot n ntaglio. hesefeaturesre loselyepeatedn anunpublishedragmentfa marble ilaster,ortrayingheavily-builtog nthewhorl f a vine-scroll,romheHadrianic aths t Lepcis PL XXVI, 2). The exact ocationwithin hebaths fthispilasters notknown,ut tmaywellbelong o theCommodan estorationf thebuilding.216

Somewhatarliergain, erhaps,re he wohalves f a pilaster,e-useds the oor-posts fthemosque fSidiel-Fergeaniear heWadiCaam PL XXV, i).217 It comescertainlyrom epcis ndportraysnacanthus-scroll,n thewhorlsfwhichreflowersandfull-lengthrthree-quarter-lengthiguresfputti.Thereliefs bold ndthedesigntightlyackednto hefield; utthefoliagesaltogetherore xuberantndplastically

modelledhan n ts Severanounterparts,ndthe urfacef

stems, lowers,nd

eaves,and of theborder-mouldingslso,is treatedwitha delicate lutinghat oftenshecontoursndbringsutthefineroints fthe elief.Thisflutingsrepeateddenticallyon an acanthus-scrollrkze,withputti ndbeasts ntwinedn thewhorls, rom hewest ate tLepcis.In the uality fmodellingndfree, racefullow fthedesignhisfriezeseven eminiscentf ateFlavianworknRome. Thewest ate nd ts culptureshavebeendatedby Caputo o the ate firstentury;218uttheres a growingody f

215Boll.d'Arte, 925-6, 54-70;for ngle ilaster,eefig. .

216For theCommodan estorationeeR. Bartoccmi,Le Terme iLepcis, 929, 9.217Photo: Sopnntendenza i Monument! Scavi,

Tripoli.218Archeologialasstca, ,1949, 6ft., asedmainlynthephysiognomicndpsychologicalspectsftheMedusaandVictory eliefs ound n associationwiththe friezefragments;ee alsoJRS>xxxviii, 948,pl. ix,2-3. The








evidenceoshow hatmarblewasnotusedmonumentallyt Lepcisbeforehetime f

Hadrian, nd it is wiser oregardhisfrieze s Hadrianic rearlyAntonine. o thesamegroup fscrolls, sing he same tyle ndtechnique,utmore loselywovenndesignndprobablyatheraterndate,belongs series ffrieze-fragments,ortrayingprotomaifbeasts nd ofhunting utti nthewhorlsf nacanthus-scroll,hich omefrom he nternalntablaturefthe ruciformuilding,ater onvertednto baptistry,at the outh-westngle ftheforumtSabrathaPL XXVI, i).219Thebuildingsnotpreciselyatedbutcanhardlye earlierhan hemiddle fthe econd entury.

Whateverhedate fthe ndividualieces,t seems lear hat hepeopledcrollwasalreadystablishedn the rchitecturalsage fTripolitaniaeforehe ime fSeveras.The style f thegroup hows bvious ffinitiesith heHadrianic ilastert Aphro-disias; ndthepossibilityuggeststselfhat his econd-centuryork oomay ave een

thework f mmigrantast-RomanraftsmenromAphrodisias. o far s is known,Septimiuseverus adnospecial rpersonalontacts ith heCarian ity; ndthe om-missioningfAphrodisianrtists orhisgreat uilding rogrammetLepciswouldbethemore nderstandableftheywere lready nownnTripolitaniaor heirwork npublicmonumentsftheprecedingentury.

Two other ses of thepeopled croll n the culpturefTripolitaniaeserve riefmention.Theyfiguren at least three fthemausolea f theDjebel Nefusa n theinteriorfwesternripolitania,rovincial ork fthemiddle r ateEmpire,nspirednodoubtbythemonumentsf the oastal ities.220 he mausoleumf El-Amrouninsouthernunisia,on theTripolitanianorder,s of thesamegeneralharacter.221gabled,marblesarcophagusid ntheCastleMuseum, ripoli,with miniaturecanthus-

friezeunninglong he ower order,nd mall irds ndbeasts ntwinedn thewhorls(PL XXI, 3), s eithern mportromhe astern editerraneanr a local opy feast-Romanwork. tmaybedated robablyo the hird entury.

