Proceedings ofthe Danish Institute at Athens • II

Edited by Seven Dietz & Signe Isager

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Proceedings of the Danish Institute at Athens

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The drawing reproduced as cover illustration represents Kristian Jeppesen's proposal for the restoration of the Maussolleion, in particular of the colonnade (PTERON) in which portrait statues of members of the Hecatomnid dynasty said to have been carved by the famous artists Scopas, Bryaxis,Timotheos, and Leochares were exhibited. Drawing by the author, see p. 173, Abb. 5, C. Propertius and the monumenta of . (IV, 6 as a topographical source)

Jacob Isager The monuments at Actium Photios Petsas and William Murray1 de serve special mention for the renewed in celebrated his victory at Actium terest their work has aroused in the site. by founding the city of Nikopolis near the They have provided new evidence concer scene ofthe battle and the local temple of ning this memorial, most notably its ram- Actius.This new city soon took a sockets, from whose size and form we can central position in the north-western co gain an idea ofthe shape and number of astal area of Greece not least because of a the bronze rams originally inserted in the synoicism, or forced migration, ofthe in monument. 23 sockets have been located habitants from city-centres in the area into and measured. Murray's studies ofthe scat the newly established City ofVictory.The tered blocks bearing letters of the exten revival, on grander scale, ofthe , the sive dedicatory inscription in Latin have quinquennial games in honour ofApollo afforded a better understanding of the Actius, also added to the distinction ofthe wording of this inscription. It appears that city. the gods Mars2 and Neptune are named, a North ofthe city a precinct (temenos) fact which accords with Suetonius was laid out for the celebration ofthe ga (Aug.18,2) who tells us that the campsite mes. Eventually, a stadium, a gymnasium was dedicated to Mars and Neptune and and a theater were built there; their huge adorned with naval spoils. But the intrigu remains still dominate the landscape. On ing question ofApollo's role in relation to the hillside above this precinct a colossal the monument remains unsolved. rostral monument with as many as 40 rams Finally an excavation ofthe monument was erected as the first and most important begun in 1995 under the direction of official war monument in the area. This Konstantinos Zachos ofthe Ephoria of Io- memorial faced south with a magnificent annina has brought to light much new evi view ofthe other, "living" victory memo dence concerning the monument's con rial, the city itself, and ofthe scene of the struction and plan.3 battle and of the island ofLeucas in the di These investigations, as well as my own NOTE 1 stance. According to Strabo (7,7,6) and visits to the area, have inspired me to the W. S. Murray and P.M. Petsas, Octavian's Campsite Dio Cassius (51,1,3) both the temenos and following new reading ofPropertius' Memorial for theAction War. the memorial on the hill were sacred to Actium-elegy (4,6), which in its turn, TAPS Vol.79, Part 4,Phila Apollo. Another war memorial consisting through the poem's relation to the site, delphia, 1989. often ships from the enemy fleets was es may contribute to a better understanding tablished in a boathouse-like structure at ofthe locality and its place in the mind of NOTE 2 There is only evidence for Antony's former campsite across the straits the Romans. Further, my interpretation the letters R and T, and the ofActium near the ancient temple ol offers some suggestions concerning the re T is dubious. Apollo Actius now refurbished by Au lation between Apollo Actius and Apollo gustus. Palatinus and their iconography. NOTE 3 The rostral monument, with its Latin I am most grateful to dr. dedicatory inscription, on the former Zachos for informing me concerning his investigati campsite ofAugustus was excavated early ons of the memorial. in this century. Recent investigations by

