Description

From the theatre of Arles. At the center, the seated god—whose head was removed, leaving a large cavity—is shown with legs wrapped in a cloak, the right arm resting on his head, and the left arm leaning on a lyre. In the background, the Delphic tripod is as tall as the god himself. On the projections of the altar, framing the scene, laurels are depicted with foliage inhabited by birds.
The right side of the altar shows the Scythian sharpening his knife, while on the left side, Marsyas is depicted hanging from a tree. The myth recalls the hybris punished by Apollo—an allusion to Antony's punished by Augustus. The laurels and tripod on the main face would therefore symbolize the dual victory of Augustus and Apollo.

Artwork

Definition

Altar of Apollo (inv. no. FAN.1992.357)

Collection

Arles, Musée Départemental de l'Arles Antique

Inventory number

FAN.1992.357

Date

I century C.E. and IV century A.D. (the secondo phase)

Material

Marble of Carrara

Dimensions

Width: 45 cm
Height: 127 cm
Depth: 150 cm

Analytical results

Analytical methods

VIS

VIL

MAXRF

Imaging

In the gaps between the two layers, video microscopy reveals traces of diverse colors. A red and orange layer is preserved on the background and the frame; a black layer on the trunk of the laurel; and a violet one on the leaves in the projections framing the scene, as well as on the tree in the Marsyas scene. Different shades of brown, yellow, orange, and blue appear on the character’s body. The side panels show a yellow background and red frame, in which the tree and figures display violet and black traces.

Chemical analysis

Four zones were analyzed using MA-XRF. In zones 1 and 3, the analysis concerns the brown surface layer. The distribution of the detected elements matches the visual distribution of this layer. The preparatory layer is not visible in this area. The presence of iron and lead may be interpreted as either the use of a pigment mixing both elements—sandyx—or as the presence of a lead white ground layer on which hematite was applied. The co-localization of iron and lead supports the first hypothesis. The detection of phosphorus in zone 1 could be residual from deposition phenomena or could indicate the use of bone black, intended to darken the color in the background area of the frieze. The distribution of phosphorus in zone 1 supports this second interpretation.
In zone 2, the yellow preparatory layer of the second polychromy phase is visible. The distribution of elements suggests that this layer is composed of zinc. The colocalization of zinc and lead in both Arles cases suggests the use of a mixture of the two elements.
This preparatory layer is preserved only on the laurel. Here, hematite and lead are layered on top of the zinc-lead ground and suggest the presence of a brown surface layer of sandyx. Other elements are likely related to the first phase of polychromy, as their distribution corresponds to gaps in the brown surface layer. In this first phase, the background is characterized by the presence of sulfur, iron, and manganese on the laurel leaves, while phosphorus and chlorine appear on the tree branches. These may represent remains of manganese violet, mixed with hematite for the leaves, and bone black for the branches.
Zone 4 focuses on the central panel, particularly the area around the leg of the seat on which Apollo is sitting. The presence of mercury, corresponding to an area where red traces were observed under the microscope, indicates the use of vermilion, likely applied over a sulfur-based underlayer. Iron, corresponding to hematite, is found in shadowed areas; ochre may have been used to mark depth.

Polychromy technique

Under painting traces

no

Pigments

vermilion, ochre, Egyptian blue, sandyx, manganese-enriched earths (violet)

Binder

n.d.

Stratigraphy

Phase II: preparatory layer in zinc and lead

Shading

no

Metallic traces

no

Tools marks

no

Background colour

Phase I: vermilion red

Apparent marble parts

no

Restorations

Two phases:
I. Polychrome
II. Monochrome

Immagini Tecnica Policromia

FAN_1992_357. fig.2

FAN_1992_357 _fig.1

FAN_1992_357. fig.3

Polychromy type

Imitation of other supports

metallo

Highlighting motifs

Phase I: chromatic correspondence and symbolic use of color

Polychromy type

The first state of the altar’s polychromy was characterized by calcium sulfate in the background, probably enhanced with red. The laurels may have had black branches and violet leaves. In the Apollo panel, the color remains are too fragmentary to allow any reconstruction. The two side panels likely had a yellow background, a red frieze, and black figures.
The second state is characterized by a covering preparatory layer made of lead and zinc, with the surface colored using sandyx for the decorative elements and bone black for the background.

Bibliography

Bibliography

A. Alföldi, Die zwei Lorbeerbäume des Augustus (1973), p. 54, tav. 25, 2

É. Espérandieu, Recueil général des Bas-Reliefs de la Gaule Romaine. Alpes Maritimes - Alpes Cottiennes - Corse - Narbonnaise I (1907), cat. n. 138

P. Gros, JdI 102, 1987, 340 - 363, 353 nota 13

D. Boschung, Gens Augusta. Untersuchungen zu Aufstellung, Wirkung und Bedeutung der Statuengruppen des julisch-claudischen Kaiserhauses, MAR 32 (Mainz 2002), p. 84, cat. n. 23.3, tav. 68, 2

E. Neri, N. de Larquier, D. Strivay, Colorer et entretenir la couleur : analyse du décor sculpté des autels du théâtre d’Arles, in E. Neri (ed.), Polychroma. The Meaning of Colours in Roman Sculptures, Silvana Editoriale, Cinisello B., 2024, pp. 226-239.