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Column of Antoninus Pius","subtitle":"","attribution":"By Lise Vogel","additional_info":{"[JsonBookInfo]":{"BuyLinks":[{"Seller":"Harvard University 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","Pid":"PA1","PgNum":"1","Order":18},{"Title":"The FreeStanding Column Monument ","Pid":"PA23","PgNum":"23","Order":40},{"Title":"The Apotheosis Relief ","Pid":"PA32","PgNum":"32","Order":49},{"Title":"The Decursio Reliefs ","Pid":"PA56","PgNum":"56","Order":73},{"Title":"26 ","Pid":"PA77","PgNum":"77","Order":94},{"Title":"Abbreviations ","Pid":"PA89","PgNum":"89","Order":106},{"Title":"556 ","Pid":"PA102","PgNum":"102","Order":119},{"Title":"66 ","Pid":"PA121","PgNum":"121","Order":138}]}},"table_of_contents_page_id":"PR9","max_resolution_image_width":1280,"max_resolution_image_height":937,"num_toc_pages":2,"quality_info":"We know this book has perfect quality.","volume_id":"uXljbX_dxA8C","permission_info":"Pages displayed by permission of \u003ca class=link_aux href=\"https://books.google.com.sg/url?id=uXljbX_dxA8C\u0026pg=PA108\u0026q=http://www.hup.harvard.edu/\u0026clientid=ca-print-harvard\u0026linkid=1\u0026usg=AOvVaw3cOZ05JIo9WO_MtzXOqTl8\u0026source=gbs_pub_info_r\"\u003eHarvard University Press\u003c/a\u003e","is_ebook":false,"volumeresult":{"has_flowing_text":false,"has_scanned_text":true,"can_download_pdf":false,"can_download_epub":false,"is_pdf_drm_enabled":false,"is_epub_drm_enabled":false},"publisher":"Harvard University Press","publication_date":"1973","subject":"Architecture","num_pages":220,"sample_url":"https://play.google.com/books/reader?id=uXljbX_dxA8C\u0026source=gbs_vpt_hover","synposis":"Shortly after the death in 161 of Antoninus Pius, his sons dedicated a column to him as a funerary monument. The form of the column in general and the reliefs on the pedestal in particular raise problems central to the understanding of Roman art. In this first thorough study, illustrated with nearly 100 photographs, Lise Vogel restores the column to its rightful place as one of the major monuments of Roman art. In addition, she re-evaluates the meaning of the column of Antoninus Pius in the context of the development of second century Roman imperial sculpture.","my_library_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fop%3Dlibrary\u0026hl=en","is_magazine":false,"is_public_domain":false},{"enableUserFeedbackUI":true,"pseudocontinuous":true,"is_cobrand":false,"sign_in_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fid%3DuXljbX_dxA8C%26pg%3DPA108%26dq%3D%2522Column%2522%2B-wikipedia%26hl%3Den%26sa%3DX\u0026hl=en","isEntityPageViewport":false,"showViewportOnboarding":false,"showViewportPlainTextOnboarding":false},{"page":[{"pid":"PA108","highlights":[{"X":127,"Y":257,"W":26,"H":6},{"X":126,"Y":367,"W":26,"H":8},{"X":299,"Y":146,"W":26,"H":7},{"X":487,"Y":146,"W":25,"H":7},{"X":337,"Y":196,"W":26,"H":8},{"X":476,"Y":216,"W":26,"H":8},{"X":435,"Y":236,"W":26,"H":8},{"X":374,"Y":337,"W":26,"H":7}],"flags":8,"order":125,"vq":"\u0026quot;Column\u0026quot; -wikipedia"}]},null,{"number_of_results":94,"search_results":[{"page_id":"PR1","page_number":"i","snippet_text":"Lise Vogel. Loeb Classical Monographs In Memory of James C. Loeb The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius / Lise Vogel Harvard University."},{"page_id":"PR3","page_number":"iii","snippet_text":"Lise Vogel. The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius / Lise Vogel Harvard University Press Cambridge , Massachusetts 1973 Copyright 1973 by the President and Fellows of Harvard College.","page_url":"https://books.google.com.sg/books?id=uXljbX_dxA8C\u0026pg=PR3\u0026dq=%22Column%22+-wikipedia"},{"page_id":"PR7","page_number":"vii","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius began while I held a Junior Fellowship at the Dumbarton Oaks Center for Byzantine Studies in Washington , D.C. , in 1965-66 ; I would like to thank the staff of Dumbarton Oaks for its patience with my often\u0026nbsp;..."