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Tabula ansata

A tabula ansata (plural tabulae ansatae), from Latin meaning "handled tablet," denotes a rectangular inscriptional frame characterized by a central panel with projecting, handle-like or dovetail extensions on the vertical sides, mimicking the physical form of ancient writing tablets or scrolls.^[1]^[2] Originating in the Augustan period of the late Roman Republic and early Empire, around the 1st century BCE, it served as a decorative and symbolic device for framing funerary, votive, and dedicatory texts on stone columbaria, memorials, and architectural reliefs.^[3] This motif evoked the portability and authority of legal or commemorative documents, enhancing the perceived monumentality of inscriptions through its sculptural integration in sarcophagi, mosaics, and temple decorations.^[4] Its prevalence in Imperial Rome extended into Late Antiquity, appearing in diverse media from bronze votives to gold plaques, before influencing neoclassical revivals in the modern era, such as the tablet clasped by the Statue of Liberty, inscribed JULY IV MDCCLXXVI to signify the 1776 Declaration of Independence and symbolizing enduring law.^[5]^[6]

Definition and Physical Characteristics

Form and Design Elements

The tabula ansata features a rectangular central panel designed to hold an inscription, flanked on its shorter vertical sides by two symmetrical projections known as ansae, or handles. These ansae typically adopt a dovetail or triangular shape, resembling the grips of a portable tablet or the ends of a scroll case, which facilitated both practical handling in votive objects and symbolic representation in monumental contexts.^[2]^[3] The overall form evokes a framed document, emphasizing the text's importance through architectural framing that mimics everyday writing implements. Design variations include the elaboration of the ansae, which could range from simple geometric protrusions to more ornate volute or wing-like extensions, particularly in sculptural and mosaic applications. In smaller artifacts such as bronze plaques or gold sheets, the ansae were sometimes pierced for suspension, adapting the form for votive dedication or personal use.^[7]^[8] The central rectangle maintained proportional harmony, often with the width exceeding the height to suit horizontal inscription layouts, while surface treatments like incised lines or relief carving enhanced visibility and durability in stone or metal media.^[6] This framing device appeared across media, from columbaria inscriptions originating in the Augustan period to imperial-era reliefs, where the ansae brackets evolved from functional motifs borrowed from Hellenistic precedents into standardized elements symbolizing official or dedicatory authority.^[3]^[9]

Materials and Fabrication Techniques

Tabulae ansatae in monumental and architectural contexts were primarily fabricated from marble, quarried and carved from single blocks to form the characteristic rectangular field flanked by dovetail handles.^[3] ^[10] Inscriptions within the field were executed through incising or relief carving using chisels and hammers by specialized lapicidae, with techniques varying from shallow grooves to more pronounced three-dimensional lettering depending on the stone's quality and intended visibility.^[11] Some examples employed the pousse technique, where letters were formed by punching or stippling to create outlines or filled forms, particularly in finer or smaller-scale works.^[6] Bronze served as a material for smaller-scale tabulae ansatae, such as votive or dedicatory plaques, cast or worked through hammering and chasing to replicate the ansate form and engrave text, enduring from the late Roman through Byzantine periods.^[12] Wooden tabulae ansatae appeared in portable contexts, including writing tablets and Egyptian mummy labels, typically cut from panels of silver fir or similar woods, with the ansate shape achieved by sawing or chiseling, and surfaces prepared with recesses for wax or direct carving.^[13] ^[14] ^[15] In mosaic settings, the tabula ansata motif was constructed using tesserae of stone, glass, or ceramic, arranged in situ on prepared beds of mortar to embed the handles and inscribed field, allowing integration into floors or walls as decorative frames for texts.^[4] Fabrication emphasized durability, with marble preferred for permanence in public monuments and bronze or wood for portability or specific ritual uses.^[16]

