Portraits of Children on Roman Funerary Monuments 9781107001022, 2012019024, 0003788804

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PORTRAITS of CHILDREN ON

ROMAN FUNERARY MONUMENTS JASON MANDER Worce ter College, Oxford

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CAMBRIDGE UNIVERSITY PRESS

PORTRAITS OF CHILDRE ROMA

FUNERARY MO

ON MENTS

Drawing on hundreds of tomb-tones from Rome, [taly and the western provinces, this study asses es how paren ,i uali ed childhood. By considering the most popular funerary themes and icono ra hi models, it emphasises both the emotional and the social investment placed in h1ldren, bringing to the fore many little-known examples. From Britannia to Dacia, Aqui mia to Pannonia, it highlight the rich artistic diversity of the provinces and shows that not all trends were borrowed from the capital. With a wide range of social groups in endence, including freedmen , soldiers and peregrini, it also con ·ic.ler , the varying reasons , hich underlay child commemoration and demonstrates the importance of studying the material in context. Amply upported by a catalogue of examples and over a hundred images, il wi ll be essenlial reading for anyone working on Roman hildhood or family studies.

Jason Mander is a former junior re earch fell ow at Worcester College, Oxford.

CAMBRIDGE U !VF.RSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao Paulo, Delhi, Mexico City Cambridge University Press The Edinburgh Building, ambridge CB2 8Ru, UK Published in the United States of America by Cambridge University Pre s, ew York www.cambridge.org Information on this title: www.cambridge.org/9781107001022 ©

Jason Mander 2013

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreement , no reproduction of any part may take place without the written permi ion of Cambridge University Pre First published 2013 Printed and hound in the United Kingdom by the MPG Books Group

A catalogue record for this publication is available from the British Library

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Library of Congress Cataloguing in Publication data Mander, Jason, 1983Portrait of children on Roman funerary monuments / Jason Mander. page cm Includes bibliographical references and indexe . !SB 978-1-107-00102-2 (hardback) Sepulchral monuments - Rome. 2. Children - Rome - Death. 3. Children in art. 4. Art, Roman. I. Title. B1380.M36 2012 733' .5-dc23 2012019024 ISBN 978-1-107-00102-2 Hardback Cambridge University Press has no re ponsibility for the per i tence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on uch web ites is, or will remain, accurate or appropriate.

CONTENT List of Figures [page iii] List of Tables [xii] Preface [xiii] Abbreviations [xv]

1 Introduction 2

[1]

Commemorating the Roman child 3 The iconography of childhood 4

uclear notions

5 Fluid families

[65] [123]

6 Portrait in context 7 Conclusion

Catalogue

[144]

[153]

[156]

Catalogue indexes: Museum index [344] Epigraphic index [349] Index of nomina [354] Index of cognomina [362] Bibliography [372] Index [394]

[16] [36]

FIGURES Every effort has been made to secure the necessary permissions to reproduce copyright material in this work, though in some ca es it has proved impo ible to contact copyright holders. If any omissions are brought to our notice, we will be happy to include appropriate acknowledgements in any subsequent edition. Catalogue numbers appear inside brackets and are prefixed by ';t'.

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Altar of Minucia Suavis. Photo: su concessione del Ministero per i Beni e le Attivita Culturali Soprintendenza Speciale per i Ileni Archeologici di Roma. [page 6]

Cambridge Museum of Archaeology and Anthropology (o 1970.11). [31] 16 Stela of Festius ( 192). Photo: Ferrara - Fototeca Civica. (33]

2 Stela of Sabina (#690). Photo:© Magyar emzcti M{1zeum. [7]

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3 Altar of P. Albius Memor (#61) . Photo: Sansaini, eg. D-DAI-Rom 1959.1821. [11]

18 Medallion of P. Ca iu Maternianus (#552). Photo: 0 . Harl (www.ubi-erat-lupa.org). (34]

4 Altar of Hipponicus (#454). Photo: Landesmuseum Mainz (Ursula Rudischer). [14]

19 Stela for a fami ly from Dacia (#842). Photo: ergiu Odenie. Muzeul ational de Istorie a Tran ii aniei, Cl uj- apoca. (38]

Stela of Claudia Ursa anr ion convey a en e of contemplation; his ever so slightly tousled hair fall over his forehead in a style highly remini cent of Trajan (on which basis the monument is dated to the early second century). We can determine a range of things about little Memor: that he died h alf

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TROD

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way through his sixth year; that his parents had invested in a carefully sculpted and relatively expensive altar on which both portrait and inscription were finished to a high standard; that his bu/la, filiation and voting tribe prove him to be freeborn; that he was thought, at least in the funerary context, to be dulcis; that his parents possessed the tria nomina of free citizens. Beyond this it can be inferred quite reasonably that the Greek cognomina, absence of filiation and shared nomen of his parents make them former slaves manumitted from the same household and that Memor was a first-generation ingenuus (freeborn). That the child wears a boldly delineated toga symbolic of citizenship is almost

units in particular growing dramatically in number - while cases of child abuse, neglect or exploitation sadly continue to generate headlines. Yet even if unconsciously, our reactions remain susceptible to the influence of these ingrained attitudes and it can be tempting to assume that parental feel ings towards children automatically transcend cultural barriers. One's own family circumstances may also, at times, hold sway, with the material in question having the potential to stimulate different responses depending on whether or not the viewer has children or other young relatives of his or her own. However much one strives to acknowledge and mediate for the effects of these factors, the problem remains that certainly a reflection of this. 61 personal reactions to these funerary images - particularly How, then, should this altar be interpreted? Is it a loving those featuring the very youngest children - can quickly memorial to a dearly missed boy designed to console the seem a little too sentimental (or, if authors are perceived bereft parents? ls it a monument of social advertisement, to have under-estimated the underlying emotions, too with the parents recording the improving prospects of detached). In turn, it becomes rather difficult to 'prove' their family, now potentially thwarted by Memor's death? anything - if that i indeed what one should even seek to Is it instead commemorating the loss of an heir to whom do. At the very least, these monuments should not be seen the family name and property could have been transmitted, as traight-forward 'snap hots' of affectionate fami ly life the loss of economic security and support for the parents among the 'ordinary' people of the Roman empire; as many in their old age? Or, perhaps more likely, does the monuhave noted, thi risks retrojecting modern sentiments to ment reflect all three ideas simultaneously, with the driving make ancient evidence conform to our own ideals about forces of affection, hope and display having become interchildhood (and assume that the motivations remain comtwined? The point is that the modern observer can rarely, pletely consi tent aero all boundarie of time and locaif ever, know with any degree of surety the (potentially tion - with a freedman family from first-century Rome numerous and complex) motivations behind the erection of acting for exactly the a.me rea ons as a military family a tombstone. from third-century Pannonia).64 ome, like Eva Minten, Written in relation to funerary images on classical Greek have neverthele taken an optimi tic approach, suggesttombstones, the words of John Oakley are nevertheles releing that funerar ' cene (a opposed to those from pubvant here too: lic monuments) gi\'e a 'truer picture of children and their live ' and are incere igns of grief and lo , even if idealisa[I]mportant, however, is the sense these pictures give that tion play it part.OS But while clear! plau ible, it is perhaps children are the same today as they were back then. Who inadvi able to apply thi entiment to all examples and to cannot feel an immediate connection with the image of a young boy on tiptoes extending his arms up to his mother as ume a univer al per onal reaction to the material. All so that she will pick him up ... ? o other culture produced too quickly we can in fact reach a position where standard such touching funerary images of children on such a large funerary feature are consi tently interpreted in very posiscale for such a long time as did the Greeks.63 tive way o a to create a generalised picture of benevolent and loving parent \ ho cheri hed and mourned their offWith much of western society placing a premium on the pring. uch a view may be one for which many working in ideal of the happy family, we are accustomed to the notion thi ubject - my elf included - would like to find support, that children should be cherished, that the nuclear unit i yet the uitability of funerary material as its foundation is the standard or even be t family model, and that the lo of clear! que tionable; there is a distinct danger of trying to a child is an especially poignant tragedy. Of cour e, cratch read or 'prove' too much. the surface and some of these ideal are oon found to be rather wanting: families are increasingly diver e in both their compositions and living patterns - with single-parent ., See Pearce 1001: u 7- , Korbin 1003: 7- 9, Rawson 1003a: ;8, Bakke 1005: ,-1, Wileman 100; : 9 and igismund ·;eJ en 1007: 39. ., For discu ion of this altar, Rawson 1003a: 51.

'' Oakley 2003: 191.

" Minten 2002: 101 and

112.

EXTRACTING EMOTION

Of course, most would accept that denying the existence of parental love and grief is short- ighted if not perverse. As Keith Hopkins has argued, igns of emotion in epitaphs can and should be recognised even if judgements are nece arily subjective and the use of caution e ential.66 More recently, Sarah Tarlow has urged greater engagement with emotion in archaeological studies irrespective of the processes involved being complex and the evidence rather unhelpful.67 It is, then, legitimate and right to earch for love and emotion, ensuring that the biases and preoccupations which surround funerary monuments are understood and with the acceptance that pure affection will not always have been the only motivation for erecting a tombstone. Yet to reach a more nuanced understanding of the reasons which drove this particular branch of Roman funerary commemoration, we must recognise that the very act of setting up a monlllllent offers only an imperfect reflection of the feeling which exi ted between recipient and dedicator; how a child was contextualised after death is not neces arily related strongly or even directly to the affection in which he/she may have been held while still alive. Utterly devoted parents could easily have lacked the financial re ource to commi ion their ideal (or indeed, any) monument while other may have been from social classes or parts of the empire that, for variou reason , did not participate fully or even partially in thi type of commemorative act (see Chapter 2). Some moreover 11ill have chosen to highlight aspects of the child's life which were important for the family's position or fortune but which tell us little about the emotional bonds between children and their parents (or other adults occupying a omparable role). In short, the genre allows us to do little more than make inferences and logical assumptions about 11ider attitudes towards childhood while giving very little eviden e for tho e individuals who survived their formative year to reach adulthood, whose relationships with their parents were not cut short by mors immatura. It can thu be a slightly curious process whereby we seek, as it were, the norm (attitudes towards children) by looking at the (albeit frequent) exception - those who died. While funerary monuments may offer some of our best and most accessible archaeological evidence for childhood, it seems safe to venture that they are certainly not the ideal primary material. Where, then, do we find the most likely glirnp e of affection and emotion? A handful of inscriptions show u that at least some dedicators wanted to express personal feelings

within the necropolis. The parents of Iulianus (#266) had wept a great deal over hi death (multum jlevit); those of Iunia Procula (=44) had been left distraught (miseros patrem et matrem in luctu reliquid); the father of Corellia Optata ( =3 5), taken over by unfair expectation, now lamented the pitiable los of hi daughter (genitor spe captus iniqua supremum hunc nate miserandus defleo finem). Several description of children are also - at face value - rather affectionate, with Erasina (F557) being the love of the Muses and pleasure of the Graces (Musarum amor et Charitum voluptas); Iulia ecunda (=119) was said to possess remarkable beauty (forma singulari). Although we must be wary of drawing a direct correlation with wider attitudes, few would doubt the warmth of uch words or deny that many parents must have been inconsolable at their child's untimely death. The difficulty nevertheless remains that such apparently affectionate entirnents appear on a (very) small proportion of the tomb tone et up in the Roman period; hundreds upon thousand of other examples contain short, formulaic and unexpressive epitaphs.68 If one finds any evidence at all for emotional appreciation then it is usually in the form of epithet, including dulcis (sweet) and carus (dear) for children, infelicissimi (unluckiest or unliappiest) for the parents. Here the que tion become how to trace genuine meaning among standardi ed funerary vocabulary, how to distinguish whether an extremely common epithet was being used out of conwntion or becau e it was felt to be particularly appropriate for the recipient in question. Does, for example, the de cription of a child as weet or dear become any less meaningful just becau e o many others were described in the ame way? Does repetition boost or compromise the emotion lying beneath a word? One could of cour e raise the ame questions about modern ociety, a king whether the standardised phrases and pas ages carved on tomb tones or spoken during funerals are in any en e undermined by their commonality or whether they in fact heighten the emotional intensity of the situation while helping people to manage their grief. More, Margaret King ha rallied against viewing epigraphic evidence through pes inlistic eyes, arguing that inscriptions can indeed be u ed to recover the emotions of the dedicator de pite the re triction of convention.69 The problem in the Roman context i , however, aggravated by the uneven regional atte tation of epithet : of the 150 attached to 68

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Hopkins 1983: 220-6. In support he cites two inscriptions where grief can be detected (CIL xrv 1731 from father to daughter and C/L vi 15546 from husband to wife). Tarlow 1999 and 2000.

13

For potential expression of emotion in Greek examples, Strubbe 1998: 46-9.

" King 2000: 119- 21 and esp. 150-1. On the conflict between artificiality and emotion in epithets, see recem discussion by Backe-Dahmen 2006: 75, Carroll 2006: 196-202, Graham 2006: 24-5, D'Ambra 2007a: 77-8 and Huskinson 2007b: 329.

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I TRODUCTIO

children in this catalogue, ome ninety-four are from Rome whereas the regiones of Italy provide just nine between them; Pannonia gives twenty, the whole of Gaul just two. It would be facile to reach a conclusion that the parents of Rome loved their children more than those of Italy, and so on, but the geographical spread does suggest that the decision to include an epithet was dependent first and foremost on local conventions. As with so many other aspects of Roman funerary commemoration, we thus arrive at a thoroughly ambiguous situation where multiple interpretation (whether complementary or not) have equal validity. This remains true even on those tombstones which seem particularly personal to their recipients - with a two-metre high, mid secondcentury sandstone altar from Mogontiacum (Mainz) being a case in point (#454, Figure 4). For a young slave named Hipponicus, the imposing and extremely well-crafted inscription states that, 'As he grew up, strong in frame and of handsome appearance, with Cupid's face and manner, I I as not afraid to say he was like Apollo' (ut prim um adolevit, pollens viribus decora facie Cupidinis os habitumque gerens, nee metuam dicere Apollineus). It continues by proclaiming that the boy was cherished by his loved ones and that he lost hi life due to the envy of the gods. Divine allusion influence the accompanying portrait too. Standing within an arched niche above the large epigraphic area, a tall and lender male is shown nude save for the drapery he holds with hi hand . In both po e and demeanour he looks decidedly Apolline: his pectoral, abdominal and leg mu cle are defined but not over-developed; he re ts his weight on hi right leg while moving the other forward slightly. Supplementing thi the wings of Cupid can be seen behind hi houlder . Clearly, the tombstone for Hipponius is a per onalised commemoration where we might very rea onably infer a strong degree of parental emotion and affection. And yet we might note too that the opening part of the inscription borrows almost ad verbatim from pa sages by Sallust and Virgil.'° Christian Laes ha proposed that such literary allusions emphasise moral and physical virtues, parental grief, lost hopes and intellectual qualities; he argues that they may have ' truck a different chord' with passers-by compared to shorter, more conventional texts and that they were used by, among other , privileged slave .7 ' The possibility that the family in question was advertising its learning (whether achieved or aspired to) is an important one; in a society with very low literacy rates, it is questionable how many people - the parental commissioners included - might have "' Sall. lug. 6.1.1 and Verg. Aen. 1.315. -, Laes 2004b.

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FIGURE 4

Altar ofHipponicus. lainz, Landesmu eum, inv. s 6 12.

under tood the text fully, especially if craftsmen were able to draw upon manual or collection of poetic themes." Being able to afford o much carving ma - al o have been a status symbol i elf. The ame predicament thu emerges: how to balance the competing explanation of affection and display, how to i olate which particular reason drm·e a particular comrni ioner. To be clear, although there will be exception to the contrary in any ociety, I certainly do not ub cribe to the ideas that parent in the Roman period were routinely callous and cold or that high mortality rate meant that children went neglected and unloved; but I do find it difficult to extrapolate generalised comments based on relatively small groups of funerary monuments. Further, it seems optimistic to talk of trends relating to 'Roman' families and children if the evidence comes from Rome alone; the capital is just one city within a vast empire and, regardless of its size and influence, cannot be held as generally representative. 73 In truth, it may be anything but. To move forward in this di cipline, children of the provinces must stand alongside their metropolitan counterparts; those whose monuments " On the question of manuals, King 2000: 146, Laes 2004b: 46 and Carroll 2006: 105- , n Similar concern is expressed by Baills 2003: 125, Rawson 2005: 7 and Huskinson 2007a: 55.

EXTRACT!

have suffered the ravages of time or spoliation must not be overlooked. As a consequence, although the regional focu in the chapters which follow will still not permit one to make sweeping statements about 'Roman families: it will provide an insight into how various adults aero s the western empire visualised childhood and managed the grief

G EMOTION

15

which urrounded mors immatura. If the history of Roman childhood tudie i , as it was recently commented, still in its infan y, only with thi more inclusive outlook will it move forward.-, -. Harlow, Laurence and Vuolanto 2007: 5.

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CH APTE R T W O

CO MM E M ORATI N G THE ROMAN CHILD I, Marcianus, have been assigned to this tomb for eternity. I was not expecting to lay eyes on Persephone's kingdom just yet. I had been born at that time when Severus was consul for the second time and Fulvus likewise. Thereupon I began to be considered an agreeable child. earing the end of my sixth year and into the next, I became weaker. Oh the cruel ninth day which, having dawned with the lamentations, alas, of my poor mother and father together, took me away from my parents. How great my promise would have been had not destiny carried me off. The Muses had granted to me as a boy that I should be eloquent. Lachesis begrudged me this, cruel Clotho took my life and the third Fate did not allow me to repay my mother's love. With what devotion and in what great crowds all the people in the via Sacra came. They wept and followed my funeral procession in a huge throng. They said that it was a calamitou day with the public place full of gloom because deceitful hope had removed the years (to come) from one of a tender age. And indeed neighbours of all description came from all direction to see my youthful vigour peri hing with me in death. May you, eternal one, alway give olace to the piou and watch over all their descendants.

S

et up in Rome, the little marble relief for Marcianus, o~ which thi lengthy and well-carved epitaph appears, 1s remarkable for two rea ons. Firstly, it is one of the ver few Roman funerary monument which, by mentioning a particular event or office holder, allow us to fL.x a preci e date for it creation - in this case, the name of the pre iding consuls giving us the year 126. But it is al o unique \\ithin this catalogue for its description of the funeral held to mark the loss of the child being commemorated. As the com.mi sioning parents would have those pas ing by his monument believe, Marcianus' death was a tragedy felt far beyond the confines of his immediate family; large crowds wept, we are told, as they followed his proce ion along the vi.a acra, lamenting the early demise of a child who had hown o much promise. And in hi po thumou image, there are clear allusions to his talents: in hi full-figure portrait - in which he ha cropped hair and a small face graced with soft and under-developed features - larcianus is hown togate and wearing a bu/la, turning (as the viewer ees it) to the left, holding a croU and tanding next to a capsa (a cylindrical box which typically held scrol1s). For all the epitaph's theatricality - and obvious parental over-exaggeration - it gives a potent reminder that surviving funerary monuments could be just one part of how a child's death was marked and that, whereas tombstone were designed to perpetuate memory over a long period, the time of burial might be just as important in terms of celebrating

or adverti ing a life lo t (particularly if the permanent stone marker had not ·et been bought or fini hed). It i interesting too that - de pite premature death being uch a frequent occurren e - the paren here de cribe a child' funeral as a public ewnt which could draw attention; even if one tempers their account to allow for like! ' h 'Perboli m, the assumption whi h underlie the epitaph are that funerary procesion ould attra t notice from an audience \\ider than just the immediate family. It wa a moment\ hen grief and social di pla ' intermino ed, when affection for the child was not perhap the onl · motivation which guided the bereaved. What little Marcianu ' tombstone perhaps demonstrates most clearly i that commemorating a child could involve a con iderable level of expenditure - not least if his or her final re ting place were to be marked by a stone monument endowed with a portrait and text. Simply put, organising a befitting procession, conducting rites at the graveside and purcha ing a tombstone was a costly business.' And for th e latter, we must recognise that comparatively few childre n would have received a permanent stone marker, potentially making the very existence of a portrait monument something of a social statement in itself. Indeed, the large size of the catalogue in hand can lead to false confidence here;

' For the costs of burial and monuments, Duncan -Jones 1982: 127-31, Kleiner 1987b: 28- 9, Purcell 1987: 33-5, Patterson 2000: 273, Carroll 2006: 77- 8, Graham 2006: 60- 1, Huskinson 2007b: 323 and Rothe 2009: 23-4.

THE GE

TABLE l

nearly 900 examples may sound substantial but , hen one considers the immense geographical area and long time period under consideration, the collection i very mode t if not desperately meagre. Determining just who in the Roman period could and could not have afforded full processions or monument of various types is far from simple, yet clearly the very poore t in society - those on the breadline who struggled to exist from day to day - had little chance of leaving behind a permanent marker. Some such indivi.duals might occasiona\l manage to purchase a simple lastra or basic a h receptacle, but the frequency of death in this period mean that even this was unlikely for every family member who peri bed; many instead received anonymous, unmarked burial . In fact, the numbers facing such a fate may be more ignificant than sometimes realised: a recent estimate uggest that, for each person buried with an inscription, over i.A'ty went without. 2 Somewhat higher up the financial ladder, those with relatively humble incomes had far better acce to funerary di play, with collegia (burial clubs) offering an additional way to ensure a decent form of commemoration through regular and affordable contributions.' It seem likely that ome intentionally saved disproportionate amount to spend on their funerary monuments, perhaps hoping to achieve a talus in death never obtained in life. As Val Hope ha noted, the display context of funerary monuments tend to attract those on the periphery of society.• Conversely, at the top end of the spectrum it is clear that many farnilie cho e, quite deliberately, to withdraw from the necropoli . The ocial classes participating in this arena will be di cus ed in ubsequent chapters; here it can be noted that, at least in Rome, elite commemorators are for the most part con picuou ly absent.' ot for them financial problems, rather a lack of desire to participate in this process. If the purpo e of a funerary monument was as the Digest records to preserve memory, it is clearly important to recognise that not all could - or wanted to - do this publicly.• With some precluded by finances and others absent through choice, the range of children attested in the medium

' Laes 2006: 272, 2007a: 26 and 2011. See also CarroLI 2006: 74. ' For the capabilities of'working' Roman , SaUer and Shaw 1984: 128. The suggestion by Adams and Tobler (2007: ; ) that the epigraphic record in Britain primarily represents the 'upper and middle classes' needs qualification. On collegia, Hope 1997' 71-3, Lindsay 1998: 76-7, Patterson 2000: 277-80, Hasegawa 2005: 81-8, Carroll 2006: 44-8 and Graham 2006: 45- 6. ' I lope 2001: 6 and 81-4. ' On the elite question, Hope 2001: 26 and Mouritsen 2oos. ' Ulp. Dig. , 1.7,2.6; see Carroll 2006: 30 and Graham 2006: 16.

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DER DIVIDE?

lumber of boys, girls and 'children' Boys

Girls

Rome and environs Italy and Narbonen is Iberian provinces (Lus, Tar) Gallic provinces (Aq, Lug, Bel) Britain and Germany Raetia and ~oricum Pannonia Dacia

128

44

62

46

11

6

Total

'Children

8

62

36

57

38

8

151

39 116

19

71

40

43

601

365

158

59

19

60

is hardly repre entative. Great care must therefore be taken when de cribing trends relating to 'Roman children'; rather, observation pertain to certain ocial groups at certain period of time, each perhap with specilic motives for setting up image of children and, a thi chapter will consider, each perhap privileging some demographic groups over others.

THE GE

DER DIVIDE
..1>e ted even if tho e examples in the final column could be identified with more precision. The m·erall total in Table 1 give 601 portraits of boys tran lating to 62 per cent - compared to 365 of girls, not as high as in certain other studies but still clearly illustrative of a gender bias. Usually explained through the greater social loss attached to the death of a male child, the ratio evens out considerably (though not entirely) in the higher age

18

COMMEMORATI 'G THE ROMA,

group .- And in term of regionality, the results are remarkably con i tent: male portraits account for between 57 to 65 per cent of the total in even of the eight samples. Only in Rome does thi change ignificantly, rising to 74 per cent. In part thi i due to the clear emphasis of boys in the earliest relief ; discu sed further in Chapter 4, here it can be noted that, for the libertini families of Rome, freeborn boys best exemplified their hopes of social advancement. As Janet Huskinson has suggested, the first boy to die or gain ingenuus status might have been used as a 'token', considered repre entative of all other children in the family. 8 It i certainly telling that among the twenty-five earlie t monument from the capital, twenty-two boys compare to ju t ix girls. Demographic studies have shown the death rate of male infants in some post-industrial ocieties to be higher than that of females. To help gauge whether this holds true in Roman contexts - and thu whether there is an additional explanation for the uneven ratio - we are fortunate in po se sing evidence which is both relevant and contemporary: the cen us returns from Egypt, dating from the fir t three centurie AD. Analysis by Bagnall and Frier has produced table life model which in fact predict higher birth and death rate for female . However, censu data tend to under- or over-represent certain demographic a pects and the figure in question here are per thousand females or male (not per thousand member of the population). Further, \ alter cheidel has argued again t a clear translation of the re ult into infant rate and has al o questioned the typicality of living condition in Egypt (particularly in the Fayum).9 Of more ignificance, then, i the observation that female infants are under-regi tered in relation to their male counterparts, almost certainl the re ult of their perceived social worth being lower.'0 ' On the uneven sex ratio and the likely social rea ons behind it, haw 1991: 80-3, Huskinson 1996: 114-15, Martin 1996: 53-4, Gallivan and Wilkins 1997: 242-3, King 2000: 126-9, George 2001: 1 3-4, Hope 2001: 17-19, Mc William 2001: 79-81, Laes 2007a: 32-3, igismund 'ielsen 2007: 42. On girls becoming more prevalent in the older age group , Rawson 2003a: 350-1, Hasegawa 2005: 66, Laes 2006: 92 and 2ou. Minten (2002: 16-20) records portraits of 99 boy to 29 girls in Rome, mirroring the higher than average ex ratio een in the capital here. The methodology she used to measure 'all children' (where 323 boy compare to ju t 42 girls) i as she herself notes, problematic: boy are clearly farnured through the decision to include all those depicted in sarcophagus play scenes as protagoni t . On the ex ratio in Greek contexts, Golden 2003: 16-17 and Beaumont 2003: 6- . • Huskinson 2005: 93-4 and 2007b: 325- . • Bagnall and Frier 1994: 89 and 102. For females they predict an annual birth-rate of 46.9/t,ooo and a death-rate of 44.9/1,000; for males, an annual birth-rate of 41.8/i,ooo and a death-rate of 39. '1,000. The average age at death is calculated at 21.2 years for women and 23.9 for men. In response, Scheidel 2001: 13-17 and 21- 3. ~ Bagnall and Frier 1994: 81 n.19.

CHILD

The con i tent under-representation of girls necessarily demand ome discussion of abandonm ent and exposure, phenomena for which they are often thought to have been prime candidates." Anecdotal support comes from an oft-cited Egyptian papyru which, referring to an impending birth, famou ly recommends that the baby should be allowed to live if a boy and expo ed if a girl. Similarly, Dionysus of Halicarnassus credits Romulu with obliging parents to rear all male children and ju t the first-born female. But before too much authority i attached to the e, it should be noted that the credibility of the latter eems somewhat dubious and the former refers to ju t a ingle occasion; as Rawson argued, it hould not be treated as if representative of families in all region and periods.u A variety of factor will have contributed to the decision of whether or not to rai e a child - including poverty, physical deformitie and illegitimacy - and although girls are perhap the more likely contender there is little conclusive proof. or doe the proce it elf nece arily attest parental indifference, occurring a it did before the child was recogni ed by it family. 13 loreover, in relation to the sex ratio een in portrait commemoration, infant death and abandonment rate are very likely red herrings. A there are no monuments dedicated pecifically to tho e in their first days or weeks - , hether bo · or girl - expo ure cannot be cited a an explanation for the emphasi on bo -s. With only 9 0 0 or o examples to con ider, and \\ithout any way to measure the proportion of the monuments originally et up that this ample repre en , it eem far preferable to talk about the over-empha is ofbo) and the reasons behind it rather than the under-repre entation of gir per e." To te t thi , one an look at the epirrraphic treatment of children (Table 2). The number invoh·ed mean that boys will alwa · outrank girl in crude term ; more interesting trends emerge when the re ult are looked at as percentages. " For general discussion of abortion, abandonment and expo ure, Golden 19 : 15 -9, Garn ey 1991: 49-56, Corbier 1999: 1261-73, Rawson 2003a: 114- 19, Bakke 200;: 26-33 and Backe-Dahmen 2008: 22-4. See also Lacs 200 : 26 -71 for the ale of children. ln reference to the Greek world, Golden 1990a: 86-9. " POxy. 744; Dion. Hal. Ant. Rom. 2.15.2; Rawson 2005: 7. See also Boswell 1988: 59-60, Shelton 1998: 28-9, Corbier 2001: 65-6 and Hasegawa 2005: 67. '' On the reasons for exposure, Dixon 1992: 122, Coulon 1994: 38- 41, Corbier 1999: 1267 and 2001: 61, Rawson 2003a: 114, Bakke 2005: 30-1. On the chances of subsequent rescue and even reclaim, Boswell

u

19 : 60-3 and Rawson 2003a: 118-19. On the question of parental indifference, cotl 1999: 70-2. For similar comment, Minten 2002: 59 and Laes 2007a: 33-7. ln relation to British tombstones, Adams and Tobler 2007= 21- 2 actually record slightly more tombstones for girls, although the size of the sample - just fewer than fifty pieces - is small.

--- ~_., , - ==

·-- ·--------

~ ~

-==---

--

-.

j

=-.= ·-·

- - - -

THE AMBIGU IT Y OF AGE

TABLE 2

Dedication and in cription types Boys o.

Monument recipients An individual child A child and adult(s) Adult(s) only Epigraphic details of child Name only Name and age Unnamed

146

Girls o.

%

%

63

79

51

2

5

22

9

19

3, u

71

33 61

53

36

132

75

51

15

7

19

13

64

Broadly speaking, once the decision had been taken to commemorate a child, their subsequent treatment was relafr,ely equal regardless of their gender. Bo and girl were mo t likely to receive a dedication in their own right (63 and 51 per cent respectively) and for it to pecify both their name and age (61 and 51 per cent). Boys are marginally famured in each instance: they were slightly less likely than girl to receive a monument shared with an adult, lightly more like! ' to have details of their age specified. Girls were a little more prone to being left unnamed and it is not uncommon to find them in last position, as on a stela from Tatabanya in Pannonia Superior where brothers Pacatus and Domitianus precede their sisters Victorina and Victoria (=623, Figure 93)." The differences are not by any means profound, though, and that society was inherently biased towards male children arguably makes the relative equality seen here quite striking. THE AMBIGUITY OF AGE Alongside a child's sex, his/her age was one of the other mo t important factors influencing how and if commemoration occurred. Contemporary concepts may have contributed to this: preserved in a fragment of Ulpian and attributed to Numa Pompilius, an age- defined system determined appropriate levels of mourning.•• Children under one were to receive none whatsoever; those of one to three years were allowed a marginal form (sublugetur); three- to ten-year-olds were permitted proportional mourning ba ed on the number of years lived; those over ten could be given full rite . The relevance of these rules to the commissioner atte ted in thi catalogue is, however, questionable; one ha to uspect that '' Hope 2001: 17-18 on gender biases; Sigismund

ielsen 200;: 45 on

female anonymity; Dixon 1988: 214 on their potential inclu ion via the suis formula. '' Plut. Vit. Num. 12. For discussion, Garnsey 1991: 53, Huskinson 1996: 78 and orman 2002: 311-12.

19

they were mo t pertinent to the upper classes.'' Whether soldier , freedmen, la,·e and provincial commissioners - all to \·ariou extent omewhat removed from the morality of Rome' elite - paid them any attention, even knew of their exi tence, i far from clear. \\'hat the mourning rule do show is that the particular a e of a child could be of great ignificance, with certain year car11ing trong a ociations or privileges in the Roman period. The anniculus (first birthday) marked the tart of formal mourning eligibility and brought with it legal pri,ilege for the parents, e pecially relevant if they were of Junian Latin tatus ( ee Chapter 4). The age of three was a landrnar · in term of parental inheritance rights and the hild' entitlement to alimenta as i tance; that of five was rucial for determining a lave' worth. Above all, seven was e:nremely important, marking the end of infantia and (for ome) the beginning of edu ation. 1 In thi context, the deciion to in Jude an age on a tomb tone may reflect more than ju t the de ire to report fact. A e ing the age of the children who received these tomb tone pre ents a number of challenges. Where inscription un;ve, of cour e, the proce s is perfectly simple (although it might be noted that the sample of 247 ages seen in Table 3 i relatively modest and that, while the phenomenon of 'rounding' - whereby ages are taken up or down to the neare t multiple of five or ten - is rare for children, it may offer a partial explanation for the small peak in the ten-year-old category).'• Where epigraphic ages are lacking, however, as with ome 655 of the commemorations in this catalogue, the process becomes immensely more complex, not least as it requires one to wrestle with the many ambiguitie which characterise Roman funerary sculpture (and art more generally). Fir t and foremo t among the e phenomena is that, in \i ual term , age could be a fluid concept subject to deliberate manipulation, with the monuments in this catalogue et up in an artistic culture where individuals could be · Rawson 2003a: 346-;o and 2003b: 281-2, as well as Backe-Dahmen 0006: ;;. For emperor who acted extravagantly in terms of mourning or commemoration, Currie 1996: 1;6 and Mc William 2001: 78. d

On the ,-anous age associations, Ulp. Dig. 7-7-6.1, Eyben 1973b: 228-9, Petermandl 199;: 117,. 'orman 2002: 316-17, Rawson 2003a: 136-42, Laes 0006: 69- 3, 200;-a: 33 and 2011 . On certain groups placing different empha,es on ep1graphic age., Clauss 1973, Shaw 1987: 34-5 and 1991: ,3- 3, Raw

n 2003b: 2 2-4, cheidel 2007b: 8. For the small proportion

of inscription, fcaturing ages, haw 1991: 67-9, Coulon 1994: 139- 4 6 and Hasegawa 2005: 65. '' Harlow and Laurence 2002.: 13 - 9 note an emphasis on ten, twenty and lwcnty-fiYe, \\ith a bias towards under-seYens, a distribution paralleled here. See Laes 2007a: 2;- 9 for a !able of inscriptions by age as well as Carroll 2006: 175- on the unreliability of older ages.

--

r

--~-----

20

-----

:~

--6

--

COMME ~10RATI "G THE R0~1AN CHILD

3 o pecified on child portrait monuments

TAB LE

Ae rears)

. o. of examples II

0

22 2

2

3

21

4

25

5

18

6

20

7 8

13

9 10

13 9 19

11

4

12

13

13

7

14

6

15

9

16

9

made to look much older - or in other ca es, younger than their actual years. It i the portraiture of Augustu and Livia which arguably offer the mo t famou example of this practice: the fir t emperor and hi wife, who lived into their mid seventie and eightie re pectively, were nevertheless eternally youthful in their public image . Toe early first-century Prima Porta statue of Augu tu , for example, shows an idealised man imbued with considerable ·outhful vigour; the emperor has a full head of hair, complete with his characteristic comma-shaped locks, a largely unlined forehead, a face full of vitality and energy and a muscular body - all suggestive of a man con iderably younger than hi actual years (the emperor by thi point being middle-aged). He stands cuiras ed in contrappo to po ition, hi right arm outstretched in the di tinctly Roman ge ture of adlocutio (address) but \\ith the model ultimately being derived from classical Greek tatues. He is, imultaneously, emperor, athlete and general, hi portrait never ageing before his death in 14.'0 Livia too retained a type of ageless beauty in her images, her near-timeles portraits eni ng a a neat accompaniment to her hu band' unending youthfulne . Even at her death in 29, the octogenarian bad an unlined face as well a oft and delicate features sugge tive of youthful femininity; her final portrait type may have incorporated mod t ~ Compare al o the relief from the

ign of ageing but they were far too light to be credible. As we will ee in more detail in Chapter 3, portraits of children were more likely to hm them prospectively - as older than their ·ear rather than younger - but this is still representative of the intentional manipulation of age o common in the imperial period. o too was thi an artistic world where an individual's face and body might have been de igned to convey different mesage , with veristic and ideali ed features potentially being juxtaposed in the type of way which many modern viewers can find troubling (although which may have been perfectly acceptable in the piece's original context). One thinks here of the well-known relief from the Sebasteion (the imperial complex at Aphrodisias) in which Claudius is shown casting down a personification of Britannia - his instantly recogni able portrait face eeming a little out of place against his extremely muscular and nude bod ; also of statues like that of Marcia Furnilla from the Flavian period, a full-figure repre entation of a woman which combine the body and pose of the Capitoline enu type with the head of a Roman matron (complete with a characteristically Flavian coiffure comprising tight! arranged corkscrew curl a well as a face which includes age line around her broad nose and lips)." This was a visual culture in which apparently contradictory element were de igned to be read in tandem, where actual appearance might take econd place to ymbolic meanings, where po e and dre could communicate \1idely understood as ociation . When a child in thi catalogue i represented as a holar or philo opher dre ed in a heavy to 0 a, the image , ill ven· often be far from docurnentar ·. Aero· the funerary monument embled together in thi catalo!!lle, there i in fact plentiful evidence to suggest that tho e ommi ionino (and carving) the portraits were willing to indulge in manipulation of appearance and age. \\e ee, inter alia, in tance where cene po itively delight in playing game \\ith the name of the deceased, particularly when their cognomina were derived from deities, mythical figure or other well-known ources. This allowed the recipient in que tion to be tyled in the image of their namesakes, drawing on long-established poses and models seen in other artistic contexts. On a late first-early second-century marble altar from Rome, for example, a girl named Laberia Daphne i portrayed in the midst of a story experienced by the mythical heroine, hown being transformed into a tree (#56). She tands with rigid frontality, branches emerging from her arms and leg a laurel leaves grow from her head and her feet are tran formed into a trunk. Although the little girl's

Sebasteion at Aphrodisias

104- 6). For an overview of Augustus' portrait and a

Prima Porta tatue, see Kleiner 1992: 61- 9; for Li\ia, 1;- 1.

n of the

" On the Claudius relief, mith 1987: 115- 17 and Kleiner 1992: 160; on

Marcia Furnilla, ' einer 1992: 177-8.

21 THE AMBIGUITY OF AGE

age is now lost, it is clear that the she is being shown here not as a child but as a mature woman complete with _developed breasts and curved hips - elements which stand in contra t to her juvenile face. As accuracy gave way to _symboli m, the image attempts to tell a story through easily_ under tan\ able iconography rather than represent realisticall . the gir who had died. Similar visual games abound elsewhere m Roman funerary art; one thinks among others of the earl_y second-century marble altar for Ti. tatilius Aper arid hi wife Orcivia Anthis, now in the 1.u ei Capitolini in Rome, where the depiction of a dead boar at the male' feet was intended as an obvious reference to hi cognomen.,, o too were famous works of art reproduced if recipient had come to carry their names.'3 Where an artistic scheme relates to the name of the deceased, it is of course easy to both spot the manipulation and explain its origins. Where the apparent age of a child' portrait is at odds with the information furni hed by the inscription, however, matters are more complex and we cannot presume a priori that the mismatch results from the type of aesthetic strategy employed in public contexts - e peciall · as the families present in a catalogue of thi nature might have faced financial or other practical constraints which were simply inapplicable for the imperial household. Indeed, it can become extremely difficult to di tinguish whether ari unusual or apparently ambiguou commemorative feature · intentional or might more simply stem from a lack of mone · or time on the part of the commi ioner (or ewn a mistake made by the craftsman). Certainly, there are case where the absence of agreement between an in cription arid the a e of a recipient is influenced by practical consideration . A limestone stela from Castra Regina (Regen burg) in Raetia, dated to the Severan period, i a case in point = 2, Figure ; . Parents Claudiu Donatus and Pedania Profutura commissioned the relatively well-preserved tone for their dau hters, two-year-old Claudia 'rsa and four-year-old G atia Lucia. The main niche contain portraits of all four, each wearing loo e-fitting garments whi h con eal the outline of their bodie . At the right, father Donatus ha a quare face and large oval e ·e ; his beard merges almo t seamlessly with his short and mo ti · undefined hair. But it is the three females who invite do er attention. The largest at the left, presumably mother Profutura, h , ·aves of hair which are drawn behind her ear ; be plac both of her hands on a diminutive girl in front of her who must be two-year-old Ursa. Thi daughter's small face i dominated by over-sized and unevenly spaced eyes which stand in contrast to her " Rome, Musei Capitolini, inv. 209; see Kleiner 1987b: 213 no. -3,, For an example. see Varner 2006: 292- 3 in reference to the Diad

enos.

tela of Claudia Ursa and Gesatia Lucia. Munich, ,\rchaologi che taatssarnmlung, inv. 1v 763.

FIGl:RE;

light, pur ed lip and triangular chin; her helmet-like hair co,·ers her ear . \\'ith insufficient pace to place Ursa alongide her ister and parents, the culptor has been forced to remove part of the epigraphic area to position her in front of the main row of portraits - which in turn means that the fir t two line of the inscription are cut with a little less preci ion than tho e which follow (although the entire epitaph is uneven in its pacing). In relative terms, Ursa thu looks very different from older si ter Lucia who e coiffure, phy iognomy and stature are cast very much in the image of mother Profutura. And yet, Lucia is both too large in ize and too mature in appearance to be a child of just four years, the scene giving the impression of children eparated by two decades rather than just two years. Doe Lucia's portrait thus represent an instance of prospection - the proce s whereby recipients are intentionally portrayed as older than their years (see Chapter 3)? Is it simply a result of the practical difficulties which this sculptor encountered? Clear! ', it i difficult to give a definitive or authoritative answer, or to know whether anyone who viewed the tomb tone in its original context would have noticed, let alone been troubled by, the apparent mismatch. And for our purpo e there i yet another problem: while in this instance the inscription urvives to clarify the issue,

COMMEMORATI

22

G THE ROMA

CHILD

circular head, featuring globular eyes and a long rectangula r nose, which is attached to a set of extremely broad shoulders via a thin neck; her undersized arms lead to a pair of stubby hands in which he hold what appears to be an apple. The portrait bears little ob ious resemblance to the four-year-old girl named in the inscription, something which might be attributed to the skill of the sculptor. Underneath this text, however, there are traces of an earlier one; either the engraver made a mistake and had to start again or, perhaps more likely, a previous dedication was partially erased so that the stone could be reused for Vellibia Ertola. Although it is not inconceivable that the original text wa also for a girl of about the same age, a more drastic rededication might help to explain the far older appearance of the portrait. Such reuse is more explicit on a limestone stela from Budapest (#703). Supplementing the original Latin in cription in the main epigraphic niche, a Jewish family added a second Greek text above the portrait during the fourth century; everal menorah are al o ind ed over the sculptural scene, presumably to 'claim' the portraits for the usurpers. Elsewhere, the reasons for epigraphic and aesthetic mismatches are less apparent. Hailing from Micia in Dacia (=830), for example, an andesite stela dated to the Hadrianic

period was dedicated to eighteen-year-old s_on _Aelius Ianuarius by his father; while the brief text, which 1s rela-

F 1Gu RE 6

Stela of Vellibia Ertola. Corbridge, Roman Fort Museum, inv. co 23338.

without it, the portraits might have been interpreted (and assigned approximate ages) quite differently. More complex instances occur when there is ab olutely no correspondence between text and image. ub equent reuse may account for some such example for, de pite the many epigraphic warnings against vandali m and encroachment which adorned tombstones throughout this period, some pieces were very obviously taken O\'er by later commissioners." By definition most should be difficult to detect: if the craftsman did hi job properly, trace of earlier names and portrait should not be visible. But this wa not alway achieved, as shown by a relatively late sandstone stela from Corbridge of over 1.5 metre in height and dedicated to Vellibia Ertola (=380, Figure 6). In the large niche, a quat and rather ill-proportioned portrait of a female in a belted dress appears to 'float' in the air. She has an almo t perfec y

" For discussion of monument reuse, Huskinson 1996: 82-3.

tively well cut and make liberal use of ligature , names only the e two males, the sculpture nevertheless presents four portraits (with a man and woman behind and a boy and girl in front). Althouoh the heads of the adult are lost and the fa ial feature of the two children in front all but obliterated, it i clear from the izes of the bodie that the son and daughter were of junior year . 1t is possible, then, that the father chose to depict Ianuarius with hi own nuclear family: at eighteen it is highly plau ible that Ianuarius was married and had •oung children of his own. An early third-century example from Brioetio ' zon ', =5 4) may show much the ame ituation. Dedicated to 25-year-old soldier Aurelius Plotian

b·

hi parents, the partially preserved limestone

tela - which boast an expertly executed text and measures nearly two metre in height even in its current incomplete tate - now lacks the heads of the three individuals shown in the top portrait row. That of the child below is also missing it facial feature . till, the portraits were clearly of two men, a woman and a girl - the latter perhaps an unnamed daughter of Plotianus. It mu t be remembered, of course, that the expectation of orre pondence between those named in an inscription and tho e depicted in the culpture is something of a modern creation, not least because uch 'neat' situations make our job far easier; but it wa not necessarily a prerequisite in the

THE AMBIGUITY OF AGE

ancient context and there may have been several reason for divergence between the two components. Abm"e all, it may not have mattered if the epigraphic and iconographic information differed - these families could hardly have known that their tombstones would be examined in uch detail some t\vo thousand year on. Equall ', it may be that on some commemoration the identity of the deceased i quite deliberately left unre olved. uch ambi!!Uity h been mu h discussed in cla ical Greek conte:i.ts \\°here group image adorning countle s telai eem - very intentionally- to leave the viewer wondering just who amono the embled protagonists has actually died (and indeed whether the tone marks the death of just one person or multiple indhidual . We are in such instances often presented with ,; ual hin which might allow us to make plausible inference , \\ith the person receiving an object, sitting , hile other tand or e e located in what seems to be the mo t ' important' or entral iconographic position usually being touted a the mo t likely candidate for the deceased. Yet rarely is it possible to give a definitive an wer and comparable complexity i een on a number of Roman examples. ln some, such a the altar of C. CrLxi e undus from Rome (#34, Figure 9 ), individual appear in the culptural scenes but go unnamed in the in cription, lea,in u to ponder their exact relationship to the deceased and whether they too might have died (for discu ion of thi piece, ee Chapter 4). Particularly among the earlie t freedmen relief from Rome, it is also common to find large family or colliberti groups where - unle it is one of the relati,,el ' rare instances where the text give explicit indication - 1,·e are left unable to determine how many were being honoured posthumou ly and how many were taking their place in the portrait row while still alive (the intention pre umabl · being to show groups a united in death as they had been in life, with those still living eventually to be buried in the ame complex alongside those lo tat earlier points). On a more practical level, however, at least ome of the ambiguities een here may be the re ult of financial and time pressures as well as workshop availability. In hart, we may be seeing in tances where commemorator were either unable to afford image for all of those named in the inscription or el e purchased pre-carved 'stock' pieces on which certain portraits (or detail thereof) were carved long before the identity of the eventual recipient( ) was known. ' 5 It is often thought that children - who e death were unpredictable even if not uncommon - were particularly likely " On examples which were never cut or had identical design Carroll 200 6: 10 - 13. Stock-piece possibilities are con idered b · Kleiner 1987b: 29, Coulon 1994: 148-51 and Huskinson 1996: 79-Bo.

