.jpg) The surviving remains of the temple'spodium, photographed in 1994 | |
   Temple of Apollo Palatinus Location of the temple within ancient Rome | |
| Coordinates | 41°53′20″N12°29′09″E / 41.8888°N 12.4857°E /41.8888; 12.4857 |
|---|---|
| History | |
| Builder | Octavian |
| Founded | 28 BCE |
| Events | Destroyed on the night of 18–19 March 363 |
| Site notes | |
| Excavation dates |
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| Archaeologists |
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| Condition | Ruined |
| Management | Soprintendenza Archeologica di Roma |
| Public access | Yes |
| Designated | 1980 |
| Part of | Historic Centre of Rome |
| Reference no. | 91ter |
TheTemple of Apollo Palatinus ('Palatine Apollo'), sometimes called theTemple of Actian Apollo, was a temple of the godApollo in Rome, constructed on thePalatine Hill on the initiative ofAugustus (known as "Octavian" until 27 BCE) between 36 and 28 BCE. It was the first temple to Apollo withinthe city's ceremonial boundaries, and the second of four temples constructed by Augustus. According to tradition, the site for the temple was chosen when it was struck by lightning, which was interpreted as a divineportent. Augustan writers situated the temple next to Augustus's personal residence, which has been controversially identified as the structure known as thedomus Augusti.
The temple was closely associated with the victories of Augustus's forces at the battles ofNaulochus andActium, the latter of which was extensively memorialised through its decoration. The temple played an important role in Augustan propaganda and political ideology, in which it represented the restoration of Rome's 'golden age' and served as a signifier of Augustus'spietas (devotion to religious and political duty). It was used for the worship of Apollo and his sisterDiana, as well as to store the propheticSibylline Books. Itsprecinct was used for diplomatic functions as well as for meetings of theRoman Senate, and contained thePortico of the Danaids, which included libraries of Greek and Latin literature considered among the most important in Rome.
Augustan poets frequently mentioned and praised the temple in their works, often commenting on its lavish artistic decoration and statuary, which included threecult statues and other works by noted Greek artists of thearchaic period and the fourth century BCE. These poets includedTibullus,Virgil andHorace, whoseCarmen Saeculare was first performed at the temple on 3 June 17 BCE during theSecular Games.
TheGreat Fire of Rome in 64 CE damaged the temple, but it was restored under the emperorDomitian (r. 81 – 96 CE). It was finally destroyed by another fire in 363 CE, which was rumoured to be an act ofarson committed by Christians. The temple has been excavated and partially restored in various phases since the 1860s, though only partial remains survive and their documentation is incomplete. Modern assessments of the temple have variously treated it as an extravagant,Hellenising break with Roman tradition and as a conservative attempt to reassert the architectural and political values of theRoman Republic. It has been described by the archaeologistJohn Ward-Perkins as "one of the earliest and finest of the Augustan temples".[1]
The worship ofApollo in Rome began in the fifth century BCE. According to Roman tradition, the first temple to Apollo was promised to the god in 433 BCE in return for his intercession during a plague. This temple was originally known as the Temple of Apollo Medicus and later as theTemple of Apollo Sosianus, afterGaius Sosius, who restored it around 32 BCE. It was situated in theCampus Martius, outside the ceremonial boundary (pomerium) of Rome, since Apollo, whose worship originated in the Greek world, was considered a 'foreign' deity and so unsuitable for a temple within the city.[2] According to the classicistPaul Zanker, Apollo was held in Roman culture to represent discipline, morality, purification and the punishment of excess.[3]
After securing control over the Roman state through victory inhis civil war againstMark Antony,Octavian (known as "Augustus" from 27 BCE) made a political and ideological priority of the embellishment and restoration of Rome's built space. According to his biographerSuetonius, he claimed to have found Rome built of brick, and to have left it built of marble.[4] The construction and restoration of temples was a major part of this programme: Augustus claimed to have restored eighty-two of them in 28 BCE alone.[5] The archaeologistSusan Walker has described Rome under Augustus as a "moral museum", by which public architecture and artwork, particularly the display of Greek sculpture,[a] was used as part of Augustus's ideological project.[7] Augustus's developments on thePalatine Hill included the construction and restoration of several of its temples and the intensification of cult activity around it,[8] making the Palatine, previously most significant as an elite residential area,[9] Rome's "new seat of political and religious power", in the words of the classicistUlrich Schmitzer.[10]