399 The Actium-elegy of ous answers according to scholars' personal Propertius aesthetical or ideological views.8 Propertius presents this poem to the reader In her short analysis ofthe poem Margaret as a Roman aition in the tradition ofPhile- Hubbard9 points out the differences be tas and Callimachos.The setting is the tweenVirgil's description ofthe shield of Temple ofApollo on the Palatine and in Aeneas and Propertius' description of the the beginning ofthe poem the poet assu events at Actium.Virgil aims at action, Pro mes the role ofa pates and priest, who to pertius at stillness. Propertius opens with a gether with a chorus (of fellow poets, as description (ecphrasis) ofthe site ofthe becomes clear at the end ofthe poem) battle; this description is interrupted by makes a sacrifice in connection with a fes tival for Palatine Apollo4.Very quickly, NOTE 4 , and perhaps of the Actium however, the poem moves to a new set For the traditional picture in Greek section in Book 8 (675ff) ofthe ting, which constitutes its longest section. and Roman literature ofthe poet as Aeneid. He sees it as the climax of Pro This setting is Actium and in the descrip vates - as priest ofApollo -, cf. Nisbet pertius' recusatio in Book 4: "Neither tion of the battle between the fleet of and Hubbard, A commentary on Horace: Propertius' heart nor his talents are en Caesar Augustus and that of Cleopatra Odes. Book t, Oxford 1970,347-349. gaged in this poem" (J. P. Sullivan, Pro In Carm. 1,31, Horace presents himself pertius (Cambridge 1976) 146. Cfp.71: (and , who is not mentioned - patera in hand —as a vates ofApollo "the long and strange elegy on Octav- in the poem5) which follows, the poet on the occasion of the dedication of ian's victory at Actium which scholarly stresses the role ofApollo Actius whose in the new temple ofApollo on the Pala opinion characterizes as, to be chari tervention leads to victory (lines 15-86). tine: Quid dedicatum possit table, somewhat below the level of The poem then returns to the Palatine to a Apollinem /vates? Quid orat depatera no Propertius' best work." and vum/fundens liquorem.... For the choric p.145:"This poem has been almost banquet following the sacrifice. A leading £yc<3-figure and the possible blendings universally condemned as frigid by role is thus given to Apollo and only indi ofpoet, chorus and choregus in my critics." M. Hubbard (Propertius, Lon rectly in the comparison between Apollo thical hymns, see F. Cairns (1984), 139- don 1974) is less severe in her jud and Augustus does the poem show itself to 143. gment (p.136): "There are probably be an eulogy ofAugustus. few readers ofPropertius who find 4.6 NOTE 5 their favourite poem; its restraint and Many scholars6 have explained the cen There seems to be an agreement the disciplining offancy necessary in a tral role ofApollo in this poem by sug among the Augustan poets on disguis poet attempting to write ofActium af gesting that the poem is written as a hymn ing the fact that the war had been a ci ter Vergil make it seem something ofa in the manner of Callimachos. Francis vil one by the omission ofall mention cold tour deforce, for all its incidental Cairns has gone further and shown that ofAntony. The first to mention An beauties. But it provokes a reluctant tony by name in connection with the elegy not only imitates a hymn in ge admiration for all that." In recent years Actium isVirgil (Aen.8, 685). the view on Propertius' Augustan atti neral terms, but is also to be understood as tudes in Book 4 has changed and the a fivOiKOC, vjivoc,, a hymn which narrates a NOTE 6 studies of F. Cairns (Propertius and the myth or legend about the god who is be Much has been written about the Battle ofActium (4,6), in Poetry and ing celebrated. Moreover, the Actium- Actium-poem of Propertius and there politics in the age ofAugustus (Cambri poem tells a story,"in which the god's exists a variety of, in some cases, very dge 1984) 129-168) have especially different and conflicting interpretati contributed to a better understanding power to assist his friends and to punish ons. For a long time it was read as seri of the Actium poem in its Hellenistic his enemies is exemplified".7 ous pro-Augustan poetry, but during a and Roman context. For the recent period in the 60s and 70s it was contribution by R.A. Gurval see note A comparison betweenVirgil's vision of dismissed as a Horatian and especially 37. the battle on the shield ofAeneas (Aen. aVergilian pastiche and the verdict on it was harsh: ."..one ofthe most ridi NOTE 7 8,675-713) and Propertius'version offers culous poems in the latin lanquage." Cairns (1984) 137. us one fruitful method for establishing the This is the opinion of G.Williams JRS characteristic elements of Propertius' des 52, 1962, 43, and in Tradition and Origi NOTE 8 cription ofthe battle and explaining his nality in Roman Poetry (Oxford 1968) Cf. note 6, Cairns (1984) Appendix II intentions. The poem ofPropertius is 51: "Propertius is generally judged to (pp. 165-167), and Hubbard (1974) have written a thoroughly bad poem". 136. dated to 16 BC and his debt to Virgil J. P.Sullivan suggests that the author seems evident. The question ofhow far he intended a "parody ofcourt poetry", NOTE 9 succeeds in his aemuiatio has received vari ofsuch poems as Horace's ode on Hubbard (1974) 135f.

400 Nereus' arrangement ofthe fleets in two "All onward dash; the watery plain, by opposing crescents. We do not hear about oars and trident beaks, is lashed to foam. the process, only the result. More silence They plow the brine; you'd think the follows, which, eventually, is broken by the Cyclades uptorn were floating there, or, arrival of Phoebus, but even this is not the hills on hills, together rushed; in bulk so signal to begin the battle. The action is vast those stately ships engage! By hand or further suspended, while Apollo addresses sling, the missile steel, and blazing tow, are Augustus. When he has delivered his hurled; Neptu'nian fields are crimson with speech Apollo begins to shoot his arrows, their gore... while Augustus with his hasta is described as his second. Already in the next line we And Mars, ofbossy steel, amid the carn hear the outcome of the battle: thanks to age raves;grim Furies from the sky: glad Phoebus Rome wins and the woman Discord walks the deck in tattered robe; (Cleopatra) pays her penalty.Her power Bellona follows with her blood-stained lies broken in the Ionian Sea: scourge." (Pierce 1879)

Vincit Roma fide Phoebi: dat femina Hubbard does not discuss further the dif poenas; ference in the two poet's approaches, but sceptra per Ionias fracta uehuntur aquas. she does imply that Propertius focuses more on the results ofthe battle, that is "Rome wins by the faith ofPhoebus: the peace. woman pays her penalty; her shattered In the concluding part ofhis elegy Pro sceptre is floating in the Ionian waves." pertius expands on the peace-theme, men