23

to receive uch piece and, as illustrated by a one-metre tall late fir t- entu1T BC lime tone stela from Capua (#158), it could ha,·e a trong impa t on the accuracy of the images. Intended for a nine-year-old boy named Q. aevius Primus, the accompall\ing ulpture i in many ways typical of cene employed for young boy : the full-length portrait how a fioure in a hort- leeved tunic, looking out towards the ,iewer as a mall dog to the side jumps upwards to emand attention. Here, however, the individual in question has a prommen pair ofbreasts.' 6 Again, a small marble urn from Rome =:?. dedi ated to a seven-year-old boy named Ti. Claudi - \ 1ctor around the middle of the first century has an exq · i e _ heme of decoration on the front (see catalogue entn· - u o ting it would have been a relatively o tly pur-ha-e - and wt bear a mall portrait of a young girl \\ith a /!m ,:1 pendant. Her hair i combed backwards into a bun ,·hile her young, oftly rendered features leave little doubt about her intended gender. ~lodem holar find thi ort of disagreement extremely problematic; in an ient conte>.1s it may have been far less so. Tomb tone- were not de igned to be scrutinised in the pages o - catalogues where the mismatches are probably far more apparen than in the necropolis.'7 Given the cost of stone monumen many might have been pleased to afford any piece, no matter its ab olute relevance. And if dedicated by heir actin out ofle al duty rather than affection or concern per e, the de ire to haw representative pieces cannot be taken for ranted.' ~everthele , attempts were sometimes mounted to alter pre-carved piece o a to make them more rele,·ant, as \\ith a fir t-century marble relief from Rome =46, Figure ) dedicated by er. Cornelius Diadumenus for his "ife Cornelia ervanda and verna (home-born la,·e) Cornelia One ima. At the centre of the composition, a ·oung child recline on a deathbed, in front of which are a mensa tripes and a (very) large bird; he is nude save for a mantle over her lower body, upports her head with her left hand and pla es her other over her torso. Yet despite the child being named in the text as One ima, the facial features, hair and anatomical detail all give the impression of a boy. As usan Walker ha ugge ted, the two appearances of the child' name - on e in the well-cut main inscription and then again on the ide of the bed - may be an attempt to clarify the identity of the portrait." Further problems surround the two large bust - one eemingly fini hed, the other not - which appear to the ides and which were presumably intended " For imilar cases on sarcophagi, Carroll 2006: 113- 14. r. On the potential im-isibility of the problem for viewer in the Roman period, Hu kinson 1996: So-1. '' For a similar commen , Dixon 1992: 100. '' Walker 1985: 50-1 and 19 : 550.

24

COi\lME~IORATI

G THE ROMA' CHILD

body than the mother, leading one to suspect a teenage identification. The long in cription below reveals quite different circum tance : parents M. Aurelius Attianus and Aurelia abinilla were honouring their 25-year-old daughter Aurelia abina. A rare case of a retrospective rather than prospective portrait, it has been ugge ted to me that uch a vis ual cheme recall the modern phenomenon whereby those organising funerals ometime choose to u e images of the deceased which are deliberately nostalgic - perhaps to evoke fond memories among those mourning the loss. Yet in the conte)..'t of Roman funerary commemoration (as opposed to in other artistic genres), the heer rarity of retrospective portraits perhaps \ orks again t thi theory. It eems more plausible that the parent either purcha ed a stone with a pre-carved cheme - a not unreasonable assumption, especially as their \·ery obviou I • be poke in cription, in wh ich the lo of abina is emotively lamented in great detail, become incr ingly cramped as it near its completion - or el e elected to have their daughter hO\rn on a maller scale due to their own eniority \1ithin the famil '. As so often in thi area. one ·an also rnnder whether the problem is simem re· tion - the mi match perhaps being FIGURE 7

ReliefofCornelia One ima. London, Briti h Museum, inv. GR I 05.- -3.169.

to repre ent husband and wife Diadumenus and ervanda. At the right, the completed portrait depicts a mature man whose forehead and e ·e carry deep wrinkles, whose strands of cropped hair are di tingui hed through lightly caIYed line and who e cheek are well defined. In contrast, the second adult portrait at the left - conceived, so it seems, to be of equal size and physiognomy - is left unfinished. Once again, however, there is cause for caution. While it can be tempting to assume that most apparent mismatches are the result of pre-carved and ultimately ill- uited examples including being employed, alternative scenarios remain plausible, the use of symbolic izing - a vi ual phenomenon whereby portraits are graded according to their importance within the family group.30 ~lore normall · employed for lave , it seems to be present on a number of tomb tone from \ hat one might term (quite loo el•) the Danube prO\ince . On an early third-century limestone tela from Pannonia Inferior (=7 3), which mea ure ome 2.6 metre in heigh, a fairly typical nuclear family group appear in the main portrai· scene, the two parent placing their hand on the am::hter in front of them. Although mo t of the facial de · now lo t, thi child has a much maller and le ., Huskinson 199 : 237- and 2007b: 323 on 'Tllbolic sizm,,

a thi --_e a · e -0\ered by a beard. Between them, but adlr amo.1.,, . j· Po enana· h r arments and pose appear to repli te tho· o · B · ina. in e mother and daughter are recorded a ha,ing lh·ed to ei hty and thirty years of age re pecti\·ely, it i po ible that their age have been 'rounded'. EYen o. Pothentina wa till a mature adult and so in physicaJ terms should be broadl · comparable in tature to her aged mother. To the contrary, she i not just significantly maller but has far le developed physiognomy (once more, however, the ins ription complicates the matter: filling only half of the epiaraphic area, one might suspect this to be an 'o -the-sh ·, purchase ub equently customised as well as 1 to meet the requirements of the family) . Again, on a lar_, earl· third- entury ande ite stela from Micia in Dacia = ·o , et up by Aurelia urilla for her husband and three a ult children (two on aged twenty and nineteen as well a daugh ter of seventeen years), at least one of her sons is hmvn as a diminutive child in the bottom left corner of the portrait niche.

25

THE A.\iBIGlJITY OF AGE

Fr Gu RE

8

tela of Aurelia Pothentina and parent . Celje, Glavni trg 11.

Clearly, the u e of what may be symbolic izing on Roman portrait monument complicates the already fraught process of as igning ages to the recipients in question. But it also opens up the so-called Totenmahl - or funerary banquet imagery to new reading .3' Taking the form of a meal cene in which one or more diners recline on a kline, usually ,,ith a mensa tripes in front of them and attendant sla,·e al the id , the Totenmahl motif has Greek origins and eem fir t to ha,·e been used in the Roman west by soldier and then adopted soon afterwards by members of the local population. In this catalogue such cenes appear in full on several of the tombstones from Britain and Gem1any; an abbreviated Yer ion, typically placed below the portrait niche and compri ing just two servants and a table, i common throughout Pannonia. It is in relation to the former type that arnbiguitie can arise. Typically, attention focuses on the per on reclining

'' For general discussion, Zanker 1992: 354-6, Rousselle 1996: ' 2004: 57-70 and Rothe 2009: 25. On the presence of children d such meal Bradle1· 1998c: 36-8.

, Conrad

FIGURE 9

tela of lartiali . Oxford Archaeology Unit.

and feasting who i u ually recogni ed as the deceased; the la,·e who tand lo the side, offering refreshment in the form of drinks and foodstuffs, are clas ified as generic figure of little relative importance. A relatively recent d iscovery from Gle\'Um (Gloucester), dated to the fi rst cen tury, may require significant revision to this understanding (=399, Figure 9). De pite its (very) poor condition, the limestone tela clearly - albeit rather awkwardly - repreents a togate man who e facial features are all but obliterated but who e head wa covered by drapery; he reclines on a bed with a mensa tripes in front. At the left of the portrait niche i a young ervile figure, only the head of whom survi,·e (and even then, only in outline). Without the inscription, mo t would with ome confidence identify the recipient a the man. In actual fact, the text decl ares in large and in place widely paced letter that the stone was dedicated solely to a fourteen-year-old slave named Martialis.

-:_-_ - - · -

-..:a,,

-CO MMEMORATI

G THE ROMA

C HILD

M[A]RT!ALIS G[A]LLO ·1 SERV [A)L ·]o Xllll

[H

]

E

Martialis, slave of Gallonius, of 14 year . Here he lie .

It is just possible that Martialis is hown prospective\ a the diner. Yet it seems far more plausible that he is in tead to be recognised as the little servile boy, shown waiting on what may be his erstwhile master; even in death his was to be a life of service. The reversal of the normal vi ual cheme is completely unexpected and, given that the boy look far younger than his actual age, the dangers of applying uniform readings to seemingly standardised scenes become all too clear. And there are in fact other tombstones from Britain which seem to follow the same pattern (all usually allocated to the Severan period although earlier dates have been mooted). Among them is the sandstone stela of nearly two metres in height from Eburacurn (York), commissioned, so the well-ordered epitaph tell us, for a daughter named Mantinia Maerica together with her mother, one Candida Barita (=387, Figure 10). D

M

MANTI

l [ A ]E MAE

RICAE ET CANDIDAE EIV

MATRI BARITAE

M AVR(I] fTV SIMN(V ] TITVLVM

tela of Mantinia faerica and Candida Barita

(detail). York, Yorkshire !useum, inv. 2006.2902.i-ii.

POSVIT

To the pirits of the Departed. For Mantinia 1aerica and Candida Barita, her mother. M. Auriniu imnu put up this in cription. The main scene represents a reclining woman apparently being waited on by a young girl; behind them hangs a large garland. The adult has large eyes which are pointed at their sides, a prominent nose, a narrow mouth which appears to smile, fleshy cheeks and a thick-set neck; her hair i parted in the centre and falls over her ears. The second female is schematically smaller and holds a pair of vessels in her hands as one would expect of an attendant. And yet, despite her slight stature, there are profound similaritie to the woman in term of her phy iognomy and grooming: they share the ame e e , cheek , foreheads, hairstyle . Further, the little attendant' face i di proportionately large compared to the re t of her body; it i as if a portrait head ha been added to an otherwi e anon 'J11ou figure whose iconographic role is usually one of relati\·e unim portance. This must make it very likely that the ervan is in fact Mantinia Maerica, the daughter named in the inscription.

FIGURE 10

imilar identifications are at least possible for two further and tone telae from York (=3 6 and =389, Figure n). tanding in the po ition normall · occupied by the generic slave, the mall girl on the fir t of the e tone holds a bird in her hands (an attribute particularly common for children: see Chapter 3). On the second example - representing a reclining woman together with a seated female and two standing males - the situation i rather more complex. The elegant inscription records that Aurelius Mercurialis, the heir, set the stone up for Iulia Velva as well as himself and his family (sibi et suis). Only one figure is therefore identifiable with any certainty: Mercurialis must be the man at the right who clutches a scroll, has a long oval face and sports a beard. It then eems plau ible that the much smaller male who stands adjacent to the mensa tripes is a slave. The identification of \'el a has parked far more controversy: many would see her as the reclining woman whose lower face is weathered bu who ha deep- et eyes, a prominent nose and centrally parted hair which covers part of her ears; she supports her head with her left hand and holds a cup in the other. Others have uggested that Velva might instead be the female who

THE AMBIG

FIG u RE 11

Stela of Julia Velva. York, Yorkshire lu eurn, inv.

27

!TY OF AGE

recipient in qu tion. As a result, 'portrait' is used here in the mo t general en e of the word, defined as 'something which repre en , typifie , or resembles the object described or implied; a type; a likene s'. 33 It is applied to all of the child ima e in the catalogue, be they of high or low quality; of indi\idual depic ed at their actual ages or far older; of those \\ith idealised or more veri tic features; of young babies or mu -h older ado! ents. ion thus far will have made clear, assigning the dis prec· e a to tho e children whose years are not recorded in an inscription i neither advisable nor feasible. However, b - examinino the context of a scene together with a child's phv iognomy, height, dre , proportions and attributes or their 'total rendering; as Minten termed it - it is usually po ible to gauge approximate age .34 And, of course, compari ons can be made with those tone which still retain details of their recipients' age _3; \ here preservation makes it reasonable to do o, therefore, every child portrait in the atalowe whi h la ks an epigraphically specified age has in Table 4 been assigned an e timated one based around five broad categorie : babie and infants of twelve months and under; tho e between one and three years; four- to six-yearolds; even- to nine-year-olds; those of ten years and over {broader than the others a distinguishing smaller divisions in the teenage range i rarely achievable with any degree of confidence). The group avoid estimates having to be too preci e and the boundarie attempt, as much as is possible, to adhere to concepts important to many Romans, taking particular note of the benchmark ages of one, seven and ten.

1998.25.

" From the Oxford English Dictionary (www.oed.com, last consulted June

sits rigidly in the wicker chair at the left of the composition. I favour the former cenario, allowing the po sibility that the seated figure is a young girl, perhap the daughter of Velva (or even ofMercurialis who e family were, after all, included in the dedication). The Totenmahl scenes serve as a reminder that our definition of what counts a a 'child' in iconographic terms and our approach to asse sing age - both need to be flexible. So too does our understanding of the word 'portrait'..12 o Latin word corresponds entirely with our modern usage and arguably the closest candidate, imago, might be better translated as 'image' (among other alternatives). In the context of funerary commemoration it is clear that 'portrait ' vary greatly in terms of naturalism and form. Some are very deliberately artificial, in effect misrepresenting the individual; some must have been carved without reference to the

2010,. On portrait accuracy see also Walker 19 : 554, Hope 2000: 107 and Carroll 2006: 3 - .

" • linten 2002: 20-31, esp. 21. he recorded 13 children under twelve month (classified as 'infants'), 41 aged one to four ('younger children'), 12 between four and eight ('medium-old children') and 163 as eight to

fourteen ('old children'). As some ages are represented in more than one category, ii is unclear how uch children were assigned lo their groups. Furthermore, 1inten decided to give ages to all of the children on her monuments, whether the protagonists or merely the background figures in large sarcophagus scenes; as children in the latter are all represented at the same age, certain groups are automatically over-represented in her result .

vzzi (2005: 26) uses height, body frame size, face shape and body

fat as indicators. Backe-Dahmen (2006: 100) attempts a similar process for round portraits, noting the subjectivity involved. She identifies 14 children up to two years, 73 between two and ten and 22 of ten and over. Humphrey 2000: 193-4) warns that children who died of illness might not be of typical appearance. " For this technique, compare =J for a two-year-old boy with #275 (lacking an age but \\ith a portrait of similar physiognomy). Occasionally thi neverthel presents problems of its own; as Goetle (1989: 459-60) noted, C. • ·ooius Piu

,, On the ambiguity of defining portraits in sculptural contexts. lewart 2003: 79- 82.

=55) and ex. Rufi us Achilleus

(#94) look similar despite their ages being pecified as six years and

seven months respective! ·.

TABLE 4 Age estimated from visual appearances

Age group o to 12 months 1 to 3 years 4 to 6 years 7 to 9 years 10 years and over

'o. of examples 36 106 176 215 363

Interestingly, the area in which the two ets of age data in Tables 3 and 4 how most agreement i the under-representation of infants, taken here as tho e of twelve months and under. 36 Demographically. this group hould be by far the largest: even if they survived the rigour of birth a process more hazardous for the child than the woman and then overcame the dangerous first few day and , ·eek , babies remained susceptible to di ease, plague and other mortality problems.37 In pite of thi , infants do not dominate either set of re ults and, when they do appear, there i a strong preference towards pro pective piece - tho e where the children in que tion appear to be much older than their actual ages (see Chapter 3). On an early econd-century marble stela from Rome ( =6 ), for example, Q. Fabius Proculus - a young boy who the in ription informs us lived for ju t under ten months - receive a portrait con iderably more mature in appearance; hi Trajanic-influenced coiffure, flat cheeks, narrow chin, tightly clenched lip and developed pectoral musculature all adding to the impres ion that hi life lasted for everal year rather than month . On another piece from Rome - a marble altar contemporary in date 1,ith the commemoration for Proculu but thi time dedi ated to two boys - the portraits of eleven-month-old ico and his likely playmate, seventeen-month-old Eutyche , pre ent them a scholar far beyond their year , juxtapo ing infantile face (complete with tou led hair, bulbou cheeks and large ear ) with comparatively tall and lender bodies (= 3, Figure 92). lf one discounts examples where mothers hold anonymou babies then only a handful of tone from Gaul show the very youngest infant at their true age, among them a second-century lime tone tela from Divodorum ( Ietz) in Belgica for a child named Aeliola {=350, Figure 12). the little girl appear in waddling - a type of wrapping thought

FIGURE

n

cla of :\eliola.. I '

de. letz, letropole La Cour

d'Or, in,·. u36..1.

to be bene - · for babi and re ommended for between the fir t forty to ixty day - he mu t be one of the younge t children in the catalogue to receive a per onal monument, her mall but Ile hy face the only part of her body to escape the ti htl · bound cloth."' comparable scene for a

boy appear on a lime tone tela from modern Chauvigny in Aquitania (=314). Di proportionately low numbers of infant have been noted el ewhere and the reasons behind it are fairly easy to po tulate. 39 Other forms of burial and commemoration were ,. On swaddling, Garnsey 1991: 56-9, Coulon 1994: 42-6, Corbier 1999: 12- 6, Harlow and Laurence 2002: 42, Norman 2002: 316, Rawson 2003a: u1-2, Laes 2006: 69-70 and 2011. ,. For lower commemoration levels and separate or invisible infant burials, Plin. H, • -.16.~2; Juv. 15.138-40; Dixon 1988: 104-5, Garnsey 1991: 52,

,. For an alternative definition, King 2000: 11 n.6 who cl

a 'bah

'

under tweh·e months and an 'infant' as under four year . r On deaths during labour and implausible age tructures of mfan

based

haw 1991: 69, igismund

ielsen 1997: 174, Chamberlain 2000: 209-u ,

King 2000: 125-6 and 137-8, Simpson 2000, Gowland 2001: 156-7, Pearce 2001: 126-36, Minten 2002: 105, orman 2002, Rawson 2003a: 340-6

on epigraphy, King 2000 124-5 and Rawson 2003a: 103- · on

and 2003b: 277-81, Bakke 2005: 45, Hasegawa 2005: 65-6, Lucy 2005:

and plague, Rawson 2003a: 342-3 and 2003b: 279.

44-5, Laes 2007a: 28. For infant burials in Britain, Scott 1999: 26-7.

29

THE AMBIGUITY OF AGE

ofcourse possible. As Rawson ob erved, under-representation does not correspond with lack of careful burial and in the Roman period those under forty days could be interred under house walls with legality but without any connotation of pollution. It might be noted that differential treatment of infants is found also in some modern Briti h contexts. The social valuation of this group of children i another factor. The idea of parental detachment - of infancy being so precarious that adults avoided becoming too invoh·ed - has lo t much ground in recent years. If taken in an emotional en e, this shift in opinion is clearly sen ible; but deta hment an also be interpreted practically. Keith Bradley has ugg ted that, if resources allowed, slaves very likely performed some of the more menial tasks involved in early childcare. Limited daily contact combined with a very hort life and a lack of cultural importance must have resulted in ome parents being unwilling to spend a con iderable um on a tone monument featuring a portrait. Other ma · haYe wanted to but been unable to afford the expenditure. All of thi do not mean that infants were unloved, rather that the funerar y medium was sometime an unsuitable arena in which to celebrate their short lives. One of the exceptions to this commemorative rule i a relatively well-known mid second-century and tone tela from Mogontiacum (Mainz) in Germania uperior (=453, Figure 13). Close to two metres in height, the large stone shows a young girl whose fleshy body include a con iderable amount of baby fat; she sits in profile, holding a ball or apple in her left hand and reaching out to a flowe r- filled basket in front of her with the other. Here the inscription leaves little doubt about the affection in which he was held by her parents, or the grief they experienced after her loss. D

ET

MARJTVS EIVS PARENTE IMAE

QVERJ NECESSE EST DE PVELLA

DVLCI

NE TV FVISSES SI FVTVRA TAM GRATA BREY( REVERTI VNDE 'OBIS EDITA NATIVOM ESSET ET PARE TIBVS LVCTV SEMISSEM ANNI VIXIT ET DIES

OCTO

ROSA S I MVL FLORIVIT ET STATIM PERIIT

•0

Bradley 1994: 145- 6.

Stela for the daughter ofTelesphoris. Mainz, Landesmuseum, inv. s 996.

To the Spirits of the Departed. Telesphoris and her husband, parents, (did thi ) for their sweetest daughter. It is necessary to lament about this weet girl. Better that you had not been at all than, become so beloved, so soon to return from whence you were born to us. Because of your birth, grief has been cau ed for your parents. Half a year and eight days she lived; like a ro e he blo omed, and like a rose she immediately withered.

M

TELESPHORI FILIAE DVLCI

FIGl.:RE 13

Found along ide the tela was another one of broadly comparable size and form (;;452, Figure 14); set up by the same adults, it al o commemorates a filia dulcissima but with a far horter inscription and what eems a much less accomplished or detailed portrait. Indeed, while both girls adopt analo ous po e , the econd child's longer but slimmer limbs gi,·e the ense of an older and considerably more muscular child; her actions - even allowing for the effects of weathering - also eem much le fluent or natural. In comparison, the scene in fact eems unfi.ni hed. The rea on behind the exi tence of two such similar - but nevertheless different - tombstones ha generated much speculation, \\ith ome ugge ting that the parents originally commis ioned the simpler of the two and, being unhappy with it, ordered the more elaborate and expensive

-

--

---

-

-

-

_=-:,_ -

~

--

-

-

COMMEMORATI "G T H E ROMAN CHILD

30

in the largest letters. Evident in the first reproduced above, it becomes particularly apparent in the second, shorter text where the unnamed child is pushed to the end.

D

M

TELE RI

PHO

ET

MA

RITVS EI

S

PARENTES FILIAE DVLCI

I

MAE

Of cour e, one would not deny that the daughter is in each case clearly valued by her parents. Nevertheless, the epigraphic focus i very much on the adults (and the mother in particular): on their lo , their fru tration, their grief. In a en e, the texts mark their role a parents a much as the hort life of the child:" A imilar phenomenon is attested on a third -century andstone tela from Britain; dedicated to a girl who lived for just one year and twenty-one days, she is recorded not with her name but a the daughter of Blescius

FIG u RE 14

Stela for the daughter of Telesphoris. Mainz, Landesmu eum, inv. 99;.

replacement. Thi not implausible theory would involve ignificant valuation of, and inve tJnent in, a child who repreents both of the group mo t marginali ed in term of age and ex: infant and girls. Attractive as the idea ma)' be, the evidence to upport it is not a compelling a ometime suppo ed. A Maureen Carroll ha argued, the alternative reconstruction under which the stones commemorate two separate girls lost at separate times seem to be upported by their archaeological context.•• If true then it is clear! important that the girls are neither named nor differentiated fro m one another; the ]ilia dulcissima remain an anonymou one in both cases. 4 ' Regardle of which cenario one accepts, the way in which the girl(s) is/are commemorated i ignificant. In the in cription - which are arguabl - the dominant component of each tone - one indeed find ome rather intere tin priorities: the name of the mother not only come fir t but is t " Carroll 2006: 169-70, esp. n.110. For the pieces to commemora e o e child, their find-spot would need to be reinterpreted as a "o rather than a cemetery. However, the reason why h\"O piec .. have been left lying around is unclear (especially when one of clearly lini hed to a very high standard). " For other examples with unnamed recipien Carroll e · u,

Diovicu (=403, Figure 15). To return to Tables 3 and 4, initial accord over infant under-repre entation i followed by marked disagreement over the remaining age groups. Younger children may have been more likely to have their age pecified but Table 4 how that, overall, older one had a better chance of receiving a portrait monument. ubjectivity of the estimates noted, ewn if one ac ount for tho e who mioht have been shown pro pectively and adj t the figure ac ordingly, older children remain dominant. Thi rai e an important point: using epi!ml hi ave alone, one mi ht conclude that the youngest hildren \ ·ere the primary roup of re ipient :'4 In actual fact the op 1te eems to be uue. This urely upports hypoth·ewhere that the epi!mlphi inclusion of ages for ·oun er re i ien w a deliberate choice - with these details perhap· a tin as p eudo-epithet de igned to highlight the tra ed,· of mors immatura. 4; ln ome cases, perhaps a e , ·ere cited

the hildren in que tion were too young to

have other 'a hievements' which could be tre ed. Whatever the moti,·ation, the epigraphic over-emphasi of the younger a e - dearly not accidental. It eems le certain, to me at lea t, that age specified in the form of ·ear months, day and even hour - as opposed

., On children as \·ehicles for parental self-expression', George 2001: 180. u King ( 2000: 11 -19) uses epitaphs as evidence for Roman reactions to death but does sob · comparing those up to four years with those aged between ten and fourteen. Clearly the preference towards specifying )'OUilger ages will have an impact on this. For further discussion, Kleiner 19 7b: 46, igi,mund, 'ielsen 1997, 174_7 and 2007: 40-1, Hope 2001: 19-21,. 1c\\-tlliam _ooc - 5.

- =~-

··-

--

·=

l

-==-

c-

!

.'

THE AMBIGUITY OF AGE

31

knowing the exact figure in fine sub-divisions of time. When written records were lacking, one might even question how many adult kne1 · their own age with absolute precision.•' Demographic practicality, then, urely makes it less likely that adult age \\ill ha1·e been recorded in detail. And when they did appear a uch, their visual effect should not be underestimated - they might have looked impressive in the necropolis, reflecting the numeracy of the family or its ability to pay for e~1:ra caning. Tue inscnp ion on a fourth-century limestone stela from Aquileia (=21 i worth considering in relation to this issue. To the piri of the Departed. Flavius Augustalis, centurion in legio J ltalica .',foesiacal?). He erved for s years, 6 months, 12 da~ and .! hours and lived for 41 years, 7 months, 15 days and 4 hours. He lived \\ith hi ,,;fe Ca torina for 9 years, 3 months. 6 da and .J hour . Al o for on Stercorius, who lived for 3 years, :, month 10 day and 6 hours: 47 days more than hi· father. Castorina et up this in cription for her dear · h ·band.

The omm· s10ner Castorina informs the viewer for how band lived, for how long he served in the army, :or how long he lh·ed \\ith her. She then gives the age of son er ori . upplementin it \\ith the number of days for Khi h he outli1·ed his father. The accuracy of some of these - gures m · e dubious. How did she know the exact length o · er h an ' liie? Had it been tran milted to her from

Iona her h

Stela for the daughter of Bl ius DiO\i Cambridge, niversity :0.1useum of Archaeol ~ · and Anthropology, inv. o 19:,0.u.

FIG URE 15

to just years alone - are particularly redective o · increased parental love, that 'the number expr ed the emo ·on:: Margaret King attached imilar ignificance o e en e of plus minus examples (case where the pre-··e ::,:e \ · unknown and so gues ed, typically to a mul · le o - 5..-e). asserting that meticulou age indication , · · the child 'was loved and valued \ ·hile alive, an death'. 47 Objection might be made, no leas practicality. These are commemorations or childre , adults, and so plus minus or circiter e · a; \ ill rar • have been nece ary within the mall a"e range · tion. One also has to think of commi ioner iden ·;,.·· as.most parents, ancient or modern, for their child' age an and they can very probably produce an an 1rer "ith accuracy, especially when the son or daughter is ill young; ask a child or spouse - or whoever else might ha,·e been dedicating a monument - how old an adult was and their response is probably slower and less preci e. The nature of their relationship with the deceased mediate again t them •• For the alternative view, Harlow and Laurence 2001: 1~- Laes 170, 2006: 92, 2007a: 31-2

" King 2000:

138-9.

and 2011.

Au"' paren ,ia the man him elf? Could she really o \. the exact length of hi military service and their marri ge right do rn to the hour? Anmably not, suggesting that · ey are a best educated gue e . Perhaps Castorina did ..n in Jude the detail due to her grief and affection, but · re are alternatiw e:..-planations which might have worked ..n con."unction ,,ith thi , among them that he wanted to m., ;.u... ..... the tragedy of her ituation; that he thought furni· i : u h information might how her to be a dutiful an mother; that the can'er reque ted the figures out ,·en ·on. I · also noteworthy that there is some subs _ phical ,·ariation. Within the catalogue, 135 of ·-:r ~ -- ~p ·ca11y pecified ages are of the simpler type Jim- wherea 112 take the more detailed form; but

: • e on ·entions which urrounded the Regardle employment of a e th q tion remain a to why older children received far more portrait monuments than their " On this question, Laes 200,a; 29-30.

. ~

COMMEM ORATI

32

G THE ROMA

younger ibling , ·hen mortality models would predict greater death level among the latter. An wers hould not look to increased di tre as uch; parent grieve for the lo of all children and attempting to distinguish differing level i fundamentally unhelpful. It is more plau ible that older children carried greater levels of famil • expectation; having urvived the turmoil of the earliest years, man · parents must have thought it likely - or at lea t po ible - that the • would urvive to adulthood. 49 When the e hopes were dashed the impact on the parent wa very like! · great. It was a lo on everal level : of a beloved child; of a ource of economic upport; of the future of the family line; of omeone who could perform commemorative dutie . In certain contexts, so too was it a los of the child who per onified the family' upward ocial climb. fors immatura wa a cru hing event.

LOCATI

G 'ROMA

--

·;-

' CHILDRE '

and Burdigala (Bordeaux). Al o exerting a clear impact i the b·el of publi ation. In relation to Pannonia, for in tance, the unique reason whi h mar a aunt for it ,·ast number of tone ill be di cus ed in Chapter ·et partial explanation m t al-o ri e from the exi tence of an online re ource, the L'bi Era: :.. ; •

ee Garnsey 1991: 52, Dixon 1992: 100, Bradley 199~

1~-...,

45-6, igi round 'iel en 1997: 197- . Against !hi i a.· George (2001: 1 3) uggests that older children nu" · r·reeamitoa=·e zs

through them it was easier to conYe · free · lalllS.

-~

..

~

C HILD

Datenbank, on which there are thousands of pieces of stone

On a tone funerary monument bearin a Latin inscription, labelling a child as 'Roman' can e m perfe th- legitimate. Yer when tomb tone from a broad geo raphi al area are mbled together, any traightforward a umption about identity are oon called into que tion. At the mo t fundamental level, it become clear that a recipient' lo ation \\ithin the western empire could exert just as much influen e over how and if they received portrait ommemoration as did their age and e."i:; ome prmm es produ e far more example than others and, as equal r ear h effort w inve ted into each provin e, the e di paritie are not the re ult oi uneven attemp at data collection. Of the alternative explanation , practicalitie pla · a Jar e part: quite imp! ·, ome ar ha,·e een greater level of excavation than others (whether the result of differing rates of modern urbani ation/land reu e, the availability of permits and funding, or the per onal preference of archaeologi t ). Re ulting regional total are moulded very strongly by these fa tors, \\ith ome maior occupation centres pre erving just one or two exampl and other producing large cache . Aquitania i a ca e in point: almost all of its tone originate from Arnricum (Bour e )

"

--

culpture from the Danube province . Profound numbers of them have either never before been published on paper or el e have appeared in relatively pecialised literature not easily obtainable out ide of Hungary. Re ources of comparable cope and detail do not exi t for many of the other areas of the western empire, making it po ible that further largely unknown piece exist el ewhere. For this reason alone it is unlike\ ' that a full · comprehensive list of examples could ever be a embled; even ince 'do ing' the catalogue I have become aware of a handful of new stones from Gaul and Dacia. Clearly, however, locali ed artistic and commemorative preference must be relevant too - as are modern reactions to tone from different part of the empire. While the days are gone when one might accu e provincial pieces of posing a 'blundering, tupid ugline that cannot even rise to the level of vulgarity', a Collingwood once famously did in relation to Romano-Briti h art, the problem remains that ome prO\incial piece are le than accomplished for modern ta te . ince Britain has been the major focus of attention in thi regard, it eem appropriate to consider one such tone: a third-century andstone tela , hich may originate from Habitancum (Ri ingham) and which i dedicated to an unnamed daughter of Ble cius Diovicus (::403, Figure 15). Rea hlno a height of o.- metre , the tomb tone consists of a quare niche filled \\ith an uneven] cut and in places slopino inscription and topped by a bust-length portrait inside a triangular frame. The little girl wear a tunic and has a large and ph ri al fa e whi h feature an over- ized nose and set of ear a well mall eye and a narrow mouth rendered through imple line ind ion · her arm jut out from her body at aw :ward ano e , forcing her hand to intrude into the niche' frame . By any tandar , the culpture on thi British stone is basi in exe ution, the proportion of the girl's body out of ,'Il , her drapery indicated only through widely spaced lines and her facial feature not exhibiting the technical skill een in other examples. The result is a seemingly clumsy portrait which largely defies anatomical logic, lacks fine detail and fail to give any real impression of the recipient's ag or gender. But to di mi s - or at least sideline - such an e.."i:arnple i perhap to over-privilege modern value judgeen about ae theti , to a ume that the portrait 'failed'. \;e ha ·e, it mu t be remembered, little contextual inform tion about the plot in which this piece stood or, more 'all•, the other tombstones \\ith which it competed for

• e attention of passers-by. It i not in onceivable that the • Collingwood and Myres 1937: 250, 1th-.

: 155-62.

LOCATIXG 'R0~1AN' CHILDRL"

33

w:-

little stela was actually one of the most expensive in it roundings. More, the conscious choice to employ a ~ortral together with a (fairly standardised if in place m,_ pelt) Latin inscription must be important for, although it ma: look very different from tomb tones found el ewhere m the , h er D"wv1cus · ureh·, unlikely empire, commissioning iat l· . to have seen the more accompli hed example a on.ung necropoleis in Rome; even the culptor, while aware .ot. th. traditions in which he was workin° mar ha,·e had lim1 e.: reference points. Only \\ith the benefit of modem a alogue can we make comparative judgement about quality whi h, by their very nature, run the risk of deconte:..i:uali ing ulpture by failing to compare like with like. A similar issue surrounds the three Iberian pro,inc where it might be noted that not a single stone come ~rom Baetica and all bar one of tho e from Lu itania hail rom Emerita Augusta (Merida). It would be rather urpri ing if publication levels alone were the e:\.'Planation: the three provinces do attest hundred of tomb tone for men, women and children and they have been publi hed. The more likely explanation is that Iberian stone often forgo portrai altogether in favour of Celtic iconography or else feature representations which are ba ic in execution and unli ·e ho_e seen in any other part of the we tern empire_;, Be au e they are sometimes rendered a little more than outlines, it can be difficult to identify those which were de igned to repre ent children. Such regional variation nevertheles echoe the problem mentioned in passing at the tart of Chapter 1 and to which we will return in Chapter 4: are we looking at 'Roman hildren' or children who lived in the Roman empire? The distinction may seem unimportant to ome but, a ro regions and between centurie , it i highlr unlikelr that ha,·e been motives behind the erection of tomb tone uniformly consistent, at least in their finer detail , nor that all of the children concerned were pecifically 'Roman' a such. Three example , all for young boy , will uffice to illustrate the point briefly. et up in the middle of the fir t century AD in Ferrara, the fir t of the three was a lime tone stela measuring about 0.7 metre in height and dedicated to a delicium (favourite lave: ee Chapter 5) named Fe tiu (#192, Figure 16). In ide the large portrait niche, which is topped by a gable featuring a rabbit, i a full-figure portrait of the little slave dre ed in a tunic and a cloak. He has short and rumpled hair, prominent ear and a narrO\ ,

,,ill

'' On the rough renderings of Spanish tombstones, Carroll 2006, :r; together with Sagredo and Martin 1997: 248-52 for examp -· On - e adoption of Roman elements in Tarraconensis and Baeti · Greenland 2003.

F

and

lightly chubb · face; hi other features are no longer preeryed. In hi hand he clutches a bird and a bunch of grape . The accompanying text - cut in relatively neat and evenly paced line - reveal that he would have won his freedom and citizen hip had an accident not brought his life to a premature end (he fell into a well, a reminder that untimely death wa ometimes the re ult of a mishap rather than health problems). The stone reflects one of the most common preoccupations of examples in Rome and Italy at this time: the quest for manumission and citizen status. Had Fe tius lived a little longer to receive his freedom, his monument might have been quite different: he ver y likely would have worn a toga, with the inscription highlighting his tria nomina. As Italian pieces consistently celebrate such Roman citizen hip, Festius is arguably memorialised as much for the life he might have attained as for the one he lived. Broadly contemporary with the Italian stone, the second piece is a taller (1.8 metre ) lime tone stela hailing from Pannonia Superior which commemorated a fifteen-year-old

•

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""'--

COMME~IORATI..G THE ROMA

34

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tela of Ariomanu. Ebreich dorf, chlo .

named Ariomanus (=629, Figure 17). Most of his feature have been lost to weathering but the youth appears to have posse sed a round face as well as short hair combed over hi forehead in symmetrical lines; underneath the portrait medallion, two animals move towards the right (perhap a dog and a rabbit, although damage to the culpture a well as a lack of skill in their original rendering rather frustrate iden· tification attempt ). The inscription reveal - in large thou h slightly inelegant letter - that neither he nor his father Iliatu had attained citizen hip. 'or is it !ear that thi even particularly de ired b hi farnil ·: prominenl mention is in tead made of hi native tribe, the Boii. Filiation o - the type een here - a child's name in the nominatiYe follm · by the father's in the genitive - i prevalent on earlv e. from this area as well as throughout much of Gaul. l1" Italy, then, countless families were using thi medi out placing any importance either on bein~ 'R m po e ing citizenship.

-c:;;;;_ _ _

CHILD

FIGl'RE 1

FIGURE 1

~

•

tedallion of P. Cassiu . iaternianus. ankt Nikolai im usal, Pfarrkirche.

The third and final example, a marble medallion from . ·ori um =·52, Firure 1 , i from the end of the Severan period and o , ·as et up much later than the other two. ln ide i a -· · r rendered boy, with a full and roun d face, who re · a la~·er of jU\·enile 'pupp ' fat' around his neck. Heh dimpl in hi hee · , full lip and emi-circular eyes ,1ith ri ply carved lids unnounted b ' weeping brows; his cropped hair cu a ro hi forehead in a rigid line before gi\ino ,·a,· to a lwnis lock at the ide (a ringlet of hair denoting mem er hip oi the I i cult). He al o holds a bird in his le· hand, the beak of which he touche ,dth his other, and ·ears a rnlumino toga. In thi instance the name and dr o thirteen- ·ear-old P. Cas iu Maternianus confirm ihat he ,·a a citizen, and et, po t-dating the constitutio . toni11ia11a of 212 whereb all free adults became citizens), _uch legal tatus had lo t much of its original significance. ·o longer wa Roman citizenship a prized possession, havnow become the norm for all free males. Families who ' n lited from the legi lation and whose names changed as r ult till recorded thi for po erity, but not in the same elebratory manner een ear · r.

LOCATI

G ' RO 1A1'' CHILDRE,

The three tombstones, then, all use the combination of Latin text and portraits to record the lives of boy from the western empire. All were expensive, all attempt to communicate information to the viewer, all repre ent children important enough for one reason or another to warrant a permanent memorial. 1n the e re pect da ification of them as 'Roman' monuments eem legitimate. But i it right to talk of all three of the recipients a 'Roman children' in a comparable way? Do the tomb tone reflect the arne desire and motivations on the part of the cornmis ioners? Would the three children have had identical childhood eA-perien e separated as they were by time, geograph , and ocial grou ?

35

\-ery likely, the an wer to all th ree questions is no. Still, the problem inherent to using th is material - the difficulties of identification, of defining children and childhood, of finding repre entath·e ample , of recon tructing intentions and feelino - are not insurmountable. Further, the material has mu h to tell us about many of the children who lived and died in the Roman period, and recognising that age, gender, tatus and oeo!!raphic provenance have very real impacts \,ill only lead to more nuanced understandings. 'You , ·ho are pa ing by; proclaims an inscription on one o - the early telae from Capua (#163), 'look at this tombtone .. .' I i time to do just that.

CHAPT E R THREE

TH E ICO N OGRAPH Y OF CHILDHOOD So, dry those tears and make a sacrifice for me, father. For when you look upon the stars, you will ee me riding my horse.

S

o speaks a young boy named Eutiche on an early thirdcentury marble stela from Albanum Cae arum (Albano, =150 ) . Anyone who saw his monument would have seen the message reinforced through the culpture: the little twoyear-old - who e face is badly damaged but whose large, round head and corpulent right leg help to convey his junior age - is depicted on horseback being led skywards by the eagle of Zeus, a star appearing above his forehead to confirm his transcendence to immortality. A reminder of the intimate relationship between text and image, and so of the need to read monuments as a whole when pre ervation allow , the tombstone gives a glimp e of the rich iconography found right across the we tern empire over a period of more than 300 years. Such scenes do not of cour e reveal how children themselves saw their childhood ; the e are very much adult constructs, even if on occasion the tone purport to record the direct voice of a child.' What the elected themes and models do reveal is something of the ocial attitude and expectations that urrounded children as seen through the eyes of parent and other commi ion er , revealing along the way how childhood wa vi ualised, under tood and, mo t of all, contextualised in the funerary phere.

CO

One of the most common iconographic schemes was for a child to hold in his/her hands at least one attribute (an object or animal). In existing scholarship, however, classifications of such attributes have sometimes been over-simplified. The greatest problems have occurred where gender and age assumptions have influenced descriptions. owhere is this clearer than with objects of circular shape, typically described as an apple if held by a girl and as a ball when owned by a boy. A discus ed below, certain attrib utes are indeed more popular for one gender than the other, but basing recognition olely on the child's sex is both spec ulative and circular. There are ways of differentiating th e two, a well as from similarly shaped pomegranates and rattles, with this study including countless incontestable examples which deviate from the old gender stereotype .' As just one example, a young boy on a mall but fragmentary sandstone stela from Pannonia Superior (,;633) is very clearly clutching an apple in hi right hand. A comparable prote t must be lodged against how 'toys' have traditionally been identified on the e monuments. As uch obj are imbued with cultural as umptions, just as a bo,· h a ball and a oirl an apple, children are regularly de ribed holdino 'to} '. ~forem·er, proYi ional identificatio - , -hich tate that an obje t might be a toy - tend to become ever more ecure over time and with each new

STRUCTI G A IMAGE OF CHILDHOOD

publi · tion; the po ible be ome the certain and is evenHaving taken the decision to purchase a portrait monument. choices followed about the appearance of the child. Hairst)~e. dress, po e and pos es ions needed con ideration: each ould ocicommunicate pecific message , each carried certain ations. Whether the person making the e election w the dedicator or the culptor (or both) rather depended on th nature of the monument. Po ibilitie ranged from comple eh· original commi ions to pre-carved 'stock' piece ; manv m_;. have been omething in between, perhaps with detail , of· portrait left blank until the customer was known. '

tual!· repeated

an ab olute truth. A we have a multie of i en e for the pla thin which amu ed children

in the Roman period, from literary accounts to actual toys

pre erved in the material record, generali ations are surely una eptable. If one would refrain from describing a child holding an ariimal without specifying its type, the same andards should be maintained for toys. Of course, some eewa ' i advisable here: when seen through the eyes of chilen, everyday items can assume play functions while distin tions between objects of practicality and leisure are not alway clear. Even so, the ob ervation that archaeologists

' For adult influences on child monuments, Huskinson 1996: ·, l . 236-7 and 2005: 92, George 2001: 178-80, Baxter 200-- 1-91 ' For the,· · · ··· J· • anou po tbilities, Coulon 1994: 148- 51 and Carmi.I e

1

For good examples of apples see #4u and=-- . On rattles of various sizes and shapes, Co,:, •

ate, J;193.

co.·

TABLE

TRU'CTl."G

A:-

!.!AGE OF CHILDHOOD

latter po ibility cannot be discounted entirely. Child burials often produce plaything or miniatures in the form of animal , although whether one should expect an automatic !in· ,,ith the item cho en for representation is questionable - the contexts are quite different. The types of animals found in rave are also much more diverse, suggesting that the relative!· few as ociated with children in funerary icono aph,· had pecific function or relevance. 6

s The attribute ofchildren

Type

. ·o.

