Herodes Built Empty Tomb of Regilla at Triopion as Memorial, Not Tomb

Summary: Wealthy Athenian Greek Herodes Atticus built the empty Tomb of Regilla at Triopion as a memorial, not as a tomb, for his murdered younger Roman wife.

Herodes Atticus's Tomb of Regilla, built near Rome's Via Appia in second century CE, according to 18th-century etching by Venetian Italian architect, artist and engraver Giovanni Battista, or Giambattista, Piranesi (Oct. 4, 1720-Nov. 9, 1778), Vedute di Roma (1779): Not in copyright, via Internet Archive

Wealthy Athenian Greek Herodes Atticus built the empty Tomb of Regilla at Triopion, along Rome's Via Appia, as a memorial, not as a tomb, for his murdered wealthy, younger Roman wife.

In 160 CE, the year of his consulship, Roman consul Appius Annius Atilius Bradua charged his brother-in-law, Herodes Atticus (Ancient Greek: Ἡρώδης ὁ Ἀττικός; Roman name: Lucius Vibullius Hipparchus Tiberius Claudius Atticus Herodes; 101-177 CE), a wealthy Greek rhetorician with Roman citizenship, with the murder of eight months pregnant Appia Annia Regilla Atilia Caucidia Tertulla (125-160 CE), known as Regilla. Bradua's sister and Herodes Atticus's younger, wealthy Roman patrician wife had received a fatal kick to her abdomen from one of her husband's freedmen, Alcimedon. Herodes Atticus was acquitted by a senatorial court, and Alcimedon was never punished.

Post-murder, Herodes Atticus displayed uncontrolled grief, assessed as genuine by some and as fake by others. He sought to memorialize Regilla via extensive dedications in his native Greece and in her native Italy.

A massive project in Italy entailed reconfiguring Regilla's estate, located at mile marker three of Rome's Via Appia, as a garden sanctuary named Triopion (Ancient Greek: Τριόπιον), after the sanctuary of Greek mythology's Demeter (Roman mythology's Ceres) in southwestern Asia Minor (modern-day western Anatolia). Regilla's Triopion incorporated natural landscapes of meadows, orchards and vineyards with built environments of a cenotaph (Ancient Greek: κενός, kenós, “empty” + τάφος, táphos, “tomb”), or mnemeion (ancient Greek: μνημεῖον; from μνήμη, mnḗmē, “memory” + -εῖον, -eîon, from μνᾰ́ομαι, mnáomai, “I am mindful of”) for Regilla and a temple for Demeter, according to German classical archaeologist Barbara Elisabeth Borg in "Herodes Atticus in Rome: The Triopion Reconsidered" (page 317), published in 2018 in Visual Histories of the Classical World.

Regilla's cenotaph, designated as the Sepulchre of Annia Regilla (Sepolcro di Annia Regilla), the tomb of Annia Regilla (Tomba di Annia Regilla) or the tomb of Regilla (Tomba di Regilla), is sited on a Via Appia-facing plateau above the Almone River (Latin: Almo; Italian: Almone). The cenotaph presents a pleasing polychrome of yellow bricks as structural elements and red bricks for decorative accents. A free-standing front porch has disappeared from the structure.

A cenotaph is a symbolically empty grave, as explained by Welsh author, graphic artist and photographer David John in "Herodes Atticus" on his online travel guide, My Favourite Planet. It is possible that Triopion's Tomb of Regilla never entombed Regilla, for, although her actual gravesite remains a mystery, Regilla's burial is thought to have taken place near Athens. Also, if the Tomb of Regilla originated as an actual sepulchre, then her remains, once having been there, were removed.

A definitive endorsement of the Tomb of Regilla as a memorial, not as a tomb, is provided by two marble steles found at Triopion in the early 17th century. Stele A and Stele B present "Epitaph of Regilla" by second century CE Greek physician and poet Marcellus of Side (Ancient Greek: Μάρκελλος Σιδήτης, Marcellus Sidetes; Latin: Marcellus Sidetes). The poem honors Regilla as "she of the beautiful ankles," who is "neither mortal, nor divine." A "deme of Athens holds her tomb, which is likened to a temple, according to the translation of "Epitaph of Regilla" by British classicist and Ancient Greek literature textual critic Malcolm Davies and American classicist and social historian Sarah B. Pomeroy (born March 13, 1938), presented in "Marcellus of Side’s Epitaph on Regilla (IG XIV 1389): An Historical and Literary Commentary" (page 12), published in Prometheus in 2012 (also quoted and summarized by David John in "Herodes Atticus" My Favourite Planet).