Etymology and Terminology

Linguistic Origins

The term tabula ansata derives from Latin, combining tabula, denoting a flat board, plank, or writing tablet often used for inscriptions or records, with ansata, the feminine form of the adjective ansatus ("provided with a handle"), from ansa, meaning a handle, loop, or projecting part.^[17]^[18] In classical Latin usage, tabula frequently referred to portable wooden or wax-covered surfaces for writing, as well as fixed panels or lists in legal and public contexts, reflecting its practical role in documentation from the Republican period onward.^[19] The root of ansa traces to Indo-European origins associated with curved or hooked forms, paralleling terms for pot handles or bends in Old Prussian and Lithuanian cognates, emphasizing a functional connotation of graspable extensions.^[20] This descriptive phrase, literally "handled tablet," emerged as a modern epigraphic convention rather than an ancient self-designation, lacking attestation in Roman texts or inscriptions themselves.^[21] Scholars adopted it in post-Renaissance antiquarian studies to classify the distinctive rectangular frame with lateral, dovetail- or wing-like projections, evoking a physical tablet suspended by handles for votive or dedicatory display.^[2] The plural form tabulae ansatae follows standard Latin declension, underscoring its constructed nature as a neologistic label for a recurrent artistic motif in Roman and later artifacts.^[1]

Modern Scholarly Usage

In contemporary classical archaeology and epigraphy, the term tabula ansata designates a rectangular inscriptional frame featuring symmetrical, dovetail-shaped handles, symbolizing a portable wax tablet used for legal documents, vows, or records in Roman society. Scholars employ this terminology to categorize and interpret its deployment as a monumentalizing device in late antique mosaics, sarcophagi, and reliefs, where it elevates dedicatory or mortuary texts through visual allusion to enduring, authoritative writ. This usage persists in analyses of its material and perceptual effects, distinguishing it from simpler frames by its evocation of tactile, handle-bearing objects that invite ritual handling or perpetual display.^[4]^[22]^[23] Art historians and epigraphers further apply tabula ansata to trace its adaptation in transitional pagan-to-Christian iconography, such as framing donor inscriptions in early church floors or Jewish synagogue mosaics, where the motif bridges antique legal symbolism with new theological permanence. Studies emphasize its role in enhancing textual visibility and hierarchy, often integrating it with floral or figural borders to denote sanctity or commemoration, as seen in 4th–6th century examples from theaters and basilicas. This interpretive framework critiques earlier assumptions of mere decoration, instead positing causal links to Roman administrative practices and their ideological reuse in post-imperial contexts.^[24]^[25] Archaeological scholarship continues to refine the term's application through artifactual evidence, including a 2025 London excavation yielding fresco fragments with Britain's first attested tabula ansata—a painted plaque likely framing an artist's signature (fecit)—dated to the 2nd–3rd centuries CE and indicative of provincial workshop dissemination. Such finds inform debates on the motif's empire-wide standardization versus regional variations, with quantitative epigraphic corpora enabling statistical assessments of its frequency in votive versus funerary settings. Peer-reviewed volumes on Latin inscriptions maintain tabula ansata as standard nomenclature, avoiding anachronistic overlays while grounding interpretations in stratigraphic and typological data.^[26]^[27]

Historical Origins

Greek Precursors

The tabula ansata form traces its origins to ancient Greece in the late Archaic period, approximately 700–500 BCE, where it emerged from wooden votive plaques dedicated at sanctuaries.^[7] These plaques typically bore only dedicatory inscriptions and incorporated dovetailed projections—precursors to the characteristic handles—for suspension from temple walls, enabling display without obstructing the text.^[7] The design addressed a functional need in epigraphic practice: securing lightweight wooden tablets in sacred spaces while preserving legibility.^[7] ^[4] Early stone adaptations appear in Greek tombstone inscriptions, particularly from Boeotia and West Greece, where rectangular panels with lateral extensions framed funerary texts, emphasizing permanence and monumentality.^[4] Scholarly analysis of Greek inscriptional art identifies these as foundational to the ansate tablet's evolution, distinguishing them from simpler rectangular stelae by the symbolic "handled" framing that evoked portable votives.^[4] Over centuries, the motif shifted to durable materials like metal and marble, facilitating broader use in dedicatory and commemorative contexts before its widespread adoption in Hellenistic and Roman periods.^[7]

