This is a brief followup to the previous post in my series on monuments to dead Romans. That post featured a forgotten cenotaph to Gaius Caesar, one of two adopted grandsons of Caesar Augustus and presumed heirs to the first true Roman emperor. As noted in that post, Gaius Caesar died on the way home in AD 4 after physical and mental wounds incurred leading a military campaign to the east. His younger brother, Lucius Caesar, had meanwhile died at Marsalla (modern Marseille) en route to military training in Hispania (Spain) in AD 2.
Death from illness while traveling was a real threat in the ancient world, as highlighted by my recently-defended thesis in Geography (“Malaria Risk on Ancient Roman Roads . . .”). Augustus himself died in the month named for him in AD 14 while visiting Nola in Campania. His health was already failing, but the region’s nature and timing of Augustus’ demise make malaria a suspect in my mind. This aside is prompted by the fact that I am writing this on a layover while returning prematurely from a journey to southern France and Spain because of the COVID-19 chaos and panic.
Happily, I was able to hit most important goals of my trip before the sudden need to return due to presidential fiat and cancelled flights. One of those targets was the Maison Carrée, one of the best-preserved of all Roman temples, in Nîmes, France.
The Maison Carrée (“square house”) functioned as part of the imperial cult in which Augustus and a personification of Rome were worshiped; but was dedicated (or rededicated) to the deceased brothers Gaius and Lucius Caesar, probably by their father Marcus Agrippa in AD 4-7.
We know about the dedication from an inscription in bronze letters, removed in medieval times (no doubt for the metal), but cleverly reconstructed from the position of the mounting holes by local Nîmes scholar Jean-François Séguier in 1758.
In addition to being one of the best-preserved Roman monuments, the Maison Carrée is a textbook example of a “Tuscan” style temple in the Corinthian order as described by the ancient architect Vitruvius. It is pseudoperipteral, meaning that the appearance of surrounding columns is created by the embedded pilaster columns in the sides and back wall. A deep porch emphasizes the front of the building.
While the deceased Caesar brothers’ memory was long-forgotten with respect to the Maison Carrée, the structure was a major influence in neo-classical architecture. Thomas Jefferson, in particular, was moved by the building which inspired his architectural ideas seen in the Virginia state capital and Monticello. Indeed, the Maison Carrée would look right at home in most American cities as a post office, or court building.
Today (21 February 2020) marks the 2016th anniversary of the passing of Gaius Caesar. “Who?”—you ask? He was once the presumed heir to the throne of the new Roman Empire; now largely forgotten, much as his monumental cenotaph in Turkey. This brief remembrance of that structure is the latest in an apparently very occasional series on monuments to long-dead Romans and other figures of antiquity. But first, the backstory . . .
The first true Roman Emperor, Augustus (formerly Octavian), had a wildly successful reign (31 BC to AD 14) that transformed Rome forever (and for better or worse). But Augustus had no son, and succession was a major issue for him. His only daughter, Julia, produced three sons by Augustus’ right-hand man and son-in-law Marcus Agrippa, and the oldest was Gaius Caesar. Gaius and his three-year younger brother Lucius were adopted by Augustus and named as heirs and raised as such.
At the young age of 18, Gaius was commissioned by Augustus to deal with troubles in Syria with Parthia and Armenia. He was dispatched to the region with some advisors in 1 BC. The boy’s inexperience was questioned by some, but Augustus apparently praised him for not offering prayers (presumably to avoid offending Jewish sensibilities) when he visited Jerusalem (Suetonius, Augustus 93).
Peaceful negotiations with Parthia included a meeting between Gaius and the Parthian king Phraates on the Euphrates. But soon after Parthia incited rebellion against a new ruler of Armenia installed by Gaius. Military action ensued. Gaius, lured into a trap on promise of information, was wounded. The Romans prevailed, but Gaius struggled physically from the injury and in spirit over the next year. By the end of AD 3, he resigned his command and withdrew to Syria, announcing his desire to stay there and retire from public life (princes tiring of royal duty and family intrigue is not a new thing!).
At Augustus behest, he reluctantly agreed to return to Rome and took a trading ship to Lycia where he died suddenly at Limyra on 21 February AD 4 Velleius Paterculus, 2.101-102). His brother Lucius had also died at Massalia en route to military training in Spain the previous year, leaving Augustus and Rome with no heir apparent. Grief-stricken Augustus had a cenotaph erected to honor his grandson Gaius’ short life at the site of his death. Meanwhile, the brothers’ ashes were interred in the mausoleum prepared for Augustus in Rome (read about the Augustus Mausoleum here).