The Temple of Apollo Palatinus was among the earliest of a series of monuments constructed by Augustus around Rome,[11] and his first major architectural project undertaken independently in the city.[12][b] Other Augustan monuments of the same period included the restoration of theTemple of Jupiter Feretrius in 32 BCE,[14] the construction of theMausoleum of Augustus in 28 BCE,[15] and the completion in 29 BCE of theCuria Julia, a senate house whose construction was begun in 44 BCE by Octavian's adoptive father,Julius Caesar.[16] Apollo was a favourite god of Augustus.[17] Twolaurel trees, symbolic both of Apollo and of victory, stood by the side of the front door of Augustus's house, highlighting the connection between Apollo, Augustus and his victory over Mark Antony at theBattle of Actium.[18] According to a story related by Suetonius, who reports having read it in a work of the Greek author Asklepiades of Mendes, Augustus considered himself the son of Apollo, and Apollo as the patron deity of his family.[19] During the civil war, Augustus used the iconography of Apollo to contrast himself with Antony, who was closely associated with the antithetical godDionysus; Augustus was criticised for his rumoured appearance at a feast in costume as Apollo.[20] Augustus further explained his cultivation of Apollo through the tradition that Apollo had protected the heroAeneas, believed to have been the ancestor of the Romans and the progenitor of Augustus's family, thegens Iulia.[21]
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The dedication of temples by generals following military victories was an established part of Roman political culture in theMiddle Republic (c. 200 – c. 100 BCE), but had largely fallen out of fashion by 100 BCE.[23] Octavian's vow to dedicate the temple followed the victory of his admiralMarcus Agrippa overSextus Pompeius at theBattle of Naulochus on 3 September 36 BCE:[24][c] Octavian probably announced the temple's construction in November, during a speech to theRoman senate and people.[27] In 36 BCE, he began buying land in the area of the future temple. The Palatine was considered particularly sacred and among Rome's most fashionable residential districts,[28] and had the additional advantage of being mostly owned by private citizens, from whom Octavian was able to buy land in a private capacity. The precise location of the temple was determined when a bolt of lightning struck part of Octavian's property. On the advice of theharuspices, specialist priests who interpreted divine portents, this was considered to be an indication of a god's desire for a temple, and as urging the construction of a temple to Apollo within the city. Octavian declared that portion of his property to be public land, and initiated the construction of the temple.[29]
The temple was dedicated on 9 October 28 BCE,[30] a day traditionally associated with the worship of deities of victory.[31] The temple's dedication followed Octavian's defeat of the forces of Antony and QueenCleopatra of Egypt at the Battle of Actium in 31 BCE, which was linked in Octavian's propaganda with the intercession of Apollo; in thanks for his victory, Octavian constructed a new sanctuary of Apollo at the site of his camp at Actium, and restored the god's existing sanctuary at the entrance to theAmbracian Gulf, where the battle had taken place.[32] It was the second of four temples built in Rome by Augustus, following theTemple of Caesar (dedicated in 29 BCE) and preceding theTemple of Jupiter Tonans on theCapitoline Hill (dedicated in 22) and that ofMars Ultor, dedicated in 2 BCE inAugustus's newly-built forum.[33]
The temple was formally dedicated to Apollo,[7] but considered also to be dedicated to his sisterDiana,[34] who was closely associated with Augustus's victory at Naulochus.[35] Roman temples were often dedicated to gods under particularepithets, which could relate to the builder or location of the temple as well as to a specific aspect of the god in question.[36] Although the temple's official name was theTemple of Actian Apollo (using the epithetActius), it was also informally known by the same god's epithetsActiacus,Navalis,Palati – all of which referred to Apollo's connection with the Battle of Actium – andRhamnusius, an epithet of obscure significance which may have referred to theNemeseion sanctuary atRhamnous inAttica, sometimes believed to have been the source of the temple'scult statue.[37]
