1704 Bartoli Engraving - Marcus Aurelius Column - Base Dedication from his sons

Description: A rare, original engraving which was an illustration to "Columna Cochlis M. Aurelio Antonino Augusto Dicata ..." by Giovan Pietro Bellori, with plates etched by Pietro Santi Bartoli - see below. The volume was published in Rome in 1704 under the patronage of Pope Clement XI , a great supporter of the arts and sciences The Columna Cochlis is a Roman victory column constructed in the Piazza Colonna around 180 CE. The column is covered with relief carvings in 21 spirals depicting the campaigns of Marcus Aurelius against the Marcomanni and the Sarmatians - see interesting description below. Construction took about 6 years to complete with carving of the frieze executed on scaffolding after the marble "slices"or drums were set in place This plate provides an image of the base signage to the column itself namely: "Divo Antonino Aug Pio Antoninus Aug Ustas Et Verus Augustus Filii" translated as "To Devine Antoninus Augustus the Pious (from) Antoninus Augustus and Verus Augustus, his sons" Fine condition printed on beautiful hand-laid paper . Page size 14.5 x 19.5 inches This is an original antique print guaranteed to be of the period described (over 300 years old) yet offered at a fraction of dealer prices . See more of this series in Seller's Other Items which can be combined for mailing at no extra costThe Column of Marcus Aurelius and Faustina which stands in Piazza Colonna in Rome is thought to have been erected by Commodus in memory of his father and mother sometime around 180 CE. The column was inspired by its more famous predecessor Trajan's Column which was set up, also in Rome, in 113 CE. The column carries representations carved in high relief of the emperor's successful military campaigns against the Quadi across the Danube between 172 and 175 CE.The column presently stands 39 metres tall but a further 7 metres of the base structure remains underground, the lowest portion never having been excavated. Originally, there was also a statue - most probably of the emperor - on top of the column, increasing the overall height of the structure even further. This would account for the figure of 51.95 metres (or 175 Roman feet) mentioned in the 4th century CE Regionary Catalogues. The column is hollow and inside it a spiral staircase was built which once gave access to the upper viewing platform. The interior is entered through a doorway in the base on the Via del Corso side but is now closed to the public. It is thought that a temple to the deified emperor and his empress was originally situated close to the column.THE DORIC COLUMN IS COVERED IN RELIEF CARVINGS IN 21 SPIRALS - EACH BEING SOME 130 CM IN HEIGHT.The Doric column is more or less straight (only 14 cm wider at the base) and is covered in relief carvings in 21 spirals - each being some 130 cm in height- which depict the campaigns of Marcus Aurelius in the territories north of the Danube, first against the Marcomanni (172-3 CE) and then against the Sarmatians (174-5 CE). The narratives of the two campaigns are divided on the column by a figure of Victory who writes on a shield and the first begins from the base with troops crossing the Danube river. The vast majority of episodes are those from the battlefield but there are some interesting background scenes such as the emperor addressing his troops and even glimpses of the logistics and engineering feats performed in Roman warfare such as one depiction of troops crossing a pontoon bridge. The reliefs are typical of the style that would come to dominate Late Antiquity sculpture. There is an emphasis on frontal views with perspective achieved simply by having smaller figures in rows above the foreground and with figures rendered not quite in proportion, heads being too large and bodies being either too short or elongated, and with facial features minimised. Plaster casts of the reliefs can be viewed in the Museo della Civilità Romana in Rome.The column was often called the 'Centenaria' by locals which referred to the height of the column, immediate base and capital, which together measured 100 Roman feet (29.6 m). This is mentioned in the inscription on the column base. We are also informed that there was a dedicated procurator or caretaker responsible for the upkeep of the monument. Adrastus, a freedman, had actually requested in 193 CE that a hut be built near the column so that he could better fulfil his role as guardian. The request was granted and the hut built on public land suitably nearby.Over the centuries the