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| South-west facing Odeon of Herodes Atticus – 2016 |
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| Detail of the niches – 2016 |
The theatre was built after 160 AD, out of local stone and a roof of expensive Lebanese cedar. What is immediately striking is that despite Herodes’ noble Greek ancestry, the theatre he commissioned was particularly Roman.
This seemingly small adaptation in theatre design – a Roman interpretation of Greek culture – was emblematic of the way Romans interacted with the Greek world. Something like a patronising mixture of appreciation and the desire to improve on their creations.
When I returned home, I began looking into who this beloved woman was and the story behind the dapper-looking Greek who commissioned this glorious theatre on the south-west slope of the Acropolis. The answers to these questions were pretty surprising!
Herodes Atticus was of noble descent and of consular rank. Tracing his heritage to the half-sister of Cimon, a famous Athenian statesman, and of course to Theseus (the hero) and (sure, why not?) Zeus. Interestingly, his family was rife with incest, which luckily he managed to avoid.
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| Bust of Herodes Atticus – wikipedia |
His close relationship with the ‘Good Emperors’ carried through serving Hadrian as a prefect in the Province of Asia, then Antoninus Pius as tutor to his sons (later emperors themselves) Marcus Aurelius and Lucius Verus. So respected and trusted was Herodes that he was given the wealthy and powerful relative of Empress Faustina the Elder as his bride. The family that Regilla came from was very well connected. Her dowry was impressive and family brought her significant power.
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| Facing north – 2008 |
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| Artists’ reconstruction |
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| Dedication bull by Regilla – Wikicommons |
The niches in her nymphaeum were typical of Hellenistic benefactor statecraft. The families and notable descendants of the emperors Antoninus Pius and Hadrian were represented, as were their wives and children. Regilla commissioned an impressive statement of dynasty and royal patronage placed beside busts of herself, Herodes, and their ancestors and children.
All of this looks like a pretty clear juxtaposition of power, perhaps making an ideological correlation to suggest that her dynasty was of the Emperors of Greece. In all ways they acted in the historic ways in which the Hellenistic kings had; and with the intimate support of the Roman emperors, there was no external military threat for them to worry about.
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| View of Olympia – 2008 |
All this sounds well and good, but why the titillating title?
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| Engraving by Piranesi of the supposed tomb / monument to Regilla – Wikipedia art commons |
Though the busy couple traveled throughout Greece and Herodes received many honours, as did Regilla, something quite dark happened. Significantly (and stop me if you’ve heard this one), Regilla was heavily pregnant when she was kicked to death in her stomach. Very Nero-esqe. What followed is described in Sarah B. Pomeroy’s ‘The Murder of Regilla: A Case of Domestic Violence in Antiquity’. Regilla’s brother brought suit in Rome, where Herodes’ acquittal was influenced by his former student, the Emperor Marcus Aurelius.
Flipping through my “Oxford Archaeology of Greece”, Herodes’ name continues to pop up all over the country.
His contributions to the architectural landscape of Roman-controlled Greece were impressive and varied. It seems to me, and other writers on the subject, that the building programme that followed her death looks like a guilty man playing the penitent to clear his name. Further, Herodes’ building projects with Regilla were exemplary of a desire to build their dynasty and be viewed through the same lensesas the Hellenistic kings once had, by leaving their mark through public benefaction all over the Greece.
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