Cossutius, a brick-maker employed byGaius Asinius Pollio – a politician and literary patron of the early Augustan era – was probably involved in the temple's construction: bricks bearing his stamp have been recovered from the temple and adjacent buildings.[38][d] Immediately adjacent to the temple,[e] thePortico of the Danaids included two libraries of Greek and Latin literature,[42] known collectively as theLibrary of Palatine Apollo and considered among the largest and most important libraries in Rome.[43] As well as literary works, these libraries contained artworks depicting some of their authors, and were noted as a repository of legal texts.[44] The portico was used by Augustus to hold meetings of theRoman Senate, particularly during his convalescence from illness in 23 BCE,[45][f] and to receive official guests and foreign ambassadors.[42] The surviving sources are contradictory as to the opening of the libraries; they may have been opened at the same time as the temple, or at another point before 23 BCE.[47]
After Augustus's death in 14 CE, his successors as emperor occasionally used the temple's precinct for senate meetings. His immediate successor,Tiberius, held one there in 16 CE, while at least one more underClaudius (r. 41–54 CE) is attested and was intended, in the judgement of the classicist David L. Thompson, as "a symbolic assertion of the imperial power". According to the Roman historianTacitus, Claudius's wifeAgrippina the Younger had a secret door installed in the room used for the senate meetings, leading to a hiding-place from which she could listen to them. Thompson considers this account less as factual and more as symbolic of Agrippina's influence over the senate.[48] According to the archaeologistPierre Gros, the sanctuary served as a model for later complexes dedicated to theimperial cult in the western Roman empire.[49]
The temple was damaged in theGreat Fire of Rome of 64 CE, but restored under the emperorDomitian (r. 81–96 CE); the Portico of the Danaids, probably also destroyed in 64, may never have been rebuilt.[50] The temple was finally destroyed in another fire, during the night of 18–19 March 363.[51][g] The blaze may have destroyed the precinct as well as the temple itself:[h] the Sibylline Books, housed within the temple, were narrowly rescued from the flames. The cause of the fire was never firmly established. The emperorJulian, who was in the process of an ultimately unsuccessful effort to re-establish Roman polytheism as the empire's dominant religion, considered it an act ofarson by Christians: this view has been considered plausible in modern scholarship, particularly as the Sibylline Books were viewed as a symbol of Julian's anti-Christian religious policy, but no secure evidence on the matter exists. Christian writers saw the destruction as a matter of divine intervention: the fifth-century Church historianTheodoret falsely claimed that the temple had been struck by lightning, while the theologianJohn Chrysostom wrote that God had destroyed the temple to punish Julian's actions.[53] The temple may have been systematically dismantled after the fire; pieces of marble from it were possibly reused in the construction of a new building, of uncertain function, on top of the ruined podium at some point inlate antiquity.[54]
In the twelfth century, the philosopherJohn of Salisbury propagated an account thatPope Gregory I (r. 590–604) had destroyed the Library of Palatine Apollo to create more space for Christian scriptures, but his testimony is considered unreliable by modern scholarship.[55] The only surviving remains of the temple's two libraries date to reconstructions made in the Domitianic period,[56] which rebuilt the structures on higher ground.[57]
The temple was the second in Rome dedicated to Apollo; its position on the Palatine Hill made it the first within the Romanpomerium.[58] It was prominently visible from theCircus Maximus to the south of the Palatine.[59] It was adjacent to the olderTemple of Cybele, which had been dedicated in 191 BCE,[60] and the ancient stairway known as theScalae Caci ('Stairs ofCacus').[61] It was also near the early-third-centuryTemple of Victory; the proximity of the monuments may have been intended to reinforce the links between Apollo and the military victories for which Augustus credited him.[62]