Although many scholars equate the "beautiful, ornate temple tomb" with Regilla, Barbara Borg has questioned the association. She has found "no evidence for its patron." Also, the structure is located "almost a linear mile" to the north of the sacred cluster of the Nympheum of Egeria (Italian: il Ninfeo di Egeria; Latin: Nymphaeum Euuu), the Sacred Wood or Grove (Bosco Sacro) and the Temple of Demeter, which was converted to la Chiesa di (the Church of) Sant'Urbano alla Caffarella in the 10th century (Borg, pages 322-323).

Sunday, March 20, 2011, 11:43, image of Tomb of Regilla, Parco della Caffarella (Caffarella Park), Parco Regionale Appia Antica (Appian Way Regional Park), Caffarella Valley: Roundtheworld, CC BY SA 3.0 Unported, via Wikimedia Commons

Acknowledgment

My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:

Herodes Atticus's Tomb of Regilla, built near Rome's Via Appia in second century CE, according to 18th-century etching by Venetian Italian architect, artist and engraver Giovanni Battista, or Giambattista, Piranesi (Oct. 4, 1720-Nov. 9, 1778), Vedute di Roma (1779): Not in copyright, via Internet Archive @ https://archive.org/details/gri_33125011111214/page/n124/mode/1up

Sunday, March 20, 2011, 11:43, image of Tomb of Regilla, Parco della Caffarella (Caffarella Park), Parco Regionale Appia Antica (Appian Way Regional Park), Caffarella Valley: Roundtheworld, CC BY SA 3.0 Unported, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Tomb_of_Annia_regilla2.JPG

Sant'Urbano alla Caffarella (originally Temple of Demeter) and Bosco Sacro, sacred grove dedicated to Regilla, lie in public area (aree pubblichee) near Via Appia Pignatelli: August 2009 image of Comune di Roma Map of Valle della Caffarella, part of Parco Regionale Appia Antica (Appian Way Regional Park), southern Rome: Notafly, CC BY SA 3.0, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:ValledellaCaffarellaMap.JPG

For further information:

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Borg, Barbara E. "Herodes Atticus in Rome: The Triopion Reconsidered." Pages 317-330. In: Catherine M. Draycott, Rubina Raja, Katherine Welch and William T. Wootton, eds., Visual Histories of the Classical World: Essays in Honour of R.R.R. Smith. Studies in Classical Archaeology, vol. 4. Turnhout, Belgium: Brepols Publishers, 2018.
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Lanciani, Rodolfo. "Higher up the valley, on a spur of the hill above the springs of Egeria, stands the Temple of Ceres and Faustina, now called S. Urbano alla Caffarella. It belongs to the Barberinis, who take good care of it, as well as of the sacred grove of ilexes which covers the slope to the south of the springs. The vestibule is supported by four marble pillars, but, the intercolumniations having been filled up by Urban VIII, in 1634, the picturesqueness of the effect is destroyed. Here Herodes dedicated to the memory of his wife a statue, minutely described in the second Triopian inscription, alluded to above. Early Christians took possession of the temple and consecrated it to the memory of Pope Urbanus, the martyr, whose remains were buried close by, in the crypta magna of the Catacombs of Praetextatus. Pope Paschal I caused the Confession of the church to be decorated with frescoes representing the saint from whom it was named, with the Virgin Mary, and S. John. In the year 1011 the panels between the pilasters of the cella were covered with paintings illustrating the lives and martyrdoms of Caecilia, Tiburtius, Valerianus and Urbanus, and, although injured by restorations, these paintings form the most important contribution to the history of Italian art in the eleventh century. We have therefore under one roof and within the four walls of this temple, the names of Ceres, Faustina, Herodes and Annia Regilla, coupled with those of S. Caecilia and S. Valerianus, of Paschal I., and Pope Barberini; decorations in stucco and brick of the time of Marcus Aurelius; paintings of the ninth and eleventh centuries; and all this variety of wealthy intrusted to the care of a good old hermit, whose dreams are surely not troubled by the conflicting souvenirs of so many events." Pages 292-293. Pagan and Christian Rome. Chapter VI Pagan Cemeteries, pages 253-305; Via Appia, pages 286-305. Boston and New York: Houghton, Mifflin and Company; Cambridge MA: The Riverside Press, 1893.
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Lanciani, Rodolfo. ". . . the Valle della Caffarella is full of souvenirs of Herodes Atticus and Annia Regilla, who are brought to mind by their tombs, by the sacred grove, by the so-called Grotto of Egeria, and by the remains of their beautiful villa. . . . As regards the Sacred Grove, there is no doubt that its present beautiful ilexes continue the tradition, and flourish on the very spot of the old grove, sacred to the memory of Annia Regilla, CVIVS HAEC PRAEDIA FVERVNT." Pages 287-294. Pagan and Christian Rome. Chapter VI Pagan Cemeteries. Boston and New York: Houghton, Mifflin and Company; Cambridge MA: The Riverside Press, 1893.
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Lanciani, Rodolfo. "Woods sacred to the deity were called 'luci' in opposition to 'silvae' or 'nemora,' which names designate an ordinary forest. It is remarkable, indeed, that one of the luci should have survived through the events of centuries, and should still be flourishing, still venerated, still called by its classic name of 'Bosco Sacro.' I allude to the cluster of fine ilexes on the west side of the valley della Caffarella, near the so-called grotto of the 'ninfa Egeria' and the church of S. Urbano. Inscriptions discovered in that neighborhood[1] show that these lands once belonged to Annia Regilla, wife of Herodes Atticus; that after her death in childbirth the lands were consecrated to the gods; that they contained wheat-fields, vineyards, olive groves, pastures, a village named Triopium, a temple dedicated to Faustina under the title of New Ceres, a burial plot placed under the protection of Minerva and Nemesis, and lastly a grove sacred to the memory of Annia Regilla. The remains of the Triopium are to be seen in the Vigna Grandi; the family tomb is represented by the exquisite little building known as the 'tempio del Dio Redicolo,' the temple of Ceres and Faustina by the church of S. Urbano. As regards the sacred grove, there is no doubt that the present trees continue the tradition and live on the very spot sacred to the memory of Annia Regilla, 'cuius haec praedia fuerunt.'" Pages 120-121. New Tales of Old Rome. London: Macmillan & Company, Ltd., 1901.
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]]