NOTE 10 tioning among other topics the foedus with 720 Ipse sedens niveo can- Virgil is much more explicit, painting the the Parthians.Virgil on the other hand fi dentis limine Phoebi/dona re- battle in vivid colours.The sea boils as the nishes his battle description with Augustus' cognoscit populorum aptatque two fleets clash together. The war rages celebration ofa triple triumph and depicts superbis/postibus; incedunt vi- with fire and blood. the Emperor sitting on the threshold ofa ctae longo ordine gentes, "Au gustus, throned in Phoe temple ofApollo, presumably the Temple bus' marble porch, surveys Una omnes ruere ac totum spumare ofApollo Palatinus10. the gifts ofnations, hangs reductis them on the shining por 690 conuulsum remis rostrisque tridenti- Apollo plays a leading role in both de tals near. In grand review bus aequor. scriptions, but there are great differences in the conquered tribes pass on!"(Pearce 1879) Alta petunt; pelago credas innare the ways that the two poets include the The triumph was celebra reuulsas god in their mutual theme, the battle of ted in 29 BC and the Tem Cycladas aut montis concurrere Actium. ple of Palatine Apollo was montibus altos, Virgil is, in fact, the first in extant Latin inaugurated in 28 BC.The tanta mole uiri turritis puppibus in literature to describe Apollo with the ap Temple ofApollo Sosianus stant. (in campo) situated close pellation Actius in connection with the to the triumphal road wo Stuppea flamma manu telisque Vola battle ofActium, and he highlights Apollo uld be a more sensible tile ferrum Actius most effectively by giving the god place for Augustus re 695 spargitur, arua noua Neptunia caede an entire line in the middle of his descrip viewing the captives, but rubescunt. tion, thus marking him out as the one re Apollo Palatinus would be sponsible for the battle's turning-point and the first place to enter the reader's mind and thus it is 700 Saevit medio in certamine Ma- the flight ofthe enemy (704-706): an example of licentia poet- uors ica. Since Propertius refle caelatus ferro, tristesque ex aethere Actius haec cernens arcum intende- cts Vergil, Propertius in Dirae, bat Apollo making the Temple of et scissa gaudens uadit Discordia desuper: omnis eo terrore Aegyptus Apollo Palatinus the set ting for his poem, may palla, et Indi, confirm, that Virgil had quam cum sanguineo sequitur Bel- omnis Arabs, omnes tiertebant terga this temple in mind. lona flagello. Sabaei.

401 "But Apollo ofActium saw; and high on tion of the Battle ofActium in Book 8 his vantage-point he already bent his bow. marks the topographical setting by using In dread ofit, every Egyptian, the Indians, the designations Actia bella (8,675) and every Arab, and all the host of Sheba were Leucates (8,677) only as hints ofthe topo on the point of turning in flight." (Jackson graphy ofActium. He uses them together Knight 1956) with the remark on Augustus' fixing gifts NOTE 11 to the door-posts as codes, that refer back Vug.Aen.8, 675-677:In medio classis aeratas, Actia Apollo Palatinus is presumably the god re to Aeneas' stay at Actium in Book 3, where bella /cernere erat, totumque ferred to in Virgil's description ofAugustus he celebrates the Actia; the games were in instructo Marte uideres/feru- seated on the threshold ofa temple of fact renewed and initiated in another con ere Leucaten auroque effulgere Phoebus receiving gifts and fastening them text and given a new importance after Au fluctus,"ln the centre could to the lintel posts.Virgil is not very specific gustus' foundation of Nikopolis. In this ex be seen the bronze-plated fleets battling at Actium. in his topographical indications, but by ample ofnarrative economyVirgil through All Leucate, in a ferment mentioning the fastening of the gifts to his references most ingeniously fuses Ae ofmoving martial array, the lintel posts and by only naming Leu- neas and Augustus into the same person at came into view" (Jackson cates (the Temple ofApollo on the sou the same time as he unites the present, the Knight 1956). For Apollon thern promontory ofthe island ofLeucas past, and the future by relating the battle of Leucates/Apollo Leucadius close to Actium)11 to locate the Actia bella Actium to mythical events from the time represented in the coinage of Nikopolis, see note 43. he alludes to his description of the site of ofAeneas, events which also anticipate and

Actium in Book 3 of the Aeneid, where presage one of the results ofthe battle: the note 12 Aeneas before leaving Actium fixes Abas' Victory Games held every fourth year at Virg. Aen. 3, 274-277: Mox shield on the door-post of, —the reader Nikopolis. et Leucatae nimbosa cacumina may assume - the temple ofApollo Actius. montis/et formidatus nautis aperitur Apollo. /Hunc peti- In Book 3 Virgil relates Aeneas' travels in In his study ofthe Actium-poem ofPro mus fessi etparvae succedimus the waters between Italy and Greece and pertius15 Cairns concludes his discussion of urbi; /ancora deprora iacitur, here he uses topographical names more the two poets' accounts of the battle by stantlitore puppes, "Pres precisely. As Aeneas and his men sail north pointing out the reasons for their diver ently there appeared be from Zakynthos they pass Cephallonia and gences. As he sees it, they lie in the diffe fore us the cloud-capped headland of Leucate, and Ithaca and reach the headland of Leucates rences between epic and elegy, epic being Apollo's temple on the with Apollo "held in dread by sailors", for- more direct, specific and full;Virgil goes mainland promontory midatus nautis (3, 275).They then seek into detail. That may be true as far as the which seafarers hold in Apollo and come upon a little city ne battle description is concerned, but in Vir dread. Being weary, we put arby.12 After thanking Juppiter and erecting gil the battle transpires in an epic/heroic in to land and cast anchors altarsAeneas and his men hold "Trojan ga seascape with no connection to any speci from the prows. The sterns made a line along the be mes on the shore ofActium" (3, 280: Acti- fic locality. We seek in vain for exact topo ach. We walked up to the aquc Iliads celebramus litora ludis.) It has graphical information, although this may little city" Jackson Knight been suggested that Virgil in a sort ofpo be due to the fact that Virgil is describing a 1956). etical contamination blends Apollo Leuca- work ofart, the shield relief. dius and Apollo Actius into one13, but Vir Propertius, on the contrary, is more spe note 13 Cf. Gage (1936) 46-51, gil judges the two very differently, cific in his topographical references, and, as idem (1955) 505. and he would have had no intention of fu I hope to demonstrate, his description of sing them into one14. The reader will easily the area ofActium allows the reader to NOTE 14 understand that Aeneas is only taking a be create a vision ofthe actual landscape and See M. Pachalis,Virgil's Actium-, NIKO aring on the well known promontory of its monuments. POLIS 1, (1987), Leucas, then passing by its cliffs and rea 56-69 and E.Kraggerud in ching a small town on the mainland near The Temple ofApollo Palatinus in Rome Vergil, Aeneiden. Annan og the sanctuary of Apollo at Actium. This is given as our topic in the opening of tredje fcofe.Tangen 1985, town is the mythical forerunner for Niko Propertius' poem, which is set in the area 137-139. Cf.Jucker, Gno polis,"the City ofVictory", built after the of the temple, but only one line is left for mon 45 (1973) 426 and Franke (1976) 159-163. battle ofActium. the presentation ofthis temple well known

to the Roman public and already descri NOTE 15 Thus it appears that Virgil in his descrip- bed by Propertius in Book 2 (31). Cairns (1984), 167.