column has suffered, like most ancient monuments, the ravages, not only of weather, but also the changing of human needs and tastes. The scenes on the column were carved in much higher relief than on Trajan's Column and have consequently deteriorated much more due to weathering. The column has also suffered lightning strikes and earthquakes but, even worse, in the Middle Ages the valuable pins which held the various drums of the column in position were removed and consequently several have shifted dramatically over time.The column was restored by Pope Sixtus the Fifth in 1589 CE as inscriptions on each side of the base relate. The pedestal was re-formed to account for the change in ground level and a bronze statue was also put back on the top of the column, although, this time, one of St. Paul. Some of the 'restoration' work was more questionable. There were originally, for example, sculptures projecting from the column about halfway up in four directions. These sculptures depicted conquered barbarians surrendering to Marcus Aurelius and three Victories with garlands, however, they were removed completely from the structure and they survive only in Renaissance-period drawings. These alterations and other repairs to damaged areas can be clearly seen today as they were filled with grey Proconnesian marble which contrasts starkly with the original fine white marble of this lasting monument to Roman militarism and vanity.Roman counter-offensive and defeat of the Marcomanni[edit]The "Miracle of the Rain", from the Aurelian column. An unidentified "rain god" (top right) saves the Roman army.This disaster forced Marcus to re-evaluate his priorities. Forces from the various frontiers were dispatched against Ballomar. They came under the command of Claudius Pompeianus, with the future emperor Pertinax as one of his lieutenants. A new military command, the praetentura Italiae et Alpium was established to safeguard the roads into Italy, and the Danubian fleet was strengthened. Aquileia was relieved, and by the end of 171, the invaders had been evicted from Roman territory. Intense diplomatic activity followed, as the Romans tried to win over various barbarian tribes in preparation for a crossing of the Danube. A peace treaty was signed with the Quadi and the Iazyges, while the tribes of the Hasdingi Vandals and the Lacringi became Roman allies.In 172, the Romans crossed the Danube into Marcomannic territory. Although few details are known, the Romans achieved success, subjugating the Marcomanni and their allies, the Varistae or Naristi and the Cotini. This fact is evident from the adoption of the title "Germanicus" by Marcus Aurelius, and the minting of coins with the inscription "Germania capta" ("subjugated Germania"). During this campaign, the chief of the Naristi was killed by the Roman General Marcus Valerius Maximianus.In 173, the Romans campaigned against the Quadi, who had broken their treaty and assisted their kin, and defeated and subdued them. During this campaign, a famous incident, the so-called "miracle of the rain", occurred, which was later depicted on the column of Marcus Aurelius and on coins. According to Cassius Dio, the legio XII Fulminata was hemmed in by a superior Quadi force and almost forced to surrender because of the heat and thirst. They were saved, however, by a sudden shower, which refreshed the Romans, while lightning struck the Quadi.[d] Contemporaries and historians attributed it to divine intervention: Dio stated that it was called by an Egyptian magician praying to Mercury, while Christian writers such as Tertullian attributed it to a prayer by Christians.Bas-relief scenes depicting events of the Marcomannic WarsMarcus Aurelius receiving the submission of the vanquished, with raised vexillum standardsMarcus Aurelius celebrating his triumph over Rome's enemies in 176 AD, riding in a quadriga chariotReliefs come from the (now destroyed) Arch of Marcus Aurelius in Rome, 176–180 AD, Capitoline MuseumsIn the same year, Didius Iulianus, the commander of the Rhine frontier, repelled another invasion of the Chatti and the Hermunduri, while the Chauci raided the shoreline of Gallia Belgica.In the next year, the Romans marched against the Quadi, whereupon the Quadi deposed their pro-Roman king, Furtius, and installed his rival, Ariogaesus, in his place. Marcus Aurelius refused to recognize him, and turning back, deposed and exiled him to Alexandria.