How did the
Flavian Dynasty
praise and glorify
themselves
through buildings
and public
works?
Nathaniel Hall
Word Count:
1041
Introduction:
The Flavian dynasty consisted of the Emperors Vespasian and his two sons, Titus
and Domitian. All three of the emperors dedicated and built marvelous works for the city
of Rome to not only glorify the city, but themselves as well. They used their power and
money to build some of the most beautiful structures in the world so they could be
remembered forever.
Source I:
The Temple of Vespasian was dedicated to the Emperor Vespasian by his son,
Emperor Domitian. Domitian wanted to glorify his father and make the Flavian Dynasty
live on forever. The ruins of the temple show how large and monumental the temple was.
Its size demonstrates the glorification Domitian wishes to give to his family for all of
Rome to remember.
Source II:
Senatus populusq(ue) Romanus imp(erator) Tito. . . Quod praeceptis patr(is)
consiliisq(ue) et auspiciis gentem Iudaeorum domuit et urbem Hierusolymam,
omnibus ante se ducibus regibus gentibus aut frustra petitam aut omnino
intem(p)tatam, delevit.
The original inscription on the Arch of Titus before the first destruction dedicates
the Arch to the Emperor Titus. The inscription glorifies Titus for his amazing triumphs in
Jerusalem and admires his accomplishments. The Arch was dedicated by Emperor
Domitian as he was continuing to celebrate his family’s great reign and laud the dynasty
for the goal of everlasting fame and honor.
I
The senate and the people of Rome dedicate this arch to the emperor Titus… Because,
with the senate’s advice and counsel and with the auguries, he conquered the nation of
the Jews (in AD 70) and destroyed Jerusalem, which all of the generals, kings, and
nations before Titus had either failed to do or even to attempt. –Aicher 57.2
I
Source III:
The Lives of the Twelve Caesars; Titus by C. Suetonius Tranquillus
urbis incendio nihil publice nisi perissetestatus, cuncta praetoriorum suorum
ornamenta operibus ac templis destinauit praeposuitque compluris exequestri ordine,
quo quaeque maturius peragerentur.II
Suetonius describes Titus as a selfless Emperor looking to praise the people of
Rome. After the Great Fire, Titus wanted to rebuild the city with better buildings and
public facilities for the people to use. Suetonius uses Titus’ great care for his people to
help admire the Emperor and his great works. The writings magnify the Flavian Dynasty
for their greatness as well as their self acclaim.
II
Source IV:
De Spectaculis II by Martial
Hic ubi sidereus propius videt astra colossus
et crescunt media pegmata celsa via,
invidiosa feri radiabant atria regis
unaque iam tota stabat in urbe domus.
hic ubi conspicui venerabilis Amphitheatri
erigitur moles, stagna Neronis erant.
hic ubi miramur, velocia munera, thermas,
abstulerat miseris tecta superbus ager.
Claudia diffusas ubi porticus explicat umbras,
ultima pars aulae deficientis erat.
reddita Roma sibi est et sunt te praeside, Caesar,
deliciae populi, quae fuerant domini.
III
The Baths of Titus are lauded at by Martial to praise the great works of Emperor
Titus. Titus built the baths in his namesake atop the Golden House of Nero to show the
people the horrid ruler was gone and the great Flavian Dynasty was in control now.
Martial marvels at the building and the significance it holds for the great Emperor and the
family’s legacy.
III
II
With regard to the public buildings destroyed by fire in the City, he declared that nobody should be a
loser but himself. Accordingly, he applied all the ornaments of his palaces to the decoration of the
temples, and purposes of public utility, and appointed several men of the equestrian order to superintend
the work. –Alexander Thomas, M.D.
III
Where now the Sun’s Colossus has its closer view of the stars
And towering scaffolds loom above the street,
The hated entrance halls of that wild king once gleamed
And a single dwelling stood in all the city.
Where now the venerable mass of the Amphitheater rises
High above Roma, the pond of Nero spread.
Where now we gaze in wonder on the sudden Baths of Titus,
A haughty estate deprived the people of homes.
Where now the Claudian colonnade unfolds its spreading shade
The furthest part of the palace came to an end.