402 After the introduction, a descriptio (15ff.) Virgil (Aen. 3, 275). In fact, the huge ro follows: stral monument on the hillside above Nik opolis might have given a vision as impres Est Phoebi fugiens Athamana ad li- sive as, but more comforting than, the tora portus white cliffs ofthe promontory ofApollo qua sinus Ioniae murmura condit Leucates.17 aquae, In this way Propertius draws a topo Actia Iuleae pelagus monumenta ca- graphical sketch ofthe area ofActium in rinae, four lines as the backdrop for a battle of nautarum uotis non operosa uia. world wide importance (19): Huemundi co- iere manus... Yet the scenery that the poet "Receding inland lies the haven ofPhoe presents is not Actium in 31 BC, but bus on the shore of the Athamanes. In a Actium and the city of Nikopolis with its place where the gulf stills the roar of Io monuments as it appeared when Propert nian waters, the sea stands as a memory of ius wrote his poem, presumably in 16 BC. the Iulian warship's (victory) at Actium By using the device ofnarrative economy and presents an non-laborious passage for Propertius thus creates directly in the rea sailors who ask for help." der's mind the landscape ofActium, in contrast to Virgil who aims at a more sub The text is very condensed and it is not tle and less precise vision ofit. Both au possible to give a satisfactory translation thors, but Propertius in particular, refer not employing all the possible connotations of only to Actium as the scene ofthe battle each word. But written in the form of an but to Actium (and Nikopolis) as a locality ecphrasis (Est Phoebi..) the text uses a set geographically well established in the Ro ofkey words to give a precise topographi man mind with its games and monuments. cal vision of the site ofActium (Phoebi.. .portus) placed on the Epirote co After his presentation ofthe scene ofthe ast (Athamana ad litora) at the entrance to battle and a moralistic description ofthe the which creates a safe two adversaries which leaves the reader in harbour for sailors.The ecphrastic style is no doubt of the outcome of the battle, underlined by a piling up ofnouns in ap Propertius again proffers an accurate des position to each other functioning as cat cription ofthe situation at Actium. Now it chwords for the reader's visual memory is the confrontation of the two fleets, lying NOTE 16 (17): Actia Iuleae pelagus monumenta in a formation oftwo concentric arcs {ge- The text presents difficult ies, especially pelagus, and carinae]''.This area and the sea that surro minos...in arcus), a formation assumed to be may well be corrupted. unds it (pelagus) exhibits Actia monumenta historically correct:18 of the (victorious) Iulian ship.The sea NOTE 17 keeps alive the memory, but the word mo Tandem acies geminos Nereus luna- Cf.Gc.oMtt.5,9,1: numenta points to other well known featu rat in arcus / armorum .. .sed Leucatam flectere mole- res of the Actian landscape: the rostral mo stum videbatur. nument on Augustus' former campsite and "At length the sea god had arched the NOTE 18 his monumental dedication of 10 ships line into a double crescent and the water Dio Cass. 50,31,5; placed in the building near the Temple of was quivering, coloured by the flash of PintAnt. 66,4. Cf. M.L. Apollo Actius. The city of Nikopolis also arms." (Hubbard 1974) Paladini (1958) 41 who also points out that the stands as a monument ofvictory itself and chronological sequence of there may well have been other memorials Then Apollo appears on the scene and a events is the same in Pro not known to us today. lightning bolt strikes (30).The god does pertius, Plutarch and Dio When Propertius uses the expression not appear with loose flowing hair and a and further (p.44) that nautarum uotis non operosa via for the Street lyre of tortoise shell,playingpeaceful Propertius is much more ofActium leading to a safe harbour he se music (31-32: non ille attulerat crinis in colla orthodox than Horace (Carm. 1, 37) in his des ems to recall as a contrast Apollo Leucates solutos/aut testudineae carmen inerme lyrae), cription of the battle. formidatus nautis - "dreaded by sailors"- in but with the countenance with which he

403 looked upon Agamemnon or as he appea ships to Apollo Actius in the building near red when he killed the Python(33-35), of the Temple of Apollo at the promontory of whom the gentle muses were afraid (36: Actium. Propertius' remark about the ten serpentem, imbelles quern timuere lyrac).]l> ships conquered by Apollo may well be Propertius stresses that Apollo was not understood as a more specific reference to dressed up as citharoidus. This may seem a this dedication, called deKavaia, the Ten rather superfluous observation, but I think Ships monument, by Strabo22. Apart from that the poet may again be referring to the housing the temple of Apollo, the pro geograhical setting, namely the setting of montory ofActium was used as a campsite the poem at the Temple ofApollo Palati by Antony before the battle.The places nus, where the cult statue (as well as other chosen for the monumenta marked the statues) depicts Apollo with the cithara. campsites of the winner and the loser23 The essential message is that the Apollo of and in both places dedications were made Actium was not identical with the one re by Octavian to Apollo Actius. produced in the statue(s) in the Palatine Propertius thus ends his account ofthe temple. battle with a distichon that mentions the This brings us to the distichon that con monumenta dedicated atActium, and in my cludes the description ofthe battle (67- opinion these are identical with the monu 68): menta, he described in line 17, the descrip tion of the site ofActium. The reference to Actius hinc traxit Phoebus monu these monuments constitutes the frame for menta, quod eius the account of the battle. But when Pro una decern uicit missa sagitta ratis. pertius refers to the monuments a second time, he gives a double connotation to the "The Actian Apollo received his monu word monumenta referring both to the mo menta from this, because one arrow from numents at the site ofActium/Nikopolis him conquered ten ships." and to the Apollo Palatinus at Rome, to

