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* I gave a preliminary notice on this topic at the conference Les chantiers de construction en Italie et dans les provinces romaines: Lconomie des chantiers, held in Paris at
the cole Normale Suprieure (1011 December 2009); I decided, however, not to publish my paper in the proceedings
of that conference, and I thank Hlne Dessales for her understanding. I wish to thank Leonardo Lombardi and Marie
Jackson for their geological expertise; Janet DeLaine for her
advice on architectural matters; and Amanda Claridge, Lucos
Cozza, Marie-Laurence Haack, Clemente Marconi, Daniele
Manacorda, Enrico Zanini, Cecilia Bernardini, Domenico
Poggi, and Allan Ceen for their collaboration. Lynne Lancaster shared with me her knowledge of the Colosseum and gave
me her advice on a variety of issues. I also thank the friars of SS.
Cosma e Damiano for allowing me access to both monastery
and basilica over the years and the Nobile Collegio Chimico
Farmaceutico at S. Lorenzo in Miranda. I am also grateful to
the History of Art Department of the Johns Hopkins University for providing generous funds for the analysis of the red
samples. Last but not least, I wish to thank the reviewers of
the AJA and Editor-in-Chief Naomi J. Norman for her observations and support, as well as the AJA staff. Translations and
illustrations are by the author unless otherwise noted.
1
Lugli 1957, 1:242.
2
Lugli (1957, 1:3036) believed that the Temple of Divus
Antoninus and Diva Faustina was the last building made of
blocks of Lapis Albanus in Rome, thus implying that their use
in the Templum Pacis dated to the age of Vespasian. The same
mistake occurs in Frank 1924, 24.
3
Lugli 1957, 1:243.
Abstract
The presence of red paint on the surfaces of some travertine and Lapis Albanus blocks has rarely been noticed
and never investigated. Yet it deserves consideration since
it preserves evidence of an unknown building technique
that involved the use of red ocher and binders such as
burnt gypsum, which was employed in the city of Rome
from the late first to early third centuries C.E. I present
evidence for the presence of red-painted blocks in Rome
and investigate the composition of the red paint. I also
comment on what has previously been reported about the
subject and argue that the function of the red layer was
to certify that the architect and/or the contractor had
approved the painted surfaces.*
introduction
589
590
[AJA 115
Fig. 1. Blocks of Lapis Albanus used in the Severan restoration of the Templum Pacis (now in the
monastery of SS. Cosma e Damiano), with a red coat on the lower and vertical contact surfaces: left,
rear wall of the southeast portico (monasterys ground floor); right, junction between the rear wall
of the southwest portico and the side wall of the hall toward the Via Sacra (second landing of the
monasterys main staircase).
4
Lanciani (1881, 359) noticed a thin layer of limewash occasionally painted red in the piers of the Aqua Claudia (52 C.E.). Since
the restorations of this aqueduct were done in brick, Lancianis piers should belong to the original Claudian phase. Nevertheless,
some of the piers are built with different tuff blocks (Ceccherelli and Mancioli 2001, 172), which suggests possible restorations in
ashlar masonry. L. Cozza and A. Claridge (pers. comm. 2011) noticed the red layer in the northernmost of the attic rooms of the
Arch of Septimius Severus (dedicated in 203 C.E.). This room is missing all its concrete flooring; the block of travertine in the center
of the floor has been smashed into fragments, apparently during an attempt to extract it from the core of the arch. Some fragments
have been left in the hole, and one or two certainly had a dressed surface covered with red paint. Since the top surfaces of all the surrounding blocks and some of their vertical sides are exposed, without any traces of red paint, the surface in question is likely to be
the underside of the smashed block. Brilliant (1967, 667) mentioned this hole but not the red layer.
2011]
5
The numbers of the bays refer to the inscribed Roman numerals above the arches of the facade (Lancaster 1998, 147 n.
13, figs. 23, 24 [plans of levels III with labeled bays]).
6
Lancaster 1998.