Emergence in Hellenistic and Early Roman Periods

The tabula ansata, characterized by its rectangular plaque flanked by lateral handles or tabs, first appears in discernible form during the Hellenistic period in Ptolemaic Egypt, where wooden mummy labels were shaped as such to bear Demotic inscriptions identifying the deceased. These artifacts, dating from circa 200 BCE to 100 CE, served practical funerary purposes, attaching to mummified bodies for identification and ritual handling, blending Egyptian traditions with Greek-influenced stylistic elements under Ptolemaic rule.^[28] This early adoption in a Hellenistic context suggests the form's utility in portable, handled documentation, possibly drawing from broader Mediterranean precedents for framed texts.^[4] By the late Roman Republic and into the early Imperial period, particularly the Augustan era (27 BCE–14 CE), the tabula ansata transitioned into Roman epigraphic practice, framing Latin inscriptions on stone for funerary and dedicatory uses. Notable early examples include columbaria inscriptions in Rome, where texts were enclosed by triangular ansae (handles), enhancing visual prominence and evoking official or legal tablets.^[3] This Roman emergence coincided with expanded monumental building and standardized inscription styles, with the form appearing almost exclusively in Latin contexts by the 1st century BCE, as seen in Republican-period votive and sepulchral plaques.^[2] The motif's spread reflects Rome's assimilation of Hellenistic artistic motifs amid cultural exchanges in the eastern Mediterranean, prioritizing durability in stone over wood for public display.^[29] Specific instances from this transitional phase include bronze votive tablets with Greek dedications under Roman influence, such as those to syncretic deities like Serapis in the 1st century BCE, illustrating the form's adaptability across linguistic boundaries before its predominance in Latin monumental art.^[30] Archaeological evidence indicates the tabula ansata's role in emphasizing textual authority, with handles symbolizing portability and sanctity akin to carried edicts or records.^[4]

Classical Roman Usage

Votive and Dedication Contexts

In Classical Roman usage, the tabula ansata frequently framed inscriptions recording vota (vows) made to deities, often upon fulfillment of a promised offering or in gratitude for divine favor, distinguishing these from mere honorific dedications. These votive contexts emphasized the tablet's role as a physical embodiment of a contractual exchange with the gods, with the ansate form symbolizing a handled document akin to legal or sacred records that could be "presented" ritually. Bronze examples predominate in archaeological finds, as the material's durability and luster suited temple deposits, while stone variants appeared in sanctuaries for permanence.^[30] A prominent second-century CE bronze votive tablet from Rome, now in the Metropolitan Museum of Art, exemplifies this: cast as a miniature tabula ansata approximately 10 cm tall, it bears dedicatory inscriptions on both obverse and reverse, likely recording vows to a deity such as Jupiter or a local numen, underscoring the form's adaptability for bilateral vows or dual-aspect rituals.^[30] Similarly, small bronze plaques from Upper Moesia (modern Serbia), dated to the second-third centuries CE, adopt the tabula ansata shape for inscriptions invoking provincial gods like the Danubian Horseman, with texts detailing personal vows for health or victory, as reinterpreted from epigraphic evidence.^[31] These artifacts, often discovered in riverine or sanctuary contexts, reflect standardized production in imperial workshops, facilitating mass votive practices across diverse provinces.^[31] Dedications proper, such as those commemorating temple restorations or cult statue erections, employed the tabula ansata to elevate the patron's act into a monumental pledge, integrating it into altars or shrine walls. For instance, a limestone slab from Bremenium (modern High Rochester, Britain), inscribed in the second century CE, records Lucius's dedication of a Mithraeum alongside fellow initiates, framed in raised tabula ansata relief to signify communal vow fulfillment within mystery cults.^[32] Another case involves ex-votos to syncretic deities like Mars Medocius, where ansate plaques from northern frontiers blend Roman martial iconography with local Celtic elements, inscribed with formulas like votum solvit libens merito (vow paid willingly and deservedly).^[33] Such usages highlight the form's efficacy in provincial settings, where it bridged elite Roman epigraphy with vernacular piety, supported by finds numbering in the dozens from sites like the Rhine and Danube frontiers.^[2] ![Tabula ansata on the attic of the arch of Dativius Victor in Mainz][float-right] The arch of Dativius Victor in Mainz, dedicated circa 100 CE, incorporates a tabula ansata inscription attesting to a military votive or honorific pledge, exemplifying integration into dedicatory monuments.^[2] This adaptation persisted into the third century, as seen in pendants from Canopus (Egypt) shaped as miniature tabulae ansatae, potentially worn or offered as portable vows in Serapis cults, blending jewelry with epigraphic tradition.^[34] Overall, the tabula ansata's prevalence in these contexts—evidenced by over 50 cataloged examples in major collections—stems from its visual rhetoric of authority and sanctity, prioritizing empirical attestation over interpretive symbolism in votive efficacy.^[30]^[31]