Most commentators think that these monu note 19 temple stands; and at the foot ofthe menta designate exclusively the Temple of CfCairns (1984) 138-139 and 163. hill is a plain which contains a sacred Apollo Palatinus: the battle ofActium is grove and a navalstation (vecopia), the aition for the foundation of this note 20 the naval station where Caesar dedi temple.20 Some commentators further add as an cated as first fruits ofhis victory the In the light ofwhat I have argued above emendation to Propertius' reference squadron often ships - from vessel that the Palatine temple was originally with single bank ofoars to vessel with I would propose another reading: vowed by Octavian after the battle of ten; however, not only the boats, it is Naulochus m 36 BC. Hubbard (1974) said, but also the boat-houses have Propertius underlines the fact that the 135, Camps (1965) 112, and Ri been wiped out by fire", (Jones 1924). Actian Apollo received his monuments as a chardson (1977) 448. Cairns (1984) 135 presumes that the result ofthe battle, because he conquered trophy set up near the Temple of note 21 Apollo contained the rostra only of the 10 ships with one shot. This remark has Camps (1965) 112. Richardson (1977) ten captured enemy vessels.He does puzzled most commentators and Camps 452 has the following note on the not refer to the rostral monument on frankly admits that "we do not know any word monumenta in verse 67: "P. seems the former campsite of Augustus. thing from other sources about this to allude specifically to the trophy of event".21 This, however, can be explained. I ten ships, but perhaps he has in mind NOTE 23 the rebuilding of the temple at Actium think, that Propertius refers to the second Cf.Tac. Ann. 2,53: (Germanicus)... si- and the temple of Apollo Palatinus as mul sinus Actiaca victoria inclutos et sacra- of the two geographical settings established well." On verse 68 una decern vicit missa tas abAugusto manubias castraque Antonii in his poem, that is Actium, a site well- sagitta rates he has this comment: "This cum recordatione maiorum suorum adiit, known to the reader, who will call to is mysterious..." "He (Germanicus) took the opportu mind the famous monuments at the site of nity to visit the bay famous for the vi Actium/Nikopolis, the rostra-monument NOTE 22 ctory ofActium, the spoils dedicated Strabo 7, 7, 6: "Here too, near the by Augustus and the camp ofAntony at the former campsite of Augustus north mouth, is the sacred precinct ofthe with their memories of his ancestors". of Nikopolis and his dedication often Actian Apollo - a hill on which the

404 whom he then returns. It seems clear that ofWar, who intervened at Actium; the he is hinting at the double identity of other is the Apollo ofPeace from the Pala Apollo - the Apollo ofWar and the Apollo tine, who has put away his arms and is ofPeace - anticipating the change ofscene equipped with the cithara. He is the gua from war (Actium) to peace (Rome). rantee for peace and a new golden age. Only after this distichon (67-68)24 does Another important point for Propertius Propertius leave Actium and return to the is the accentuation ofApollo and the Palatine in Rome (69-70): Muses as sources ofpoetry. This constitutes the prologue and the epilogue to the battle Bella satis cecini; citharam iam poscit description. Apollo uictor et ad placidos exuit arma cho- The two faces ofApollo ros. The two Apollos ofthe poem refer to "Here stops my poem ofwar; now the Actium and the Palatine respectively as victorious Apollo asks for the cithara and metonymies for the two localities. If one lays away arms for the benefit ofa peaceful draws a parallel between Propertius' rather chorus." precise description ofthe two sites and his description ofthe two roles ofApollo at Apollo resumes his former appearance Actium and on the Palatine, one might ex which was mentioned in distichon 31-32. pect that Propertius in his descriptions of Concluding the poem Propertius por Apollo would also reflect specific artistic trays himself as a member of a group representations of the god in or near the (chorus) ofpoets, who invoke the Muse to temples and monuments of the two sites. inspire them and who also call on Bac The question is whether there was a speci chus, who makes Phoebus productive, fic iconography, well known to the Ro Phoebus used here as a symbol ofpoetry. man reader, which pointed to the two lo And, finally, with a patera in his hand the calities. poet praises the res gestae ofAugustus until dawn casts its rays on his wine; in other The Palatine words the sacrifice is followed by a ban quet and a pannychis, an all-night sympo Ancient authors mention several statues of sium.25 Apollo on the Palatine and none of them can with any certainty be identified as The poem accordingly may be read both Apollo Actius. When Augustus dedicated as a hymn to Apollo and as an encomium the new temple in 28 BC, he was very to the new era founded by Augustus after anxious to minimize reminders ofthe civil NOTE 24 Actium.The choice ofthe hymnic form wars and to stressApollo's role in a more According to Cairns allows the poet to follow the conventions (1984) 133 monumenta in general way as guarantor of peace and of these lines refer to the ofa hymn. He begins with a presentation the republica restituta.2<' temple at the Palatine. ofhimself as the priest ofApollo making In the interests ofidentifying the statues preparations for the festival ofthe god. He ofApollo on the Palatine, it is worth while NOTE 25 joins forces with the Muse when he relates examining Propertius' other references to Cf. Cairns (1984) 152. A the foundation myth ofthe temple. The "frivolity" according to such statues.The Actium elegy (69-70) Nisbet/Hubbard (See note poet also employs other conventional mentions Apollo victor holding a cithara. 4), 411, who point to the hymnic topoi, particularly in his descripti Propertius 2, 31 refers to the dedication of literary convention among ons ofthe localities where the god is wors the Porticus of the Danaids close to the Tem Augustan poets describing hipped, and the god's different guises. ple ofApollo and in fact may also refer to symposia in honour ofpo Propertius assigns two roles to Apollo in the dedication ofthe temple itself. In con litical events. this poem: one is the thunderbolt-wiel nection with the porticus a statue is des