Rome has been restored to Rome, Titus, with you as her defender,
And pleasures grabbed by a tyrant return to the people. –Aicher, 68.6
Source V:
The Lives of the Twelve Caesars; Domitianus by C. Suetonius Tranquillus
Plurima et amplissima opera incendio absumptarestituit, in quis et Capitolium, quod
rursus arserat; sed omnia sub titulo tantum suo ac sine ulla pristiniauctoris memoria. IV
Suetonius describes Domitian’s service to his people. He rebuilt many buildings
burned down by the fire; however, he rebuilt them more brilliant and more glorious than
ever before. Nevertheless, Suetonius writes that Domitian rebuilt all the temples and
buildings in his own name, with no mention of the original builders. By doing so,
Domitian shows how he was intent on glorifying himself as well as his family name and
was looking to be remembered for his great works.
IV
Source VI:
This Statue of Domitian was one of many that Domitian and the other Emperors
of the Flavian Dynasty created of themselves around the city of Rome. Domitian created
these statues to glorify himself and to ensure his image was all across Rome. The statues
he created would survive through the empire to make sure his legacy was remembered
and his image praised.
IV
He rebuilt many noble edifices which had been destroyed by fire, and amongst them
the Capitol, which had been burnt down a second time; but all the inscriptions were in his
own name, without the least mention of the original founders. –Alexander Thomas, M.D.
Source VII:
Liber De Spectaculis I by Martial
Barbara pyramidum sileat miracula Memphis,
Assyrius iactet nec Babylona labor;
nec Triuiae templo molles laudentur Iones,
dissimulet Delon cornibus ara frequens
aere nec uacuo pendentia Mausolea
laudibus inmodicis Cares in astra ferant.
Omnis Caesareo cedit labor Amphitheatro,
V
unum pro cunctis fama loquetur opus.
5
Martial explains the sheer grandness of the newly built Flavian Amphitheater,
which he refers to as Caesar’s Ring. He compares the magnificence of several other
ancient wonders of the world and says the fame of the Amphitheater is of those
combined. His lauding explanation praises those who built it; the emperors of the Flavian
Dynasty, from where it gets its namesake. Started by Vespasian and finished by Titus, it
is known as the most notable accomplishment of the era and shows itself how the family
will be remembered forever. V
Source VIII:
The Forum of Nerva was started by Domitian in 85 AD but was not finished
before he died. However, most of the construction was done under his reign. Domitian
wished to connect the Forum of Augustus and the Forum of Vespasian with a grander
area bearing his namesake. Despite dying before completion, Domitian managed to create
a vast area that could be marveled at by all. As seen in the picture, the structure was tall
and sophisticated to represent such a great reign by not only himself but the Flavian
Dynasty as well.
V
Memphis, forebear anent your pyramids
Nor Syriua boast your highrise skyline;
Lax Ionians, vaunt not Dian’s Shrine,
And may her trophies Phoebus’ Delos hide;
Pendant in space the Mausoleum hangs--Let modest Carians play down the fact:
O’er mankind’s monuments tow’rs Caesar’s Ring.*
The fame of each proclaimed in that of one. –Peter Whigman
Source IX:
Publicola 15.3-4 by Plutarch
ὁ δὲ τέταρτος οὗτος ὑπὸ Δομετιανοῦ καὶσυνετελέσθη καὶ καθιερώθη.
λέγεται δὲ Ταρκύνιον εἰς τοὺς θεμελίους ἀναλῶσαι λίτρας ἀργυρίου
τετρακισμυρίας: τούτου δὲ τοῦ καθ᾽ ἡμᾶς τὸν μέγιστον ἐν Ῥώμῃ τῶν
ἰδιωτικῶν πλοῦτον ἐκλογισθέντα τὸ τῆς χρυσώσεως μὴ τελέσαι ἂν
ἀνάλωμα, πλέον ἢ δισχιλίων καὶ μυρίων ταλάντων γενόμενον. οἱ δὲ
κίονες ἐκ τοῦ Πεντελῆσινἐτμήθησαν λίθου, κάλλιστα τῷ πάχει πρὸς τὸ
μῆκος ἔχοντες: εἴδομεν γὰρ αὐτοὺς Ἀθήνησιν. VI
Plutarch describes another magnificent Temple built and dedicated by Domitian
during his reign. Domitian restored and restructured the Temple of Jupiter not only in a
gift to the gods but also to show his glory and wealth. Plutarch writes that the roof alone
is more expensive than any citizen could afford which attributes to how much Domitian
is willing to spend to create such wondrous works. Domitian used the best marble around
to ensure the building got him the praise he wanted. VI
Source X:
Emperors were often depicted on Denarii during or after their reign as a form of
praise. These coins give Domitian’s great title of emperor as well as show him with the
Laurel, which gives him the image of a god. Domitian deified himself during his reign
and the coins reinforce his glory. The reverse shows his son just as the naked son of
Jupiter would be shown emphasizing his status as a god. Domitian used the Denarii to
create his everlasting image as a deity.