Sculpturalnhabitedcrolls rom hemorewesterlyrovincesfRomanAfrica refar essplentiful. rom heCapitoliumtTimgad ome he culpturedoffitsfthreefragmentaryrchitravelocks, ortrayingich canthus-scrolls,heplastic reatmentfwhich ccordswellwitha datecontemporaryiththeTrajanicfoundation.n thecentresf thesurviving horls re,respectively,full-lengthrontalutto, veiledfemale ead nd a Hercules.222 sarcophagusn theTimgadMuseum as s itscentralfeature beardlessmalebust n a medallion f acanthus-leaves.tylised canthus-rinceauxpringorightnd eft nd in eachof thetwo terminal horlss a graceful

puttopluckingbunch f

grapes,clear nstance f

Dionysiacfter-life

ymbolism.Theproportionsfthe wo utti, hewide pacingf hedesignndthe risp eatnessfthefloral orksuggestnearlyecond-centuryate.223heads are, as Caputo remarks,loser to thoseof theTiberian agora at Aphrodisias MonumentiAntichi,xxxviii, 939, . 160ff., ls. -xl) than o themonster-likeheads from heHadrianic aths n thatcityor in theSeveranforum t Lepcis (Squarciapino, l. N). Thefragmentsf two Flavian nscriptionsoundnearthewestgatedo notbelong othe rch, ut omefromomeoutlyingmonumentemolishedo providematerialorthefourth-centuryalls.219 hotos: Soprintendenzai Monumenti Scavi,Tripoli,B 1284.220 . Coró, Vestigia i coloniegricole omane: ebel

NefusaColU^wneioperemonografiecura elMinisterodelleColonie, o. 9) Rome,1928,12-13 mausoleum fGsur l-Berber,0 km.SE ofCabao); 30 mausoleumfTuil en-Nahla, earCabao); 64 mausoleumf Resciadetel-Tual, erritoryfHaraba).221Revuearchéologique*xvi, 1895,80-1, figs.4-6;Bulle tinoelMuseodell*mpero omano, ii,1941, 8.

zzz A. Ballu,Les Ruines eTimgad, 897, 04,fig. 1;A. Ballu and R. Cagnat,Musée lie Timgad Musées etcollectionsrchéologiqueseVAlgériet de a Tunisie^ ii),1903, 5, pL vii,1.228Ballu ndCagnat, p. at., 24,pl. x,3.








The principal orthAfricanmosaics iguringeopled crolls rewellknownnd

wellpublished.The lovely olychromecanthus-scrollrom liten,withbirds ndbirds'nests uppedn tsflowersnd other irds ndanimals alanced n tstendrilsrfillinghefield, ecalls he canthus-dadof theAra Pacis n thecontrast etweenheformalityndfancifulotanical ombinationsfthedesignsa whole ndtheminutelyobservedaturalismfthe ndividuallowers,prays,nd eaves,224 urigemmassignsthe Zlitenmosaics, n theground f the content fthearena cenes, o the ate firstcentury.d. A charming osaicfromOuled-Aglan theAlgiersMuseumportraysputti ishing,idingndolphins,tc., n themedallionsf nacanthus-scrolL225fthelate second- rthird-centuryionysiac avements ithfiguredine-scrolls,hemostdistinguishedre hedrunkenionysos rom arthage, ithvintagingutti n verticalvine-scrolls;226hetriumphfDionysos rom ousse,with utti, irds, ndbasketsf

grapesn thewhorlsf tsformal ine-scrollorder;227he riumphfDionysosroml-Djem, n which intagingutti, easts,ndother ionysiac iguresredisposedmongthebranchesf four ines,which pread reelynwardsowardshe centre rom asesplacedn the ngles;228nd heDionysos-and-Icariusosaic romhevillaoftheLaberiiat Oudna,similarn lay-out o the ast-named,xcept hat ach scroll s double ndspreadsrom pair fmedallionsisposed long hediagonalxes, ramingneat, quarepanel bout hecentral roup.229n the amevillaat Oudnaand a partofthe samedecorativecheme,wasfound fragmentaryanelwithprotomaif beasts pringingfromhewhorlsfa formallyrranged,preadingcanthus-scroll.230fragmentromCarthagen theLouvre/3466) shows ne whorl f a vertical ine-scrollontainingvintagingutto.A fifth-r ixth-centuryhristian osaic rom herchelhows vine-

