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Hadrian in Ioudaea the Celebration of the Emperor Examined Throughout the Tel Shalem Bronze Statue

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Hadrian in Ioudaea the Celebration of the Emperor Examined Throughout the Tel Shalem Bronze Statue BABESCH 94 (2019), 193-210. doi: 10.2143/BAB.94.0.3286786 Hadrian in Ioudaea The Celebration of the Emperor Examined Throughout the Tel Shalem Bronze Statue Paolo Cimadomo, Luca Di Franco, Silvio La Paglia Abstract This study aims to analyse the bronze statue of Hadrian found in Tel Shalem (in the territory of ancient Scythopolis, today Bet Shean, in Israel) and now located at the Israel Museum of Jerusalem. Several studies have been made on this statue, in particular analysing the peculiar scene depicted on the lorica of the emperor. This image, in particular, has been read in many different ways, without consensus on its proper interpretation. According to our analysis, there is a clear need to contextualise the statue in a wider and more complex background, linking it with its surroundings and the occasions that could have led to the erection of the statue. After re-examining in detail all prior theories and readings of the image on the emperor’s chest, we conclude that the statue was erected for some event before the Bar Kokhba revolt. INTRODUCTION: CONTEXT FINDINGS Emperors’ sculptures have been rarely found in the fragments were unearthed during excavations in Galilean region or, more broadly, into the entire 1975 and 1976 directed by Gideon Foerster, who area of Roman Palestine.1 However, a bronze torso attempted to clarify the nature of the context.4 The with an armour (lorica), now preserved at the Israel investigations revealed that a Roman legionary Museum of Jerusalem,2 is a notable exception. It camp, measuring approximately 210 x 180 m, had stands out from the other findings for its peculiar- been erected in the area around the torso.5 The ities and relevance. The face is easily recognisable: military fort, according to the stratigraphic and it depicts the Emperor Hadrian. material evidence, had a short life. In fact, it was Some pieces of the statue’s head and right arm probably used from the end of the 1st or the were accidentally found on the 25th of July 1975 beginning of the 2nd century CE up to the middle of by an American tourist, Morton Leventhal, in the the 2nd century CE.6 The statue, found together with site of Tel Shalem, 12 km south of Bet Shean (the a bronze portrait of a young boy, was located in a ancient city of Scythopolis) (fig. 1), while he was brick building located in the northern area of the looking for coins with his metal detector.3 Other camp (figs 2, 4). Fig. 1. Tel Shalem overview (photo authors). 193 Fig. 2. Bronze statue of Hadrian from Tel Shalem. Jerusalem, Israel Museum (photo authors). It is possible that this was not the original place of the statue: it could have been lodged there after the abandonment of the camp. However, the ex- cavations carried out by Foerster showed that a vexillatio of the Legio VI Ferrata was stationed there, on the basis of two inscriptions discovered therein: 1. a tabula ansata that mentions the name of the detachment itself (fig. 3);7 2. a honorary dedication devoted to Emperor Hadrian.8 The forty-two fragments of Hadrian’s statue under- went a long restoration, completed only in 1984.9 Fig. 3. Inscription of vexillatio of the Legio VI Chemical analyses were ordered to verify the perti- Ferrata (after Tzori 1971, Pl. 5, A). 194 dated between 190s and 200s.14 It is reasonable to think that the two statues are not related and we will not discuss the boy’s head further. THE STATUE OF HADRIAN: THE HEAD For the iconographical analysis of the statue, we will start from the best known and most remarkable feature, that is, the depiction of the head of the emperor (fig. 5). Typical Hadrianic somatic traits are clear: small and contiguous eyes whose carved iris looks to the left side, a large nose and high and voluminous cheekbones. The head slightly turns to the left, as emperor’s portraits usually do. The wrinkles around the eyes and the nose testify clearly to his age. As usually depicted, the emperor has a well-groomed beard, sparser on the mous- tache and on the top of the cheeks, thicker under the mouth with three-dimensional moving strands. The hair is one of the most peculiar features, full of volume on the sides due to the combing, with Fig. 4. Bronze head of a young boy from Tel Shalem, Jerusalem, Israel Museum (photo authors). nence of the body with one of the two portrait-heads unearthed during the excavations (the one of Hadrian and the other of the young boy, as seen above).10 The results confirmed that the cuirassed body was a match for the head of Hadrian. In fact, both the torso and the head had a