Animal+

1,-t

Fruit'Object' Scholastic" Toy> Cup/vessel Basket/chest Blossom/flower Garland/wreath Ascia/axe Other

I.ii

93 92

.w

Birds were particular favourites.· On a second-century lime· one tela from apoca in Dacia (#842, Figure 19) a youn irl lutche a plump bird to her chest; the boy on a hme tone relief from Abellinum (#171), dated to the :\u!!UStan period, hold a pair of birds; little Clarus rests his hand on an m·er- ized chicken on a fourth- century marble tela from Rome =1.p, Figure 20) . OccasionalJy it appears ha he hildren offer them something to eat: an anonymo - boy on a malJ lime tone stela from Avaricum in .-\quitania =2 6 holds a piece of fruit in one hand at which the ird in his other delicately pecks, a scene repeated on a third-century limestone altar for Gemelius Dignianus from Rae ia =.190,.

13 9

5 4 5

+ Birds (n 8}, dogs (41), rabbits (9), hen

(4), goats (1), hor es (1), cats (o) - Apples/pomegranate ( 9), grape (33), other fruits (19) " Scrolls (56), tablets (19), tyli (n). capsae (4), inkpots (2) • Balls (19), whip (10). rattles (9). other : dolls, hoop • wheels (6)

sometimes tend to identify toys based on their mrn ocial and cultural experiences, rather than on the basi of the evidence itself, seems to have some relevance.• Accordingly, no item represented on a tombstone in thi catalogue is recorded as a toy unless the statement can be ub tantiated. In some of the tables which follow, items classified merely a 'objects' thus feature quite prominently but thi i perhap a necessary evil. Among the 700 or o example which pre erve enough sculptural integrity for thi a pect to be studied, do e to 600 attributes appear on nearly 400 eparate monuments. Table 5 displays the most popular type • pre ent on over half of all example included in this catalogue. Foremost among them are animals.' Presumably in most cases meant as real one as oppo ed to toy or models, the

37

A wathe of literary extracts confirms the association, de ribin hildren playing with a range of different birds. Among the many that could be cited, jackdaws, ducks and quail are mentioned for elite children in Plautus; Echion's son i said to be fond of birds in the Satyrica; Pliny the Elder describes how 1 ero and Britannicus had starlings and nightingales; Fronto talks of the child devoted to chickens, pigeon and parrow .8 o attempt has been made to distinguish the various kind of birds here owing to the confusion and uncertainty which would ensue; several are now too poorly preserved to alJow a specific identification, quite apart from the problem that many types look alike. Still, it is clear that a wide range appear and that they do so for children of all ages and both genders.

econd position in terms of the animals which accompany children is occupied by dogs.• Once again different breeds are attested; once more it is easier to group alJ of them under the more generic label. From puppies to m uch older dogs, boys are the favoured companions although a handful do

• On the difficulty of assuming that objects like miniatures and figurines are toys, Lillehammer 1989: 9 - 100, Scott 1999: 64-5, Lucy 2000: 45-6,

6

Sofaer Derevenski 2000: 7, Coulon 2003b: 201 and Baxter 2005: 41-50. Baxter also suggests that adults have more rigid ideas than children

(2003: ;5) uggests that some may be toys. For miniatures associated with dolls, Dasen 2003c.

about what constitutes a 'toy' and that small sizes, crude manufacture and similarities to modern playthings can be influential, but nonetheless misleading, in their identification. For unconventional toys, Quint Inst. 1.1.26.

' Minten (2000: 74) records animals on 55 of her 216 monuments. At 2002: 32 her list of attributes is nevertheless broad, including item li ·e chaIIS, footstools and p·

For bunal objects, Lucy 2000: 45-6; for a comprehensive list of animals found m uch contexts, Coulon 1994: 99-105 and 2003b: 203. Johns

7

Birds are discussed by Whitehead 1993: 312, Coulon 1994: 101-3, Huskinson 1996: and !inten 2002: 90.

' Plaut. Capt. 1002-3; Pe1ron. Sat. 46; Plin. H 10.uo; Fronto, Ad Amicos 1.12. See Bradley 199 · 52;-6. ' For discussion of dogs, Whitehead 1993: 303-5, Coulon 1994: 99-101 and 2003b: 202-3, Horn 2005: 105.

r

'

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-

~

38

·-

--

THE !CO ·oGRA PHY OF CHILDHOOD

FIG u RE 19

tela for a family &om Da ia. Gui-- ·apoca..

Transih-an.te1 rn,·. ,- 1 ·

appear "ith girl . In many case a dog tands br the ~ e of its master, looking up eagerly and "~th tail a-wag ( =31, a first-centur ' marble altar from Rome for Anth ) or apparently engaging in rough and tumble plar ' =1other the children hold the dog in their arms. On a tone tela from Avaricum (Bourge ) in Aquitarua. a i ne tied rather awln\'ardly under the boy' arm =rs ; o another from Aute iodurum (Auxerre) in Lugdunen 1. a young boy named Cocillu u es both han to ho! the og in front ofhi wait (=327, Figure 21) .• ·ot all are re r with the ame kill level or to an appropriate mentary limestone tela from Pannonia uperior =632 only the bottom of which now Uf\i,·es - how a miniat dog 'floatino' in the air ne::1.i to the leg of the hild. Perhap the mo t appealing - at lea t to modem e,· plau ibly to ome ancient ones too - are the en . convey a en e of tenderness. On a fir t-centur\· •· e.· cippus from Fermo in Italy, young lave Cr io. who under a large garland, appears to pat the head of dog (=1 6, Figure 22). 1n turn, the animal re hi lap - the ugge tion of mutual affection between boy

luzeul. "ational de lstorie a

=II ·63.

er ii,· .. Ii rary our e abound with examples · · lm·e o · oa . allust, Hora e and Pliny the Yo ger onnect ol er bor 11ith dog (and hor e ); a slave in · e :yri·a has a puppy named :O,[argarita.'0 It is to this animal abo,·e all other that - as in modern contexts - one can im gine hildren forming particularly do e attachments. The remair!ing animal type are hown far less frequently." Rabbits appear in nine instances, mo t notably on a mid first-century sand tone tela from Castulo (Cazlona) in Tarra onen is which the brief inscription informs us was dedicated to a little girl named Canula (=256, Figure 23). She adop a rigidJ' frontal position while a (very) large rabbit - the pointed ears of which come close to reaching her boulder - tand on its hind-legs and places its paws on her

• Sall. Cat. 14.6; Hor. Ars P. 161-2; Plin. Ep. 9.u.1; Petron. Sat. 64.5-6. See

Bradley 1998a: 526. " On the other animal types, Coulon 199

2005: 105.

39

FIGURE 20 Stela ofClarus. Mentana, \'illa Zeri. FIGURE 21

torso. Canula's thick right arm is modified quite awkwardly to accommodate this and, as a result, seems somewhat out of proportion with the rest of the body; based on the size and position of the animal, one imagines it might have been carved according to the conventions usually employed for a canine companion. Excluding transvectio equitum scenes, a horse is seen only on an early first-century limestone stela from Mogontiacum (Mainz) on which the sculptor once again faced difficulties in accommodating an animal: sixteen-year-old Q. Voltiu Viator stands behind a horse but as the viewer looks at it - his lower body reappears too far to the left (#446, Figure 24). Although such an association would accord with the literary accounts which link hor es with older children, it has been suggested that - becau e of his cognomen - the scene might allude not to pet animal but

tela ofCocillus. Auxerre, Musee d'Art et d'Histoire, inv. 912.1.

first-century marble altar from Ostia (#143, Figure 25), its horns held by a five- year-old named A. Egrilius Magnus a boy who wears a sweeping toga, looks to his right and clutches a scroll and whom the well-cut text reveals to be a freeborn member of the Palatina voting tribe (and who bears a triking resemblance to the young ero in the portrait type which marked his adoption in 50 by Claudius'3). The scene is expertly reaHsed: Magnus has an ovular face complete with large ear , cropped hair, prominent forehead, a pointed chin and large, almond-shaped eyes which - together with his pur ed lip and the tilt of his head away from the audience give the en e of a young boy deep in thought. Yet while

to his profession as a messenger (or, more simply, repre ent a play on words of the type discussed in Chapter 2). 12

many have identified the goat as his pet, others see it as having sacrificial relevance. Given its origin and date - falling

The interpretation of the only goat to appear i mularly contentious. It is depicted on a well-pre erved mid

as it does within the period when mythical and divine references were becoming popular in the capital and its environs

" Sec Hope 2001 : 20 and Rothe 2009: 152 no. ML

'' For a brief summary as well as an image, ee Kleiner 1992: 136- 7.

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THE ICONOGRAPHY OF CHILDHOOD

40

FIGURE 22

Cippus ofl.Irsio. Fenno,. I eo Ar heol1>g1 o,

FIG

eo Arqueol6gico

inv. 376.

( ee below) - the more convincing e>..'Planation might be tha it alludes to Zagreus.14 Con picuously absent from Table 5, but includ d category to highlight this, are cats.'s For a Ion~ tim it thought that just such an animal appeared on a lim t tela from Burdigala (Bordeaux) in Aquitani1. .:: .,. -· to the little daughter of Laetus (=293. Figure c.6 . T.-c presents a slender girl in a rnlumino · dr -- .: -; , '. • a necklace and bra ele ·ho·e · softly reali ed face and delicate ·eatur infantile irnmaturi 1• To her ide · a large c " As a pet, linten 2002: 76-,, Hom 2005: 105 and\ ctl

3 -9. As a sacrifice, athan 2000: 25. ln referen e to b._ 19 7b: 115-16, Raw on 1997a: 220 n-42, Backe-Dahmen coo- -' Huskinson 2007b: 330. ~ On the lack of cat Coulon 1994: 103, Bodson 2000: 31

,.;th r

Minten 2000: 4 and Horn 2005: 105. Bradley (1998a: -, relati,·ely rich repertoire of cats in Gallo-Roman funerary was after having accepted the Laetus stone as hO\,in, a · pecifying any other examples.

and nm,· adly damaged) anifir:t o an e, doe indeed seem

'dauohter had accrued no little pi · · re\ision and had been used very widely as ·e example, the le itimacy of the other cat attrition nee to be que tioned too. There are but two other ential feline in thi atalogue, the fir ton a third-century estone tela from Lugdunum L ·on , =340), the second one from Dibio (Dijon, =442).r Identification stem from b1'ff3Jldieu (perhaps explaining their replication in later litbut both animals are small and schematic, and both ithout clear and detailed photographs and are to access. To my mind, the animal from Dibio - · ·ely to be a dog; its pose and proportions accord

41

F!Gl"RE ~,

Altar of A. E rilius Magnus. Ostia, Museo Ostiense, inv. 137;.

FIGURE

24 Stela ofQ. Voltius Viator. ~lainz, Landesmuseum,

inv. s 1;0.

well with other example and the child' econd attribute - a whip - is often shown in conjunction \\ith canine companions (compare =128). The true identification of the animal from Lugdunum is le clear but the awlorard proportion of the child might sugge t that both owner and pet are portrayed less than expertly. Given the general ab ence of cats elsewhere, the evidence i sure! · tacked in favour of it being a dog even if con du ive proof i not forthcoming. In part, the popularity of the e animal mu t reflect the culturally specific phenomenon of pet-keeping, \\ith Keith Bradley having sugge ted that interaction with domesticated animals provided children with a range of benefits, from the provision of comfort, amusement and reciprocal affection to the development of senses of responsibility and, certainly in relation to dogs, mastery. 18 In short, they could serve an important role in socialising the child. Sorabella's

'8

Bradley 1998a: 533-45, as well as Bodson 2000: 34-6, Minten 2000: 75, Rawson 2003a: 130 and Backe-Dahmen 2008: 55.

recent ugge tion that parents may have been consoled by no talgic picture of children among pets and playthings is al o attracti\·e.'9 Equally likely i that ome were intended as tatu ymbol .'° After all, an ancient child with a pet was a privileged one; the implications were such that a child had lei ure time at his/her di po al to play with the animal and came from a family with the resources to afford it. To see uch ocial di play in action one need look only at Regulus laughtering his on's pet ponies, dogs and birds out of suppo ed grief, much to Pliny's disapproval." For humbler commissioners one must suspect a level of aspiration to such representations, for, while it is plausible that slave children in wealthy residences had access to, and perhaps even developed relationships with, the animals of the household, they were hardly their pets as such. or can such a situation be assumed in all instances. Although o ca ional scenes seem to represent playful interaction between children and pets, a far greater number show the ariimal being held in a static manner. With " Sorabella 2007: 353. ee also Huskin on 2007a: 78 on items showing the 'fun side' of childhood. ' 0 For an alternative ,iew see Bodson 2000: 30 and Coulon 2003b: 202. " Plin. Ep. 4.2. See Rawson 1997a: 223 and Bradley 1998a: 523.

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THE ICOXOGRAP HY OF CHILDHOOD

42

a girl with a pair of bird offer a useful example.'• In fact, among the 100 Greek tomb tone a sembled for comparative purpo e , one find thirty-eight birds, fourteen dogs, eight ducks, four hens and single examples of a cat and a rabbit.'5 The overlap between the two contexts is quite striking: bird and dog are once more the mo t popular animals , hile cat are virtual!)' absent. Greek children are, however, more likely to hold multiple attributes - in some cases up to three - particularly when hown alone rather than in the company of adults. o on a tele now in Palermo, Philokrates has a bird in one hand, a toy wheel in the other and a dog by hi side (which tands on its hind legs, its front paws resting on the boy' leg for upport). Likewise, that of Melisto has the girl in profile \\ith a doll in her left hand, a bird in the other and a small dog in the ame po e a that of Philokrates' canine companion.'6 To return to the Roman tomb tones, second in popularity to animals were various fruits. They appear on commemorations across the empire for children of all types, with example including a bunch of grape for three-yearold acia from Luguvalium in Britain (=396), an apple for four-year-old alerius 1atalis in Pannonia uperior (#633) and a pomegranate for the rather mature-looking Pinnia Phoebe from Ferrara (=193). The role of such items in child funerary iconograph ' has received far le discussion than that of animals, perhap becau e they are rather more generic and are not likel · to have been per onal possessions in a comparable manner. HoweYer, ,,ith Fronto mentioning a toddler greedy for grape and eneca talking of chiltela for the daughter of Laetus. Bordeaux, fosee dren pe tering adul for trea , !!feat plausibility is given d'Aquitaine, inv. 60.1.26 . to Janet H ·· on' ug e tion that £rui played the same erhap refle tino the affection of role in ·epulchral imag the conventions of funerary art undoubtedly contributing to the adul who tm,·ed the items.=- Bae ·e-Dahmen's prothis, it nevertheless raises the que tion of whether many anipo al tha a 1 -, ~ pe and the like empha i e the childish mals were intended to be allegorical rather than real. ery likely, some straddle both categorie . Other may not, and the three most popular animal all have a ociations which might make them particular! uitable for the epulchral sphere. Birds can be equated with the ouls of the deceased were favoured pets for all children but includes and repre ent innocence; dog tand for loyalty and, as e hi_,,~- mbolic dexiosis han hake cenes. long-standing companion , can guide the child into the next er arm es in this Greek corpus comprise eight doU five aryballoi world; rabbits carr connotations of fertility a well bein5 " oil-fl · , four !O\ three blos,oms and three pomegranates. mall and defencele _,, To u e Baill ' words, perha : ,, · animals repre ent 'la jeune e du defunt'.'3 imilar duality ha been noted for clas ical Gree.· : ary monuments \ here a well-known stone from Par

n

On the pet versus symbolic question and the a ociatio animals, Huskinson 1996: 8 and 2007b: 327, Bradle,· 199Ziliani 2000: 94, Coulon 2003b: 202- 3, Woods 2006: ·

'' Baills 2003: 129.

,. Philokrates: Palermo.. 1 Archeologico Regionale; ee Riihfel 1984: 1· 9- o. Melisto: Cambridge, Harvard Univer ity Art Museums, Arthur • L Sacl'ard than Geta - who e boulder is partially obscured by hi older brother. This empha i mu t surely be considered intentional and one wonders how influential such images ma}' ha\'e been for the funerary portrait groups seen in this catalogue. At the very lea t, it hardly seems coincidental that husban o often appear on the right and that, when multiple children appear in front of their parents, they very frequent! , eem to increase in age to see the most senior being po itioned before their father. The que tion remain , however, as to why soldiers in

65 Stela ofM. Aurelius Rufinianus and Aurelia Rufina. Budapest, Magyar emzeti Muzeum, inv. 22.190;.13.

FIGURE

the larger of the two. In a second, smaller niche below the main portrait scene, servants attend a mensa tripes laid with food. Such an arrangement - woman on the left, man on the right and a row of children in front - appears time and again throughout the Danube provinces and is highly rem iniscent of the famous painted tondo of Septirnius Severus and his family, probably of Egyptian origin and now in the Staatliche Museen in Berlin (Figure 67). Dated to the start of the third century, the circular wooden panel shows the emperor in the company of wife Julia Domna and their two children, Caracalla and Geta (the latter's image having been erased following his damnatio memoriae at the hands of his

the e area were o attached to family imagery. Naturally, the u uaJ factor of familial affection as well as the desire to be remembered and promoted are relevant. Yet as with the libertini of Rome, their ability to have legitimate wives and children seems key. By a rule traditionally attributed to Augu tu , legionaries below the rank of centurion were precluded from marrying, and therefore procreating, during the length of their military service. Lower down the hierarchy still, auxiliaries lacked the right of conubium because citizenship was gained only upon discharge; for them too families were not recognised legally. ot that this resulted in a widespread vow of celibacy among the soldiers of the empire; it is perfectly clear that many flouted the restriction to engage in relations with local women. As such unofficial liai on and any children born from them could gain recognition on discharge, many legionaries may have purpo efully started families before their permitted time on the a surnption of retrospective acknowledgement. At the very lea t such activity was tolerated, as Maureen Carroll has argued, while Walter Scheidel has rightly pointed out that in the ab ence of any penalties it

86

UCLEAR NOTIO

FIGURE

66

tela for a family from Pannonia. Budape t , Aquincumi />.luzeum, inv. 91.4.2.

is perhaps better to talk of 'non-recognition' rather than a ban as such. Although a military father could therefore expect the illegitimate status of hi family to be improved at a later point, such ambiguity could create ignificant problems, much as it did for Junian Latin back in Rome. If a father died intestate before di charge, a not uncommon occurrence if someone had to face the u ual mortality problems of the Roman period and erve in the army, the children stood to gain nothing. Perhaps to rectify this anomaly, succes ive emperor relaxed the severity of the legislation. In 119 Hadrian permitted uch children some succession rights; in 197 Septimius everu finally repealed the restrictions altogether.'' , For discussion, Dixon 1992: 55-8 and 92, Raw on 2001: 34- 5, Carroll 2002: 105- 6 and 2006: 186- 8, Scheidel 2005.

To gauge whether the changing status of military families had any impact on funerary iconography, the chronological di tribution of the tomb tones is of obvious importance. Unfortunately, preci e date are not always easy to reach; legion tended to be ba ed in the same camps for long periods and time- pecific epithets like I Adiutrix Antoniniana (2n-1 ) are extremely rare. Instead, hairstyle and clothing have to be u ed to determine dates, a process frustrated by the poor conditions of many pieces together with the female preference in ome regions towards wearing 'bonnet ' (thereby covering hairstyles which might have provided more exact dates). Due to these infelicities, some attributions have to remain broader than one would otherwise desire. Still, very intere ting re ult emerge when the 200 or so military tombstone of Raetia, 1 oricum and the

CO

TEXTUAL! ING FA:\!ILY l.lAGERY

T..\BLE 11

Dedication types by geographical region* Recipient Child Child and only adult

Rome and emiron Italy and _-arbonen i Iberian prminces (Lu , Tar) Gallic pro,ince Aq, Lug, Bel) Bntain and Germany Raetia and • · oricurn Pannonia Dacia

88

21

27

19

Child and 2 or more Adult adults only 9 16

11 33

6 2 6

10

31

9

14

10

2

4

26

37

15

29

3

4

12

4 111

Total

6

233

45 156

69

• The table nee arily excludes examples with fragmentary inscription where the dedication relationships are insecure Painted tondo of eptimius everus and family. Berlin, Staatliche Museen, Antikensammlung, inv. 31329.

FIG u RE 6 7

oldier were in a ense more retrospective, commemoratPannonias are arranged as far as reasonably po ible in date order. Eight fall between the mid to late first century; twelve come from the Trajanic to Hadrianic period; thirty-four belong to the Antonine emperors; around 100 date to the Severan era, especially the first decades of the third century; approximately forty-five span the post Severan period to the early fourth century. Given the imprecision involved it is likely that a number of stones might move date category if exact attribution could be made; even so, this would not detract from the peak which emerges in the Severan period. It cannot be a coincidence that this occurs just after the emperor had made a fundamental change to social legislation, finally conferring legality on previously illegitimate groups.i3 Just as the relea e from slavery prompted family celebration for the slaves of Italy, so liberation from the marriage restrictions seems to have stimulated the same for soldiers over a century later. Particularly large concentrations stem from the centres at which various legions were based, including Brigetio (T

Adiutrix), Aquincum (II Adiutrix), Lauriacum (II Italica) and Castra Regina (III Italica). The difference between the two contexts is that the freedmen of Rome concentrated on the child as the source of their family's future hope and social progression; it was the child whose status was improved. Tue 73 Boatwright (2005: 317) also links the importance of nuclear imagery in

Pannonia to the uncertainty of day-to-day existence in the province_

in0 the family unit already in existence but now recognised in legal term ; the child was part of this rather than the sole focu.

If one looks at the recipients of all the monuments featured in the catalogue, interesting results emerge in this re pect (Table 11). Outside of the Danube provinces, children tended to receive funerary portraits predominantly on the occa ion of their own deaths. At the risk of sounding facile, if children rarely appeared on commemorations dedicated olely to adult , it suggests that they were not normally con idered part of the latter's social world and that other cultural role or emphases were used to contextuali e the adult' position in society. In stark contrast, and this is an important distinction, the Danube provinces (Pannonia in particular) produce far more adult-only commemorations which nonetheless feature children who had not yet died. It follows that children were now being used as part an adult's social contextualisation, represented as important members of the military fam ilies that soldiers were promoting. The figures would suggest that the first death ub equent to the 197 ruling - whether of adult or child - became the occasion for dedication of a tombstone which marked and indeed celebrated the existence of the entire family, the large average size of Pannonian stones facilitating thi . Di cussed in more detail below, it would certainly explain the increased attestation of siblings in these regions as well as the more regular presence of extended relatives.

88

NUCLEAR

FIGU RE 6

Relief for a family from 'oricum. Graz., Universalmuseum Joanneum, inv. Lap 263.

As the chronological di tribution howed, oldier were already erecting family portrait tomb tones long before the crucial watershed of 197, albeit in maller numbers. When inscriptions survive on these earlier tone - which is admittedly with disappointing irregularity - the dedicating fathers often belong to one of two important groups: veterans and high -ranked officials. For different reason , both were unaffected by the marriage restriction , the former discharged by the time of the commemoration, the latter exempted because of their status. Two examples from Carnuntum in Pannonia Superior illustrate thi . The fir t of these is a late fir t-century lime tone stela for eight-year-old C. Cassius Marinu and hi ixteen-year-old i ter Ca ia Procula, dedicated by a centurion in the legio XV Apollinaris by the name of C. Cas ius Aelianu (=590). On! the boy is shown, although mo t of hi relatiYel · mall and simple portrait has not with tood the ravages of time. Yet it is the epigraphy which becomes crucial here, with the large and well-cut inscription - which contains a number ofligature showing that both children derived their name from the fat her and had belonged to a voting tribe in Aquileia. The second piece is a smaller - and now appalling! • damaged sandstone stela set up for a little girl named Petilliena

lngenua of even year of age (=s 8). Almost all of the sculptural scene i now lo t but the text informs us that one of her commis ioning parent wa an equestrian veteran named

C. Petillienu . Similar ituation ma • be commemorated on now anepigraphic stone , e pecially where scrolls held by fathers may have symboli ed di charge diplomas. A damaged secondcentury marble relief from Flavia Solva (Seggauberg) in 'oricum is a case in point (:;504, Figure 68). The top row contains three portraits: a young man dressed in a tunic and sagum - suggesting a military career - who has a slender head and body together with a mop of hair which covers hi forehead; an older woman who wears local garments and a bonnet and has an ovular face, widely spaced eyes and a narrow mouth; and a still more senior man in a volumin ous toga who sports a full but neatly arranged moustache and beard and has a broad face complete with small eyes and deep wrinkles. In front of them was a small child who clutched a bird but whose head is now completely lost. It seems plausible to identify the two adults at the right as the parents, shown together with a mature son now enlisted in the army as well as his much younge r sibling or son. The full and lined face of the older male would suggest an advanced

CO

TEXTUAL! 1.·G FA:'IIILY IMAGERY

Figure 69-71 ,. Despite the extensive damage which the age and so - although other interpretations are certainly possible - he may now have wapped his sagum for a toga, holding either a diploma to signify his veteran_ sta_tu or el e a scroll to symbolise more general cultural asp1rat1on . After the legislative change enacted by everu , wterans and top officials continued to put up tomb tone commemorating their familie ; they did not cea e ju t becau e serving soldiers had won increased right . Third- entury examples include stelae from i cia ( i ak, =6;4, Figure 29 and Aquincum (;;680). Their pre ence in the necropoli before and after the ruling i ignificant: the iconography was not caused by the 197 legislation, nor exclu ive to tho e who benefited from it, but examples certainly eem to proliferate as a result of it. The question remain a to why other provinces with a military presence, like the Briti h and Germanic ones, did not see a comparable ri e in military family scenes.74 Just a handful of such piece exi t,

large pi eh uffered, much of its sculpture can (and has been) reconstructed. In the family scene which adorns the front face, a youthful-looking man is dressed in a toga, holds a croll and hare the dextrarum iunctio gesture with a (mostly lo t) woman in a tunic and mantle. In front of them was a boy, al o now badly damaged but whose small face and neatly arranged hair tyle largely mirror those of his father. On the left ide, the adult male is shown in two other contexts - fir t leading a hunt on horseback, then reading from what may be an ac aunt book while surrounded by probable tenant . The right ide concentrate on the woman: the lower niche i lo t but the univing top ection contained a toilette cene; he it in a ,,ic ·er chair while attendants arrange her hair, hold ,·e e and rai e a mirror to her face. At an original e timated height of over ten metres, this wa an impo in monument on which the recipients looked

including the third-century tombstones of C. Aere iu Saenus, a veteran from Eburacum (York, =390, Figure 96 , as well as that of Liberalinius Probinu , praetorian tribune

Roman, wore Roman garments (at least on the front) and

from Colonia Agrippina (Cologne, =416). Perhap future

many difficultie with the label. The sheer level of expense

studies will produce some answer on thi is ue. Alongside the soldiers, whole swathes of proYincial dedicators in parts of the Danube region, as well a in Gaul, Iberia, Germany and Britain, have no apparent connection at all with the army. The vast array of social groups in que tion are usually classified together under two (very) large umbrellas as either 'provincial elite' (when in posse sion of citizenship) or peregrini (when without). The explanation often offered is that such tombstones reflect the de ire of

im·oh·ed in commi ioning a stone of such size and sculptural complexity make the monument exclusive rather than elite a u h; wealth rarely corresponds conveniently with

provincial subjects to appear Roman, that they how, dare the word be mentioned, 'Romanisation'. Serious qualification is needed. Firstly, for the so-called 'provincial elite'; it is a rather unattractive classification which attempt to encompass so many different peoples from various periods and parts of the empire that it become virtually meaningless.

participated in acthitie with a Roman association. Is this, then, a monument of the Roman provincial elite? There are

ocial tatu . It might be noted that the famous Secundinii pillar monument from Igel {=375), of comparable date and cope, commemorate a large family group whose fortunes eem to ha,·e come from the cloth production industry. ucce ful, rich, prominent they may be, 'elite' they are perhap not. Dated to around

AD 225,

the

1eumagen

stone was set

up after importance of citizenship had been dramatically tran formed. With all free adults in the provinces having received it under the constitutio Antoniniana of AD 212, the legal tatus was no longer the prize it once was. Having

Under a now somewhat dated theory, the familie in question were said to be 'Romanised' through the adoption

become commonplace, it seems unlikely that 'elite' familie continued to promote it as such; hundreds of relatively humble provincial recipients on third-century examples now carried the duo or tria nomina, with the Aurelius

of Roman dress, customs and citizenship. The term remain as controversial today as it ever has been, and debate is likely

nomen being particularly frequent in the Danube region ( ee the nomina index). It had become an expected part of

to rumble on for the foreseeable future. But while thi urvey is not the place to address the complex issues surrounding its definition(s), it can be noted that 'Romanisation' has a very problematic application for funerary portraiture. The relatively well-known third-century sandstone pillar monument from eumagen in Belgica is illustrative of thi (=376,

a commemoration. For the eumagen family, then, it was not their citizenship which distinguished them from their contemporarie , rather their financial capability. Thus in their funerary image the man has the leisure time and cultural a piration to hunt, the woman has the resources to be served by a mall army of assistants. Very likely, the monument pre ents a wealthy family attempting to stress its property, aspirations and standing within the community more than its 'Romannes '.

:-.. On the g reater number of c ivilian rather than military tomb tones in

Britain, Adams and Tobler 2007: 7 - 11.

·-

--~---

UCLE AR

90

OTIONS

FIGURE 70

FIGURE

69

..

eumagen pillar monument: front. Trier, Rheinisches Landesmuseum.

For stones set up before the great Caracallan enfranchise· ment, advertisement of citizenship seem far more relevant (although classifying the individuals in question as 'provin· cial elite' still seems dubious; 'pre-212 provincial citizens' is more accurate if considerably les uccinct). The catalogue shows that relatively few provincial were in po e sion of citizen status and that those who were often chose to display it prominently:' In oreda (Old Penrith) in Britain, a large limestone stela was erected around the end of the fir t cen· tury for a six-year-old boy named M. Cocceius onnus; he receives a full-figure portrait which show him with slightly awkward and off-scale facial feature , squat arm , stubby ·, On the advertisement of citizenship, Meyer 1990: 7 - 1 and Hope 2001: 13.

'eumagen pillar monument: left side. Trier, Rheini che Landesmuseum.

hands and a rather shapeless Gallic tunic (;;400, Figure 72). Yet this was clearly an expensive commission and the citizen boy holds what eem to be a whip and a palm branch probably in allusion to a chariot-racing victory. This may have been selected because such activity was unpredictable and involved overcoming difficulties, much like the survival of a child; or because of the wealth and cultural ambition it implied, with the status of the child being stressed.76 From Pannonia uperior, a similar process is seen on the second-century sandstone stela for five-year-old T. Flavius Germanus (1:606, Figure 73). Dressed in a tunic and paenula (cloak), the boy holds a bird, gazes out towards the distance and sits, so it seems, in a chair, his soft and infantile features underlining his youthful age. ln this instance, the inscrip· tion places great emphasis on his filiation, with 'T FL T FIL

76

For the chariot-driving motif, Rawson 2003a: 354 and D'Ambra 2007b.

1 I

-~

-

CO

FIGURE 71

- -

TEXTUALI I :S G FA_IILY LIAGERY

91

'eumagen pillar monument: right ide. Trier, Rheini he Landesmuseum.

GERMA vs' occupying two lines and being cut to an appreciably larger size than the rest of the text \ hich follows. Where tombstones were instead for families, not all recipients within them had attained citizen hip. A large mid first-century limestone monument from 1 ickenich in Germania Inferior (#419), for example, features one man in a tunic and mantle alongside another dressed in a toga who holds a scroll. More common are gender di tinctions: on a marble relief from oricum (=542, Figure 74) dated to the late first or early second century, the father and son have tria nomina whereas the mother is named as Caixu,

daughter of Ran till us. This finds reflection in the portraits: father Ti. Iulius Avitus appears in Roman garments at the right and bears more than a passing resemblance to Trajan; mother Caixu at the left wears a tube dress and a bonnet (further details cannot be discerned due to the poor condition of the piece). The same is seen on a second-century marble stela from Vindobona (Vienna) for husband P. Titius Finitus and his wife Iucunda (#643, Figure 75); the former has a beard, wears a toga and holds a scroll in his hands, the latter is resplendent in native garments and jewellery. Comparable situations seem likely for tombstones which now lack their inscriptions; on one such piece from Noricum - a second-century marble relief (#535, Figure 76) - a clean-shaven male wears a toga and hold a scroll while the woman sports a local dress, a necklace and a bonnet. (See also i/537 and #538.)

- -

\\'ith only relatively fe, people ever attaining Roman citizenship in the fir t and econd centuries, it is the women in the e relief who as peregrini are more typical in terms of provincial recipients. But their presence on tombstones is sometime said to reflect the de ire to appear 'Roman' even in the ab ence of citizen statu and here too some thought is perhap needed. Relevant is a very large first-century limestone stela from Budapest, et up by Magio for his wife Brogimara and daughter Iantuna (=691, Figure 77). The portrait scene ees both females dressed in belted tube dresses while wearing necklace and bracelets; the mother also has a bonnet. Their facial features are now damaged but, despite being rendered in a relatively simple fashion, similarities in their narrow chins, tightly pursed lips and ever so slightly angular eyes convey a sense of family likeness. It is still a 'Roman' monument in the en e that it is made from stone, is carved with Latin and employ portraits to represent the deceased, all elements which can be attributed in most of the western empire to Roman influence. Whether the recipients are trying to be Roman i a very different matter.n They do not have citizen hip (at a time when it still held importance), they do not have Roman name , they do not have Roman garments.78

- For similar discussion, Kampen 2009: 12-14. -, On construction of Roman identity through language, Hope 2001: 90 and Adam and Tobler 2007: 45. Carroll 2006: 253- 9 on the adoption of Roman names in the west. Rothe 2009: 1-2 on whether dress reflects

- ... -. .

.

---------

- - - - -- - -

-

UCLEAR NOTIO

92

FIG U RE 72

Stela ofM. Cocceius onnus. London, British Museum, inv. 1969.7-1.4.

Aside from the imple form of the tunic, worn by countless children from all areas due to its nature a a practical garment, dress is in fact one of the most inconsi tent fea tures across the western empire:• When children wear other clothes, either as an addition to the tunic or a an alternative, strong regionality become apparent. Many of those in Rome and Italy were shown in the toga praetexta, the symbolic garment of a freeborn child, probably worn in real life during important ceremonies. It is not day-to-day attire and so in 'Romanisation'. See also Bradley 2000 : 300-1 and Adam and Tobler 2007: 14 .

" On the tunic, Kleiner 1977: 156-7. '° Gabelmann 1985 on the toga praetexta. On girls wearing the toga, George 2001: 183-4 and Olson 2008: 141- 4. See also Wallace-Hadrill 200 : 41-57.

I

~'

tadtisches Heimatmuseum, inv. 7723.

the funerary context was probably chosen for its social association . It was a key component for reflecting the status of Roman citizenship. In contrast, for the m ilitary families of the Danube provinces the toga barely features at all. Child portraits instead tend to replicate the dress worn by the adults, boys typically with a sagum or more rarely a paenula, girls with a mantle. The commissioners were not first and foremost trying to stress their Roman identity as much as their legitin1acy as unified family groups. on-military commissioners from the same areas often chose to present children in native forms of dress, particularly in the case of girls

'

111111[

-! CONTEXTUAL! 1.·G FA-"Ill\" lAAGERY

FIGVRE - •

FIGURE 74

ReliefofTi. Iuliu Avitus and family. Hanberg, Pfarrkirche.

93

ela of P. Titiu Finitus and wife (detail). Vienna, :·unsthistorische , !useum, inv. III 779.

(=25 , Figure -

. The portrait cene features one man, two

women and a child; all have hairstyles indebted to firstwhere tube dresses and bonnet abound. In the Gallic and Germanic provinces there is a similar wide pread ab ence of 'Roman' clothing. 81 Most children instead wore Gallic tuni longer and more copious than types seen el ewhere and sometimes supplemented with the cape and cloaks worn by adults. Comparable garments appear for everal children in Britain. On some tombstones the lines of identity thu become rather blurred. Little Cocillu , who appear on a lime tone stela from Autessiodurum (Auxerre) in Lugdunensi (=32 , Figure 21), wears a tunic and has Gallic filiation and yet sports what appears to be a bu/la around hi neck. ' On a marble altar from oricurn ( =540), set up at the end of the first or start of the econd century, a girl has a recogni ably Roman name - Secundina - but appears in a di tinctly native dress; although the contrast between her name and that of her older brother Aiucco might suggest that the commissioning parent had become more influenced by Roman concepts in the interval between their births, native feature remained. Such fusion of elements is seen most clearly on a large granite stela from Lucus Augusti (Lugo) in Tarraconen i

entury imperial fa hion as well as narrow foreheads, deep- et eye , pronounced cheekbones, tightly closed mouths which taper downwards at the ends and oversized no e whi h emerge from narrow bridges and then broaden con iderably. o too do all four wear Roman garments, the man in fact eeming to have the combination par excellence of a toga and croll. o far, then, it seems to be a classic case of a 'Romani ed' provincial family. But the inscription cut in neatly arranged although slightly crowded lines paint quite a different picture: the recipient is named as Apana, daughter of Ambollus, a Supertamaric Celt from Maiobri. Apana' tomb tone surely exemplifies the difficulties of attempting to a ign simple, clear-cut identities to peoples from aero s the empire who may have engaged with some di tinctly Roman elements - at least in the way they commemorated them elves - and yet retained a strong sense of native identity. Ju t because someone looks 'Roman' does not mean they felt as such; conversely, those who bore native name and garments could still consider themselves to be 'Roman: ometimes in conjunction with another regional identity. Perhaps a crass comparison, but one can be Engli h, Briti h and European at the same time, elements of one or another being promoted more heavily as the con-

'' On the decision to show females in native dress, Carroll 2006: 144- For Gallic and Germanic clothes, Coulon 1994: u8- 20 and Rothe 2009: 31- 77-

., On amulets in Roman Gaul, Dasen 2003d: 286- 8.

text and ituation demand. A a result of this complexity, the suggestion that peregrini wanted to appear 'Roman' on provincial tombstones cannot hold: comments need to be far more nuanced and regionally specific. What one can say

- - - ~ -

94

UCLEAR

FIG u RE

__

= - ---

OTION

6 Relief for a family from ·oricum.

is that, right aero the we tern empire, familie decided to commemorate children u ing tone monuments, portrait and Latin (not always ucce fully, a hmrn b the inscription riddled with error on the tela of 'Aurilia Ciriscentina: :653). 3 ome rea ons for thi were univer al, including affection, grief and the desire to be remembered; other var· ied but had the underlying motivation of displaying tatus, be it in relation to money, citizenship or cultural participation. That in itself is perhaps the most 'Roman' thing about the tombstones.

LONE PARE T Alongside the many images of the full nuclear unit, a not insignificant number repre ent just one parent (Table 12). Among them it wa the mother who wa the more likely of the two to appear by her elf, with women leading in most but not all region .84 The rea on which ma , have contributed to thi preference for maternal figure are manifold, especially as in some ca e she wa the dedicator, in other a recipient. To account for the former, one might look to demographics: wives tended to be the younger pou eat the

time of marriage and o, a urning that no external factors intervened, could be expected to outlive their husbands. A third of father had been lo t by the time children reached their teenage year . 5 For the latter cenario, the dangers of childbirth eem high! · relevant; with many women giving birth multiple time , some will have perished in the proce . In addition, di ea e could trike at any point, claim ing live eemingl · at random. Tragic accidents played their part too, with daughter Julia ecunda and mother Cornelia Tyche both lo t to a shipwreck (#119). The great problem, of cour e, lie in identifying which scenario has validity for each tomb tone, e pecially if inscriptions are mis ing. Relevant here is an early second-century marble relief commis ioned by a woman named Petronia Hedone (= 5, Figure 9).

" On marriage and death age , haw 19 7 and 1991: 72, Saller 1991: 36 and 2001: 102, Hanson 1999: 31-2, Nathan 2000: 16, Harlow and Laurence 2002: 1, Rawson 2003a; 95-7, Carroll 2006: 182, D'A rnbra 2007a: 76-7, cheidel 2007a and 2009a: 33-5, Golden 2009: 56-7. On the loss of fathers, aller 1991: 36-7 and cheidel 2009a. 36

'' For carving skills and examples of mistakes and mi

pellin

2001: 22 and Carroll 2006: 118-19. " Coulon (1994: 146) also records more female images in Gaul

Hope

On the dangers of childbirth, Kleiner 1987a: 548-9 and 1987b: 51-2, Coulon 2004: 219-20, Laes 2004c, 2006: 43- 50 and 2011, Hanninen 2005: 53-4, Backe·Dahmen 2008: 16. For monuments specifying childbirth as the cause of death, Carroll 2006: 153-4. On childbirth generally, Coulon 1994: 28-35.

.. I

LOXE PARE

F I G URE 77

95

TS

Stela of Brogimara and lantuna. Budapest, Magyar emzeti Muzeum, inv. 31.1847.1.

PETRONIA HEDONE FECIT SIB! ET L PETRONIO PHILEMONI FILIO ET LIBERTIS LIBERTABYSQYAE POSTERISQYAE

EORYM

Petronia Hedone made this for herself and her on, L. Petronius Philemon, and her freedmen and women and

their descendants. F I GU R E 78

On the stone, mother and son appear side-by-side - a en e of solidarity perhaps being conveyed through the light

Stela of Apana. Lugo, Museo Provincial, inv. EPI- 7I 1996/io/ 1.

--=--==--~

-

.I

UC L EA R NOTIO

TABLE 1 2

Lone parent image '.\1other

Rome and environs Italy and Narbonensis Iberian provinces (Lus, Tar) Gallic provinces (Aq, Lug, Bel) Britain and Germany Raetia and 1oricum Pannonia Dacia Total

Father

7 11

3

12

7

10

2

4

14

9

6 60

37

inward tilt of their heads. Hedone seems in deep contemplation: she has prominent brows and slightly sagging eyelids which frame deep-set but small eyes, as well as lined cheeks, pursed lips, a pointed chin and an elaborately crafted coiffure pinned above her head. Philemon's features are larger and softer and his equally sized locks of hair fall over hi forehead. It is, undeniably, a compelling cene which invite the modern viewer at least to contemplate the circum tance which led to its commi ion. Con idering thi , Diana Kleiner wondered (among other po ibilities) whether the choice to omit the hu band ignalled 'a willful que t for freedom' on the part of the mother, perhap following divorce or bereavement. And yet, a the on would normally have been expected to follow the father after the end of a Roman marriage, it eems mo t likely that the husband had died at an earlier point, perhaps receiving hi own tombstone at the time. 8' evertheless, the potential difficulties of identifying a particular motive for this - or indeed any - such tombstone are clear to see. By far the most speculative reason for the increased visual association between women and children sees mothers as having had greater levels of affection, with the existence of cognomina like 'Maternus' ometimes being cited in support (as is the case on an altar from Rome, =14 ). ln relation to the name at least, this eem fanciful. lf the parent had followed naming pattern , the cognomen \ ould have been bestowed on the ninth day of life; perhap reflecting an early bond between mother and on, it can hardly be used as proof for close relation far later in life. There will have been some ca es in the Roman period a now where mothers were indeed the more loving parent, but o too will there have been families in which the rever e was •· Kleiner 2000: 54. On men retaining control of children, Treggiari 1991: 39-40 and Evans Grubbs 2oo;a: 35. " Minten (2002: 122 n.249) makes a similar case for the cognomen Carus, claiming it as proof of appreciation.

79 Reliefof Petronia Hedone and L. Petronius Philemon. Photo: © 2012 Mu eum of Fine Arts, Boston, inv. 99.348.

FI GU RE

true. o generali ations are po ible and so it seems sensible to look at the context of the cene . Indeed, given that the uneven gender ratio een in Table 12 would become much more balanced if example featuring women and babies were removed, it may be this particular iconographic model which hold the key. In relation to one uch tomb tone from Pannonia uperior - a econd-century lime tone stela hailing from what is now 'eunkirchen in Austria (;;604, Figure 80) [ary Boatwright rai ed the po ibility of a retrospective interpretation.89 Dedicated to twenty-year-old Claudia Iulia by her parents Claudius urns and Ulpia Restituta, it shows a mature-looking female inside an arched portrait niche which is surrounded by an array of subsidiary decor (including dolphins, a naked child who seems to approach an altar and a male ervant, probably a librarius, who watches from the ide). Dre ed in local garments and replete with several piece of jewellery, the central woman has an ovular face featuring broad brows, almond-shaped eyes, a triangular nose and slender cheeks; her hair is parted in the centre, drawn over her ears and then concealed by a bonnet. In her arms .. Boatwright 2005: 313-15. ln relation to the stela of Scaevinia Procilla from Ravenna (#199), Huskinson (2007a: 74) discusses various identification possibilities, wondering if the Procilla is the woman, the baby or neither.