The Temple of Apollo Palatinus was immediately south-east of adomus ('house') constructed during the late Roman Republic (c. 133–33 BCE). In the 1950s, this house was designated by one of its excavators,Gianfilippo Carettoni, as thedomus Augusti ('House of Augustus'), since Carettoni believed that it had been Augustus's personal residence.[63] Following Carettoni's excavations, the temple and the house were believed to have been connected by a ramp, though this theory was disproved by later excavations. The identification of the so-calleddomus Augusti and its relationship to both Augustus and the Temple of Apollo Palatinus are controversial. Excavations subsequent to Carettoni's indicate that the house was largely destroyed, while still under construction, to facilitate the building of the temple; they also found that the house was considerably larger than Carettoni believed, which meant that its identification as Augustus's personal residence contradicted the testimony of Roman biographers that the emperor's Palatine house had been noted for its modesty.[64]
According to Roman authors, the temple's sanctuary also included theRoma Quadrata ('Square Rome'), a monument to thefoundation of the city byRomulus; a four-columned shrine known as theTetrastylum; and theAuguratorium, a monument to thetaking of the auspices by Romulus during the foundation of Rome, which may have been an alternative name for theRoma Quadrata.[38]
Scholars are divided on the interpretation of the temple's architecture. The archaeologistJohn Ward-Perkins has described its architecture and embellishment, particularly its use of proportions common inHellenistic architecture and its sculptural programme, as "a lively architectural experiment". He contrasts this with the conservatism of other Augustan projects, such as the restoration of the Temple of Cybele, which largely reused material from the existing structure.[57] On the other hand, the archaeologistStephan Zink describes the temple as "an imposing revival of Republican architectural traditions".[12] According to the Roman architectural writerVitruvius, the temple'sintercolumniation was diastyle (that is, the gap between each pair of columns was three times a column's width).[66] Zink interprets this wide intercolumniation, unusual in contemporary architecture but common in older Roman andEtruscan temples, as a sign of conservatism.[67] The archaeologistBarbara Kellum has suggested that the temple's intercolumniation may have specifically recalled that of theTemple of Jupiter Capitolinus,[68] Rome's most important temple.[69]
The temple'sprecinct – theArea Apollonis – was built on a raised platform, approximately 9 metres (30 ft) above the terrace below and generally considered to have measured approximately 70 by 90 metres (230 by 300 ft),[71] which included aretaining wall with blocks oftufa.[38] This platform was constructed on top of the remains of older buildings on the site, which were demolished and their courtyards filled in.[72] The entrance to the precinct was through atriumphal arch, known as theArcus Octavii, in honour of Augustus's father,Gaius Octavius.[73] The sculptural programme of this arch, which included a statue group by the Greek sculptor Lysias showing Apollo and Diana mounted in a chariot, has been called "a further testimony to Apollo's Augustan vocation" by the archaeologist Maria Tomei.[74]
A Roman temple generally included an enclosed inner part, known as thecella, surrounded by a series of columns (theperistyle) and approached via a porch or vestibule known as thepronaos.[75] Apart from thepodium, the Temple of Apollo Palatinus was constructed entirely from marble, making it the first temple in Rome to be built in this fashion.[8] The number of columns supporting the temple is unclear; it is generally reconstructed as having had six columns across the front of thepronaos, though the archaeologistAmanda Claridge has proposed that it may instead have had four across the front and seven along its length.[76]Corinthian capitals have been found among the temple's remains;[38] the columns which supported them are reconstructed to have reached 14 metres (46 ft) in height and have supplied evidence offluting.[77] Apart from thedrums of the columns, all surviving fragments of the temple have furnished evidence of paintedpolychromy.[78] Parts of the column capitals were probablygilded, while other parts of the temple were painted in yellowochre and red, blue, brown and green pigments.[79] The podium of the temple was constructed using materials and techniques common during the late Republican period, usingashlar blocks of tufa andtravertine (known to the Romans asopus quadratum), under the walls and columns of the temple'scella, surrounding a core of concrete (known to the Romans asopus caementicium).[80] According to reconstructions made by the archaeologistGiuseppe Lugli, the temple had overall dimensions of 22.4 by 38.8 metres (73 by 127 ft), with acella 26 metres (85 ft) long and apronaos 12.8 metres (42 ft) in length.[81]
