Pinciano obelisk

The Pinciano Obelisk, originally erected by Emperor Hadrian to commemorate his young companion Antinous, has a fascinating history intertwined with the Roman Empire. It was commissioned in the 2nd century AD after Antinous died under mysterious circumstances while traveling with Hadrian in Egypt. Hadrian not only deified Antinous but also ordered the construction of Antinoöpolis in his honor.

The obelisk initially stood at Hadrian’s villa in Tivoli before being moved to the Circus Varianus in Rome in the 3rd century. After lying underground for centuries, it was excavated near the Porta Maggiore and later transferred to the Vatican by Pope Clement XIV. Finally, in 1822, it was relocated to its current site on Pincian Hill upon the orders of Pope Pius VII, who aimed to restore and embellish this historic monument for the enjoyment of citizens and visitors alike.

The Pinciano Obelisk features three distinct inscriptions on its pedestal. The two shorter inscriptions commemorate specific dates:

• SACRI / PRINCIPATVS / EIVS /ANNO XXIII: Indicating the 23rd year of the sacred pontificate (of Pope Pius VII).
• XI KAL / SEPTEMB / ANNO MDCCC / XXII: Referring to the 11th day before the Kalends of September in the year 1822.

The main inscription, which is longer and more detailed, reads: PIVS · VII · PONT · MAX · / OBELISCVM · AVRELIANVM / QVI · VNVS · SVPERERAT / TEMPORVM · INIVRIA / DIFFRACTVM / DIVQVE · OBLITVM / IN · PRISTINAM · FACIEM · RESTITVI / ATQVE · HOC · IN · LOCO · ERIGI · IVSSIT / VT · AMOENA · PINCII · SPATIA / CIVIBUS · AD · APRICANDVM · APERTA / EXIMII · GENERIS · MONVMENTO / DECORARET.

This translates to: “Pius VII, Pontifex Maximus, ordered the Aurelian obelisk, which survived the ravages of Time, broken in pieces and long forgotten, to be erected in the Pincio and returned to its ancient form, so that it could decorate the sunny spaces, so much appreciated by the citizens.” This inscription highlights the obelisk’s restoration and its significance in beautifying the Pincian Hill area.

The Pinciano Obelisk showcases the distinctive architectural style of ancient Egyptian obelisks, characterized by their tall, narrow, four-sided shape that tapers to a pyramidal point at the top. These granite structures were traditionally erected in pairs at the entrances of temples in ancient Egypt and were viewed as monumental symbols of the sun god Ra.

This specific obelisk, like many Roman obelisks, underwent modifications during its relocation and restoration process, but retains the essential elements that define the genre. Its smooth, polished surface likely exhibited intricate hieroglyphs in its original context, representing the deeds and accomplishments of the Pharaohs or explaining religious beliefs.

The addition of a contemporary pedestal by Pope Pius VII in the early 19th century further enhances the monument’s appearance while reflecting the neoclassical style prevalent during that period. Together, the ancient Egyptian and neoclassical influences create a unique blend that underscores the Pinciano Obelisk’s historical significance and aesthetic appeal.

Antinous, a youth from Bithynia, is significant to Roman history primarily for his close association with Emperor Hadrian, which symbolized the deep emotional bond between a ruler and his favored companion. Born in the early 2nd century, Antinous was introduced to Hadrian during the emperor’s travels and quickly became his confidant and companion during his extensive journeys around the empire. This unique relationship has made him a figure of poignant interest in historical narratives.

Antinous’s mysterious death in 130 AD while visiting Egypt prompted Hadrian to take extraordinary measures to honor him. He initiated the deification of Antinous, similar to how emperors were often idolized posthumously, and commissioned statues and monuments in his name across the empire. Hadrian also established Antinoöpolis, dedicating a city to his memory, a rare honor reflecting Antinous’s importance in Hadrian’s life.

The aesthetic beauty of surviving artwork depicting Antinous, along with his connections to Hadrian, allow historians and art enthusiasts to explore themes of love, loss, and deification in the Roman world, making Antinous a compelling figure whose legacy resonates well beyond the ancient past.

The Pinciano Obelisk stands as a monumental testament to the profound relationship between Emperor Hadrian and Antinous. After the untimely death of Antinous in 130 AD, Hadrian’s sense of loss was so immense that he chose to immortalize his companion through both deification and massive architectural memorials. The obelisk served not only as a physical tribute but also as a public symbol of Hadrian’s affection and commitment to preserving Antinous’s memory.

Hadrian’s decision to commission the obelisk to mark Antinous’s death, along with the founding of the city Antinoöpolis in his honor, illustrates the lengths to which he would go to honor their bond. The obelisk’s original placement at Hadrian’s villa and its subsequent journey to the Circus Varianus before finally residing on Pincian Hill mirrors the enduring nature of their connection, as it was culturally significant in both his personal life and imperial ambitions.

Additionally, the numerous statues depicting Antinous throughout the Roman Empire serve to further emphasize Hadrian’s dedicated quest to ensure his beloved companion would never be forgotten, thus making the obelisk an emblematic structure reflecting their unique and complex relationship.