The column of antoninus pius

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Metropolitan Museum Cleveland Museum of Art. The column itself was It was quarried out in as shown by the masons' inscription on its lower end, IG xiv. Architecturally, it belonged to the Ustrinum25 metres 82 ft north of it on the same orientation, with the main apotheosis scene facing in that direction, and was surmounted by a statue of Antoninus, as is represented on coins issued after his death Cohen, Ant.

Previous to the 18th century the base was completely buried, but the lower part of the shaft projected about 6m above the ground. Inwhen some buildings were demolished in the area of Montecitorio, the rest of the column and the base were discovered and excavated. The column was raised from the ground by Carlo Fontana 's son Francesco —but no decision was made about its use.

It remained lying on the ground under some sheds, and was damaged by fire in Unsuccessful attempts were made to repair it soon afterwards inwith some pieces from it being used in to restore the obelisk of Augustus that is now in the Piazza di Monte Citorio. Meanwhile, the base of white Italian marble was restored in —08 and erected in the centre of Piazza di Montecitorio by Ferdinando Fuga inbefore being taken to the Vatican Museums inwhere it has been in the Michelangelo niche in the Cortile della Pigna from until its final move to its current position in the courtyard outside the entrance to the Vatican Pinacoteca.

One side of the base has a dedicatory inscription CIL vi. A winged geniussometimes identified as AionEternity carries Antoninus and his wife Faustina to Heaven. The Emperor holds a sceptre crowned with an eagle, whilst eagles also fly upwards with them. The personified male figure left holding the obelisk represents the Campus Martius. Augustus had placed this the column of antoninus pius there as a sundial and it was the site of the ritual of imperial deification ceremonies.

The personified female figure in armour right saluting the emperor and empress represents Romaand her shield depicts the legendary founders of Rome, Romulus and Remussuckled by a she-wolf. On these two almost identical sides, members of the cavalry circle the standing figures, two carrying military standards and the rest fully armored. Lacking a sense of space and perspective, these scenes are often criticized for their lack of stylistic sophistication.

Instead of naturalism, both a bird's eye view of the circular manoeuvre and a ground-level view of each figure are provided. The repetition of the scenes can best be explained by the fact that Antoninus Pius was succeeded by two emperors, Marcus Aurelius and Lucius Veruswho reigned jointly until the latter died. The decursio depictions, as well as the language on the inscription, can be taken to show a stable and justified transition to the two co-rulers.

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The column of antoninus pius

EMBED for wordpress. Go to page. However, only the base of the column has survived to our times, which we can admire in the Vatican Museums. It was about 15 meters high and 2 meters in diameter. It was on a preserved base, and its peak was decorated with a monument to Emperor Antoninus Pius.