. .~

I •

97

LO:-.E PARE."T

FIGURE 80

Stela of Claudia Julia (detail). chwarzau am Steinfeld, Justizantalt

she holds an elongated and apparently naked bab ·. Partly to account for the advanced age of the woman, Boatwright suggested that she could in fact be Ulpia Re tituta holding the infant version of her now adult daughter. On balance the evidence is surely stacked against thi , even if it cannot be discounted outright. The omi sion of father Claudiu urn would be a problem, as would the general lack of retrospective child portraits - they are shown as older than their years with great frequency, only rarely a younger. More, another second-century limestone stela, this time from Aquincum in Pannonia Inferior, adds further doubt (=662, Figure 81), also dedicated to a twenty-year-old woman, named Flavia Aiulo. She too holds a baby in her arms but this time the commi sioners were her brother Gallio and cousin Avitus. A both were male, neither can be equated with the portrait of the female adult and so the intention must have been to how Aiulo with an unnamed infant. Two explanations for this iconography seem, to me at least, to have most plausibility. The first is that the women

FIG t: RE

I

tela of Fla,ia Aiulo. Budapest, Aquincumi Muzeum, inv. 64.10.10.

and babies in question had died during or soon after childbirth. Thi would account for nearly all of the infants remain ing anonymou ; having perished before the dies lustricus, they were yet to receive their names and any recognition (at least in social terms). 90 Perhaps the babies were included in the cene to highlight the tragedy of the mother's death - she had, after all, died while attempting to fulfil one of the most important social responsibilities for women: motherhood.9' Alternatively, perhaps the infants appear because of the grief experienced by the commissioner(s), affection and love having developed instantly, long before the 'social birth'. On only one of the tombstones is such a child named, wife Suppa and daughter Tertia appearing on a sandstone stela from Pannonia uperior erected by Verianus (#626). Either the

See Carroll 2006: 172-3. '' On the importance of motherhood, Dixon 19 : 7 1 and Hanninen 2005= 49. In reference to Greek pieces, Oakley 2003: 1 5.

90

---

:.... .

·--

-

-

.

--

'f"

-

-

' UCLEAR

OTIO ' S

deaths of mother and baby had happened some time after childbirth or else the parents had not observed the formal naming rules and had given the child an identity straight after its arrival. Very probably hundreds of the commissioners across the western empire chose to follow local conventions in this respect. Scenes of women and babies may also reflect cultural expectations and daily practicalities.9' The question of affection aside, mothers (or female substitutes acting in their place) oversaw the day-to -day care of the baby and, interestingly, a similar visual preference can be found on Greek funerary monuments where the oYerwhelming majority of lone parents are also women. 93 And thu a tele from Thessaly, which depicts a Greek woman nursing a baby, finds parallel on a handful of later Roman tomb tones. 94 One such example - that showing nurse Severina - will be di cussed in Chapter 5; here attention focuses on the nursing motif which adorns a large third-century limestone stela from Intercisa in Pannonia (=733, Figure 82). Set up for Aelius Munatius by wife Aurelia Cansauna and econd heir Antoniu Bas u , the sculptural scene shows what i pre urnably the couple in question together with their children (who are named as joint recipients in the inscription). Can auna has an oval face with large eye , an ell.'])an iYe no e, narrow mouth, full cheeks and a slightly jowly neck; her hair i arranged in neat waves which are parted in the centre and drawn over her ear . Munatius' face i longer and more lender, hi closely haved moustache and beard merging into hi equally cropped hair; he has very large eyes wh ich are dominated by vast pupil as well as a broad and strongly defined no e. In front are two girls in tunics and mantles and a boy in a tunic and sagum; they have small and circular heads which sit rather awkwardly on proportionately much larger bodies. It is, however, the fourth child - a small baby with a very adult face - which draws the viewer's attention. Holding the diminutive child in her sizeable left hand, Cansauna uses her free arm to lift her ample drapery and expose her brea t in preparation for nursing. everal point are of particular intere there. Fir tly, Cansauna is named a one of the dedicator and o pre umably at the very least a ented to thi repre entation. Thi wa not just a male perspective: he too eem to have perceived the importance of the role. econdly, he i not hown in the midst of nur ing her babe-in-arm as uch, rather he rai e her drapery apparently for the benefit of the viewer. Both mother and baby in fact stare outward in , hat i otherwi e '' For discussion, Rawson 1991: 18 and Backe-Dahmen 200 : 29. " On the dominance of mothers and the ab ence of father Riihfel 19 4:

lunatius (detail). Budapest, Magyar emzeti Muzeum, inv. 22.1905 .3.

a very tandard scene; the motif thus comm unicates the ocial importance of the act - with Cansauna's oversized and elongated index finger acting almost as an arrow pointing the viewer toward her breast. Thirdly, Mary Boatwright has noted that the importance of nursing imagery is subject to geographic variation, with Pannonia being one of the regions in which it tatus seems to have been elevated. 9' To account for other funerary scenes in which mother appear with babies, the general association between women and the youngest children in Roman society might be cited. Although one should be wary of reading too great a level of intent, it does seem that a baby on a now damaged second-century sandstone stela from Pannonia uperior is held almost as if an attribute (#603, Figure 83). Fru tratingly, the heads of the three adults are now lost and the in cription is too damaged to reco nstruct the relation hip being shown. Still, the seated woman at the left ha a baby 'tucked' under her arm and is appare ntly more concerned with placing her hands on the adjacent boy. It is pos ible, then, that the baby in question was intended not as a reference to a real one but instead as a sign of the

142-65, Beaumont 2003: 73 and Shapiro 2003: 103-4. " Thessaly Stele: Larisa, Archaeological Museum; see Bonfu.nte 199 : 1 6,

fig. 39.

" Boatwright 2005: 315-16.

.

I

99

FIGURE

83 Stela of 1ertomarus and Toutomara. :\tanner dorf am

Leithagebirge, Mu eum, inv. Al/ 1.

woman's cultural role and, more importantl , her fulfilment of it. The purpose of marriage being procreation, women were expected to produce children for their hu band and it would have been a quality or achievement worth advertising in the funerary phere.96 In a en e, crude though it may seem, babie may be the female equivalent of the scrolls held by so many men. When men accompany children there i a di tinct lack of babies and this must be artificial - men could pre umably have continued fathering children for as long a they chose, especially if their wives (or other recipient of their advances) were far younger. 9' On a second-century andstone stela from Cannabiaca (Klosterneuburg) in Pannonia ,. On the importance of procreation, Bradley 1991b: 127-8,. 'athan 2000: 24 and Rawson 2003a: 95. " Scheidel 2009a: 40 on Egyptian census information which men fathering children into their fifties.

=- 6), the ages of the couple are recorded as _ ·en ; - ·e ,·ears for husband lpius Avitus and forty for : FJfe Vi orina; their children were ten, eight and six, g la e fatherhood. l\[any men would therefore have · ··an hildren at the tin1e of their deailis or been faced "ith e pro- ect of burying and commemorating ones who had died. In - ite of thi , they tend to appear alongside much o .:er -hilaren of about five years and upwards. Again, this ~- - para.Lei on the tomb tones of classical Greece where, ·.-one allo · for the effects of husbands being the older e an me hou ehold perhaps being without their e o period of warfare, men appear in reduced num er and are usually accompanied by older children.98 On Roman omb tones featuring ingle fathers there is al a ! ar preference toward boy . On a late first-century ar le al ar ·rom Rome, C. Crixiu ecundus is shown in the de.rtramm i1111ctio po e with an unnamed child, probably hi- on; the h ·o male turn toward and appear to stare at one another e undus' extended hand drawing the peripheral hi.Id into the cene (=34, Figure 98). Many other such images appeared on the tombstones of soldiers, coming from Britain, Germany and the Danube provinces. One of these · the lar e third-century limestone stela from Aquincum mentioned above =6 , Figure 84), dedicated by Aurelia Quintihla for her husband Aurelius Bitus (who had 'died in battle' at the age of thirty-eight, a reminder that military ser,ice could have a profound impact on family compositions). On a rai ed podium next to Bitus stands his four-year-old on italinu ; he is also decea ed, wears the same military garments a Bitus, ha a near-identical face and haircut, and adopts a comparable pose. He may have been commemorated by his mother but, in this cene at least, he was very much hi father' on. Elsewhere, other father-son images were dedicated by the men themselves. On a third-century limestone stela from Intercisa {Dunaujvaros) in Pannonia, vexillarius Antonius Rufus places his arm around five-yearold Claudius Antonius; they are alike in all but size - their physiognomies, expressions, hairstyles and garments being virtually indistinguishable (#730, Figure 85). imilar visual preferences are found in public images of Roman families where the age and gender of a child often eem to have dictated who appeared with whom - and how often. Among largesse recipients, for example, Jeannine Uzzi noted that 'children who are old enough to walk follow adults; women carry infants at their breasts, and men carry toddler on their houlders'.99 More crucially, while On the various adult compo ition types, Hirsch-Dyczek 1983: 39-53. Ruhfel (1984: u6- also notes the rarity of father . " Uzzi 2005: 125-6.

98

100

UCLEAR

'OTIO '

Aquincumi 1uzeum, inv. 64.10.7.

Roman fathers stand in line waiting for their children to receive the handout, mothers are conspicuously ab ent, the adult females instead being Tyche per onifications. Uzzi has observed a similar phenomenon elsewhere too: Roman children are as ociated with father , 'non-Roman' children with mothers - families of the latter type often weakened fatally by the absence of male .100 Likewise, he note that in panel xc, from Trajan's column, where a crowd is a embled behind Trajan as he makes a acrifice, the Roman children at the front of the line stand next to men wherea the potential 'non-Roman' provincial children at the back appear principally alongside women (with bearded, 'non-Roman' men stood only in the background and not interacting with the children). Perhap unexpectedly, then, the nuclear family is not the artistic force in the e image that one might have expected it to be. 101 This stands in complete contrast to ·~ Uzzi 2005: 64- 6 and 140 as well as 200 7: 62-70. On the marginali ation of Roman mothers see also Currie 1996: 171 and Kampen 2009: 56-8. '"' For the same in reference to Trajan's Column, Kampen 2009: 45-6.

FI G u R E

5 tela of Claudius Antonius. Budapest, Magyar t

emzeti Muzeum, inv. 22.1905.14.

trend in Roman funerary art where the connection between mother and children is a strong one which finds frequent representation. It eems that, whether shown in the company of the child's father or not, mothers were far more prominent and important in the sepulchral sphere than elsewhere. Gi,·en the completely different contexts of the two genres one de igned to commemorate famil ies in the necropolis, the other to broadcast imperial messages in public areas perhap this hould not come as a surprise. Yet it underlines the fact that, in vi ual terms, the family was a construct that could be moilified and manipulated to suit the needs of the commissioner, it various members coming to the fore or taking a backseat depending on time, place and context.

-~,

:

...._~---

EARCHI.'G FOR

TA s LE 13

IBLl.'G

101

The dedicator of child portrait monuments* Dedicator

Mother Rome and environs Italy and arbonensis Iberian provinces (Lus, Tar) Gallic provinces (Aq, Lug, Bel) Britain and Germany Raetia and oricum

Parents

Relative

Owner

20

26

40

7

22

;

4

4

2

2

2

6

Pannonia Dacia Total

Father

10

3

13

;

9

9

·2

66

6

one

7

25

6

16

30 14

2

3

2

13

90

Other

2

3

J-t

13

4

14

92

* Monuments dedicated solely to adults are excluded.

A natural point of comparison to these vi ual preferen e is the involvement of mother and father a dedicators of funerary monuments (Table 13). The relati\'el ' mode t numbers which attest action by a non-parental adult, in luding grandparents, uncles, aunts, mature ibling and owner , \\ill be discussed in the next chapter. Here it is the O\'erwhelmin dominance of parental commi sioner which i of intere t.Kn The 300 or so examples by one or both parents account for some 83 per cent of all those which name a dedicator, indicating, unsurprisingly, that children were much more likely to receive portrait monuments from their parents. In a sen e this parallels the dominance of family scenes di cu sed above. But there is a crucial difference. In iconographic terms a child was most often shown with both of its parent ; if in the presence of just one, the mother took precedence. In contrast, the dedicator was far more likely to be a lone parent, with fathers acting around twice as often as mother . The financial capabilities of women do not seem a suitable explanation for this trend - mothers do appear in every ingle survey region, occasionally being of servile status.'03 As some previous studies have placed joint parental commemorations in first place, these results raise the possibility that fathers were more drawn to this particular genre. Perhaps because of the status and expense involved in the purchase of a portrait monument, fathers were particularly keen to advertise their involvement.'04 Of course, the parentes fecerunt formula may be at times artificial, masking the fact that just one parent had

taken the lead in ommemoration. Moreover, action by one parent doe not necessarily mean the other was not still part of the family and there i certainly no correlation with differin leYels of affection; we see only the relationships chosen for empha is in the sepulchral sphere. Association in death doe not automatically mirror the actual circumstances of life, a tatement of particular relevance for one relationship type in particular - that of siblings.

SEARCH !

GS

The duration, intimacy and regularity of sibling relationships have long vexed scholars working on the Roman family and, as Beryl Rawson noted, have been under-studied.'05 Yet biology permitting, the majority of adults would have had more than one child and there is plentiful evidence to suggest that many parents had multiple offspring. The Augustan social legislation demanded as m uch and imperial women who were prolific ch ildbearers receive much attention in the literary sources.' 06 One might counter that the requirements of t he laws were d ifficult to meet, that the Faustinas and Agrippinas of the Roman p eriod were very much atypical and that many couples, whether voluntarily or through misfortune, would have remained childless.'07

52 and Backe-Dahmen 2006: 88. On advertising opportunities for dedicators, Graham 2006: 19. 1

oS

Compare Backe-Dahmen 2006: 88 and Adams and Tobler 2007: 30-41. 0 ' ' Kleiner 1987b: ;1 on female capabilities. For the commemorative prominence of women in Iberia, Edmondson 2005: 202-4. '"' On the dominance of both parents as dedicators for infants in Rome, King 2000: 148- 50. For the same in relation to altars, Minten 100,· 0 ' '

G FO R SIBLI

Raw on 2003c: 12 - 30.

,.. On the lex Papia Poppaea, Dixon 1992: 119-21 and Backe-Dahmen 2006: 64- 6; on Faustina the Younger, Rawson 2003a: 108; on Agrippina, Tac. Ann. 1.41 and Rawson 2003a; 36. '

07

For Aemilius Paullus, who ga,·e away two sons through adoption and whose remaining two then died, making him legally childless, see

102

UCLEAR NOTIO,

Still, the expectation of multiple offspring eem to have been common and in many cases the births mu t have been closely spaced. Whether this led to the existence of strong connections between siblings is far less certain - with children dying so frequently, many will have been removed at ages too young for any significant form of relationship to have been developed. 108 Furthermore, the unpredictability of the deaths will have created age distributions of strikingly different types. TI1ree limestone stelae from Castra Regina in Raetia confirm this. The first records two- and four-year-old si ter named Claudia Ursa and Gesatia Lucia (=482, Figure 5); the econd attests a deceased four-year-old called Flaviu Amandu together with his still-living brother Flavius Con tan (=4 9); the third commemorates Todia lnpetrata of nine years and her far older sister Flavia lspana, eighteen at the time of her death and married to Flavius Fortio, a reminder that many children will have had brothers- and sisters-in-law in addition to their biological siblings (=484, Figure 86). So too will there have been many half-sibling as a re ult of parental remarriages (see Chapter 5). A sizeable number of monuments from the catalogue 188 to be precise - repre ent two or more children. Portraits are differentiated in terms of height and/or facial age in some 150 of these, implying a di tributed range of siblings as one might expect in the majority of familie . The information that can be extracted from the tombstone is, however, rather mixed. They do not prove that the children had been alive contemporaneously, nor do we necessarily see the whole complement of siblings that may have existed. We are presented only with those selected for representation at one moment in the family's existence. Some children might have died previously, others might have been living but not featured on the tombstone, still more might be born in the future. As Weaver noted, in many cases it is imply not possible to know whether we have the full et of siblings or whether those who do appear were living or dead.'09 A small glimpse of these problem i given by a lime tone stela from Pannonia uperior (=627), set up between the end of the first and middle of the econd centuries. Dedicated to one-year-old Restituta and three-month-old Gemellus by their parents L. Cas ius and Prima, the stone represent ju t

'

Plut. Aem. 5.3 and 35.2 as well a Bradley 1999: 1 4. Augustus and Li\ia fan10usly failed to produce any children from their marriage. On the use of adoption to end such childle sness, Corbier 199u1On the number of older siblings being small, Raw on 1991: 22, 2003a: 243-50 and 2003c: 128. See also Harlow and Laurence 2002.: 133 and Bakke 2005: 3;. Huskinson (1996: m ) observes no recognisable sibling groups on sarcophagi.

109

Weaver 2001:

102.

FIG u RE 6 tela of Flavia Ispana and Todia Inpetrata. Regen burg, Hi torisches Museum der Stadt, inv. Lap 8.

the girl; her facial features are now lost but her full-fi gure portrait how a relatively tall child who wears a tunic and mantle and hold a bird in both hands. The epigraphic emphasi i imilarly kewed, with the names of Restituta and her parents cut in far larger letters than that of the male child; Re tituta also precedes Gemellus in terms of name order. ince the text appears to have been carved on one occasion - its lines being evenly spaced and its letters uniformly well carved - it seems to have been a conscious choice by the parents to favour one child (at least in the funerary medium). Identification problems hamper the search fo r siblings till further, with lack of age and name details becom ing a real problem in large groups. This is especially true in Pannonia and Dacia where portrait scenes are typically arranged in two rows, adults above and children below, the latter usually having far smaller portraits. As with most norms, though, there are some exceptions. The problem is illustrated by what must have been a sizeable (but now sadly only partially preserved) mid to late third-century limestone stela from Sopianae (Pees, #753, Figure 87). Despite severe

SEARCHI..G FOR

FIGURE

IBLI..G

87 Stela for a famil · from Pannonia. Pee Janus Pannoniu

damage to the sculpture, remain of nine portrait an be distinguished. Given the artistic convention employed in this region, several existing de cription dul · identify the upper four portraits as being of adults, the lower five as children. Closer examination reveals that thi is not the ca e: the fourth portrait in the lower row, far larger and taller than the others, is actually of a woman. The same scenario i found on a similarly fragmented second-century lime tone medallion from Porolissum in Dacia (#847, Figure ). Again in a dreadful state of condition, this time eight portraits are still visible. In its original form the two in the top row - only the chests of whom now survive - were by far the largest; they are typically identified as the parents. The ix remaining portraits are then seen as children, allowing the monument to be cited as an example of a particularly large provincial family. This seems dubious. The four portraits in the second row, while smaller than the two above, actually appear to be of adults; they have mature physiognomies and the final male may sport a beard. Only the two in the lowest row are plausible candidates for young children. The relationships by which these eight individuals were connected cannot now be known but the potential confusion that erroneous child recognitions can cause is clear: profoundly different situation will be proposed for the group if it contains six adults rather than just two. To avoid such misidentifications, descriptions of monuments must of course be rigorous. For Dacian piece , however, this is somewhat challenging: epigraphic survival rates

103

hizeum, inv.

1254.

are ex eptionally low, preservation levels are among the poore t in the catalogue and previous publications have rarely con idered the culptural scenes in detail, typically identifying a 'child' \ ithout further elaboration. The problem i confounded further by the lack of high-quality photograph in existing scholarship together with the difficulty of acce ing the mu eums in question (and, more importantly, their deposits). ln the absence of first-hand examination, some child identifications have had to be accepted and reproduced on faith; one hopes that in the future Romanian sculpture might start to become published to the same levels found in other countries. Elsewhere, the situation can remain confused even when text do survive. The late first-century BC relief of the Vettii from Rome - of excellent preservation in terms of sculpture and inscription - is illustrative of this (#11, Figure 89).110 The stone features two women, a man and a child, named from left to right as libertina Antonia Rufa, libertinus C. Vettius icephor, ingenuus boy C. Vettius Secundus and libertina Vettia Calybe. The males wear togas and tunics, the lines on icephor's brows as well as around his eyes and mouth reflecting his advanced years; Secundus' youthful age is indicated through his small and circular head complete with button no e, pudgy cheeks and little chin. Both women wear tuni and mantle but, while Rufa's hair is plaited and

"

0

For discu ion, Kleiner 1977: 41-2, Kockel 1993: 145-6, Minten 2002: 48-9 and Bernabei 2005: 10-11.

104

NUCLEAR NOTION

FIGURE

88 Medallion for a family from Dacia. Zalau, Muzeul de Istorie i Arta, inv. 215.

FIG u RE

9

Relief of the Vettii. Rome, Ina A italia - Generali Group.

carefully wound around her head, Calybe has a centrally parted wave which is drawn behind her ear and which allows ringlets to fall over her shoulder . Rufa i clearly the older of the two: she has a broader and fuller face, a wider mouth and a thicker neck. everthele , either woman could be Nicephor's wife - Rufa if the spouse were freed from eparate household , Calybe if they were manumitted from the same domus. With spousal age differences likely to have been maller in the lower classes than elsewhere in ociety, we might naturally lean towards Rufa being icephor' wife. However, the position of the ingenuus son between icephor and

Calybe could instead support her being the mother. Amidst uch uncertainty, one thing at least is clear: Rufa cannot be icephor' patron as sometimes suggested. Although the 'libertination' reveals that he was manumitted by a female, had the mistre in question been Rufa then he would have taken her nomen, becoming C. Antonius Nicephor. As a result, it is po sible that Rufa was in fact icephor's sister; having erved in different households, they had managed to maintain contact before and after manumission and now appeared alongside one another on their funerary monument. Pre-existing family ties had overcome servitude. Alternatively, perhaps Rufa was icephor's first wife

EARCHl. ' G FOR

who had died at an earlier time. Subsequently, ;-..;i ephor had manumitted and married one of his female laYe a relatively common occurrence). Instead, Calybe could be a daughter of Rufa and icephor born before their manumission, the father perhaps purchasing her freedom oon after his own was won. The possibilities - and the potential family relationships they encompa - are alma t endle . The Vettii group shows the depth of the problem in term of identifying siblings: it i neither parti ularly large nor complex and yet the relation hip which conne t it four members elude us. We have either an adult brother and i ter in the form of icephor and Rufa, or a junior brother and adult sister in Calybe and Secundus; or there may be no siblings at all. One might be tempted to opt for Rufa being the wife and Calybe being the daughter because it i perhap the most plausible arrangement, the one with least 'what if '. But this would be flawed : families are rarely simple, nor do they follow expected and predictable patterns. Indeed, one thinks here of a pair of well-known Greek tomb tone often discussed in this context. The first, dedicated to ~lne agora and ikochares, represents what one would alma t certainly recognise as a mother handing a bird to a chubby, naked child in front of her; the inscription in tead reveal them to be siblings. The second depicts a seated woman with veiled head who holds a bird in her right hand and a little boy in the other; she glances towards him with tenderne . Again, without the inscription one would suppose a mother- on link, perhaps even that the woman had died during childbirth. The inscription tells quite a different story: the female is named as Ampharete and identified as the grandmother of the child."' Whether these were 'stock' piece or merely reflect the various relationship possibilities that might ari e in a high-mortality society (where siblings could indeed be a generation apart and grandmothers very young), the potential interpretative difficulties caused by such scene are clear. One can at least be thankful that, in the Roman material, only the early Italian reliefs tend to give such curtailed family information about their recipients, with later commemorations more likely to specify relationships in greater detail. Demographic estimates for the Roman period suggest that one would rarely have found a family with more than three living siblings. 112 At face value, the images seen on portrait

"' Mnesagora: Athens,

AM, inv. 3845; see Oakley 2003: 182. On ibling ,

Golden 1990a: u5-36. Ampharete: Athens, Kerameikos Museum, inv.

y

e

IBLl.· G

105

monument· eem to confirm this picture (Table 14): repreentation o' ·o children were by far the most common 1.µ in tan e ), while portraits of three are not insignificant in number but till come a very distant second (31). The problem of our e i that the figures represent a ran e of a tual family circum lances and so certainty over ,,'hi h arran ement i being hown is not always possible. .-\ handful of inscription are uncharacteristically helpful in thi re pect, \ i th a third-century stela from Lauriacum in . ·oricum =522, Figure 105) recording that Aurelia Quartina had died obita) whereas her two brothers were alive (vivis fecit ; example from Poetovio and lntercisa in Pannonia tate that irl were still living (superstis, #614 and #723). Gnfortunately the majority are far !es explicit, with marker like 1•irns, obitus and the theta nigrum (0 ) rare and even the pre en e of a child' age not alway offering guaranteed proof that he or she had died. One need look only to another large third-centur · lime tone tela, again from Intercisa, to ee how quickly the ituation can deteriorate into confusion (=,29, Figure 90). Dedicated by a soldier named Aurelius \·alen for hi wife, mother and two daughters, the latter are both named as Aurelia Germanilla. One had been four years of age at her death, the other two - which finds reflection in the ize-differentiated portraits they receive (in which the girl have the ame hair tyle and comparable physiognomies). Although ister could certainly share names, here it may be ignificant that the younger child is referred to as the 'other daughter' (altera filia )."3 It is plausible, though not po ible to prove, that the two children had never been alive at the ame time, one Germanilla 'replaced' by a second girl who carried the same name. The apparently united family we ee on the tone would thu be a 'montage' of members rather than a repre entation of the group at a particular point in time. How widely spaced their deaths were is unknown but it i highly po sible that at least one child was not commemorated at the time of her death."4 Perhaps neither of them was (see below). When converted to statistics, the tombstone from Intercisa would show a ibling relationship between sisters despite the reality of the situation being quite different. What the figures in Table 14 actually show, then, is that it was common to commemorate two children together, not that families most often contained just two children. Further, the results demonstrate very clearly that regional conventions were crucial to the chance of a sibling group being recorded, with the Danube provinces providing 75 per cent of the examples. To

P695; see Golden 1990a: 136- 40, Riihfel 1984: 144- 6, Rawson 1995: 4 and Foley 2003: 135. "' See Rawson 1986a: 8- 9, Boswell 1988: 132- 3, Gallivan and Wilkins 1997: 241-2 and Bakke 2005: 35.

"' For names being hared by isters, Harlow and Laurence 2002: 39- 40. "' On the potential time lap e between the lives of children commemorated together, Laes 2007a: 25.

-

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UCLEA R

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T AB LE 14

Sibling relationships by geographical region umber of siblings

Rome and environs Italy and 1arbonensis Iberian provinces (Lu , Tar) Gallic province (Aq, Lug, Bel) Britain and Germany Raetia and Noricum Pannonia Dacia

TABLE

2

3

19

2

Other

4

11

8 20

2

54

16

7

27

II

3

14 4

31

11

2

0

15 Child portrait combin ations o. examples

1 boy

362

girl 1 boy and 1 girl 2 boys 2 boys and I girl 2 girls 2 girls and 1 boy Other•

222

I

64 34 13 11

2 123

• Including all exan1ples with a 'child'.

Acros all regions the usual age and gender biases are in evidence. Perhaps d ue to representation difficulties (but perhaps not), there ar e very few young children in sibling scene . o too is there a m arked preference towards brothers, as Table 15 shows. Som e thirty-four monuments featuring two male children compare to just eleven with two girls; in the fifteen compositions containing three children of both exe , thirteen favou r the boys, just two the girls."5 A limestone medallion from Ampelum (Zlatna) in Dacia is typical tela of Aurelia Baracha and fam ily. Budapest, Magyar Nemzeti i\luzeum, im. 22.1906.12.

FIGURE 90

illustrate the extremes, the Briti h and German province together produce just ix ca e whereas Pannonia uperior and Inferior yield eventy-eight. In crude numerical term this might reflect the larger ample from the latter region but a imilar disparity emerges if one looks at the percentages. To explain this, the preference towards howing large military famil ies in the Danube region eem relevant. In addition, there may have been a certain tatus attached to presenting fam ilies of considerable ize.

of thi ( =791, Figure 9 1). Dated to the Antonine or Severan era, it hows three boys of various heights positioned in front of their two parents, each in a tunic, with short hair and with broadly comparable features (narrow eyes, strong heek-bones and broad noses). The imbalance must reflect the greater social importance attached to the loss of male children, no do ubt h eightened still further if m ultiple boys died at near contemporary

"' For other examples of this imbalance, Gallivan and Wilkins 1997: 243 and Hasegawa 2005: 67.

EARCHl."G FOR

107

IBL!XG

FIGURE 91 Medallion for a family from Dacia. Cluj-. ·apoca, Muzeul 1ational de lstorie a Tran ilvaniei, in,·. v 30.69 = ~llCi 13.

times. That status play a part in uch case was hown earlier with the Vettii and Passienil groups (=4 and= 2) where ingenui children took precedence over libertini ibling . Something similar seems to be in evidence for the two boys on the early second-century marble altar from Rome discussed above (=73, Figure 92). Eleven-month-old . 'ico was the filius of commissioner Publicia Glrpte, e,,enteenmonth-old Eutyches her verna. The full-figure portraits show the young boy prospectively a cholar , clad in togas and hold ing scrolls; a little capsa rests at their feet. If. 'ico were born after Glypte's manumission and Eutyche before it, the boys would be biological ibling of different legal status. Alternatively, and perhaps more plausibly, Eutyche was viewed as something of a urrogate child and a playmate for ico; the Telephus myth represented on the lid - a story involving abandonment and sub equent adoption and so with clear connotations of surrogacy - perhaps supports this." 6 Whichever view is taken, the treatment of ico and Eutyches is relatively equal: the little boys both stand in togas, their right hands clutching part of their drapery

"' On the relevance of this myth for the two boys, Kleiner 19 ;b: -. Minten 2002: 70 and Rawson 2003a: 351. On non-sibling chil&cn raised together, Bradley 2000: 282-3.

g

inv. 920.

and their left holding scrolls; they have small and infantile face which retain elements of 'puppy-fat' as well as short, forward-brushed hair and prominent ears. And yet, while both turn their bodies slightly towards the centre, Nico apparently looks down while Eutyches tilts his head to stare in his direction. Arguably, Nico thus enjoys greater prominence in the scene, something which finds clearer reflection in the in cription where it is his details which occupy the first column on the left. Given his superior standing and yet younger age, this is an important distinction and is unlikely to be accidental. Whether they were true brothers or just treated as uch, tatus trumped age. Sibling group containing more than two or three children are really quite rare, attested in just thirteen cases. They also tend to be some of the most problematic or insecure, as three examples - all of which have been discounted from the

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results due to their contentious nature - will demonstrate. The first is a subsidiary relief from a large second-century lim estone com memoration set up in Orolaunum (Arion) in Belgica (#369). It features five children crouched around a large bowl from which a dog seems to drink; one of the children plays a flute. Despite damage to their portraits, all five seem to be of similar age and stature and so may be playmates rather than siblings. Indeed, the nature of the accompanying image would support this: above the children, in a separate niche, are two men and two women in a meal scene - suggesting that the children may come from different nuclear units. Further, the context of these representation is quite different from normal funerary portraits: rather than being posed and en face, the children are hown in profile and continue their activity apparently unaware of the viewer. This must be intended as a 'daily life' type image. Far more uncertainty surround the second stone, a third-century marble relief from Rome depicting a consecratio motif (=140). It represents a father in the enthroned guise of Saturn together with a son as Harpocrates and a daughter as either Flora or Autumn; the children adopt contrappo to stan ces, the boy nude save for a chlamys over hi houlder and the girl wearing a peplos. Although the latter' head i now lost, precluding a comparison of their faces, the girl i much the taller of the two and o pre umably some year older than her likely brother (who e youthful face, complete with soft but large feature , add further weight to thi ). Yet the inscription de cribe Cornutu as being accompanied b ' his eight most sweet children (cum jilis dulcissimis The explanation behind this vi ual and epigraphic mi match i not immediately apparent, unles the boy and girl were ymbolic of others not chosen for representation. This might be supported by their different sexes and height , with a imilar device sometimes employed in imperial art."' Alternatively, it may be that of Cornutus' eight children, just the two hmvn here had died. o less confusing i the final tone, a large first-century limestone stela from Confluentes (Koblenz) in Germania Superior (:#445). The top scene repre ents a nuclear unit, the bottom what appear to be five female of equal height, proportion, dre , hair tyle and po e, all of whom eem to have juvenile phy iognomie (although the facial feature are now mostly lo t). Thi ha cau ed con iderable di agreement among scholar , with Esperandieu revi ing hi initial identification of five girl to five women." As the in cription

vun.

-

' OTION

is too damaged to be of any assistance, little but speculation remains. It is possible that this is an extremely rare illustration of quintuplets; ituations should not be discounted just because of their infrequency."• evertheless, sibling groups are very rare in Germany (see Table 14) and the mortality rates of the period make it highly unlikely that all five could have survived to the relatively advanced ages implied by their portraits. While prospection remains a possibility, one would still need to account for what caused their simultaneous death . A virulent outbreak of plague or some other contagiou disease is plausible, even though it would have been exceptionally unlucky for a family to lose all five in one go. 120 Other monuments give more secure glimpses of the large number of children born to ome parents. An early thirdcentury limestone stela from Pannonia Superior - which measure nearly three metres in height - makes mention of four children, Aelius Pacatus, Aelius Domitianus, Aelia ictorina and Aelia Victoria; the oldest daughter is cast very much in the image of her mother and appears between the parents, while her younger siblings are lined up in front of them, apparently decreasing in age from left to right (#623, Figure 93). On a limestone medallion from Dacia, dated to the Antonine era, this order is reversed: parents appear behind four children whose heights now increase as one looks along the row (=794, Figure 94). The same arrangement i een again on a third-century limestone relief from Aquincum where the facial features are all but lost but where detail of name and age survive to reveal interesting prioritie (=684, Figure 95). The long and in places slightly slanting in cription opens by mentioning Petronia Valeria, a thirteen-year-old girl taken in the 'prim e of her life' (in flare aetatis). ext come two boys, Petronii Caesianus and Cae erius, of four and five years respectively, followed by a econd girl Petronia Nonnosa of just two years. The text concludes with a dedication to the carissimi children by parents Petroniu Censorinus and Aurelia Maxim ina. Identifying the rea on behind the monument's erection is more diffi cult than it might first seem. ls it a coincidence that the oldest child comes first and the youngest last, with a girl for once con idered more important than her male siblings? Had all four died at near contemporary moments or had the loss of the aide tone finally stimulated the act of commemoration? Answer for the e questions are now unobtainable, but it is at "' On mulhple births, Dasen 2005.

= "' For a boy and girl of differing heights acting as horthand for all Roman children, Uzzi 2005: 40-1. n

Esperandieu

VII

1918: no. 5770 and

For epidemi , cheidel 2001: 30-2 and Rawson 2003a: 342-3. On examples which eem to record the deaths of three children as the result of plague, Carroll 2006: 169 and Vavassori 2007. On seasonal mortality

Vlll

1922: no. 61 4. See aJso

Bauchhen!l 1975: 88-91 and Rothe 2009: 2-3.

peaks, Scheidel 2007b: 9-11. On diseases and illness, Bradley 2005, Laes 2006: 33 and 2011 as well as Scheidel 2009b.

'

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F I G u RE

93

tela of P. Aelius Victorino inv. 20.190, '.

FIGURE

94

Medallion for a family from

cia ibiu, Muzeul National Brukenthal, inv. A 1392a.

109

110

NUCLEAR NOTION

F IG u RE

9 5 Relief of Petronia Valeria and siblings. Budape t, lagyar Zsid6 i\!uzeum, inv. 64.1963.

least possible that some of the children had died long before this monument appeared in the necropolis, their commemoration in a sense done in hindsight. Such a scenario is plau ible elsewhere too. On the third-century limestone tela from Aquincum di cu ed above, commissioner Aurelia Quintilila names her husband Aurelius Bitu as well three on and a daughter (=6 8, Figure 84). Yet Bitu and one of hi on , Vitalinus, are given full-figure portraits together with detail of their age , whereas the three remaining children - Bitilla, Dalmatius and Quintililianus - receive neither portrait nor ages; their names also come last. This suggest that the stone was purchased after the deaths of Bitus and Vitalinus and was intended principally for them. In relation to the three other children, two scenarios are pos ible. In the first, they were still alive and so mother Quintilila records their membership within the family. Had it been designed to honour living individuals, one might however have expected the inclu ion of et sibi so that Quintilila her elf were included. Under the second reconstruction, the three children had died at earlier points but had not received their own tomb tones; they were included here retro pectively, with the death of the father becoming the event which ju tified the expen iYe commis ion. ear contemporary death of parent and child did of course occur, whether due to unfortunate accident like the shipwreck seen earlier (!!119) or because of high mortality rates. Even so, retrospection would explain why the two si ters seen above were both named Aurelia Germariilla (=729) and would also account for some of the problem een on a third-century sandstone stela from Eburacum (York, =390, Figure 96). Erected by the father, a Yeteran named

C. Aeresius Saenus, it wa dedicated to wife Flavia Augustina, son Saenius Augustinus and a daughter whose name does not urvive. All three are accorded an age and so must have been deceased when the stone was commissioned. If the deaths were simultaneous or at least closely spaced, the ages of the two children become awkward. Separated by nine months, for the pregnancies to have been carried full term the second child had to have been conceived immediately after the fir t. Entirely feasible though this may be, the alternative is that their deaths were further apart, that they were perhap never alive at the same time and that they were receiving commemoration in hindsight. Arguably, the lack of agreement between the epigraphic information and the portrait make this the more likely situation. Despite serious damage to the faces, if one assumes that the clothing of the two children mirrored that of the parents, then the girl is the mailer figure at the left and the boy the taller child at the right. Not only does this conflict with their relative age - where the boy was the younger of the two - the portrait themselves are also too large to correspond with the one-year-old named by the text. It is of course possible that the boy wa being shown prospectively or to a larger scale than hi ister because, at least in commemorative terms, his parents felt him to be the more socially important of the two children and o wanted to emphasise his membership of the famil ·; but it i al o feasible that this was a pre-carved and, in a ense, 'ready-made' piece that was purchased on the occa ion of mother Augustina's death. If true, the commisioning father took advantage of the opportunity to record the lives of two previously deceased children but did so with portraits ill-suited to their actual ages and relative positions within the family.

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r .1

,e re ck he er; of ?,irl 1i\d tive )Or-

the that ;cale ;, his ! two >f the and, n the 11misecord )With ;itions

FIGURE

96 Stela of Flavia Augu tina and family. York, Yor • hire

Museum, inv. 199 .1 .

The same problem is found on a first-century marble altar from Rome (#25, Figure 97). 121 The sculpture how a eated woman in the company of two young children, identified by the inscription as mother Maena Mellusa and her ons Dexter (of eleven months) and Sacerdos (aged just three month ). In the sculptural scene, all three are shown in profile in a motif reminiscent of those more usually seen on classical Greek tombstones. Mellusa sits in a chair, her sweeping drapery clinging tightly to her body to reveal its contour , and holds a diminutive baby with her left arm; with the other, she reaches out to an apparently much older child who use his arms to rest his weight on her Jenee, cros es his legs and is nude save for the chlamys which fal.l behind his body. The 't; marker in the inscription reveals mother Mellusa to be a libertina, whereas the single nomina of the children would m

For discussion, Rawson 2003a: 42-4.

FIGURE

9; Altar of Maena ;\lellu a and on . Rome, Musei \ 'aticani, inv. 1255.

ugge t (though not confirm) that they were slaves. Since ~Iellusa had been manumitted (and working on the assumption that it wa not of the 'pathetic' type conferred on her deathbed), the ages and servile tatus of the children become problematic.= The paral.lel with the York piece are striking: in both case a husband honours his wife in conjunction with two children who e age are probably too close for them to have been ibling in the u ual en e of the word and whose portraits do not orre pond with their actual ages. Here the demarcation between the two boys would give the irnpresion of brother eparated b · everal years rather than just eight months. Where the a e of ibling are paced more widely or where inscription do not urvive, detecting potentially On 'pathetic' manumission, Weaver 2001: 103 and Hasegawa 2005: 54 n.15.

112

UCLEAR

OTIO, S

retrospective piece is extremely difficult. This i also the case when monuments commemorate ju t a single child, as shown by the marble altar from Rome dedicated to C. Crixius Secundus, discussed earlier (1;34, Figure 98). The main scene shows a togate Secundus turning towards a young boy with whom he is joined through the dextrarum iunctio - the relatively unusual deployment of this motif for an adult and child conveying a sense of a genuine bond benveen the nvo males. In the absence of any text one might reasonably conclude that this young child was one of the recipients. In fact, it was dedicated by Secundus' wife Crixia Secundina and the child receives no mention at all. Two interpretations are possible: either Secundus enjoyed a close relation hip with the child - probably his son - and so ecundina records this for posterity, or else the child had died at an earlier point and was only now receiving some form of commemoration, albeit a relatively anonymous type. Predictably, the former is usually preferred, with the altar then said to show a 'lively interest' in children; but the alternative cannot be discounted. A comparable arrangement is found on a second-century marble altar dedicated to contubernalis Grania Faustina by servus publicus Papias (:103). On this occasion both parent appear alongside a boy who is once again unreferenced in the inscription. If retrospective commemoration were true in an ' or all of these instances then it does not undermine the valuation of the children concerned - non-documentary cene may still reveal a great deal about the concerns and hopes of the commissioner(s) and it must be important that the children had in each case received expensive portraits. It might also be noted that recording multiple recipient on one tombstone would have been easier for humble familie in terms of finance."' It does however remind of the need to crutinise funerary images closely before any degree of reality is inferred; clearly these are not direct predecessors to the type of'family portrait' so popular in current culture (and which, of course, come with their own sets of conventions).',.. It also begs the question as to whether certain de criptions of these images betray views seen predominantly through

17H

FIG u RE 9 8 Altar of C. Crixius Secundus. Rome, Musei

Capitolini, inv. 2799.

Portrait tombstones set up nearly 2 ,000 year ago can stimulate a variety of responses from the contemporary observer. One might feel compassion for the lo se suffered

by the families, sympathy for the plights they faced, even a feeling that familial relationships in the Roman period were largely the san1e as they remain now. For all audiences, though, impressions are likely to be particularly heightened when ilie sculpture implies some sort of emotional con nection behveen the recipients, an expression of affection almost."; This could be realised in a variety of ways: family member turn their bodies towards one another, creating a symmetrical unity; recipients fix their gazes on each other, maintaining eye contact; portraits are positioned one in front of the oilier, implying solidarity.126 Arguably the most

'" Adams and Tobler 2007: 49. "' On the artificiality of'family portraits', Dixon 19 : 10 , Croom 2002: 13 and Baxter 2005: 85-7.

"' So Mary Boatwright (2005: 304) stated that she personally found the images to be moving, in spite of the conventions which surrounded them. " 6 On visual contact, Kleiner 1977: 24-5.

modern eyes.

AFFECTIO

ATE FAMILIE

113

AFFECT IO •.•>,TE FA,11 LIE

evocative scene are tho e whi h emplov ph ··ical ouch, with parents resting their hands on the hea or ho ders of their children and occasionally even holding em in their arms. With equivalent ac of ontact o · en no ,· guarded in our own ociety - where the oncep o ··per·onal space' has become ever more aero an t - the ·yen of loving familie i a trong one. \ nether the _e_tur are understood as reflecting affection whi h ex.i ted ::- '.i: , the concept of bond remaining unbro ·en in death. or e ·en a combination of the two, the interaction ap ear p rs and intimate. nIn some, maybe even mo t, case this may be ab olu el · legitimate, but whether univer ally o, whether to the ex-lusion of other contributing factor , need thou 0 ht. Caution · also required as to how much affection one an legitimatelr read from funerary portraits, as well as which motif might be a result of genre convention ; for me at lea t, en in which adjacent portraits overlap do not o mu h imply in eraction and affection as reflect patial practicalitie . · li one atte mpts - albeit imperfectly - to recon tru t the intentions of the sculptor, a leap of faith is required to ima ine tha !ri,·. ing an impression of unity wa alway the paramount reason which lay behind portraits being carved in thi f; hion. In a handful of scene the expre ion of affection throu physical contact seems undeniable. On a lime tone tela from Avaricum (Bourges) in Aquitania, for example, a father upports a boy in his arms, delicately lifting the child a ifto allow him to perch on his shoulder (=291). The boy - who eerns little older than a toddler - has flowing curly locks, a pudgy face, a very large forehead and infantile feature ; his father has a slender face with a softly rendered beard and a forehead ever so slightly lined with wrinkles. They turn towards one another, their gazes united, the child placing his left hand on his father's back in a ge ture which eerns to further underline the bond between the two. A still more intimate pair of cene grace a econdcentury marble altar from Rome (=82, Figures 99-101). Dedicated by L. Passienus Saturninus to his wife Pa ienia Gemella and two sons Doryphorus and Sabinus, the three appear on the front through standard and formally posed portraits. In the centre of the row, mother Gemella wears a tunic and mantle and has a short but wide face dominated by wide, almond-shaped eyes, prominent brows and a small but pointed chin - features replicated on the faces of her

ra e, if not a kiss. Both boys have to stand re ei\·e the gesture - that of the younger .; :n~.:

bt oer

- with the short lengths of their

err pindly and under-developed legs.

ranoe. In tead, one is truck by the size differentiation o · the boy , with the child at the right - preurnablv Do horns who e uperior status suggests he was ;o ng r o · • e two brothers - being noticeably smaller (whi·h, a,, no ed. · al o reflected in the varying heights of ·a on which the · tand in the side images). Further, tha the portrai on the front how Sabin us with a horus lock and DorYphorus \\ith a cloak draped over his shoulder two motif commonly employed for young boys - must give further weight to thi interpretation. It would seem then that the culptor intended the ages of the two boys to be the arne on the front and the ides. ot that this lessens the emotional nature of the cenes; few would deny the clear affection being expres ed between parent and child. A problem nevertheles emerges if such examples are considered in i olation. \Vhen physical contact motifs are as e ed aero hundreds of monuments, the vast majority of example are found to be far more conventionalised, repetitive even. Concentrations emerge in terms of geography and gender while other explanations for the use of such gestures arise, not nece arily to replace that of familial affection but certainly to tand alongside it. Theoretically, a range of different scheme and ge tures could have been employed to connect adul and children through physical touch. Sculptural practicalitie acknowledged, Table 16 shows that one type of arrangement was used far more commonly than all of the

alternati,·e combined. '" For comments on emotional interaction and/or affectionate gestures, Coulon 1994: 153-4, George 2000: 192, Minten 2002: 37 and 50, Boatwright 2005: 300, Huskinson 2005: 93 and 2007b: 327, Backe-Dahmen 200 : 31. On the motifs reflecting a combination of affection and connection, Kampen 2009: 114. "' See Boatwright 2005: 294 for a more positive take.