similar per- centage of tin, copper, and lead.11 Although a more accurate and specific analysis might be re- commended, there are no reasons to believe that the parts of the statue were made at two different times.12 The most recent criticisms, as we shall see, consist in purely historical and artistic conjectures. Richard Gergel has supported the thesis that the body was unrelated to the head: in this way, he has tried to solve the puzzling question connected with the iconography of the statuary type and the ambiguous representation on the breastplate.13 On the other hand, the head of the young boy (fig. 4) - found together with the Hadrian statue - reveals significant differences when compared with the other bronzes. Gergel has proposed that there is a connection between the youth’s head and the sculptural group, but this thesis clashes with the results of archaeometric and stylistic analyses. In fact, this head is composed of a signifi- Fig. 5. Portrait of the bronze statue of Hadrian from cantly different percentage of metals. Furthermore, Tel Shalem. Jerusalem, Israel Museum its stylistic appearance reminds to later examples (photo authors). 195 more realistic than, for example, the Stazione Termini or Chiaramonti 392 types.17 Hadrian started a long tradition of his portraiture. The seven known types, distributed in his twenty- one-year reign, are not always easily related to the political events at their origins. The dating of the Rollockenfrisur prototype is conventionally placed between 118 and 121, due to the presence of this portrait on the coins minted in these years.18 As argued by Klaus Fittschen,19 the images on the coins dated to 118 show an emaciated face, unlike the Rollockenfrisur type portraits, characterised by greater fullness and roundness of his appearance. Furthermore, Cécile Evers cites other comparisons with coins of 119-121, 121-122, and 119-124/125.20 It is very likely that the head of Hadrian from Tel Shalem belongs to the third type of the emper- or’s portraits; however, this prototype was used from 119 or 121 onwards. We do not know when and for which event the type was codified. For the 119 option, Wegner proposed a connection with the beginning of the third consulate. At the same time, the year 121 CE might coincide with the beginning of the emperor’s journey to the prov- inces of the Empire.21 It is perhaps not a coinci- Fig. 6. Portrait of a marble statue of Hadrian. Rome, dence that the portrait types named Rollockenfrisur Palazzo Venezia (photo D-DAI-ROM-74.1670). are found with a certain homogeneity not only in Italy but also in the provinces, especially in the nine small curled strands divided on the forehead. East: Greece (Athens, Epidaurus, and Piraeus), All the locks go towards the left side and their size Egypt (Alexandria), Turkey (Perge), Lebanon (Bei- is similar, except the central one that is larger. The rut), and Israel (Tel Shalem).22 Moreover, among all fringe, going from one ear to another, covers most the specimens found, the Tel Shalem portrait has a of the forehead so as to make it look rather low. more austere and rigid appearance due to the inci- Unlike the hair in the upper part of the head, con- siveness of his traits and the realistic nature of his sisting of smooth and parallel bands, the back hair visage.23 In this sense, Fittschen finds its inspiration is characterised by large three-dimensional and in Hellenistic dynasts’ portraits,24 but it is better to wavy strands, realised with a vortex. find a connection with portraits of Trajan. Thanks to the classification of the hair, known Furthermore, the Tel Shalem head is character- from many specimens in marble with some varia- ised by its excellent quality and perfect proportions, tions, the portrait can be attributed to the Rollocken- which distinguish it from other replicas, like those frisur or Terme 6818 type, recognised for the first from Egypt, Beirut, and Perge. Therefore, it seems time by Max Wegner.15 The type is rather consis- likely that the portrait of Hadrian from Tel Shalem tent, at least in its general lines. There are only a is a replica made by an important workshop or a few minor variations in the separation between skilled sculptor who owned a valuable model to the hair on the forehead: these variants are well copy.25 evident in the replicas preserved in Palazzo Vene- Foerster has offered a contrasting theory aiming zia in Rome (fig. 6) and in the Museum of Alex- to put the date of this production to the final years andria in Egypt. In some cases, among which the of Hadrian’s reign.26 This hypothesis is based on above-examined portrait is included, a small inter- the volume of beard and eyebrows, the engraving mediate strand is inserted between the biggest of the irises and the greater depth of wrinkles.
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