7
No doubt other traces would be found if a more extensive search were conducted. Indeed, when my research was
concluded, the Soprintendenza Archeologica di Roma announced that traces of red paint on some piers of the outer
ambulatory at level II were discovered during the course of
a preliminary restoration ( JanuaryApril 2011) (La Repubblica [10 April 2011] 1). These traces have been tentatively
interpreted as the marks used to put in place the travertine
blocks before the inauguration of 80 C.E. (although the piers
591
592
[AJA 115
Fig. 3. Locations of Roman buildings with red-painted stones (in chronological order): 1, Colosseum; 2, Mausoleum of Hadrian; 3, Temple of Divus Hadrianus; 4, Temple of Divus Antoninus and Diva Faustina; 5, Templum
Pacis (Severan restoration); 6, podium by the Arch of Titus; 7, Arch of Septimius Severus (modified from LTUR
3:484, fig. 190, s.v. Muri Aureliani).
After his triumph in 71 C.E., Vespasian built the Templum Pacis, having prodigious resources of wealth on which to draw
( Joseph. BJ 7.5.7). These resources might well have been the riches previously looted by Nero (cf. Plin. HN 34.19.84), but they are
generally connected with the booty of the Jewish War (see Claridge 1998, 15354), since the great majority of Roman temples were
victory monuments. Although the most important spoils from the Temple in Jerusalem were stored in the Templum Pacis itself,
nevertheless silver and gold and ivory in masses . . . flowing, so to speak, like a river were displayed during Vespasians triumphal
procession ( Joseph. BJ 7.5.5). The construction of the Colosseum out of the spoils of the Jewish War is attested by the Vespasianic
inscription CIL 6 40454a deciphered on a block of Proconnesian marble reused in 444 C.E. See Alfldi (1995) and particularly Feldman (2001, 60), who lists other buildings financed from the booty of the Jewish War. On an earlier reuse of that inscribed block, see
Conti 2008.
2011]
593
594
[AJA 115
10
On the identification of the podium, see Ziolkowski
2004, 6584.
11
I have noticed the imprints of at least 20 courses of blocks
75 cm high left on the northwest buttress of the Basilica of
Maxentius, attesting that the perimeter wall of the Templum
Pacis was almost completely rebuilt with blocks of Lapis Albanus. Indeed, some red blocks not in situ were brought to
light near this buttress during Cozzas excavation of the hall
of the Severan Marble Plan (19551956). Now, these blocks
also show some red-painted marks, which were surely painted
during Cozzas excavation. Other painted blocks were found
in the recent excavation of the axial hall of the Templum Pacis; again in this case, the red layer has not been noticed by
the diggers (Fogagnolo and Rossi 2010). Reused fragments
of blocks of Lapis Albanus with red surfaces can be seen in a
wall built against the Basilica of Maxentius near the hall of the
Marble Plan, as well as in the 17th-century foundation (now
above ground level) of the southeast wall of the basilica of SS.
Cosma e Damiano. (The fragments should be the remainders
of the demolition of the southeast wall of the hall toward the
Via Sacra.)
12
The walls of the Templum Pacis at SS. Cosma e Dami-
2011]
Fig. 6. Red-painted blocks of Lapis Albanus at the Temple of Divus Hadrianus (north wall
of the cella, toward the interior). The red layer appears on the lower surfaces (top, bottom)
and on the vertical surfaces (inset ).
Fig. 7. Red-painted blocks of Lapis Albanus at the Temple of Divus Antoninus and Diva
Faustina (northwest wall of the cella): interior (top) and exterior (bottom) lower surfaces
and vertical surface (inset ).
595
596
[AJA 115
Fig. 8. Red layer on the blocks of the podium by the Arch of Titus: lower surfaces of blocks of
travertine and Lapis Albanus (top and bottom, respectively) and a general view of one of the surviving parts of the podium (inset ).