It i intere tin too to note that there are ubtle difference in the ll"G): in whi h hildren and families are shown interacting on Roman monuments as compared to those in the classical Gree · period - o often thought to have been a source of influence e,·en if disagreement remains about

-

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-

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OT IO

114

9 9 Altar of Passienia Gemella and sons (left ide). Liverpool, National Museum , inv. 19; 9.14 .302.

F 1Gu RE

Altar of Passienia Gemella and sons (right side). Liverpool,, ational Museums, inv. 1959.148 .302.

FIGURE 101

\ hether the Greek stones would still have been standing in the Roman period.129 Whereas the majority of recipients in thi catalogue stare outwards to meet the eyes of the viewer, their portraits posed with rigidity, most of those in Greek compo itions are shown in profile or three-quarter stance and conduct their affairs as if unaware of any audience. At least uperficially the representations are more naturalistic,

FIG u RE 10 o

Altar of Passienia Gemella and ons (front) . Liverpool, ational Museums, inv. 19 -9.1 .302.

"' For discussion, Kleiner 1977: 173-5, 1978: 761-2 and 1993 reprint: 34-5, Rawson 2003a: 22- 4, Kampen 2009: 11.

J

• AFFECTIO

TABLE 16

Type of phy ical contact 1o.

Type Dextrarum iunctio

examples

'

Drapery tugging Handon body

3 3

Hand on head

13

Hand on shoulder Held in arms

165 26

Holding hands

TABLE 17

10

Adults who share physical contact "ith children Mother

Father

Both

To al

2

q q

Rome and environs

8

4

Italy and arbonensis Iberian provinces (Lus, Tar) Gallic provinces (Aq, Lug, Bel) Britain and Germany

9

4

10

6 6

Raetia and Pannonia

115

ATE FAMILIE

oricum

7 20

57

Dacia

4

Total

116

17

1-i

42

11

2

no

40

6;

3 221

giving the impression that they provide the onlooker \,ith a glimpse into the lives of those shown. Excepting the handshake motif which must be broadly comparable to the Roman dextrarum iunctio, the formal and repetitiYe act of physical contact which unite Roman parents and children are in Greek scenes much more varied and frequent. Typically, Greek mothers are shown inhabiting the dome tic sphere and many seem to respond to the needs of their children - a woman named Asia lifting up her on , ith both hands, another called Archestrate approached by a child who reaches up towards her. On a stele now in Leiden, a eated woman receives an infant from a standing attendant, the arms of the child outstretched in anticipation of its mother's embrace. Occasionally, so too do Greek fathers interact with children; on a stele in London, Xanthippos hold a hoe in one hand - a reference to his profession - while placing the other around the daughter by his side, pulling her close to him (Figure 102).'30 Greek parents thus acknowledge the

"' Handshake: Oakley 2003: 170 and Shapiro 2003: 106. Greek contact more generally: Grossman 2007: 321-2. Asia: Athens, AM, in,•. ;67; see Oakley 2003: 184. Archestrate: Athens, NAM, inv. 72; ee Foley 2003: 134. Leiden stele: Rijksmuseum, inv. 1 1903/2.1; see Foley 2003: 133. Xanthippos: London, British Museum, inv. 1805.7-3.183; ee Riihfel 1984: 126- 8 and Oakley 2003: 184.

FIGt:RE 10~

tele ofXanthippo. London, British Museum, inv. l 05.7-3.1 3.

pre ence of their children, handing them objects, holding them in their lap and re ponding to their apparently needy ge ture . Ther place their hands on the heads, arms, shoulder and hands of their children, many of whom lean against their knees. By contrast, the ge tures on Roman tombstones are less 'functional' and so, perhaps, more symbolic; nearly always initiated by the adult, they seem designed to illustrate a family link or hierarchy. Arguably the most famous types of physical gestures, the ones mo t often discussed and illustrated, are the dextrarum iunctio and the motif of a child pulling on an adult' drapery, the latter very likely derived from, or at least heaYily influenced by, the Ara Pacis.'" But while the Augustan altar' procession are, at fir t glance, apparently naturalistic in their pre entation of the large imperial group , cholars have ''' On the altar' motif Dixon 19 : ;6-7, Rawson 199 a: 213- 14, Huskinson 2005: 93, Uzzi 2005: 144- 5 and Backe-Dahmen 2006: 79.

116 UCLEAR

FIG u RE 103

Relief for a family from Rome. Liverpool, 'ational Mu eum , inv. 1959.148.222.

increasingly recognised the ymbolic nature of the adultchild interaction. In fact, the phy ical gestures eem to foUow distinct patterns, with tho e who 'tug' or 'puU' at the drapery, ostensibly to gain the attention of the adults, not being acknowledged. Included in thi group are the boys at the tart of each procession, who, as mentioned earlier, are now usuaUy recognised as foreign princes mbolic of Rome' eastern and western conquests. The younger of the two appear in the north frieze; he wears a short tunic which expo es his buttocks and has infantile limbs which retain considerable amounts of'baby fat' (Figure 58). Crucially, while he seems to implore the Roman male to whose drapery he clings to look at and acknowledge him - the little toddler staring up towards him in what seems to be a bid for attention - the adult completely ignores him. Uzzi foUow other in suggesting that the motif is in fact one of submission - recaUing a it does irnilar compositions een elsewhere, including on one of the Boscoreale cups.'32 If true, the 'tugging' motif may not then be as 'Roman' as sometin1e con idered; employed on the altar for 'non-Roman' children, this may explain why it i actuaUy one of the rarest iconographic models in funerary scenes, appearing in this catalogue as it doe ju t three time _in Of similar importance is the apparently differential treatment relating to gender. Witll one exception in the north frieze, men on the Ara Pacis have tlleir cloilie 'tugged' and aµ

OTIO •

Uzzi 2005: 152- 4.

'" On the 'tugging' motif, Kleiner 1978: 765-6 and 1993 reprin ·

9.

yet ignore it; women initiate physical contact with children and/or look towards them.'34 So the boy who may be · Domitius Ahenobarbus touches the drapery of Drusus but it is his motller, Antonia the Elder, who rests her hand on his shoulder and guides him forward. Antonia the Younger likewi e hold ilie hand of little Germanicus (Figure 59). Affection may be inlplied by the gestures but they also seem to reflect the as umption of parental responsibility.111 Moreover, when the iconography of the Ara Pacis was seemingly imitated in private funerary reliefs, as with the example een earlier (=16, #187 and #243, Figures 60-62), it is potentially problematic to assume common intentions for boili conte;,,,is. Did ilie parents and/or sculptor replicate the motifs because they saw them as having affectionate associations? Were they copied to forge an association with a famous and influential piece of imperial art? Perhaps both concepts worked in tandem. The second particularly well-known gesture, the dex-

trarum iunctio, is comparably rare. Used for adults to represent the bond of marriage, its employment for children has a less clear-cut explanation.'36 Perhaps signalling a parent-child relationship to the viewer, perhaps advertising the strengili of the connection between the two, it is nonetheless '" Kampen 2009: 114. "' Uzzi 2005: 64 for 'gestures of responsibility' in other imperial contexts. '36 On the as ociations of the dextrarum iunctio, and its use for adults and children, Kleiner 1987b: 54, Kan1pen 1991: 231, George 2005: 43- 4 and Backe-Dahmen 2006: 79-80.

AFF ECTIO~ ATE fA).llLI E

th

n:;

117

g-r :ize of the sample, Table 17 shows that, while

ma\' have appeared in funerary iconography - · e , ·e rem empire, there are clear regional : (_o e ,_re,ious tudies having already noted the e-· -?rearance of contact in Rome and Italy•i8). ~· · ~ ·o i Rome contribute to this but it was still :>0:.i e ·o ·e, • . ent the motif when desired: a first-century r li : ;ro. he apital, now in Liverpool, sees two worr:en:. dng · eir hand around the shoulders of a young girl an,~ · ·~ ir arms elongated and bent quite awkwardly

o ~'-: em ,as le -re Genre r

FIGURE 104

Stela ofValens and Melania. Zagreb, Arheolosk:i Muzej, inv. KS 929.

an artificial and formal gesture rather than one born from natural interaction. So too, it might be contended, is the most popular type - that of an adult placing his or her hand on the shoulder of a child. Although children frequently appear in front of their parents and so spatial practicalities influence its depiction, it must be telling that, as Table 16 shows, it was

used time and again in preference to the closely related gestures whereby adults rested their hands on the heads or arm of children.'37 It must be recognised also that the frequency with which physical touch is represented on tombstones varies according to region. If one discounts the Iberian province due to

to a ·hie ·e • (=u. Figure 103). or can one explain the trong -o ce ·ra ·on of the imagery in the Danube provo · family group being represented there ince - ·h r : more o - n • • lsewhere in the empire. The substantially lm,-er · e o.- · onlact in Da ia proYe thi , as does the fact that. alon;.:1d the a untie farnilie in Raetia, oricum and Pannonia for ,hi h ph · ical contact wa employed, nurnerou others share no interaction at all; the decision to depict the mo if w - a on ciou one. Significantly, though, each ur\'e}" region produce re ults which follow the same trend: intera tion between a mother and a child not only i more common than it i for fathers, but outranks even tho e ene in 1-hi h both parents were involved. Here a earlier ir '·oul probabl · be hart-sighted to infer that mother ere ·ore had greater levels of affection for their children: rather thi iconographic gesture may have carried other a o iation . A the mo t ba ic level, phy ical contact could help to delineate relation hip type , a function of particular importance in the Danube province where compositions often included extended relative as well as children who had reached maturity.139 Time and again, physical touch unites husband with wive or parents with children. A secondcentury limestone stela from Andautonia in Pannonia uperior, dedicated to twenty-year-old Valentina and twoyear-old Donicus, will illustrate this (#637, Figure 104). Set up by their ervile parents Valens and Melania, the portrait cene features three adults in the top row and the young child in front. As both Valentina and Melania were adults, they are represented at the same height, with equally developed phy iognomie and wearing the same garments. The hair tyle which emerge just slightly from underneath their bonnet are differentiated but, in the absence of any other help, it would be difficult to distinguish who was who. The physical ge tures eem to offer a clue: the first woman at the left place her hand, of exaggerated proportions, on the '" Minten 2002: o n.14·, Boatwright 200; : 30; and George 200 ; : 43. '" O n contact indicatin relationship Kleiner 1977: 30- 1 and Kockel

'37

Hope ( 200 1: 20) suggests it had a protective function.

1993: 54.

__,...,,~,_.._.._, -

--

-

-

--·"--~

I

•

n8

tela of Aelius Quartinus and family (detail). Enn , Museum Lauriacum, inv. Rx 176.

young child in front of her, almost certainly because she was

FIG u RE Io 6 Stela for a family from Pannonia. Matrica Muzeum, inv. 2010.1.1.

mother Melania. In isolation this cannot of course be proved but there are counties other Danube pieces on which the same gesture eems to have signified a parental relationship. On an early third-century stone from Lauriacum (Enns) in Noricum, the group depicted comprised father Aelius Quartinus, mother Aurelia Crispina, fourteen-year-old daughter Aelia Quartina and two unnamed but living sons (#522, Figure 105). The portraits con ist of two women and a man in the top row and two boy or young men in the lower one. Sadly, their facial features have been completely lost, but, as all look relatively equal in terms of size and height, so the physical touch which connect them becomes key. The woman at the top left rests one hand on the shoulder of the male below and extends her other around the shoulder of the man in the top right corner; he in turn holds a word in his left hand and places the other on the shoulder of the second male below. The only person who neither initiates nor receives any contact is the central female who in tead holds a bird in her hands (it is not, as sometimes stated, her hand which is shown resting on the adult male's shoulder). This must be the deceased daughter

I

•

--------==AFFECTIO. ' ATE f..LIILIE

FIGURE 10 7

119

Medallion for a famil · from Dacia Bucharest, ~1uzeul . ·ational de Istorie a Romaniei, inv. 66446.

Quartina, shown with an attribute ymbolic of childhood. Mother Crispina and father Quartinu are therefore at each end, resting their hands on the two boys below to indicate the parent-son relationship. At the risk of pushing the iconography too far, there are further points of interest, among them, the distinct gender hierarchy: the male children receive contact whereas the female does not; the mother places her arm around the husband but the gesture is not reciprocated. Suffering the double penalty of being deceased and female, Quartina is excluded from sharing in the gestures. Alternatively, perhaps the connections between the four still-living member of the family were intended to reaffirm bonds fo llowing the lo of Quartina. At the very least, this iconographic arrangement does not appear to be accidental and may reflect more than just familial affection. Moreover, given how many families we see using these gestures, it must be extremely important

that phy ical connections between siblings are almost completely ab ent. One of the very few exceptions to this appears on a and tone stela from Budapest for two brothers, thirteen-year-old Saetibolus and seven-year-old Quintus, who clasp each other's hands (#689). However, they are not hown in the company of any adults whereas all those who are - who appear together in the lower row at the bottom of the compo ition - never interact with one another. On now anepigraphic pieces, similar patterns seem to be in evidence. From Matrica (Szazhalombatta) in Pannonia uperior, one uch third-century limestone stela depicts two women and a man in the upper section and three boys below whose heights decrease chematically from left to right (#738, Figure 106). The differentiation in portrait ize already suggests that the fir t 1,·oman on the left must be the mother, a likelihood confirmed by the ge ture which connect her to the child below. Once a ain, the hand are represented

120

UCLEAR

OTIO

S

Stela for a family from arbonensis. Lattes, Musee Archeologique Henri Prades, inv. 982.048.01.

FIG URE 109

that on the man's shoulder too wide and Jong. If one tries FIG u RE 1 o 8

Stela of lulia Priscilla and family. Szombathely, Savaria Muzeum, inv. 67,10.120.

awkwardly, with the whole of the woman's right arm (from her perspective) being oversized. Perhap intended to reflect the importance of the gesture, it seems omewhat more likely that the sculptor struggled to realise the scene as originally conceived. On occasion it in fact appear that visual inadequacies result from a ge ture being created for arti tic effect rather than being imitated from real life. A second-century limestone medallion from Brucla (Aiud) in Dacia uffer just such a problem ( t:818, Figure 107). For portraits which are of good quality and are otherwise typical of the region in terms of length and pose, the craftsman ha truggled to how the couple with their arms around one another' boulder : their hands are dramatically off-scale and anatomicall ' incorrect, the one resting on the woman being too mall and flimsy,

to replicate it, as I have, the pose seen here is really quite awkward and conflicts with the natural actions of a couple in that ituation. The intended meaning of such a connection is nevertheless apparent. Whether consciously or not, the ways in which family member interact with one another often seem to follow or at lea t reflect a gender hierarchy. A third-century limestone tela from avaria (Szombathely) in Pannonia Superior i illustrative of this (#616, Figure 108). It is dedicated by Iulia Priscilla for her husband Q. Claudius Martinianus and two ons Decrianus and Martinus, and both adults hold attribute appropriate to their gender (an apple for the woman and a scroll for the man). In terms of their actions, the hu band places his free arm around the shoulder of his wife while he in turn rests hers on one of her sons. There are examples with alternative arrangements, whereby men rather than women interact with the children, but this malefemale-child pattern is seen far more often - and transcends

AFFECTIO .. ATE FA)iJLIE

FIGURE 110

F 1G

Relief for a family from 'oricum. Graz, liniversalmuseum Jofigca anneum, inv. Lap 161.

RE 111

Relief from

oricum for

10

ouple and their children. Cnternber Schlo . loo ham.

121

122

UCLEAR

time and region. On a late first-century limestone stela from arbonensis, for example, the man positions his hand on the arm of the woman whereas she puts hers on the head of the little boy (#254, Figure 109); a family trio on a econdcentury gritstone stela from Dacia are shown holding hands, the man that of the woman, the woman that of the child (#868). Finally, it is common to find a woman sharing physical contact with a child at the same time as the adjacent man clutches a culturally appropriate object: a second-century marble relief from Flavia Solva (Seggauberg) in oricum has the father with a et of tablets and the woman with both of her hands on the son (# 503, Figure 110). A second marble relief from the same province, but dated to the third century, replicates this arrangement - the men now having scrolls and the women once again embracing the boys in front of them (#558, Figure m ). And such gender biases run deep, with the men who do interact with children being far more likely to do so with sons rather than daughters. For public contexts atalie Kampen has demonstrated the importance attached to touch and that its representation followed distinct hierarchies based on the social tatu of those concerned. 140 Something very similar eem to be in evidence in funerary art but with conventions governed by age and gender rather than cla s. \ hether the motif reflect parental affection, the assumption of re pon ibility, tatus gradation or a combination of the three, pattern in it repre entation 140

Kampen

2009: 110-1 .

OTION

are so consistent and seemingly deliberate that one has to attach real importance to it.

CO

CLUSIO

S

Funerary portraiture will never inform us about the demographic realities of family life in the Roman period. Reflecting the size, composition or exact internal connections of a fan1ily was not the primary concern of a sepulchral monument - even if glimpses of them are offered, inferences about them plausible. What the medium can reveal is the perception of typicality, the ideals wh ich drove how the family group was constructed and presented to posterity. The relation hips emphasised are those of duty and social in1portance, one which very often though not always overlap with some of tho every plausibly seen as the most intimate and affectionate. The nuclear unit loomed large, perhaps assuming more importance - or at least exclusivity in terms of influence - than it did in day-to-day life. Whether in the image or the text, it was integral to the overwhelming majority of the monuments set up for children. As the mortality rates of the period make such prominence rather problematic, it either betrays a significant degree of idealisation or else reveals that nuclear relatives were far more likely to expend the money and effort required by a portrait monument. To gauge this, attention must now turn to the instances where the parents were supplanted, whether by choice or through necessity.

..__

-----

.

-----------------

1

CHAP TER FIVE

FL ID FAMILIE He favoured me above hi nu e , hi- gr dmother \ ·ho ·- him and all tho e whom one would expec o ,,in the p -ial a,~ -·o o= infancy. QUXT. IX T. PREFACE TO aoo- 6)

S

o wrote Quintilian in hi famou fir t- entury treati e on oratory, the excerpt relating pecilically to the death of his five-year-old boy but forming part of a lar er pa ge in which he laments the loss of hi wife and hildren ,,ith touching tenderness. This is illustrative of a parti ularly strong link between a father and son, but the underl"~in~ assumption is that a child would normally enjo · lo relationships with a variety of non-parental adults, whether from the extended family or from the entourage of indi\idual in some way attached to the domus. ince the 1990 \\'e have come ever closer to understanding familie in the Roman period in just this way, as dynamic units in whi h cir umstances and relationships changed \\ith rapidity: dea removed some individuals, divorce cau ed eparation from others and subsequent remarriage could introduce a ho of new relatives. At the same time, nur es, paedago i, extended relatives and still others besides might have come in o lo e contact with children, plausibly having relation hip involving greater day-to-day level of interaction than tho e ,,ith the parents. And in addition to ibling further playmate might be found in the form of lave children o-re idem in the house (some of whom might ha,·e been collaccei - fellow nurslings) or even nephew and niece .' The primary nuclear links still retained importance but could be upplanted if circumstances dictated and did not tand in the way of the child developing bonds with other adults who were available. To quote Keith Bradley, 'the family - even the "irn.rnediaten family - was an intricate formation that cannot be ucce fully reduced to one modular con truct'. 1

' On collactei, Bradley 1991b: 149-54, Corbier 1999: 12 4, Hanson 1999: 37- 8 and Rawson 2003a: 256-8.

perhap rotating between properties ommitrnents demanded, even the physical not a on tant for all children. Although e ·i ili ·e naturall · rail against the idea of such a bevil e "'circulation, it i not a problematic as it might -oun _ - uzanne Dixon has noted, in the context of high mortalin ra it may ha\'e been beneficial for a child to have rting network as possible.J Yet with houses as ,,ide a u containin 'ho efuls', one might well question why tombs are le rone to revealing 'tombfuls' or, in this context, why portrait group were limited so often to the nuclear family alone.- Oearly there wa no direct correlation between the in · acy o -a relationship in real life and its chances of being re-or in the funerary phere, especially in this most expe -jye o mediums. Obligations and expectations within the nuclear famil · made it the default commemorative unit, the one whi h a ted fir t and potentially masked an array of other indi,idual connected to the child. Across the catalo e there are, however, ome in tance where the nuclear group a,·e , ·a · to alternative , where children were commemorated b · or at least appeared alongside those other than their paren . How the e ituation and relationships were represented and contextualised forms the crux of this chapter.

URROGATE CHILDRE A variety of circumstances could lead to the formation of a urrogate relationship, one where a non -nuclear adult a urned a parental role during life and then became the commemorator of the child at the time of death. Among the type attested here it is the twenty-one vernae (home-born la,·e ) who form the biggest group.1 Just four appear outside

' Bradley 1991b: 171, as well as 1991a: 86-97 and 1994: 13 . His 'dislocation' theory has been particularly influential. For imilar, Rawson 19 6b, 1991:

' Dixon 1999: 2r-20. On Roman house , Bradley 1991b: 8-9, George 1997a, ·e,·ett 199:;, Harlow and Laurence 2002: 20- 33, Severy 2003: 15- 21

7-9 and 2003a: 210, Dixon 1992: 6-11, Martin 1996: 51- , George 1997a: 299, McGinn 1999: 626,

and Milnor 2005: 9 - 10;.

athan 2000: 28- 31, Hope 2001: 6;- 3, Harlow

and Laurence 2002: 43-6, Laes 2003: 321, 2006: 36-41 and 2011, Bakke

• On this idea, Hope 1997: ;, Rawson 199~c: 294-5 and 2003c: 125.

2005: 3;, Carroll 2006: 181-4, D'Ambra 2007a: 110-11, K:u:c;-c: =

5

For a comparable picture in the Greek world, Golden 1

On vernae, Herrmann·Otto 1994, esp. 7-2L See also Rawson 1986b: 186- 95, Bradley 19 6:

211-12,

Dixon 199:,; u -9, :-linten 2002: 95 and

'

..

124

FLUID FAMILIES

of Italy, perhaps reflecti ng the greater levels of epigraphic preservation in Rome as well as the increa ed number of slaves serving in the capital. 6 Thought to have enlarged the domus and therefore the status of the master, vernae are often considered as 'favourites' and as the 'best' type of slave. In some instances they probably filled the void left by the deaths of the master's biological child(ren), perhap being seen as replacements; elsewhere they may have become companions for existing fi/ii, participating in many of the same activities despite their lower status. In either scenario they could be held in great affection by the various members of the household. The picture should not, of course, be romanticised: some

vernae will not have fared so favourably, being eparated from their mothers soon after birth and treated very much as property.7 Even so, some at least were considered worthy of receiving expensive and personalised portrait monuments, many already possessing the duo or tria nomina by the time of their commemoration (a verna being one of the exceptional relationship types that allowed the conferral of freedom below the prescribed limits). As just three examples among many, Lutatia Felicitas was free by the age of fourteen years (*93), Numisia Heorte at ten (:153) and Calpurnia Anthis at five (:89). ot that manumission was guaranteed: the single nomen oflsias implie that she was still in servitude at the time of her death at thirteen (;=112). A general correlation nevertheless emerges, the majority of non-manumitted slaves being in the youngest age group - one-year-olds Felix and Eutyches are examples (=41 and i=73, Figure 92). Classifying al] vernae as surrogates would be more than a little misleading. Unless death or sale intervened, many could have expected their mothers to remain co-resident. And if the birth had resulted from a liaison between the dominus and one of his slaves, it was perfectly possible for a verna to live in the company of both natural parents.8 The shared nomen on an early second-century marble altar from Rome for L. Julius Carus (#66) would suggest this very situation; dedicated by L. Julius Thamyrus in conjunction with the child's mother Julia Trophime, one might infer that the latter had been manumitted so as to marry her master. That

Baills 2003: 126. On the use of verna and delicium as pseudo-epithets or as terms of affection, Herrmann-Otto 1994: 35 and Hasegawa 2005: 71. On imperial vernae, Herrmann-Otto 1994: 99- 195, Weaver 2001: 112 and Rawson 2003a: 256. 6

Saller and Shaw 1984: 139, Morris 1992: 160- 1 and Hope 2001: - for slavery being less visible in provincial contexts. On higher number in

Rome, Laes 2006: 140 and 2011. · Rawson 1986b: 197. • For the different relationship possibilities, Herrmann-Otto 1994: 42- 4 and 88- 90 as well as Rawson 2003a: 255- 6.

the boy was already free by the you11g age of three would certainly support such family involvement. But this was not always the case, with some biological fathers commemorating

vernae e_ven ~o_ugh they were not the owners. An unusually helpful mscnptJon on a marble stela for nine-year-old A. Egri]ius fa culinus, dated to the Trajanic era, records him as the verna and libertus of A. Egrilius Lesbus and as the son of the dedicator A. Egrilius Privatio ( #54); on a first-century sandstone stela from Pannonia Superior, four-year-old Matugenta I as daughter of Aprilis and vernacula of T. Flavius Biturix (=601). Other forms of familial relationship were pos ible too - a late marble stela for Clarus was commissioned by brother Ianuarius and sister-in-law Sozusa, the single nomina ugge ting that all three were slaves and yet had been able to maintain some contact (#142, Figure 20). Elsewhere the situation i blurred and it can be far more difficult to determine the exact link between commemorator and recipient ( with manumitted parents or masters both being plausible identifications). As a result, comparatively few an1ong the twenty-one verna monuments can be held as showing surrogate relationships with absolutely certainty, the most likely perhaps being young children with single nomina, as with Julia Epiphania for Felix (#41), Publicia Glypte for Eutyches (#73) and Aticia Marcella for Aucta (:;'92). Clearly, then, the experiences of vernae were not uniform; some had biological relatives willing and able to assist with their manumission, others will have lost all of them to death or through sale. Levels of dislocation and surrogacy varied dramatically. Whether a verna were commemorated by his/her biological or surrogate family, the themes and associations tended to remain the same. As noted in Chapter 3, servile children often possessed rich combinations of objects and animals which inlplied comfort and status quite beyond the probable reality. When depicted as such after their manumission it might mark the improved conditions that the child had come to enjoy, hence why L. Iulius Carus (#66, above) is shown reclining with a grape bunch in his hand - his small face, 'jug' ears and fleshy arms and legs underlining h is junior age. If children were still in service, the imagery might instead reflect aspirations and hopes for the next life. Of most interest in relation to the theme of surrogacy is the appearance of vernae within family groups. Arguably the most famous, and certainly the most controversial, such case appears on the first-century limestone stela for Blussus

from Mogontiacum (Mainz) in Germania Superior (#447, Figure u2). Dedicated to a sailor aged seventy-five, the stone wa ordered by his wife Menimane and then set up by their son Prinlus. Also named in the inscription is verna Satto whose age is now lost. The portrait scene shows two

~~

RROGATE C HIL DREK

125

re orded a one of the recipient .9 The little slave thus takes his place behind the two adults to appear as part of a family unit in death, a did thou and of biological children across the we tern empire. Comparable a imilation appear on a very large

F I GURE 112

Stela of Blussus and family. Mainz, Landesmu eum,

inv. s 146.

seated adults holding attributes with cultural as ociations: a money bag for Blussus, a spindle and wool for .\lenimane. The former wears a Gallic cape and tunic, the latter a Galli dress and a bonnet together with several piece of jewellery, including a torque; their facial feature are now damaoed, but Blussus, with his broad head, trong feature and thi neck, appears the older of the two. Between them tand a young boy, sometimes identified a on Primus, increa ingly as the verna Satto; he wears a tunic, ha hort hair whi h falls over his forehead and a slender face. The ugge tion that th is youthful boy was son Primu wa based largely on the presence of a bu/la supposedly worn around hi neck; in fact, it is just a spherical item held in hi hands. On balance, then, it seems much more likely that the third portrait is of the slave, not because Blussus was too old to have a juvenile son as has been suggested - this assume hi age is accurate rather than rounded and that a senior male could not continue fathering children - but rather because atto is

e ond- entury an tone tela from carbantia (Sopron) in Pannonia uperior =641, Figure 113). Recorded in the in crip ion are Litugena, her on Iulius Secundinus and fi\·e-year-old 1·ernacula \'ibena; the latter appears in the cen re of the portrait group. A second niche below features the lupa Rorzana mnh, a model with general popularity in the 1,·e tern prmin e but perhaps particularly suitable for this group due to its urrogacy associations. '0 One finds a imilar picture on a comparably large first- century lime tone tela from Ra,·enna (=197, Figure 114). Seven portraits appear owr four row , apparently ordered in relation to tatus. .-\t the top, likely patron Firmia Prima; she has 1\"aYed hair parted in the centre - ringlet of which fall over well a a narrow forehead, large semi-circular her ne · eye framed by a e line , angular cheekbones and a broad mouth. In the main quare niche below, L. Firmius Princeps and Firmia Apollonia, clutching their daughter Lezbia. Apollonia ha a hort but broad face touched by occasional age line and dominated by wide, almond-shaped eyes, do e- et brow and a tout nose; her coiffure comprises carefully arran°ed wa1·e of curled hair which cover her ears and rea h her n k. Princeps' face is taller and more slender, and con ain le marked ign of ageing - his cropped hair, unlined forehead and bone tructure recalling those of the Julio-Claudian emperor . In the next niche are two ingenrms mal Latronius ecundu and Latronius Saturninus, who e prec· e relation hip to the others remains unclear; they turn liuhtlr towards one another and have muscular facial -eatures as well as hallow wrinkles on their foreheads. .-\ the bonom, in a final mall niche, is a little verna named peratus - perhap an illegitimate on or else a favoured lave; his fa e · now badly damaged but its small and curved nature ugges a child of a young age." Although he occupies the lowest niche and appear by himself, it must be significant that be was till deemed worthy of appearing on this Rothe 2009: 72) suggests the 'bu/la' could be a piece of bread. Bohme-Schonberger (2003: 285-7, esp. n.2) identifies the portrait as Sarto on the basis that children only appear when they pre- or co-decease their parents, that Blussus was too old to have such a young on, and !hat the child la ks a bu/la and is not specified as vivus in the inscription.. 'one of these reasons in fact has validity. Bopper! (1992: 57) favours a bulln and argues that venia Satto could be usurping a higher status. On age-rounding. Carroll 2006: 17;- and Laes 2007a: 29-30. " On the lupa Romana, Kempchen 1995: 13 -9, Huskinson 1996: 103, Rawson 2003a: 351 and 2003b: 2 - . " For discussion of the various recipients, George 2005: 58, esp. n.46.

126

FIGURE

FLUID FAMILIES

113 Stela ofLitugena and family. Sopron, Soproni Muzeum, Fabricius Haus, inv. 28.

FIGURE 114

Stela ofFirmii. Ravenna, Museo

azionale, inv. 13.

family tombstone. Exactly the same was seen earlier in the

Our impressions are no doubt influenced by p rominent

case of ico and Eutyches (1'73, Figure 92), an ingenuus and a slave child appearing on the same monument, the former probably being emphasised owing to increased status.

references in literary sources, among them the mourning of Atedius after the death of delicium Glaucias, t he feelings expressed by Martial for six-year-old Erotio n and the

In contrast to the role of vernae, that of delicia is far more ambiguous a nd difficult to define. Sometimes termed 'little pets: they are usuall y connected with concept of luxury

throng oflittle delicia seen in various imperial househ old s. '3 Christian Laes has quite rightl y advised against trying to

and exoticism and are on occasion see n in a sexual context.1' " On de/icia, Sigismund ielsen 1990, Laes 2003, La Monaca 200 and 2008. On pederasty and paedophilia, Laes 2006: 199-249 and w11.

'' For Glaucias, tat. Silv. 2.1; see Bernstein 2005. On Erotion, Mart. 5.34 and 10.61 as weU as McKeown 2007. For imperial delicia, Suet. Aug. 83 on Augustus, Cass. Dio 48.44.3 on Livia and 67.15.3 on Domitian. See also Fitzgerald 2000: 53-5, Laes 2006: 200-13 and 2011.

RROGATE CHlLDRE.·

arrive at one generalised definition, noting that many fo~m of the word were used and with great flexibility in application: they could be 'natural children, substitute children, foster-children, pampered pets, entertaining little jester , objects for erotic pleasure'.14 Whatever the truth of the ituation - and it seems likely that their function and tatu must have varied from household to hou ehold - the ' too were eligible for early manumission, with fifteen-rear-old P. Brittius Princeps having achieved freedom before hi death (,;167). Appearing on six commemorations from Rome and other parts of Italy, delicia are attested in significantly lower numbers than their vernae counterparts. Rather than revealing any under-valuation per se, it probably reflects the great importance of vernae and the frequency with which they had biological relatives co-resident. ot that natal links were out of the question for delicia; on a large travertine stela from Capua (::159), dated to around the beginning of the first century, the related cognomina of freedman Q. Florius Faustus and delicium Fausta probably betray a family link.' 5 In other cases the question must remain open, the large marble stela for Sex. Titius Primus discussed earlier being a case in point (#190, Figure 55).16 Appearing alongside the sevir are three females identified in the inscription as concubina Lucania Benigna, liberta Titia Chreste and delicium Chloe. Relationships involving a concubine are usually understood as pseudo-marriages preferred in cases of unequal status, perhaps to avoid the presence of a step-parent.'7 The relevance of this for Primus and Benigna seems unclear but we can at least a certain how the two were connected. In contrast, the association with freedwoman Chreste is far less secure. The shared nomen indicates her original link should be with Primus rather than Benigna, perhap making her a daughter born before hi manurni ion and subsequently freed with some of the money amassed by the sevir. Alternatively, perhaps he had been a lave in hi house, her loyalty and service eventually rewarded by freedom. The situation becomes still more uncertain for Chloe. Was she the daughter of Chreste, born before the latter's enfranchisement and so a potential granddaughter of Primus? \ as he instead a favoured slave from Chreste's household, viewed a a surrogate child but without any biological link to the other th ree recipients? Arguably it does not matter. Of greater importance is her appearance on this expensive monument '' Laes 2003, esp. 314-15 and 324. '' Rawson (2003a: 90 n.130) suggested a possible sibling or parental connection.

'' See Laes 2003: 311-12 for discussion of the recipients. " On concubines, Dixon 1992: 93- 4, Rawson 1995: 12-13, and Frier and McGinn 2004: 51-3.

er 2001; 105

127

alongside the other . \ 'hatever linked the four, their portraits stand united to !tive the impres ion of a coherent family group - underlined in particular by the symmetry of the composition. Primus was clearly very pleased with his achievement in attainin public office and advertised it for all to see; e,idently he ,· no le s proud of this family, irrespective of if it were onnected through proxim ity and shared experience rather than biology. Mors immacura ould be just a di tre sing for a delicium a for other type of child, ,,ith the tone of little Festius being m·ealinv in this r pect (=192, Figure 16).'8 In the portrait scene the boy hol a grape bunch and a bird, typical of the multiple attribute gh·en to many servile children. The accompan)in inscri tion bemoan that Festius would have won his fre om had an ac ident not intervened and ended his life he t 11 into a , ·ell)." He would have carried the names of hi m ter, o it read , but now his bones are buried in the ground, hi father arrowing over his fate. The underlying celebration of tatus progression seen here is not dissimilar from the ad,·erti ement of ingenui within libertini families. The ladder of ocial advancement had many rungs in the Roman period and, although Festius and his father were somewhat lower dmrn, moving up was still of profound importance. It offer a reminder that many of the same preoccupation and hopes urrounded vernae and delicia despite their different life experiences, not least because - as with Festiu - their birth parents might still be involved in commemoration. For other cases of surrogacy such biological links were a prerequisite, most obviously for nepotes. Twelve children in the catalogue are identified in this manner while several other inscription attest comparable relationships without using explicit terminology (as with Marcia Bassilla, daughter of Acuvia Polla's si ter on ;:47). The double application of the word nepos - to signify a grandchild or niece/nephew - can make it difficult to determine the exact identities of some such children. A fi rst-century limestone stela from Pola (Pula) in Italy is illustrative of this (#241). C. Ruffelius Rufus dedicated it to three recipients named as Seia Maxuma, Rufellia Secunda and 'nipos' L. Vallius; the adults appear in a line, with a diminutive - and now damaged - bust of Vallius in front. The first women, likely to be Maxuma, has centrally parted and traight hair drawn over her ears and then behind her head; her portrait is now weathered but she seems to have had large eye and a spherical face. Next to her, the woman who is probably Secunda has waved hair, from which tight 'corkscrew' ringlet emerge and fall over ' 8 See La Monaca 2007 for detailed disru.ssion. " On accidents suffered by children, Laes 20040.

128

FL U ID FAMILIES

her shoulder, as well as widely spaced eye , a broad nose and a small mouth. Completing the trio i dedicator Rufu , shown with a slender face, prominent no e-bridge and narrow eyes. Rufus and Secunda may have been siblings or else father and daughter: both share the same nomen, both have ingenuus filiation connecting them with a father named Gain . As either family link would be plausible, it is tempting to assume that Rufus was probably the brother of Secunda and so uncle of Vallius - the demographics of the Roman period making this the more likely scenario. Indeed, many children would have lost both of their grandfathers before birth, still more by the time they came to be commemorated; even relationships with grandmothers cannot be presumed a priori.' But the monuments them elves urge caution. On a second-century limestone stela from Intercisa in Pannonia Inferior, dedicated by M. Antonius Marcianus, the three recipients were eighty-year-old M. Antonius Censorinu , his living wife Ulpia Zosimena and their seven-year-old nepos M. Antonius Optatus ("719). Commemorator Marcianus was therefore marking the loss of his father and son as well as the continued survival of his mother. Despite the demographic improbabilities of it happening, little Optatu had enjoyed seven year where contact had been possible with both of his paternal grandparent . Rarely do the families in question conform to neat patterns as we would desire, several tombstones attesting grandparents acting together and with grandmothers only slightly outnumbering grandfathers in cases of lone dedications. It is likely, then, that the nepotes seen in this catalogue are a mix of the two types, some adults being uncles and aunts, others being grandparents. Rather than attempting to sub-divide them into two categories, it is surely more important to consider how such children were commemorated as a distinct group. The two pieces from Pola and Intercisa offer a reminder that, as with vernae and delicia, not all nepotes were without their parents. In fact, around half in the catalogue remain associated with one or both of them. A late fir t-century BC lime tone stela from Capua (#156) was dedicated to Cusia Hilma and her son Paetus by C. Sabidiu , pecified as avunculus (maternal uncle). Perhaps the child's father had died, prompting Sabidius to a ume the commemorative role. For three-year-old Valeria from 1ema u ( imes, ;;-251) it was instead her paternal uncle (patruus) who acted together with her parents to set up a lime tone tela in the second century. On another, this time from Ravenna in the 0

" On relationships with grandparents, Gallivan and \Vilkin 1997: 250- 2,

first century (=198), a boy named P. Arrius Pollux was shown with his parents P. Arrius Montanus and Mocazia Helpis; beneath them, a econd niche contains a couple identified a ailor Q. Decin1ius Dacus and his wife Mocazia Jucunda. Ba ed on the names of the two women - as well as their very similar portraits, in which both share the same coiffure of carefully arranged rows of curls and have comparable bone structures - they are very likely sisters, making Iucunda the matertera (maternal aunt) of Pollux. More interesting in the context of surrogate relationships are those stones from which biological parents were completely absent. They do not prove that the child's mother and father were deceased - it is not implausible that some were secondary monuments erected in addition to parental ones but the commemoration of a nepos without mention of his/ her prin1ary nuclear relationships must be significant and it is surely reasonable to assume that most of the children in question were orphans. Familiar themes and emphases emerge nonetheless. An early second-century marble altar for nepos Q. Fabius Proculus, erected by Claudia Spendusa, shows the nine-month-old ingenuus prospectively with a portrait of far older appearance and a cloak draped over his shoulder (#68). With his wide almond eyes, tightly pursed lips, muscular cheeks and shock of hair arranged over his forehead in closely spaced locks, he looks like a child of several years rather than mere months. From Noricum, a third-century marble stela was set up for four-year-old Vibius by his grandmother (avia); the child holds a bird and has a prominent horus lock (#562, Figure 115). Once again a combination of affection and social promotion seems present, attested most clearly by the early second-century marble altar from Rome for C. Petronius Virianus Postumus put up by his grandfather (a vus, #67). Dressed in the trabea and wearing an olive crown, the ten-year-old boy - who turns his head to meet the gaze of any potential viewer - is depicted on hor eback taking part in the annual transvectio equitum ceremony which saw males of equestrian rank proce sing through Rome to the Temple of Castor and Pollux. 2 1 To participate one needed two family generations of ingenui, perhaps explaining why the grandfather was particularly keen to mark the event. Probably a freedman himself, D. aleriu iceta was quite literally charting the progresion of hi family, the prominent filiation and voting tribe of hi grandson standing in contrast to the lack of any such detail in his own tria nomina. Even so, his assumption of the commemorative role may have been through necessity rather than choice: the child's cognomen implies that his father died before he was born.

Hanson 1999: 27 and Rawson 2003a: 239-41. O n the percentage chances of havi ng certain relatives still alive, Laes 2006: 23- 4 and 2011.

" On the transvectio equitum, see Chapter 1 n.32.

URROGATE CHILDREX

FIGURE 115

Stela ofVibius. Liebenfel, Pulst, Pfarrkirche Mariae Himmelfahrt.

Postumus is one of the only children in the catalogue who had been formally adopted (shown through the pre ence of an additional name ending in '-ianus'). It was a process which could take varying form . u Adrogatio occurred when an individual was sui iuris (legally independent and chose to place himself under the potestas of omeone else. Adoptio instead involved the transfer of a child from the potestas of his father to that of the adopter. Finally, te tamentary adoption could occur in a will, the per on being required to take the name of the deceased to qualify for inheritance. Under any of these three cenario it wa profoundly different from modern adoption. U ed mainly for upper-class males - many of whom were already adults - it ensured the transmission of wealth and property. Although often employed by those who lacked children of their own, it was not designed to provide surrogate son per e, rather

129

to guarantee the continuation of a family name.'3 For the va t majority of tho e recorded in this catalogue the proce must ha,·e been of little concern or relevance. In some families it was in fact prohibited: adoption could occur only between itizen • thereby precluding its use by Junian Latins and slaw.'In non-elite famili a le formal process may have occurred, one which in,·olwd qua i-adoption and had con oppo ed to status. The children notation of urrogacy in que tion are identi.:i.ed as alumni (literally, 'nourished'), the do e t modem equJ\·alent of which are probably fosterhildren. Other definition of the term are possible but Beryl Raw on argued that p eudo-familial relationships seem likely in all ase and that a degree of affection was a reaonable e:\i>e tation (alumni being yet another group who qualified for early manumi ion ." Again t this background one mi ht have expected a wathe of alumni on portrait monuments. In reality the,· are barely more common than tho e adopted formally, atte ted just four times. 1or are all of the commemorator in que tion of particularly low status. A mid e ond- entury lime tone tela from Brigetio (Szony) in Pannonia uperior wa dedicated to alumna Parthenopa by prefe t Fla,ius ecundus (=567, Figure 116), the Greekinfluenced name and dre of the girl (she wears a peplos) indicating that he may have been a slave who came to be ,iewed Yerv mu h as a daughter. A econd piece from the ame centre, but dated to the third century and on which the portrai are now badJy damaged, commemorated liberta Aurelia \ 1ctoria and al11mn11S Hermetio, the dedicator being a ,·eteran named Aurelius Heuticinus , ho wa the former be111: ciarillS to the le2ate ( =576).

, \1th alumni beino ommemorated b · oldiers of some rank, expense hardly seems a satisfactory explanation for their relatiwly low numbers "ithin the present catalogue. Instead, it is po ible that the ocial eAi>ectations urrounding alumni were different from those for biological ons and daughters. Hanne i · mund Xielsen has demon trated that the epithets attached to them 11·ere often di tinct from those for natal children, with bene mere/IS upersedingpius.' 6 A well-known second-century

marble altar from Lusitania is typical of the ambiguity of the

" Raw on 19 6a:

12,

19 6b: 196 and 2003a: 233-4, Dixon 1992: 112-14 and

1999: 221-2, Gardner 199 : 140-3. On the possibility offemale adoption, Gardner 199 : 1;;-9 and 1999: 65-7. " Gardner 1997: 40-1 and 199 : 1 '5

1.

On alumni, Rawson 19 6b: 1,3- 6 and 2003a: 2;0-63, Sigismund Nielsen 19 i and 1999, Corbier 1999: 12 3, 'athan 2000: 29-30, Carroll

" For details, Corbier 199ia and 1991b, Gardner 1998, Lindsay 2001, Frier and McGinn 2004: 304-14. On adoptive name conventions, Salomes 1999.

2006: 202-4- On their commemoration levd Bellemore and Rawson 1990. On their treatment m Ii erature. law and epigraphy, Sigi mund Nielsen 1987: 143- 7. ,. Sigismund

iel en 199~. 1 ~-~ and 102-3-

130

F r Gu R E 11 6

FLUID FAMILIES

Stela of Parthenopa. Tata, Kuny Domokos Megyei Muzeum. FI GU RE 11 7

situation (#270, Figure 117). It was set up by Lutatia evera for sixteen-year-old alumna Lutatia Lupata, and the girl is shown dressed in a tunic and holding a musical instrument in her hands. The portrait - in which she looks slightly to the side, has softly rendered features and centrally parted and carefully delineated strands of hair which are pulled behind her head - is realised with great skill; the name of the alumna also comes first in the (slanting) inscription. The musical association can be interpreted in alternative ways: either it alludes to her domestic skills and accomplishments (compare the kithara for a girl on ::109 ) or it reflects the professional training she had received. either excludes the possibility that the girl was held in great affection by evera but, if the latter scenario were true, then at least one of the functions of the tombstone was to mark the loss of a sixteen-year investment As noted by Eve DJ\mbra, it would then seem preferable to understand alumnus/a as 'apprentice' rather than 'foster-child'.,,. D'.Ambra 2007a: 64 - ; . See also Sigismund 'ielsen 2007: ; 2.