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Totti, Pompilio. "Di S. Urbano. 20. Allargandoſi verſo la Caffarella in un luogo alto rimiraſi un'antico tempio di Bacco fatto a mattoncini, ma con portico di colonne di marmo, e ſotto ha un'Oratorio oue S. Urbano catechizzaua, e battessaua, si che da queſto luogo dicono eſſere ſtato condotto al martirio; & eſſendo ſtato al detto S. Urbano dedicato, ma per lungheza di tempo tra ſterpi, & hedere ſepolto, hora dal feliciſſimo Urbano VIII nel 1634 e ſtato ſcoperto, e di nuoua fabbrica rabbellito; e d'antiche, e deuote figure è ornato, e proueduto d'ogni coſa neceſſaria; perche i giorni feſtiui vi ſi celebri meſſa a beneficio, e commodo de'conuicini habitanti.
"A piedi d'un Chriſto ſopra la porta di dentro vi ſono queſte lettere.
"Bonizzo. frt
"A. XPI. MXI.
"E nelle pitture d'intorno vi ſu ſcorgono alcuni belli riti dell'antica Chieſa.
"Nella meza colonna, ò baſe, che ſoſtiene il pilo dell'acqua Santa, ſon lettere Greche, che ſignificano.
"Arae Dionyſij Apronianus Sacerdos.
"Poiche era appreſſo li Greci l'iſteſſo Bacco, che Dioniſio, e però eſſendo S. Urbano in luogo di Bacco riuerito, altri in una ſua cronologia di lui ſcriſſe. Pro Baccho coli coepit. E qui preſſo v'e una lapide rotta, che dice.
"Deſora Elpidia inlaeſi genitalis tori,
"Femina ſingulari pudicitia, rari exempli,
"Femina, que bene bibendo maritali
". . . e culta eſt diſciplina, que vixit annos xxxiiij
"menſes xj. dies vj. quieſcit in pace.
"qui fecit marito ſuo Heterio annos xviij.
"conpari merenti fecit.
"Oue per gli errori, & per li ſentimenti duriſcorgeſi eſſer del ſecolo rozzo; nè vi ſi raccoglie altro dalla forma del dire, ſe non che ella fuſſe Chriſtiana; e ſta la ſua effigie nel fine della lapide con le mani aperte quaſi aſpettando la gloria da Dio. Queſto luogo fù ritrouato dal Sig. Sebaùtiano Biliardo." Pages 128-129. Ritratto di Roma Moderna. Roma Moderna Distinta in Sei Giornate; Giornata Seconda: Rione di Ripa, pages 91-165. Roma: Per il Mascardi, ad instanza di Pompilio Totti, M.D.C.XXX VIII [1638].
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