For instance, evidence from the blocks at the Templum Pacis demonstrates that the red paint was applied
when the holes for the iron dowels had already been
prepared. Indeed, at the ground floor of the monastery of SS. Cosma e Damiano, next to the corner between the rear walls of the southeast and southwest
porticoes, the red paint appears inside the dowel hole
carved in the lower surface of a block of Lapis Albanus
(the iron dowel has been stolen) (fig. 9, left). The
same detail can be noticed in another dowel hole at
the first landing of the modern staircase (see fig. 9,
right). The painted edges of these two holes are also
rounded, and it is unlikely that this rounding was made
when the iron dowels were already inserted (it would
have been useless and difficult to achieve). Since the
holes for the iron dowels were carved on the construction site, the red traces inside them indicate that the
lower surfaces of the blocks were painted in the area
of the Templum Pacis, possibly when the blocks were
upside down or at least lying on their sides; no doubt
the iron dowels could not be inserted when the lower
surface of a block was lying on the ground.14
14
Even if the red paint simply seeped between the iron dowel and the surfaces of the holes, the blocks would have been painted at
the Templum Pacis. The same detail can be seen in a dowel hole of one of the Severan blocks of the Colosseum (see fig. 4c).
2011]
597
Fig. 9. Red paint inside the dowel holes of two blocks of Lapis Albanus from the rear wall of the southeast
portico of the Templum Pacis (now in the monastery of SS. Cosma e Damiano): left, ground level; right, first
landing of the main staircase.
15
The analyses of two more samples were conducted in
December 2010 by Artelab (see my discussion of the podium
near the Arch of Titus and the Severan brickwork of the Templum Pacis). I thank the Johns Hopkins University for funding these tests.
16
Cf. Augusti 1967, 7792.
17
In infrared spectroscopy, infrared radiation is passed
through a sample; some of the infrared radiation is absorbed
by the sample itself and some of it is passed through (transmitted). The resulting spectrum creates a molecular fingerprint
of the sample. Like a fingerprint, no two unique molecular
structures produce the same infrared spectrum, and for most
common materials (esp. inorganic compounds) the spectrum of an unknown material can be identified by comparison with a library of known compounds.
598
Fig. 10. Top, detail of the red paint on the lower surface of a block of Lapis Albanus (courtesy Artelab);
bottom, lower surface of a block of Lapis Albanus,
painted red with a brush. The dotted line indicates
the direction of the strokes, visible with a raking
light. Both are from the rear wall of the southeast
portico of the Templum Pacis (ground floor of the
monastery of SS. Cosma e Damiano).
18
According to the database of FT-IR spectra, the presence
of red ocher would be indicated by bands appearing near
3600 cm-1.
19
To avoid misunderstandings, it should be noted that the
red paint was not laid on a white layer of gypsum (i.e., there is
no white ground for painting, or undercoat, made of gypsum,
as has been suggested in the case of the red stripes and symbols painted on the brickwork in Hadrians Villa); cf. Attoui
2008. A great amount of gypsum has been identified in the
colored layers applied on the columns of the Temple of Divus
[AJA 115
Hadrianus, suggesting the use of a paint (not necessarily original) made with lime and gypsum (Cozza 1982, 503). Such an
intentional mixture has been noticed in the modern restorations of ancient and modern Roman buildings and has been
confirmed by archival documents (Pochetti et al. 1991).
20
See Wellmann 2004, 3:67, 3:95. Pliny (HN 35.1316) lists
different varieties of red ocher, specifying uses and names,
and he gives a useful classification of red pigments based on
quality and price.
2011]
599
Fig. 11. Identification of the main components of the red paint from the Templum Pacis by Fourier transform infrared
spectroscopy (FT-IR), according to the intensity of the peaks in the spectrum (courtesy Artelab).
21
Direzione Generale della Statistica, Italy 1881, xxxxxxi;
Mantovani 1884, 327 (esp. the Carta Geologica).
22
Cf. Barat 1997, 2930.
23
Cf. Plin. HN 36.59.18283. In the case of gypsum, it cannot be established whether this component of the red paint
was quarried locally or imported. Around Rome there are
many deposits of gypsum. Toward the end of the 19th cen-
600
24
[AJA 115
ple of Castor and Pollux in the Roman Forum and the Colosseum. The white layer also appears in the Servian Wall (see
Corazza et al. 1987, 234 n. 1), in the piers of the Aqua Claudia, in the Templum Pacis (original Vespasianic phase and
Severan restoration), and in the Temple of Divus Hadrianus.
