1880
For us the Piazzale emerges in 1880, when Rodolfo Lanciani describes the discovery in the theatre of sixteen reused marble pedestals for statues, carrying inscriptions.[1] The square itself had not yet been excavated, so Lanciani did not know that it is highly likely that that is where they originally stood. They were found in the central corridor of the theatre (w. 3.22), leading from the orchestra to the Decumanus. They were stacked upon each other lengthwise along the walls and joined by iron bars. The inscriptions of ten of the pedestals were turned towards the walls and could therefore not be damaged anymore. The remaining six inscriptions were turned outwards and most of these inscriptions were erased more or less accurately, with one exception (a pedestal that was partly covered by the floor). The pedestals had protruding parts above and below the inscriptions that were hacked off to make them fit. The letter S on the lower part of two of the inscriptions is interpreted by Lanciani as a symbol added by the architect,[2] who thus earmarked them for transport to the theatre. Lanciani does not explain why the other inscriptions do not have that letter. Not much later the inscriptions were published by Hermann Dessau in the Corpus Inscriptionum Latinarum (volume XIV, 1887). Noteworthy are the letters TPM SOL painted in large and beautiful red letters on the second line of one of the inscriptions. Dessau explains the letters as TEM(plum) SOL(is), temple of Sol.[3] Lanciani furthermore suggests that the walls of the corridor had threatened to collapse and were reinforced with the pedestals. It is also conceivable that the theatre was being changed into a military stronghold, out of fear of barbarian invasions.1881
Further discoveries were published by Lanciani in 1881, together with a plan accompanied by a detailed legenda.[4] It became apparent that there was a square behind the theatre. At the south side it was bordered by square tufa bases for fourteen marble columns. The columns had fallen to the ground, but Lanciani adds that they will be re-erected on their bases. The floor of the south side of the porticus has a "battuto alla veneziana", that is, made of little pieces of marble and stone in cement.At the west and east end of the south side, behind large brick piers, Lanciani found two rooms of equal dimensions (nrs. 16 and 17 on Lanciani's plan; w. 4.45, d. 3.48), both with a masonry base against the back wall (an altar according to Lanciani) and benches on the sides, revetted with marble. In the western room the well-known marble "altar of the origins of Rome" ("altar of the twins Romulus and Remus") was found. It is today in the Museo Nazionale in Rome, but has been replaced by a plaster cast. The context in which it was found, as explained by Lanciani, is rather curious. The room had been investigated in antiquity, and part of the west wall was then destroyed. The marble of the pavement, on the masonry altar and on the seats was removed. The looters did not however note the altar, which was covered by a large piece of ceiling. We could also imagine that the looters did see the altar, but were not interested in it, because they were looking for marble to be used as revetment, not for marble to be burned in a lime kiln.
The temple in the centre of the square was also found. One of the marble steps of the staircase now has a graffito of an elephant, but Lanciani makes it clear that the steps were not found by him, they are a modern restoration with ancient marble. To the west of the temple, on the square, a statue of a togatus and a further pedestal with inscription were found. To the east of the temple ("nel vano di un corridoio") a column with a relief of and dedication to the Genius of the Castra Peregrina was found. It belongs to the row of columns on the south side of the square. On another column is the word ROMA. A wide path leads from the south side of the square to the temple. The path is paved with a "battuto alla veneziana" flanked by marble borders, sloping downwards towards the south.
Lanciani describes his surprise when he inspected the results of the excavations (at which he was apparently not present) on April 25th 1881. Brick columns of a porticus had been unearthed on the south part of the west and east sides of the square. They have a diameter of 0.77, and are decorated with painted, fluted plaster. Dividing walls create small rooms, decorated with black-and-white mosaics. In other words, the first stationes (offices) had been found, initially identified as scholae (guild seats). Lanciani does not mention what is now known as statio 1, but describes stationes 2, 3, 4 and 5 on the east side and statio 60 on the west side. A travertine drainage channel surrounds the square.