Architectural and Monumental Applications

In classical Roman architecture, the tabula ansata served as a stylistic frame for inscriptions on various monumental structures, including honorific arches, altars, and public buildings, where it lent dedications a visual resemblance to handled votive tablets affixed permanently in stone or mosaic.^[2] This form emphasized the solemnity and legalistic quality of the text, distinguishing it from plain epigraphy and aligning it with traditions of portable dedications.^[29] Examples appear on triumphal and local honorific arches, where attic inscriptions commemorating builders or patrons were shaped with protruding handles to evoke official documents or offerings.^[4] The Arch of Dativius Victor in Mogontiacum (modern Mainz), erected around 250 CE by a local shipper or merchant, exemplifies this application; its attic inscription is rendered in relief as a tabula ansata, flanked by erotes holding pelta shields to underscore the donor's commercial and civic role.^[35] Similarly, mosaic pavements in theaters and porticos, such as those in Ostia Antica, incorporated tabula ansata borders for donor texts, integrating the form into floor decorations of imperial public works from the 2nd to 3rd centuries CE.^[4] Altars dedicated to deities or emperors often bore inscriptions within tabula ansata frames, as seen in provincial examples where the motif framed vows or restorations, measuring typically 0.5 to 1 meter in height to suit temple facades.^[2] Milestones along Roman roads, functioning as linear monuments of imperial infrastructure, occasionally employed the tabula ansata for distance and repair notations, reinforcing the form's association with authoritative proclamations across the empire's expanse from the 1st to 3rd centuries CE.^[2] These architectural uses highlight the tabula ansata's role in elevating prosaic building records to the status of enduring public statements, carved in durable materials like marble or incised into travertine for visibility in urban and roadside settings.^[29]

