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ANALYSIS
ARCHAEOLOGICA
2017
ANALYSIS ARCHAEOLOGICA
volume 3 – 2017
ISSN 2421-6380
ISBN 978-88-7140-952-8
volume 3 – 2017
EDIZIONI QUASAR
Editor in Chief
Salvatore De Vincenzo (Viterbo)
Associate Editors
Stefano De Angeli (Viterbo); Alessandro Naso (Roma);
Monika Trümper (Berlin)
Editorial Board
Judy Barringer (Edinburgh); Martin Bentz (Bonn);
Johannes Bergemann (Göttingen); Chiara Blasetti Fantauzzi (Göttingen);
Jacopo Bonetto (Padova); Fabio Colivicchi (Kingston);
Matteo D’Acunto (Napoli); Gian Maria Di Nocera (Viterbo);
Filippo Demma (Ancona); Johanna Fabricius (Berlin); Marco
Galli (Roma); Klaus Geus (Berlin); Erich Kistler (Innsbruck);
Enzo Lippolis (Roma); Carlos Márquez Moreno (Córdoba);
Attilio Mastino (Sassari); Marina Micozzi (Viterbo); Raffaella
Pierobon (Napoli); Silvia Polla (Berlin); Chiara Elisa Portale (Palermo);
Jonathan Prag (Oxford); Christoph Reusser (Zürich);
Thomas Schäfer (Tübingen); Stephan Schmid (Berlin);
Gianluca Soricelli (Campobasso); Enrico Angelo Stanco (Napoli);
Tesse Stek (Leiden); Nicola Terrenato (Ann Arbor); Stephan Verger (Paris);
Raimondo Zucca (Sassari)
Editorial Staff
Maria Amodio (Napoli); Gian Franco Chiai (Berlin); Anca
Dan (Paris); Sabatino Martello (Napoli); Cristina Murer
(Berlin); Salvatore Sindoni (Viterbo)
ISSN 2421-6380
ISBN 978-88-7140-952-8
www.edizioniquasar.it
Contents
4 Contents
From Nero to Vespasian.
Two re-carved marble portraits in Lucus Feroniae
Armando Cristilli
Abstract
Reworking of marble portraits in Roman age is an interesting occurrence, because
of its related cultural, aesthetical and technical implications. Two refashioned marble
portraits of Vespasian found at Lucus Feroniae (one well-know, the other one less fa-
mous) are case studies focusing on this topic very well. However, they clearly indicate
not only the technical skills of the local sculptors, but also provide significant data in
reconstructing the history of the colony and of the Volusii Saturnini family between the
Nero’s principate and the early Flavian age.
Keywords: Vespasian, portrait, reworking, Lucus Feroniae, Nero, Aedes Genii coloni-
ae, Volusii Saturnini.
1
See, e.g., Pollini 1984, 547–548.
2
Pollini – Storage 2010, 23.
3
Prusac 2011, 33.
4
I recently wrote about the unofficial Caligula’s damnation in Cristilli 2018.
5
There are at least 120 refashioned portraits of these emperors in all media. Varner 2010, 45.
6
Bianchi 2014.
7
Pollini – Storage 2010, 32.
8
Hedrick 2000, 89–130; Flower 2006; Pollini – Storage 2010, 24.
9
Varner 2008.
10
About this family belonging to the Senate order, originally coming from Picenum and
owner of the sumptuous suburban villa at 400 m NE of Lucus Feroniae, see, e.g., Volusii Sa-
turnini 1982; Cristilli 2018.
11
About the types of Nero portraits, see: Hiesinger 1975; Bergmann – Zanker 1981, 321–
332; Maggi 1986, 47–50; Boschung 1993, 76–77; Welch 2002, 134–139; Maderna 2010; Var-
ner 2010, 55; Cadario 2011.
12
Capena, Lucus Feroniae Antiquarium, inv. 91118; inv. fot. MiBACT-MN-ETRU 5053
and 34065; white marble; h. 31cm; from Lucus Feroniae - Forum Portico (4/11/1953). Varner
2004, 52–53 and 243, n° 2.22, fig. 46 (with complete litterateur); E. Rosso in: Coarelli 2009,
Cat. 9, p. 413; Pollini – Storage 2010, 32–33.
13
Bartoccini 1961, 254.
14
Varner 2000, 12; Varner 2004, 52–53 e 243, n° 2.22, fig. 46; E. Rosso in: Coarelli 2009, Cat.
9, 413 (with complete litterateur); Pollini – Storage 2010, 32–33; Prusac 2011, 134.
15
Varner 2004, 53.
16
For the status quaestionis about the Vespasian’s portraits, see: Welch 2002, 138–140; E.
Rosso in: Coarelli 2009, 403; but also P. Zanker in: Coarelli 2009, 62; Raeder 2010; Rosso 2010,
178–186.
17
E.g. E. Rosso in: Coarelli 2009, 413.
18
Pollini 1984, 551; Pollini – Storage 2010, 32–33.
19
About this visual result, see Pollini 1984, 548; Varner 2010, 45.
20
The question about the existence of two distinct types or a ‘variant’ of a single type for
Vespasian’s portrait is still open. In my opinion, the Paladini’s theory (according to the
scholar, there is only one type of portrait with two different results depending on whether the
portrait is recut or unrecut) is still now the most reliable. Paladini 1981.
21
Vespasian’s sculptural propaganda was concentrated to express the noble virtues (even
military) and the legacy of new emperor, showing how he had distanced himself from Nero
and how the Flavians’ efforts had brought the peace to the Empire. In this way, even through
his new portrait type Vespasian legitimated its sovereignty: moreover, as can be seen on the
bases of Suetonius, he was a simply farmer who had risen to the position of emperor and he
always remained a honest man, very close to his family’s origins, whose quality was a lack of
greed of money; he looked himself like a boor, but he never was ashamed of his himble-ex-
traction or his nickname “the mule track”. Suet., Vesp., 8 and 286.
22
Welch 2002, 140.
23
E. Rosso in: Coarelli 2009, 402–403.
24
Moreover, Varner had already noted that Nero’s youthful images were mostly trans-
formed into the idealized portraits of Vespasian, although remained the distinction in two
types of his portraiture. Varner 2004, 52 (especially note 69).
25
Capena, Lucus Feroniae Antiquarium, inv. 118381; white marble; h. 31cm; from Lucus
Feroniae – Aedes Genii coloniae (January 6 1959); bibl.: Daltrop et alii1966, 15 and 80, tav. 8c;
Bergmann – Zanker 1981, 333; Moretti Sgubini 1982-84, 105–106.
26
Daltrop et alii 1966, 15 and 80, tav. 8c; Moretti Sgubini 1982-84, 105–106.
27
About the new identification of the building, Stanco 2017.
28
Moretti Sgubini 1982-84, 106, note 75.
This is a well-known technique in a marble plastic of the Roman age. Pollini – Storage
29
30
Varner 2004, 53.
31
For no reason A.M. Moretti Sgubini defined incorrectly these curls as degraded (“radi”).
Moretti Sgubini 1982-84, 106, note 75.
32
In regards to this a very significant example is the famous head in the Cleveland Museum
of Art. Pollini 1984, 348–552; Pollini – Storage 2010, 31–33.
33
Moretti Sgubini 1982-84, 107, note 75.
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Address