Il Circo Massimo. Storia e numismatica.

[Illyricum65]

Buongiorno,

uno dei più spettacolari, imponenti e rappresentativi monumenti dell’Antica Roma è stato sicuramente il Circo Massimo, sebbene la situazione attuale non lo testimoni in modo evidente. Passeggiandovi e camminando nelle strade in ghiaino polverose è difficile immaginare il fasto di marmi che doveva avere il luogo quasi duemila anni fa.

Situato nella valle tra il Palatino e l’Aventino, è ricordato come sede di giochi fino dagli albori della città di Roma: è il luogo dove Romolo avrebbe tenuto il ratto delle Sabine durante i giochi in onore del dio Consus. Poco distante dal corso del Tevere, probabilmente l’area fu da sempre luogo dove svolgere operazioni di mercato e di scambio tra popolazioni, magari legate anche a attività rituali e di socializzazione tra i vari gruppi. Le prime strutture furono erette in legno, probabilmente mobili, durante il regno di Tarquinio Prisco che festeggiò con dei Ludi la vittoria su Apiolae. Impianti stabili furono eretti attorno al 329 a.C., con strutture in muratura a partire dal secondo secolo a.C. Nel 55 a.C. Pompeo indì dei giochi tra una ventina di elefanti africani che danneggiarono alcune strutture delle tribune: Cesare fece costruire un fossato colmo d’acqua proveniente dal Tevere a protezione delle stesse. Augusto compì altri interventi aggiungendo al spina centrale con l’Obelisco Flaminio (attualmente al centro di Piazza del Popolo dove fu spostato da papa Sisto V). All'epoca la capienza era di circa 90.000 persone.

Un secondo obelisco fu eretto nella spina nel 357 d.C. da Costanzo II, corrispondente a quello Lateranense (ivi psizionato da papa Sisto VI)

Rappresentazione ideale del Circo Massimo in stampa rinascimentale; in centro la cosiddetta spina.

Sempre dallo stesso testo, dettaglio della spina; questa era larga 2 metri, alta mediamente attorno ai 6 metri e lunga da metae a metae circa 215 metri. Era decorata con obelischi (come simboli solari), statue di divinità (es. Cibele e Nettuno) ed altari.

https://mariamilani.com/ancient_rome/circus_maximus.htm

 

 

[Illyricum65]

Altri interventi si ebbero da parte di Tiberio, Nerone, Tito (arco del 81 d.C.) mentre durante il Regno di Domiziano a seguito di un incendio si ebbero dei lavori che furono terminati da Traiano nel 103 d.C.  Ulteriori restauri si ebbero sotto Antonino Pio, Caracalla e Costantino. Il circo rimase in funzione fino al 549.

Come già visto in apertura, contrariamente ad altri monumenti antichi che sono simboli universalmente noti di Roma, non si hanno attualmente testimonianze architettoniche che facciano anche solo parzialmente svelare lo splendore del Circo Massimo nell’antichità.

Per dare un’idea delle dimensioni di questo monumento basti pensare che la sua capacità massima fu di circa 250.000 spettatori. Esistono però varie ricostruzioni 3D e vari documentari video che posso farlo rivivere virtualmente. Di seguito ve ne segnalo alcuni:

Ricostruzioni 3D:

https://www.youtube.com/watch?v=aksOAH7dYsQ

https://www.youtube.com/watch?v=H0GR1p7kfiY

Il Circo visto da un auriga:

https://www.youtube.com/watch?v=7-UqwmQzuiY

Documentario Angela:

https://www.youtube.com/watch?v=mI1ievmCRuc

Documentario Barbero:

https://www.youtube.com/watch?v=zyp_gO0f9y4

 

[Illyricum65]

La numismatica ci rende molte informazioni sul Circo Massimo.

Una buona panoramica del monumento viene da questo sesterzio di Traiano:

 

La moneta raffigura il Circo dal Palatino. Si possono vedere la spina e tutti i suoi principali elementi decorativi: l'obelisco di Augusto, la statua di Cibele su un leone, il delfino che serviva a conteggiare i giri e le due metae (i punti di svolta). L'arco di Tito visto sul lato orientale del Circo non va confuso con un altro arco dedicato a questo imperatore dal fratello Domiziano nell'82 d.C. Quest'ultimo si trova ancora sul Foro, mentre il primo non ha lasciato praticamente tracce, tranne la sua raffigurazione su monete del Circo Massimo.

