are probably part of a larger frieze depicting a procession. Because of the ornament
completing this frieze block, one can imagine a monument comparable to the tri-
umphal frieze of the temple of Apollo Sosianus (fig. 18.3 above; Kleiner 1992: 84,
figs. 63– 4; Fless 2004: 48, no. 74). However, it remains unresolved to which ritual
this dance is related. The image demonstrates the typical form of recording a dance
in a bowed, gesture-rich choreography, which we can find in other genres, such as
murals or stucco reliefs or reliefs found in rural cities outside of Rome. There danc-
ing figures are part of the imagery even in reliefs from an official context. They are
found in numerous images of magisterial and sacral acts characterized by a specific
mode of depiction that varies from that of official monuments of the city of Rome.
A relief of a monumental tomb from the early Roman imperial period in Chieti
(Kleiner 1992: 148 –9, fig. 124; Schäfer 1989: cat. C 53, pl. 106, fig. 1, pl. 122)
depicts a scene that at first in its symmetrical structure and its frontality reminds one
of late antique tribunal scenes, such as the small frieze of the Arch of Constantine
in Rome (Kleiner 1992: 444, figs. 406 –13). The symmetrical structure suggests the
order and concentration of the participants in such an official act, which contains
elements not only of a tribunal scene but also of a funeral procession, such as musi-
cians and mourners. This impression is disrupted if the scene is observed more in
detail. The symmetrical order is dissolved into numerous groups of figures that, wrapped
in conversation, seem to turn from the event, moving quite vigorously and gesticu-
lating wildly. The figures appear almost loquacious and un-concentrated. This nar-
rative tool is also used in the imagery of boisterous, almost dancing movements in
processions, such as in the depiction of an entry into a theater in a relief from Castel
S. Elia (Ronke 1987: figs. 15–19; Schäfer 1989: cat. C 59, pl. 103, fig. 1) and of
the cult of Isis on a relief from Arricia (Rüpke 2001: 103, fig. 10; De Angelis d’Ossat
2002: 266f.). The latter depicts dancing men and women using rattles. The women
are shown in movement, bending their knees, thrusting out their buttocks, turning
around, waving their arms in the air with extensive gestures, and with heads thrown
back.
The pictorial representation of dance as part of Roman ritual seems to depend on
the context and specific type of the imagery. Depictions of rituals on monuments
in the city of Rome mostly refrain from showing dance, since the specific intention
of these monuments stands in contrast to the imagery of rituals. Here the intention
is the depiction of significant moments, the visualization of the ritually correct sequence
of events, and a graceful representation of the participants.
Another form of translation of ritual is documented by the illustrations of
sacrifices at the altar (e.g. fig. 18.1 above). They demonstrate first of all how closely
the Roman sacrificial ritual was linked with music. This is demonstrated in well-known
archaeological images, if one remembers how often tibicinesare displayed standing
behind the altar. If the image is not combined with elaborate and expansive ritual
sequences, the representation of a religious ritual is usually limited to the central act
at the altar. The basic elements of this depiction are the togatus capite velatoat the
altar or tripod performing the sacrifice. Sometimes assistants holding the acerraor
bringing tankards and cups to the altar support him. If both assistants are omitted,
tibicinesbehind or next to the altar are always part of the scene. These images
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