Altar ofLutatia Lupata. Merida, Museo Nacional de Arte Romano, inv. 8241.

To determine why alumni are so few and far between it seems sensible to compare their treatment to that of step-children. While the former may have been present only in certain social classes, the same cannot be true for the latter: regardless of period, commissioner identity or location within the empire, remarriage could easily lead to the existence of step-parents as well as step- and half-siblings. Despite this, they too are found in very low numbers. Not a single stone includes the terms privigna (step-daughter), vitricus (step-father) or noverca (step-mother) and just two boys are identified as a privignus (step-son). One of them is based on an insecure reading and the child does not in any case receive a portrait (#179). The other is P. Caecilius Rufinianus on a now lost marble aJtar origi nally set up in Lusitania during the Antonine period (#267), commemorated by father P. Caecilius Rufinius and step-mother Pompeia Chrysas. The

131

t.;RROGATE CHILDRE..

differing connection are empha ised through the pre en e of both filius and privignus in the in cription. At fi r t glance the absence of any other tep-relation hip i puzzling. It seems flawed to sugge t that divor e wa rare outside of the elite and that the fa milie u ing the e portrait monuments therefore rarely included tep-parent ; as neither attraction nor affection wa con idered a prerequisite for marriage, it i arguably a little blinkered to assume genuine love between all non-elite couple . Certainly, some upper-cla children were betrothed from extremely young age , political all iance bein the order of the day, but fo r different rea on o too would ome lower-class marriages have been tho e of onvenience. [arital disharmony might develop in relation hip at all social levels, the resentment between pou e eventually becoming intolerable; the problem of adultery was hardly confined to those at the top of the ocial p)'ramid either. This picture is surely confirmed by the eparation of lunia Procula's parents mentioned on a late first-century marble altar from Rome (:,44). Out ide of the upper echelon , then, divorce did indeed occur, no doubt facilitated by the ease with which it could be achieved.,B Little fo rmality wa involved in the process - sending a note of intent (and not even proving its receipt) wa ufficient.'· Whether or not the decision were mutual, the ab ence of maritalis affectio - the desire to maintain the marriage - meant that the union was considered to have ended, the requirement o witnesses not being an insurmountable hurdle to the di solution. The welfare implication for children do not seem to have been important. 30 Divorce was not of cour e the only ituation which ould lead to the presence of a step-relation hip: parental dea occurred in all social group and for a variety of reason JJ Remarriage thereafter was common, compelled no doubt by social expectation and the penaltie for tho e who remained single. Under the Augustan legi lation, marria e was expected "' For step-relationships and divorce, Bradley 1991b: 12 -30, Raw n

I

i:

22- 3, Treggiari 1991, Watson 1995: 13;-6,, 'athan 2000: 21-3, halb Grubbs 2oo;a and 2005b, D'Ambra 2007a: 46. On monurnen from which names have been erased or which specify several pouses, Carroll 2006: 121- 4 and 193-4 respectively. On marital harmony, Bradley 1991b: 8, Dixon 1992: 84-9, Harlow and Laurence 2002: 59, Frier and .\lcGinn 2004: 49-50 and D'Ambra 2007a: 77- For betrothals, Frier and McGinn

for women and men bem·een the ages of h\'enty and fifty and twenty-five and iny respectively. Widow were permitted time to grieve bu ha o ee · a new pouse thereafter. While one might que boo how man ' non-elite families were either aware of or on emed b · the e rule , the need to find a new pou e may ha,·e been particularly pressing for those outside of the propertied cl es o as to en ure multiple incomes and economic un-n·al To ex lain the ab en e of 'blended' families, as Keith Bradle · termed them, demographic practicalities and commemorath·e om·entio eem far more relevant. Whether 01,ing to e ob ervance of mourning periods or other · ~ the need to find another partner - there ria e. ome chi! 'ren .ill have died in behveen, leaving no time for a te_ -paren to haYe arrived on the cene. Just as ionifican y, eve epi!rraphic feature may mask their pre ence. F tk, far more children received commemoration by one rather than both parents (Table 13), it is posible that the uni\ing biological parent took the lead in 'blended' farnilie acting ,,ithout the new step-parent; there is no need o auach negativity to this per se.3' Gender biases acknowledged, it is hardly urpri ing to see the name of the birth father recede that of the tep-mother on the altar of P. Ca iii Rufinian di us ed above. In fact, since children , ·ere e..~ ed o follow their fathers after a divorce, this ma· e..~lain why male are better represented than females - .;ole commemorarors.33 econdly, step-parents themselves "ill ha,·e died When that happened they were probably mentione b · the univing pou e as a coniunx, giving no e ep-relationship with the child. Thirdly, namhint o ing onventions play their part. The 'minefield of personal nomenclature' which hamper attempts to distinguish Libertini from in enui · no le problematic here; a child whose nomen differ from that of hi father may simply have been illegitimate or manumitted. Fourthly, the stigma which surrounded tep-parents, and tep-mothers in particular, may have enerated a certain reluctance to use explicit terms. Toe on ept of the negligent, uncari ng, self-seeking or even amorous nol•erca loomed large in the Roman period, not lea t in literature. A handful of imperial women like Livia and Agrippina received particularly harsh comments. To avoid thi , ome preferred to live with men as concubines;

2004: 65-9 and Backe-Dahmen 2008: 15. " On the procedures and informality of divorce, Rawson 19 6a: 32-7, Garnsey and Saller 1987= 130-6, Saller 1991: 37-8, Treggiari 1991, Dixon 1992: 81-2 and 30

3'

I

athan 2000: 20.

" Gallivan and \\"tlkin.s 199;: 2;2- 3 on tep-children being four times more likely to recei..-e commemoration when a biological parent survived. " Rawson (2003a: 13 -9 on mcreased numbers of step-mothers. For the

Evans Grubbs 2005a: 34. Its impact could be noted, however, as in Cic.

lower classes

All. 6.3.8; see Wiedemann 1989: 86.

suggesting that prope~· and name concerns carried less potency. Even

On parental death and remarriage, Corbier 1991a: ;;-- and

so, deaths in childbirth m

2003a: 226- 31.

Htibner 2009.

\'atson 1

-·

169-;1) instead favours more step-fathers, t be cons.idered. On tep-fathers see also

--~

132

FLUID FAMILIES

others may have omitted their connection to the child from the tombstone. On a more positive note, it is not implausible that some step-parent/step-child relationships were close enough for the term.filius/a to be used in an inscription, the adult considering the child to be his or hers in every sense. 34 The final factors which complicate the search for step-relationships are ones which hide other types of surrogacy too: the poor preservation of many tombstones and the deliberate manipulation of the portraits thereon. To treat the former first, and at the risk of stating the obvious, non-nuclear links can be detected only when the inscriptions survive. o separate visual models or schemes existed to distinguish natal from surrogate children; the 'iconography of the family' was inclusive. Two examples will suffice to prove this point, the first an early third-century limestone stela from Agendicum (Sens) in Lugdunensis (#317, Figure 118). The recipients, all in Gallic dress, comprise a woman with a mappa in her hands, a girl whose attribute is now lost and a bearded man who holds a set of tablets. Although their facial features are almost completely lost, the poses adopted by the adults show that the y turned towards one another, their gazes united; the little girl stood in front of them. ln the absence of any epigraphic information this would certainly have been understood as a nuclear group of husband, wife and daughter. In actuality the text informs us that the adults, Fortio and Mercatilla, were indeed married but were represented in the company of their neptis Fortunata. Exactly the same problem affects a second limestone stela, this time from Andemantunnum (Langres) in Germania Superior (:;427, Figure 119). Depicting another trio, the adults also turn towards each another and the child is once again positioned between them. Only from the inscription do we learn that the child was not necessarily a biological one: he was an alumnus. Other examples could be given but the point is clear - several of the child portraits on anepigraphic tombstones could be of nepotes, privigni, vemae, delicia, alumni and the like. Through no means can they now be identified as such, although there is at least a partial remedy. The imprecision of it noted, it seems rea onable to look at the rates of non-nuclear children on tombstones till preserving their texts and assume comparable figures for those without. Of course, uneven levels of epigraphic urvival '"' For commemorative conventions and identification problem Weaver 1991: 173, Watson 1995: 159-63, Gallivan and Wilkins 199 : 252-3 and Carroll 2006: 242. On the noverca, Dixon 1992: 143-4 and 1997a: 155, Gray-Faw 1988, Bradley 199ta: 85, 1991b: 139 and 2000: 292-3, aller 1991: 38, Watson 1995, esp. 2-18 and 92-134. For the imperial women, Tac.

FIGURE

us Stela ofFortio and family. Sens, Musee Municipal, inv. Julliot A.88.

would make the process more reliable in some areas than others, while types of surrogacy would need to reflect the regionality seen earlier (with vernae and delicia only being a sumed for Rome and Italy). Of equal relevance, perhaps, is that these tombstones were et up in a visual culture where - partic ul arly in imperial context - personal appearances could be manipulated to create the impression of biological connections even where none existed. Arguably, the Julio-Claudian household was one of the most prolific in this area, with portraits of several individuals being less concerned with real-life resemblance and far more with implying a unified dynasty in which heirs were dearly highlighted - and styled in the manner of the current ruler. 31 And thus, for much of the first half of the first

Ann. 1.33 and Watson 1995: 176-97. On the potential reluctance to name themselves and the use of alternative terms, Dixon 19

: 155-9 and Watson

1995: 159-67. For criticism of Greek step-mothers, Golden 1990a: 143.

" On Julio-Claudian portraits, ee Rose 1997. For a useful overview of each emperor's portraits, Kleiner 1992.

133

URROG ATE CH!LDRE:S

~lore famo

and with later emperors ·erus, both of whom claimed in tum a imilati.ng some of -on of a portrait to suit the needs of - \·ery mu h part of the visual culture in

e extent or for the ame reasons. And, few if any mean at our disposal to gauge

i.m ::'.e een on their tombstones; some ;ailed co convey real-life likenesses mai while other could easily have -Is resemblance as a re ult of their carving e o ·erridm point here is nevertheless clear: Ye

Fr Gu RE 119

n

1g ,re ial to ere ¥as :ral nee eirs the first each

Stela of December and family. Langr et d'Histoire, inv. 45.4.

An

century, prominent figures in the imperial ho ehold ame to look very much alike, the well-known omrna- haped locks and youthful phy iognomy adopted by ..\u bein incorporated into the visual tyle of everal other male-. In some cases a degree of family re emblance 11·a entire!}' plausible. A pair very often said to have artificialised appear-

natal

ances are Gaius and Luciu Caesar, Au ' ho en heirs who both succumbed to early deaths; and yet, while both

The problem remain that, e\'ea 11ith the addition of these 'hidden' urroga the number of non-nuclear children

boys do look rather more like the emperor than their birth father, Marcus Agrippa, they were of course Augustus' biological grandsons and so a familial likene - even if over-emphasised - is perfectly rea onable. But there are other examples where such re emblances were wholly con-

t and in no way representative of the would remain rn likely realin- o family life in the Roman period. It is hard to avoid the concl -ion that a child wa (significantly) more

structed, among them the similarities between portraits of Augustus' wife Livia, his sister Octavia and his daughter from a previous marriage, Julia. That Octavia and Julia might look alike is to be expected; that they were so irnilar to Livia,

likely to re ei\'e an expen iw portrait monument when o ne or both of the na paren urvived to perform comm emoration. Biol :: - _ee •

o ,Ja;· a ·e - role, perhaps giv; ~ \ ·h · nepotes and vernae are

more common than dc--licia. alumni and privigni: for the

former, natal Jin · - -

- ntial or else very likely.

,

134

,.,_

-

-

. _,I!.•-,

F L UID FAMILIES

Superficially this might seem a little uncomfortable for modern sensibilities but it must be remembered that commemoration does not correlate directly with affection. As an expensive act driven by grief, cultural expectation and/or the desire to advertise, it is perhaps to be expected that parents would have felt the need to par ticipate most trongly. Evidently the benefits to be gained from marking a child in this manner - regardless of what one thinks they might be were most attractive within the nuclear unit itself.

THE EXTE

DED FAM I LY

In certain parts of the western empire at certain points in time, the core mother-father-child(ren) group was supplemented by additional adults. The concentrations are striking: of no images in which three or more adults appear, twenty-eight are from Rome and Italy, seventy-eight hail from the Danube provinces and just four come from Gaul, Britain, Germany and Iberia combined. Here as before, preservation problems are a constant frustration. However, there is one figure common to both sets of commemorations: the patron. Occasionally a recipient named in this role is also the pou e/ father of the family in question, as with a second-century limestone stela from Brigetio dedicated by Helvia Successa to her son Florus and patron husband Helvius Vitalis (=566).36 They form a nuclear fan1ily like any other, the double specification of the man's role offering a reminder that pre-existing relationships were not simply forgotten at the time of manumission. Many women who married their masters very probably enjoyed ignificantly improved conditions; others may have felt little practical difference, bound to the same man albeit for different reasons. Other tombstones show the standard family group alongside a patron and raise the question of what prompted this association in death. Significantly, when patroni do appear they are usually afforded positions of prominence. On an early second-century marble altar from Rome set up by Iunia Venusta (#52), portraits were provided for husband M. Iunius Satyrus, son M. lunius Iustu , daughter lunia Pia and patron M. Junius Persus. The fir t three appeared together in the main niche, the children turning ever so slightly towards their father. The latter has a slender face featuring well-defi ned cheek-bones, a dimpled chin, prominent brows and a lined forehead; the faces of the two children are rounder and fuller, Iustus' ample hair covering most of his forehead and Pia's arranged in a eronian- tyle ere ted wave. Both males wear togas rendered with deeply carved lines while the daughter's tunic slips from her boulder as

an allusion to Venus. The portrait of their patron, Persus, is by contrast much smaller and shows him with a balding head, deep-set eyes, large ears and lined, angular cheeks. Yet while appearing by himself in the top niche, the fact that he also occupies first position in the expertly cut and carefully spaced inscription suggests that th is arrangement was intended to elevate his status - to show a degree of respect and deference from his forme r slaves. Incidentally, as the text reveals that the libertini fan1ily now had a freedman of its own called Pharnaces, it reflects the ongoing nature of the proces : those who were freed felt no hesitation in taking laves of their own, with the gradation seen here patron fir t, hi liberti second and then his liberti's own libertus named at ilie end - being a neat reflection of their connecting relationships. Likely patrona Firmia Prima also appears in the top niche on the large first-century stela from Ravenna, discussed above (#197, Figure 114). To explain continuing connections with patroni, one need only look at post-manumission conventions. Freedmen remained closely associated with their masters through obsequium (deference) and operae (services), the latter probably taking the form of several days oflabour each year. A libertus was obliged to help his former master if necessary and was expected to be perpetually grateful for having been released. o doubt many were. The requirements, then, need not be viewed negatively; maintaining links could be beneficial for both parties, and in very many cases relations between patroni and liberti must have been close, even affectionate.37 From the patron's perspective, he/she could gain a useful labour source, an increase in social prestige (with numbers of liberti necessarily reflecting one's wealth) and a guarantee that funerary rites would be carried out. Whether they acted through legal compulsion as the heir, through a sense of responsibility as a libertus or because of a close bond - or a combination of all three - freedmen commemorate their patrons on a regular basis. On a now damaged marble Pannonian stela from Poetovio (Ptuj, #612), Martinus and Atto, the liberti et heredes, honoured their 'excellent patron' T. Vaberius Celsinus along with his wife and sons. The inclusion of hoc monumentum heredes non

sequitur ('this monument does not pass to the heirs') suggests iliat Celsinus had specified arrangements in advance of his death and entrusted their fulfilment to these two men. Excluded from using the monument themselves, perhaps they were rewarded with freedom in his will. ,- On freedmen obligations, Zanker 1975: 281- 2, Bradley 1984: 81- 2, Rawson 19 6a: 13, Gardner and Wiedemann 1991: 152- 8, George 2005: 39, Ha egawa 200;: 54, Backe-Dahmen 2006: 77 and Carroll 2006:

,. On male masters marrying slave , Weaver 19 6: 153- 4 and 1991: 179.

244-6. On the potential for affection, D'A mbra 2007a: 26.

135

THE EXTL -DED FA_ ILY

Legally, socially and personally, the lave ained profoundly through manumission and o a en e of gratitude seems a reasonable inference. ot for all would the picture have been so rosy, especially the Junian Latin , but keeping close links with the patronus may have been crucial to the progression of many a libertus, providing him \\ith work, contacts and financial support ome freedmen f: · ·es \,ill have found them elve in po itions consi rably b , ~ -han those of poor freeborn one but, while the pee• :um - he money accrued during enitude - \ -as often t y the manumitted lave, man , \\ill not have een a le o -- lish their own busines e or purchase accomm a··o \,i~out continued patronage.-"' In fact, ome libmi may ha,·e remained co-resident in their master' domus, e pedally if their contubernalis and child(ren) were till in eni ·e. Hanne Sigismund ielsen has hown that patrona e rela ·on.ships were important in columbaria, exiting alon~·ide or :en in preference to nuclear one .39 One might mfer from thi, that some patron-Liberti group were akin to urrooate or pseudo-familie . A similar explanation eems valid for man· of the earliest reliefs from Rome and Italy whi h feature con servi or colliberti - the other types of u plementarv adult seen in these two areas. hared experience in eni de were g 'P followed by shared commemoration, \\ith adul side-by-side to imply a sense of uni ', o family ohere .~ of bonds forged in life remaining unbroken in death_ In the Danube region one see a ,·ery differen pie In terms of presentation, the Italian portrai were arranged in one long horizontal row, except or in C Gaul where vertical divi ion were emplo;eci 1n the Dan provinces recipients were in tead pla ed in rn ro -. i most though not all cases adults occupied the u ,.er o e children the lower. There were compo itional diiferenc too. The reliefs of Rome often included four to ix a u, anu just one or at most two children; Danube exampl pi· restrict the adults to three in number and ·earure be two to four children.40 The idea of family uni · an may have been important for commissioner in bo but the reasons behind it, and the exact orms i too'- i.;i istic terms, varied quite ub tantially. In the absence of epigraphy, d if)in the extra adult on Danube tombstone would have been extremely complex, the age and sex of the third person being ubject to constant change. Thankfully some indications are given by

tho e iec - whi h retain their in ription and it seems reasonabl to nra late omparable identities for those without an)- .uni,in° text, e pecially given the coherence of the ommi· ·on and the uniformity of the imagery. In ome familie · e third adult i a biological child who had uni,·ed to a ulthoocl A third-century limestone stela from zen endre) in Pannonia Superior commem_i:..lin~ : fo·e-rear-old T. Flavius Constantinus, 0 -er. ·- -ear-ol- Fla,ia Exsuperata and two-year-old Flavia C :- -• or r of their names perhaps reflecting --e ? ---~ ,c .-or bov m·er girl and then for older chil··e;:; o r _,er on =-63, Figure 120). Having reached ;-r.a ='l ·• ;:is_,. era a had left the lower row mostly reserved ;-or · ' " . ~ il , n and tood in tead between the adults.

c:

mother, the two women wear the ha,-e very irnilar centrally parted hair. .tin · h their roles within the family,

\TI!O

From Bri etio in Pannonia Superior, a ·one tela dedicated by Aurelia Ursicina Cr in of twenty-five years, daugh nine and husband T. Flavius Firm us

" On the peculium and continued support, Gardner and Wiedemann 1991: 151-2 and Mouritsen 2005: 42. " Sigismund Nielsen 1996: 52. "' Danube tombstones which do include four adults often divide them into two obvious couples. The child is then associated with one pair in particular. For examples, =558 and =714.

'' On the life ei

o{-

for soldiers, cheidel 2005.

,,...-

-

FLUID FAMILIES

FIGURE 120

Stela ofT. Flavius Constantinus and siblings (detail). Budapest, Aquincumi Muzeum, inv. 63.10.7.

which was dedicated to his avia, soror and pater (=228). There were no such restrictions for the predominantly military commissioners in Pannonia and its neighbouring provinces, the varying relationship types which appear being indicative of dynamic family units in which any relatives who survived could be commemorated alongside the nuclear unit. That the number of adults is typically limited to three can eem strange until one notes that the parents were usually marking extended relatives who had died, not those still surviving. As a result, the actual sizes and compositions of the e families are likely to have been considerably more complex than the monuments suggest. This is certainly the ca e when several individuals in addition to the nuclear unit are named in an inscription but do not receive portraits, probably because of the expense involved in the process. A marble stela from Celeia (Celje) in Noricum is a case in point (;:493, Figure 121). QVARTVS ET

SIRAE

LICOVIAE

VXOR A,

I

VF GE

SIB VAE

LET LEVCIMARAE FIL

A

X FI 'ITO FAN VJ LICOVIO SEXTO

A

XX AVSCO MVSCIO 'IS FIL A

XXX

DVB 'AE FAN XXXX M LICOVIV BARY AN [[ ]] M LICOVJVS BONIATVS A 'NL VETVLLA LVCIA VRBANI F AN L M

ucovn

VRS\ A xx

Quartus, son of Sira, made this while living for himself and for Licovia lngenua, his wife, of 50 year ; and for Leucimara, his daughter, of 10 years; and for Finitus, his son. o 6 ·ear ;

and for Licovius Sextus, of 20 years; and for Auscus, son of Muscio, of 30 years; and for Dubna, daughter, of 40 years; and for M. Licovius Barus, of [[ ]] years; and for M. Licovius Boniatus, of 50 years; and for Vetulla Lucia, daughter of Urbanus, of 50 years; and for M. Licovius Ursus, of 20 years. Of the eleven individuals named on the stone, the first four (Quartus, Licovia Ingenua, Leucimara and Finitus) form a nuclear unit; their details come first in the text - those of the parents being cut in especially large letters - and they are also the only recipients who receive portraits. In the main scene, the adults flank their two children, Ingenua at the left wearing a bonnet, a tube dress and several pieces of jewellery, Quartus at the right in a tunic and sagum; his forehead i lined and his hairstyle recalls that of Trajan. In between, the older daughter appears behind their shoulders with a helmet-like coiffure and a prominent necklace; the bust of her younger brother, carved very much in the image of his father, seems to rest on the lower frame of the portrait niche. The seven individuals whose names follow in progressively mailer text size appear to come from the wider family. Their connections both with each other and to the central family group are not always obvious, although some at least have the ame nomen as mother Ingenua. Whatever their exact relationship , the inscription seems to give a glimpse of large network of which nuclear units might be a part. The problem faced by the carver, who had evidently not

j.;.,

137

AB E.·T ADl:LT

her freedmen and women and their descendants, and for • L Lollius Athenagora, mo t faithful friend [---] The in-I ion of freedmen and de cendants through a relati,·eh· generi formula (libertis libertabusque posterisque) may refle- little more than convention. lore significant is the referen-e to . I. Lollius Athenagora, specified as amims _ :leli.ssinms (mo t faithful friend). Once again the sheer quantity o - text caused difficulties for the craftsman, forcing

him o overrun the border in three lines in what is other' i e a ,·ery -· - y cut in cription. Such examples do not of our e proYe tha hildren had particularly close relationhip 1,ith the e extra non-nuclear figures; they do however re1·eaJ omethin° of the potentially high number of adults with that of the child.

AB E 1 T ADULTS

FIGURE 121

How tenderly and modestly she used to embrace us friends of her father! How he loved her nurses, paedagogi and teachers for the ervice they provided! (Plin. Ep. 5.I6)

Stela ofQuartu and famil}'. Celje, Pokrajinski Muzej, inv. o.

expected to include so many recipients and o was forced to cut ever more compact text, may give some indication of how unusual an inscription this is, the focu being more normally reserved for the central family group. A inlilar phenomenon is seen on an early second-century marble altar from Rome for M. Turranius Benedictus, where the little boy is shown with a round face, protruding ear and a cap of cropped hair (#74). VIX

AN JV

MEN

IV

D

M

M TVRRANI BENEDICT! FEClT TVRRAN IA 0

ESIME MATER ET SIB! ET

M TVRRANlO SECVNDO PATRONO SYO DE SE BM ET SVIS LIBERTIS LIBERTA BVSQ POSTERISQ EOR ET M LOLLIO ATHENAGOR AE AMICO FIDELISSlMO

[---]

To the Spirits of the Departed of M. Turranius Benedictu , who lived for 4 years and 4 months. His mother, Turrania Onesime, made this also for herself, for her patron M. Turranius Secundus, who deserved well of her, and for

\\'ritirlg about the recently deceased daughter of his friend Fundanu , the qualitie of Minicia Marcella are no doubt exagoerated by Pliny the Younger; the girl was a paragon of ,irtue in e,·ery re pect, an ideal future wife had mars immatura not intervened:" Yet while one might doubt her perfe t condu t, the adult role which Pliny mentions are re\'ealing. He as ume a level of interaction between a child and his1her nurse , paedagogi and teachers and notes that 1arcella - perhap uncharacteristically for children, or el e just more than most - esteemed them greatly. Not all were o privileged; compared to most parents in the Roman period, Fundanus will have been able to afford superior level of education and childcare. Some children probably received next to nothing while not all adults assuming the roles will have been of exemplary character. Even so, almost all children from all backgrounds could be exposed to some adult other than their parents - high mortality rates probably allowed little choice in the matter. Of these various childminder , nutrices (nurses) have rightly been viewed as ome of the mo t ignificant. Their male equivalents - at least in a broad en e - were nutritores, although they are con iderably rarer in literary and epigraphic sources. The roles of mammae and tatae are till less defined; thought to mean fo ter-parent by ome and seen as alternative

41

For discussion, Raw on 200:JcC 5-6.

138

FLUID FA M I LIES

terms for nutrix and nutritor by other , they might refer to non-parental but co-resident adults of low status who helped with the upbringing of a child, probably in an ad hoc and voluntary man ner. 43 Particularly when domiciled, those charged with childcare might have been ever present in the live of the youngest children: 'The amount of time, quite simply, that children spent in the company of childminders was'. according to Keith Bradley, 'enormous:« urses were probably employed across all levels of society, the reasons for wh ich were manifold. 41 At the top end of the social pectrum, nutrices released mothers from the nece sity of breast-feeding, an activity which many may have found distasteful, too associated with manual work or too prohibitive of maintaining one's appearance. Although various literary extracts extol the virtues of it, few mothers in the Roman period seem to have conformed and it is arguably only in more modern times that it has become romanticised. A passage from Aulus Gellius is relevant here; visiting a household recently enlarged through birth, Favorinus urges the mother to breast-feed whereas the grandmother insists she should be spared the ordeal. Similarly, that Cato's wife Licinia breast-fed their son eem to be the exception rather than the rule.46 Further down the ocial ladder, humble famil ies may have needed the mother to resume work. At the very lower end of society, slaves may have had no choice in the matter, whether so they could resume their duties or else fall pregnant once more; masters may have enforced the separation of mother and baby. Further rea ons transcended class, including that mothers might die in childbirth; that milk might fail to appear at all or in sufficient quantity; that breast-feeding might prove to be too painful or else damaging to the woman's health; that mothers might fall ill and become unable to breast-feed; that fathers may have kept young children after a divorce. Oftentimes a combination of factors probably influenced the decision and no longer is it possible to cite this as evidence of parental indifference;

if to ensure the survival and welfare of mother and baby, it was anyth ing but.47 Based on the evidence of contracts preserved in Egyptian papyri (and assuming that the area is typical of other parts of the empire), the time period for which a wet-nurse was engaged ranged from six months to three years; the most common length seems to have been two years. 48 Certain conditions could be stipulated, including abstinence from sexual activity and a prohibition on the consumption of alcohol. The women in question were either slaves or d rawn from the lower classes. This must explain why literature abounds with complaints about their behaviour and attitude, the biases of elite male authors shining through. Quintilian was particularly concerned with how to pick a 'good' nurse, the implication being that many were not. 49 Of course life in the Roman period was no fairytale and some nurses will have been neglectful and detached (although one might assume that it was in their interests to provide at least some care lest the baby died and they either incurred the wrath of their owner or lost their source of employment and income).'0 In contrast, many other nutrices will have been devoted to the children, form ing close bonds which could persist long beyond infancy; it is not without reason that nutrix was one of the relationsh ip types that could justify ea rly manumission. Painting a generalised picture is clearly somewhat futile: experiences will have varied. But scope for mutual affection and bonding was at least possible and nurses are sometimes associated with story-telling, toys and games." In the wider context of funerary commemoration it has been noted that nutrices and related figures do make appearances but are generally quite rare, hardly ever assuming the role of sole dedicator.1' The same is very much in evidence here: references and/or portraits appear on just three monuments. The only male, a nutritor named Eunus, is cited on a marble cippus from Rome dated to the Flavian period (#35).

., For an older view in this respect, Wiedemann 1989: 16- 17. " On wet-nursing contracts and requi rements, Bradley 1984: 70-1, 1986

" Forthe various types, Dixon 1988: 32. On male child-minders, Bradley

and 1991b: 17- 20, Evans 1991: 127-8, Garnsey 1991: 63, Coulon 1994: 55- 7

1991b: 37- 64. For discussion of mammae and tatae, Dixon 1988: 146-9, Sigismund Nielsen 1989, Bradley 1991b: 76-95, Evans 1991: 196, Corbier 1999: 1282 and Rawson 2003a: 254-5. " Bradley 199 c: 41, as well as 1999: 18 -9.

and 2003a: 169, Corbier 1999: 1276-7. •• Quint. Inst. 1.1.4-5. See also Bradley 1986: 214-15, 1991b: 23-4 and 1994, especially o n Soranus.

'°

Bradley (1986: 220-2, 1991b: 27-9 and 1994: 151-2) quite rightly points

" Frequency of nurses and reasons for employment: Bradley 1986: 20 - 16,

out that nurses and their charges who did not bond leave no traces in

1991b: 26-7 and 1994, Evans 1991: 127- 30, Garnsey 1991: 60 -2, Hanson

the material record. He also warns against historical romanticism. See too George 2000: 198.

1999: 37-43, George 2000: 199-202, Corbier 2001: 58, Harlow and Laurence 2002: 41-2, Baills 2003: 127, Rawson 2003a: 122- 6, Bakke 2005: 35- 6, Carroll 2006: 205- 6, Laes 2006: 60-7 and 2011, D'Ambra 2007a: 106-11. •• Gell. NA 12.1.21-3 and Plut. Vil. Cat. Mai. 20.3; see Bradley 19 6: 201. O n maternal breast-feeding see also Coulon 1994: 49-52 and Corbier 1999: 1274-5,

" On bonding between nurse and child, Bradley 1991b: 20, Garnsey 1991: 59-65, Corbier 1999: 1280-1, Hanson 1999: 37-8, Harlow and Laurence 2002: 44-5, Coulon 2003a: 167 and Bakke 2005: 35-6. On the associations of nutrices, Bradley 1994: 148-51 and Rawson 2003a: 126- 7. A letter of Pliny reveals that he had given his old nu rse an estate (Ep. 6.3). '' Bradley 1986: 202- 8 and 1991b: 14-20.

139

FIGURE 122

nutrix Severina (left side). Cologne, Romisch-Germanisches Museum, inv. 74.414.

Dedicated principally to two young sister , he

urne last

position in the inscription and does not recei\"e a portrait. Similar epigraphic marginalisation occur for the fir of the nu trices, a woman named Zilluta who appear on a fragmentary limestone stela from Pannonia Supenor =62_ . Only the bottom right section now survive , \\ith mall and imple outline portraits carved underneath the text; one of them was plausibly intended to represent Zilluta. The other nutrix, Severina, ha become a main tay in scholarship on Roman childhood, her two portrai on small limestone altar from Germania Inferior ha,in graced

Altar depicting nutrix everina (right side). Cologne, Riimi ch-Germanisches Museum, inv. 74.4 14.

FIGURE 124

FIGURE 123

(front,. Cologne, Riimisch-Germani ches .,! eum, inv. 74.414.

of her body as :he i - in a chair and offers her large breast to the hun~ · bah·. Her bo om i m·er-exaggerated in size and in orrectly in anatomical term - to seem "rom her nee - rather than her chest - but i

impre:,'on r rs om e·

- owards the baby and places a nurturbody, creating a certain tenderne s; this ea.·en though the head of the baby is now

· lo t. In both ca e

he is identified quite simply

From a third-century altar et up in Colonia Agrippina (Co ;,

), the portrait of everina and her charge can

Given what the two scenes in question depict, thi i hardly

eem like a gift for tho e working on this subject. However, e\·eral thing need to be noted about the monument. Most

surprising. In the first, Severina - who e facial feature are large and relatively simplistically reali ed and who e hair i fastened behind her head in a bun - tend to a baby in a cot, apparently 'tucking' it in; nurse and infant loo - at each

important! ·, the h ·o famou image of the nutrix are from the sides of the altar. In more than one publication this has been completely ignored, the culpture on the front not even being referred to or acknowledged, let alone illustrated. This

other with what can seem to be powerful inten ity, e,·erina placing her arms on either side of the crib in what may be a

is unfortunate as it alter the context dramatically - in the

the pages of countless publications (=415, Fi!!Ure 122-_)_

protective or affectionate gesture. In the second image - one which is no less evocative than the first - Severina feeds the child. Her hair and face are rendered in a similar hie a in the first scene but her long tunic now clings to the contours

necropoli the nur ing cene were probably far less visible than some ha\"e uppo ed. In tead of being confronted by Severina, ancient ,iewer would fir t have een a portrait bust in a roundel a well a a full-length male in a tunic with a lamb over hi

houlder and hrn heep re ting at his feet

140

FL

ID FAMILIES

(in a motif reminiscent of the 'good shepherd' scene popular in Christian art). With the sculpture now badly damaged and most of the inscription lost, the majority of scholars have identified the individual who receives the roundel portrait as a man. Yet Ursula Rothe has recently argued quite convincingly that the clothing is that of a woman.53 This too has a profound effect on our interpretation of the stone, many of the scenarios needed to explain the presence of a male portrait being somewhat different from those for a female. For the former, one could infer that the person depicted in the roundel had been nursed by Severina, the relationship becoming an intimate one which lasted far beyond his childhood years. For the latter, the additional possibility arises that the portrait was in fact of everina herself, as favoured by Rothe. In the absence of any epigraphic clarification the question m ust remain open. The main portrait could be of Severina, the altar perhaps erected by her owner to mark her loyal service and/or to demonstrate the status of commissioning family; such an argument has been advanced for this altar as well as that of young Peregrinus, a ten-year-old boy who is shown holding a bird and a I hip, is accompanied by a dog and is named only as the slave of C. Iulius igellio on an early first-century limestone stela from oviomagus emetum (Speyer) in Germania Superior ( =460, Figure 38). 54 Alternatively, Severina herself could even be the commissioner - although her financial capability would have to be questionedY But the portrait could also belong to a different female, whether one nursed by Severina herself or one whose child had been entrusted to her, the relationship depicted on the sides of the altar being a mark of the intimacy that developed. If Severina had herself recently died, the reference would have been timely. Perhaps it was in fact a joint monument, the main recipient honoured on the front and Severina on the side, no doubt reflecting the latter's lesser status. Frustratingly, the potential scenarios for this little altar are almost endless. One naturally leans towards interpretations which involve a degree of affection and yet the treatment of nurses - and other slaves - elsewhere in Roman funerary contexts urges ome caution. On sarcophagi, nutrices appear relatively frequently but are almost always shown at work; the mother looks on passively as the nur e performs (menial) childcare activities like bathing the baby. The nurse very often " See the forthcoming article in the Bonner Jahrbiicher. I am ,·ery grateful

become a statu symbol, the figure who releases the mother from the need to 'dirty' her own hands. 56 Other monuments from the catalogue feature what may be comparable scenes of childcare on their side ; a stone from Castra Regina (Regensburg, =483) in Raetia depicts a woman leading a child by the hand (a type of interaction really quite rare in parent-child scenes), while libertinus C. luli us Philetus may be looking after the baby of his former master on the side of a first-century marble altar from Rome (#26) . Furthermore, in the Danube provinces it is not uncommon to find slaves on the sides of monuments who hold attributes appropriate to their household role but who have no direct connection to the main recipients on the front. A librarius (scribe) grace the side of a tombstone from Augusta Vindelicum (Augsburg) in Raetia, dated to the Severan period (# 474); attendants with mappae and vessels feature widely through out some of the western provinces (for examples see #480 and :;701) . Admittedly, the images ofSeverina are unique for naming the servant, with all other such figures rem aining anonymous. Still, one cannot assume outright that the baby was intended to recall a specific individual; just as a librarius appears with writing paraphernalia, so perhaps Severina was accompanied by a generic baby. Perhaps this is too pessimistic, but, had Severina been named in the now missing inscription on the front, the repetition of her names on the sides might have been unnecessary. At the very least we should not be talking of'the monument of Severin a' as such; it assumes too much agency for the nutrix. Despite the various reconstructions that co uld be posited for Severina, one thing is clear: her role was considered valuable and worthy of detailed representation. The implications are that she was a devoted nurse who built lasting relationships with those for whom she cared. Other inscrip tions indicate similar recognition of the nurse's role, revealing respect and suggesting affection.57 How, then, is the general absence of nutrices from portrait monuments to be explained? Cost plays a part; in this expensive medium, few nurses will have had the necessary reso urces, perhaps explaining why they tend to appear in joint commemorations. Context is relevant too, the overwhel ming family focus of these tombstones militating against the presence of nur es. Children are shown by themselves or, if in the company of adults, with those from the nuclear unit. The nurse may have been an important figure in childhood but it was not a relevant relationship to emphasise in the sepulchral

to her for providing a copy of it in advance of publication. For other recent discussion of Severina, Corbier 1999: 12 5- 6, George 2000: 200 and D'A mbra 2007a: 108. S,4

See Carroll

2002: 59.

" Carroll (2006: 205) favours this interpretation, bul see Rothe 2009: 166 no. u32.

" For discussion, Dixon 1988: 128, Bradley 1994: 143, Huskinson 1996: 111-12, George 2000: 199-202, Minten 2002: 118-19, D'Ambra 2007a: 109-11 and Backe-Dahmen 2008: 33. " See Coulon 1994: 57-8 and Rawson 2003a: 123.

AB E..T ADULT

phere; tho e of the mo t intima · a,·e Kay to tho_e o e mo t ocial ignificance. The same rea on must explain the omparably m e-.·el of paedagogi.· ~o English , ·ord a equa ely en-ompas e the variou responsibilities \\ith 1 ·hich charged - including upenising the hild' dar-to- ar onduct and accompanying him to and from I 'childminder' perhap com the do L Csually a - 2w a paedagogus wa cho en for his uprigh chara er anl! - -~rity. A related po ition ofle tatusand more e:u;-, n-tion was the capsarius, the figure respo ible -or C3.fl;ID0 a child's school equipment. With dutie quite dilferen- from that of a nutrix, ones which were u eful and important but not essential in the same way, fewer famili are · ·ely to have employed a paedagogus. It will ha\'e been beyond the resources of many families where nuclear relatiyes mi h· have assumed the role instead or el e the child wa le - to its own devices. In other cases slaves ma ' ha1·e carried out some of the duties without being identified a paedagogi as such. Still, when finances permitted and ocial expectations dictated, some of the slave occupying the role are likely to have formed close attachments to the children in que tion, becoming yet another group for whom early manumission was a possibility. Despite their di ciplinary responsibilitie with some perhaps meting out puni hments to imprm·e th child's character, paedagogi could have become 1·alued on· fidants, sources of support, providers of entertainment and company. 59 Mutual affection was a very real po ibility, 1,ith Martial writing of the paedagogus who rocked hi cradle and was a constant companion during his boyhood year (11.39 ,. Just one paedagogus makes an appearance on a portrait monument, although he doe so in grand fashion. The la1·e in question was called Soterichus, who in the mid econd century commissioned a large marble altar for an ingenuus boy from Rome named M. Iunius Rufu (=110, Figure 125). In the main scene, Rufus' social status i emphasi ed through his participation in the transvectio equitum ceremony (see above); wearing a tunic, a trabea and a wreath, be its on a comparatively small horse which is led to the right His face is now lost but his large size may be a reflection of his importance within the image. In a smaller niche at the top, Rufus appears once again but this time as part of an education cene in which Soterichus too is present. Standing in front of hi paedagogus, the young boy unrolls a scroll held in his hands and is flanked by a capsa as well as further scrolls. " On the paedagogus and related roles, Rawson 1986a: 39, 1999: 87-8 and

141

FIGl' E 1_ -

Altar of. I. Junius Rufus. Baltimore, Walters Art Gallery, in1·. 23.18.

De pite the culptural inclusion of oterichus, one might urned that the altar was dedicated exclusively till ha,·e to R . The inscrip ·on, however, reveals it to be a joint monument_ >1

I ,, :,-;: I O

OTERICHV HAE

~1

F

PAL

RV F 0

PAEDAGOG FEC!T

VNT PARVAE Tl'AE MEAEQ

EDES

HAEC CERTA EST DOM\' HAEC COLENDA 'OBIS HAEC E T QVEM MIHI SVSCITAVI VIVVS

For 1. Junius Rufus, son of Marcus, member of the Palatina voting tribe. oterichus, his paedagogus, made this. This is your small resting place, and my own; this is a sure home for us to inhabit; thi is what I built for myself, when I was still alive.

2003a: 165-7, Bradley 1991b: 51-5, Coulon 1994: no, Atherton 199 : 230-2, George 2000: 194-9, Harlow and Laurence 2002: 45, Bakke 2005: 37, Laes 2006: 102-9, 2009 and 2011. " On the disciplinary role, Fitzgerald 2000: 56- 7.

Of course, primary empha i i very much on the freeborn boy; his name come fir t and i cut in the largest letters while both sculptural scenes refer to hi role in ociety. The

142

FLUID FAMILIES

paedagogus nevertheless claims his position alongside the child, his name following immediately afterwards and the top image illustrating that he performed his job with efficiency and effectiveness. Affection between the two seems clear. Less so is the reason that Soterichus set up the monument; if the altar really were to become their joint resting place, thei r 'home', as the paedagogus puts it, it is po ible that the parents of Rufus were already deceased, leaving Soterichus to act in their place. Alternatively, the altar may have supplemented a parental dedication within a family funerary enclosure, the paedagogus forever as ociating himself with the child whose progress he had over een. Regardless of which is true, the freeborn status of Rufus and the expense of the monument would suggest Soterichus had served a family of some stature; fellow paedagogi may have been unable to afford such commissions or else, once again, the family context dominated and left little room for their role to find emphasis. The absence of teachers is more ex1>ected, not because hostile (and far from neutral) literary sources routinely denounce them as corrupt, unreliable and despicable but because their chances of forming trong bonds with children - even having the opportunity to do so - seem much more limited.6o Access to formal education will have varied dramatically, influenced among other things by the sex of the child and the wealth and social class of the family. Many of the children recorded in a catalogue of this nature will never have had a designated teacher, acquiring their education more informally. And as educator are usually thought to have been of low status and prestige, earning only modest amounts of money, it must also be extremely questionable as to how many could have afforded a tombstone for a favoured child even if they wanted to put one up and the circumstances made it appropriate to do so. A potential exception comes in the form of a first-century limestone stela from Aquileia for a young boy named ebris, dedicated by his praeceptor Diogenes; the term may however mean something closer to paedagogus than teacher (=214). 6' In the few cases where teachers do appear in the company of children, the monuments are usually for the adults. Perhaps the most well known of these is the large first-century BC limestone stela from Capua for Furius Philocalus, a magister shown togate and seated benveen nvo "' For examples, Mart. 9.68 and Cic. Fam. 7.25. ee Rietl 2001 for the ,'arious types of teacher and their levels of epigraphic attestation; Coulon 1994: w9 for a traditional account of a Roman boy's progression through different teachers. Laes (2007b: 118 ) notes that appreciation of schoolteachers i scarce and not as explicit as for nurses. On their low status, Rawson 1986a: 6'

38-9 and Laes 2007b. See also Laes 2006: 109-23 and 2011. See Rietl 2001: 168-9.

probable pupils (#155). 62 Tellingly, the inscription attempts to rebuff ome of the accusations usually levelled at educators. He behaved with the 'purest morality' towards his students, it ays, no doubt becau e teachers were often accused of sexual impropriety and physical abuse; he was 'respectful' and 'thrifty: not the greedy and arrogant teacher construc ted by ome authors. 61 It further announces that he had a side trade in writing wills, perhaps emphasising that he was more than just a teacher. A econd educator appear on a large marble altar from Rome, set up between the end of the first and beginning of the econd centuries {:;58). For Q. Gavius Musicus, his cognomen betraying his specialisation, it was commissioned by wife Volumnia lanuaria. The two appear on the front with formally posed en face portraits; Musicus has a Trajanic-influenced face and haircut, Ianuaria a beehive-shaped coiffure popular among Flavian women, while both are dressed in socially 'correct' clothing (a toga and stola respectively). It is on one of the sides that the probable education scene comes: standing in front of the seated Musicus - who retains the same plump face and forward-combed hairstyle as he has on the front - are two boys of varying heights, the nudity of one of them remaining puzzling. Elsewhere identifications of teachers are made on the basis of the chair in which they sit and the implements they hold, one such example being a fragmentary third-century limestone stela from Argentoratum (Strasbourg) in Germania Superior (=467) . The small number of teaching scenes is particularly interesting when viewed against the overwhelming promotion of scholarly achievement for boys. Education was a theme of profound importance and, as seen in Chapter 3, boys from right aero s the western empire clutch scrolls and other schola tic implements as a sign of their learning, cultural awarenes and status.•• But the stress falls on the achievements of the child, not those non-nuclear adults who had helped to cultivate them. In the context of funerary display, thi should not be surprising but it does offer a reminder that we should be realistic in terms of the information that " For the identity of these pupils, Rawson 2003a: 160-1. On Furius, see also Evans 1991: 170, Laes 2006: 114, 2007b: 113-14 and 2011. On scholastic scenes which appear in other contexts or as small sections of much larger provincial tombstones (including the famous Neumagen classroom cene}, Coulon 1994: 110-16. •• On potential abuse by teachers, Mounteer 1987: 239-40, Wiedemann 1989: 2 -30, Evans 1991: 169-71, Coulon 1994: n4-16, Atherton 1998: 226, Bakke 2005: 40, Laes 2006: 123-31 and 2011. On child-beating more generally, Laes 2005. "' On the emphasis of learning as an achievement, Rawson 1999: 8i-8. Huskinson (2007a: 76) views education as the sepulchral theme par excelle11ce. For a urvey of similar motifs in wall-paintings, Garcia y Garcia 2005: 157-62.