},{"page_id":"PR8","page_number":"viii","snippet_text":""},{"page_id":"PR9","page_number":"ix","snippet_text":"... \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius From Monte Citorio to the Vatican Restorations Moldings , 9 Apotheosis face , 10 Lateral faces , 12 Inscription face , 17 The Fragments 3. The Free - Standing \u003cb\u003eColumn\u003c/b\u003e Monument History of the Free - Standing \u003cb\u003eColumn\u003c/b\u003e\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=uXljbX_dxA8C\u0026pg=PR9\u0026dq=%22Column%22+-wikipedia"},{"page_id":"PR11","page_number":"xi","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius and its pedestal ; \u0026quot; right \u0026quot; and \u0026quot; left \u0026quot; are taken with respect to the apotheosis face . 1. View of present position in Cortile della Pigna , from below left / Fot 636 2. Bottom of \u003cb\u003ecolumn\u003c/b\u003e , as presently\u0026nbsp;..."},{"page_id":"PR12","page_number":"xii","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e / Neg author 37. Piranesi : view of pedestal set up in the piazza di Montecitorio / Neg author 38. View of the \u003cb\u003ecolumn\u003c/b\u003e reerected in a piazza ( Descrizione di Roma antica . . . e moderna [ Rome : Rossi , 1707 ] , II , p . 458 )\u0026nbsp;..."},{"page_id":"PR13","page_number":"xiii","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius / Inst Neg 6184A 89. Gold coin of Marc Antony : \u0026quot; Aion \u0026quot; / Brit Mus 1. Introduction All that remains of the \u003cb\u003ecolumn\u003c/b\u003e of Antoninus xiii Illustrations."},{"page_id":"PR15","page_number":"xv","snippet_text":"Lise Vogel The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA1","page_number":"1","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e monument of Antoninus Pius is frequently misinterpreted and even ignored . It is my intention to reexamine certain problems in order to reach a greater understanding of the \u003cb\u003ecolumn\u0026#39;s\u003c/b\u003e original meaning and a better appreciation of\u0026nbsp;..."},{"page_id":"PA2","page_number":"2","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e and especially the reliefs on the pedestal are allotted several paragraphs in virtually every survey of Roman art . The \u003cb\u003ecolumn\u003c/b\u003e is of course a major monument of imperial patronage , securely dated and localized . More- over\u0026nbsp;..."},{"page_id":"PA3","page_number":"3","snippet_text":"... have forced a restatement of the problems . In fact , discussion of these questions suggests that a comprehensive reexamination of the \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius would be fruitful . The original appearance of the 3 Introduction."},{"page_id":"PA4","page_number":"4","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e . The reliefs on the pedestal are basically in good condition , but many restorations have been made . \u0026quot; In ... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius and the tradition of free - standing \u003cb\u003ecolumn\u003c/b\u003e monuments is the next problem . Because of\u0026nbsp;..."},{"page_id":"PA5","page_number":"5","snippet_text":"Lise Vogel. 2. The Modern History of the \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius right lower foreleg , left foreleg , left hind leg. From Monte Citorio to the Vatican In the course of the Middle Ages most of the \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius had become\u0026nbsp;..."},{"page_id":"PA6","page_number":"6","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e were used to repair the obelisk raised by Giovanni Antinori in the piazza di Montecitorio.17 The bottom of the \u003cb\u003ecolumn\u003c/b\u003e shaft was preserved . 18 Antinori\u0026#39;s plan included moving the pedestal to the Museo Pio - Clementino in the\u0026nbsp;..."},{"page_id":"PA7","page_number":"7","snippet_text":"... prob- ably the less damaged right face was the model for the artist . 2. Vignoli , 1705 ( figs . 27-31 ) .37 These were probably made before the raising of the pedestal . 38 All 7 Modern History of the \u003cb\u003eColumn\u003c/b\u003e Restorations."