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The Hypogeum of the Aurelii

Name: The Hypogeum of the Aurelii
ISBN: 9781789690484

A new interpretation as the collegiate tomb of professional scribae

John Bradley,

212 pages
English
PDF
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eBook - PDF

The Hypogeum of the Aurelii

A new interpretation as the collegiate tomb of professional scribae

John Bradley,

About this book

The Hypogeum of the Aurelii: A new interpretation as the collegiate tomb of professional scribae' examines the frescoes of one of the most enigmatic funerary monuments of ancient Rome. The three chambers of the Hypogeum of the Aurelii, so-named from an mosaic inscription in one of the surviving chambers, contain a varied series of images that have long been considered an example of early Christian or Gnostic iconography. One hundred years after the monument's discovery Dr Bradley challenges earlier theories and concludes that far from having religious significance the pictures reveal a world of professional pride among a group of what we might today call 'white collar workers'. Although not among the rich and famous of Imperial Rome, the deceased nevertheless rose from a state of slavery to positions within the bureaucracy at the centre of an empire at its height. Although part of a strictly hierarchical, and male-dominated, society the community to which the Aurelii belonged provided an environment of comparative equality: a community that acknowledged the contribution and expertise of both women and children in their profession. The pride in their achievement is reflected in the decoration of the tomb in which they expected to spend eternity. This study, the first in modern times to examine all the extant images in detail, will be of interest, not only to historians of ancient Roman art, but also to social historians who wish to more fully understand the lives of those who helped support the running of an empire.