Blake (1959, 158), too, noticed that mortar was sometimes
used like lime to even the beds but not to cement the blocks
together (cf. Blake 1959, 80 [on the Aqua Claudia], 93 [on
the Colosseum]). Adam (1994, 49) thought that the layer of
lime in ashlar masonry was limited to Rome and to the Republican age and was used in monuments built with blocks
of poor-quality tuffs, such as the Temple of Portunus in the
Forum Boarium (to be added to Luglis list).
2011]
601
Fig. 12. Re-creation of the red paint with Rosso di Pozzuoli (left ) and red ocher (right ). This figure illustrates
the colors of different mixtures in comparison with the samples from the Templum Pacis. The numbers in
parentheses indicate how many measures of each ingredient are used.
26
Each block was clearly lowered with great precision; there
are no traces of lever holes for sliding them into place. Moreover, some of the blocks appear to have been lowered directly
into recessed slots 12 cm deep, which were carved into the
upper surface of the course below.
27
The same test was made by L. Lombardi (pers. comm.
2009) on another sample from the Templum Pacis and gave
the same result.
28
Cf. Forcellino 1990, 50 n. 51; Bellini 2001; Esposito 2001;
Rattazzi 2007.
29
In the Flavian structure of the Colosseum, both the tuff
and the travertine blocks occasionally present this thin layer of
lime. The white layer was already noticed by Gori (1875, 124);
Blake (1959, 93), who saw it only in the blocks of Tufo Lionato; and Gabucci (1999, 107), who claims that a thin layer of
mortar was laid on the surfaces to help position a given block
through the use of levers; see also Lancaster 2005, 645.
602
fig. 2e). These observations disprove Luglis assumption that the function of the red layer was comparable
with that of the white layer.30
30
Lugli (1957, 1:243) warned that for what concerns travertine it should be noted that often what seems to be a limewash between the blocks is just a calcareous secretion due to
water infiltration. To establish whether the white layer consisted of artificial lime or of carbonate salt crusts is just a secondary issue; in both cases, its function cannot be comparable
with that of the red layer.
31
IG 7 3073; cf. Bundgaard 1946; Dworakowska 1979; Turner 1994.
32
Bundgaard 1946, 14.
33
Fabricius (1881, 67) and Choisy (1884, 205) pointed out
that this method was still in use in their days.
34
While in Roman squared-stone masonry, both the horizontal and vertical faces were dressed to a plane, in Greek
buildings, usually the vertical faces had the central area
worked back more or less roughly, and only a narrow band
around the sides and top of each face made contact with the
next block. This treatment of the vertical joint faces, called
anathyrosis, was prescribed also by the Lebadeian contract,
and the miltos test was used to dress and check these bands
around the joint faces.
35
IG 7 3073, lines 13236. A wooden rule at least 6 m long,
[AJA 115
2011]
The red surfaces visible in Rome rule out the possibility of a so-called rubrica test. Indeed, the surfaces
in Rome bearing the red paint are not smooth and
polished (fig. 13). That the irregularities and cavities of those surfaces are red proves that the surfaces
themselves were actually painted with a brush, as examination with a raking light has confirmed (see fig.
10, bottom). In Greece, the contact faces were eventually polished and cleaned so that no red traces would
be visible; this procedure was not applied in Rome,
where the painted surfaces of the blocks still preserve
the red layer. To sum up, the Roman red surfaces have
nothing to do with the Greek red surfaces.
Several clues (the use of quick-setting paint, the red
paint in the holes for the iron dowels, the single coat of
paint) seem to attest that the Roman red blocks were
positioned when the paint was already dry. I would
exclude the possibility that a Roman innovation may
have been to use the blocks for the same purpose as
the wooden/stone rules or the large circular slabs used
in ancient Greece; in other words, I do not believe the
Roman blocks were employed in a rubrica test to verify
their match with the blocks already in place. Indeed,
the red paint is not visible on both contact faces, and
it is unlikely that, after the test, the red paint was removed from the blocks already placed and left on the
blocks yet to be placed. Last but not least, the contact
surfaces were not perfectly smooth, which is not the
ideal condition for a successful test.