},{"page_id":"PA9","page_number":"9","snippet_text":"... of their width ; the fillet visible in Vignoli\u0026#39;s plate disappeared . The proportions in the print of the apotheosis face in Vignoli imply that the height of the preserved fragment of 9 Modern History of the \u003cb\u003eColumn\u003c/b\u003e Moldings,"},{"page_id":"PA13","page_number":"13","snippet_text":"... horse\u0026#39;s head . ) Rider 9. Head , left arm and hand , left foot ; horse\u0026#39;s head , left foreleg , left hind leg , tail . ( Bianchini shows head ? ) Rider 10. Entire figure . Rider 11. Entire figure except 13 Modern History of the \u003cb\u003eColumn\u003c/b\u003e."},{"page_id":"PA14","page_number":"14","snippet_text":"... fore- legs , hind legs , tail . Foot soldier left - 1 . Nose ; arms , hands , legs ( but not feet ) , pole of signa . ( Piranesi shows head as missing . ) Foot soldier left - 2 . Head , right hand 14 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA15","page_number":"15","snippet_text":"... head as absent . ) Foot soldier right - 5 . Entire figure except part of lance . ( Bianchini shows figure , without lance . ) The individuality of the physiognomies is best seen in figures 15 Modern History of the \u003cb\u003eColumn\u003c/b\u003e."},{"page_id":"PA17","page_number":"17","snippet_text":"... The damage to the inscription face did not encroach onto the inscription : DIVO.ANTONINO.AVG.PIO ANTONINVS.AVGVSTVS.ET VERVS.AVGVSTVS.FILII53 The restorations to this face were obvious 17 Modern History of the \u003cb\u003eColumn\u003c/b\u003e Inscription face,"},{"page_id":"PA19","page_number":"19","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e . Had he known the fragments he would surely either have used them or have mentioned them and explained why he did not . The fragments probably were rediscovered sometime after 1846 and before the date of the photographs in\u0026nbsp;..."},{"page_id":"PA20","page_number":"20","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e the shaft may have fallen back , so that a weight about 11⁄2 times that of the pedestal would have fallen , probably somewhat unevenly , onto the pedestal . If the foundations below the pedestal were uneven and particularly if\u0026nbsp;..."},{"page_id":"PA21","page_number":"21","snippet_text":"... outer garments , and shows relatively bold use of the drill . The de Fabris restorations substitute a rhythmical piling up of gracefully swinging folds , in greater quantity and with more 21 Modern History of the \u003cb\u003eColumn\u003c/b\u003e."},{"page_id":"PA22","page_number":"22","snippet_text":"... And second , they confirm that the modern restorers have substituted monotony for the antique sculptors \u0026#39; slight variations between left and right sides . The free - standing \u003cb\u003ecolumn\u003c/b\u003e is a relatively rare type 22 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA23","page_number":"23","snippet_text":"Lise Vogel. The free - standing \u003cb\u003ecolumn\u003c/b\u003e is a relatively rare type of monument in antiquity , particularly on the scale of the \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius . The most obvious precedent for the Antonine \u003cb\u003ecolumn\u003c/b\u003e is the \u003cb\u003ecolumn\u003c/b\u003e of Trajan , but\u0026nbsp;..."},{"page_id":"PA24","page_number":"24","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e at Mainz , datable to between 58 and 67. This \u003cb\u003ecolumn\u003c/b\u003e , of monumental size and with decorated shaft and base , is both votive and honorary , since it was dedicated to Jupiter for the health of Nero . The well- known votive Jupiter\u0026nbsp;..."},{"page_id":"PA25","page_number":"25","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e.22 The huge \u003cb\u003ecolumn\u003c/b\u003e at Yaat , near Baalbek , is apparently sepulchral ( fig . 40 ) .23 In the second century in Syria , paired columns were used to mark graves . At Pompeii a single slender \u003cb\u003ecolumn\u003c/b\u003e on a large pedestal forms the\u0026nbsp;..."},{"page_id":"PA26","page_number":"26","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e used for the cenotaph of Julius Caesar , and for one proposed as a cenotaph for Galba . The cenotaph of Julius Caesar , in the form of a \u003cb\u003ecolumn\u003c/b\u003e , was built in 44 B.C. , and is rather well 30 documented by many sources . According\u0026nbsp;..."