Updated outline of floristic richness in Roman iconography Alma Kumbaric • Giulia Caneva Received: 4 July 2013 / Accepted: 18 December 2013 Ó Accademia Nazionale dei Lincei 2014 Abstract Relatively little research has been carried out in the field of iconography in ancient Roman sculpture and painting. Therefore, we have compiled a botanical database to define the qualitative and quantitative aspects of botanical elements found in archaeological structures, and to name taxa cited in ancient literary sources which are of uncertain identification. This includes data set of about 420 art works and 3,000 related images based on information found in ancient writers and new discoveries, which have emerged from the research process. 202 taxa of plants (78 families, 159 genera, and 168 species) have been identified to date, and the main characteristics of their floristic ele- ments and their degree of rarity are reported. Acanthus mollis, Vitis vinifera, Phoenix dactylifera, Punica grana- tum, Ficus carica, Laurus nobilis, and Hedera helix proved to be the species represented most frequently, due to their strong association with mythological and religious sym- bolism. The database contains 97 (47.8 %) new or very recently identified species, representing almost half of the information currently available in academic literature; a large proportion of species represented in the artworks (70.0 %) seems to occur with very low frequency. A number of doubtful exotic taxa attributed to Pompeian gardens in some previous iconographic studies have probably been confused with native species. The database confirms the wide variety of botanical elements and their frequent recurrence in ancient Roman decorations. The ancients’ extensive knowledge of their natural surround- ings is also confirmed, suggesting the need for a more wide-reaching cataloguing of archaeological structures. Keywords Roman iconography Á Plant and archaeology Á Nature representation Á Plant iconography Á Phytoiconology 1 Introduction In Hellenistic–Alexandrine, and subsequently Roman, cultures, representations of natural phenomena and of social events were deep-rooted communication tool. Many elements suggest that the choice of subject in the decora- tion of architecture and artifacts was not random or merely ornamental. Symbolism was a constant presence, commu- nicating a message, warning, or desire to the observer (Vitruvius, De Architectura). Moreover, nature in all of its manifestations was thought to express the will of the gods (Seneca, De beneficiis; Lucretius, De Rerum Natura), and therefore its representation was used to pass on those divine messages (Plinius, Naturalis historia). People in the ancient world lived in direct contact with nature and were constantly attentive to natural phenomena, and therefore even the illiterate were undoubtedly able to ‘‘read’’ and interpret iconographic language (Caneva 2010). The botanical and zoological knowledge of the ancients was remarkable in many aspects, and aside from a religious–ritual (therefore mythological) value, the ancients were fully aware of the role played by plants and animals in nutrition, medicine, and handcraft (Harshberger 1896). Analyzing ancient writers, and paleobotanical and icono- graphic evidences can confirm this profound knowledge of nature; which and how many varieties of plants were actually used in such unwritten languages remains mostly unexplored to date. In ‘‘Mythological Flora’’, Dierbach (1833) listed 220 species cited in ancient sources; and according to Fabre (2003), 93 botanical species were widely known in A. Kumbaric (&) Á G. Caneva Department of Sciences, University Roma Tre, Viale Marconi 446, 00146 Rome, Italy e-mail: [email protected]123 Rend. Fis. Acc. Lincei DOI 10.1007/s12210-013-0279-4
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Updated outline of floristic richness in Roman iconography
Alma Kumbaric • Giulia Caneva
Received: 4 July 2013 / Accepted: 18 December 2013! Accademia Nazionale dei Lincei 2014
Abstract Relatively little research has been carried out inthe field of iconography in ancient Roman sculpture and
painting. Therefore, we have compiled a botanical database
to define the qualitative and quantitative aspects ofbotanical elements found in archaeological structures, and
to name taxa cited in ancient literary sources which are of
uncertain identification. This includes data set of about 420art works and 3,000 related images based on information
found in ancient writers and new discoveries, which have
emerged from the research process. 202 taxa of plants (78families, 159 genera, and 168 species) have been identified
to date, and the main characteristics of their floristic ele-
ments and their degree of rarity are reported. Acanthusmollis, Vitis vinifera, Phoenix dactylifera, Punica grana-
tum, Ficus carica, Laurus nobilis, and Hedera helix proved
to be the species represented most frequently, due to theirstrong association with mythological and religious sym-
bolism. The database contains 97 (47.8 %) new or very
recently identified species, representing almost half of theinformation currently available in academic literature; a
large proportion of species represented in the artworks(70.0 %) seems to occur with very low frequency. A
number of doubtful exotic taxa attributed to Pompeian
gardens in some previous iconographic studies haveprobably been confused with native species. The database
confirms the wide variety of botanical elements and their
frequent recurrence in ancient Roman decorations. Theancients’ extensive knowledge of their natural surround-
ings is also confirmed, suggesting the need for a more
wide-reaching cataloguing of archaeological structures.