scroll pringingrom chalice ndframingnimalsn its medallions.231ost mpres-siveofall is the atestmonumentfancientrtfrom oman abratha,hegreat loor-mosaicfrom he naveofJustinian'shurch,xecuted y craftsmenrought orthepurpose romConstantinoplerfrom yria.232 rom hugecalyx f stylisedeavesspringwovine-scrolls,hich nterlacep the centre fthepavementndthrow ffshoots n eitheride. In three f the entralmedallionsre phoenix, peacock,ndacaged uail,symbolicespectivelyf theResurrection,f mmortality,ndofthe oulimprisonedn theflesh;nd n a fourthmedallion,nd betweenhe ateral ranches,birds fmanypecies, angingtwill ndfeeding pon hefruit,epresenthe iberatedsoulsof theblessednParadise. t is a notablework f decorativert, nda strikingexamplefthe onversionoChristianseof the mageryf thepagan ther-world.

II. Conclusions.It ishardlyobe expectedhat n inquirynto subject, he trandsf which re

wovenowidelynto he omplex abric f ateHellenistic nd mperial ecorativert,shouldyieldmany lear-cutnswers, articularlys this nquiry as purposely een

224S. Aurigemma,/ mosaicidi Zliten, 1925, pl. E (p.211),figs. 31-145-

225p#V/uilleumier,Musée d'Alger: supplement, 928,78,pl.xii,3. . . ...226Jnyentairees mosaiquesde I Afrique,11,1, no. 744(pio. ... . _227Bardo Museum, Tunis. Africa Italiana, vi, 1935,147, fig. U>228Africataliana,v, 1933, 4,fig. 0; vi, 1935,148,

%35- _ __,.__229BardoMuseum, unis. P. Gauckler,MonumentstMémoires:ondatwnlot, ii,1896, l.xxi; nventairetc.,ii,1,no.176 pi).

230Monuments t Mémoires: FondationPiot, iii, 1896,207,pl. xx.281Inventaire tc.* ii, no. 4%% pl.).

232peirce and Tyler, ii, pls. cxv, cxvia, and cxviia. Adetailedpublicationby R. Bartoccini s in preparation.








limited o theformalspects fthesubjectndhasnoted,npassingnly, he ymbolicintentfthe everalmotifs,ften nfact dominantlementnthedesignndnever,perhaps, ery arbelowthesurface. t is, however,ossible o distinguishertaingeneralendencies,hich haped hebroaderattern;ndtherere certainlearly e-finedmomentslsoin thedevelopmentf thetheme,which o allowofprecisetate-ment.Sucha moment,or xample, as Domitian's randioseuilding-programmenthe apital,which stablishedhe canthus-scrollith ntertwinedeasts rwith nimal-protomaiecurely ithin herepertoryfmetropolitanoman rchitecturalrnament(p. 11); suchwasthedeliberateevivalfthese ndother lavianmotifs t thehands ftheSeveranestorersfDomitian's alace p. 1 ), andagain, t second emove,nderAurelianp. 22); suchagainwas theappointmentf sculptorsromAphrodisiasosupervisehe rchitecturalrnamentfthe everan uildingstLepcisMagna pp. 37-

40). It isonly ccasionally,owever,hatwecandistinguisho clearlyhe ccidents fpersonalityrofhistoricalircumstancehat eterminedhedetailed evelopmentf heindividual otifs.Continuityrom nephase othenext eems ften ohave ain nthefield fthe minor rts, heproductsfwhich, or ll that hey re ess articulatefspecificersonalitiesnd events, eached farwider ircle ndprovidedheprimarymaterialor hecreatorsf argernd more nduring onuments.husthe rchitectsof theAugustanheatre t Aries p. 26) and of the rch fTitus p. 11) were othdrawing,t first r secondhand,on motifs lready amiliarn silver-work,ottery,paintingnd tucco;nd t stothe tuccoesfthe omb ftheValerii ntheVia Latina(p. 17) and floor-mosaicsp. 17) thatwe have to turn or nstances fthepeopledscrollnsecond-centuryome, fterthad,for while, assed utoffashionnarchitec-