RIC 571 AE Sestertius. O: Bust of Trajan, laureate, right (sometimes with aegis), IMP CAES NERVAE TRAIANO AVG GER DAC P M TR P COS V P P. R: The Circus Maximus with obelisk in center; the spina is flanked by metae. S P Q R OPTIMO PRINCIPI S C.

http://numismatics.org/ocre/id/ric.2.tr.571?lang=en

RIC 553 AE Sestertius. O: Bust of Trajan, laureate, right (sometimes with aegis), IMP CAES NERVAE TRAIANO AVG GER DAC P M TR P COS V P P. R: Trajan, bare-headed, togate, standing left on platform on right, in gesture of adlocutio; behind him, praefect; below, four men with extended hands; in front, a woman reclining right with wheel; on left, three obelisks. S P Q R OPTIMO PRINCIPI S C.

https://en.numista.com/catalogue/pieces253513.html

Correttamente il sito riporta la descrizione ANS ma la presenza della figura con ruota appoggiata i tre obelischi (*) richiama la personificazione del Genio del Circo, lo stesso che viene celebrato anche da Adriano che commemora I suoi interventi e I “giochi celebranti il 874° anniversario della nascita della Città (di Roma) tenuti nel Circo Massimo”.

Hadrian, A.D. 117-138.

Æ Sestertius. Rome, year 874 (A.D. 121).

Laureate and draped bust of Hadrian right.

Rv. ANN DCCCLXXIIII NAT VRB P CIR CON, Genius of the Circus reclining left, head right, supporting wheel on knee and holding three obelisks. 26.60 grams.-32mm.

RIC 609. BMC 1242-3. Foss 29. Cohen 164. Extremely rare. Lovely tan patina. Very fine condition.

This attractive and rare sestertius depicts on its reverse the Genius of the Circus Maximus, who is depicted holding a wheel, emblematic of the chariots that raced on its track and the three decorative elements of the spina (the hub of the Circus around which the chariots raced). The elements on the left and right represent the metae, turning posts marking either end of the spina, while the central element represents an Egyptian obelisk originally brought back to Rome by the emperor Augustus in 10 B.C. This coin is especially remarkable as it is the only Roman coin (along with an associated aureus series) to bear a date counted from the foundation of Rome (ab urbe condita). All other Roman imperial coins are dated by the various powers held by individual emperors, when they are closely dateable at all.

https://www.vcoins.com/it/stores/lucernae/90/product/extremely_rare_hadrian_ad_117138__sestertius_rome_year_874_ad_121__ann_dccclxxiiii_nat_vrb_p_cir_con_genius_ric_609_bmc_12423_foss_29_cohen_164_extremely_rare/673293/Default.aspx

The Roman Empire
Hadrian, 117 – 134
Aureus 121, AV 7.24 g. IMP CAES HADRIA – NVS AVG COS III Laureate, draped and cuirassed bust r. Rev. ANN ÐCCCLXXIIII NAT VRB P CIR CO – N The Genius of the Circus reclining l., head r., balancing wheel on knee with r. hand and placing l. arm around one of the turning posts of the Circus (three obelisks on a base). C 162. BMC 333 and pl. 53, 5 (these dies). RIC 144. Calicó 1200 (these dies).
Extremely rare and in unusually fine condition for this historically important issue. Well-centred on a full flan and good very fine.
Ex Hirsch XVIII, 1907, Imhoof-Blumer, 803; Glendining & Co., 20 February 1951, Ryan, 1757; Hess-Leu 15, 7 April 1960, 326 (there given an incorrect pedigree) and LHS 100, 2002, 326 sales.

https://www.numisbids.com/n.php?p=lot&sid=1667&lot=246

Per dettagli si segnala il link

https://followinghadrian.com/2021/04/21/21-april-ad-121-hadrian-celebrates-romes-874th-birthday-with-circus-games-hadrian1900/

(*) E’ verosimile che più che di “tre obelischi” - quando è noto che questi erano 2 (dei quali il secondo ad opera di Costanzo II) ovvero quello Lateranense e quello Flaminio - è più corretto interpretare l’iconografia del Genio quale “reggente la ruota ed appoggiato ad una delle metae”. Ciò è particolarmente evidente in certi esemplari come quello seguente: 

 https://twitter.com/optimoprincipi/status/1252571440773242880

 

 

 

[Illyricum65]

Settimio Severo festeggia i Ludi Saeculares con giochi che coinvolgono il Circo Massimo. L’aureo seguente rappresenta o una vista parziale dello stesso o il Circo di Domiziano con una scena di atleti coinvolti in lacune gare di lotta e di atletica.

