1704 Bellori / Bartoli Engraving - Marcus Aurelius Column, Rome - Marcomanni War For Sale

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1704 Bellori / Bartoli Engraving - Marcus Aurelius Column, Rome - Marcomanni War:
$20.00

TheColumn of Marcus Aureliusand Faustina which stands in Piazza Colonna inRomeis thought to have been erected byCommodusin memory of his father and mother sometime around 180 CE. Thecolumnwas inspired by its more famous predecessorTrajan's Columnwhich was set up, also in Rome, in 113 CE. The column carries representations carved in high relief of the emperor's successful military campaigns against the Quadi across the Danube between 172 and 175 CE.

The column presently stands 39 metres tall but a further 7 metres of the base structure remains underground, the lowest portion never having been excavated. Originally, there was also a statue - most probably of the emperor - on top of the column, increasing the overall height of the structure even further. This would account for the figure of 51.95 metres (or 175Romanfeet) mentioned in the 4th century CE Regionary Catalogues. The column is hollow and inside it a spiral staircase was built which once gave access to the upper viewing platform. The interior is entered through a doorway in the base on the Via del Corso side but is now closed to the public. It is thought that atempleto the deified emperor and his empress was originally situated close to the column.

The Doric column is more or less straight (only 14 cm wider at the base) and is covered in relief carvings in 21 spirals - each being some 130 cm in height- which depict the campaigns ofMarcus Aureliusin the territories north of the Danube, first against the Marcomanni (172-3 CE) and then against the Sarmatians (174-5 CE). The narratives of the two campaigns are divided on the column by a figure of Victory who writes on a shield and the first begins from the base with troops crossing the Danube river. The vast majority of episodes are those from the battlefield but there are some interesting background scenes such as the emperor addressing his troops and even glimpses of the logistics and engineering feats performed inRoman warfaresuch as one depiction of troops crossing a pontoon bridge. The reliefs are typical of the style that would come to dominate Late Antiquitysculpture. There is an emphasis on frontal views with perspective achieved simply by having smaller figures in rows above the foreground and with figures rendered not quite in proportion, heads being too large and bodies being either too short or elongated, and with facial features minimised. Plaster casts of the reliefs can be viewed in the Museo della Civilità Romana in Rome.

The column was often called the 'Centenaria' by locals which referred to the height of the column, immediate base and capital, which together measured 100 Roman feet (29.6 m). This is mentioned in the inscription on the column base. We are also informed that there was a dedicated procurator or caretaker responsible for the upkeep of the monument. Adrastus, a freedman, had actually requested in 193 CE that a hut be built near the column so that he could better fulfil his role as guardian. The request was granted and the hut built on public land suitably nearby.

Over the centuries the column has suffered, like most ancient monuments, the ravages, not only of weather, but also the changing of human needs and tastes. The scenes on the column were carved in much higher relief than onTrajan's Column and have consequently deteriorated much more due to weathering. The column has also suffered lightning strikes and earthquakes but, even worse, in the Middle Ages the valuable pins which held the various drums of the column in position were removed and consequently several have shifted dramatically over time.

This disaster forced Marcus to re-evaluate his priorities. Forces from the various frontiers were dispatched againstBallomar. They came under the command of Claudius Pompeianus, with the future emperorPertinaxas one of his lieutenants. A new military command, thepraetentura Italiae et Alpiumwas established to safeguard the roads into Italy, and theDanubian fleetwas strengthened. Aquileia was relieved, and by the end of 171, the invaders had been evicted from Roman territory. Intense diplomatic activity followed, as the Romans tried to win over various barbarian tribes in preparation for a crossing of the Danube. A peace treaty was signed with the Quadi and the Iazyges, while the tribes of theHasdingiVandals and the Lacringi became Roman allies.

In 172, the Romans crossed the Danube into Marcomannic territory. Although few details are known, the Romans achieved success, subjugating the Marcomanni and their allies, theVaristae or Naristiand the Cotini. This fact is evident from the adoption of the title "Germanicus" by Marcus Aurelius, and the minting of coins with the inscription "Germania capta" ("subjugated Germania"). During this campaign, the chief of the Naristi was killed by the Roman GeneralMarcus Valerius Maximianus.

In 173, the Romans campaigned against the Quadi, who had broken their treaty and assisted their kin, and defeated and subdued them. During this campaign, a famous incident, the so-called "miracle of the rain", occurred, which was later depicted on thecolumn of Marcus Aureliusand on coins. According to Cassius Dio, thelegio XII Fulminatawas hemmed in by a superior Quadi force and almost forced to surrender because of the heat and thirst. They were saved, however, by a sudden shower, which refreshed the Romans, while lightning struck the Quadi.[d]Contemporaries and historians attributed it to divine intervention: Dio stated that it was called by anEgyptianmagician praying toMercury, whileChristianwriters such asTertullianattributed it to a prayer by Christians.

In the same year,Didius Iulianus, the commander of the Rhine frontier, repelled another invasion of theChattiand theHermunduri, while theChauciraided the shoreline ofGallia Belgica.