COXCLU ION

can be extracted from the medium. OnJ . on sarcopha . do non-parental adults make emi-regular appearanc - ~e our e typically bathing the child and the tea; !'.Iinten

Backe-Dahmen (2006) 142 no. R14 11 *; ArD no. 32412 Based on the hairstyles, 20-10 BC (Kockel)

#14

P:

Pr: Find-spot unknown (bought from Palazzo Santacroce in 1465) Rome, MV, GL, inv. 9398 (Dec 06) Marble relief, 74 x 96 x 21

Zanker (1975) 293*; Frenz (1977) 195 no. M14; Kleiner (1977) 248 no. 90*; Kleiner (1978) 772; Kleiner (1993) 44; Kockel (1993) 159 no. J5*; Minten (2002) 126 no. R13;

T: #12

Marble relief, 70 x 140 x (wall) Left ection, inc. first portrait, lost; severe damage to the second portrait and all of the frames; heavy weathering

Zanker (1975) 290*; Frenz (1977) 161 no. En 11 ; Kleiner (1977) 243 no. 84 11 *; Kleiner (197 ) 772; Fabre (1981) 205*; Stupperich (1985) 107; Goette (1986) 155 no. 9; Kleiner (1993) 44; Kockel (1993) 145 no. H13• -; Minten (2002) 121 no. Rn; Bernabei (2005) u*; George (2005) 52 n.31; Backe-Dahmen (2006) 141 no. Rull'; Huskinson (2007b) 324* Based on the hairstyles, 20 BC (Kockel)

Via Appia Rome, via del Portico d'Ottavia no. 2, above Bar 'Toto' (Dec 06)

T:

icephor, freedman of Gaia, living; C. Vettius Secundu ,

S:

R5 11'; ArD no. 20740 Based on the style and drapery, 30 BC (Kockel)

#13

#11

P: L:

161

Cesano, west of via Cassia near Lago Bracciano Rome, MV, GC, inv. 2109 (Dec 06) Marble relief, 75 x 95 x 21 Damage to the adults' noses and the woman's eye; surface/ edge chips; general weathering to the front L VJBIVS L F TRO VECIUA (mulieris) L HILA[RA?] / L VJBJVS FELICIO FELIX VIBIA L L PRIMA = L. Vibius, son of Lucius, member of Tromentina voting tribe; Vecilia Hilara (or Hila), freedwoman of Gaia; L. Vibius Felicio Felix; Vibia Prima, freed woman of Lucius.

S:

B:

Rect. niche containing 3 portraits. L-R: a half-fig. man in a t+t who adopts the 'arm-sling' pose; a bust of a nude boy which seems to 'float' behind the adults; a half-fig. cap. vel. woman in a t+m who wears a ring and assume the pudicitia stance.

CJL v1 28774; Altmann (1905) 199; Zadoks and Jitta (1932) 56 no. R*; Vessberg (1941) 201 no. 2*; Brilliant (1963) 49*; Gercke (1968) 14 no. R7; Zanker (1975) 294*; Kleiner (1977) 234 no. 6911*; Kleiner (1978) 771; Frenz (1985) 79 no. 211'; Kleiner (1987c) 120; Kleiner (1992) 79*; Kleiner (1993) 43; Kockel (1993) 180 no. L711*; Koortbojian (1996) 218*; Minten (2002) 126 no. RB*;

162

D:

CATALOGUE i;15-;;19

Backe-Dahmen (2006) 142 no. R15 A*; D~mbra (2007a) 51•; Huskinson (2007b) 326; tewart (2008) 66*; ArD no. 20378; EDCS no. CIL 06, 28774Based on the toga, child portrait and female hairstyle, mid Augustan (Kockel)

# 15

P:

Find-spot unknown Rome, M R, TdD, Giardino dei Cinquecento, inv. 994 (Dec 06) T: Marble relief, 181 x 67 x 33 Pr: Right side lost; discolouration to the man's drapery; man's nose damaged; general weathering to the front S: 3 full-fig. portraits. At the left, a man in a t+t who turns towards the centre and is connected via the dextrarum iunctio to a woman (of whom only the hand survives). In between them, a boy whose drapery is lost but who also turns towards the woman. B: Zanker (1975) 280*; Kleiner (1977) 232 no. 65*; Giuliano (1984b) 400 no. xm,10•; Kleiner (1987c) 110; Kleiner (1992) 80*; Kockel (1993) 221 no. 027•; George (2001) 180; Minten (2002) 128 no. R16; Backe-Dahmen (2006) 142 no. R13 A*; ArD no. 18258* D: Based on the toga, Augustan (Backe-Dahmen)

L:

# 16

P: L: T: Pr:

S:

B:

D:

Find-spot unknown (Fig. 60) Rome, Villa Doria Pamphili, Villino della Servitu (Jan 10) Marble relief, 160 x 114 x (wall) Top section lost; general weathering and discolouration; damage to the bottom frame; surface chips 3 full-fig. portraits. L-R: a man in a t+t who adopts the 'arm-sling' pose and holds a scroll in his 1/h; a girl in a tunic who holds a bird in her r/h, turns towards the woman and grasps her drapery; a woman in a t+m in the pudicitia stance. Zanker (1975) 280*; Frenz (1977) 216 Anhang 1/34A; Kleiner (1977) 233 no. 66A*; Kleiner (1987c) 109*; Goette (1990) 110 no. Ab Bo*; Kleiner (1993) 40•; Kockel (1993) 152 no. 18A*; Huskinson (1997) 235; Rawson (1997a) 217*; Legrottaglie (1999) 115•; George (2001) 178*; Minten (2002) 126 no. R!2; Backe-Dalimen (2006) 141 no. R12J1*; Huskinson (2007b) 324*; Olson (2008) 145•; ArD no. 18009 Based on similarities with the Ara Pacis, Augustan (Backe-Dahmen)

#17 P: Tenuta dei Centroni, Vacchereccia L: Rome, via Anagnina no. 281 (Kockel reported that attempts to contact the then owner had failed; I faced the same problem in Dec 06).

T: Marble relief, 70 x Bo x 30 Pr: Left half missing; severe weathering to the fro nt, esp. to the faces; bad damage to the frames J: [---] L RVSTIVS LL IANVARI S: Rect. niche which originally contained at least 3 half-fig. portraits. The woman(?) at the left is mostly lost but her hand is on the shoulder of the adjacent man in a t+t; he turns towards her. At the right, a boy in a t+t who holds a bird in his l/h . B: Frenz (1985) 93 no. 25*; Kockel (1993) 227 no. 050AD: Based on the toga style, early to mid Augustan (Kockel) # 18

P:

Find-spot unknown (bought from an art dealer in Basel in 1978) L: Raleigh, North Carolina Museum of Art, Classical Galleries, inv. 79.1.2 (Jan 07) T: Marble relief, Bo x 150 x 22 Pr: Nose-tips lost; damage to the frames/inscription; light weathering to the front /: SEX MAELIVS / SEX L STABILIO // VESINIA (mulieris) L / IVCVNDA II SEX MAELIVS / SEX L FAVSTVS = Sex. Maelius Stabilio, freedman of Sextus; Vesinia Iucunda, freed woman ofGaia; Sex. Maelius Faustus, freedman ofSextus. S: Rect. niche containing 3 half-fig. portraits. At the left, a man in a t+t who is connected via the dextrarum iunclio to a cap. vel. woman in a t+m. She adopts the pudicitia stance and they turn towards one another. At the right, a boy in a t+t who grasps part of his drapery with his 1/h. B: Frenz (1985) 9 n,49; Kockel (1993) 168 no. K3A•-; Kleiner (2000) 54*; George (2005) 43 11.12*; ArD no. 32268 D: Based on the style, mid Augustan (Kockel) # 19

P:

Find-spot unknown (attested since 1662) Rome, MV, GL, inv. 8323 (Dec 06) T: Marble relief, 56 x 69 x (wall) Pr: Damage to the noses and to the woman's drapery; restoration to the woman's cheek; general weathering to the front; minor surface chips J: C LIVIVS C L ALEXANDER / APOLLO I AEMILIA L L GLVCERA = C. Livius Alexander, freedman of Gaius; Apollonius; Aemilia Glycera, freedwoman of Lucius. (The child's name may be abbreviated, rather than it being in the genitive.) S: Rect. niche containing 3 bust portraits. L- R: a nude man; a boy in a tunic; a woman in a tunic and stola. B: CIL VI 21381; Amelung (1903) 1/2 196 no. 39a; Altmann (1905) 199; Gercke (1968) 17 no. R9; Frenz (1977) 168 no. H2; Kleiner (1977) 233 no. 67*; Kleiner (1978) L:

CATALOGUE

D:

771; Kleiner (1993) 43; Kockel (1993) 181 no. L >-; Di Stefano Manzella (1995) 29 no. 43'; Raw on (199 a) 217; AnnEpigr (2002) 86 no. 188; Minten (2002) 126 no. R9; Backe-Dahmen (2006) 143 no. R16'; Hu kin on (2007b) 326; ArD no. 20736; EDCS no. CIL 06, 213 1 Based on the bust type and hair tyle , mid to late Augustan (Kockel)

#20

P:

Via Triumphalis, Santa Ro a necropoli (Fig. 127) Rome, MV, necropoli dell'Autoparco, ii ettore anta Rosa, inv. 52177 (Dec 06) T: Marble aedicula, dimensions unavailable Pr: Slight discolouration to parts of the face; minor edge chips J: HIC SITVS EST / TIB ATRO 'IVS VE 1VSTV // VIXIT ANN II II ME SES [[[[ DIES X = Here he lies, Ti. Natroniu Venustus, who lived for 4 year , 4 months and 10 day . (Reading by author.) S: Rect. niche, framed by columns, containing a bust portrait of a nude boy which rests on a plinth. B: AnnEpigr (2005) 92 no. 213c (incomplete inscription); Liverani and Spinola (2006) 89'; EDCS no. AE 2005, 00213c (incorrect inscription) D: Tiberian to Claudian (Liverani and pinola) L:

#21 P: Between the via Cassia and the via Flaminia near Acquatraversa L: Rome, MV, GC, inv. 2167 (Dec 06) T: Marble relief, 78 x 150 x 48 Pr: Left and top right edge restored; cracks through the frames and the centre of the niche; male no e and the child's drapery damaged; general weathering to the front. The rear side, on which the same scene is repeated, is severely damaged, with the los of all of the facial features. S: Rect. niche containing 3 portraits. At the left, a half-fig. portrait of a man in a t+t who turns towards the centre and places his 1/h around the shoulder of the boy, also in a t+t. This boy, whose portrait extends down to his knees, has a bu/la and touches both of the adjacent adults. At the right, a half-fig. portrait of a woman in a t+m who turns towards the centre and offer the boy a grape bunch from a large pyxis filled with fruit and nuts. Two birds appear above the boy's shoulder . The scene is repeated on the rear side. B: Altmann (1905) 199; Gercke (1968) 17 no. RIO; Zanker (1975) 270 n.10; Frenz (1977) 152 no. 023"; Gabelmann (1985) 530; Goette (1986) 155 no. 11; Kockel (1993) 196

=20- = 23

D:

no. :-.11">; Minten (2002) 12 no. R18*; Backe (2005) 91*; Backe-Dahmen (2006) 143 no. R18" *; Backe-Dahmen (2008) 29'; ArD no. 20379" Based on the female hairstyle, Tiberian (Kockel)

# 22

ia Ostien e, columbarium near the BSP (1898) Rome, M R, Palazzo Massimo alle Terme, sala m , inv. 72480 (Dec 06) T: Marble relief, 58 x 68 x 32 Pr: Head of the child and upper section of the back frame mi sing; adult heads reattached but with noses lost; bird damaged; discolouration over the inscription J: A DEC! SPI THERIS // A DEC! FELICIONIS // DECIAE PE 'DVSAE = (Tomb) of A. Decius Spinther; A. Decius Felicio; Decia Spendusa. 3 half-fig. portraits. At the left, a man in a t+t who has a scroll in his 1/h and who is connected via the dextrarum iunctio to a woman in a t+m. She grasps part of her drapery with her 1/h and turns towards the centre. Behind them, a boy in a tunic with a bird in his hands. B: SA (1898) 246 no. 42; CIL VI 35090; Squarciapino (1955) 25*; Zanker (1975) 270 n.10; Frenz (1977) 186 no. KS (Flavian date)"; Giuliano (1981) 252 no. 47*; Kockel (1993) 190 no. L20"*; Minten (2002) 128 no. R17; Backe-Dahmen (2006) 143 no. R17*"; ArD no. 26553*; EDCS no. CIL 06, 35090*D: Ba ed on the female portrait and the inscription, Tiberian to Claudian (Kockel)

P: L:

#23 P:

ilia Giustiniani (1662) Liverpool, Ince Blundell Hall, Garden Temple (Aug 06) Marble relief, 54 x 122 x 23 Pr: Most of the back frame missing; only the female portrait , male torso and parts of the edges are antique; restoration to the nose and body of the girl; part of the inscription falsely restored; head of the man may come from different monument J: MALLIAL [FPROC]VLA / ATA A x[---]vA//LMALLIVSL L/ CLEME s II PERPERNIA MAL PRIM [Al = Mallia Procula, daughter of Lucius, of(?) years; L. Mallius Clemens, freedman of Lucius; Perpernia Prima, freedwoman of Marcus andAulus. Rect. niche containing 3 half-fig. portraits. L-R: a girl in a t+m with a band of pearls in her hair (suggesting pos ible a ociation with the Isis cult); a man in a t+t; a woman in a t+m. B: CIL VI 21881; Poulsen (1923) 60 no. 40*; Gercke (1968) L: T:

18 no. Rn; Frenz (1977) 153 no. 024" ; Kockel (1993) 199

CATALOGUE ;;24-=2

D:

no. M3il*-; Backe-Dahmen (2006) 144 no. R20A*; ArD no. 32324/1; EDCS no. CIL 06, 21881 Based on the female hairstyle, late Tiberian to early Claudian (Kockel)

S:

#24

P:

Find-spot unknown (bought from the Villa Borrioni) (Fig. 103) L: Liverpool, National Museums (Conservation Centre), inv. 1959.148.222 (July 10) T: Marble relief, 73 x 165 x 20 Pr: Restoration to the noses, to some of the hands and to the upper frame; several cracks; general weathering to the front /: [---]RIVS MF[---] // [---] // SERTORIA ML// SERTOR[IA] ML[---] S: Rect. niche containing 5 half-fig. portraits. At the left, a woman in a t+m and a boy in a t+t with a bu/la. The woman turns to her left, places her 1/h around the boy's shoulder and offers him some fruit(?) with her r/h. In the centre, a man in a t+t; he offers fruit to both of the adjacent children. At the right, a girl in a t+t and a woman in a t+m. The girl holds a bird in her 1/h and with the other takes fruit from the adjacent man. Her hair is adorned with a pearl, an indication that she may have belonged to the Isis cult. The woman, who turns to her right, places her r/h around the shoulder of the girl. Two birds appear either side of the man's shoulders. B: Michaelis (1882) 376 no. 222; Poulsen (1923) 61 no. 41*; Gercke (1968) 19 no. R12; Zanker (1975) 289 n.85; Frenz (1977) 165 no. F5il*; Gabelmann (1985) 529*; Goette (1986) 155 no. 10; Kockel (1993) 198 no. M2A*-; George (2001) 182; Minten (2002) 128 no. R19; Backe-Dahmen (2006) 144 no. R19 il*; Olson (2008) 144*; ArD no. 32281 D: Based on the hairstyles, Claudian (Kockel) #25

B:

D:

3 full-fig. portraits. At the right, a woman in a t+m who sits in profile on a chair and holds a baby in her 1/h. With her r/h she reaches out and touches the face of the standing boy in front of her. He has a chlamys draped over his shoulder and rests his weight on her knee. On the sides, garlands with fluttering ribbons hang from bucrania. CJL vi 21805; Amelung (1903) 1/4 671 no. 543a*; Altmann (1905) 220 no. 286/1; Dosio (1976) 41 no. 14 (ID of boys as putti); Boschung (1987) 114 no. 964A*; Rawson (2003a) 42*; ArD no. 130013il*; EDCS no. CIL 06, 21805Based on the garlands, Claudian (Boschung)

#26

P:

Reused as a water basin in S. Maria in Domnica on the Caelian Hill (removed in 1925) L: Rome, MV, MGP, inv. 9934 (Dec 06) T: Marble altar, 93 x 78 x 50 Pr: Lid missing; several edge chips; faces of all of the portraits as well as that of the dog lost, as are details of hands, objects and toes; general weathering to all sides J: C IVLIO POSTVMI L / PHILETO = For C. Julius Philetus, freedman of Postumus. S: Front: 2 full-fig. portraits. L- R: a boy in a tunic who carries a hare and fruit in the folds of his drapery; a man in a t+t with an object (scroll?) in his 1/h. They turn towards one another. Left: a full-fig. boy in a tunic, pulling a baby in a small carriage. Right: a full-fig. boy in a tunic who offers fruit to a dog by his side. Back: Shield and spears. B: CIL VI 20189; Altmann (1905) 255; Kleiner (1987b) 113 no. nil*; Boschung (1987) 113 no. 952*; Sinn (1991) 65 no. 33il*; Whitehead (1993) 304; Minten (2002) 130 no. A2*; ArD no. 21602il*; EDCS no. CIL 06, 20189D: Based on the praenomen and nomen, as well as the toga style, 45-55 (Kleiner)

P:

Find-spot unknown (from the Giustiniani collection) (Fig. 97) L: Rome, MV, GC, inv. 1255 (Dec 06) T: Marble altar, 100 x 54 x 46 Pr: Diagonal crack through the inscription and the female portrait; heavy weathering to the front, esp. over the faces; edge chips /: MAE AE L L MELLVSAE VXORI / C GE VCIVS DELV ET SIB! // DEXTRO F / V M XI //SACERDO / F / V M III / D x = For wife Maena Mellusa, freedwoman of Lucius. C. Genucius Delus (did this) also for himself and for Dexter, son, who lived for II months, and for Sacerdos, son, who lived for 3 months and 10 days.

#27 P: House of Ippolito Vitelleschi (known since the seventeenth century, its attribution to Rome is questionable) L: Rome, Villa Albani, inv. 984 (Dec 06) T: Marble relief, 25 x 35 x (wall) Pr: Surface/edge chips; genera] weathering to the front J: Q LOLLIVS ALCAMENES / DEC ET DVVMVIR = Q. Lollius A1can1enes, decurio and duumvir. S: Rect. niche containing 3 portraits in profile. At the left, a full -fig. portrait of a man in a t+t who sits on a stool. He holds a tool (chisel?) in his r/h and a bust of a young boy in the other. At the right, a full-fig. portrait of a

CATALOGUE =28-=31

B:

D:

cap. vel. woman in a t+m who has a cup in her 1/h. he attends to an incense burner in front of her. (The ignificance of the bust portrait remain unclear; it may be the child of the couple or rep re entative of the man's profession.) CIL v, 29707; Altmann (1905) 203; Brommer (1954) 167; Gercke (1968) 19 no. R13A; Bo! (19 9) 271 no. 7">; Goette (1990) 156 no. 52"; D'.Ambra (1998b) 26>; ArD no. 28068"*; EDCS no. CIL 06, 29 o Based on the style, Claudian (Bo!)

#28 P: Find-spot unknown (from the Villa Aldobrandini) L: Paris, Bibliotheque ationale, Cabinet de Medaille , Reserve, inv. 54-inscr0 lat. 4 (Sept 07) T: Marble urn, 56 x 43 x 29 Pr: Minor damage to the right column; small cracks in the top right corner J: TI CLAVDI TI F QVJR / VICTORIS / VIXIT ' IS VII / MENSIBVS VI / DIEBVS XVIIII FEC / TI CLAVDIV PRIM IO / CLAVDIA PRIMIGE ' IA I FILIO PI ISSI MO= (Tomb) of Ti. Claudius Victor, son of Tiberius, member of the Quirin a voting tribe, who lived for 7 years, 6 months and 19 days. Ti. Claudius Primio and Claudia Prirnigenia did (this) for their most devoted son. S: Shell niche containing a bust-length portrait of a girl who wears a tunic and a necklace with a lunuu:z pendant (not a bu/la). The inscription above the niche is flanked by tripod legs(?) decorated with laurel leaves and topped by masks. ext to them are spiral columns with Cor. capitals. Above the inscription is a volute frame containing wind protomae and a central eagle with outstretched wings. The lid features nine rosettes, three of them decorating the puJvinar . Vegetal patterns appear on the ides. B: CIL VI 15315; Altmann (1905) 156 no. 188; Cumont (1942) 162'; Gercke (1968) 37 no. R36; inn (1987) 134 no. 168"*-; ArD no. 91458" ; EDCS no. CIL 06, 15315 D: Based on the hairstyle, Claudian to eronian (Sinn) #29

P:

Find-spot unknown Ravenna, M , Deposit, inv. 195 (Aug 06) T: Limestone stela, 66 x 30 x 9 Pr: Surface/edge chips; nose-tip lost; light weathering J: DIIS / MANIBVS / AMERIM VS / VIXJT A 11 / ME S V HELIX / VJXIT A ' V / MENS VI FJLIS B / M AMERJMNV CAESARIS = To the Spirits of the Departed. Arnerimnus, L:

who lived for

2

years and 5 months. Helix, who li,·ed for

5 years and 6 months. Amerimnus, imperial lave, (did this) for his well-deserving children.

S:

B:

D:

Irregularly haped niche containing a bust portrait of a boy in a tunic, perhaps with a bu/la. CIL VI 11543=CIL XI 26.14; Poulsen (1928) 69 no. 7*; EDCS no. CIL 06, u543Based on the hairstyle and portrait, c. mid 1st C

=Jo

P:

Via Triumphalis, Autoparco necropolis (1956) (Fig. 126) L: Rome, M , necropoli dell'Autoparco, in situ between columbaria 2 and 3 (Dec 09) T: Marble stela, 120 x 64 x 13 Pr. 1ose-tips lost; large horizontal crack in the inscription J: VN IVS ERO IS / CLAY CAES SER SALTVAR SIBI ET [A / VXSORl VAE ET CRESCE TI / FILIO SVO BENE MERENTIBVS = unnius, slave estate keeper of ero Claudius Caesar, (did this) for himself and for Ma, his wife, and for Crescens, his son, both well-deserving. S: Square niche containing 2 half-fig. portraits. L-R: a boy in a tunic; a woman in a t+m. The gable, which is flanked by half-p acr., features two birds drinking from a skyphos. B: Kirschbaum (1957) 18 (ID as Nunnius and Ma)*; Andreae (1957) 209 (with same ID as Kirschbaum); Magi (1958) 92*; AnnEpigr (1959) 39 no. 145 and 83 no. 299; Magi (1962) 289; Vaananen (1973) 43 no. 32*-; Steinby (1987) 93*; Steinby (2003) 58 no. Alscr.32*; Graham (2006) 11; Liverani and Spinola (2006) 39*; EDH no. 019501; EDCS no. AE 1959, 00145 D: Ba ed on 1ero's name, 50-68 (Steinby) "31 P: Find-spot unknown L: ew York, Metropolitan Museum of Art, Roman Gallery, inv. L2007.31.2 ( ov 09) T: Marble altar, 86 x 73 x 51 Pr: Crack repaired with lead clamps; light weathering to the front [: DllS MA 1B // A THI / L IVLIVS GAMVS PATER FIL DVLCI SIM = To the Spirits of the Departed of Anthus. L. Iulius Gamus, father, (did this) for his sweetest son. S: quare niche containing a full-fig. portrait of a boy in a t+t with a croll in his 1/h and part of his drapery in the other. To his right, a small dog looks up to its master. The side feature laurel trees, from which birds pick berrie , a well as ducks and herons (the latter of which catch snakes). B:

CIL vi 11864; EDCS no. CIL 06, 11864- (opening incor-

D:

rectly given as 'MANIBvs') Based on the drapery and hairstyle, mid to late 1st C

166

CATALOGUE #32-#35

#32 P: Campanian Gardens near San Giovanni in Laterano (from the Campana collection) L: Paris, MdL, salle 24, inv. MA 1443 (Sept 07) T: Marble altar, 113 x 72 x 66 Pr: ose and chin of the girl damaged J: D M / !VLIAE VICTOR! AE / QVAE VIX AN X MENS V / C !VL!VS SATYR l VS ET / LVC!LIA PROCVLA PARENTES / FlL!AE DVLC!SS!MAE FECERV T = To the Spirits of the Departed. For Iulia Victorina, who lived for 10 years and 5 months. C. Julius Saturninus and Lucilia Procula, parents, did (this) for their sweetest daughter. S: Front: a bust portrait of a girl in a t+m with pearl earrings and a crescent headdress (a reference to Diana or Luna). It rests on a base. The main body of the altar is decorated with a band of rosettes and acanthus scrolls; the lid has a double volute and half-palmette pattern as well as rosette pulvinars. Back: a bust portrait of a woman in a t+m with a stola, pearl earrings and a radiate crown. It too rests on a base. It seems likely, as Kleiner, Rawson and DJ\.mbra have all proposed, that the second image is a representation of how Julia Victorina would have been had she had lived to adulthood. Sides: laurel trees. B: Frohner (1878) 386 no. 422; CIL v r 20727; Altmann (1905) 282; Cumont (1942) 243; Charbonneaux (1948) 98*; Gercke (1968) 25 no. R20; Wrede (1981) 264 no. 183*; Boschung (1987) 111 no. 918*; Kleiner (1987b) 119 no. 151\*; Minten (2002) 130 no. A4; Rawson (2003a) 50; Rawson (2003b) 294; Backe-Dahmen (2006) 148 no. A6*; DJ\mbra (2007a) 67*; Huskinson (2007b) 330; ArD no. 15165; EDCS no. CIL 06, 20727D: Based on the hairstyle and drill-work, 60-70 (Kleiner). Backe-Dahmen is the most recent to suggest that the first portrait of the girl is Flavian, with the second then added in the Trajanic era; for criticism of this, see Kleiner 1987b: 120-1. #33

P: L: T: Pr:

S:

Find-spot unknown Rome, MNR, TdD, Deposit, inv. 2000.669 (Dec 06) Marble altar lid, 22 x 57 x 39 Bottom right section, inc. most of dog, lost; acroteria damaged; several edge chips and cracks; left leg of the boy missing; general weathering to the front 2 full-fig. portraits inside a semi-c. niche. L-R: a boy in a tunic who turns towards his left; a man in a t+t who holds part of his drapery in his r/h and may have had an object in the other. At the right, a dog looks up to its master.

B:

D:

Giuliano (1984a) 119 no. 1v,30*; Kleiner (1987b) 125 no. 18*; Minten (2002) 130 no. A5 Based on the man's hairstyle, 65-70 (Kleiner)

#34

P: L:

Via Flaminia, area of the Zoological gardens (Fig. 98) Rome, MC, Galleria di Congiunzione, inv. 2799 (Dec 06) T: Marble altar, 106 x 48 x 49 Pr: General weathering to the front; noses lost; facial details damaged; surface/edge chips /: DIS MANIBVS C CRIXIO / C FIL!O SECVNDO CRIXIA / SECVNDINA PATRO O / OPT!MO ET CONIVGI !NDVLGE TI/SSIMO BENE DE SE MER!TO = To the Spirits of the Departed. Crixia Secundina (did this) for C. Crixius Secundus, son of Gaius, her excellent patron and her kindest husband, who deserved well of her. S: Arched niche containing 2 full-fig. portraits. L-R: a boy in a tunic, shown in profile, who is connected via the dextrarum iunctio to a man in a t+t. The latter turns his head towards the child and holds a scroll in his 1/h. The lid features a wreath and rosette pulvinars. The patera and urceus appear on the sides. B: BCAR (1910) 250; NSA (1910) 422; CIL VI 38264; Boschung (1987) 115 no. 979*; Kleiner (1987b) 127 no. 20*; Mattei and Gregori (1999) 52 no. 21*; Minten (2002) 130 no. A6; Backe-Dahmen (2006) 149 no. A8\ ArD no. 52593*; EDCS no. CIL 06, 38264D: Based on the male's hairstyle, the toga and the drill-work to the wreath, 70-80 (Kleiner) #35 P: Via Appia, vigna Moroni near the Porta San Sebastiano (1716) L: Rome, MC, Stanza de! Fauno, inv. 2655 (Jan 10) T: Marble cippus, 71 x 34 x (wall) Pr: Surface/edge chips; light weathering to the front; patches of discolouration over the inscription /: DIS MANIBVS / THET!D!S VIX / ANN IX ET CHARI/ DIS SORORIS VIX / AN XV FEC!T / PATER EX VISO / Tl CLAVD!VS / PA OPTES ET / MATER CHARMOSYNE / TV QVI LEGIS ET / DVB!TAS MA ES / ESSE SPONSIONE / FACTA !NVOCA / OS ET I TELLEGES / ITEM EVNO NVTRICIO / EARVM COLLIBERTO svo = To the Spirits of the Departed of Thetis, who lived for 9 years, and of Charis, sister, who lived for 15 years. Their father, Ti. Claudius Panoptes, and mother, Charmosyne, did this after a vision. You who read this and doubt the existence of the spirits, invoke us after making a vow and you will understand. Likewise for Eunus, their nutricius and fellow freedman.

CATALOGUE #36-#39

S:

B:

D:

Arched niche containing 2 bust portraits of girls, each in a t+m. Hanging between their heads is a mall wreath with fluttering ribbons while around them there are five rosettes. CIL v1 27365; JLS no. 820ia; Stuart Jone (1912) 337 no. 3on*; Mattei and Gregori (1999) 220 no. 545"'; ArD no. 51986*; EDCS no. CIL 06, 27365Flavian (ArD)

;;;36 P: Find-spot unknown (from the Museo Kircheriano collection) L: Rome, M R, TdD, Deposit, inv. 2973 (Dec 06) T: Marble altar, 45 x 29 x 21 Pr: Severe weathering, with the loss of the portrait feature ; some discolouration; surface/edge chips J: DIS MANIBVS / CLAVDIAE VICTORINAE / VIXIT A 'IS VJ / ME SIBVS XI / DIEBVS XVI / PARENTES FILlAE / FECERV T / QVEM NO ' LIQVIT O / FRY I Cl = To the Spirits of the Departed. For Claudia Victorina, who lived for 6 years, 11 months and 16 days. Her parents did (this) for the daughter in whom we were not permitted to take pleasure. S: Arched niche, flanked by rosette pulvinars, containing a bust portrait of a girl who may have worn a t+m. B: CIL v1 15652/3; Giuliano (1984a) 228 no. v11,23'; Boschung (1987) 87 no. 313*; Kleiner (1987b) 109 no. 8"*; Minten (2002) 130 no. Al; Backe-Dahmen (2006) 147 no. A3"*; ArD no. 26543; EDCS no. CIL 06, 15652D: Flavian to early Trajanic (Boschung) #37 P: Columbarium of Pomponius Hylas, vigna Sas i (1831) (Fig. 129) L: Rome, MC, MCM, Deposit, inv. 142 (Dec 06) T: Marble urn, 36 x 30 x 30 Pr: Light weathering to the front; minor damage to the chin J: DIIS MA !BYS // MLICI I FAVSTI /V AN Ill / MVD XI // ARRVNTIA SA si. A o s P = To the Spirits of the Departed of M. Licinius Faustus, who lived for 3 years, 5 month and 11 days. Arruntia Sabina (did this) from her own money. S: A full-fig. portrait of a seated boy in a t+t who is shown in three-quarter view. He has a bulla, holds a large bird in his 1/h and a grape bunch(?) in the other. The lid features volute and rosette decoration. B: Campana (1852) 9 and Tav. VII.L*; CJL VI 5557; Altmann (1905) 220; Ashby and ewton (1910) 466; tuart Jones (1912) 52 no. 1*; Goette (1986) 161 no. 3; inn

(1987) 162 no. 281"*; Pavia (1998) 234; Mattei and Gregori (1999) 532 no. 2110•; Minten (2002) 136 no. u8; Feraudi-Gruenais (2003) 94 no. 91"*; ArD no. 39573"*;

EDCS no. CIL 06, 05557D: Mid to late 1st C (Feraudi-Gruenais) F38 P:

ia Tiburtina, columbarium of the Aruncei (vigna

Venturi) L: Rome, MC, MCM, Deposit, inv. 1175 (Dec 06) T: Marble stela, 107 x 36 x 10 Pr. Light weathering to the front; areas of minor discolouration; small surface/edge chips [: D M / C AVRVNCEIVS PRlMlTIVOS / VlXlT AN 11 D V H 11 / AVR CEIA THREPTE MATER ET / L RASTICANVS FELIX PAT FIL / DVLCISS!MO FECERV 'T = To the Spirits of the Departed. C. Aurunceiu Primitivus, who lived for 2 years, 5 days and 2 hours. Aurunceia Threpte, mother, and L. Rasticanus Felix, father, did (this) for their sweetest son. S: Rect. niche containing a full-fig. portrait of a nude boy. He has a bulla and holds a large bird in his hands. Rosette pulvinars appear at the top. B: BCAR (1880) 79 no. 372; CIL v1 13410; Stuart Jones (1912) 60 no. 25*; Gercke (1968) 27 no. R23; Goette (1986) 163 no. 6; Goette (1989) 460 n.32; Mattei and Gregori (1999) 140 no. 249*; Rawson (2003a) 44; ArD no. 131695*; EDCS no. CIL 06, 13410D: Flavian (Rawson) #39 P:

ia Casilina, localita Villa Vaselli (1954) L: Rome, MC, Galleria di Congiunzione, inv. 3031 (Dec 06) T: Marble tela, 99 x 27 x 14 Pr: Edge chip along the right side; nose-tip lost; light weathering to the front J: DIS MA !BYS / ERASTI C STATILI / MESSALINI SER / ARSLA MATER FILIO / PIISIMO FECET VIX / ANNIS XVI DIES / XIIV = To the Spirits of the Departed of Erastus, lave of C. Statilius Messalinus. Arsia, mother, did (this) for her most devoted son who lived for 16 years and 13 day . S: Irregularly shaped niche containing a bust-length portrait of a nude boy. The top features scrollwork and half-p acr.; the bottom is decorated with two rosettes. B: Panciera (1987) 168 no. 86*; EDCS no. CECapitol 00086D: 1st C (Panciera), probably the latter half owing to the portrait and epigraphy

168

=;40-=44

CATALOGUE

B:

#40 P: Outside Porta Portese (1886)

D:

L:

Rome, MC, Deposit, inv. 471 (March 10)

T: Pr:

Marble stela, 113 x 32 x 10 Min or edge chips; light weathering to the front

/:

D M / TI CLAVD!O / MARTIAL!/ VA II M Vlll D III / SYMPHOR ET / LVPERCA / PARE TES / FIL DVLCISSIMO / FECERV T =

To the Spirits of the Departed. For Ti. Claudius Martialis, who lived for 2 years, 8 months and 3 days. Symphor and Luperca, parents, did (this) for their sweetest son. Small, irregularly shaped niche at the top containing a bust-length portrait of a boy in a tunic(?).

S:

#43 P: Find-spot unknown

L: Rome, MV, Museo Chiaramonti, inv. 26713 (Dec 09) T: Marble stela, 60 x 30 x 13 Pr: Damage to the top, with the loss of the head; surface/ edge chips; light weathering

J:

D:

TITVLVM / POSVERVNT I

owing to the epigraphy #41

Monte Mario Rome, M R, TdD, magazzino epigrafico, inv. 72641 (April 10)

T:

Marble lastra, 19 x 17 x 5 Minor edge chips; light weathering to the front

Pr: /:

DIIS MANIB / FELICIS VERNA£ / KARISSIMI IVLIA / EPIPHA IA I / FELICISSIMO VIXIT / ANNO I ME SIB VI=

S: B: D:

AREA / MO VMENTI EIVS /

for T. Atilius Piso. T. Flavius Eutactus, imperial freedman, and Salvia Pisonina, daughter of Marcus, set up this inscription for their son, of 7 months. His tomb is 4 feet wide and 3 feet deep. Arched niche, flanked by half-p acr., containing a bust portrait of a nude boy. CIL VJ 12623; Amelung (1903) 1/4 670 no. 5420*; Boschung (1987) 87 no. 308; Di Stefano Manzella (2003) 186 no. 2578 "*; EDCS no. CIL 06, 12623Based on the epigraphy, 69-140 (Boschung) LONGVM PED QVATTVOR / LATVM PED TRES =

1st C (Mattei and Gregori), probably the latter half

P: L:

T ATILJO / PJSO I / T FLAV IVS / AVG LIB/ EVTACTVS ET/ SALVIA M F / PISONI A / FILJO SVO / MENS SEPTEM /

CTL v1 34885; Mattei and Gregori (1999) 144 no. 257*; EDCS no. CIL 06, 34885-

B:

None known Based on the style, epigraphy and monument type, mid 1st to early 2nd C

S: B:

D:

To the

Spirits of the Departed of dearest Felix. Tulia Epiphania (did this) for her most unfortunate verna, who lived for 1 year and 6 months. Tri. niche containing a bust-length portrait of a nude boy. SA (1879) 141; BCAR (1881) 26; C/L VI 17859; Panciera (1987) 78*; EDCS no. CIL 06, 17859Based on the epigraphy, mid to late 1st C (Panciera)

#44

P:

L: T:

Via Flaminia Florence, GdU, Teatro Medici, inv. 950 (Dec 06)

Pr:

Marble altar, 102 x 61 x 45 ose-tip restored; bottom of the inscription chipped; lid missing; minor damage to the subsidiary decor

/:

DIS MA IBVS / JV IAE MF PROCVLAE VIX ANN VIII M XI D V MISEROS / PATRE M ET MATREM IN LVCTV RELJQVID

# 42

FECIT M IVNIV[S ---] / EVPHROSYNVS SIB ! ET [[ACTJ]E

P:

Via Triumphalis, Autoparco

ecropolis

L:

Rome, MV, necropoli dell'Autoparco, il settore Santa Rosa, inv. 52164 (Dec 06)

TV SI E FILIAE ET PARE TIVM INV[ 0 OSSA] / REQVESCA T QVIDQVID NOBIS FECERIS IDEM TIBI SPERES MIHI CREDE TV TIBI TESTIS [ERIS] = To the Spirits of the Departed. For Junia Procula, daughter of Marcus,

T:

Marble altar, dimensions unavailable Pr: Severe damage to the top section, with substantial losses to the portrait niche and lid; surface/edge chips; some discolouration /:

DIS MA IBVS / L RVTILIO FELIC! / RVTILIA SV CTY-

the bones of daughter and pare nts to rest together in

CHE / MATER FILJO SVO PIISSIMO FEC / VJXIT A ' ' IS

peace. Whatever you do to us, may you expect the same for yourself. Believe me, you will be your own witness. (For the rear inscription which abhors the memory of

v ME SE s v, = To the Spirits of the Departed. For L. Rutilius Felix. Rutilia Synctyche, mother, did (this) for her most devoted son, wbo lived for 5 year and 6 months. (Reading by author. ) S:

who lived for 8 years, 11 months an d 5 days. She left her father and mother distraught in their grief. M. Iunius Euphrosynus did (this) for himself and Acte. You, allow

Square niche containing a full-fig. portrait of a boy in a t+t who holds a scroll(?) in his r/ h. To hi left, a capsa 'floats' in the air. The lid feature ro ette pulvinar .

the wife, see Kleiner 1987b: 133.) S:

Circ. niche containing a bust portrait of a nude girl. The corners of the altar feature Jupiter Ammon heads (front) and rams' heads (rear), all supporting hanging garlands. Above the front garland, a winged griffin

CATALOGUE =-Li-=49

attacks a bull; below, a basket held by a putto i O\"erturned by a dog. The lower corner have eaoles (front and sphinxes (rear). On the ides are the patera and urceus, plus animals inc. birds, griffin and roden . CIL VI 20905; Altmann (1905) 9 no. ,5"; trong 1923 124'; Toynbee (1934) 203"; Ian uelli (195 ) 213 no. 219:; Gercke (1968) 26 no. R22; Bo hun (19 , 97 no. 649 ; Kleiner (1987b) 132 no. 23" ~; ~linten 2002) 130 no . .>q; Rawson (2003a) 4 '; Ba ke-Dahmen (2006 149 no. A9" '; Huskinson (200 b) 330; Granino Ce ere (200 42 no. 3451" '; 01 on (200 ) 146; ArD no. 6021·; EDC no. CIL 06, 20905Ba ed on the coiffure and drill-work, c. o Kleiner)

B:

D:

B:

D: =4 P:

\'ia Appia, ,igna 1oroni Bologna, }.[CA, cortile, inv. 19225 (Aug 06) T: larble tela, 40 x 29 x (wall) Pr: }.Iinor ur face/edge chip ; light weathering to the front

L:

#45

P: Fin d-spot unknown (from the Campana collection) L: Paris, MdL, Reserve, inv. MA 2195 (July 06) T: Marble altar, 105 x 44 x 42 Pr: Damage to the lid; some di colouration; light weathering to the front; edge chips S: Rect. niche containing a full-fig. portrait of a girl as Diana. She stands on a pede tal, wear a belted hunting dress and holds a bow in her Uh. \\ ith her r/h he removes an arrow from a quiver on her back. To her right is a large dog, to her left a doe, both turning their heads towards her. The lid features a double volute and palmette pattern as well as rosette pulvinar . The patera and urceus appear on the sides. B: Frohner (1878) 132 no. 105; Wrede (1981) 225 no. 90'; Boschung (1987) 79 no. 17 D: Based on the hairstyle and drapery, 80-100 (\ rede)

T:

Villa Pellucchi near Pincian gate (Fig. ) London, British Museum, The Wolf: on Galleries, inv. GR 1805.7-3.169 (Jan 06) Marble relief, 46 x 47 x 9

J:

DI MA:-IB / ACVIA POLLA SO/ RORIS FlLIAE / BENE MERENT / FECIT MARCIA / BA ILLAE VIXIT / A N!S XII = To the pirits of the Departed. Acuvia Polla did (this) for the well-deserving daughter of her sister (i.e. niece), 1arcia Bas ilia, who lived fo r 12 years. Tri niche containing a bust-length portrait of a girl in a t+m.

B: D:

CIL vi 10566; EDCS no. CIL 06, 10566Based on the hair tyle, late 1st C

;-48

P: L: T:

I:

D M / T FLA no T F / VIBIA O / VJXIT A ' / VNO MENS / Vlll / PARENTES / I FELIC! SI/Mi FEGER = To the Spirits of the Departed. For T. Flaviu Vibianus, son of Titus, who lived for 1 year and 8 months. His most unhappy parents did (tltis).