Septimius Severus AV Aureus. Rome, AD 206. SEVERVS PIVS AVG, laureate bust right / COS III PP, View of Circus (of Domitian?), showing gate and colonnade and inside, spectors and combatants. RIC 260; BMC -, cf. 343 (denarius); Calicó 2469. 7.40g, 20mm, 6h. Extremely Rare.

http://numismatics.org/ocre/id/ric.4.ss.260

Septimius Severus AV Aureus. Rome, AD 206. SEVERVS PIVS AVG, laureate bust right / LAETITIA TEMPORVM, the spina of the Circus Maximus decorated as a ship facing left, with the turning posts at its prow and stern, a sail mounted on the central obelisk, and the spina’s other monuments visible in between; above the ship, four quadriga’s racing left; below, seven animals: an ostrich at left and a bear at right; between them a lion and a lioness chasing a wild ass and a panther attacking a bison. RIC 274; BMC -, cf. 343 (denarius); Calicó 2469. 7.20g, 20mm, 7h. Fleur De Coin. Extremely Rare.

 The historical parallels between Augustus’ victories in civil war and those of Septimius Severus more than two centuries later were too obvious for the latter to ignore. The reverse of this type depicts the Ludi Saeculares held by Severus in AD 204 on the cycle employed by Augustus, exactly two hundred and twenty years after the games of 17 BC, which had been eulogised by Horace and ultimately celebrated the foundation of Rome. The historian Dio Cassius relates: “The whole construction in the amphitheatre was made in the form of a ship, and was so conceived that 400 beasts might be received into it, and at the same time be sent forth from it. Then, when it suddenly collapsed there issued out of it bears, lionesses, panthers, lions, ostriches, wild asses and bison, so that seven hundred beasts, both wild and domesticated, were seen running about at the same time and were slaughtered.” (LXXVII, 4-5). The presence of the charioteers on this coin are likely in reference to the circus races that Severus also held in commemoration of this occasion, along with gladiatorial games, and the distribution of a donative. From the meagre fragmentary remains of the fifty lined poem in hexameter by an unknown writer eulogising the Ludi Saeculares of 204, it can be inferred that by that date many contemporaries could reasonably believe that Septimius Severus, a ‘second Augustus’, had inaugurated a new Golden Age, a ‘happy time’: laetitia temporum.

https://www.deamoneta.com/auctions/view/106/574?lang=it

 

[Illyricum65]

Caracalla augustus, Aureus 206, AV 7.30 g. ANTONINVS – PIVS AVG Laureate, draped and cuirassed bust r. Rev. LAETITIA / TEMPORVM Ship in circus, between four quadrigae l.; in l. field, cockerel standing r. and on r., bear. Beneath ship: lion and two tigers r., bull and tiger l. C 117. BMC 263 and pl. 34, 4 (these dies). RIC 133. Kent-Hirmer pl. 113, 391 (these dies). Calicó 2686 (this coin). Biaggi 1179 (this coin).

Extremely rare and among the finest specimens known. A finely detailed reverse composition. A few minor marks, otherwise extremely fine Ex Glendining sale 1950, Platt Hall collection part II, 1710; NAC 21, 2001, 501 and NAC 24, 2002, European Nobleman, 147 sales. From the Biaggi collection.

