fig. 60 a–e) shows the inauguration of an altar for the goddess Ceres (Veyne 1959).
The goddess herself is shown in the frieze between the ritual processions of sacrificial
animals. However, is the presented ritual really an inauguration or its anniversary?
A similar problem is offered by the case of the Ara Pacis in Rome (Ryberg 1955:
38 figs. 22– 4). From the archaeological point of view it is not possible to decide
whether the big frieze from the outside of the altar really shows the inauguration.
This ambiguity may in fact be the solution to the problem: it is possible that the
ancient Roman pictures are multi-functional. If both rituals – the one of the inau-
guration and the one on a fixed day once a year – are identical, the monument can
record both, if there are no specific links to one or the other.
The most famous representations of suovetauriliain Roman art are present on the
column of Traian (Ryberg 1955: 109ff., 121ff. figs. 55 – 8; Fless 1995: pls. 3.1, 6.1,
22.1, 44.1). Three religious scenes (scenes 8, 53, 103) out of eight (the others are
80, 83 –5, 86, 91, 98 – 9; Settis et al. 1988) show the common sacrifice of ram, boar,
and bull. The composition of all three is identical. In the center the emperor in a
toga and capite velatostands in front of the altar inside a camp. From the bird’s-eye
view the procession during the walk around the camp is also visible. The ritual shown,
lustratio exercitus, is the perfect pictorial formula to demonstrate the unity of the
Roman military. For these reasons this scene is shown before every big military action
(Baumer et al. 1991). Beside the perfect arms and the secure camp the protection
of the deities was the most important thing that made military actions successful.
The most lavish procession in the Roman world is that of the triumph. The milit-
ary triumph is not only an important historical incident; it is also part of a religious
ritual to Iuppiter Capitolinus. If the state of preservation is not too bad, it is easy
to identify the scenes of Roman triumph. One of the famous monuments from the
early imperial period is the rest of the frieze of the temple of Apollo Sosianus
in Rome (fig. 18.3 in chapter 18 below). Behind a group of ferculum-bearers (stretcher-
bearers) the highly decorated animals walk in step. Nothing remains of other
sequences of the ritual, like the libation or the killing of the animals. All official
monuments of Roman triumph have this fact in common; only the procession is
presented and there is no necessity for other scenes. All the actors of the ritual are
shown in an optimal position during the procession. For the emperor, the triumphal
chariot is the perfect place to show his role, position, and success. Before the
campaign he had offered to the gods and let everybody know his promises in case
of success. The procession is the perfect form to demonstrate his keeping of the vows.
The participant in the real procession in Rome and the observer of the monument
can see that all the bulls the emperor promised are ready for sacrifice. Thus anybody
can testify to correct dealings with the deities. Of all the triumphal ritual only the
procession is able to show unmistakably how important the emperor is and how impres-
sive his success during his reign.
Not all sequences of religious rituals are shown in the archaeological monuments,
and every time there are specific motives for their representation. Certainly, there
were exceptions, like the relief showing the examination of entrails that is today in
Paris (Ryberg 1955: 128 –31 fig. 69 a–b). Of all the Roman priesthoods and their
rituals, only a few are represented in archaeological monuments. And if some of them
Reliefs, Public and Private 171