All this, however, does not explain the absence of the typical dance of the Salii.
Images of processions, independent of the medium, usually combine dynamic and
static elements, standing and walking figures. This is demonstrated by a relief frag-
ment displaying parts of a triumphal procession (fig. 18.3 above; Fless 1995: pl. 10,
fig. 2; 2004: 48, no. 72). Next to striding tibicinesand a fidicenstanding facing
almost directly outward are captured barbarians walking and shield-bearers standing
facing outward. These shield-bearers are striking in their motionlessness. This com-
bination of standing and striding figures allows the combining of visual prerequi-
sites: the clear presentation of figures and their attributes (as in the shield-bearers)
and the demonstration of the movement of the procession. Rapid movements only
rarely occur in these depictions, emphasizing the passing of the procession and thereby
strengthening the impression of authenticity in the eye of the beholder. This holds
true for images like the relief displaying war booty of the Arch of Titus, depicting
the passing through the triumphal arch and evoking a sense of movement (Kleiner
1992: fig. 155; Fless 2004: 49, no. 78). The bearers of burdens on the Arch of
Titus and the rest of the Salii’s procession on the relief fragment are depicted in
profile and in slightly bowed posture. The absence of the dance movement seems
to be in accord with ancient visual conventions.
In images, standing or graceful striding is usually emphasized. In literary sources,
time is an important facet of the characterization of procession participants.
Hastiness and rushing at the adventus, that is, the ceremonial of the arrival of the
emperor in Rome, are negatively noticed in the case of Vitellius (Tacitus, Histories
2.89.1). By contrast the serenity and quietude of Trajan – he adapted his pace to
the mass of spectators – were noted positively by Pliny (Panegyricus23.3). In both
sources speed was used to characterize the emperors and their behavior during the
ritual, one positively and one negatively. Similarly the specific visual representation
of the emperor in the ritual has the purpose of demonstrating the correct and ideal
performance of the ritual, by presenting a dignified movement and a focus on the
actions of the emperor. The depiction of a dance with fast rhythm or excessive ges-
tures is not exactly suitable to emphasize the qualities of dignity and serenity. This
might be strengthened by the apparently ambivalent position of Romans toward dance
in various sources. Dance is a traditional and central element of Roman cult that is
viewed positively. However, there are also more critical appraisals of dance, for instance
the Christian apologist Lactancius (Instutiones1.21.45: qui inhonesto saltatu tripudi-
ant) criticizes not only Roman religion, but also dance and tripudiumin particular.
Furthermore, there is a lot of critique concerning dance outside the framework of
cult. The avoidance of depicting dance as a form of movement in processions
which are mentioned in literary sources as containing dances might be linked to a
sense of inadequacy when it comes to depicting the movements of a dance in a Roman
cult. Other images were deemed more significant to the intended message. This may
be confirmed by the exceptions that actually depict dancers.
More extreme dance movements in the context of public cult are probably
depicted on a fragment of a frieze in the Palazzo degli Conservatori in Rome (Ronke
1987: fig. 43). It contains four figures dressed in either a tunicaor a high-girded
toga dancing with wide steps and gestures and a rotating movement. These images
256 Friederike Fless and Katja Moede