The excavation reports from the late nineteenth and early twentieth century sketch the area as being a total chaos. All sorts of objects were found, many of which were unfortunately not described in detail. Fragments of marble inscriptions that could sometimes be joined were found all over the place. These include many funerary inscriptions. We should not forget that the ruins of the theatre always remained visible and were used. In late antiquity the arches of the first upper level of the theatre were blocked, so that the building could be used as a fortress. This may have been done in the fifth or sixth century, when Goths and others invaded Ostia and Portus. In a room next to the corridor leading to the orchestra Lanciani's workers found forty corpses, apparently of soldiers from the sixteenth century. A lot of marble was taken to lime kilns, several of which have been found amongst the ruins (one to the east of Via delle Corporazioni, to the south of the Caseggiato delle Fornaci (II,VI,7)).[5]
Clearly we must be extremely careful in assigning objects to the square or the buildings surrounding it. Without further, firm evidence we must live with the fact that the objects may have come from anywhere. An example is a statue of Serapis sitting on a throne, half life-sized, that was found in the north-easternmost shop in the façade of the theatre (room 31 on Lanciani's plan). This seems to be item no. 16 in the museum guide, where it is said that it was found "at the foot of the temple". The head, of which the findspot is not known, was joined to the statue later. Another example is a headless marble statue of a woman holding grain ears, perhaps a priestess of Ceres, found in a shop of the theatre.[6]
1882-1906
Excavations now continued to the west and east of the square. The square itself is mentioned for the first time again in 1889 with a passing reference to statio 2, but no further excavations seem to have taken place.[7] In 1890 small-scale excavations in the theatre were undertaken by the French Academy.[8] After a long period of silence Dante Vaglieri continued the work on the square. He discusses restorations of the mosaics of the stationes that been found by Lanciani and had been covered with earth again.[9]1907-1911
No work on the square is reported in 1907. In 1908 Vaglieri reports that the excavations of the square were continued on the west side. He describes stationes 55 and 56.[10]1912
Work was continued in 1912.[11] Vaglieri describes stationes 1 and 7-19, so omitting 6. Below the mosaic of statio 9 a bronze coin of Marcus Aurelius was found, dated to 171 AD.[12] Two travertine steps above a travertine drain for rainwater lead from the square to the stationes.[13] On the south-west part of the square a marble arm was found of a very large statue (l. 1.30).[14] Not many structures and foundations were found on the square, but almost pure clay, which leads Vaglieri to believe that the square was a garden.[15] The finds from this period were commented upon by Cantarelli and Michon.[16]1913
In 1913 a series of rooms, numbered a-i, set against the outer east wall of the porticus, was excavated.[17] Stationes 47 and 48 were unearthed and the plan was updated.[18] Dante Vaglieri passed away in December 1913. His work was continued by Roberto Paribeni, Angiolo Pasqui and Guido Calza.1914
In 1914 the excavation was speeded up by the use of carts on rails, and many stationes were excavated. They were described by Calza and Pasqui: nrs. 20-28, 42-43, 52-53, 57-58.[19] Calza informs us that the columns of the back rooms rest on travertine bases at a lower level and have double the diameter of those of the front rooms.[20] Pasqui informs us that on the east side trenches were dug to look for mosaics at the lower level. Confirmation of a lower level was found, but Pasqui does not provide any details. Instead he mentions the find of beautiful fragments of stucco that decorated both the larger columns of the lower level and the smaller columns of the upper level. A capital of one of the smaller columns was found.[21] The finds from this period were commented upon by Michon.[22]1915-1916
No work on the square is reported in 1915, but in this year Calza published a long article about the square, with a new plan.[23] In 1916 Calza reports that the excavations of the square are finished and he gives a short summary. He says that dividing walls of masonry between the back rooms replaced wooden dividing walls, but adduces no evidence for the latter. The building phases he distinguishes are the reigns of Augustus, Claudius and Commodus. In the fourth century there was decay: the mosaics were not taken care of properly, they were patched up, and not replaced by new ones. On top of the walls late layers of rammed earth were found, testifying to a road on top of the ruins of the square, connecting mediaeval Ostia with the Casone del Sale (now the museum) and the sea. The road did not run parallel to the Tiber, so presumably from the Decumanus to the museum, branching off from the Decumanus just before the theatre and then crossing the east and north part of the square.[24] in 1916 Paribeni reports important new discoveries in stationes 32-34 and 37-39 after thorough cleaning of the mosaics.[25]The excavation diary