Keywords Roman iconography ! Plant and archaeology !Nature representation ! Plant iconography ! Phytoiconology
1 Introduction
In Hellenistic–Alexandrine, and subsequently Roman,cultures, representations of natural phenomena and of
social events were deep-rooted communication tool. Many
elements suggest that the choice of subject in the decora-tion of architecture and artifacts was not random or merely
ornamental. Symbolism was a constant presence, commu-
nicating a message, warning, or desire to the observer(Vitruvius, De Architectura). Moreover, nature in all of its
manifestations was thought to express the will of the gods
(Seneca, De beneficiis; Lucretius, De Rerum Natura), andtherefore its representation was used to pass on those
divine messages (Plinius, Naturalis historia).
People in the ancient world lived in direct contact withnature and were constantly attentive to natural phenomena,
and therefore even the illiterate were undoubtedly able to‘‘read’’ and interpret iconographic language (Caneva
2010). The botanical and zoological knowledge of the
ancients was remarkable in many aspects, and aside from areligious–ritual (therefore mythological) value, the ancients
were fully aware of the role played by plants and animals in
nutrition, medicine, and handcraft (Harshberger 1896).Analyzing ancient writers, and paleobotanical and icono-
graphic evidences can confirm this profound knowledge of
nature; which and how many varieties of plants wereactually used in such unwritten languages remains mostly
unexplored to date.
In ‘‘Mythological Flora’’, Dierbach (1833) listed 220species cited in ancient sources; and according to Fabre
(2003), 93 botanical species were widely known in
A. Kumbaric (&) ! G. CanevaDepartment of Sciences, University Roma Tre,Viale Marconi 446, 00146 Rome, Italye-mail: [email protected]
123
Rend. Fis. Acc. Lincei
DOI 10.1007/s12210-013-0279-4
mythology and medicine. In a more recent study of clas-
sical authors, Andre (2010) has compiled a list of 4,000names of plants used by the ancients (mainly in the Med-
iterranean culture, in a broader sense, which considers the
areas from Portugal to India, including North Africa),corresponding to 1,100 modern-day taxa.
Relatively little investigation has been carried out
regarding the naturalistic, and in particular the botanical,iconography of ancient sculptures and paintings of the
Roman period. Phytoiconology (Caneva et al. 2005) isgenerally considered to pertain to the study of ornamental
features in architecture and art (Day 1892; Meyer 1920;
Vandi 2002; Milella 2010) and sometimes the powerfulsymbolic meaning of single elements in artistic represen-
tations is explicitly highlighted (Marcello and Forlati
Vinca sp./V. major L./V. minor Sm. (Apocynaceae), R
(Ciarallo 1991, 1992, 2006: House of Golden Bracelet(Reg VI, Ins 17, No 42), Pompeii, fres, entire flowering
plants).
Viola calcarata L. (Violaceae), RR (Ciarallo 1991:
House of Golden Bracelet (Reg VI, Ins 17, No 42), Pom-peii, fres, flowering plant).
Viola cfr reichenbachiana Jord. ex Boreau (Violaceae),
RR (Caneva and Bohuny 2003: Villa of Livia (MPM) (Icent. BCE), fres, flowering plant).
*Viscum album L. (Viscaceae), RR (Caneva 2010: Lo-
nicera/Viscum album, Ara Pacis, Rome (9 BCE), sculpt,small group of berries).
Vitis vinifera L. (Vitaceae), CC; entire not floweringplant, plant in fruits, branch with fruit, leaf, fruit.
This floristic list demonstrates the breadth of botanical
diversity which emerges from the analysis of this icono-graphic material. The most frequent families are: Astera-
ceae (21 taxa divided into 14 genera), Rosaceae (19 taxa
Fig. 1 Biological spectrum of the species represented in Romaniconography (I cent. BCE–III cent. CE); Ph phanerophyte, Chchamephyte, H hemicryptophyte, G geophyte, I hydrophyte, Hehelophytes, T therophyte, nd not defined
Fig. 2 Frequency of representation of the different parts of botanicalelements in Roman iconography (I cent. BCE–III cent. CE); (floflower/infl inflorescence, eflp entire flowering plant, fru fruit/concone/spo sporangi, epfr entire plant in fruit, br/lev/fr branch withleaves and fruits, enflp entire not flowering plant)
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123
divided into 10 genera, Poaceae (8 taxa divided into 6
genera), Caryophyllaceae (7 taxa divided into 6 genera),
etc. The most frequent genera are: Prunus (6 species),Allium, Anemone, Anthemis and Quercus (all represented
by 4 different species).