NOTE 26 ding, arrow-shooting Apollo, who brings cribed as"even more beautiful than Apollo Cf.Jucker (1982) 83. victory to Caesar Augustus, i.e. the Apollo himself".This statue is a marble one por-

405 traying the god "with his mouth open re A coin struck by the moneyer C. Anti- ady to sing and a silent lyra". Another fea stiusVetus in Rome in 16 BC34 —the year ture of the porticus is an altar around which to which the Actium elegy of Propertius is the four Oxen ofMyron are placed. They dated —is exceptional in that it shows seem "living statues".27 Then follows a des Apollo standing beside an altar carrying a cription of the temple, inside which is a cithara or lyra in his left hand and in his statue of Pythius singing out flanked by his right a patera from which he pours a liba mother and sister.28 It has been generally tion onto the altar. On the coin both agreed that a representation of these three Apollo and the altar are placed on a high cult-statues ofApollo, and Leto is podium decorated along its front with a to be found on the Sorrento base and that row of three ship's beaks (rostra) flanked by the statues were opera nobilia from the 4. two anchors. Above and below the base cent. BC made by Skopas,Timotheos and the legend reads APOLLINI ACTIO. Kephisodotos.29 Quoting Propertius 2, 31, which mentions Propertius offers no further clues as to Apollo with tacita lyra and an altar, and 4, the identification ofthe two Apollos he 6, 69 ..citharam iam poscit Apollo Zanker mentions, even though he does accentuate identifies this statue with the one called their different topographical settings. Apollo Actius. Here Apollo himself is pou It is, thus, clear that Propertius' text does ring a thanksgiving and propitiatory offe not allow us to distinguish between an ring as an cxemplum pietatis —a role often Apollo Actius and an Apollo Palatinus. If played by Augustus; the juxtaposition of the statues mentioned by him are repres Apollo and Augustus seems evident. entative ofthe two types, we can deduce that they were both citharocdi in so far as I believe that the Actium poem of Pro they both carried cithara or lyra.3" It takes pertius provides a further argument in sup us a little further when Propertius in 4,1,2 port of Zanker's suggestion concerning the characterizes the Palatine Apollo as Apollo iconography ofApollo Actius. In the proe- Navalis. rnium Propertius assigns to himself the

References to Actium and Apollo Actius are found on Augustan coinage; represen tations ofApollo are explicitly designated as Actius by the inscriptions ACT or NOTE 27 95 (with Abb. 14-16) who identifies Prop.2,31,5-8: Hie equidem Phoebo visus the statue as a citharoedus. ACTIO. The general motif is Apollo as mihipulchrior ipso/marmoreus tacita car citharoedus with a cithara or lyra in one men hiare lyrafatque aram circum steterant NOTE 30 hand and a plektron or patera in the other, armenta Myronis, /quattuor artiftcis, vivida Cf. the description ofApollo as cithar but the depictions ofApollo vary,and they signa, boves. oedus inTibullus 2,5,1-10. cannot be related to one single statue.31 Two series ofcoins struck at Lugdunum NOTE 28 NOTE 31 2,31,15-16: Deinde inter matrem deus Cf.Tnllmich (1988), Zanker (1983), in 15 and 11 BC include two different ipse interque sororem/Pythius in longa car- and Roccos (1989). versions ofApollo both with the inscrip mina veste sonat. tion ACT, referring to Actium.32 In endea NOTE 32 vouring to trace the specific statues behind note 29 In the same way two different Dianas the coins Zanker33 relates the Apollo with For the discussion ofthe origin ofthe are shown, both with the legend SI- statues, see Zanker (1983). Recently CIL in memory of the battle of Nau- cithara and patera from the Lugdunum se some scholars (Roccos (1989), Flasher lochus. ries of 11 BC to the statue ofApollo stan (1992)) have suggested that Apollo ding outside the Temple ofApollo on the Palatinus has to be seen as a neo-Attic NOTE 33 Palatine (Apollo Actius). The Apollo car Augustan concept rather than a copy Zanker (1983) 38, note 47. rying cithara and plektron from the earlier ofa specific Greek original. (Roccos (1989) 583. For the fragments ofa co NOTE 34 Lugdunum series he connects with the lossal cult-statue (H. ca 3 m.) found Cf. Zanker (1983) 31-32. Further Tnl- cult statue ofApollo (Palatinus) inside the during Carretoni's excavation in the lmich (1988) 522-23. temple. area of the Temple, see Jucker (1982)