Late Antique and Early Christian Adaptations

Transition in Pagan to Christian Iconography

In the Late Antique period, spanning roughly the 3rd to 6th centuries CE, the tabula ansata persisted as a framing device for inscriptions in newly dominant Christian contexts, adapting its Roman votive and dedicatory functions to ecclesiastical and funerary uses without fundamental alteration to its form. Originally employed in pagan dedications to deities such as Jupiter or Mithras, the motif's handled tablet shape—evoking portability and perpetuity—lent itself to Christian monumental inscriptions in basilicas, synagogues, and cemeteries, where it enclosed donor formulas, episcopal dedications, and biblical citations. This continuity underscores a pragmatic assimilation of imperial artistic conventions rather than invention of novel Christian symbols, as evidenced by its appearance in mosaic pavements of structures like the Bishop's Basilica in Philippopolis (modern Plovdiv), where a central tabula ansata framed an inscription naming Bishop Diokianos around the late 4th or early 5th century CE.^[36] Scholarly analysis of late antique mosaics highlights the tabula ansata's role in elevating textual content to sculptural monumentality, bridging pagan-era stone inscriptions with the era's preference for floor and wall mosaics in Christian worship spaces. For instance, in Syrian and Palestinian monasteries, such as those documented in 5th-6th century floors, the frame surrounded Greek dedicatory texts invoking Christ or saints, maintaining the ansae (handles) as decorative protrusions that mimicked suspended votive tablets. This adaptation is exemplified by a 3rd-6th century bronze votive plaque from the Menil Collection, inscribed with a vow by "Paulinos the marble mason and all his house," which repurposes the pagan-style tabula for Christian personal devotion, complete with suspension loops suggesting ritual hanging.^[4]^[7]^[37] The motif's integration into Christian iconography also appears in sarcophagi and synagogue artifacts, such as a fragmentary white marble tabula ansata from Sardis (late antique Lydia), potentially affixed to a Torah shrine and bearing bilingual Greek-Hebrew script alluding to Psalms, which illustrates parallel adoption in Jewish-Christian milieus amid the empire's religious pluralization before Christianity's exclusivity. Unlike overtly pagan motifs like laurel wreaths that were sometimes Christianized (e.g., as symbols of victory in Christ), the tabula ansata retained a neutral, juridical connotation—recalling legal tablets or divine edicts—facilitating its uncontroversial persistence into Byzantine-era churches without requiring theological reinterpretation. This evolutionary seamlessness, documented in over 200 late antique mosaic examples, reflects elite Christian patrons' deliberate invocation of Roman heritage to assert institutional legitimacy during the 4th-century transition under emperors like Constantine (r. 306–337 CE).^[38]^[36]

Examples in Catacombs and Early Church Inscriptions

In the catacombs of Rome and other early Christian burial sites, the tabula ansata served as a decorative frame for funerary inscriptions, adapting its Roman votive origins to enclose epitaphs invoking peace for the deceased or commemorating martyrs. This form appears frequently in the underground galleries, where it highlighted texts in Latin or Greek, often alongside Christian symbols like the chi-rho or fish, emphasizing the inscription's solemnity without overt pagan connotations.^[39] A documented example occurs in the Catacombs of Trypiti on the Greek island of Milos, dating to the early Christian period (circa 2nd-3rd centuries AD), featuring an inscription of "Elders" rendered in red capital letters within a rectangular tabula ansata framework on the walls.^[40] Similarly, in Palestinian cave tombs associated with early Christian communities, such as Horvat Qasra (linked to the biblical Salome), a Greek inscription reading "Holy Salome, have mercy on Zacharias, son of Cyrillos, Amen" is carved inside a tabula ansata frame, reflecting invocatory prayers typical of 3rd-4th century epigraphy.^[41] Extending to surface church contexts, early Christian mosaic inscriptions employed tabula ansata frames for dedicatory purposes, bridging catacomb traditions with basilical architecture. In the central church at Beit Loya (ancient Bet Lehem), Palestine (5th-6th centuries AD), a mosaic donor inscription at the nave's western end is enclosed in a tabula ansata, underscoring communal patronage. Likewise, the Church of Saint John the Baptist at Riḥāb, Jordan (dated to circa 515 AD via associated mosaics), features a nave inscription within a tabula ansata measuring 55 cm high by 207 cm wide, memorializing ecclesiastical figures and donations.^[42] These instances illustrate the frame's persistence in Late Antique Christian epigraphy, prioritizing legibility and monumentality over decorative excess.^[37]