  In 204 the Severans, now a firmly established dynasty, held Saecular Games (Ludi Saeculares) with sacrifices, a donative, Circus races and games, all of which they represented on coin types. It is worth speculating that this is a compression of two separate events, as the four quadrigae above the ship may well represent the Circus races since they are not mentioned in the otherwise superb description by the historian Dio Cassius: ”The whole construction in the amphitheatre was constructed in the form of a ship, and was so conceived that 400 beasts might be received into it, and at the same time be sent forth from it. Then, when it suddenly collapsed there issued out of it bears, lionesses, panthers, lions, ostriches, wild asses and bison, so that seven hundred beasts, both wild and domesticated, were seen running about at the same time and were slaughtered.” (LXXVII, 4-5). The type is so cleverly engraved that many fittings on the deck of the ship are clearly identifiable, as are each of the seven beasts below. Indeed, a viewer of this coin with the commentary of Dio fresh in the mind might almost believe they are witnessing the spectacle unfolding.

NAC52, 516

Caracalla come detto incrementò i posti a sedere e abbellì il Circo nel 213 d.C.

AD 198-217. AV Aureus (20mm, 6.90 g, 6h). Rome mint. Struck AD 213. ANTONINVS PIVS AVG BRIT, laureate, draped, and cuirassed bust right / P M TR P XVI, COS IIII P P in exergue, view of the Circus Maximus, with spina, metae, and obelisk in center. RIC IV 211B = BMCRE p. 439, † corr. (rev. legend); Calicó 2710 (same rev. die as illustration); Biaggi –. Near EF. Extremely rare and important architectural type.

While gladiatorial combat is the sport that most people today would associate with ancient Rome, chariot races held at tracks, or circuses, were the real passion of the populace. The Circus Maximus (“largest” or “greatest circus”) lived up to its grand name, with modern scholars estimating that the building could hold some 150,000 spectators, or roughly three times the number of people that the Colosseum could accommodate (Pliny’s statement that the Circus could hold 250,000 appears to be an exaggeration). Caracalla renovated the Circus in AD 213, and rare aurei and sestertii were issued to celebrate the project.

This artistic aerial view depicts the Circus as it would be seen from the Palatine Hill. According to Pliny, the Circus was established during the reign of the Tarquinius Priscus, Etruscan king of Rome (circa 616-579 BC), although a permanent structure may not have existed until 329 BC, when the starting gates (carceres) were erected. By the early 2nd century AD, the structure was very close to the form that we see on our coin. In the center of the Circus we find the spina (“spine”), upon which is the obelisk of the Pharaoh Ramesses the Great that Augustus brought to Rome and erected in the Circus (it is located today in Rome’s Piazza del Popolo). At each end of the spina is a meta, or conical column situated where the charioteers would make their harrowing turns, while an equestrian statue of Trajan and a shrine of Cybele can be found immediately to the left and right of the obelisk, respectively.

In the foreground and to right are arcades and a prominent arched gate, while on the left we find the semicircular end of the structure, with the attic statuary of a triumphal arch of Titus visible. The temple of Sol and Luna, built into the seating, is visible on the far end of the structure, to the left of the obelisk’s peak.

The coin cited in RIC and BMCRE was in Baldwin’s stock in 1927. The example plated in Calicó, with which our coin shares the same reverse die, was sold by Freeman & Sear in 2005 (FPL 10, no. 111), while another specimen was recently sold by Künker (Auction 270, lot 8855). Our coin may be only the third or fourth known, depending on whether or not the 1927 Baldwin’s piece is distinct from the other known examples.

https://www.cngcoins.com/Coin.aspx?CoinID=324993

Caracalla. 198-217 AD. Æ Sestertius (23.02 gm, 1h). Struck 213 AD. M AVREL ANTONINVS PIVS AVG BRIT, laureate, draped, and cuirassed young bust right, seen from behind P M TR P XVI IMP II COS IIII P P/S C in exergue, aerial view of chariot race in the Circus Maximus: spina with obelisk of Augustus flanked by metae and statues; arena surrounded by colonnaded arcade; triumphal arch surmounted by quadriga and carceres at either end.

RIC IV 500a; Banti 46; BMCRE 251; Cohen 236.

https://www.flickr.com/photos/julio-claudians/5963792926

Gordiano III emette un AE Medallion dedicato al Circo Massimo.