The surviving ruins do not allow a definitive reconstruction of the temple's orientation. It is generally believed to have faced south: the temple's first excavator,Pietro Rosa, proposed this orientation in 1865, on the grounds that it would have the temple face out of the hillside in a similar manner to earlier Republican hillside sanctuaries found elsewhere inLatium.[82] In 1913, the prehistorian Giovanni Pinza suggested that the temple may have faced north, which he considered a better fit with the surviving accounts of its appearance in Roman literature, but his idea was generally rejected.[83] Some modern hypotheses, such as that of Claridge, have argued for a north-facing temple on the grounds that the more substantial foundations of the temple's southern side would be more likely to support the heaviercella than the comparatively lightpronaos, and that the temple's visual impact would have been greater if the façade faced north, from which direction the temple was generally accessed.[84]
The temple's building materials, such as Libyan ivory and so-called "Punic" columns, recalled Rome's military conquests and successes.[85] Its primary material was whiteCarrara marble from the Italian town ofLuna,[38] a material frequently used in Augustan building projects: Augustus is believed to have initiated its large-scale quarrying and exploitation.[86] Fragments of marble flooring have been found during excavations of the site.[38] The columns of the Portico of the Danaids were made from yellowgiallo antico marble quarried inNumidia. This is the earliest known use ofgiallo antico in Rome.[87]
The temple's architecture may have been designed to compete with that of the Temple of Apollo Sosianus,[15] which was reconstructed at approximately the same time.[88] The Temple of Apollo Sosianus was restored by and named for Gaius Sosius, a former supporter of Octavian's enemy Mark Antony. Augustus later tried to reduce its prominence by constructing theTheatre of Marcellus to block the view of its façade, and rebuilt the adjacentPorticus Octaviae, named after his sisterOctavia, whom Antony had abandoned in favour of Cleopatra.[89]
The temple contained three cult statues: one of Apollo in the "Apollo Citharoedus" ('lyre-playing Apollo') type, one of his sister Diana, and one of their motherLatona. A further statue of Apollo was situated in front of the temple. The cult statues were the work of Greek sculptors of the fourth century BCE: that of Apollo was made byScopas.[91] On the basis of the temple's epithetRhamnusius, it has been conjectured that the statue originally came from theNemeseion sanctuary atRhamnous inAttica.[37][i] Two badly-weathered fragments of colossal statuary excavated at the temple – one from a head, excavated in the temple's foundations,[7] and one from a foot – have been suggested as possible remains of the cult statue of Apollo.[93] Depictions of the statue on Roman coinage suggest that its base was decorated with anchors and the prows of ships, linking it to the naval victory at Actium, while its hands held a lyre and alibation bowl.[94] Zanker has suggested that the choice of an Apollo Citharoedus for the cult statue, offering a libation as if in expiation, contrasted with the alternative iconography of Apollo as an "avenging archer", and would have suggested the bringing of peace and of atonement for the civil war.[95]
The cult statue of Latona was byKephisdotos the Younger, the son of the Athenian sculptorPraxiteles. That of Diana was originally sculpted by theEpidaurian artistTimotheos, but its head was remade byAvianus Evander,[38] an Athenian artist who had been taken to Rome as a prisoner in the mid-first century BCE.[96] Other statues in the temple included a representation of thechariot of the sun on theacroterion of the temple's ridge,[24] a group at the corners of the altar of four oxen made by the fifth-century Athenian sculptorMyron,[61] and another set representing the daughters ofDanaus.[7] The Roman polymathPliny the Elder, writing in the second half of the first century CE, catalogued works ofBupalus and Athenis, twoChian sculptors of thearchaic period (c. 800 – c. 480 BCE), on the temple'spediments.[97] The inclusion of statues by noted Greek artists, especially of the fourth and fifth centuries BCE and the archaic period, came to be almost universal in the temples built or restored by Augustus in Rome.[15] The temple also contained a series of engraved gemstones dedicated by Augustus's nephewMarcellus.[61]
On the temple's doors, a scene depicting the killing of the children ofNiobe by Apollo and Diana was rendered in ivory,[98] while the other door depicted the defeat of theCeltic attack on theOracle of Delphi, of which Apollo was the patron god, in 281 BCE.[7] One of the marblejambs of the doors depicted a Delphictripod[38] flanked bygriffins, with anacanthus, symbolic of Apollo in his capacity as a god of regeneration, springing from it.[99] Thecella was lit by a chandelier said to have been taken byAlexander the Great from the Greek city ofThebes.[100]
