Cultural pursuits and patronage
Hadrian has been described, by Ronald Syme among others, as the most versatile of all the Roman Emperors. He also liked to display a knowledge of all intellectual and artistic fields. Above all, Hadrian patronized the arts:
Hadrian's Villa at Tibur (
Tivoli) was the greatest Roman example of an
Alexandrian garden, recreating a sacred landscape, lost in large part to the despoliation of the ruins by the
Cardinal d'Este who had much of the marble removed to build
Villa d'Este. In
Rome, the
Pantheon, originally built by
Agrippa but destroyed by fire in 80, was rebuilt under Hadrian in the domed form it retains to this day. It is among the best preserved of Rome's ancient buildings and was highly influential to a many of the great architects of the
Italian Renaissance and
Baroque periods.
From well before his reign, Hadrian displayed a keen interest in architecture, but it seems that his eagerness was not always well received. For example,
Apollodorus of Damascus, famed architect of the
Forum of Trajan, dismissed his designs. When
Trajan, predecessor to Hadrian, consulted Apollodorus about an architectural problem, Hadrian interrupted to give advice, to which Apollodorus replied, "Go away and draw your pumpkins. You know nothing about these problems." "Pumpkins" refers to Hadrian's drawings of domes like the Serapeum in his Villa. It is rumored that once Hadrian succeeded Trajan to become emperor, he had Apollodorus exiled and later put to death. It is very possible that this latter story was a later attempt to defame his character, as Hadrian, though popular among a great many across the empire, was not universally admired, either in his lifetime or afterward.
Hadrian wrote poetry in both Latin and Greek; one of the few surviving examples is a Latin poem he reportedly composed on his deathbed (see
below). He also wrote an autobiography – not, apparently, a work of great length or revelation, but designed to scotch various rumours or explain his various actions. The work is lost but was apparently used by the writer - whether
Marius Maximus or someone else – on whom the
Historia Augusta principally relied for its
vita of Hadrian: at least, a number of statements in the
vita have been identified (by
Ronald Syme and others) as probably ultimately stemming from the autobiography.
Another of Hadrian's contributions to the arts was the beard. The portraits of emperors up to this point were all clean shaven, idealized images of Greek athletes. Hadrian wore a beard as evidenced by all his portraits. Subsequent emperors would be portrayed with beards for more than a century and a half.
Hadrian was a
humanist and deeply
Hellenophile in all his tastes. He favoured the doctrines of the philosophers
Epictetus, Heliodorus and
Favorinus and was generally considered an
Epicurean, as were some of his friends such as
Caius Bruttius Praesens. At home he attended to social needs. Hadrian mitigated but did not abolish slavery, had the legal code humanized and forbade torture. He built libraries, aqueducts, baths and theaters. Hadrian is considered by many historians to have been wise and just: Schiller called him "
the Empire's first servant," and Edward Gibbon admired his
"vast and active genius," as well as his "
equity and moderation."
While visiting Greece in
125, he attempted to create a kind of provincial
parliament to bind all the semi-autonomous former city states across all Greece and
Ionia (in
Asia Minor). This parliament, known as the
Panhellenion, failed despite spirited efforts to instill cooperation among the Hellenes. Hadrian was especially famous for his romance with a Greek youth,
Antinous. While touring
Egypt, Antinous mysteriously drowned in the
Nile in
130. Deeply saddened, Hadrian founded the Egyptian city of
Antinopolis. Hadrian drew the whole Empire into his mourning, making Antinous the last new
god of
antiquity.
Hadrian died at his villa in
Baiae. He was buried in a
mausoleum on the western bank of the
Tiber, in
Rome, a building later transformed into a papal fortress,
Castel Sant'Angelo. The dimensions of his mausoleum, in its original form, were deliberately designed to be slightly larger than the earlier
Mausoleum of Augustus.
A strange fragment from the
Roman History of Cassius Dio of uncertain context:
:"After Hadrian's death there was erected to him a huge equestrian statue representing him with a four-horse chariot. It was so large that the bulkiest man could walk through the eye of each horse, yet because of the extreme height of the foundation persons passing along on the ground below believe that the horses themselves as well as Hadrian are very small."