The floristic analysis shows that the dominant biologicalforms are Phanerophytes (Ph) (representing the 30.5 %),
and Geophytes (G) (representing the 23.6 %); together theymake up more than 50 % of all of the recorded species
(Fig. 1).
Regarding the types of botanical element represented,our data show a predominance of flowers (i.e. isolated
flowers/inflorescences and flowering plants) occurring with
a frequency of 47 %, and fruits, such as cones and spo-rangia (displayed both alone and paired with branches or
the entire fruiting plant) with 23 % (Fig. 2).
Despite the impossibility of tracking precise chorologi-cal information for plants of which only the genus was
identified, or of which the species identification is not fully
reliable, the dominant chorological type is Mediterranean:Steno and Euro-Mediterranean are both represented in the
proportion of 26 %; Euro-Asiatic follow with 25 %
(Fig. 3).The very common species (CC) are relatively few in
number (only 7 species, 3.4 % of the total: Acanthus
(Table 1, Fig. 4 a–o). These species have profound and
diffuse symbolic significance in the context of religion,mythology and medicine. With regard to the common
Fig. 3 Chorological spectrum of the species represented in Roman iconography (I cent. BCE–III cent. CE)
Table 1 The most mentioned species (CC and C)
Specie Number of appearances
CC Acanthus mollis L. 127
CC Vitis vinifera L. 117
CC Phoenix dactylifera L. 97
CC Punica granatum L. 61
CC Ficus carica L. 58
CC Laurus nobilis L. 55
CC Hedera helix L. 48
C Pinus pinea L. 34
C Malus domestica Borkh 27
C Pyrus communis L. 25
C Myrtus communis L. 17
C Allium sativum L. 16
C Lilium candidum L. 15
C Cupressus sempervirens L. 14
C Cydonia oblonga Mill. 14
C Phylitis scolopendrium (L.) Newman 14
C Prunus cerasus L. 14
C Olea europaea L. 12
C Papaver rhoeas L. 12
C Prunus domestica L. 12
C Triticum monococcum L. 12
C Nerium oleander L. 11
C Papaver somniferum L. 11
C Prunus dulcis (Mill.) D.A. Webb 11
C Prunus persica (L.) Stokes 11
C Quercus robur gr 11
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123
species (C), another 19 taxa are recorded with a percentage
of 9.4 % of the total (Table 1, Fig. 5). Common and verycommon species are therefore relatively few, and the fre-
quency of species and their number show an inverse trend.
There is a high percentage of very rare species (RR),47.3 %; and rare species (R), 23.2 % making up a total of
70.5 % of all species.
The present study contributes 33 new records of species(16.3 %), and in addition to the 64 species (31.5 %)
resulting from our previous findings (mostly regarding the
Ara Pacis study), it significantly increases understanding of
the floristic richness of Roman iconography. These 97records constitute almost half (47.8 %) of the information
available in ancient literature (102 records).
4 Discussion
Roman iconography is relatively rich on illustrations of
plants and the present study contributes substantially to the
Fig. 4 Acanthus mollis: a Villa of Livia (MPM, I cent. BCE),b capital (Ostia Antica, I cent. CE), c Cesar Forum (Temple of VenusGenitrix, Rome, I cent. CE); Phoenix dactylifera: d House of GoldenBracelet, Pompeii, e fragm., Area of Temple of Apollo Sosianus,Rome; f Tomb of Platorini (MTD, I cent. CE), g sarcophagus (MTD,140–150 CE); Punica granatum: h Villa of Livia (MPM, I cent.
BCE), i frieze (MCM, Augustan age), j fragm. (Temple of VenusGenitrix, I cent. CE), k sarcophagus (MTD, 140–150 CE); Laurusnobilis: l Villa of Livia (MPM, I cent. BCE), m funeral altar (MTD, Icent. CE), n Temple of Apollo Sosianus, Rome (I cen. CE), o cornice(Ostia Antica, 12 BCE)
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broadening of our knowledge in this field. The 202 taxa
here recorded are double the species previously recorded.