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The Portico of the Danaids included statues of the eponymousDanaids,[103] the Egyptian sisters who killed their cousin-husbands on their wedding night in an act ofimpietas.[j] This artwork may have been intended to evoke and condemn the memory of Cleopatra, who had similarly married and then had assassinated her brother,Ptolemy XIV.[105] The statues of the Danaids were situated between the portico's columns, near a statue of Danaus with drawn sword and faced by equestrian statues of their bridegrooms and victims, the sons ofAegyptus.[106] Parts of at least four of these statues, around 1.2 metres (3.9 ft) in height and in the style ofherms, have been discovered. Three of these were sculpted from blackbigio morato marble, probably quarried inAin El-Ksir in Tunisia or fromCape Tainaron in southern Greece,[107] while at least one was made from redrosso antico marble.[108] A series of paintedterracotta panels in theCampana style, found in the area of the temple, may have originally belonged to the Portico of the Danaids.[110] The panels show mythical scenes includingPerseus's defeat ofMedusa, thecaryatids and the contest betweenHercules and Apollo for the Delphic tripod.[100][k] Kellum has interpreted the latter myth as an allegory for the military struggle between Augustus and Antony, given Augustus' identification with Apollo and Antony's similar claims of descent from and affinity with Hercules: the tripod, a traditional votive dedication of victorious generals, may also have been linked with Augustus's victory at Actium.[112] Other scenes show the Egyptian goddess Isis trapped between twosphinxes, probably alluding to the defeat of Cleopatra,[113] and human beings worshipping sacred objects. These include one which may be acandelabrum – a symbol both of Apollo and ofpietas[6] – athymiaterion or abaetylus, a cult object associated with Apollo.[114] It has been suggested that a marble sculpture known as themeta ('turning-post'), displayed in modern times in theVilla Albani, may originally have been one of several monumentalisedbaetyli that stood around the sanctuary.[115]
The portico's libraries included a statue of Augustus with the appearance of Apollo.[100] A statue of a young man (ephebe) in blackbasalt, discovered by Rosa in 1869 in thecryptoporticus to the temple's east, is believed to have come from the temple.[116] A common building material in the temple's sculptures wasPentelic marble fromMount Pentelicus near Athens: this material was frequently used in Athenian building projects of the fifth and fourth centuries BCE, and was particularly prized in Rome.[117]
Walker has suggested that the sculptural decoration of the Temple of Apollo Palatinus served a complex ideological purpose: to elevate the standard of Rome's public art, to showcase the material wealth generated by the Roman Empire's expansion, and to promote Augustan moral values such as the value ofRoman citizenship and of modesty in dress and personal behaviour.[15] Between 161 and 169 CE, a further statue of the "Apollo Comaeus" ('Long-Haired Apollo') type was taken from the Persian city ofSeleucia and installed in the temple by the Roman emperorLucius Verus, following the city's capture in theRoman–Parthian War of 161–166.[118]
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It is unclear whether the Temple of Apollo Palatinus was intended to supplant or complement the existing centre for Apollo's worship at the Temple of Apollo Sosianus.[119] According to the classicistBénédicte Delignon, the temple served to establish Apollo as thetutelary deity of Rome and as a representation of Augustus's symbolic refoundation of the city.[32] In Augustus's political propaganda, it represented the restoration of Rome's 'golden age', a key aspect of Augustan ideology,[120] marked by the end of civil war and the reaffirmation of Romanpietas.[94] The visual iconography was particularly ideologically charged: though it made no direct references to Augustus, it employed several images and tropes commonly associated with him in contemporary culture.[121] The classicistGilles Sauron has interpreted many of the temple's artworks, including that of the Danaids and the scenes on the temple's doors, as emblematic of the divine punishment ofimpietas.[122]
Assessments of the sanctuary's primary significance vary. Walker has described the temple as "Augustus's personal shrine",[42] a view echoed by Zanker, who considers that the adjacent house was that of Augustus, has suggested that the two buildings combined in a manner reminiscent of a Hellenistic palace-complex.[123] Pointing to the prominence of the sanctuary's libraries, the classical archaeologistLilian Balensiefen has described the temple as a "literary sanctuary" in which Apollo was venerated in his capacity as a god of learning.[59] For Zanker, the temple was part of a cultural programme intended both to emulate and to surpass the artistic achievements of ancient Greece.[6] The temple was also used for meetings of the senate.[27]