tural culpture.Geographicallyhepeopled croll llustratestrikinglyhediversityithin nity fthedecorativertof the mperial ge. It is evidenthat nmany espectsheEasternMediterraneanetainednder heEmpire certainriorityf nventionndofstylisticpractice. rom hefourthentury.C.onwardsome fthemotifsnder iscussion adbeen stablishedn theWest, nSouth taly. Butfor ll the elativelyighproportionofsurviving aterial romtaly ndfromhewesternrovinces,hereremany aps nthe ontinuityhich anhardlye explainedxceptntermsf continuouslyevelop-ingtraditionlsewhere. hehistoryfthepeopled canthus-scrollnRomeduringhesecond enturyndunder heSeveri ffordsn instructivexample f the nfluencestwork. After hefirst nthusiasmorthemotifhad spent tself nderDomitian,tvanished rom he

publicmonumentsfRomeand

Italyfor

nearlyhundred

ears.There s notrace f t onTrajan's rch tBeneventumr on eitherfthetwoSeveranarches nRome, r onany xtanttate-buildingn talyduringhe nterveningeriod.When t engthtwasrevived,nthe arly ears fthe hirdentury,twas s the esultoftwoconverging,utdistinct,mpulses.The onewas thedeliberateeversionnthePalatine omotifsstablishednRome centuryefore,nder heFlavians.The otherwas the mpact nthecapital fmodels rawn romheRomanEastand, pecifically,fromAsia Minor. From hepointofviewof thetraditionsfrelief-sculpturestab-lishedn thecapital uringhe atterpart fthe econd entury,henew, wo-dimen-sional, lack-and-whitereatmentfrelief, hich hese ast-Roman odels mbodied,appearsssomethingf stylisticevolution. iewed n tsown ontexttAphrodisias,








it is seen to be theproduct f a process f evolution,chieved raduallyuring he

course f theprecedingentury.It is significanthat hesculptorsfAphrodisias ere mployedo decorateheofficialuildingsfLepcisMagna pp. 37-8) a decade r so beforeheirworkorthework fcraftsmenromelatedentres)oundtsway oRome n sufficientuantitiesoaffecthe tylisticraditionsf the apital. ndeed t seems ikelyp. 40) that, lreadyduring he econd entury,herewere irect ontactsetween siaMinor ndTripoli-tania, t a timewhen,with he olitaryxceptionfthe wopilasterstNaples p. 35),theres no trace f uch nfluencenthepeopled crollsf taly.ThepopularitynGaulof thevine-scroll,predominantlyast-Roman otifwith limitednd,onthewhole,late incidencen Italy,maywell be attributableo similar ontactsp. 28). Theregionalismfprovincial oman rtnot nfrequentlyound xpressionn such nter-

provincialelationships,hich ut crosshe onventionalistinctionf EastandWest,and addyet notheromplicatingactoro an alreadyomplex icture.But,for ll itscomplexity,hemost trikingmpressiononveyedythis urveyf

thepeopledcrollnRoman rt s that ftheunflaggingenacityfthemain stablishedversionshroughoutmperial imes. f its ncidencendthedistributionf tsvaryingmodeswerefarfrom niform,omeof themwere lways omewhereobe found. texperiencedomeradical ransformationsn style ndtechnique uring hecourse fcenturies,ut tsdistinctiveormsemainednchanged. hey rethe ame nTiberianpottery,nNeronian aintingnd n Flavian culptures on thefourth-centuryilvervessels romhe reasurefTraprain awand onthe voryhronefMaximian.Withtheir erennialower oengageheeye ndcharmhefancy hey assed s a treasured

legacy romGraeco-Romanrtto the medievalworld.J. M. C. TOYNBEE AND J. B. WARD PERKINS

Note.We wishto acknowledgedeepdebtofgratitudeoDr. EnricoParibeni,who hasbrought any nfamiliarxamplesfpeopled crollsoournotice,nd to Dr.Berta egall,who hasgivenvaluable dvice boutthepre-Romanackgroundf theseveralmotifsnd mademanytimulatinguggestions. . HenriSeyrigndProfessorJ.de C. SerraRáfolshavegenerouslyurnishednformationndphotographs,overingtherelevantmaterialn Syria ndSpainrespectively;ndMr. D. E. L. Hayneshascalledour attention o several xamplesn theBritishMuseum. Other ndividualacknowledgementsremade n thefootnotes. esides hephotographsere eproduced