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Archaeopress Archaeology

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Index

Cover
Title Page
Copyright page
Contents Page
List of figures
Chapter 1
Figure 1: Figure pointing to a Latin cross.
Chapter 2
Figure 2: Plan of hypogeum and courtyard around it
Figure 3: View of casetta (1) built on top of upper chamber with lucernium to cubiculum B and remains of paved courtyard (3)
Figure 4: View of hypogeum podium at the time of excavation after the removal of the modern building
Figure 5: Plan of upper floor
Figure 6: View of upper chamber (looking south) following demolition of casetta
Figure 7: Cross-section through hypogeum of the Aurelii
Figure 8: Plan of cubiculum A
Figure 9: Plan of vestibule and cubiculum B
Figure 10: Section through vestibule
Chapter 3
Figure 11: Floor mosaic
Figure 12: CIL VI, 9592 = EDR115534. MAR Antonio Salinas, 322
Figure 13a: CIL VI, 10350 = EDR121978; Paris Louvre Ma 1652
Figure 13b: CIL VI, 10350 = EDR121978; Paris Louvre Ma 1652 transcription author
Chapter 4
Figure 14a: Tombs of the Via Caelimontana
Figure 14b: Tombs of the Via Caelimontana, detail of fig. 14a
Figure 15: Funerary stele of the Licinii. British Museum, 1954,12-14,1
Chapter 5
Figure 16: Diagram showing distribution of decorative motifs in cubiculum B and vestibule
Figure 17: Vestibule. Entrance (north) wall
Figure 18: Vestibule. West wall
Figure 19: Vestibule. Soffit of west arcosolium
Figure 20: Vestibule. Rear (south) wall leading to cubiculum B
Figure 21: Portal between vestibule and cubiculum B, east side
Figure 22: Portal between vestibule and cubiculum B, west side
Figure 23: Soffit of portal between vestibule and cubiculum B
Figure 25: Vestibule. Vault decoration
Figure 26: Vestibule. Figure above entrance portal
Figure 27: Vestibule vault mandorla apex.
Figure 28: Vestibule vault mandorla apex
Figure 29: Gold Aureus of Septimius Severus, Caracalla, AD 198. BMC.173.114v, RIC IV Caracalla 338A. Reverse showing Spes.
Figure 30: Cubiculum B. Entrance (north) wall and pilasters
Figure 31: Garland with Latin cross pendant
Figure 32: North pilaster, east (left) side
Figure 33: North pilaster, west (right) side
Figure 34: Cubiculum B. East (left) wall
Figure 35: Cubiculum B. Male figure with rod above left hand arcosolium
Figure 36: Cubiculum B. East (left) wall. Upper arcosolium soffit and lunette
Figure 37: Cubiculum B. Rear (south) wall and pilasters
Figure 38: Cubiculum B. South pilaster, left (east) side
Figure 39: Cubiculum B. South pilaster, right (west) side
Figure 40: Cubiculum B. Male figure in soffit to rear upper arcosolium, left
Figure 41: Cubiculum B. Female figure in soffit to rear upper arcosolium, right
Figure 42: Cubiculum B. Rear (south) wall. Upper arcosolium lunette
Figure 43: Cubiculum B. Right hand (west) wall
Figure 44: Cubiculum B. Right hand (west) wall. Left hand standing female figure
Figure 45: Cubiculum B. Right hand (west) wall. Right hand standing female figure
Figure 46: Cubiculum B. Soffit of right hand upper arcosolium
Figure 47a: Cubiculum B. Right hand arcosolium lunette
Figure 47b: Detail of figure 47a. Right hand arcosolium lunette
Figure 48: Cubiculum B. Rear lower arcosolium soffit
Figure 49: Cubiculum B. Vault decoration
Figure 50: Cubiculum B. Corner of vault
Figure 51: Cubiculum B. Detail of central medallion in vault
Figure 52a: Cubiculum A, vault decoration
Figure 52b: Layout of cubiculum A vault decoration showing red and green lines (presumed shown dotted) and key scenes
Figure 53: Cubiculum A ‘Good Shepherd’
Figure 54: Cubiculum A ‘Good Shepherd’
Figure 55: Basic layout of pictorial schemes in cubiculum A using current nomenclature
Figure 56: Left hand wall, Lower Register
Figure 57: 3rd figure in the Large Procession
Figure 58: 8th figure in the Large Procession highlighting red outlining to the destroyed arcosolium
Figure 59: 10th figure in the Large Procession
Figure 60: 11th figure in the Large Procession
Figure 61: Left wall Upper Register
Figure 62: ‘Shepherd’ scene
Figure 63: Left wall, Upper Register. Adventus scene
Figure 64: Rider in the ‘adventus’ scene
Figure 65: Crowd emerging from city in the ‘adventus’ scene
Figure 66: Donkey set within the cityscape
Figure 67a: Rear wall
Figure 67b: Rear wall
Figure 68: ‘Forum’ scene highlighting female figure
Figure 69: ‘hortus conclusus’ scene
Figure 70: Cubiculum A. Banqueting Scene
Figure 71a: ‘Small Procession’
Figure 71b: ‘Small Procession’
Figure 72a: ‘Homeric’ scene
Figure 72b: ‘Homeric’ scene
Figure 73: Right hand niche ‘prothesis’ scene. Detail of fig. 72b
Chapter 6
Table 1: Decorative Motifs in Vestibule and Lower Cubicula