Over time, the temple was given additional functions, likely on anad hoc basis rather than as part of any preconceived plan.[124] From around 20 BCE,[125] the temple was used to store theSibylline Books, a series of prophetic writings believed to date from the time of Rome's semi-legendary kingTarquinius Superbus (c. 510 BCE), which Augustus moved there from the Temple of Jupiter Capitolinus. They were stored in gold cases in the base of the cult statue of Apollo.[126] The temple became a popular site for the dedication ofvotive offerings, particularly statues. According to Augustus's autobiography, theRes Gestae, he melted down approximately 80 silver statues of himself that had been offered there by Rome's citizens, sold the resulting metal and used the proceeds to purchase gold tripods in honour of Apollo.[100]
The temple played a significant role in theSecular Games, a religious and artistic festival revived by Augustus in 17 BCE and repeated irregularly thereafter.[127] On 3 June, the third day of the inaugural games, Augustus and his lieutenantMarcus Vipsanius Agrippa made sacrifices to Apollo and Diana at the temple.[128] The poetHorace wrote hisCarmen Saeculare, a religious hymn, for the occasion: it received its first performance on the same day, sung at the temple by a choir of 27 boys and 27 girls and accompanied by sacrifices to Apollo and Diana.[130] In years where the Secular Games were held, priests known as thequindecimviri sacris faciundis, who had responsibility for the temple's Sibylline Books, met at the temple on 25 May and cast lots to determine which of them would sit on the various tribunals which distributed purifying agents – torches,sulphur andbitumen – to the Roman people. The temple was then used, alongside the Temple of Jupiter Capitolinus, theTemple of Diana on the Aventine and the Temple of Jupiter Tonans, to receive offerings offirst fruits (fruges) and as centres for the distribution of the aforementioned purifying agents (purgamenta).[131]
In modern times, the temple has been described by Ward-Perkins as "one of the earliest and finest of the Augustan temples".[1] It was noted by contemporaries as among Rome's most impressive monuments,[27] and described by the historiansVelleius Paterculus andJosephus in the 1st century CE as the greatest of Augustus's building projects.[132] Suetonius similarly described it as among Augustus's most important architectural works, alongside theForum of Augustus, theTemple of Mars Ultor and the Temple of Jupiter Tonans.[133] Delignon has suggested that theproem of the poetVirgil'sGeorgics, published in 29 BCE, may have alluded to the proposed or incipient construction of the temple.[134]
The Roman poetPropertius attended the opening of the temple and wrote twoelegies to celebrate it.[30] The first of these (conventionally numbered 2.31) was written around the time of the temple's dedication and published in either 25 or 24 BCE.[135] Propertius's contemporary Horace published anode (1.31) in 23 BCE, ostensibly written on the day of the temple's dedication to celebrate Apollo.[136] Around 20 BCE, the poetTibullus wrote an elegy (2.5) commemorating the appointment ofMarcus Valerius Messalinus as a priest of Apollo with responsibility for inspecting the Sibylline Books stored at the temple.[125]
The temple's political significance and association with Actium became universal themes of poetic responses to the monument from 16 BCE onwards, when Propertius published the second of his elegies on the temple (4.6).[137] A common motif in these poetic works was the association between the Sibylline Books and the works of the poets themselves.[138] The newly intensified religious significance of the Palatine Hill also featured in its presentation in the eighth book of Virgil'sAeneid, composed between 29 and 19 BCE, in which the kingEvander walks Aeneas around the future site of the temple;[10] later inAeneid 8, the Battle of Actium is reconstructed as atheomachic contest on theShield of Aeneas, and Augustus's triple triumph of 29 BCE is anachronistically imagined as having taken place at the temple.[139] Many of the responses to the temple in Augustan poetry have been read as appropriating, subverting or challenging its political and ideological significance.[32]Ovid, in theArs Amatoria (published around 4 BCE), wrote of the temple as a particularly fruitful place to find pretty women.[140] Later, in theTristia (composed between 9 and 18 BCE), he included the temple in an imagined tour of the monuments of central Rome.[141]