withthepermissionfMessrs.Alinari nd Anderson,he

followingndividualsnd

institutionsavekindly llowedus tomakeuse of their hotographs*r toreproducematerialntheir harge:heAllard iersonMuseum,Amsterdam;he nstitutranjáisd'archéologie,eirut;heGerman rchaeologicalnstitute,erlin; heMuseum fFineArts,Boston; heBritishMuseum; he NationalMuseum,stanbul; heMetropolitanMuseum fArt,NewYork; heComune i Roma; heGabinettootográficoazionaleof theMinistryfPublic nstruction;heformer ermanArchaeologicalnstitutenRome;theMuseoNazionaleRomano; he uperintendencyfMonuments,ombardia;theSuperintendencyfAntiquities,ripolitania;nd theVaticanMuseums.Photo-graphs yM. H. BallancendbyCavaliere . Coppola re n the ollectionftheBritishSchool tRome.







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PLATE II

(BritishMuseum)i. British Museum Gold Diadem of unknownProvenience,Detail (p. 5)

{FormerGerm. Arch. nst. Rome)2. Magnesia-on-Maeander Temple of ArtemisLeukophryene,Detail (p. 6)

{FormerGerm.Arch. nst. Rome)

3. Aquino: Architectural Fragment (p. 11)







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PLATE V

Pompeii,House of the Vettii : Wall-

painting Depicting an ElaborateCandelabrum(p. 9)

(i, Alinari 2, after water-colourntheMuseoNaliónaleRomanó)







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{Gab.Fot.Nai.)i. Arch of Titus: Detail of Pilaster (p. n)

{VaticanMuseums)2. Vatican Museums Detail of Sarcophagus (p. 16)







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(/.B. W.P.)i. Palatine, Flavian Palace: Severan Frieze Fragment p. 18)

(/.B. W.P.)2. Palatine, Flavian Palace : Late Third- or Early Fourth-

Century Frieze Fragment p. 23)







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(Moscioni)i. Rome,S. Saba: Fragmentin the Atrium p. 15)

(Comunedi Roma)2. Forum of Nerva: Soffit (p. 12)







PLATE Xm

(Anderson)Lateran Museum Detail of Pilaster from the Tombof the Haterii (p. 14)







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(Anderson)Lateran Museum: Detail of Pilaster (p. 20)







PLATE XVI

i, 2. Lateran Museum: Tomb of the Haterii,Details (pp. 14 and 15)

3. Lateran Museum: Detail ofSarcophagus No. 174 (p. 25)

4. Arles, Engaged Column (p. 29){Photos 1 a/itf,/. B. W,P, ,• 2 <ww,Anderson)







PLATE XVII

Rome, San Lorenzo-fuori-le-Mura :Classical Pilaster Re-used as Archi-

trave (p. 20)

(Photos Coppola)







PLATE XVIII

(VaticanMuseums)Rome,Museo Petriano : Pilasters from the Grotte Vaticane (p. 21)







PLATE XIX

i. Milan, S. Ambrogio Panel in the Atrium p. 25)

2. Milan, S. Ambrogio Part of a Late Classical PanelRe-used as a Lintel (p. 25)

3. Pilaster from the GrotteVaticane (p. 23)

(Photos : 1 and 2, SuperintendencyfAntiquities or Lombardia 3, Anderson)







PLATE XX

i. Palmyra,Temple of Bel : Soffit from Peristyle (p. 32)

2. 'Atil, Basalt Frieze Fragment (p. 32)

3. Kan w t, Basalt Frieze Fragment p. 32)

(Photos : Instituí rangais d*archéo¿ogieyeirut)







PLATE XXI

(/.B. W.P.)i. Rome,Palazzo Farnese Sarcophagus fromthe Tomb of Caecilia Metella, Detail (p. 21)

{BritishMuseum)2. British Museum Sarcophagus fromSidon, Detail (p. 33)

(/.B. W.P.)3. Tripoli Castle : Part of the Lid of a Sarcophagus (pp. 33,40)







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(Superintendencyf Antiquities Tripolitania)

i. Sabratha : Marble Frieze Fragment p. 40)

(/.B. IV.P.)2. Lepcis Magna, Hadrianic Baths :

Pilaster Fragment(p. 39)

peopled scrolls. a hellenistic motif in imperial art

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