Gordianus III, AE Medallion. Bust of Gordian III, laureate, draped and cuirassed, left, with a spear over right shoulder, IMP GORDIANVS PIVS FELIX AVG/ P M TR P VII COS II P P View of the interior of the Circus Maximus; in the centre of the spina is an obelisk, and at each extremity three metae; before the spina are five groups; the first represents a combat between two gladiators; the second, two wrestlers; the third a pair of pancratiaste; the fourth, two pugiles boxing with caestus; and the fifth, a wounded gladiator being led away by an attendant; beyond the spina a race is taking place between two quadrigae, left; further in the background, the Emperor in a triumphal chariot with six horses, accompanied by Victory crowning him and holding palm and preceded by three soldiers carrying long palms. Roma mint, 244 d.C.

https://www.britishmuseum.org/collection/object/C_1866-0721-2

 

[Illyricum65]

Infine, una serie di contorniati è collegata al tema “Circo Massimo”.

 (Sul tema "contorniati" si consiglia di cercare nell'ampio archivio del Forum, vi sono più discussioni in merito tra le qualli vi segnalo il link

https://www.lamoneta.it/topic/67028-i-contorniati/#comment-703815 )

Ecco alcuni esemplari:

Contorniates. Late 4th century AD. Æ 37mm (22.67 g, 7h). Later cast copy, possibly Renaissance. Struck in the name of Divus Trajan. DIVO NERVA-E TRAIANO, laureate bust of Divus Trajan right, slight drapery on left shoulder; PE monogram in right field / Aerial view of chariot race in the Circus Maximus: spina with obelisk of Augustus flanked by metae, lap-counter, and statues of horseman and boar right; two quadrigae left above; two quadrigae right below, one with charioteer holding palm and extending hand; figure between, waving mappa. Alföldi, Kontorniat, Tf. 221, 3 (this coin). Good VF, mottled brown surfaces. LOT SOLD AS IS, NO RETURNS.

Ex Garth R. Drewry Collection (Triton VIII, 11 January 2005), lot 1273; Frederick S. Knobloch Collection (Stack's, 1-3 May 1980), lot 1403.

https://www.cngcoins.com/Coin.aspx?CoinID=104059

CONTORNIATE, In the name of Divus Augustus. Circa late 4th century AD. Æ 37mm (26.68 gm). Laureate head of Divus Augustus right; engraved grape bunch before / Aerial view of the Circus Maximus: spina with obelisk of Augustus flanked by metae and surrounded by colonnaded arcade; triumphal arch surmounted by quadriga and carceres at either end; terrace with statues below. Alföldi, Kontorniat, Tafel 215, 5 (this coin). Near VF, brown patina with traces of light green. Rare. ($1500)

From the Tony Hardy Collection. Ex Virgil M. Brand Collection, Part 1 (Sotheby's, 1 July 1982), lot 119.

INTRO TO CONTORNIATES

The term contorniate derives from the Italian contorno (surround) and was applied in the eighteenth century to describe these coin or medal-like objects which are surrounded by a solco di contorno (surrounding furrow). Contorniates were produced in the late 4th through 5th centuries and may have been used as presentation pieces or as counters in a board game, such as calculi, or both. A connection with the circus and amphitheatre is obvious for they are generally of a popular historical, imperial, or agonistic character, the most common being the busts of Emperors and scenes of chariot racing. The legends often give the names of charioteers. It is also significant that the emperors who appear most frequently on the obverse are the ones who gave the most enthusiastic patronage to the games: Nero, Trajan, and Caracalla.

https://www.cngcoins.com/Coin.aspx?CoinID=54289

Contorniate. IMP NERO CAESAR AVG P MX Laureate head of Nero, right; behind, countermark./ View of the Circus Maximus, with central spina and both metae; to the left of the central obelisk is a statue of Cybele on a lion; in the circus are four quadrigas, a running hare and a hound. Weight: 37.040 grammes.

https://www.britishmuseum.org/collection/object/C_R-5026

Ed un contorniato celebra il protagonista di tanti giochi del Circo: l’auriga.

Contorniates. Late 4th century AD. Æ (38mm, 30.08 g, 12h). Half-length figure of charioteer right, wearing riding gear, holding transverse goad in right hand and horse by the bridle in l4eft; helmet in left field / Charioteer standing facing, head left, in spread quadriga facing with richly caparisoned horses; he holds a laurel wreath and goad in right hand and palm frond in left. Alföldi, Kontorniat 484. EF, exceptional, untouched green patina, traces of earthen deposits. Certainly one of the finest contorniates in existence. Spectacular compositions on both sides.

