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Roman Architects in Athens (200 - 10 BC) Anu Kaisa Koponen

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Roman Architects in Athens (200 - 10 BC) Anu Kaisa Koponen 1) The Acropolis of Athens. The southern slope of the hill and the ruins of the Stoa of Eumenes II are located in front of a long straight row of arches on the right in this picture. / photo: Markku Mattila 2012 ROMAN ARCHITECTS IN ATHENS (200 - 10 BC) Anu Kaisa Koponen What did an ancient Roman architect look at while the upper class. For example Cicero’s passage gives the visiting Athens during the first century BC? I rambled impression that during the Late Republic the profession through tourist streets and tried to see the city through of an architect was regarded as being suitable for those the eyes of Vitruvius, the author of the only surviving of non-aristocratic standing.3 In contrast, men of the architectural treatise from Classical antiquity. He wrote Senatorial class were expected to concentrate on their De architectura at the beginning of the Imperial era, military accomplishments and political careers only. during the 20s BC. I had arrived late in the evening in Athens and had neither a map nor guidebook with me. A passage on a stoa, theatre and odeion Instead I had several passages describing Athenian mon- I walked haphazardly in the gentle evening, arriving at uments by Vitruvius in my mind. I was familiar with De the crowded entrance of the Acropolis (see Fig. 1). On architectura due to my dissertation on ancient Roman the southern slope of the Acropolis hill I saw the ruins wall paintings and their architectural context.1 In Ath- of the Stoa of Eumenes (built in c. 180-160 BC by King ens I became curious to study Vitruvius’s passages on Eumenes II of Pergamum) leading to the Theatre of Di- Attica in more detail. Vitruvius refers abundantly to At- onyosos Eleuthereus (built in c. 330 BC) (see Figs. 2 tic monuments, including their surroundings and build- and 3). Both the Stoa of Eumenes and the Theatre of ing materials.2 In addition, he names Athenian artists, Dionysos are mentioned in De architectura. Vitruvius architects and philosophers and compares the Greek claims that in every city that has conscientious archi- and Roman lifestyles. By focusing on these numerous tects there are porticoes around the theatres. He gives as fragments scattered throughout De architectura, it is examples the Theatre and Porticoes of Pompey (dedi- possible to form an idea of Vitruvius’s relationship to Athens. 1 Koponen, 2009. Vitruvius presents only a few details of his own life. 2 For the monuments of Athens, Pireus, Eleusis, and His education and career, as well as his travels, all re- Sounion in De architectura see Corso 1997. 3 CIC. Off. 1.151: ”But the professions in which either a main relatively obscure. This is not surprising, since we higher degree of intelligence is required or from which no know hardly anything about the social standing, educa- small benefit to society is derived—medicine and architec- tion, and career path of Roman architects in general. ture, for example, and teaching—these are proper for those whose social position they become.” (English translation Architects did not belong to the highest elite of Roman by Walter Miller, Cambridge; Massachusetts: Harvard Uni- society, while ancient texts concentrate on the life of versity Press, 1913). 14 2) The Theatre of Dionysos Eleuthereus. / photo: Markku 3) The seats of honour the Theatre of Dionysos. / photo: Mattila 2012 Markku Mattila 2012 cated in the 50s BC) in the Field of Mars in Rome and rhos who furnished it with the devices both for measur- the Stoa of Eumenes, which he explains is attached to ing time (a sundial on the exterior and water clock in the Shrine and the Theatre of Dionysos. Then Vitruvius the interior) and to show the direction of the wind (a continues his description, adding that when you exit wind vane on the rooftop). This Late Hellenistic hybrid from the left-hand side of the theatre you will arrive tower fascinated ancient Romans including M. Teren- at the odeion.4 Indeed, remains of the Odeion of Ath- tius Varro and Vitruvius, who both describe its curiosi- ens have been excavated next to the theatre. Vitruvius’s ties and explain that its architect was from Kyrrhos (the precise description of the arrangements of these three city either in Macedonia or Syrian Kyrrhos named af- buildings – the stoa, theatre and odeion (see Fig. 6.) – is ter the Macedonian city).10 Varro proudly explains that provided with the practical instruction to turn at the left- he built his own luxurious aviary pavilion at Casinum, hand side. Based on this passage I agree with Antonio inspired by the Tower of Winds.11 Such an enigmatic Corso and