In the years 1908-1916 the excavation diary, Giornale degli Scavi, was kept by Raffaele Finelli. He is mainly interested in the drainage system of the square and its surroundings. He provides only brief descriptions of the mosaics and says nothing about the masonry on top. The work was not systematic. Finelli does refer to the chaotic situation on top, listing many finds. He also describes the search for mosaics below those of the last phase, indicating that, if necessary, a "grotto" will be dug below a mosaic. There are some interesting descriptions of the finds in the lower layers, especially fragments of plaster decoration. In 1915 the excavations were affected by the First World War: "Essendo stata proclamata la mobilitazione generale sette operai che qui lavoravano avendo l'obbligo di presentarsi ai distretti militari nella giornata di oggi abbandonarono il lavoro. Gli operai rimasti, essendo pochi, ..." ("Having been proclaimed the general mobilization, seven workers who worked here having the obligation to report to the military districts today abandoned their work. The remaining workers, being few, ...").[26]The relevant pages in the Giornale degli Scavi were listed and extracted by Fabrizio Nai, in his master thesis from 1999:
1917-1961
After the completion of the excavations the finds were commented upon by Héron de Villefosse and Ensslin.[27] The inscriptions of the mosaics were published in 1930 by Lothar Wickert, in a supplement of the Corpus Inscriptionum Latinarum, volume XIV. A new plan of the square, drawn by architect Italo Gismondi, was published in 1954 in Scavi di Ostia, volume I. The mosaics were discussed in detail by Giovanni Becatti in Scavi di Ostia, volume IV, published in 1961. A plan was published by Becatti, based on the plan in Scavi di Ostia I.[28]1962-
In 1963 trenches were dug by Goffredo Ricci in the east porticus, but these were not published. According to the Giornale degli Scavi digging also took place in 1966 by Ricci. In 1970 many trenches were dug in the west porticus by Ingrid Pohl, published in great detail in 1987.[29] These are discussed on the next page. In 1980 a trench was dug in the back room of statio 38, also unpublished, witness drawings in the Ostian drawing archive. Apparently trenches were also dug by Patrizio Pensabene, sometime before 1996. Remains of a Republican porticus of tufa columns were then found on the south side of the square, at the level of the Monumento Repubblicano (V,XI,6).[30]Extracts from the Giornale degli Scavi by Nai: 1963: 32, 36, 1963: 36, 1966.
Restorations
After the excavations the mosaics were restored several times, and slowly the appearance of the square changed. In the late twentieth century tourists were still allowed to walk on the mosaics, which did the floors no good. This was forbidden in the twenty-first century, when a modern path was created along them (accessible for wheelchairs and with explanatory panels in braille), but no roof over them. Because people no longer rubbed the mosaics with their feet, moss started growing abundantly. An extensive restoration was then carried out, but the stationes still do not have a modern roof.A model of the square and stationes with detailed representations of the mosaics (scale 1:50) is in the Museo della Civiltà Romana in Rome. Presumably it was made by Italo Gismondi.[31]
Publications
The square has been mentioned in many publications, but it has not been the subject of a monograph. Russel Meiggs wrote some excellent pages about the function of the square. The most recent specialized work was done by Dorothea Rohde and Taco Terpstra.[32]A note on the measurements of the square
In 1914 Pasqui gives the following measurements of the square: the external length is 103.10, the internal length 94; the external width is 70.95, the internal width 60.80.[33] In the same year Calza states that the depth of the double porticus is 9 metres.[34] In 1916 Calza gives these measurements: the external length is 97.40, the internal length 83.00; the external width is 64.80, the internal width 50.40; the double colonnade has a depth of 14.40.[35] Measurements taken from Google Earth show that for some reason Calza's measurements from 1916 are totally wrong. The measurements from 1914 are correct with the exception of the internal width of 70.95, to which Pasqui forgot to add one depth of the double porticus of 9 metres, taking it to 79.95.