Like Gaius Caesar’s memory in popular Roman history, his cenotaph stands unnoticed in a marshy field at the edge of the ruins of Limyra; a nondescript hulk of ruined masonry. It’s former glory is hinted by the nice pavement surrounding the base. Visitors rarely go there; for the picturesque tombs, theater, and other ruins of Limyra are more attractive. But there is a better story and more mystery with the cenotaph. Even in ancient times, there was rumor of involvement by Livia, mother of the eventual heir Tiberius, in the deaths of Gaius and Lucius (Cassius Dio, Roman History 55.10-11).
What might have been? Augustus’ sorrow over his progeny may have been an omen for Rome’s future.
The first Emperor of Rome, Caesar Augustus, died on this day, 19 August, AD 14. Occasioned by the 2005th anniversary of that event, this post is a brief follow-up to “Monuments to Dead Romans: The Şekerhane Köşkü,” featuring a probable Temple to the Deified Emperor Trajan (d. AD 117). Since that entry (first in a new occasional series) was posted on the most likely day of Trajan’s death, this one too is timed for the anniversary of the Emperor’s death.
Like Trajan after him, Caesar Augustus died on his way back
to Rome. His ashes were placed in the huge tomb Octavian (his given name)
prepared for himself already in 28 BC, before he even obtained the title
Augustus by which he is remembered.
It was a huge circular Mausoleum built of concrete and tufa reticulate (small
blocks of volcanic conglomerate in a diamond pattern, often as a form for the
concrete). The outer of six concentric structural walls measured 300 Roman feet
(c. 89m) in diameter, and the 40 Roman feet (c. 12m) high. The 2nd
and 3rd walls were consequtively higher and bonded with the outer,
making 25m thick ring. A single entrance on the south pierced the outer walls,
opening to a vaulted corridor around the 4th wall, through which 2
entrances led to another corridor around the 5th wall, with a single
entrance to the burial vault (for urns, as the Romans practiced cremation). The
ruined state of the building makes the superstructure details unclear and
several reconstructions have been imagined, most assuming a finished overall height
of 150 Roman feet (40-45m).
According to Strabo, the Mausoleum was the most impressive of local monuments, “which consists of a mound of earth raised upon a high foundation of white marble, situated near the river, and covered to the top with ever-green shrubs. Upon the summit is a bronze statue of Augustus Cæsar, and beneath the mound are the ashes of himself, his relatives, and friends” (Strabo 5.8.3). One would expect such an impressive monument would be remembered, respected, restored, and revered.
Sadly, that has not been the case. The Mausoleum was
converted into a fortress in the medieval period, destroyed in 1167, and robbed
for building stone. The building became an ornate garden in the 16th
century, an arena for bullfights in the 18th, a theater and circus
arena in the 19th, and a concert hall with 3,500 seats in the early
Thereafter the site fell into total neglect, became overgrown, and deteriorated
even after some attempt at clarifying it with a surrounding plaze by the
Fascist government in the late 1930s.
The original white limestone facing was robbed along with
other usable limestone within. Trees dominate the upper surface of the ring
defined by the outer walls today, perhaps simulating hinting at the appearance
described by Strabo (above). The site has been closed for some time, and
restorations were supposed (by one report) to be completed in April of this
year. At last check, the Mausoleum is still inaccessible, but Google Earth photos
give some hope of progress.
My advice: if you get to choose whether to have a month named
for you or have a fantastic monument . . . take the month.
month August was named in his honor—a non-physical and more enduring “monument.”
Bonus for footnote readers—because I never get to share this one in class
anymore: if you ever have to watch Disney’s Cinderella (original animated),
as I have with two daughters and then two granddaughters, you might notice that
when the new fat mouse is discovered, he gives his name as “Octavius.” But
Cinderella says, “we’ll call you ‘Gus’ for short.” How does Octavius become Gus?
Octavius = AuGUStus. This almost makes up for the annoying music.
 Most details from Amanda Claridge, Rome: An Oxford Archaeological Guide (Oxford: University Press, 1998), 181-84. BTW, this series is the most helpful and undersold of archaeological guides; the new edition of Rome is here.