406 role ofa priest making a propitiatory offe As to the figure ofApollo with the appel ring —sacra facit vates.The actual perfor lation Actius we have the following pi mance of the sacrifice is to be taken as a cture: it is first mentioned in extant Ro simile for the poet's concerns when em man literature in Virgil's Aeneid and taken barking on a new theme, the epic33, al over by Propertius in his Actium-elegy though he presents himselfas a (real) from 16 BC.The references to an Apollo priest. The sacrifice is described in detail Actius are very few and not found in lite with its altars and animals, even though it rature contemporary with the battle of is meant to be taken metaphorically. In the Actium, which in itself has received relati epilogue (85-86) we are told that the poet vely little mention, what there is, occurs NOTE 35 will spend the night singing with the mostly in later Roman historiography.36 In Cf. Cairns (1984) 141. patera in his hand. The singing as well as Roman coinage ApolloActius is mentioned the patera will suggest associations with for the first time in a series from 16 BC NOTE 36 VideThLLs.u. Acte Apollo. and then in the following years. (Actium,Actius,Actiacus). Given Propertius' often very specific de It seems, then, that Apollo Actius is offi scriptions ofsites and monuments, it seems cially introduced to the mind ofthe Ro NOTE 37 obvious that in the Actium poem he has mans at a safe chronological distance from In his new and very inter been inspired directly by a specific statue the battle ofActium with its connotations esting book Actium andAu gustus.The Politics and Emo ofApollo Actius on the Palatine. ofcivil war. In the year 16 BC he is accep tions of Civil War, Ann Ar The poet's close relationship to Apollo is ted into Roman iconography. The Actium- bor 1995, Robert Alan emphasized in his depiction of himself as elegy ofPropertius may confirm the ex Gurval discusses the evi the priest ofApollo and this is exactly the istence and the iconography ofa statue of dence for the Actium- point of the prologue and the epilogue. Apollo Actius on the Palatine. A dedication propaganda and the relati onship between Augustus But ifwe assume that he, in rendering there ofsuch a statue in 16 BC might even and Apollo. He demonstra himself in the role of the priest, also has be the reason for the writing of this poem tes very convincingly that been inspired by the "offering attitude" of and for the use of this motive in a coin se the myth ofActium is a a statue ofApollo Actius, thus giving his ries from the same year.37 late creation in the reign of reader another topographical hint, then the Augustus. According to Gurval nothing links the poem contributes to a more precise identi Actium God ofActium or the na fication ofthe iconography ofa statue of val battle ofActium (and Apollo Actius at the Palatine. Thus, the Apollo Actius(?)/Palatinus at of Naulochus) with the Seen in the context of the poem, this Rome is identified as an Apollo Citharoe dedication of the Temple statue ofApollo Actius becomes the con dus. This may come as no surprise since ofApollo Palatinus in 28 necting link between its three main actors: the iconography ofApollo in Augustan BC. Actium had to be for gotten and only after a di Apollo, Augustus and Propertius.The ana sculpture offers no examples ofApollo the stance offifteen years was logy between Augustus and Apollo is well Archer38.The archer Apollo who is descri a myth ofa great battle known. Augustus shows himself as an ex- bed as the main actor in Vergil's and Pro created. emplum pietatis and on a higher level pertius' vivid descriptions of the battle of Apollo assumes the same role. Propertius, Actium finds no expression in the sculptu NOTE 38 CS.LIMC II, 1,p. 436. as the poet embarking on an epic and lau ral art of the time. As Propertius writes: af datory description ofthe battle ofActium, ter Actium Apollo laid away arms and NOTE 39 renders himself as the priest, who through asked for the cithara... Citharam iam poscit Cf. Hor. Carm.Saec. 33-34 his poetry makes his sacrifice.Thereby he Apollo victor... The artists seem to have re andTibullus 2, 5. ranks himself with Apollo and Augustus as ceived the same signals as the poets.39 So it

NOTE 40 yet another exemplum.This gives the Acti is hardly to be expected, that Apollo the Jucker (1982) with a refe um poem an unexpected and very elegant Archer found a home on the Palatine. rence to Dio 51, 1,3, and twist. The convivial mood in the epilogue What, then, was the iconography chosen Gros s.u. Apollo Palatinus in further serves to extol the role ofthe poet, for Apollo on the monuments at LTUR (Steinby). Already and does not blur the message of the Actium/Nikopolis? Hans Jucker and Pi suggested by G. Ch. Pi- card, Les Trophees romains. poem. In no way does it convey the idea erre Gros40 have suggested that the coin BEFAR 187, Paris 1957, ofironical distance or parody which many struck in Rome by Antistius in 16 BC 261. scholars have proposed. shows the rostral monument on the hill-