(1) Lanciani 1880.
(2) CIL XIV, 154 and 161.
(3) CIL XIV, 374. Is this perhaps a reference to the nearby Mitreo delle Sette Sfere (II,VIII,6)? More likely it is a reference to the Templum Solis in Rome. This temple was related to distributions of wine, initiated by Aurelianus (Sirks 1991, 391-394; Vera 2006). The words might be a form of protest, contrasting Imperial distributions with the private market, because they were written on the word Privatus.
(4) Lanciani 1881, tav. I and II after p. 148.
(5) Lenzi 1998. The one in the Caseggatio delle Fornaci is cat. nr. 6 on pp. 257-258 and was excavated in 1913 (Vaglieri 1913, 125). Cf. Finelli in the Giornale degli Scavi, describing the excavations of the north side of the square (GdS 1914, 98 (April 6-11 April)): "Notai in questo lato molte scaglie di marmi ed alcune di esse con molte tracce di lavori e queste mi fanno immaginare di essere presso una località ove a dovuto succedere un macello di marmi per portarli ad una lontana calcara e farne calce. Altra ragione non trovo per questa barbara distruzione."
(6) Vaglieri 1913, 135.
(7) Lanciani 1889, 18.
(8) Lanciani 1890; André 1891.
(9) Vaglieri 1906.
(10) Vaglieri 1908, 333-334.
(11) Vaglieri 1912, 172-173, 210-211, 243, 278, 345-349, 388-390, 435-436.
(12) Vaglieri 1912, 243.
(13) Vaglieri 1912, 346, 436; GdS 1912, 279 (October 1-5): "Quasi al centro del lato est ... furono scoperti due gradini in travertino, dell'alzata di m. 0.32 x 0.44 che dal piano dell'antica area, del sudetto Tempio di Cerere, conduceva al portico ... I gradini rinvenuti in questo lato e quelli presso l'angolo sud-est e quelli presso l'angolo sud-ovest ci fanno vedere che l'area tutta intorno circondata da due gradini, che mettevano in comunicazione il portico con l'area del tempio o del quadriportico."
(14) Vaglieri 1912, 347.
(15) Vaglieri 1912, 436.
(16) Cantarelli 1912 and 1913, and Michon 1913.
(17) Vaglieri 1913, 12-15, 128-133.
(18) Vaglieri 1913, 133-134 with 134 fig. 11.
(19) Calza 1914, 71-73; Pasqui 1914, 98-100, 147-148; Calza 1914, 284-290. On the use of carts on rails ("ferrovia Decauville"): GdS 1914, 42 (February 9-14).
(20) Calza 1914, 72.
(21) Pasqui 1914, 100.
(22) Michon 1915.
(23) Calza 1915 with fig. 1.
(24) Calza 1916, 138-141.
(25) Paribeni 1916, 326-328.
(26) GdS 1915, 141 (May 24-30).
(27) Héron de Villefosse 1918 with, and Ensslin 1928.
(28) Becatti 1961, fig. 19.
(29) Pohl 1978 and 1987.
(30) Presented at an Ostia seminar in 1996, in the presentation "Gli scavi al teatro / piazzale delle corporazioni"; Rieger 2004, 90 note 463.
(31) "Sala LV, La vita economica e finanziaria, al centro della sala" (Colini 1958, p. 661 nr. 75).
(32) Meiggs 1973, 283-288; Rohde 2009, 2012, 2018; Terpstra 2011, 2013, 2014.
(33) Pasqui 1914, 147.
(34) Calza 1914, 284.
(35) Calza 1916, 138-141.