},{"page_id":"PA27","page_number":"27","snippet_text":"... the mausoleum of Augustus , and were mentioned by Ammianus Marcellinus . The mausoleum no longer received the ashes of the emperors after Nerva ; the obelisks were probably erected in the 27 The Free - Standing \u003cb\u003eColumn\u003c/b\u003e Monument."},{"page_id":"PA28","page_number":"28","snippet_text":"... of the Egyptian obelisks and what did it mean when they used them ? Pliny discusses the obelisks just after completing his inventory of colored marbles . He ends the list with Egyptian red granite 28 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA29","page_number":"29","snippet_text":"... perhaps projects what had by then become a traditional Roman significance of victory on them.51 The first two obelisks brought to Rome did in fact 52 celebrate a victory over a foreign nation , Egypt 29 The Free - Standing \u003cb\u003eColumn\u003c/b\u003e Monument."},{"page_id":"PA30","page_number":"30","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius stood in the Campus Martius , in imperial times the place of burial of important people and of the imperial consecrations . 55 The apotheosis 56 scene of the pedestal of the \u003cb\u003ecolumn\u003c/b\u003e faced a monumental structure\u0026nbsp;..."},{"page_id":"PA31","page_number":"31","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of giallo antico , was built , thus surely constituting an important precedent . 58 Indeed , Galba was murdered in the Forum , as was Caesar , and the proposal to erect Galba\u0026#39;s \u003cb\u003ecolumn\u003c/b\u003e in the Forum , where Caesar\u0026#39;s \u003cb\u003ecolumn\u003c/b\u003e also had\u0026nbsp;..."},{"page_id":"PA32","page_number":"32","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius ( figs . 3-5 ) faced the ustrinum , or funeral pyre ; hence it was the principal carved face of the pedestal . The imperial couple , flanked by eagles , is borne heavenward on the back of a winged Genius , while\u0026nbsp;..."},{"page_id":"PA34","page_number":"34","snippet_text":"... Deubner was able to justify the presence of the globe only on the basis of its zodiacal band and the lack in its decoration of the sun ( presumably absent because the snake itself signifies 34 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA35","page_number":"35","snippet_text":""},{"page_id":"PA37","page_number":"37","snippet_text":"... saeculum aureum , particularly since it was for a scene of imperial apotheosis on a monument as important as the \u003cb\u003ecolumn\u003c/b\u003e - cenotaph of Antoninus Pius . 34 The meaning of the new type and function created for 37 The Apotheosis Relief."},{"page_id":"PA38","page_number":"38","snippet_text":"... holds in his right hand a scepter with an eagle at the top ; his left hand is not visible . Faustina wears a stola , belted at the waist , and is veiled ; in her left hand she grasps a scepter ( restored 38 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA40","page_number":"40","snippet_text":"... . In turn , Tiberius deified Augustus after his death , and in the course of the first century some but not all the emperors were deified , as well as a few ladies of 40 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius The Consecratio Scene."},{"page_id":"PA42","page_number":"42","snippet_text":"... and their regal aspect , enables them to project the appropriate imperial dignity and importance , despite their small size . The central motif of the scene nevertheless remains the drama The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA46","page_number":"46","snippet_text":"... altar with vico- magistri , attendants , and statuettes of the Lares . The other lateral face ( fig . 