The set of recognized plants highlights the dominance ofrepresentations of flowers and woody species (Phanero-
phytes; Ph). This data confirms the importance of flowers
and trees in artistic representations when associated withmythological and religious meanings. These have, in truth,
always constituted significant and powerful symbols for
religions around the world (Brosse 1991, De Cleen andLejeune 2003).
Flowers are always associated with the ‘‘idea of beauty’’
and divinity in different cultures. Similarly, trees arewidely recognized as fundamentally sacred symbols for a
variety of reasons: the structure of the trunk, which rep-resents an axis connecting terrestrial and celestial spaces;
their canopy, which provides shelter and shade to shep-
herds and farmers; and sometimes also because of thenutritional value of their fruits.
The large number of geophytes recorded (mostly dis-
played in the Ara Pacis iconography) in our opinion canprobably be interpreted as resulting from the idea of
‘‘rebirth and conservation of life’’, as they preserve life
while lying dormant deep underground. For the oppositereasons, Terophytes (T), having a short life cycle, appear in
relatively small percentages, even if they are very common
among the flora of the Mediterranean area.Moreover, the results show that the very common spe-
cies (CC) are relatively few (only 7 species: Acanthus
mollis, Vitis vinifera, Phoenix dactylifera, Punica grana-tum, Ficus carica, Laurus nobilis, and Hedera helix). These
species have a profound and diffuse symbolic meaning in
the contexts of religion, mythology and medicine. In par-ticular, Acanthus mollis is the plant most represented in
Roman iconography, probably because of a symbolism
representing the idea of rebirth and associated with theApollinean values promoted by Augustus (Vandi 2002);
Vitis vinifera is the Dyonisiac element representing the
lymph and the ‘‘blood’’ of plants boiling in the awakening
of nature, like the must as it becomes wine (Baumann
1993).Different interpretations can be attributed to the high
percentage of very rare (RR) (47.3 %) and rare species
(R) (23.2 %), which is in total 70.5 %. These groups ofspecies are heterogeneous as regards their symbolic
meaning, but not when considering their broader meaning,
their presence in the natural habitat and their applied use.As some of these species have powerful symbolic mean-
ings (e.g. Crataegus sp., Daphne laureola), their presenceon monuments is not surprising.
The fact that many species are represented with such a
low frequency (some only once) suggests that ancientpeople had strongly developed observational skills (i.e. the
ability to observe and reproduce a significant number of
species was more highly developed in ancient people thanit is in modern) (Kumbaric et al. 2012); on the other hand,
this could mean that the botanical categorization of ancient
monuments deserves to be explored further, despite thegreat number of monuments already analysed.
The database also highlighted unreliable information
about a number of species (such as Annona squamosa L.,Bromelia ananas L., Cucurbita pepo L., Citrus aurantium
L., Mangifera indica L.) identified in some Pompeian
paintings and cited in academic literature (Comes 1879;Casella 1950). However, such species are related to
America (the first three) and to the Far East (the last two),
and they seem incompatible with the historical and geo-graphical context under consideration. The plants repre-
sented in the paintings were probably mistakenly identified
as exotic species sharing morphological traits with localones; we believe that this misinterpretation can be
explained as follows: the suspected Annona is probably a
depiction of the fruits of a Vitis; the supposed pineapple isprobably a pine cone surrounded by a tuft of needles; the
squash and mango are probably a pear and the orange is
more likely to be an apple or a quince.Additional proposed identifications for trees carved on
Trajan’s Column (Stoiculescu 1985), such as Abies alba
Liebl., Quercus polycarpa Schur., also appear to be ques-
tionable, because of missing elements that would allow adefinitive identification, but they are not altogether unli-
kely. If identification of these species can be confirmed,
then the species richness would be even higher.
5 Conclusion
This research substantially increases our knowledge of
floristic diversity in Roman archaeology, with a largenumber of new reordered species. Only a relatively few of
Fig. 5 Frequency of categories of rarity of the species
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123
the species recur in the iconography, and the majority of
those (about 70.0 %) seem to appear with very low fre-quency. The complete database confirms the richness of
botanical elements and their high recurrence in ancient
Roman monuments.This high floristic richness also confirms the great
attention paid by the ancients to nature. Further analysis in
this field and a wider study of ancient monuments spreadacross the Mediterranean basin will certainly increase the
floristic list of the Roman iconography.
Acknowledgments The authors wish to thank Angelo Merante forhis help with the graphics. We also wish to thank the SoprintendenzaSpeciale per i Beni Archeologici di Roma and the SovraintendenzaCapitolina ai Beni Culturali of Roma Capitale, for their help in thisstudy and for the granting of permission to take photographs inMuseums.
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