603
posed of calcite was noticed, too, but only between the blocks
of the highest row. Thus, its presence has been considered
exceptional; it would have enabled the blocks to slide, [and
it] must also have been used for static purposes, as noted by
Lugli (Pennini 2005, 296).
44
De re aedificatoria 3.10.45; Orlandi 1966, 21417. Cf. Rykwert et al. (1988, 75), who translate the passage as the joints
are painted in red clay. In fact, Alberti uses the Latin word
rubrica (red ocher).
45
Giving the blocks a red ocherbased coating seems to be
a practice very close to the skills of painters and plasterers.
Were they responsible for applying the red paint? Or was it
the task of the stonemasons who actually dressed and laid the
blocks in place?
46
See Blanc 1983, 1984.
604
[AJA 115
Fig. 13. Left, lower irregular surface of a Severan travertine block above the recess for the Corinthian capital of a flat
pilaster belonging to the Templum Pacis southeast portico (atrium of the monastery of SS. Cosma e Damiano); right,
vertical contact surface of a block of Lapis Albanus, showing traces of the chisel, at the corner of the rear walls of the
porticoes of the Templum Pacis (second landing of the monastery of SS. Cosma e Damiano).
47
50
I thank Rose-Marie Mousseaux, conservateur du patrimoine at the Dpartement de lHistoire de lArchitecture et
de lArchologie de Paris, for showing me the blocks found in
Paris. On the blocks found at Reims, see Brunet-Gaston 2008,
54, figs. 3.93.11; 61, fig. 4.2. Some of the blocks still visible in
the area of the quarry of Tor Blanc at Glanum (Saint-Rmyde-Provence) bear red-painted inscriptions, too (Rolland
1946, 1958).
2011]
605
51
Volpe 2002, 383. Volpe assumes that the red pigment is
minium, but no chemical analyses have been mentioned to
support this identification.
52
Lugli 1957, 1:573. I thank one of the anonymous reviewers for the AJA and especially Evelyne Bukowiecki for information on the Domus Augustana, where she noticed that the
red stripes are missing in the Domitianic phase, when actual bonding courses of bipedales make their appearance. Indeed, the technique of associating the bipedalis courses with
the putlog holes and the springing of arches seems to be an
experimental one under Vespasian, but it was fully established
by the time of Domitian (Lancaster 2005, 69 n. 42). On the
mattoni rubricati con minio of the Basilica of Maxentius,
which would extend the use of red stripes to the early fourth
century C.E., see Amici 2008, 23 (it is not clear whether the
red pigment has been analyzed). See also the case of Hadrians Villa (Attoui 2008, 546); the red paint is made of red
ocher and gypsum, even though it would seem that the latter
was an actual layer.
53
I would also mention the presence of red paint on the
Severan Forma Urbis, which was displayed precisely in the
Templum Pacis. The red coat surviving on a recently discovered fragment depicting the road between the Palatine and
the Circus Maximus has been identified as mordente or
bolo armeno (Ciancio Rossetto 2006, 135)even though
these materials were used for completely different purposes;
in fact, no chemical analysis has been published so far, and
very likely it has not even been made.
606
[AJA 115
54
Again, Rykwert et al. (1988, 359) translate rubrica as red
chalk, or simply chalk; see Orlandi 1966, 99091. I would
also mention the use of black lines to mark the intrados of the
vaults to be constructedanother hitherto unknown procedurein the Roman houses beneath S. Maria in Aracoeli on
the Capitoline Hill. (I am currently working on the publication of these remains).
55
The carpenters use of red ocher to square timber is described in a late 17th-century edition of Mattiolis commentary on Dioscorides De materia medica (Mattioli et al. 1680,
515); cf. Mattioli 1554, 607. An interesting example is visible
again in the basilica of SS. Cosma e Damiano, where two horizontal red lines are painted on the fourth-century brickwork,
just below the gabled facades of the hall toward the Via Sacra,
and continue along the new side walls of the basilica. These
lines, traced through cords stained with red ocher on the wall,
correspond to the structure of the wooden ceiling made under Pope Urban VIII and apparently were painted by the 17thcentury carpenters; see also Fabricius 1881, 67; Choisy 1884,
205.