58 ) shows a scene from the history of Rome : Aeneas witnessing the miracle of the Laurentian sow 46 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA48","page_number":"48","snippet_text":"... on two cameos : the divus or diva borne up on the back of an eagle . The other type is the scene , in which the apotheosis itself is augmented by various symbolic and 48 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius Style and development,"},{"page_id":"PA49","page_number":"49","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius , where the inscription and the scenes of the funeral decursio really honor Antoninus \u0026#39; successors , Marcus Aurelius and Lucius Verus , who pre- sided over the official funeral and erected the \u003cb\u003ecolumn\u003c/b\u003e- cenotaph\u0026nbsp;..."},{"page_id":"PA52","page_number":"52","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius . Consequently it is difficult to establish the stylistic background for the apotheosis relief on its pedestal . The relief of the apotheosis of Sabina has been briefly discussed above and must be examined again\u0026nbsp;..."},{"page_id":"PA53","page_number":"53","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius ( and to a lesser extent on the decursio reliefs ) . Moreover , the Hadrianeum reliefs play on contrasts of dark and light , created by brilliantly carved textures and large areas of plain marble , in a manner\u0026nbsp;..."},{"page_id":"PA54","page_number":"54","snippet_text":"... effective scene . Instead , they are conveyed by the essentially abstract means , both formal and conceptual , that have been discussed above . A scene usually said to represent a decursio is carved 54 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA56","page_number":"56","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius ( figs . 9-17 ) . Seventeen horsemen ride counterclock- wise in a circle , viewed as if tipped upwards towards the spectator ; in the center of their circle are two groups of five foot soldiers each ; the\u0026nbsp;..."},{"page_id":"PA57","page_number":"57","snippet_text":"... The riders in these scenes on the pedestal of the \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius have long been thought to represent a procession ( decursio ) taking place during an imperial public 57 The Decursio Reliefs Riders, Funeral decursio,"},{"page_id":"PA58","page_number":"58","snippet_text":"... place counterclockwise ( ex more sinistro ) . Suetonius says that the soldiers erected a monument ( tumulus ) in Gaul to Drusus , about which an annual ceremonial run was to be made ( miles decurreret 58 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA59","page_number":"59","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius is justified , and in particular the text of Statius explains the counterclockwise motion of the riders . The literary sources for the public funerals invariably include the equestrian order ( equites Romani\u0026nbsp;..."},{"page_id":"PA60","page_number":"60","snippet_text":"... dispersed arc above suggests that the riders below are more important than those above . Of the seventeen horsemen , the equites are lowest in rank ; most of the equites ( 7 , 9 60 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius The Decursio Scene."},{"page_id":"PA62","page_number":"62","snippet_text":"... driver of the rightmost chariot , and he is flanked on the left by the other chariots and often also on the right by a figure or rider who turns back to salute him . Rider 13 in the Antonine 62 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA66","page_number":"66","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius is strikingly unusual , both because it is unique in imperial sculpture and because the repetition of the counterclockwise ... \u003cb\u003ecolumn\u003c/b\u003e to divus 66 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius Repetition of the Decursio Relief."},{"page_id":"PA67","page_number":"67","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius . Some coins of Nero are inscribed DECVRSIO on the reverse and show the emperor in cuirass and cloak on a prancing horse , accompanied either by a second rider with a vexillum or by two foot soldiers , one\u0026nbsp;..."},{"page_id":"PA69","page_number":"69","snippet_text":"Lise Vogel. it is well known , set the base of the \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius in juxtaposition with the sarcophagus of Helena ( fig . 