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A Reinterpretation of the Monument of L. Aemilius Paullus at Delphi
Dylan Bloy, Gettysburg College

The continuous sculpted frieze from the monumental pillar dedicated by Lucius Aemilius Paullus at Delphi after the battle of Pydna in 168 B.C. has been the subject of numerous scholarly treatments in the past century, but scholars have yet to reach a consensus on which combatants belong to which contesting army and whether the frieze represents a close-fought contest or a one-sided victory. I argue that the sculptor used different depths within the relief plane to distinguish layers in which separate encounters occur. This recognition eliminates perceived inconsistencies of dress among the soldiers depicted and thus allows for a more confident identification of the figures based upon outfit. I accept the argument that a narrative of the battle proceeds around the pillar monument, but show, contrary to past analysis, that Macedonian casualties are portrayed on each face of the frieze. Thus the frieze shows an unequivocal Roman rout, culminating with a group of Roman soldiers running over the bodies of vanquished enemies. Moreover, the monument’s Latin inscription asserted Paullus’ appropriation of the pillar as war booty, closely following an established formula for such dedications in Roman communities and drawing on triumphal tradition in recording the name of the defeated enemy. This use of Roman epigraphic conventions sets it apart in an era in which other known Roman dedications in Greece were inscribed in Greek. Although the frieze is entirely Greek in sculptural style and the inscription is entirely Roman, they unite in expressing Roman military dominance and cultural appropriation.

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