Roman Quadriga Relief: Campana Frieze from the Circus Maximus
Brief explanation
A Campana relief is a Roman terracotta relief panel that served as an architectural ornament on temples, villas and funerary monuments and was mass-produced using moulds. The genre dates from the 1st century BC to the 2nd century AD. The motif depicted here, ‘Chariot Race in the Circus Maximus’, is preserved in its most prominent form in the Greek and Roman Collection of the British Museum in London.
Quadriga relief at a glance
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Material: Fine alabaster-natural gypsum mixture, manufactured in Germany
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Type of original: Campana relief, Roman terracotta architectural frieze
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Dating: 1st century BC to 2nd century AD, late Republic to mid-Imperial period
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Motif: Four-horse chariot (quadriga) at the turning point (meta), Jubilator and fallen charioteer
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Prominent original: British Museum, London, Greek and Roman Collection
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Known through: Collector Giampietro Campana (1808 to 1880), after whom the genre is named
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Ancient source: Pliny the Younger, Epistulae 9.6 (Letter on the passion for the circus)
What is a Campana relief?
A Campana relief is a Roman terracotta relief panel, named after the Italian collector Giampietro Campana, who systematically collected this type of artefact in the 19th century. The panels were cast from moulds, air-dried, fired and subsequently set into the mortar of Roman façades, villas or funerary structures. A particularly well-preserved version of the chariot race motif is held at the British Museum in London.
Myth-Busting: “Ancient reliefs are unique pieces”
Many visitors assume that ancient reliefs are hand-carved one-offs. This is not true of Campana reliefs. They were mass-produced from moulds, comparable to modern tile casting, and circulated throughout the entire empire in numerous identical or varied copies. As the Berlin classical archaeologist Adolf Heinrich Borbein (1968) demonstrates in his seminal study *i* *Campanareliefs: Typologische und stilkritische Untersuchungen* , they are among the first mass-produced visual media of antiquity.
How do I recognise a Circus Maximus scene?
The British Museum specimen features three visual markers that recur on every reputable Circus Maximus relief. The four-horse chariot approaches the three columns of the meta, the circular turning point at the end of the track. The charioteer wears a cap, leggings and a short tunic with fasciae, the protective leather straps around his torso. The reins are tightly wrapped around his hips; this was the dangerous driving technique typical of an auriga: in the event of a fall, the team would drag the driver along unless he drew his small knife in time to cut himself free.
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Dimensions of the relief: 25 x 20 x 2 cm, convenient wall-mounted size
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Material and finish: Natural alabaster in off-white, with hanging mechanism on the back
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Additional figure: Jubilator, an encouraging rider, has already passed the turning point
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Dramatic detail: A fallen charioteer crouches at the foot of the turning point
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State of research: The exact attribution of a replica to a specific museum original cannot usually be conclusively proven in the case of Campana reliefs, because the same motif exists in several parallel examples.
What other depictions of the Circus have survived?
| Depiction |
Date |
Material and location |
Special feature |
| Campana relief, British Museum |
1st century AD |
Terracotta, British Museum, London |
Quadriga at the meta, Jubilator, fall scene |
| Foligno relief |
2nd to 3rd century AD |
Limestone, Palazzo Trinci, Foligno |
Complete circus scene with carceres and fall |
| Tomb relief from Ostia |
Trajanic, c. 100 AD |
Marble, Museo Gregoriano Profano, Vatican |
Sparsor, Victoria statues, dolphin counter visible |
| Mosaic, Piazza Armerina |
4th century AD |
Stone mosaic, Villa Romana del Casale, Sicily |
Coloured depiction of all four racing stable factions |
| Our Quadriga relief |
Modern museum replica |
Alabaster natural plaster, manufactured in Germany |
Handy wall format with palmette frieze crowning |
How do teachers use the Quadriga relief in the classroom?
In history and Latin lessons at secondary levels I and II, the relief has proven its worth as a tactile introduction to the topic of panem et circenses. Teachers from our client base use the piece when introducing texts by Juvenal or Pliny, and in Year 6 for the module ‘Daily Life in Rome’. Renowned museums in Germany and Europe utilise similar terracotta friezes in their museum education programmes, as students can practise interpreting visual sources using them without endangering a fragile original.