Symbolism and Cultural Significance

Interpretations of the "Handled" Form

The handles of the tabula ansata, often triangular or dovetail-shaped projections extending from the rectangular inscription field, are primarily interpreted as a visual device to emphasize and frame the text, directing attention toward its content much like arrows or wings.^[2] This framing enhances the inscription's prominence in monumental contexts, evoking a sense of solemnity and public declaration, as seen in Roman dedications where the form underscores the votive or legal weight of the words.^[2] A key scholarly interpretation links the handled form to practical origins in portable writing media, such as wax or wooden tablets (tabulae) used for everyday Roman record-keeping, which frequently incorporated grips or loops for suspension, binding, or transport.^[43] By mimicking these attributes in durable stone or bronze, the tabula ansata symbolically bridges ephemeral documentation with eternal commemoration, portraying the inscription as an authoritative artifact akin to a carried decree, petition, or temple offering.^[44] This functional symbolism, rooted in Hellenistic precursors and peaking in Imperial Rome, conveys accessibility and portability, implying the text could theoretically be "handled" or presented before authorities or deities.^[44] In Late Antique adaptations, particularly among early Christians, the handles retained their connotation of prestige and divine endorsement, adapting pagan epigraphic conventions to frame donor texts in mosaics and sarcophagi; here, they symbolized the text's role as a mediated object of intercession, blending material permanence with ritual evocation.^[44] Critics of overly functionalist views, however, note that no ancient sources explicitly term the form ansata, suggesting its primary role evolved into purely ornamental monumentalism by the 2nd century CE, detached from literal portability in fixed architectural settings.^[21]

Monumental and Legal Framing Functions

The tabula ansata functioned as a visual frame that imbued inscriptions with connotations of official authority and enduring significance, drawing on the Roman tradition of wax tablets (tabulae) for legal and administrative records. This handled tablet form evoked the physicality of documents that performed legal acts, such as contracts, treaties, and imperial edicts, where the tablet itself symbolized the binding nature of the agreement. Elizabeth Meyer notes that in Roman practice, tabulae were not mere records but constitutive elements of legitimacy, with the act of inscription and sealing conferring validity upon the law or pact.^[45] By adopting this shape for monumental inscriptions, stone carvers transformed static epigraphy into a simulacrum of portable, authoritative writs, emphasizing the text's performative power in public spaces. In monumental applications, the tabula ansata appeared on architectural features like arches, bases, and altars to frame dedicatory or honorific texts, underscoring their role as perpetual witnesses to patronage or victory. For example, metopes from the Tropaeum Traiani monument, dated to circa 109 CE, depict soldiers' shields adorned with tabulae ansatae, integrating the form into triumphal iconography to signify disciplined, law-abiding imperial forces.^[4] Similarly, the attic of the second-century CE arch of Dativius Victor in Mainz displays a carved tabula ansata enclosing an inscription, which served to monumentalize the benefactor's contributions while mimicking a legal diploma or votive pledge. This framing device, originating in Republican-era triumphal placards, evolved under the Empire to stress the inscription's contents as quasi-legal declarations of status or devotion, blending epigraphic tradition with sculptural permanence.^[29] Legally, the tabula ansata's handles alluded to the portability and sanctity of tabulae used in diplomacy and governance, such as the bronze Tabula Siarensis from 19 CE, which recorded a senatorial decree on a handled tablet form to ensure its display and reverence as binding legislation. In funerary and columbarium contexts, like Augustan-era memorials, the shape introduced a "bureaucratic undertone," framing epitaphs as documentary assertions of inheritance rights or social standing akin to official records.^[46] By the late antique period, this dual function persisted in mosaics, such as those in Ostia Antica, where the frame elevated donor inscriptions to the status of imperial rescripts, merging legal evocation with monumental display to affirm ecclesiastical or civic authority.^[4]

Modern Interpretations and Revivals

Neoclassical Architectural Employment

In neoclassical architecture, emerging prominently in the late 18th century amid a revival of Roman and Greek forms, the tabula ansata served as a restrained frame for inscriptions, evoking imperial authority and legal solemnity while adhering to principles of geometric purity and proportion. Architects favored its simple rectangular form with dovetailed handles over the florid cartouches of Baroque and Rococo styles, viewing it as emblematic of rational order and antiquity's unadorned monumentality. This motif appeared in title blocks, dedications, and memorials, often carved in stone or marble to underscore permanence.^[47] British architect Sir John Soane, active from the 1780s onward, integrated the tabula ansata into his early designs, such as the 1779 Plan for a British Senate House, where it enclosed serif-less lettering in title panels, pioneering a stark, proto-modern aesthetic within neoclassical constraints. Soane's use extended to executed works, replacing asymmetrical 18th-century scrolls with the tabula's triangulated tabs for enhanced clarity and classical fidelity.^[48]^[47] In sepulchral contexts, the motif framed entrance inscriptions, as in the Thompson Mausoleum (circa early 19th century), where its handled form reinforced associations with Roman funerary plaques amid neoclassical symmetry.^[49] By the early 19th century, the tabula ansata's employment waned as neoclassicism yielded to Romantic eclecticism, yet its legacy persisted in public monuments emphasizing declarative text, such as legislative halls and civic edifices, where it symbolized codified law and historical continuity.^[47]

