This chapter focuses on the episode of Hippolytus and Egeria in Ov. Met. 15.479–551, and particularly on the relation between the content of the two stories told (Hippolytus’ death and rebirth; Egeria’s metamorphosis) and the space in which they are told. The inner story, recounted by Hippolytus himself, involves the characters (Hippolytus, Theseus, Phaedra) in a well-known plot, with a tragic outcome and a Greek setting. The frame of the story is the Latian wood of Aricia, in which the rites in honour of Diana/Lucina, goddess of birth and fertility, take place: here we have no story of violence and death, but of rebirth (Hippolytus/ Virbius), devotion and fidelity (Numa and Egeria). The place rewrites the destinies of the characters involved: the space of Rome is the one in which Ovid celebrates not (only) the political power of Augustus, whose mother comes from Aricia, but more and most prominently the cultural power that Augustan poetry has to give life to a new mythology of regeneration and transformation of old forms (Hippolytus) into new ones (Virbius).

Egeria, a late fourth century Christian pilgrim to Jerusalem, describes a dramatic ritual on the morning of Good Friday. This text is remarkable on several counts: it is written by a female, it has an early date (soon after Constantine’s initiatives in establishing Christian pilgrimage) and it provides a wonderfully detailed description of the areas visited in Jerusalem during Holy Week. She and the other pilgrims venerate the wood of the cross, the inscription over Jesus’s head, the horn used to anoint the kings of Israel, and the ring of Solomon. Throughout her account, Egeria stresses the importance of pilgrims being assured of the truth of their faith by encountering physical landscapes and tangible objects. Theatrical studies in dramaturgy and stagecraft affirm the role which props play in helping actors activate memory and achieve a rich performance. This chapter examines the network of symbols in these artifacts using ritual studies, theatre analysis and space and place theory, demonstrating how these objects were used as props in a complex ritual drama, which offered material, sensory and embodied experiences for religious pilgrims.