69 ) . He ignored the great differences ; in particular , the \u003cb\u003ecolumn\u003c/b\u003e - base does not shew the isolation\u0026nbsp;..."},{"page_id":"PA70","page_number":"70","snippet_text":"... the apotheosis scene on the front of the Antonine pedestal and considered more appropriate to the particular subject ; the artist wished to show military maneuvers on a large open 70 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius Panorama tradition,"},{"page_id":"PA71","page_number":"71","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Trajan , von Blanckenhagen says : \u0026quot; Here , then , we 159 have a curious combination of rich and exact realism in detail and complete lack of realism in composition . \u0026quot; In the first century A.D. the panorama was used frequently\u0026nbsp;..."},{"page_id":"PA72","page_number":"72","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius , or whether instead only an external influence of some sort can explain its appearance . The Hadrianeum reliefs ( discussed in Chapter Four ) show definite formal similarities with the reliefs on the pedestal\u0026nbsp;..."},{"page_id":"PA73","page_number":"73","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e . In addition the ferculum relief is surely later than the Antonine decursio scene and should be dated in the 170\u0026#39;s.67 These differences in function , date , and style render the ferculum relief of little assistance in\u0026nbsp;..."},{"page_id":"PA74","page_number":"74","snippet_text":"... between the telamons ; each element is supported by its own ground line . In the area beyond the drivers are marine creatures of various types , but because they are conceived of as swimming 74 The \u003cb\u003eColumn\u003c/b\u003e of Antoninus Pius."},{"page_id":"PA80","page_number":"80","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius . What has been established , however , is the absolutely normal character of the turf segment as a device in second century Roman art of Italy and the western provinces . Conclusion Questions of the origins of\u0026nbsp;..."},{"page_id":"PA81","page_number":"81","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Trajan , Antoninus \u0026#39; \u003cb\u003ecolumn\u003c/b\u003e has an essentially conservative basic conception in both its architectural type and the choice of subject matter for its reliefs . One would therefore expect the decursio to partake , at least\u0026nbsp;..."},{"page_id":"PA82","page_number":"82","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e monuments and of obelisks furnished the context for understanding the \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius . Free - standing columns were used for votive , funerary , and honorary purposes in antiquity . Honorary columns were especially\u0026nbsp;..."},{"page_id":"PA83","page_number":"83","snippet_text":"... creation occurring within the development of imperial art at Rome . The program of the \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius is expressed in terms that are quite traditional , even classicistic . First of all , the use of a 83 Conclusion."},{"page_id":"PA84","page_number":"84","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e with a plain shaft for a cenotaph is eminently conservative . This format may have been meant to contrast in its traditionalism with the radical novelty of the \u003cb\u003ecolumn\u003c/b\u003e of Trajan , which was a tomb within the walls of the city\u0026nbsp;..."},{"page_id":"PA85","page_number":"85","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius : virtually every aspect seems on one level to be conservative and classicistic , but is in fact as innova- tive as it is traditional . Similarly , the ostensible meaning of the \u003cb\u003ecolumn\u003c/b\u003e of Antoninus differs from\u0026nbsp;..."},{"page_id":"PA86","page_number":"86","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius is a supposedly commemorative monument that manages in the end to honor the living divi filii , Marcus Aurelius and Lucius Verus , to whose pietas it is due . The \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius was in fact meant to\u0026nbsp;..."