The Primaporta figures have, respectively, a boar standard and Like Alföldi, for example, in the light of images more than a century younger). The long argument about these figures could largely have been resolved by the following sound methodological rule: like the original patron and viewer, interpret a given iconographic occurrence in the light of past and contemporary imagery (
55-56 (Hispania and Gallia) Zanker noted Gallia but waffled on calling her sister either German or (under Fittschen's influence) Oriental. Fittschen (1976, 205-8) misidentified the provinces to set up a typically Augustan East-West pair but could have saved trouble by remembering that the central emblem is already "Eastern." Simon 1986, 237-38, 253 (įittschen), color pl. I am unwilling to choose between Hadrianic and Augustan classicisms on the basis of photographs.ġ02. It has been thought a work of the second century A.D., but drill work in the plant is the only tangibleĬited Zanker does not explain his own, early imperial, date. Like much in Naples, the piece has not yet been carefully studied. Compare now the acanthus bases of the Augustan Basilica Aemilia Persians see p. Zanker derives the symbolism from Augustan use of fantastic acanthus plants to symbolize the Golden Age, here used to convey the Roman ideal of peace as guaranteed by conquest. The province, a nonspecific, allusive "classical" type, will once have been identified by a lost attribute and/or inscription. Slumped chin in hand, one breast bare "from" her rises an acanthus trunk with curling shoots.
At its cornersĬaryatids raise their outer arms to hold the crowning molding (modern heads, raised arms, inscriptions). The facing for a basis or socle projection (.87m), it may have carried a trophy. It seems apt here to describe a unique piece, Naples, MN 6715, from Puteoli (or Avellino), cited by Zanker 1988, fig.
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