In the next year, the Romans marched against the Quadi, whereupon the Quadi deposed their pro-Roman king,Furtius, and installed his rival,Ariogaesus, in his place. Marcus Aurelius refused to recognize him, and turning back, deposed and exiled him toAlexandria.[e]Thus, by late 174, the subjugation of the Quadi was complete. In typical Roman fashion, they were forced to surrender hostages and provideauxiliary contingentsfor the Roman army, while garrisons were installed throughout their territory.

After this, the Romans focused their attention on the Iazyges living in the plain of the riverTisza(expeditio sarmatica). After a few victories, in 175, a treaty was signed. According to its terms, the Iazyges King Zanticus delivered 100,000 Roman prisoners and, in addition, provided 8,000auxiliary cavalrymen, most of whom (5,500) were sent toBritain.[f]Upon this, Marcus assumed the victory title "Sarmaticus".

Marcus Aurelius may have intended to campaign against the remaining tribes, and together with his recent conquests establish two newRoman provinces,MarcomanniaandSarmatia, but whatever his plans, they were cut short by the rebellion ofAvidius Cassiusin the East.[16]

Marcus Aurelius marched eastwards with his army, accompanied by auxiliary detachments of Marcomanni, Quadi and Naristi under the command ofMarcus Valerius Maximianus. After the successful suppression of Cassius' revolt, the emperor returned to Rome for the first time in nearly 8 years. On 23 December 176, together with his sonCommodus, he celebrated a jointtriumphfor his German victories ("de Germanis" and "de Sarmatis"). In commemoration of this, theAurelian Columnwas erected, in imitation ofTrajan's Column.

Pietro Santi Bartoli(alsoSanteorSanto; 1635 – 7 November 1700) was anItalianengraver, draughtsman and painter.

Bartoli was born atPerugia.

He moved to Rome in 1635 as a youth, there he studied painting underJean LemaireandPoussin, but abandoned it to devote himself entirely to engraving and as an antiquarian forChristina, Queen of Sweden. He engraved manyRomanmonuments, publishing inAdmiranda Romanorum Antiquitatum(Rome, 1693). About 1660, he excavated theDomus Aurea, of which he published drawings.

As a draughtsman, Bartoli reproduced theCodice Virgiliano(Rome, Vatican, Bib. Apostolica, Cod. Vat. 3867) in 55 plates (1677; Rome, Calcografia N.), commissioned byCardinal Camillo Massimo. For Massimo, he also did drawings of ancient Roman paintings andmosaics(Glasgow, U. Lib.). Later, he lived in Paris, where he was introduced at the court ofLouis XIV. In 1699, with the engraverDomenico de' Rossi, he producedRomanae Magnitudinis Monumenta, a later edition of the 1637Antiquae Urbis Splendorby Giacomo Lauro. Bartoli adapted 138 of Lauro's original plates and engraved 16 new ones.

He died inRome. His plates are chiefly etched.

Among his works are:

• Admiranda Romanarum Antiquitatum ac veteris Sculptura vestigia; 81 plates.
• Romanae magnitudinis Monumenta; 138 plates.
• Veteres arcus Augustorum triumphis insignes; 52 plates.
• Colonna di Marco Aurelio, (Column of Marcus Aurelius) 78 plates.
• Colonna traiana eretta dal Senato, e popolo romano all'imperatore Traiano(Trajan's Column) withAlfonso Ciacconi; (1673) 128 plates.
• Pitture antiche di Roma, e del sepolcro de' Nasoni; (1702) 123 plates.
• The Nozze Aldobrandini; (Roman 1st centuryAldobrandini Weddingfresco) two sheets.
• Le pitture antiche delle grotto di Roma; assisted by F. Bartoli; 94 plates, 1680 & 1706.
• Veterum lucernae sepulcrales, collectae ex cavernis et specubus subterraneis, withAlexander DukeandGiovanni Pietro Bellori1691 & 1704; 119 plates.
• Scenes from the life of St. Peter; afterLanfranco.
• Subjects fromRaphael's Bible; 42 plates.
• Grottesques; afterRaphael; inscribedParerya atque ornamenta in Vaticano; 43 plates.
• Antiquissimi Virgiliani Codicis fragmenta et picturae, ex Biblioteca Vaticano;
• Birth of the Virgin; afterAlbani.
• Virgin and Child in the Clouds; afterLudovico Carracci.
• Coriolanus and his FamilyandSan Carlo Borromeo led by an Angel; afterAnnibale Carracci.
• Daniel in the Lions' Den; afterPietro da Cortona.
• St. John preaching; afterMola.
• Adoration of the Magi; afterRaphael; in three sheets.
• Jupiter nursed by Amalthea;Jupiter hurling thunderbolts at Giants;Hylas carried off by Nymphs;Sophonisba before Masinissa;Continence of Scipio; afterGiulio Romano.
• St. Stephen.
• St. Bernard enchaining the Devil; Theatre erected in St. Peter's for a Canonization; do.
• The sepulchral Monument of Pope Urban VIII .

1704 Bellori / Bartoli Engraving - Marcus Aurelius Column, Rome - Marcomanni War

$20.00