},{"page_id":"PA96","page_number":"96","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius are Hülsen , \u0026quot; Monte Citorio , \u0026quot; pp . 41-46 ; Sculpt Vat , I , 883-885 ; Jordan , Top . I , 3 , pp . 603–604 . The notes to this section refer generally to material not cited in these basic discussions , to the\u0026nbsp;..."},{"page_id":"PA97","page_number":"97","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e . Fontana , Discorso , p . 34 , says that by 26 November 1703 the pedestal as well as the \u003cb\u003ecolumn\u003c/b\u003e had been revealed . 4. See von Pastor , XXXIII , 513. According to the Avvisi Marescotti ( n . 3 above ) , the plan to bring the\u0026nbsp;..."},{"page_id":"PA98","page_number":"98","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e was lifted and slightly tipped on 24 September and finally laid on the ground the next day ( entry for 26 September 1705 ) ; by 17 October 1705 it had reached the entrance to the piazza di Montecitorio and they were raising the\u0026nbsp;..."},{"page_id":"PA99","page_number":"99","snippet_text":"Lise Vogel. 9. Many recapitulations of the history of the \u003cb\u003ecolumn\u003c/b\u003e state that the pedestal was restored by the sculptors Felici and Napoleoni in the time of Benedict XIV ; this is probably based on de Fabris , Piedistallo , p . III\u0026nbsp;..."},{"page_id":"PA100","page_number":"100","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e ; this is probably a reference to a project for the Trevi fountain incorporating the pedestal and the \u003cb\u003ecolumn\u003c/b\u003e , represented in drawings dated around 1730 and attributed to Luigi Vanvitelli : C. Gradera , Pietro Bracci ( Rome\u0026nbsp;..."},{"page_id":"PA101","page_number":"101","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e , are being done . The Lucchese repre- sentative at the papal court reports the repairs as under way on 18 July 1789 ( Sforza , \u0026quot; Episodi , \u0026quot; p . 425 ) and as having been already finished on 4 September 1790 ( p . 437 )\u0026nbsp;..."},{"page_id":"PA105","page_number":"105","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e because of the excavations ; nevertheless he describes the many difficulties of the site ( necessitating , for example , placing the winches at different distances from the \u003cb\u003ecolumn\u003c/b\u003e ) and the problem of ensuring that the workers\u0026nbsp;..."},{"page_id":"PA106","page_number":"106","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e was lifted only \u0026quot; circa altre quattro once \u0026quot; ( p . 245 ) . Other contempor- ary accounts report extensive damage to the \u003cb\u003ecolumn\u003c/b\u003e ( Cancellieri , \u0026quot; Lettera , \u0026quot; pp . 4-12 ; d\u0026#39;Onofrio , Obelischi , pp . 245-246 ) , and it is likely\u0026nbsp;..."},{"page_id":"PA107","page_number":"107","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of the Naxiens at Delphi had a total height , including the sphinx , of over 12 m . , and a few other huge columns from this period are known ; see Pierre Amandry , La colonne des Naxiens et le Portique des Athéniens , Ecole\u0026nbsp;..."},{"page_id":"PA108","page_number":"108","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e monument should stand . See also Crema , ArchRom , p . 100 . 13. \u0026quot; Columnas quae in honore Augusti et ... \u003cb\u003ecolumn\u003c/b\u003e , see Platner - Ashby , pp . 238-239 , 242-244 , and Nash , Pict Dict , I , 283-286 . The shaft of Trajan\u0026#39;s\u0026nbsp;..."},{"page_id":"PA111","page_number":"111","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e . INSCRIPTION LOCATION a . M. Alleius ; ground provided at public Stabia expense . b . Sacerdota Mamia ; ground provided at public expense . a . ? ( no inscription ) Ercolano 4. At center , pedestal supporting \u003cb\u003ecolumn\u003c/b\u003e interrupts\u0026nbsp;..."},{"page_id":"PA112","page_number":"112","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Septumia ( fig . 