[e] Thus, by late 174, the subjugation of the Quadi was complete. In typical Roman fashion, they were forced to surrender hostages and provide auxiliary contingents for the Roman army, while garrisons were installed throughout their territory.After this, the Romans focused their attention on the Iazyges living in the plain of the river Tisza (expeditio sarmatica). After a few victories, in 175, a treaty was signed. According to its terms, the Iazyges King Zanticus delivered 100,000 Roman prisoners and, in addition, provided 8,000 auxiliary cavalrymen, most of whom (5,500) were sent to Britain.[f] Upon this, Marcus assumed the victory title "Sarmaticus".Marcus Aurelius may have intended to campaign against the remaining tribes, and together with his recent conquests establish two new Roman provinces, Marcomannia and Sarmatia, but whatever his plans, they were cut short by the rebellion of Avidius Cassius in the East.[16]Marcus Aurelius marched eastwards with his army, accompanied by auxiliary detachments of Marcomanni, Quadi and Naristi under the command of Marcus Valerius Maximianus. After the successful suppression of Cassius' revolt, the emperor returned to Rome for the first time in nearly 8 years. On 23 December 176, together with his son Commodus, he celebrated a joint triumph for his German victories ("de Germanis" and "de Sarmatis"). In commemoration of this, the Aurelian Column was erected, in imitation of Trajan's Column.Pietro Santi BartoliFrom Wikipedia, the free encyclopediaJump to navigationJump to searchPietro Santi Bartoli, engraving Nero Circus, 1699.Pietro Santi Bartoli (also Sante or Santo; 1635 – 7 November 1700) was an Italian engraver, draughtsman and painter.Life and career[edit]Illustration to the review of Picturae antiquae cryptarum romanarumpublished in Acta Eruditorum, 1708Illustration to the review of Le antiche lucerne sepolcrali figuratepublished in Acta Eruditorum, 1692Bartoli was born at Perugia.He moved to Rome in 1635 as a youth, there he studied painting under Jean Lemaire and Poussin, but abandoned it to devote himself entirely to engraving and as an antiquarian for Christina, Queen of Sweden. He engraved many Romanmonuments, publishing in Admiranda Romanorum Antiquitatum (Rome, 1693). About 1660, he excavated the Domus Aurea, of which he published drawings.As a draughtsman, Bartoli reproduced the Codice Virgiliano (Rome, Vatican, Bib. Apostolica, Cod. Vat. 3867) in 55 plates (1677; Rome, Calcografia N.), commissioned by Cardinal Camillo Massimo. For Massimo, he also did drawings of ancient Roman paintings and mosaics (Glasgow, U. Lib.). Later, he lived in Paris, where he was introduced at the court of Louis XIV. In 1699, with the engraver Domenico de' Rossi, he produced Romanae Magnitudinis Monumenta, a later edition of the 1637 Antiquae Urbis Splendor by Giacomo Lauro. Bartoli adapted 138 of Lauro's original plates and engraved 16 new ones.He died in Rome. His plates are chiefly etched.Selected works[edit]Among his works are: Admiranda Romanarum Antiquitatum ac veteris Sculptura vestigia; 81 plates.Romanae magnitudinis Monumenta; 138 plates.Veteres arcus Augustorum triumphis insignes; 52 plates.Colonna di Marco Aurelio, (Column of Marcus Aurelius) 78 plates.Colonna traiana eretta dal Senato, e popolo romano all'imperatore Traiano (Trajan's Column) with Alfonso Ciacconi; (1673) 128 plates.Pitture antiche di Roma, e del sepolcro de' Nasoni; (1702) 123 plates.The Nozze Aldobrandini; (Roman 1st century Aldobrandini Wedding fresco) two sheets.Le pitture antiche delle grotto di Roma; assisted by F. Bartoli; 94 plates, 1680 & 1706.Veterum lucernae sepulcrales, collectae ex cavernis et specubus subterraneis, with Alexander Duke and Giovanni Pietro Bellori 1691 & 1704; 119 plates.Scenes from the life of St. Peter; after Lanfranco.Subjects from Raphael's Bible ; 42 plates.Grottesques; after Raphael; inscribed Parerya atque ornamenta in Vaticano; 43 plates.Antiquissimi Virgiliani Codicis fragmenta et picturae, ex Biblioteca Vaticano;Birth of the Virgin; after Albani.Virgin and Child in the Clouds; after Ludovico Carracci.Coriolanus and his Family and San Carlo Borromeo led by an Angel; after Annibale Carracci.Daniel in the Lions' Den; after Pietro da Cortona.St. John preaching; after Mola.Adoration of the Magi; after Raphael; in three sheets.Jupiter nursed by Amalthea; Jupiter hurling thunderbolts at Giants; Hylas carried off by Nymphs; Sophonisba before Masinissa; Continence of Scipio; after Giulio Romano.St. Stephen.St. Bernard enchaining the Devil; Theatre erected in St. Peter's for a Canonization; do.The sepulchral Monument of Pope Urban VIII .ITERUMINLUCEMPRODITSubFdustissimisAuspicys

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