CHIUDI

Author: Mariachiara Bellantuono

Subject
Wall painting with a standing female figure, dressed in a violet tunic, yellowish cape and green shoes, on a white background. In particular, the tunic is embellished with representations of winged figures.

Accession number P 48
Fresco painting
Height 39 cm; width 19.9 cm; depth 3.6 cm
Complete, with cracks
100/150 A.D.

Provenance
Found on the ancient Via Appia (it seems to come from a tomb near the sepulchre of Cecilia Metella)

Placement
Musée du Louvre

Credits
Musée du Louvre

References
B. Pichon (curated by), Animi et corpora. L’antiquité au féminin, Musée d’archéologie et du patrimoine/ Fondation Marius Vazeilles, 2023, pp. 31, 90, ill. 9.

F. Gaultier – L. Haumesser – A. Trofimova (curated by), Un rêve d’Italie. La collection du marquis Campana, Paris, Lienart/Musée du Louvre, 2018, p. 62, n. 23.

V. Tran Tam Tinh, Catalogue des peintures romaines (Latium et Campanie) du Musée du Louvre, Paris, Éditions des Musées Nationaux, 1974, p. 70, fig. 55, n. 48.

Subject
It’s one of the best-known portraits of Goethe, made by his friend Tischbein, who accompanied him on his tour of the Roman Campagna when he visited the ancient tombs. The renowned author is depicted sitting and leaning on one arm. Next to him, the artist represents a relief on which Orestes, Iphigenia and other mythological characters are sculpted; you can also catch a glimpse of the Cecilia Metella tomb and the arches of an aqueduct and Monte Cavo stands out against the background.

Accession number 1157
Oil on canvas
Johann Heinrich Wilhelm Tischbein, Haina 1751 – 1829 Eutin
1787
166 x 210.3 cm

Placement
Städel Museum

Credits
Städel Museum

Subject
The drawing consists of two subjects: in the upper part of the sheet, the artist depicts a stretch of the Roman Campagna with several buildings and the arches of a bridge/aqueduct in the background; in the lower one, there is a view of the Nymphaeum of Egeria and the tomb of Cecilia Metella.

Accession number 317
Pencil on vellum paper
Ernst Fries, Heidelberg 1801 – 1833 Karlsruhe
1826
29.9 x 37.8 cm

Placement
Städel Museum (storage)

Credits
Städel Museum

Subject
Pencil drawing of the temple of Hercules on the ancient Via Appia. In the background (right part of the sheet) you can catch a glimpse of Monte Cavo. Both of them can also be identified thanks to a caption dating back to the time of the artwork’s realization.

Accession number Bib. 2472
Pencil on laid paper
Johann Anton Ramboux, Treviri 1790 – 1866 Colonia
1817
21.3 x 25.8 cm

Inscriptions
On the top right: temple of Hercules on the via Appia/ 1817; middle right: monte cavo.

Placement
Städel Museum (storage)

Credits
Städel Museum

Subject
Drawing of the Altar of San Cesareo de Appia, named “San Cesareo in Palatio” in the inscription in the upper center.

Accession number Bib. 2472
Pencil on laid paper
Johann Anton Ramboux, Treviri 1790 – 1866 Colonia
1818-1843
Max. 18.8 x max. 26.8 cm

Inscriptions
On the top left: 1 weis/ 2 gelb/ 3 (not readable) bl/ 4 birot/ 5 grün/ 6 sch; in the upper center: A S. Cesarii in Palatio.

Placement
Städel Museum (storage)

Credits
Städel Museum

Subject
View of the Roman Campagna from the ancient Via Appia. The artist depicts a landscape with ruins, animal figures and a sitting shepherd; the mountains stand out in the background.

Accession number 5388
Grey and brown ink and watercolour over pencil traces, on ribbed laid paper
Jakob Philipp Hackert, Prenzlau 1737 – 1807 San Pietro di Careggi
Approximately 1775
50.5 x 66.3 cm

Placement
Städel Museum (storage)

Credits
Städel Museum

Subject
Wall painting with representation of a standing female figure dressed in a tunic and cape and depicted while holding an umbrella.

Accession number P 60
Fresco painting
Height 33.3 cm; width 28.3 cm
Complete; restored in 2014
200/250 A.D.

Provenance
Found on the ancient Via Appia

Placement
Musée du Louvre (storage)

Credits
Musée du Louvre

References
F. Gaultier – L. Haumesser – A. Trofimova (curated by), Un rêve d’Italie. La collection du marquis Campana, Paris, Lienart/Musée du Louvre, 2018, p. 264, n. 291.

V. Tran Tam Tinh, Catalogue des peintures romaines (Latium et Campanie) du Musée du Louvre, Paris, Éditions des Musées Nationaux, 1974, p. 89, fig. 82, n. 70.

Subject
Bust of M. Ulpius Crotonensis, freedman of Trajan.

Accession number Ma 1002; MR 599; N 768
Marble in the round
Height 67 cm; width 45 cm; depth 22 cm
Complete, but the upper part of the acanthus leaf and a fragment of the left earlobe are missing.
112/117 A.D.

Provenance
Found on the Via Appia

Placement
Musée du Louvre (storage)

Credits
Musée du Louvre

References
K. de Kersauson, Musée du Louvre. Catalogue des portraits romains, Tome II: De l’année de la guerre civile, 68-69 après J.-C., à la fin de l’Empire, Paris, Réunion des musées nationaux, 1996, pp. 100-101, n. 38.

J.-L. Martinez, Les antiques du Musée Napoléon. Edition illustrée et commentée des volumes V et VI de l’inventaire du Louvre de 1810, Paris, RMN, 2004, p. 363, n. 0712.

Subject
Altar with the epitaph of Caius Oclatius Aprilis, in Latin (CIL VI.23221). The inscription is framed by a molding; two other boxes on the sides enclose a patera (on the right) and an oinochoe (on the left), respectively. At the top, a dentil decoration runs along all sides (except on the back of the altar).
Inscription: D(is) M(anibus) s(acrum)/ C(aio) Oclatio/ Aprili/ v(ixit) a(nnis) XXVI m(ensibus) V/ Aquillia/ Alexandria/ b(ene) m(erenti) fecit.
Translation: “Sacred to Manes; to Caius Oclatius Aprilis, (who) lived twenty-six years, five months, well-deserving, Aquillia Alexandria made (this monument)”.

Accession number MND 1738; MNDá1738; Ma 3902
Marble; engraving
Height 29 cm; width 11.5 cm; depth 7.5 cm
Intact; the letters of the inscription were repainted red
Roman imperial age

Provenance
Found in a columbarium of the Via Latina in the eighteenth century

Placement
Musée du Louvre (storage)

Credits
Musée du Louvre

References
CIL VI/ Inscriptiones urbis Romae Latinae (23221), Berlin, 1876-1894.

S. Ducroux, Catalogue analytique des inscriptions latines sur pierre conservées au Musée du Louvre, Paris, Musée du Louvre, 1975, p. 137, n. 490.