The Sphinxes In Diocletian's Palace
In Diocletian’s Palace, the sphinxes were most likely the keepers of the Emperor’s last resting ground. Just like the pharaons of Ancient Egypt, the Emperor was attributed with divine origin and power. The Emperor called himself the son of Jupiter and that is exactly why he wished to decorate his last resting place-mausoleum with divine symbols, made of the same precious materials that the pharaohs once favoured. Unlike other Roman provinces, Egypt was considered as the private property of the Emperor. The Roman Emperor was seen as the successor of pharaohs and thus owned both the land and quarries. It is most likely that the palace architects commissioned pillars and sphinxes from Egypt. But, it is also possible, according to Joško Belamarić’s
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hypothesis, that the Emperor himself sent them during his campaigns in Egypt, in the period 297-298. Apart from the destroyed porphyry sarcophagus of the Emperor, there are also damaged sphinx sculptures in the palace. 13 (14) sculptures have been found, but none of them is intact. It appears that the sculptures are damaged in the same manner: there are fractures in the centre of the torso, the faces are damaged together with the urei and the front legs, which has lead us to believe that the damage, once inflicted on the sculptures and other symbols of a ruler’s honour and status, was intentional. There are three examples of damaged heads and the urei.
One of them is found above the Iron Gate: the relief of Victoria was recarved into the cross that thus assumed an apotropaic function. In the earlier periods, this transformation was usually dated to the 8th-9th centuries, but Dyggve agrees with Karaman on his original dating of these transformations to the 5th-6th centuries.
Karaman compared the form of the cross and the decorative roses with the decorative motifs on the sarcophagi of Ravenna, dated to the 5th-6th centuries. According to the most recent sources, the Ravenna sarcophagi are dated to the 6th-9th centuries. There are many other similar examples of such adaptations – transformations, like the one of the carved Diocletian’s head with the cross engraved in its forehead. The ureus on the head of the sphinx on Gotovac House was recarved into the cross, which was, by no means, inadvertent. The ureus was the symbol of a ruler, and its destruction meant also, however symbolically, the destruction of a ruler’ very essence: his power, honour, status, and, for some, his divinity.
Apart from the sphinx, all other symbols were considered pagan by the Christians who wanted to destroy their persecutor, by destroying not only his sarcophagus, but also the decorations that surrounded his last resting place. All of that happened, however, much before
the appearance of John of Ravenna and his reforms. Those intense purifications are associated with the period of Early Christianity. Some sphinxes remained exposed at certain locations and were thus attributed the role of keepers. It seems that their primary role, symbolising a ruler’s status and power, was forgotten. That is how sphinxes ceased to be pagan symbols, and became keepers that possessed wisdom and strength. It may well be said that the yearning for revenge against a persecutor, which is typical of the Early Christian period, later turned into indifference towards pagan symbols. This indifference or, even, this acceptance of pagan symbols was due to the ignorance of their true meaning. Once important representatives of divine power, pagan symbols eventually became decorative elements.
hypothesis, that the Emperor himself sent them during his campaigns in Egypt, in the period 297-298. Apart from the destroyed porphyry sarcophagus of the Emperor, there are also damaged sphinx sculptures in the palace. 13 (14) sculptures have been found, but none of them is intact. It appears that the sculptures are damaged in the same manner: there are fractures in the centre of the torso, the faces are damaged together with the urei and the front legs, which has lead us to believe that the damage, once inflicted on the sculptures and other symbols of a ruler’s honour and status, was intentional. There are three examples of damaged heads and the urei.
One of them is found above the Iron Gate: the relief of Victoria was recarved into the cross that thus assumed an apotropaic function. In the earlier periods, this transformation was usually dated to the 8th-9th centuries, but Dyggve agrees with Karaman on his original dating of these transformations to the 5th-6th centuries.
Karaman compared the form of the cross and the decorative roses with the decorative motifs on the sarcophagi of Ravenna, dated to the 5th-6th centuries. According to the most recent sources, the Ravenna sarcophagi are dated to the 6th-9th centuries. There are many other similar examples of such adaptations – transformations, like the one of the carved Diocletian’s head with the cross engraved in its forehead. The ureus on the head of the sphinx on Gotovac House was recarved into the cross, which was, by no means, inadvertent. The ureus was the symbol of a ruler, and its destruction meant also, however symbolically, the destruction of a ruler’ very essence: his power, honour, status, and, for some, his divinity.
Apart from the sphinx, all other symbols were considered pagan by the Christians who wanted to destroy their persecutor, by destroying not only his sarcophagus, but also the decorations that surrounded his last resting place. All of that happened, however, much before
the appearance of John of Ravenna and his reforms. Those intense purifications are associated with the period of Early Christianity. Some sphinxes remained exposed at certain locations and were thus attributed the role of keepers. It seems that their primary role, symbolising a ruler’s status and power, was forgotten. That is how sphinxes ceased to be pagan symbols, and became keepers that possessed wisdom and strength. It may well be said that the yearning for revenge against a persecutor, which is typical of the Early Christian period, later turned into indifference towards pagan symbols. This indifference or, even, this acceptance of pagan symbols was due to the ignorance of their true meaning. Once important representatives of divine power, pagan symbols eventually became decorative elements.