41 and n . 25 above ) indicates the ground and partial funeral expenses were provided at public expense . On the lack of places for the ashes , see A. Mau , RömMitt , 5 ( 1890 ) , 280-282 , and Borrelli ( n\u0026nbsp;..."},{"page_id":"PA116","page_number":"116","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius was Georges Lacour - Gayet , Antonin le Pieux et son temps ( Paris , 1888 ) , pp . 443-444 ; he also assembled a careful summary of the modern history of the \u003cb\u003ecolumn\u003c/b\u003e ( pp . 439-443 ) , one year before Hülsen\u0026#39;s\u0026nbsp;..."},{"page_id":"PA117","page_number":"117","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Trajan . 6. Vignoli , De columna , pp . 151-153 ; Visconti , MusPioClem V , 57 . 7. Cornelius C. Vermeule , The Goddess Roma in the Art of the Roman Empire ( Cambridge , Massachusetts , 1959 ) , pp . 35–38 , 89 , 107 ; see\u0026nbsp;..."},{"page_id":"PA126","page_number":"126","snippet_text":"... the Antonine \u003cb\u003ecolumn\u003c/b\u003e . The Ephesus reliefs discussed by E. Strong , Apotheosis , pp . 90-92 , pl . 11 , as an imperial apotheosis are much more likely to be a profectio or similar scene ; see R. 126 Notes to pages 48-49."},{"page_id":"PA127","page_number":"127","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Trajan is a brilliant perversion of any principle that decoration should support and reinforce architectonic structure . Similarly , the panels on the arch of Septimius Severus go far beyond the traditional limits of placing\u0026nbsp;..."},{"page_id":"PA128","page_number":"128","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Trajan , and their meaning is still unclear ; see Durry , p . 205 , and Ryberg , p . 3. The original disposition of the signa in the decursio scenes on the Antonine pedestal is difficult to determine exactly . 3. The figure at\u0026nbsp;..."},{"page_id":"PA129","page_number":"129","snippet_text":"... 1406-1407 ; A. Hug , \u0026quot; Funus publicum , \u0026quot; RE , suppl . 3 ( 1918 ) , cols . 530-532 . A recent study with some attention paid to the pedestal of the \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius is Jean - Claude Richard , \u0026quot; Les 129 Notes to pages 57-58."},{"page_id":"PA134","page_number":"134","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius see Chapter 1 . 44. Rodenwaldt , \u0026quot; Xanthos , \u0026quot; pp . 195–202 . For the Xanthos sarcophagus , see Arthur Hamilton Smith , A Catalogue of Sculpture in the Department of Greek and Roman Antiquities , British Museum\u0026nbsp;..."},{"page_id":"PA141","page_number":"141","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius . \u0026quot; ) . The Los Angeles sarcophagus is one of a number in which four scenes embody the four Roman virtues of virtus , clementia , pietas , and concordia ; a similar sarcophagus in the Uffizi shows a hunting\u0026nbsp;..."},{"page_id":"PA179","page_number":"179","snippet_text":"Lise Vogel. P11.3 De 16205 જીવનમાં VEDUTA ohen tale dell Art Antonino Di Faustina sua. 36. Piranesi : reconstruction of \u003cb\u003ecolumn\u003c/b\u003e 37. Piranesi : view of pedestal set up in the."},{"page_id":"PA181","page_number":"181","snippet_text":"... del fuoco , e del 38. View of the \u003cb\u003ecolumn\u003c/b\u003e reerected in a piazza ( Descrizione di Roma antica ... e moderna [ Rome : Rossi , 1707 ] , II , p . 458 ) VIA DELL IMPRESA PAL CHIGI PIAZZA O COL MARCI AVRELII. 458 DESCRIZIONE."},{"page_id":"PA183","page_number":"183","snippet_text":"Lise Vogel. MOVIE PART 45. Arch of Titus , Rome : frieze , detail. 41. \u003cb\u003eColumn\u003c/b\u003e of Septumia , Pompeii 42. Exedra of Esquillia Polla , Pompeii וע OIC 00 43. Arch of Titus , Rome :"},{"page_id":"PA214","page_number":"214","snippet_text":"... \u003cb\u003ecolumn\u003c/b\u003e of Antoninus Pius 89. Gold coin of Marc Antony : \u0026quot; Aion \u0026quot; 90. Gold coin of Hadrian : Saeculum aureum 91. Bronze medallion of Antoninus Pius : Saeculum aureum 92. Gold coin of Septimius Severus : Saeculum frugiferum 93. 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