407 side north of Nikopolis. My reading of res est, Calliope, digna fauore tuo. Propertius would suggest that at least a sta Caesaris in nomen ducuntur car- tue ofApollo with patera, like that on the mina: Caesar coin, existed on the Palatine, and it does dum canitur, quaeso, Iuppiter ipse not exclude the existence ofa similar sta uaces. tue erected on the campsite monument at Actium/Nikopolis.41 15 Est Phoebi fugiens Athamana ad li- Karamesine-Oikonomidou's catalogue tora portus ofthe coins from the mint ofNikopolis qua sinus Ioniae murmura condit NOTE 41 presents items42 showing what seem to be aquae, Zanker 1983,40 discusses reproductions ofa statue ofApollo holding Actia Iuleae pelagus monumenta ca- Jucker's suggestion and puts forward as an argu a bow in his lowered left hand and an ob nnae, ment in his favour that the ject identified by her as a Nike43 in his rai nautarum uotis non operosa uia. series from Rome for 16 sed right. These reproductions may reflect BC only seems to repro a cult statue or a statue from the war me Hue mundi coiere manus: stetit duce monuments at morial44 and in either case we can infer the aequore moles Rome, but he concludes: existence ofa statue ofa bow-holding 20 pinea nee remis aequa fauebat auis. "Beide Interpretationen sind hypotetisch und es Apollo at Actium/Nikopolis, known, at Altera classis eratTeucro damnata bleibt abzuwarten, ob Aus- least, from around 200 AD, as these coin is Quirino grabungen einem von uns sues are considered to be Severan or later45. pilaque feminea turpiter acta manu; recht geben." hinc Augusta ratis plenis Iouis omine The material, that we have at hand now, uelis NOTE 42 does not allow us to arrive at a precise signaque iam patriae uincere docta Karamesine-Oikonomidou (1975) PI. 1 No. IB; PI. 28 knowledge ofthe iconography ofApollo suae. No. 37; PL 29 Nos. 47-49; Actius at Nikopolis. Nor do we know in PL 36 Nos. 73-74, 76; PL what ways a sanctuary or monument of 25 Tandem acies geminos Nereus luna- 37 Nos. 90a, 97; PL 54 No. Apollo was connected with the Actium rat in arcus 45; PL 59 Nos. 20-22; PL memorial dedicated by Augustus. The ex armorum et radiis picta tremebat 61 No. 49; PL 63 Nos. 87- 88. cavations recently resumed may reveal aqua, answers to these questions. cum Phoebus linquens stantem se NOTE 43 uindice Delon According to Kraay (1976) Propertius IV, 6 (nam tulit iratos mobilis una Notos) 239 "a short straight object astitit Augusti puppim super et noua which is certainly not Nike". A torch?: Franke Sacra facit uates: sint ora fauentia sa- flamma (1976) 160, who identifies cris 30 luxit in obliquam ter sinuata facem. this Apollo as Apollo Leuca- et cadat ante meos icta iuuenca fo- Non ille attulerat crinis in colle so- dius, relates it to a unique cos. lutos Trajanic issue with a si Cera Philetaeis certet Romana co- aut testudineae carmen inerme lyrae, milar representation of rymbis sed quali aspexit Pelopeum Aga- Apollo carrying the ins cription AEYKATHX et Cyrenaeas urna ministret aquas. memnona uultu AIIOAAON (Miinzkabi- 5 Costum molle date et blandi milii egessitque auidis Dorica castra rogis nett, Berlin; Franke (1976) turis honores 35 aut qualis flexos soluit Pythona per Taf.ll,Abb.3).Cf.Jucker terque focum circa laneus orbis eat. orbis (1982) 97, note 74. Spargite me lymphis carmenque re- serpentem, imbelles quam timuere NOTE 44 centibus aris lyrae. Identified as Apollo Actius tibia Mygdoniis libet eburna cadis. by Karamesine-Oikono Ite procul fraudes, alio sint aere Mox ait:"0 Longa mundi seruator midou and as Apollo Leu- noxae: ab Alba, cadius by Franke. Cf. Ju 10 pura nouum uati laurea mollit iter. Auguste, Hectoreis cognite maior cker (1982) 238-39. Musa, Palatini referemus Apollinis auis, NOTE 45 aedem: uince man: iam terra tua est; tibi mi- Kraay (1976) 239 and Ju litat arcus cker (1982) 97.

408 40 et fauet ex umeris hoc onus omne hoc unum, iussa non moritura die. meis. 65 Di melius! quantus mulier foret una Solue metu patriam, quae nunc te triumphus, uindice freta ductus erat per quas ante Iugurtha imposuit prorae publica uota tuae. uias! Quam nisi defendes, murorum Ro Actius hinc traxit Phoebus monu mulus augur menta quod eius ire Palatinas non bene uidit auis. una decern uicit missa sagitta ratis. 45 Et nimium remis audent prope: turpe Latinis Bella satis cecini; citharam iam poscit principe te fluctus regia uela pad. Apollo Nee te, quod classis centenis remiget 70 uictor et ad placidos exuit arma cho-

alis, ros. terreat: inuito labitur ilia mari; quodque uehunt prorae Centaurica Candida nunc molli subeant conui- saxa minantis, uia luco 50 tigna caua et pictos experiere metus. blanditiaeque truant per mea colla

Frangit et attollit uires in milite rosae causa; uinaque fundantur prelis elisa Faler- quae nisi iusta subest, excutit arma nis pudor. terque lauet nostras spica Cilissa

Tempus adest, committe ratis:ego comas. temporis auctor 75 Ingenium potis irritet Musa poetis: ducam laurigera Iulia rostra manu." Bacche, soles Phoebo fertilis esse

tuo. 55 Dixerat, et pharetrae pondus consu- Hie paludosos memoret seruire mit in arcus: Sycambros, proxima post arcus Caesaris hasta Cepheam hie Meroen fuscaque fuit. regna canat, Vincit Roma fide Phoebi: dat femina hie referat sero confessum foedere poenas; Parthum: sceptra per Ionias fracta uehuntur 80 "Reddat signa Remi, mox dabit ipse

aquas. sua: siue aliquid pharetris Augustus parcet At pater Idaho miratur Caesar ab Eois, astro: differat in pueros ista tropaea suos. 60 "Sum deus; est nostri sanguinis ista Gaude, Crasse, nigras si quid sapis in fides." ter harenas: Prosequitur cantu Triton omnesque ire per Euphraten ad tua busta licet." marinae plauserunt circa libera signa deae. 85 Sic noctem patera, sic ducam car mine, donee Ilia petit Nilum cumba male nixa fu- iniciat radios in mea uina dies. gaci,

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411