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Les Mythes Fondateurs De Rome. Alexandra Dardenay

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Les Mythes Fondateurs De Rome. Alexandra Dardenay Les mythes fondateurs de Rome. Alexandra Dardenay To cite this version: Alexandra Dardenay. Les mythes fondateurs de Rome. : Images et politique dans l’Occident ro- main. Paris : Picard, pp.237, 2010, Antiqua (Paris) ISSN 1270-0134; 14, 978-2-7084-0866-1. halshs- 00719569 HAL Id: halshs-00719569 https://halshs.archives-ouvertes.fr/halshs-00719569 Submitted on 25 Jun 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. I. L’IMAGE DES FONDATEURS DE ROME EN CONTEXTE OFFICIEL 33 La création du motif de la lupa Romana Le miroir prénestin L’authenticité du miroir prénestin fi gurant la décou- verte de la louve et des jumeaux par des bergers, n’est plus aujourd’hui remise en question (fi g. 2). C’est à D. Briquel et R. Adam que l’on doit la réhabilitation 1. de cette œuvre comme document archéologique ; leur analyse, reposant sur des critères aussi bien techni- ques, typologiques, stylistiques, qu’iconographiques, est à tel point convaincante qu’elle a fi nalement levé LA GENÈSE les derniers doutes4. Et si, de nos jours, le miroir fait toujours l’objet de débats au sein de la communauté DES THÈMES scientifi que, c’est uniquement à propos de l’interpré- tation de la scène gravée sur sa face postérieure5. Dès sa première publication en 18976, les savants Initialement, durant la plus grande partie de l’épo- étaient divisés sur la question de l’authenticité du que républicaine, seuls deux thèmes iconographiques miroir – l’un d’entre eux ayant émis des doutes sur illustraient la légende des origines de Rome : l’image l’ancienneté de la patine du revers entachant pour de la louve romaine et celle de la fuite d’Énée. Comme longtemps la crédibilité de l’objet. En 1979, dans sa nous le verrons, c’est plus tard, à la fi n de l’époque thèse, C. Dulière, après examen de l’objet, se ran- républicaine qu’apparaissent les autres thèmes ico- geait du côté des tenants de la falsifi cation : la scène nographiques en relation avec les primordia Vrbis. aurait été gravée à l’époque moderne sur un authen- En ce qui concerne la légende latine1, l’image de la tique miroir étrusque7. Il n’était pourtant pas sans rencontre entre Mars et Rhéa Silvia n’est pas attes- conséquence d’éliminer radicalement de son corpus tée avant la seconde moitié du Ier siècle av. J.-C., sur un document qu’il faut considérer comme la plus la frise peinte d’un tombeau de l’Esquilin2 ; quant à ancienne représentation connue de la découverte l’image de Romulus tropaeophorus – porteur de tro- des jumeaux par des bergers. De telle sorte que le phée – ses premières attestations sont contemporai- chapitre de la thèse de C. Dulière sur « Les étapes de nes de la dédicace du Forum Augustum. Il en va de la représentation fi gurée »8 dans l’iconographie de la même pour la légende troyenne : le sacrifi ce de la lupa Romana, reposait sur un postulat erroné, et qu’il « truie lavinate » pour ne citer que cet exemple, n’est devient caduque par la démonstration de l’authen- pas attesté avant l’époque julio-claudienne3. ticité du miroir. Ainsi, selon elle, l’image du berger, en association avec la lupa Romana, apparaît pour la première fois sur le denier de Sextus Pompeius « Fostlus » 9, entre 133 et 126 av. J.-C.10 (fi g. V) ; le miroir étant typologiquement datable entre 340 et 4 Briquel, Adam 1982. 5 Briquel, Adam 1982, p. 48-58. Massa Pairault 1992, p. 164. Wiseman 1993b. Wiseman 1995, p. 62-68. Carandini 1996. Wiseman 1997. Carandini 1997b. Cap- pelli 2000. 6 Gerhard, Klügmann, Körte 1897. 7 Dulière 1979, p. 72-72. 1 Sur la légende latine et la légende troyenne : supra p. 8 Dulière 1979, p. 21-137. 2 Infra p. 9 Infra p. 3 Infra p. 10 Dulière 1979, p. 75 sq. 35 I L’IMAGE DES FONDATEURS DE ROME EN CONTEXTE OFFICIEL page précédente : 2. Miroir prénestin de Bolséna : restitution graphique (d’après Wiseman 1993b). 310 av. J.