The fourth and present temple was both built and dedicated by Domitian [in AD 89]…
Even the gilding alone of this temple’s roof, costing more than 12,000 talents, is beyond
the means of the richest private citizen in Rome today. Its columns were cut from
Pentelic marble and were originally of beautiful proportions as I saw for myself in
Athens. –Aicher 10.4
VI
Source XI:
Occasional Poems 4.2.5-8; 18-33 by Statius
ast ego cui sacrae Caesar nova gaudia cenae
5
nunc primum dominaque dedit consurgere mensa,
qua celebrem mea vota lyra, quas solvere grates
sufficiam?
….
Tectum augustum, ingens, non centum insigne columnis,
sed quantae superos caelumque Atlante remisso
sustentare queant. stupet hoc vicina Tonantis
20
regia, teque pari laetantur sede locatum
numina. nec magnum properes excedere caelum:
tanta patet moles effusaeque impetus aulae
liberior, campi multumque amplexus operti
aetheros, et tantum domino minor; ille penates
25
implet et ingenti genio iuvat. aemulus illic
mons Libys Iliacusque nitet, multa Syene
et Chios et glaucae certantia Doridi saxa;
Lunaque portandis tantum suffecta columnis.
longa supra species: fessis vix culmina prendas
30
visibus auratique putes laquearia caeli.
hic cum Romuleos proceres trabeataque Caesar
agmina mille simul iussit discumbere mensis VII
Statius was invited to a feast at the great Palace of Domitian as he recounts his
journey. He describes the vast brilliance of the building as he dines with the great
Emperor. Statius states it is a place more worthy than that of the gods as the praise for
Domitian is never ending. His great palace is compared to the heavens and the great
structures around the world and how easily it surpasses them in glory and honor.
Domitian’s great buildings attributes to his legacy. VII
VII
But how shall I, whom Caesar has granted the novel delights
Of dining with divinity at the imperial table, [AD 94]
Tune my lyre to match my sense of debt and tender
Adequate gratitude?
The hall is sublime and vast: no hundred columns merely,
But enough to hold the gods and heaven above the earth,
Should Atlas retire. Jupiter in his temple gapes
At your home in awe, Domitian, and the gods rejoice
In your equal footing. No need for you to hasten to heaven;
That structure spreads immense, and the reach of its giant hall,
More open than a field and holding in its embrace
More space than the sky, is only outdone by its lord: he fills
The happy home with his mighty spirit. Here stone competes
With stone, Numidian yellow rivaled by Phrygian purple,
Granite from Egypt, blushing marbles, and sea-green stone;
White slabs of Luna are relegated to the bases of columns.
The ceiling is a distant view, and the eyes must strain to reach
Its summit, to glimpse, it seems, the gilded panels of heaven.
Such was the setting where Caesar commanded the senators
Of Rome to sup together with knights at a thousand tables –Aicher 65.4
Source XII:
History 16.10.14 by Ammianus
Pantheum velut regionem teretem speciosa celsitudine fornicatam;
elatosque vertices qui scansili suggestu consurgunt, priorum
principum imitamenta portantes, et Urbis templum forumque Pacis,
et Pompei theatrum et Odeum et Stadium, aliaque inter haec decora
urbis aeternae. VIII
Ammianus writes that the Emperor Constantius, while entering the city in AD
357, marveled at the wondrous buildings upon entering Rome. Two of these building
were the Odeum and Stadium built and dedicated by Emperor Domitian. Not only does
Ammianus’ account show how magnificent and wondrous the structures are, but also the
fact that Constantius was amazed by it over 200 years later attributes to the legacy left
behind by Emperor Domitian. VIII
Conclusion:
All three Emperors of the Flavian Dynasty built and dedicated outstanding
buildings to the city of Rome with the intention of not only helping the city, but also to
further their legacy and family’s namesake. The buildings that were built were
characterized as more brilliant than those of the gods and were uncommonly matched by
later Emperors. The Flavian Dynasty continues its legacy for great praise and adoration
for their great works for the city of Rome.
VIII
the Pantheon, which seems to vault an entire neighborhood with its beautiful, lofty
dome; the columns inside of which one can climb to platforms that hold statues of former
emperors; The Temple of Rome, he Forum of Peace, the Theater of Pompey, the Odeum,
and the Stadium, among other marvels of the Eternal City. –Aicher 89.3
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