Herbert Abramson, who are both convinced mixture of art, architecture, and measuring devices re- that Vitruvius had visited Athens.5 flects the Hellenistic interest in wonders and surprises. Vitruvius tells us that the Odeion of Athens was built While Varro calls this building a sundial (horologium), by Themistocles on stone columns and covered over Vitruvius, in turn, defines it as an octagonal tower (tur- with the mast and yardarms of ships from the Persian ris). Vitruvius’s focus is on the exterior: he describes war booty. Then he adds that the odeion was restored the wind vane decorated with a bronze Triton and the after the Mitrhridatic war by Ariobarzanes (the king of upper frieze depicting personifications of the winds.12 Cappadocia Ariobarzanes II in 65-52 BC).6 This odeion The octagonal form of the Tower of the Winds is un- was a large square building, reminiscent of a festival tent. Pausanias explains that it was destroyed in Sulla’s 4 7 VITR. De arch. 5.9.1. siege of Athens in 87-86 BC. Based on inscriptions, 5 Corso 1997, 393 and Abramson 1975, 17 and 22. we know that the king Ariobarzanes commissioned 6 VITR. 5.9.1. In contrast Plutarch says that the Odeon three architects to reconstruct this odeion: the Roman was built by Pericles (PLUT. Per. 13. 5-6). 7 According to Pausanias it imitated the festival tent of brothers Gaius and Marcus Stallius, as well as a Greek the Persian king Xérxes and was burnt when Sulla took named Melanippos.8 It is likely that Vitruvius saw this Athens (PAUS 1.20.4). 8 2 recently finished reconstruction.9 However, De archi- IG. II . 3426 and 3427 9 Corso 1997, 393 tectura mentions neither that Sulla’s attack destroyed 10 Syrian Kyrrhos was named after the Macedonian city the odeion, nor that two Roman architects were respon- and included Macedonians in its founding population (Co- sible for the reconstruction. hen 2006, 181-182). Syrian Kyrrhos belonged to the Seleu- cid Kingdom but became part of Armenia during the reign of King Tigranes II the Great (c. 95-55 BC), who was de- The Tower of the Winds feated by the Romans in 60 BC. The Seleucid Empire was On my way back to the hotel I took a silent street and briefly restored, until the Roman general Pompey took it over as a part of the Roman Empire. suddenly the Tower of the Winds was in front of me 11 VARR. Rust. 3.5.17. (see Fig. 4.). It was designed by Andronikos of Kyr- 12 VITR. De arch. 1.6.4. 15 4) The Tower of the Winds in the moonlight and the Acropolis 5) The personifications of the winds in the frieze of the Tower hill on the background. / photo: Anu Koponen 2013 of the Winds. / photo: Anu Koponen 2013 6) Acropolis hill and its southern slope. Plan of the ancient monuments, with buildings in this article indicated. / drawing: Anu Koponen 16 7) The Temple of Olympian Zeus seen from the Acropolis. / 8) The Temple of Olympian Zeus. / photo: Markku Mattila photo: Anu Koponen 2013 2012 derlined by its eight personifications and eight sundials At the beginning of the first century BC the young- carved on its eight sides (see Fig. 5). Since the Tower sters of the Roman elite travelled increasingly to Athens of the Winds is unique of its kind, the execution date is in order to finish their studies with Greek philosophers difficult to determine; estimates vary between the years and orators after their liberal arts education in Italy. 150-50 BC.13 In addition, the name Andronikos of Kyr- After Sulla’s conquest of Athens in 86 BC, Romans rhos appears in a four-faced marble sundial found on increasingly stayed in Athens, studying with Greek the Greek island of Tenos.14 philosophers and orators. For example, during the 70s All I had read of the Tower of the Winds could not BC, M. Tullius Cicero studied in Athens with rhetori- fully prepare me for my first encounter with its shad- cians, formulating a foundation for his oratorical skills owy silhouette in the moonlight. The Parthenon and by focusing on both the decorative Asiatic and simple Erechtheion were shimmering in the background. My Attic styles of speech. Some established Romans, such accidental confrontation with the Tower of the Winds as Cicero’s friend T. Pomponius Atticus, stayed perma- was an overwhelming experience, in which all that I nently in Athens and acted as art dealers, among other had previously learned about it was called into ques- things, whereas some Roman officials simply robbed tion. Only this visit to the site made it possible for me the city of many of its treasures.16 In the middle of the to understand how the Tower of the Winds was related first century BC, not only members of the elite but to its surroundings, especially to the Acropolis and the also some sons of social climbers were sent to study in Agora of Athens.
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