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• W2100098508 abstract "Triumphus in Palatio John F. Miller As one of the many tokens of its symbolic centrality in Roman culture, the Capitoline Hill received the triumphator at the end of his ceremonial return to Rome. For centuries generals who had been granted a triumphus concluded the elaborate sacral procession through the city with a sacrifice at the Temple of Jupiter Optimus Maximus, the god most intimately associated with this religious institution.1 The strongly local character of Roman cults made it nearly unthinkable to celebrate the solemn event anywhere else in Rome, but artistic imagination feels itself less bound by religious scruples. Two such ingenious revisions of the triumphal parade displace its endpoint to the Temple of Apollo on the Palatine Hill. Virgil imagines Octavian's great triple triumph of 29 B.C. taking place there, while other ancient evidence leads us to believe that the victor really proceeded to the Capitoline like countless imperatores triumphantes before him.2 The poet sets the celebration at the shrine of the deity credited with the victory at Actium, the shrine which Octavian built adjacent to his own house. The Palatine was becoming the imperial palace complex, the triumph a prerogative of the imperial family.3 When these developments had been fully realized, Nero in December A.D. 674 staged an eccentric victory procession which likewise climaxed at Apollo's Palatine temple. As returning victor in the festivals [End Page 409] of Greece he aimed to align himself with Apollo as patron of the arts, expressing now in topographical terms his frequent association with that deity.5 The lyre-playing god greeted the lyre-playing emperor, and vice versa. On the other hand, it is not irrelevant that one whom Pliny termed imperator scaenicus, an actor-emperor (Pan. 46.4), rode in the path of Virgil's fictional Augustus. The present essay explores the phenomenon triumphus in Palatio by explicating the two instances in the light of their ideological impulses. A further aim is to throw into relief the Augustan dimensions of Nero's triumphal ceremony, to show how the emperor in effect acted the part of Octavian riding in triple triumph. On the shield in Aeneid 8 Virgil inventively describes the triple triumph which Octavian celebrated in August 29 B.C. for victories in Illyricum, Actium, and Egypt: at Caesar, triplici invectus Romana triumphomoenia, dis Italis votum immortale sacrabat,maxima ter centum totam delubra per urbem.laetitia ludisque viae plausuque fremebant;omnibus in templis matrum chorus, omnibus arae;ante aras terram caesi stravere iuvenci.ipse sedens niveo candentis limine Phoebidona recognoscit populorum aptatque superbispostibus; incedunt victae longo ordine gentes . . . (8.714-22) One finds here familiar features of any triumphus: the imperator triumphans formally entering the city precinct (714-15), bystanders en route applauding the procession (717), the sacrifice of bulls (719), concluding dedications at a temple (720-22), and the display of captives, placards, and models illustrating the victor's conquests (722-28). But Virgil has also rewritten this triumph to take in a wider sacral and historical context. In verse 719 the general prayers and sacrifices and the prominent role of women suggest a supplicatio, a ritual often associated with but [End Page 410] formally distinct from triumphs.6 While triumphing commanders fulfilled vows which they made on the Capitol before their campaigns, Octavian's triumph is marked by the impressive votum of numerous mighty shrines throughout the city (715-16).7 Caesar's celebration looks ahead as well as backwards; it in effect announces the emergent leader's vast program of building and restoring temples, which was especially prominent in the period immediately after the triumph of 29.8 For Virgil, Caesar's triumphus inaugurates the religious renewal of Rome. By far the most momentous changes to the regular triumph occur in the scene at Apollo's gleaming temple, which in this context must be the new Palatine shrine.9 Whether dona . . . populorum (721) are the [End Page 411] ceremonial crowns which captives presented to the victor or euphemistically denote battle spoils from various peoples, the act of affixing them to the temple suggests that the triumphator has reached the triumph's end point. So does..." @default.
• W2100098508 created "2016-06-24" @default.
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• W2100098508 date "2000-01-01" @default.
• W2100098508 modified "2023-09-30" @default.
• W2100098508 title "Triumphus in Palatio" @default.
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• W2100098508 doi "https://doi.org/10.1353/ajp.2000.0038" @default.
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