Altar of Domitius Ahenobarbus

The marble plaques emerged from the earth during construction work by the Santacroce family between 1598 and 1641. These workers were building a palace near the Tiber River under the direction of architect Peparelli. The sculpted panels had been reused as decoration in the courtyard of this new structure. They remained visible there until records noted them in 1629 and again in 1631. Later documentation confirms their presence in the courtyard in 1683. Today, one portion resides at the Louvre museum with inventory number Ma 975. Another piece sits within the Glyptothek collection in Munich bearing inventory number 239. A copy of that second panel can be viewed inside the Pushkin Museum in Moscow.

Historical Census Scene

An official known as an iurator stands on the far left side of the bas-relief holding wax tablets. He stretches out his hand while recording the identity and property holdings of a man before him. Six additional codices lie stacked at his feet. This scene marks the beginning of the Roman census when all citizens were recorded. The censor determines who would sit in the senate based on wealth. He also decides military service which Romans considered an honour. The censor places one hand on the shoulder of a fourth person wearing a toga. This gesture called manumissio accepts his declaration. The citizen points to an infantryman indicating the centuria where he belongs. The scene might depict the censorate of Cn. Domitius Ahenobarbus and L. Caecilius Metellus in 115 BC.

Mythological Marine Procession

Neptune and Amphitrite sit together in a chariot drawn by two dancing Tritons. They are accompanied by a multitude of fantastic creatures including Tritons and Nereides forming a retinue for the wedding couple. To the left, a Nereid riding on a sea-bull carries a present. Her mother Doris advances toward them mounted on a sea-horse. She holds wedding torches in each hand to light the procession's way. Behind the couple another Nereid rides a hippocamp carrying presents with two more Erotes. An Eros stands near the group associated with Venus. These panels bear a marine thiasos style derived from late Hellenistic art. They are made of different marble originating from Asia Minor compared to the other side.

When were the marble plaques of the Altar of Domitius Ahenobarbus discovered?

The marble plaques emerged from the earth during construction work by the Santacroce family between 1598 and 1641. Records noted them in 1629 and again in 1631 while they remained visible there until documentation confirmed their presence in the courtyard in 1683.

Where are the surviving panels of the Altar of Domitius Ahenobarbus located today?

One portion resides at the Louvre museum with inventory number Ma 975. Another piece sits within the Glyptothek collection in Munich bearing inventory number 239. A copy of that second panel can be viewed inside the Pushkin Museum in Moscow.

What historical event does the census scene on the Altar of Domitius Ahenobarbus depict?

The scene marks the beginning of the Roman census when all citizens were recorded to determine senate membership and military service. The scene might depict the censorate of Cn. Domitius Ahenobarbus and L. Caecilius Metellus in 115 BC.

Why was the temple associated with the Altar of Domitius Ahenobarbus built?

A general probably named Cn. Domitius Ahenobarbus vowed to build a temple after a naval victory likely occurring off Samos in 129 or 128 BC against Aristonicus. The construction of the temple dates to 122 BC when Cn. Domitius Ahenobarbus attained consulship.

How old is the frieze on the Altar of Domitius Ahenobarbus compared to other Roman bas-reliefs?

The frieze is dated to the end of the second century BC based on armor details and represents the second oldest Roman bas-relief currently known. The first appears on a column erected by Lucius Aemilius Paullus Macedonicus honoring his victory at Pydna in 168 BC.

Altar of Domitius Ahenobarbus

Historical Census Scene

Mythological Marine Procession

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