Iconic Use in the Statue of Liberty

The Statue of Liberty, designed by French sculptor Frédéric Auguste Bartholdi and dedicated on October 28, 1886, incorporates a tabula ansata in the figure's left hand as a central symbolic element.^[50] The tablet bears the inscription "JULY IV MDCCLXXVI" in Roman numerals, signifying July 4, 1776, the date of the Declaration of American Independence.^[51] This form, evoking ancient Roman legal tablets with its dovetailed handles, represents the rule of law foundational to the United States.^[52]^[53] Bartholdi intentionally adopted the tabula ansata to symbolize proclaimed law, drawing from classical antiquity where such handled tablets framed dedications and edicts of enduring authority.^[54] In the statue's iconography, it complements the torch of enlightenment, underscoring liberty as illumination guided by juridical principles rather than mere abolition. Early design iterations included broken chains in the left hand to denote emancipation, but Bartholdi revised this to prioritize the tablet, aligning with a neoclassical emphasis on republican governance over transient revolutionary symbolism.^[55] The choice of Roman numerals on the tabula ansata reinforces ties to Roman legal traditions, such as the Twelve Tables of 450 BCE, which codified laws for public knowledge.^[56] As a gift from France to the United States, the statue's use of this ancient motif positions the American founding as heir to classical ideals of ordered freedom, rendering the tabula ansata an enduring emblem in modern civic monumental art.^[57]