Figure 74: Cubiculum B. Pilaster between rear and right hand wall (south west corner)
Figure 75: Dolphins on pagan tomb. S. Sebastiano in Capite, Rome
Figure 76: Cubiculum B and vestibule showing positions of solitary female figures
Figure 77: Cubiculum B and vestibule showing positions of male figures with rod or rotulus
Figure 78: Cubiculum A vault showing positions of male figures with rod or rotulus
Figure 79: Figure with rod from hypogeum of Campana
Figure 80: Figure from catacomb of S. Gennaro, Naples
Figure 81: Cubiculum of Miltiades, vault. Catacomb of S. Callisto
Figure 82: Cubiculum of Miltiades, vault. Catacomb of S. Callisto
Chapter 7
Figure 83: Fresco from the so-called Schola Praeconum on the Via dei Cerchi
Figure 84: Use of rod by lanista. Bignor Villa
Figure 85: Mariémont relief
Chapter 8
Figure 86: Twelve seater stibadium, fourth century
Table 2: Numbers of diners in funerary images.
Table 3: Analysis of Minturnae inscriptions.
Figure 87: Vibia being presented to Dis Pater by Mercury Psychopompus
Figure 88: Vibia being led towards the diners by the angelus bonus. Wilpert 1903: tav. 132.
Figure 89: Detail banqueting mosaic from Duar-ech-Choatt
Figure 90: Tomb of Patron
Chapter 9
Figure 91: Odysseus and Circe. Skyphos from the sanctuary at Cabeirion, Thebes. British Museum, 1893,0303.1
Figure 92: Sarcophagus of Iulius Achilleus. MNR Terme, 125802
Figure 93: Epitaph of Severa Seleuciane. Musei Capitolini, Galleria Lapidaria NCE 2799. (Archivio Fotografico dei Musei Capitolini)
Figure 94a: CIL VI, 34004. Musei Capitolini NCE 714. (Archivio Fotografico dei Musei Capitolini)
Figure 94b: CIL VI, 34004, transcription author – female names in bold
Chapter 10
Figure 95: Child sarcophagus. Vat. Mus. Galleria dei Candelabri, 2422
Figure 96: CIL VI, 24011. Front of a marble altar. (Roma, Musei Capitolini, Palazzo Nuovo NCE 2637, Sala del Fauno – Archivio Fotografico dei Musei Capitolini) © Roma, Sovrintendenza Capitolina ai Beni Culturali.
Figure 97: Image from funerary inscription CIL VI, 9484 to the two year old child Sindrilius. MAR Antonio Salinas, 3833
Figure 98: Funerary altar to M. Gavius Amphion Mus. MNR Terme, 54748
Figure 99: Rear wall detail of hypogeum of Trebius Iustus
Figure 100: Image of calf on funerary altar of N. Naevius Moschus. Vat. Mus. Sala della Biga, 2345
Figure 101: Image of sow on funerary altar of N. Naevius Moschus. Vat. Mus. Sala della Biga, 2345
Figure 102: Museo Torlonia, 414
Chapter 11
Figure 103: Upper chamber, east (left) side
Figure 104: Upper chamber, west (right) side
Figure 105: Upper Chamber, east wall, right hand figure
Figure 106: Tomb of Trebius Iustus, rear wall
Figure 107 Sarcophagus illustrating the deceased as a philosopher in the company of his spouse and other philosophers.
Figure 108: Philosopher with two fingered ‘pointing’ gesture.
Figure 109a: End of sarcophagus illustrating ‘horizontal’ two finger gesture.
Figure 109b: End of sarcophagus illustrating ‘vertical’ two finger gesture.
Figure 110a: Child sarcophagus.
Figure 110b: Detail of child sarcophagus (Figure 110a)
Figure 111: Detail of Child sarcophagus (Figure 95) demonstrating ‘vertical’ gesture
Figure 112: Ivory statuette of Septimius Severus discovered in the Templum Pacis
Figure 113: ‘The Altar of the Scribes’, MNR Terme, 475113, Rome
Chapter 12
Figure 114: Upper chamber, rear wall
Figure 115: Upper chamber, rear wall, right hand side
Figure 116: Rear wall, centre
Figure 117: Rear wall, left side
Figure 118: Depiction of the Fall of Adam and Eve
Figure 119: Adam and Eve before the ‘Fall’. Sarcophagus from Velletri
Figure 120: Detail from the ‘Dogmatic’ sarcophagus.
Figure 121: Youth with egg and snake. 1st century AD.
Figure 122: Adam and Eve reconstruction
Figure 123: Hercules and the Hesperides on Antonine medallion
Figure 124: Prometheus gem.
Figure 125: Terracotta lamp (now lost)
Table 4: Prometheus and the Creation Myth 1st to 3rd Centuries AD.
Figure 126: Promethean sarcophagus. Arles.
Figure 127: Sacrophagus of a youth with a representation of the Promethean myth.
Figure 128: Prometheus sarcophagus - detail left side.
Figure 129: Promethean sarcophagus fragment.
Figure 130: Altar of Aelia Procula.
Figure 131: Memorial to Claudia Olympia in the guise of Venus Victrix. c. AD 100-120. British Museum, 1948, 0423.1
Figure 132: Image of Pyramus and Thisbe Isola Sacra tomb nr 87
Figure 133: Image of Pyramus and Thisbe Isola Sacra tomb nr 87
Chapter 13
Figure 134: Diagrammatic showing new interpretations
Figure 135: Mosaic of 24 seater meal from Carthage
Figure 136: Portrait statue of Marcus Mettius Epaphroditus, Grammaticus Graecus.

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