Pompa circensis
In
Description
The most detailed description of the pompa circensis during the
Troops of dancers followed to
A chorus dressed as satyrs and sileni followed the armed dancers and mocked them. They were costumed in woolly tunics, garlands of different kinds of flowers, and goatskin loincloths, with their hair standing out on their heads in tufts.[6] The appearance of satyristai at the original Ludi Romani is the earliest known reference to satyrs in Roman culture.[7] Although Dionysius suggests that both the weapon dances and the Bacchic dancing were in imitation of the Greeks, the weapon dances had a Roman precedent in the Salian priests, who danced with sword and shield, and the role of the satyrs seems based on Etruscan custom.[8]
The procession concluded with men carrying golden bowls and perfumes, and then the statues of the gods carried on litters (fercula), with their attributes (exuviae) transported separately in special chariots or carts (tensae or thensae). The tensae were pulled by boys whose mothers and fathers were still alive.[9] The images and exuviae were displayed at the circus, probably on the wooden platform called a pulvinar.[10]
The procession started from the Capitolium, and through the clivus Capitolinus came to the Roman Forum. It then proceeded along the Via Sacra and passed through the Vicus Tuscus to arrive at the Circus Maximus.[11]
The
During the Empire
The pompa circensis underwent a significant change during the
The priesthood of the
A more traditional parade route was restored under the Flavian dynasty. The Capitolium was again the focus, and the temples most explicitly connected to the Julio-Claudians were less central, though the images of the imperial family continued to be displayed. The route was expanded to pass along the Campus Martius in the time of Domitian, who had built a grand temple to the divinized Vespasian and Titus there. During the 2nd century, the route of the pompa circensis had probably become more similar to that of the triumph.[19] The pompa circensis thus developed as a highly visible medium for expressing the new political and religious order of the Empire.[20]
References
- Katherine M. D. Dunbabin, "The Victorious Charioteer on Mosaics and Related Monuments," American Journal of Archaeology 86.1 (1982), p. 71.
- Q. Fabius Pictor, FRH2 1 frg. 20.
- ^ H.S. Versnel, Triumphus: An Inquiry into the Origin, Development and Meaning of the Roman Triumph (Brill, 1970), pp. 96–97.
- ^ Versnel, Triumphus, p. 97.
- ^ W.J. Slater, "Three Problems in the History of Drama," Phoenix 47.3 (1993), p. 202.
- ^ Slater, "Three Problems," p. 203.
- T.P. Wiseman, "Satyrs in Rome? The Background to Horace's Ars Poetica," Journal of Roman Studies 78 (1988), pp. 7.
- ^ Wiseman, "Satyrs in Rome?" p. 11, note 86; Slater, "Three Problems," p. 203.
- ^ Versnel, Triumphus, pp. 98, 260.
- ^ Duncan Fishwick, "Prudentius and the Cult of Divus Augustus," Historia 39.4 (1990), p. 481, citing Festus (500 in the edition of Lindsay).
- ^ Patrizia Arena, "The pompa circensis and the domus Augusta (1st–2nd c. A.D.)," in Ritual Dynamics and Religious Change in the Roman Empire. Proceedings of the Eighth Workshop of the International Network Impact of Empire (Heidelberg, July 5–7, 2007) (Brill, 2009), p. 86.
- ^ Versnel, Triumphus, pp. 102, 104, 129–130.
- ^ As summarized by Versnel, Triumphus, p. 101f.
- ^ Versnel, Triumphus, p. 97.
- ^ Frank Bernstein, "Complex Rituals: Games and Processions in Republican Rome in A Companion to Roman Religion (Blackwell, 2007), p. 223ff.
- ^ Patrizia Arena, "The pompa circensis and the domus Augusta (1st–2nd c. A.D.)," in Ritual Dynamics and Religious Change in the Roman Empire. Proceedings of the Eighth Workshop of the International Network Impact of Empire (Heidelberg, July 5–7, 2007) (Brill, 2009), p. 78ff.
- ^ Arena, "The pompa circensis," p. 86.
- ^ Arena, "The pompa circensis," p. 87ff.
- ^ Arena, "The pompa circensis," pp. 91–92.
- ^ Arena, "The pompa circensis," pp. 92–93.