The temple's cult statue of Apollo was depicted on theSorrento Base, a late-Augustan or early-Tiberian (that is,c. 14 CE) statue plinth first identified as a depiction of it by the architectural historianChristian Hülsen in 1894.[142] Gros has suggested that a group of bronze statues found in theVilla of the Papyri inHerculaneum, known as "dancers" or "Danaids", were modelled after those of the Danaids from the Portico of the Danaids.[100]
In modern times, only the cement core of the temple's podium, measuring 19.2 by 37.0 by 4.7 metres (63.0 by 121.4 by 15.4 ft),[52] survives,[38] as well as isolated architectural fragments including blocks from thecella.[12] Pietro Rosa made the first full excavations of the area around the temple in the nineteenth century. He began working on the Palatine in 1861, in the employ ofNapoleon III, the owner of theFarnese Gardens which included the site of the temple.[143] In 1863, he discovered theArcus Octavii to the north of the temple,[108] followed by the concrete core of the temple's podium in 1865.[144] In the same year, he consolidated the surviving fragments of the temple and built a staircase over them.[12] In 1869 he discovered the surviving fragments of statuary in the Portico of the Danaids,[108] and he carried out his final excavations in 1870. During Rosa's excavations, the site was opened to the public on Thursdays, though visitors had to obtain a permit from the French government, and Rosa often led tours himself.[145]
Further excavations took place underAlfonso Bartoli in 1937, as part of Bartoli's extensive excavations in the Roman Forum and on the Palatine; he removed 40,000 cubic metres (52,000 cu yd) of earth to bring the wholedomus Augusti complex down to its Roman level.[146] In the 1950s, Giuseppe Lugli re-surveyed and documented the surviving remains: this work was described in 2008 as the most detailed existing study of the temple's ruins, though it contains contradictions and ambiguities, particularly over the width of the column axis (that is, the distance between the centres of adjacent columns).[147]
Rosa misidentified the temple as the third-century BCETemple of Jupiter Invictus (or Jupiter Victor), believing its location on the side of the Palatine to be reminiscent of that of other Republican-era sanctuaries.[82] The architectHenri Deglane, a member of theFrench School at Rome, accepted this identification in his 1885–1886 reconstruction of what he called the "Palace of the Caesars" on the Palatine Hill.[148] In 1910, Giovanni Pinza studied the concrete used in the temple and concluded that it was early Augustan in date, being similar to that used for theMausoleum of Augustus, completed in 28 BCE.[149] The first to identify the temple as Apollo Palatinus was the nineteenth-century art historianFranz von Reber; this identification was advanced in a 1914 article by the classicistOliffe Legh Richmond, who argued for it largely from the correspondence between the excavated remains and literarytestimonia of the temple. By 1952, scholars had generally come to accept Pinza's conclusion that the temple had been constructed on top of the remains of houses constructed in the late Republican period (that is,c. 100 – c. 30 BCE), which eliminated any possibility of its being third-century in date.[150] The temple was by this time almost universally accepted as Apollo Palatinus.[151]
The area around the temple, including its sanctuary and the rest of thedomus Augusti complex, was further excavated by Carettoni between 1958 and 1984.[152] The excavations of 1968 saw the excavation of the temple'spronaos as well as the beginning of the collection of the fragmentary terracotta plaques, which continued in 1969 and 1970.[100] Carettoni's excavations were only partially published.[153] The work of both Rosa and Carettoni involved extensive reconstruction, which was continued thereafter by theSoprintendenza Archeologica di Roma [it].[154]
Zink carried out an architectural survey of the temple from 2006, primarily aimed at reconstructing the dimensions, measurements and form of its plan and elevation.[155] In 2008, he investigated the architectural remains of the façade for the traces of its original colouring, together with the conservator and colour scientist Heinrich Piening.[156] Between 2009 and 2013, Zink also documented the architectural remains in an area south-west of the temple, revealing a building dating to thearchaic period (that is, between the sixth and early fifth centuries BCE), which he posited to have been a small shrine.[157]
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Media related toTemple of Apollo Palatinus (Rome) at Wikimedia Commons| Preceded by Temple of Antoninus and Faustina | Landmarks of Rome Temple of Apollo Palatinus | Succeeded by Temple of Apollo Sosianus |
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