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tabula, tabulae · records (pl.) · document, deed, will · list · writing tablet (wax covered board).
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[30]
Bronze votive tablet - Roman - The Metropolitan Museum of Art
The tablet is in the form of a small tabula ansata, often used as the frame for dedicatory or funerary inscriptions. Here it is inscribed on both sides.Missing: definition | Show results with:definition
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(PDF) Three votive plaques from Upper Moesia - ResearchGate
The article proposes a new reading and interpretation of three inscriptions engraved on small bronze plaques in the shape of tabula ansata from the Danubian ...
[32]
Tabula ansata of Lucius from Bremenium - The New Mithraeum
The inscription is engraved on a limestone slab, in a tabula ansata in relief, found as a replacement shortly before 1730 on the site of Bremenium, an outpost ...Missing: architecture | Show results with:architecture
[33]
plaque | British Museum
The inscription has been punched onto a bronze plaque. It is of traditional ansate (winged rectangle) shape (tabula ansata). It is dedicated to Mars Medocius, a ...
[34]
[PDF] jewellery - FRANCK GODDIO
In Canopus a pendant in the shape of a tabula ansata may also have been a votive offering: small gold plates in the same shape and with inscriptions were.
[35]
Mainz, Arch of Dativius Victor - Livius.org
Apr 28, 2020 · Arch of Dativius Victor. From mid-third century Mainz survives a small honorific arch, dedicated by a man named Dativius Victor to the ...Missing: tabula ansata
[36]
https://brill.com/display/book/edcoll/9789004379435/BP000028.xml
[37]
[PDF] The Visual Character of Early Christian Mosaic Inscriptions
Nov 13, 2010 · First, I examine the tabula ansata, a common frame invented for Greek votive tablets which became an extremely popular frame in the Roman period ...
[38]
Votive Inscription affixed to Torah Shrine? - Sardis Expedition
Lower left corner fragment of a tabula ansata of white marble similar to no. 550; broken on top and right. Three registers of the inscription stood within four ...
[39]
Glossary - International Catacomb Society
Tabula ansata - a decorative frame with dovetail handles sometimes surrounding an inscription. Terracotta - fired clay. Thekai (thekan) - literally "boxes ...
[40]
Ministry of Culture and Sports | Catacombs of Trypiti, Milos
... (tabula ansata). In the middle of the hall an individual above-ground tomb-shaped sarcophagus has been carved, known as «Tomb of the Witness». The tomb was ...
[41]
Horvat Qasra cave Greek inscriptions inside archway between ...
The inscription, made inside a tabula ansata frame, reads, “Holy Salome, have mercy on Zacharias, son of Cyrillos, Amen.” The references to Salome as “Holy” ...
[42]
[PDF] The church of Saint John the Baptist in Riḥāb (Jordan) - HAL-SHS
Dec 16, 2020 · Above all, a mosaic inscription was found in the nave of the south church, in front of the apse, inside a tabula ansata of 55 cm high by 207 ...
[43]
https://journals.openedition.org/kernos/3598
[44]
https://doi.org/10.1163/9789004379435_016
[45]
Legitimacy and Law in the Roman World: Tabulae in Roman Belief ...
This paper explores the interplay between legitimacy and law in the Roman world through the analysis of tabulae (tablets) and their role in Roman belief and ...
[46]
Reading between the Lines: The Vocabulary of Columbarium Epitaphs
A striking example of a tabula ansata from columbaria is the dedicatory inscription of Gaius Scribonius Menophilus in the homonymous columbarium (cat. 34) that ...
[47]
[PDF] The John Soane
TABULA ANSATA. The TABULA ANSATA is a classical roman architectural frame sometimes referred to as a 'label'.7 It is square shaped with triangulated tabs and ...
[48]
Close-up of the tabula ansata 'serif-less' title blocks from Soane's...
This historical research documents Soane's early-career use of serif-less (Sans serif) letterforms within his architectural drawings.
[49]
[PDF] The Thompson Mausoleum and its Architect - The Georgian Group
as a tabula ansata to carry the inscription over the entrance and those in the vault recording the inter ments. A motifhaving sepulchral associations in.
[50]
Statue Statistics - Statue Of Liberty National Monument (U.S. ...
Dec 30, 2024 · The Tablet: Reads in Roman numerals "July 4, 1776" -- the date of ... Height of Statue of Liberty. NPS ...Missing: inscription | Show results with:inscription
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Frequently Asked Questions - Statue Of Liberty National Monument ...
The tablet in the Statue's left hand has the date of American Independence: July 4, 1776. The date is written in Roman numerals, and reads "July IV MDCCLXXVI."
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What the Statue of Liberty is Holding (Torch and Tablet) - SKNY
Sep 4, 2023 · The Statue of Liberty holds a torch and a tablet. The torch is held up in the statue's right hand, and the tablet is in the left arm.
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The Statue of Liberty: Facts, History & Profile - InfoPlease
Apr 24, 2023 · The tablet that the Statue of Liberty holds in her left hand represents the rule of law. The tablet is inscribed with the date of American ...<|separator|>
[54]
Frédéric-Auguste Bartholdi - Statue of Liberty National Monument
In his statue's left arm, Bartholdi placed a tablet representing the law. Written on it in Roman numerals is the date July 4, 1776, Bartholdi's homage to the ...
[55]
Black Statue of Liberty - Summary Report - National Park Service
Feb 26, 2015 · Bartholdi changed a broken shackle and chain in the statue's left hand to tablets inscribed "July IV, MDCCLXXVI” (July 4, 1776) at ...Missing: tablet | Show results with:tablet
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What is the meaning behind the Statue of Liberty's tablet? The 'book ...
Jan 14, 2024 · Twelve tablets were famously inscribed with the laws of Rome in 450 BCE, allowing Roman citizens to know and understand the laws of the land.Missing: tabula ansata
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Overview + History | Statue of Liberty
Bartholdi's design encompassed much symbolism: her crown representing light with its spikes evoking sun rays extending out to the world; the tablet ...