56
Alberti De re aedificatoria 6.12; Rykwert et al. 1988, 181
82; see also Brilliant 1967, 456.
2011]
607
Fig. 16. Severan block of travertine at the junction between the southwest portico of the Templum Pacis and the hall
toward the Via Sacra (first landing of the monasterys main staircase). Its end (right ) is smooth but not red; its long
vertical surface, originally matching a block of Lapis Albanus (one of the clamp holes is visible), is smooth and red for
at least 89 cm (3 Roman feet), corresponding precisely to the width of the missing block. Another area 8 cm wide (indicated by the arrow) is partially red (left ), but the rest of the surface (which would have been inside the hall toward
the Via Sacra) is rough and not painted.
57
At the Templum Pacis, I have noticed only four smooth surfaces, all belonging to travertine blocks that were not contact faces
(and indeed, they did not receive a coat in red pigment).
608
[AJA 115
58
Since the red paint was spread exclusively on the lower
(horizontal) surface and on one (vertical) end of a block (see
fig. 16), in the Severan restoration of the Templum Pacis, it is
also possible to reconstruct the sequence of how the blocks
were placed during the course of the construction process.
Row after row, the blocks were placed starting from the hall
of the Marble Plan toward the corner of the southeast and
southwest porticoes, and the same direction was followed in
the construction of the surviving stretches of the rear wall of
the southwest portico and the side wall of the hall toward the
Via Sacra. If, however, the structure was not lineare.g., at
the Mausoleum of Hadrian, in the Temples of Divus Hadrianus and Divus Antoninus and Diva Faustina, or in the podium next to the Arch of Titusthe vertical painted surfaces
were usually the long ones. At the Templum Pacis, this occurs
only in the joints between orthogonal walls, notably in the
block mentioned above (see fig. 16) and on the upper landing of the modern staircase (see fig. 13, right).
59
I had also considered the possible symbolic significance
of the red paint. E.g., Pliny the Elder (HN 33.38.115) mentions the description of Odysseus ships in the Iliad (2.637):
their prows were painted with red ocher to show that rubrica
in honore erat (Augusti 1967, 81; Katsaros 2008). The red
paint between the joints, like the use of coins in the foundations, might have been a sort of good omen. It is worth recalling the custom of painting the face of the triumphing general
with red paint, in the same way the cult statue of Jupiter in
the Capitoline Temple was painted (Cic. Fam. 9.16.8; Plin.
HN 33.36.11112; Haack 2005). Suetonius (Calig. 17.2, 35.1,
55.3; Dom. 4.4; Iul. 49.3, 84.1; Ner. 25.1, 30.3, 32.3) considered
purple a great privilege reserved for generals and emperors.
Neros ashes were deposited inside a sarcophagus (solium)
of porphyry (Suet. Ner. 6.50), and it has been suggested that
Hadrian was buried in a huge sarcophagus of the same marble (DOnofrio 1971, 14573; Herklotz 2000, 19). The use
of red porphyry became extensive precisely from Trajan onward, and with Antoninus Pius, there would seem to be legal
restrictions that regulated the use of this material, destined
exclusively to gods and emperors (Ambrogi 1995, 302). Septimius Severus ashes, too, were kept in an urn of purple stone
(very likely red porphyry), which was deposited in the Mausoleum of Hadrian (Dio Cass. 77.15.4). It may be argued that a
busy contractor would not have wasted time painting surfaces
red for symbolic reasons. The counter argument to this is, of
course, that the very act of painting the blocks is in itself a
time-consuming process, but apparently the Roman contractors found it worthwhile nonetheless.
60
See Lugli 1919, 21516.
61
A similar case, for what concerns the Flavian age, is that
of the Haterii, whose commissions in the city of Rome were
proudly carved on a famous funerary relief showing five monuments, including the Colosseum. On the relief, see Coarelli
2009, 429. Of course, the contractor responsible for the buildings with red-painted blocks might not have marked his own
material with that distinctive paint with the intention of indicating his ownership, since the joints of the blocks themselves
would not be visible again.
2011]
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