-C.11, on mesure l’importance de ce témoi- grotte15. Que savons-nous du Lupercal ? Une tradition gnage. Elle tente également de démontrer que les antique, rapportée par Denys d’Halicarnasse, mettait différents motifs qui s’agglutinent autour de la lupa en relation le Lupercal avec un ancien lieu de culte Romana sur les images romaines, l’arbre, les oiseaux, à Pan Lykaios, matérialisé par un autel : « Le premier les bergers, le Lupercal, apparaissent progressive- [temple] fut dédié à Pan Lykaios sur les ordres de ment, et non simultanément, ce que l’iconographie du Thémis (pour les Arcadiens en effet le plus ancien et miroir contredit en grande partie puisque le groupe le plus honoré des dieux est Pan), quand ils eurent de la louve allaitant les jumeaux est ici entouré de trouvé un emplacement approprié, que les Romains deux bergers, un arbre, deux oiseaux pour ne citer appellent Lupercal, ce que, nous, pourrions traduire que les motifs dits « canoniques ». par Lykaion. Aujourd’hui que les alentours ont été rattachés à l’enceinte sacrée de la cité, il est devenu Le débat sur l’interprétation du décor du miroir est né diffi cile d’imaginer ce qu’était l’ancienne physiono- de l’hypothèse de T. P. Wiseman, qui ne voit pas sur mie du site, mais c’était, dit-on, à l’origine une vaste ce miroir une représentation du mythe de Romulus et grotte située au bas de la colline, au sein d’un épais Rémus mais de celui des Lares Praestites12. La polé- bois de chênes, avec des sources profondes jaillissant mique repose en particulier sur l’identifi cation du de dessous les rochers et le vallon au pied des escar- personnage masculin allongé au-dessus du groupe pements était ombragé par une dense forêt d’arbres de la louve, associé à une fi gure féminine voilée gigantesques. Ayant érigé à cet endroit un autel, ils dont n’apparaît que le buste. Le personnage porte commencèrent à offrir aux dieux le sacrifi ce ances- un pétase, couvre-chef qui en contexte grec n’était tral que jusqu’aujourd’hui les Romains n’ont cessé pas seulement l’attribut d’Hermès, mais avant tout, le d’accomplir au mois de février, après le solstice d’hi- chapeau des voyageurs et faisait partie du costume ver, sans rien changer à ce qui se faisait à l’époque ». des éphèbes13. Ayant reconnu Mercure dans ce per- L’auteur signale ainsi qu’on célébrait, sur le site du sonnage, T. P. Wiseman a alors proposé d’identifi er la Lupercal, une fête instituée par Évandre en l’hon- fi gure féminine comme Lara, qui avait donné nais- neur du dieu Pan, alors confondu avec une divinité sance aux Lares après avoir été violée par le dieu. italique, Lupercus ou Faunus16. Pan Lykaios était le Mais il existe un obstacle important à la validation de dieu des bergers et des troupeaux, et son épithète la thèse de Wiseman : il n’y a pas d’allaitement ani- se rattache étymologiquement au terme grec lykos, mal dans le mythe des Lares14. Envisageant d’autres loup. Cette étymologie explique l’assimilation du Pan légendes d’ordalie – Parrhasios et Lycastos, Caeculus grec au dieu latin Faunus Lupercus, cette dernière – D. Briquel et R. Adam furent amenés à écarter épithète dérivant du terme latin lupus, loup17. ces interprétations, pour se rallier à l’hypothèse la Autrement dit la grotte légendaire, considérée comme plus satisfaisante : Romulus et Rémus sont bien les le refuge de la louve allaitant Romulus et Rémus, était jumeaux représentés sur le miroir. Nous apportons ici également connue comme un ancien lieu de culte à un autre argument en faveur de cette lecture : dans Pan Lykaios ; l’authenticité et l’ancienneté de ce sanc- cette optique, reprenons l’étude de la composition. tuaire sont confi rmées par la tradition qui voulait que Est-on ici devant une scène de Lupercal ? Ce lieu est la course des Lupercalia, le 15 février, parte du site représenté dans la tradition iconographique ultérieure du Lupercal18. C’est cette association Pan Lykaios, comme un antre rocheux. Ici la louve est entourée Lupercal, lupa Romana qu’il faut reconnaître sur le par un amoncellement de rochers, sur lequel repose miroir prénestin. On s’étonnera d’ailleurs que l’identi- le personnage allongé dans la partie supérieure. Il y a fi cation du dieu Pan Lykaios, fi guré sur le miroir près donc bien ici représentation d’un locus rocheux, mais du loup qui caractérise son épithète, avec le person- qui n’est pas encore tout à fait caractérisé comme une nage fi guré à gauche de la lupa Romana ne fasse pas l’unanimité chez les chercheurs. En effet plusieurs 11 340-330 av. J.-C., éventuellement 320-310 av. J.-C. Briquel, Adam 1982, p. 48. 12 Wiseman 1993b, 1995a et b, 1997. Pour : Cappelli 2000, p. 233. Contra : 15 Lavagne 1988, p. 161-163. Carandini 1996, 1997a et b. 16 Denys d’Halicarnasse I, 32, 3-4. Sur Faunus comme dieu du Lupercal : 13 Daremberg et Saglio, VIII, s.v.
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