I have always been fascinated by monuments or memorials to the deceased and the psychology behind them, as well as the physical structures themselves. This post is triggered in part by the most recent of the all-too-familiar temporary memorials that appear at scenes of horrific mass shootings in my own country. But not to dwell on that depressing and unfortunately ubiquitous topic, I hereby initiate an occasional series on monuments to long-dead Romans and other figures of antiquity.
Trajan excelled in his 19-year reign and was highly regarded
in life, death, and by Renaissance and early modern historians. Already having
made significant military conquests in Dacia, in AD 114 he set out for
campaigns on the eastern frontier. The problem there was agitation by the
Parthian Empire (originating in Persia—modern Iran—another connection of this
story with contemporary events!). Trajan was incredibly successful in his initial
campaign, taking the Parthian capital Ctesiphon and gaining a foothold on the
Persian Gulf. But reduced success and troubles elsewhere in the Empire caused
him to return towards Rome in 117.
Our main source for Trajan’s last days is Cassius Dio.
Already suffering in health, which he attributed to poison, the Emperor
suffered a stroke that left him partially paralyzed. In early August he sailed
for Rome from Antioch. When Trajan’s health deteriorated the ship put in at the
nearest port, Selinus in Cilicia, where he “suddenly expired” (Cassius
Dio 68.33). Selinus was subsequently renamed Traianopolis in the Emperor’s
honor and memory. Details on the exact disposition of his body are not given,
but his “remains” were transported back to Seleucia, the port of Antioch, for
viewing by his successor, Hadrian, and then to Rome.
On the outskirts of the Turkish city Gazipaşa are the ruins of Selinus/Traianopolis, and on the landward outskirts of them stands a lonely structure known locally as the Şekerhane Köşkü, which refers to the building’s use as a hunting platform for elites during the Seljuk Period. Early western explorers of the area identified it as having a sepulchral function and likely built as a cenotaph (a tomb structure without the honored person’s actual remains) for Trajan. Trajan was the only personality of his magnitude known to have died there and a memorial to him is a logical outcome although the written sources do not mention such. The roof of the edifice was covered in soil and produced wheat and other crops that were grown around it. This layer was cleared in the early 2000s revealing the foundation outlines of a temple-like structure with a place for a cult statue. These and other details now make it likely that the building was not a cenotaph but rather a platform for a temple to the deified Emperor Trajan.
Coins issued in Selinus from the late 2nd-mid 3rd centuries featured a temple to Trajan on the reverse. There is no other suitable candidate for this temple in the extant remains apart from the Şekerhane Köşkü. Further, there are striking parallels to coins featuring the Temple of the Deified Julius Caesar (mentioned above) in Rome, which was situated at the spot of Caesar’s cremation. One of the walls of the Şekerhane Köşkü incorporates an earlier square structure, arguably the cremation pit where Trajan’s corpse was burned—an essential step in Apotheosis (elevation to divine status) for both Caesar and Trajan.
The Emperor’s ashes were eventually transported to Rome
where they were placed in a special chamber at the base of Trajan’s Column, a
magnificent and still-standing 30 meter (98 ft) high column depicting the
Emperor and his troops during the Dacian wars and showing painstaking detail of
the Roman army in action. Trajan’s Column anchors one end of the extensive
Forum of Trajan, the last of the Imperial Fora in Rome.
In addition to physical monuments, Trajan’s legacy includes other
honors. He was universally lauded by contemporary writers and posthumously declared
by the Senate optimus princeps, “the best ruler.” He was considered by
some Christian theologians to be a “virtuous pagan,” and Dante depicts him in
Jupiter’s Heaven in The Divine Comedy. Modern historians have sometimes
questioned Trajan’s accomplishments, and his successor Hadrian (who did
relinquish Trajan’s gains against Persia) now gets better press.
 This argument is effectively made by Michael Hoff, “The Şekerhane Köşkü at Selinus (Cilicia): The Temple of the Deified Trajan,” Journal of Ancient Egyptian Interconnections 10 (Sept 2016): 56-68 [this is a special issue also titled Ex Terra Scientia: Papers in Honor of David Soren, eds. R.H Wilkinson and P.P. Creasman]. For the nerds that read footnotes: I actually obtained this issue recently for a current research project and was pleased to find this article there. Ironically, Michael Hoff (the author) had graciously received my research colleague and I at his impressive excavation site within an hour of our most recent visit to the Trajan Temple site.
Hoff, “The Şekerhane Köşkü at Selinus (Cilicia): The Temple of the Deified