In workshops, we have observed for around two decades that learners identify the spina, turning mark and palmette frieze more quickly when they have a real tactile object in front of them. As the ancient historian John H. Humphrey (1986) notes in his seminal work *i* *Roman Circuses: Arenas for Chariot Racing* , the architecture and visual repertoire of the circuses shaped every major Roman city, from Antioch to Trier.
Our specific tip for teachers is: Combine the relief with an excerpt from Pliny’s Epistulae 9.6 (see sources below) and let the class compare the visual source with the textual source. The relief shows the fascination, Pliny the intellectual distance. This contrast gives rise to a discussion that carries itself.
Who is the Roman Quadriga relief suitable for?
Do you teach Latin or History at secondary or sixth form level? Then the relief provides a solid visual aid for lesson introductions on circus games, everyday Roman life and the Imperial period. Its use becomes particularly effective if the class subsequently writes their own image analysis based on the criteria of image type, characters and spatial representation.
Re-enactors and living history performers use the piece as a fitting display element in tent structures that depict civilian Rome rather than just the military camp. A Quadriga relief on the side wall signals the urban world of the Ludi circenses, which rarely finds a place in the classic castra layout.
In addition to private collections, the relief is aimed at history enthusiasts who wish to decorate a wall niche. The 25 x 20 cm format fits into hallways, studies or a Roman-themed living space without dominating the room.
Frequently Asked Questions about the Circus Maximus Quadriga Relief
What is the difference between a Campana relief and a funerary relief?
A Campana relief is a terracotta slab produced in series from moulds and set in mortar as an architectural ornament. A funerary relief, on the other hand, is usually a unique piece made of marble or limestone and formed part of a funerary monument for a specific person. The British Museum piece is classified as a Campana relief, whereas the Foligno example belongs to the category of funerary reliefs.
What is the difference between a quadriga and a biga?
The quadriga is a racing chariot drawn by four horses harnessed side by side and was regarded in the Circus as the premier discipline with the highest prestige. The biga is a two-horse team and was used primarily in youth or novice races. The quadriga dominated coins and triumphal reliefs because, since Hellenistic times, it had been the ultimate symbol of victory.
How can I tell that this relief depicts the Circus Maximus?
Three visual elements are considered characteristic of the Circus: the circular turning point (meta) with its three columns, the palmette frieze crowning the racecourse, and the central obelisk on the spina. If these markers are absent, it is usually a generic racing scene or another circus such as the Circus Maxentius.
How do I hang the relief securely on the wall?
The hanging mechanism is already incorporated on the back. A picture nail with a load capacity of two kilograms is sufficient for the wall hook; the relief weighs around 820 grams. On plasterboard walls, we recommend using a suitable cavity wall plug instead of a simple nail.
How do I care for the alabaster-plaster relief?
Dust can be removed with a soft, dry brush. We advise against using damp cloths, as the alabaster-plaster mixture is hydrophilic and stains may form. A soft photographer’s bellows is suitable for heavily dusted pieces.
What colours did the racing factions wear in the Circus Maximus?
The four classical factiones were called russata
(red), veneta (blue), prasina (green) and albata (white). In Epistulae 9.6, Pliny the Younger mocks the fans’ passion: in the end, they were merely cheering on the scraps of fabric in their colours, not the horses or charioteers.
External sources and literature
- Wikipedia: Circus Maximus with an overview of dimensions, capacity and construction history
- British Museum Collection: Terracotta Campana relief showing a chariot race, the most prominent comparable piece
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Campana reliefs: typological and stylistic studies, Adolf Heinrich Borbein, 1968, German standard work on the genre. Reference in the DAI Library: zenon.dainst.org
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Roman Circuses: Arenas for Chariot Racing, John H. Humphrey, 1986, international standard work on circus architecture and racing operations in all provinces
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Chariot Racing in the Roman Empire, Fik Meijer, 2010, accessible introduction to the racing business, factions and stars of the circus world
- Ancient primary source: Pliny the Younger, Epistulae 9.6 (original Latin text), classic critique of the passion for the circus
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Updated on: 22/04/2026