Ex Numismatica Genevensis SA V (2 December 2008), lot 341; Numismatica Ars Classica 25 (25 June 2003), lot 615.

The most important secular controversy of the late Roman and early Byzantine age involved loyalties to the two racing factions - the 'Blues' (Veneti) and the 'Greens' (Prasini). This rivalry led to shocking bloodshed on many occasions as the patrons of each faction clashed. Most engagements occurred in the major cities, such as Rome, Antioch and Constantinople. Although originating with chariot races, the factions had strong ties to mainstream society, and were active in garnering political favor, securing the best jobs, and monopolizing industries. Thus their rivalries led well beyond the Circus Maximus in Rome and the Hippodrome in Constantinople.

Though chariot racing was not the only subject matter artistically portrayed on contorniates, it was certainly not an unusual subject. The composition of this contorniate, however, is extraordinary in detail, depicting a charioteer in full riding uniform, holding a transverse goad in right hand and horse by the bridle in left; his helmet is in left field. The reverse exhibits this very same charioteer, now victorious, holding a laurel wreath and palm frond, symbols of victory. He stands proudly in his spread quadriga. The victorious horses are adorned with plumes of palm fronds on their heads, also symbolizing victory.

https://www.cngcoins.com/Coin.aspx?CoinID=200179

Sitografia:

https://www.timetravelrome.com/2019/05/13/circus-maximus-rome-greatest-shows-coins/

http://www.eugubium.it/approfondimenti/Monete%5CRomaneImperiali%5CEdifici%5CCIRCO_MASSIMO.htm

https://www.facebook.com/groups/65574851556

https://it.wikipedia.org/wiki/Circo_Massimo

Bibliografia:

Marvin Tameanko, “Monumental coins: Buildings & Structures on ancient Coinage”, Krause publications, USA, 1999.

 

Buona giornata

Illyricum

 

 

 

 

[Stilicho]

Il mio pensiero.

A proposito dei tre obelischi, mi e' venuto in mente che quelli rappresentati sulla moneta di Adriano siano l'obelisco centrale e le due mete.

In effetti, essendo Adriano antecedente a Costanzo II, il secondo obelisco (giocoforza) non c'e'.

Mi chiedo a questo punto anche dove fosse posizionato sulla spina centrale l'obelisco innalzato da Costanzo II (magari e' stato spiegato, ma i e' sfuggito).

Buona domenica da Stilicho

[Illyricum65]

4 minuti fa, Stilicho dice:

Mi chiedo a questo punto anche dove fosse posizionato sulla spina centrale l'obelisco innalzato da Costanzo II 

Ad una delle due estremità. L'obelisco centrale è quello di Adriano (nell'epoca severiana fu utilizzato a mo' di albero per reggere una "vela principale"), uno è quello costanziano e... mancherebbe il terzo!

Ciao

Illyricum

 

[Cremuzio]

Buona Domenica a tutti . Se il Circo Massimo fosse stato in una qualsiasi nazione europea probabilmente sarebbe stato scavato fino allo strato piu' antico , da noi e' tenuto invece come un prato urbano , per carita' nulla di male , se pero' al di sotto non si trovasse il piu' grande Circo dell' Impero romano e dei moderni stadi o dei luoghi di raccolta ; a parziale discolpa dei nostri politici occorre anche dire per onesta' , che data la conformazione fisica della Valle in cui il Circo giace sepolto , occorrerebbe scavare per alcune decine di metri per riportare alla luce le fondamenta del Circo , opera certamente non facile , impegnativa , costosa e dai risultati pratici nebulosi . 

Qualsiasi fosse il risultato finale dello scavo porterebbe pero' una tale risonanza mondiale che l' afflusso di visitatori , per semplice curiosita' o per studio , sarebbe notevolissimo e dati i tempi attuali , molto utile all' erario ; immaginate solo i ruderi del Circo riportati alla luce , li vicino il Colosseo , il Foro Romano , il Foro Boario , le Terme di Caracalla , ecc. ecc. Quale altra Citta' antica al mondo potrebbe presentare un simile Museo a cielo aperto ?