S: B:

Arched niche containing a bust portrait of a nude boy. CIL vi 1 248; Di tefano Manzella (1995) 38 no. 29*; Di tefano Manzella (2003) 184 no. 2576*; EDCS no. CIL 06, 1 248-

D:

Late 1 t to early 2nd C (Di Stefano Manzella)

Pr: Large vertical crack through the centre; surface/edge chips; light weathering J:

S:

COR O ESIME // DIS MA IBVS SERVIVS COR ELIVS / DIADVME VS COR ELIAE SERVA/ DAE CO IV SVAE CA RIS VIX A 'N LX / ET COR ELIAE O ES!MAE VERNE SVA I VIX AN Vlll! ME V DIE xxvm / [{ ---]] = Cornelia Onesima // To the Spirits of the Departed. Ser. Cornelius Diadumenus (did thi ) for Cornelia Servanda, his dearest wife, who lived for 60 year , and for Cornelia Onesima, his verna, who lived for 9 year , 5 months and 28 days([---]] In the centre, a girl reclines on a deathbed, upporting herself with her 1/h. She is nude save for a mantle

Find-spot unknown (from the Zelada collection) Rome, M , GL, inv. 7904 (Dec 06) Iarble stela, 36 x 22 x (wall)

Pr: Heavy weathering to the front, esp. to the portrait (from which mo t features are lost); edge chips; damage to the bottom frame

#46

P: L:

O\"er her lower body (the portrait seems to have been de igned to repre ent a boy). Beneath the bed ~re a lar e bird (left) and a mensa tripes (right). To the sides, two bust portraits of nude male ' presumably intended to represent the couple named in the inscription. CIL \'I 161 ; mith (1892) m 350 no. 2363; Altman (1905) 203; \ alker (19 s) 51*; Walker (1988) 550; Herrmann-Otto (1994) 416; EDCS no. CIL 06, 16188Based on the bust type, late 1 t C (Walker)

#49

P: L:

Find- pot unknown (atte ted in Cavalli ni collection since 17 9)

Rome, M , GL, inv. 824 (Dec 06) T: Marble stela, 76 x 39 x (wall) Pr: Edge chips; light weathering to the front

170

CATALOGUE # 50-#52

DIS MA 1B /LA ' 'AEI NARCISSI /LA AEVS ZOSIMVS / ET A AEA SYMPHE/RVSA FI LIO/ VIXIT MENS X DIES XV = To the Spirits of the Departed ofL. Annaeus arcissus. L. Annaeus Zosimus and Annaea Sympherusa {did this) for their son, who lived for 10 months and 15 days. Rect. niche containing a full-fig. portrait of a boy in a tunic. He holds a large bird in his hands. CIL VI 11675; Di Stefano Manzella {1995) 40 no. 23*; Di Stefano Manzella (2003) 88 no. 2357*; EDCS no. CIL 06, 116751st to 2nd C (Di Stefano Manzella), probably around the Trajanic period owing to the hairstyle

B:

Via Salaria, found after destruction of the eastern tower of the Porta Salaria (1871) (Fig. 130) L: Rome, MC, MCM, inv. 1102 (Dec 06) T: Marble altar, 161 x 97 x 74 Pr: Some restoration to the child's face; damage to the right hand, left toe and part of the drapery; light weathering; minor edge chips /: DEIS MANIBVS SACRVM / Q SVLPICIO Q F CLA MAXIMO DOMO ROMA VIX A XI M V D XII / HIC TERTIO CERTAMI IS LVSTRO INTER GRAECOS POETAS DVOS ET L / PROFESSVS FAVOREM QVEM OB TE ERAM AETATEM EXCITAVERAT / I ADMIRATIONEM INGE IO SVO PERDVXIT ET CVM HONORE DISCESSIT VERSVS / EXTEMPORALES EO SVBIECTI SV T NE PARE 'T ADFECTIB SVIS INDVLSISSE VIDEANT / Q SVLPICIVS EVGRAMVS ET LICI IA IA VARIA PARENT I 'FELICISSIM F PIISSIM FEC ET SIB P s = Sacred to the Departed Spirits. For Q. Sulpicius Maximus, son of Quintus, member of the Claudia voting tribe, native of Rome, who lived for 11 years, 5 months and 12 days. In the third celebration of the contest he performed with 52 Greek poets, rousing favour due to his age which he turned to admiration at his capacity. He left with honour. His extemporaneous verses are inscribed above, in order that his parents are not seen as indulging their affections. Q. Sulpicius Eugramus and Licinia Ianuaria, most unhappy parents, did (this) for their most devoted son, and for them selves and their descendants. (For the Greek portion see Backe-Dahmen 2006: 151. For translation see Raleigh elson 1903: 385.) S: Arched niche containing a full-fig. portrait of a boy in a t+t. He turns his head slightly to his left, holds an open scroll in his 1/h and places the other against his chest. The lid features half-p acr., fluttering ribbons and a central laurel wreath. The patera and urceus appear on the sides.

D:

J:

S: B:

D:

#50

P:

Henzen (1871) 98-115; Visconti and Vespignani (1871)*; CIL v i 33976; Raleigh elson (1903) 384-95; Altmann (1905) 219 no. 285*; Gercke (1968) 33 no. R31; Boschung (1987) 113 no. 957*; Kleiner (1987b) 162 no. 45 "*-; Wiedemann (1989) 169; Huskinson (1997) 237; Rawson (1997a) 223*; Rawson (1997b) 80; D'Ambra (1998b) 43*; Mattei and Gregori (1999) 48 no. 19"*; Rawson (1999) 90 and Appendix 3; Minten (2002) 130 no. A9; Kragelund, Moltesen and 0stergaard (2003) 21*; Rawson (2003a) 17*; Rawson (2003b) 285; Laes (2004b) 66; Huskinson (2005) 94; Backe-Dahmen (2006) 151 no. A11 A*; Carroll (2006) 157; D'Ambra (2007b) 340; Huskinson (2007b) 329*; Backe-Dahmen (2008) 74*; ArD no. 39706*; EDCS no. CIL 06, 33976* Based on the mention of the festival and the boy's coiffure, 94-100 (Kleiner)

#5 1

P:

Find-spot unknown (bought from Campana collection in 1863) L: Paris, MdL, salle 25, inv. MA 1329 (Sept 07) T: Marble relief, 54 x 178 x 25 Pr: Restoration along the top and bottom edges as well as to the faces, esp. to the noses; minor edge chips; cracks through the busts I: C MARVLLV A C Fl SEVERA C F [---] . (Perhaps not antique.) S: Rect. niche containing 5 bust portraits. L-R: a man in a t+t; a woman in a t+m; a boy in a t+c; a woman in a t+m; a man in a t+t. The women tu rn their heads towards the men. B: CIL v1 1459; Altmann (1905) 200*; Gercke (1968) 32 no. R30; Zanker (1975) 310*; Frenz (1977) 171 no. H7 A; Kockel (1993) 208 no. 7"*-; Kersauson (1996) 54 no. 17A*; Minten (2002) 128 no. R20; Backe-Dahmen (2006) 145 no. R21A*; ArD no. 32333; EDCS no. CIL 06, 01459 D: Based on the hairstyles and physiognomy, Trajanic (Kockel ) #52

P:

Find-spot unknown (from the Villa Strozzia collection) Rome, MC, MCM, Deposit, inv. 2886 (Dec 06) T: Marble altar, 161 x 74 x 43 Pr: Losses to the niche frame; damage to the noses, with that of the girl restored; general weathering to the front; surface/edge chips J: DIIS MA IBVS / M IV IO PERSO PATRONO / ET M IVNIO SATYRO / ET M IVNJO !VSTO / ET IVNIAE P!AE / FECIT / IV IA VENVSTA CONIVG I SVO / ET FILIS DVLCISSIMIS / V A CVM PHARNACE LIB = To the Spirits of L:

CATALOGUE : 53-:56

the Departed. For M. Junius Persus, patron; and for M. Junius Satyrus; and for M. Junius lustu ; and for Junia Pia. Junia Venusta did (thi ) for her husband and sweetest children together with Pharnaces, freedman. S: Lid: arched niche containing a bu t portrait of a man in a t+t. Main rect. niche: 3 bu t portraits. L-R: a boy in a t+t; a man in a t+t; a girl in a t+m which lip from her shoulder (as an allusion to Venus). Tue patera and urceus appear on the sides. B: CJL VI 20819; Gercke (1968) 28 no. R25; Bo chung (1987) 113 no. 942*; Kleiner (1987b) 168 no. 4 *; Rawson (1991) Pl. 5*; Rawson (1995) 4'; Mattei and Gregori (1999) 54 no. 25*; Minten (2002) 130 no. AlO; Backe-Dahmen (2006) 152 no. A12"*; Huskinson (200 b) 329; ArD no. 39498*; EDCS no. CIL 06, 20819•D: Based on the portrait styles and bu t length , 95-110 (Kleiner) #53 P: Find-spot unknown L: Lost. Formerly in the Villa Comtessa Margarucci (Kleiner) T: Marble altar, dimensions unknown Pr: Severe weathering to the front; tip of the left acroterion lost; some discolouration; damage to the portrait details and to the left side of the altar f: D M / NVMISIA / HEORTE / ANNORVM X MESVM / Vlll DIERVM XXV / NVMISIA / TROPHIME / VER AE / DYLCISSIMAE = To the Spirits of the Departed. umisia Heorte, of 10 years, 8 months and 25 days. umisia Trophime (did this) for her sweetest verna. S: Tri. niche, flanked by half-p acr., containing a bust portrait of a girl whose drapery cannot be discerned. B: CIL VI 23130; Boschung (1987) 88 no. 361; Kleiner (1987b) 200 no. 72 (cognomen as eopte)*; HerrmannOtto (1994) 416; Minten (2002) 132 no. A25; EDCS no. CIL 06, 23130D: Based on the bust form, 90-117 (Kleiner) #54 P: Find-spot unknown {purchased in 1775) L: Palermo, MusA Regionale, cortile maggiore, inv. 3721 (March 06) T: Marble altar, 60 x 41 x 18 Pr: Minor surface/edge chips J: D M / A EGRILIO MASCVLI ' 0 / VIXIT A IS VIIII ME SIB / II ET DIEBVS V A EGRILI LES/BI VERNAE LIBERTO A EGRI/LIVS PRIVATIO PATER FILIO / PIENTI IMO FECIT = To the Spirits of the Departed. For A. Egriliu Masculinus, who lived for 9 years, 2 months and 5 day ,

S: B:

D:

171

verna and freedman of A. Egrilius Lesbus. A. Egrilius Privatio, father, did (this) for his most devoted son. quare niche containing a bust portrait of a boy in a t+t. CIL VI 17135; Bivona (1970) 182 no. 221•; HerrmannOtto (1994) 416; Equizzi (2006) 134" *; EDCS no. CIL 06, 17135Trajanic (Equizzi)

;-55

P:

Find-spot unknown Bologna, MCA, cortile lap., inv. 19378 (Aug 06) T: Marble altar, 38 x 26 x (wall) Pr: Back frame damaged; general weathering, esp. over the face; surface/edge chips [: C NONIO PIO QVI V A VI / M V D VII FEC ONIA SPES / [FRA]TRI BENE MERE Tl = For C. onius Pius, who lived for 6 years, 5 months and 7 days. onia Spes did (this) for her well-deserving brother. S: A full-fig. portrait of a nude boy. He raises his r/h to his lips, an allusion to Harpocrates. In his 1/h he holds a caduceus, a reference to Mercury. B: CIL VI 23032; Susini and Pincelli (1960) 149 no. Arcata c•; Wrede (1981) 254 no. 161"*-; Goette {1989) 459*; Uzzi (2005) 176; Backe-Dahmen (2006) 157 no. A23" *; EDCS no. CJL 06, 23032• D: Based on the hairstyle, Trajanic (Backe-Dahmen)

L:

#56 P: Via Labicana, Tor Pignattara L: Urbino, MusLap, sala IV, inv. 41135 (Dec 09) T: Marble altar, 63 x 38 x 19 Pr: Right ide missing and filled in with modern restoration; no e-tip damaged; general weathering to the front; some di colouration J: D [M] // LABERIA[E] / DAPHNES VA[---] / M LABERIVS DAPH[ rv ET] / FL HORAEA PARE TE[s] / FIL DVLCISSI[MAE] = To the Spirits of the Departed ofLaberia Daphne, who lived for [---] years. M. Laberius Daphnus and Flavia Horaea, parents, (did th is) for their sweetest daughter. S: Rect. niche containing a full-fig. portrait of a nude girl a Daphne; branches grow from her arms and legs while her feet transform into a trunk. Laurel leaves grow from her hair. B:

1ontfaucon (1724) 83 n.1•; CIL VI 20990; Altmann (1905) 245; Wrede (1981) 113 n.473; Luni and Gori (1986) 34'; Kleiner (198 a) 551; Kleiner (1987b) 203 no. 75"*; Minten (2002) 132 no. A26; Backe-Dahmen (2006) 150 no. A10" *; Varner (2006) 297; Huskinson (2007b) 330; EDCS no. CIL 06, 20990-

172

D:

CATALOGUE #57 - ;:60

Owing to the nomen and iconographic scheme, 90-120 (Kleiner)

#57 P: Find-spot unknown L: Rome, Villa Albani, Galleria della Leda, inv. 220 (Dec 06) T: Marble altar, u5 x Sox (wall) Pr: Restoration to the nose, left hand and upper right arm; damage to the drapery and bottom edge; general weathering to the front I: D Ms[··· ] S: Rect. niche, framed by fluted pilasters with Cor. capitals, containing a full-fig. portrait of a boy in a t+t with a bulla. He holds a scroll in his 1/h and part of hi drapery with the other. The gable features two birds with twigs in their beaks. B: Altmann (1905) 220; Gercke (1968) 35 no. R33; Goette (1986) 161 no. 87; Bo! (1991) 274 no. 353" ' -; ArD no. 28070 D: Based on the toga, Trajanic to early Hadriani (Bol) #58 P: L: T: Pr: /:

S:

Find- pot unknown Rome, MV, cortile ottagano, inv. 103 De 06) Marble altar, 136 x 9 x 4 General weathering to the front; dama e o the no etips and chin ; face of the putti lo t; acroteria broken DI MA IBVS / Q GAV! M\" ICI \'OL\"-'1.;L.\ w;,.·_.\RLA. CO, IVG! CARI SIMO/ BE:-IE DE E MERJTO FECIT ET IBI ET / LIBERTIS LIBERTASB\I Q EORV I = To the pirits of the Departed of Q. Gaviu 1u icu . \'olumnia lanuaria did (thi ) for her dearest husband, who desen·ed 1\·ell of her, a well as for herself, her freedmen and women and their descendants. Front: reel. niche containing 2 bu t portrai . L-R: a man in a t+t; a woman in a t m \\ith a sto a. The lid a . Iedusa feature putti carrying a garland a well head and half-p acr. Left: arched ni be con abin° J full-length figure . At the left, a ea man in a t- p i flanked by a lave(?). In front of em are ,·o boys, of varying heights, one in a tunic and one nude. Thi may be a teaching ene. Ri ht: a woman in a tunic. he hold a blo om in her r 'h and a fruit basket in the other. he may be pe or Pro perina. To her ide are the tallest three smaller but mature male , all in carrying an in cription plaqu . This ~ -Y procession featuring former · a, · will. (For more detailed d,.,·,,c.o.i.:,.:,nm see Kleiner 19 7b.)

B:

D:

CIL VI 18911; Amelung (1903) 1/2 249 no. nsa*; Altmann (1905) 282; Boschung (1987) u3 no. 944*; Kleiner (1987a) 549; Kleiner (1987b) 170 no. 49"*; Kleiner (1992) 195*; ArD no. 20739; EDCS no. CIL 06, 189llBased on the hair tyle , 95-110 (Kleiner)

=59

P: L: T: Pr: f:

B:

D:

\'ia Appia, ,igna loroni Lo t (formerly at Ro ie Priory) Marble altar, 1 (H) x 51 (W) Based on the available illustration, the lid was in good condition. D M M COCCEJ CRESCE 'TIS F / VIX A N !I M I D VII J ET COCCElAE AVGE CB/ ET COCCE!AE AVGE F D / ET M \'I.PIO VE TALI F D / V A XXVllII M VI / VESTALIS A\"G LIB/ ET SIB! ET VIS POSTERISQ / EORVM = To the piri of the Departed of M. Cocceius Crescens, son, who li,·ed for 2 year , 1 month and 7 days, and Cocceia Auge, well-de erving wife, and Cocceia Auge, sweete t daughter, and L Ulpius Vestalis, sweetest son, who lfred for 29 years and 6 months. Vestalis, freedman of the emperor, (did this) also for himself, his family and descendant . If the urviving illustration is reliable, a semi-c. niche contained a full-fig. portrait of a boy as Mercury. He wear a winged cap, has a chlamys over his right arm, carrie a caduceus in his r/h and a money bag in the other. He i flanked by a tortoise to his right and a ram to hi left. The pulvinar are decorated with rosettes. ~lontfaucon (1 22) tom I pl. 72.6*; Michaelis (1882) 655 no. 91; CIL VI 15893; Altmann (1905) 283; Chantraine (196 ) n6; \\rede (1981) 282 no. 230" ; Boschung (1987) 9 no. 370; ArD no. 130968; EDCS no. CIL 06, 158939 - 160 (Bo chung)

=60

Find- pot unkn01 n (from the Maffei collection) Florence, GdU, Deposit, inv. 969 (Dec 06) T: ~larble altar, 96 x 59 x 39 Pr: General weathering to the front; facial features missing; minor edge lo ses; some discolouration to the in cription [: Q OCTAVIO/ MAGVLLI O / DVLC!SSIMO FILIO / MEVIA T F CA TA I MATER = For Q. Octavius Magullinus, sweete t son. Mevia Casta, daughter of Titus, his mother, (did this). S: Laurel wreath containing a bust portrait of a boy. His drapery is now too weathered to be discerned. The lid also features rosette pulvinars and a fluttering ribbon. The patera and urceus appear on the sides. P:

L:

CATALOGUE #61 - #65

B:

D:

CIL v1 23293; Boschung (1987) 81 no. 101\ Kleiner (1987b) 154 no. 40*; Minten (2002) 130 no. AS; Granino Cecere (2008) 68 no. 3460*; EDCS no. CIL 06, 23293Based on the hairstyle, c. 100 (Kleiner)

~63 P: L: T: Pr.

#61

P: Find-spot unknown (from the Albani collection) (Fig. 3) L: Rome, MC, MCM, Deposit, inv. 164 (Dec 06) T: Marble altar, 55 x 35 x 29 Pr: lose-tip replaced; light weathering; minor damage to the inscription [: D M// P ALB! P F FAB MEMORIS / VI X A V M VI D VI / P ALBIVS THREPTVS / ET ALBIA APOLLONIA / PARE TES FIL!O DVLCISSIMO = To the Spirits of the Departed of P. Albius Memor, son of Publius, member of the Fabia voting tribe, who lived for 5 years, 6 months and 6 days. P. Albius Threptus and Albia Apollonia, parents, (did this) for their sweetest son. S: A bust portrait of a boy in a t+t with a bu/la. He is flanked by rosette pulvinars. The patera and urceus appear on the sides. B: CJL v1 11346; Altmann (1905) 221 no. 288*; Stuart Jones (1912) 58 no. 18"*; Gercke (1968) 36 no. R34; Vidman (1975) pl. 13*; Goette (1986) 161 no. 85; Boschung (1987) 87 no. 317*; Kleiner (1987b) 173 no. 51*; Mattei and Gregori (1999) 54 no. 27"*; Minten (2002) 130 no. A12; Rawson (2003a) 51*; Backe-Dahmen (2006) 152 no. A13 fl* ; Huskinson (2007b) 330; ArD no. 16253*; EDCS no. CIL 06, 11346D: Based on the portrait style and bust length, c. 100 (Kleiner) #62

P: L: T: Pr: I:

S:

B:

D:

Near Porta Sapienza (1861) Rome, MV, MGP, inv. 10603 (Dec 06) Marble altar, 78 x 39 x 32 Horizontal crack through the front; small break under the lid; bottom left corner and head of the left putto missing DIS MANIBVS / L POSTVMII / IVLIA I = To the Spirits of the Departed of L. Postumius Iulianus. Clipeus containing a bust portrait of a boy in a t+c. It is held by two putti who stand on the wings of two eagles below. The lid decor includes a tripod, two birds and rosette pulvinars. On the sides are the patera and urceus plus other motifs similar to those on the front. CIL v1 24868; Boschung (1987) 103 no. 762; Kleiner (1987b) 175 no. 53"*; Sinn (1991) 69 no. 36/\*; Minten (2002) 130 no. A14; Backe-Dahmen (2006) 153 no. A15*; ArD no. 21639/\*; EDCS no. CIL 06, 24868Based on the hairstyle, c. 100 (Kleiner)

[:

S:

B:

D:

173

Via Praenestina, near Acqua Bollicante Rome, M R, TdD, Deposit, inv. 39128 (Dec 06) Marble altar, 71 x 34 x 26 Bottom right section and nose-tip lost; light weathering; some discolouration D M/ AMMAEA / VRBANAE / C AMMAEVS / ARISTARCHVS / CVM AMMAEA SATVRNI A / FILIAE DVLCISSIMAE = To the Spirits of the Departed. For Ammaea Urbana. C. Ammaeus Aristarchus with Ammaea Saturnina (did this) for their sweetest daughter. Arched niche containing a bust portrait of a girl in a tunic which slips from her right shoulder (a reference to Venus). The patera and urceus appear on the sides. BCAR (1907) 359; NSA (1907) 285*; CIL VI 37974; Gercke (1968) 28 no. R24; Giuliano (1984a) 77 no. 1v,1*; Boschung (1987) 88 no. 345*; Kleiner (1987a) 552; Kleiner (1987b) 174 no. 52*; Goette (1989) 462*; Minten (2002) 130 no. A13; Backe-Dahmen (2006) 153 no. A14*; Huskinson (2007b) 330; ArD no. 17501; EDCS no. CIL 06, 37974Based on the hairstyle and bust type, c. 100 (Kleiner)

#64

P: L:

Find-spot unknown Rome, M R, TdD, Giardino ; EDCS no. CIL 06, 14674Based on the epigraphy and on compari ons \\ith other pieces, mid 1st to early 2nd C

#66

P:

Via Flaminia, vigna de! Poggio L: Florence, GdU, Deposit, inv. 938 (Dec 06) T: Marble altar, 62 x 39 x 20 Pr: Minor edge chips; damage to the pulvinar ; light weathering; nose-tip lo t [: D M / L !VLIVS THAMYRVS / L !\'LIO CARO / \'ER..'-AE \'O BENE / MERENTI FECIT ET / IVLIA TROPHD1E / 1ATER VIX A, Ill / ME s Vlll DIE X = To the pirit of the Departed. For L. Iulius Carns. L. Iulius Tuamyrus did (this) for his well-deserving verna, with lulia Trophime, mother. He lived for 3 years, 8 month and 10 ; Granino Cecere (2008) 60 no. 3456"'; ArD no. 6024; EDCS no. CIL 06, 20304D: Based on the hairstyle, 100-110 (Kleiner) #67 P: Find-spot unknown (from the Albani collection) L: Rome, MC, Palazzo uovo, sala de! Fauna, inv. 264 (Dec 06) T: Marble altar, 59 x 46 x (wall) Pr: Right foot of the boy and final leg of the hor e damaged; back missing; light weathering to the front /: D M // C PETRONIO C F CAM / LIG\'Rl VIR.IA.','O PO TVMO / VIX A ' X M X D XX / D VALERlV XlCETA / AYO NEPOTI FECIT = To the pirits of the Departed. For C. Petronius Virianus Po tu.mus, on of Gaiu , member of the Camilla ,·oting tribe, of Liguria. He li,·ed for 10 years, 10 months and 20 day . D. Valerius Niceta, grandfather, did (this) for hi grandson. S: A full-fig. portrait of a bo on hor eba , Kearing a tunic, trabea and olive-leaf crown (in r : en e to the transvectio equitum ceremon -).

CIL VI 24011; Kleiner (1987b) 187 no. 61"*; Mattei and Gregori (1999) 52 no. 23*; Minten (2002) 132 no. A18; Rawson (2003a) 322'; Backe-Dahmen (2006) 155 no. A18" *; EDCS no. CIL 06, 24onD: Based on the hairstyle, 100-110 (Kleiner)

B:

=68 P: L: T: Pr: /:

B:

D: ::69 P: L: T: Pr: /: S:

B:

D:

Find- pot unknown (from the Albani collection) Rome, MC, MCM, Deposit, inv. 101 (Dec 06) 1arble altar, 66 x 31 x 15 Damage to the nose and chin; light weathering; small edge lo e D M / Q FABIO Q F / FABIO PROCV/LO VIXIT MEN/SIBVS \'llll DIE/BV XXllll / CLAVDIA SPE DV/SA NEPOTI FECIT = To the pirits of the Departed. For Q. Fabius Proculu , on of Quintus, who lived for 9 months and 24 day . Claudia pendusa did (this) for her nepos. Arched niche, backed by a mussel shell and framed by pila ter and half-p acr., containing a bust portrait of a boy. He wears a ch/amys over his left shoulder. The patera and urceus appear on the sides. CIL VI 17557; Stuart Jones (1912) 52 no. 9*; Boschung (1987) 88 no. 346; Kleiner (1987a) 553; Kleiner (1987b) no. 62"; Mattei and Gregori (1999) 54 no. 28*; 1inten (2002) 132 no. A19; Baills (2003) 128; BackeDahmen (2006) 155 A19*; Huskinson (2007b) 331; EDCS no. CIL 06, 17557Ba ed on the hairstyle, 100-no (Kleiner)

Find- pot unknown Rome, B P, Chio tro Cosmatesco 1v (Dec 06) Marble altar, 36 x 30 x 30 Top ection lo t; evere weathering, with the loss of the portrait details; surface/edge chips [---]/[---)IVS HERME[S] / PATER / POSTERISQVE SV!S A bust portrait of a boy in a t+t shown inside the doors of a hrine (armarium?), the top of which features a wreath, fluttering ribbons and half-p acr. It is framed by fluted pilasters. The patera and urceus appear on the ide . CIL VI 35453; Altmann (1905) 18; Zadoks and Jitta (1932) 26'; Boschung (1987) 109 no. 868; Kleiner (1987b) 192 no. 66" *; Filippi (1998) 36 no. 50811*; Minten (2002) 132 no. A22; EDCS no. CIL 06, 35453Based on the hairstyle and bust form, 100- 110 (Kleiner)

#70 P: Via Flaminia, vigna de! Poggio (Fig. 131)

CATALOGUE =; 1-= 73

L:

Florence, Gd , sala 1, inv. 942 (Dec 06) Marble altar, 95 x 69 x 49 Pr. Lid mi ing; damage to the dog' face, to the no e-tip of the girl and the putti, and to the girl' finger ; light weathering acros the front; minor edge chip /: DIIS MANIBV / HATERlAE YPERBAE Q\'Af. \'IXIT A:;);0 l MESIBV VI DIEB XXY FECERY~I PARE~TE I. 'FEUCISSIM! / FILIA£ VA£ Q HATER!\' EPHEBY ET [\"LIA ZOS!ME SIB! SVI // Dll MA:S"IBV LOC\' OCC\-PATY / Ii FRONTE P Vll I AGRO P 1111 = To the pirits of the Departed. For Hateria uperba, who lived for I year, 6 months and 25 days. Q. Hateriu Ephebus and Julia Zosirne, most unhappy parents, did (thi ) for their daughter, for themselves and their family // To the Spirits of the Departed. This place occupie feet in front and 4 feet at the rear. S: Square niche, flanked by torches, containing a full-fig. portrait of a girl in a t+t. She is crowned with a wreath by two flying putti; the centre of her hair i braided and decorated with pearl (a reference to the I i cult). She holds a bird in her 1/h and a grape bunch in the other. To the left of her feet is a large bird; at the right is a dog. The patera and urceus appear on the sides. B: CIL VI 19159; Altmann (1905) 115 no. 109A; Boschung (1987) 93 no. 555; Kleiner (1987a) 551'; Kleiner (19 7b) 183 no. 58A*; Scott (1999) 71; Harlow and Laurence (2002) 6; Minten (2002) 130 no. A16*; Baills (2003) 129 n.67; Backe (2005) 92*; Backe-Dahmen (2006) 154 no. A16 A*; Huskinson (2007b) 331; Backe-Dahmen (2008) 145*; Granino Cecere (2008) 52 no. 3453A'; ArD no. 132198*; EDCS no. CIL 06, 19159D: Based on the coiffure, 100-110 (Kleiner) T:

B:

D:

a entral laurel wreath and fluttering ribbons. The patera and urceus appear on the side . Gercke 196 ) 31 no. R28; Boschung (1987) 113 no. 949*; einer (19 7b) 184 no. 59A~-; Minten (2002) 132 no. A17; Backe-Dahmen (2006) 155 no. A17*; Huskinson 200 b) 330; ArD no. 40517A Based on the coiffure and the bust type, 100-110 (Kleiner)

=2 P: Found near BSP L:

Rome, B P, Chiostro

Ill

(Dec 06)

T: Marble altar lid, 27 x 44 x 30 Pr. Damage along the top edges; nose-tips lost; general

B:

D:

weathering to the front Two arched niches, each containing a bust portrait of a boy in a tunic, the second of whom on the right is omewhat bigger. On the ides, playingputti. Bo chung (1987) 106 no. 805*; Kleiner (1987b) 194 no. 6 >; Filippi (1998) 35 no. 50778*; Minten (2002) 132 no. A23; Backe-Dahmen (2006) 156 no. A20* Based on the hairstyles, 100-110 (Kleiner)

#73 P: Cancelleria gardens (Fig. 92) L:

Rome, ilia Albani, sala ovale, inv. 920 (Dec 06) T: Marble altar, 102 x 58 x 26 Pr. Significant losses to the rear; light weathering across the front; damage to the head and legs of the animal [: D M / '!CO I FILIO / DVLCISSIMO / QVI V ME S XI / DIEBVS VIII // EVTYCHETI / VERNAE / QVI VIX AN I / MENS V DIEB X II PVBLICIA GLYPTE FEC!T = To the Spirits of the Departed. For ico, sweetest son, who lived for 11 month and 8 days; and for Eutyches, verna, who lived for 1 year, 5 months and 10 days. Publicia Glypte did (thi ). Circ. niche containing 2 fulJ-fig. portraits of boys, each dre sed in a t+t, who turn towards one another. Both hold scrolls in their left hands, grasp parts of their drapery with their right hands and stand on very shallow plinth . Between them, on the ground, is a caps a. The lid

#71

P:

Allegedly near the Baths of Caracalla but purcha ed from an art dealer L: Leiden, Rijksmuseum van Oudheden, inv. K 1951/12.1 (June 06) T: Marble altar, 78 x 52 x 36 Pr: ose-tip lost; light weathering across the front; small edge chips [: DIS MA IBVS / CAETE NIAE PF POLLITTAE / VIXIT ANNIS x ET ME SIB SEXS = To the Spirits of the Departed. For Caetennia Pollitta, daughter of Publius, who lived for 10 years and 6 months. S: Circ. niche containing a bust portrait of a girl in a t+m. The tunic slips from her right shoulder (an allusion to Venus). Her hair is decorated with pearls, perhaps a reference to the Isis cult. The lid features rosette pulvinar ,

175

B:

feature mask acroteria and a central scene of Telephus being uckled by a hind. The patera and urceus appear on the ide . CIL VI 22972; Boschung (1987) 89 no. 377; Kleiner (198 b) 195 no. 68'; Bo! (1989) 121 no. 34A*; Goette (1989) 455; Herrmann-Otto (1994) 415; Minten (2002) 132 no. A24; Raw on (2003a) 259', 351; Rawson (2003b) 286*; Huskinson (2005) 94; Backe-Dahmen (2006) 156 no. A21 A*; Huskinson (2007b) 331; ArD no. 28078A; EDCS no. CIL 06, 22972-

176

D:

CATALOGU E ;; 74 - : 77

Based on the hairstyles and the mask acroteria, 100-110 (Kleiner)

: 76 , 1ear anta Maria della Pace Turin, }.[useo di Antichitit, sala statuario 1, inv. 3312 (Jan 10) T: :'\larble relief, 35 x 62 x 7 Pr. Light weathering to the front; damage to the edges /: D ;\I L MV IO L F PINO VA llll M X D xxvm / L MVSS!VS PETRO:-.'lY ET 1V SIA TYCHE / FIL!O PIISSJMO FECER\ . 'T / rn r QVE = To the Spirits of the Departed. For L. .Mu ius Pinus, on of Lucius, who lived for 4 ·ear , 10 month and 28 days. L. Mussius Petronius and !us ia Tyche did (this) for their most devoted son and for them elves and their family. Tri. niche containing a bust portrait of a boy with a chlamys over hi left shoulder. To his right is a ram, to hi left a hen with a caduceus in its mouth (allusions to Mercury). B: 1affei (1 49) 211 no. 4; CIL v1 22763; Wrede (1981) 278 no. 21 11 '; Backe-Dahmen (2006) 158 A25 n.1; ArD no. 31431; EDCS no. CIL 06, 22763D: Based on the hairstyle, u 5-135 (Wrede) P: L:

#74

P:

Via Portuense, vigna Pia Rome, MV, GL, inv. 8416 (Dec 06) T: Marble altar, 59 x 41 x (wall) Pr: Bottom section lost; damage to the acroteria and the child's face; surface/edge chips; general weathering /: VIX A IV / MEN IV // D M / M TVRRANI BENEDICT! / FECIT TVRRANIA / 0 ES!ME MATER ET SIB! ET / M TVRRAN!O SECV ' DO / PATRO O SVO DE SE BM/ ET SV! LIBERTIS LIBERTA/BVSQ POSTERISQ EOR ET / M LOLL!O ATHENAGORAE I AMICO FIDELISSIMO / [---] = To the Spirits of the Departed of M. Turranius Benedictu , who lived for 4 years and 4 months. Turrania One ime, mother, did (this) also for herself, for M. Turraniu Secundus, her patron who deserved well of her, and for her freedmen and women and their de cendants, and for M. Lollius Athenagora, most faithful friend. (Although the last line is mostly lost, it eems to contain the in fronte and in agro formulae.) S: Semi-c. niche, topped by half-p acr., containing a bust portrait of a boy. He wears a chlamys and has a caduceus resting against his houlder (an allu ion to Mercury). B: CIL VI 27799; Wrede (19 1) 27 no. 21 11>-; Di tefano Manzella (1995) 30 no. 136•; Di tefaoo :'\!aozella (2003) 186 no. 2579*; Backe-Dahmen (2006) 157 no. A22 11 \ EDCS no. CIL 06, 27799 D: Ba ed on the hairstyle, 100- 120 {Wrede) L:

#75 P: L: T: Pr: /:

S: B:

D:

Find-spot unknown (bought in aples in 1 99) (Fig. 9) Boston, Museum of Fine Arts, inv. 99.34 ( 10v 09) Marble relief, 57 x 50 x 9 Noses lost; damage to the drapery; urface/edge chip ; light weathering to the front PETRO IA HEDO E FECIT SIB! / ET L PETRo:s;ro PHILEMO I FIL!O / ET L!BERTIS LIBERTABV QVAE PO TERI QVAE EORVM = Petronia Hedone did (thi ) for her elf and for L. Petronius Philemon, on, and for her freedmen and women and their de cendants. Arched niche containing 2 half-fig. portraits. L-R: a woman in a t-rm ; a boy in a t-t. CIL vr 24037; Caskey (1925) 213 no. 126>; Comstock and Vermeule (1976) 223 no. 354\ Kleiner (2000) 54*; ArD no. 38673*; EDCS no. CIL 06, 2403:-Based on the female hair tyle, 110-uo (Comstock and Vermeule)

v,

=7

P:

ia Casalina, top of Torre di Centocelle (1848) Rome, 1V, MGP, inv. 9998 (Dec 06) T: Marble relief (from larger monument), 130 x 103 x 14 Pr. Reconstructed from four pieces; surface/edge chips; light weathering; nose-tips lost J: Q HAT[ERIVS ---) / ET HATER[IA ---) / SIBI ET LIBERTIS L[IBERTABVS) / POSTERISQ EOR[VM ET) / Q HATER[IO ---- R]VFIO[NI ---] / OPTIMO [---- BENE) ME[RITO ---) II Q HATERIO Q F / RVFJ ' 0 / Q HATERIO Q F / ANICETO // VIRGI ES RAPTAE / HATERIA Q FIL / MAGNA / HATERIA Q FIL / QVI TILLA = Q. Haterius (---1 and Hateria [---) (did this} for themselve ; and for their freedmen and women and their descendants; and for excellent and well-de erving Q. Haterius Rufio // For Q. Haterius Rufinu , son of Quintus; for Q. Haterius Anicetus, son of Quintus II Hateria Magna, daughter of Quintus, and Hateria Quintilla, daughter of Quintus, taken as virgins. (In cription associated with whole monument; for others from the same complex, see Sinn and Freyberger.) L:

Temple-like funerary building on a raised podium. Inside the gable, a bust-length portrait of a cap. vel. woman in a t+ m. On the side, a laurel-wreath medallion with a bust portrait of a boy in a t+t; a shell niche with a bust portrait of a girl in a tunic (which slips from her shoulder as an allusion to Venus); a laurel-wreath medall ion with a bust portrait of a nude, younger boy. The

CATALOG E =78-;;81

temple feature rich ub idiary decoration ompr mo:

is decorated with pearls (a reference to the Isis cult).

pilasters covered with vegetal motifs; e\·eral putti , ith fruit and garlands in their hand ; ,ine-cm·ered columns with leaf capitals, on top of whi h are eagle · a

Below, a boy in a t+t with a bu/la. The subsidiary decoration comprises putti and acanthus leaves, motifs which also appear on the side faces.

naiskos containing a statue of nude Hercule holding a club and sitting on a basket; a econd naiskos hown

B:

in three-quarter view; tanding women holding croU and weight-scale ; a set of double door decorated with a lion's head and a female bu t. Above the temple,

D:

and apparently supported by five eagle and garlands, is a platform featuring further scenes set in front of a hanging curtain. They comprise, L-R: a large candelabrum; a woman reclining on a kline who ha bracelets, a necklace, a mantle over her lower body and a bird in her r/ h; three figures (a woman in lion kin and two nude boys?) crouching on the floor and playing with knucklebones; a standing woman attending to an altar laden with fruit; columned structure inside which is a

two men adjust the rigging at the top of the crane. (For detailed discussion of these scenes, a well a the rest of the relief sculpture from this monument, see inn and Freyberger.) CIL VJ 19148; Altmann (1905) 24; Rushforth (1915) 159; Gercke (1968) 38 no. R37; Toynbee (1971) 268; Andreae (1977) 176'; Frenz (1977) 100; Wrede (1981) 243 no. 129; AnnEpigr (1982) 25 no. 77; Boschung (1987) 41; Kleiner (1992) 196*; Sinn (1993) 232\ Flower (1996) 93; Sinn and Freyberger (1996) 51 no. 6"*-; D'Ambra (1998b) 116*;

D:

T:

/:

S:

B: D:

Find-spot unknown

L:

Uncertain. Although records at the DAI place it at the M in Rome, Diana Kleiner was unable to locate it in

Pr.

19148 and AE 1982, 00077 Based on the coiffures and style, c. 120 (Sinn and

S: B: D:

P:

Find-spot unknown (bought in 1959 from a private

L:

collection) Basel, Antikenmuseum, inv. Zi.i 454 (March 07)

#81 P:

Part of marble pillar monument, 128 x 68 x 63

L:

S:

her shoulder (an allusion to Venus) and whose hair

CIL VJ 17831; Filippi (1998) 35 no. 50802*; ArD no. 29669; EDCS no. CIL 06, 17831Based on the hairstyle, early to mid 2nd C

t8o

ArD no. 21582 " *; EDH no. 001315; EDCS no. CIL 06,

damage to the bottom of the boy's portrait and the heads of the top two subsidiary figures 2 bust portraits surrounded by rich vegetal decoration. Above, a girl in a tunic whose drapery slips from

months. Cocceia Magna and Cocceius Chrestus, parents, did (this) for their sweetest daughter. Square niche containing a bust-length portrait of a girl

P:

Freyberger)

T:

eral weathering to the front, esp. to the portrait (from which most of the nose and mouth are lost) DIS MANIBV / FELICVLAE VIX A N XII M IJJ / COCCEJA MAG, A ET COCCEIVS / CHRESTVS PARENTES FJLIAE / DVLCISSJMAE FECERVNT = To the Spirits of the Departed. For Felicula, who lived fo r 12 years and 3

in a t+m. The gable features a laurel wreath with fluttering ribbons and is flanked by half-p acr.

T:

Pr: General weathering to the front and sides; noses lost;

Marble stela, 93 x 46 x 16

Pr: Top of the gable missing; damage to the frames; gen-

orman (2002) 313*; Mustakallio (2005) 182; Carroll (2006) 236; Leach (2006) 1-18*; Peter en (2006) 210;

#78

2nd C, around 120 (ArD)

=79 P: Found near the gardens of the BSP L: Rome, BSP, Chiostro 1v (Dec 06)

by five men in the wheel and manned by a further two at the bottom who have ropes in their hand . Another

Gercke (1968) 34 no. R32"; Goette (1986) 161 no. 84;

ArD no. 1683"*

nude female statue and a candelabrum. The left ide of the relief is dominated by a large crane which is turned

B:

177

T:

1987 and I had a similar lack of success in Dec 06. Marble altar, dimensions unknown ignificant lo ses along the bottom and right edges; no e-tip and parts of the drapery damaged A bust portrait of a girl in a t+m, flanked by plain pulvinars and backed by a shell. Kleiner (1987b) 221 no. 87*; Huskinson (2007b) 328 Ba ed on the coiffure, 120-1 25 (Kleiner)

ia Appia, vigna Amendola Rome, MV, GL, inv. 9387 (Dec 06) larble relief, 37 x 53 x 10

Pr: Lo es along the frames; damage to the scroll and the child's finger ; general weathering to the front; some /:

di colouration to the inscription HOC EGO SVM TVMVLO MARCJANVS REDDITVS AEVO / ON DVM PERSEPHO ES PERABAM VISERE REGNA /

178

CATALOGUE =82 -= 83

CONSVLIBVS TV C ATV ERA, I ITEROQVE SEVERO/ ET FVLVO PAR1TER QVO COEPI DYLCI HABER1 EXT\' YT EXCES IT COEPI LA "GVESCERE I . At\~Y;',I AP T\'LIT 0 SAEVA LYX 'ONA PARE "TIB ORTA / PLAXCTIBY HEY MISERAE MATR1S PATRISQVE LMITV / PE )llHI Q\'A)I MAGNA FVERAT SI ME MEA / FATA T\"LI E-"T Ill\" AE MIHI DEDERANT PVERO FACV DV VT E EM C:-\'IDIT LACHESIS CLOTHO ME SAEVA 'ECAVIT / TERTIA :-EC PASSA EST PIETATE REPE DERE MATR1 / Q\'A.MPIE Q\'AM CREBRE VENIT SACRA VIA TOTA / FLE\'IT ET I, ";',IEX A TVRBA FVNVSQVE ECVTA / DIXER\ "T FERALE DIDI STATIO !BYS ATRI / QVOD TE 'ERAE AETATI PE PALLAX APSTVLIT A ·o / NEC XO ' 0:.1:-.IGE 'A PA 1:.1 VICI IA VE IT / VT ME CVM FLORE)! FATO MOR1E:-.TE VIDERENT / TV REDDAS AETERNE PIIS SOLA.CIA SD!PER / ET VITAM SERVES CV CTI GENER1 QVE P!OR\"l\l = I, Marcianus, have been assigned to thi tomb for eternity. I was not expecting to lay eyes on Per ephone' kingdom just yet. I had been born at that time when Severus was consul for the second time and Fulrns likewise. Thereupon I began to be con idered an agreeable child. earing the end of my i..,th year and into the next, I became weaker. Oh the cruel ninth da · which, having dawned with the lamentation , alas, of my poor mother and father together, took me awa from my parent . How great my promi e would have been had not de tiny carried me off. The luse had granted to me as a boy that I hould be eloquent Lachesis begrudged me this, cruel Clotho took my life and the third Fate did not allow me to repay my mother's love. With what devotion and in what great crowd all the people in the via Sacra came. They wept and fol lowed my funeral procession in a huge throng. They said that it was a calamitous day with the public places full of gloom because deceitful hope had removed the years (to come) from one of a tender age. And indeed neighbours of all descriptions came from all direction to see my youthful vigour peri hing with me in death. May you, eternal one, always give solace to the pious and watch over all their de cendant . S: Rect. niche containing inscription and full-fig. portrait of a boy in a pallium and tunic (ID b Ra, , on a t+t). He has a bu/la, turns to his right, stands on a small plinth and holds a croll in his 1/h. To hi left i a capsa. B: CIL v1 75 ; Altmann (1905) 220; Ger ke (1968) 40 no. R38; Gordon (19 3) 140 no. 60; Goette (19 6) 163 no. 3; Bradley (1991b) 139; Di tefano . tanzella (1995) 39 no. 9387*; Rawson (1999) 5 and ..\ pendix 1>; Rawson (2003a) 159*; EDCS no. CIL 06, or, · D: Based on the con uls' nam ( - n)

:82

P:

Find-spot unknown (from the Mattei collection) (Figs. 99-101) L: Li\·erpool, ational Museums (Storage), inv. 1959.148.302 (Jul 10) T: .\larble altar, 101 x 46 x 29 Pr. General weathering to all sides; damage to the columns on front; surface/edge chips; nose-tips lost; restoration to the head and body of the woman on the left side /: L PASSIE S ATVRNI VS FECIT // D M / PASSIENIAE GEMEL/LAE COIYGI ET LIB / SVAE CARISSIMAE / OBSEQVENTI I/ MAE ET L PASSIE/NIO DORYPHORO / FIL!O ET PAS IL IO / AB! '0 FILIO ET LIB / SANCTISSIMIS = L. P ienus aturninus did (this). To the Spirits of the Departed. For Pa ienia Gemella, his dearest and most compliant wife and freedwoman. Also for his son L. Pas ieniu Doryphorus and for his most pious son and freedman Passieniu abinus. Front: framed by spiral columns (mostly lost), 3 bust portraits. L- R: a boy in a t+t with a horus lock; a woman in a t+m; a boy with a chlamys over his left houlder. Left: 2 full-fig. portraits of a woman in a t+m who embraces a boy in a tunic; the child stands on a block. On the lid, an eagle with outstretched wings is framed by spiral colw1111s. Right: the scene is the same as on the left side but with a smaller boy. B: Michaelis (1882) 399 no. 302; CIL v1 23848; Boschung (19 ) 87 no. 329; Kleiner (1987b) 225 no. 91A*; Gardner (199 ) 184; Minten (2002) 132 no. A27*; AnnEpigr (2005) 85 no. 187; Backe-Dahmen (2006) 159 no. A27A*; Huskinson (2007b) 329; ArD no. 131243*; EDCS no. CIL 06, 23848D: Based on the hairstyles and bust lengths, 120-130 (Kleiner) ;:83

P: ear Tor Sapienza (1861) L: Rome, MV, MGP, inv. 10523 (Dec 06) T: Marble urn, 58 x 35 x 26 Pr. mall cracks in the lid and left column; edge chips; damage to the back, with two large cracks and losses to the lid f: C VOLTILIO / DOMESTICO / PATER FILJO / FECIT ET SIB! f V A VII II DIIS / MA IBVS / SACRVM / C VOLTILIO C L I DOMEsnco Iv A VII= For C. Voltili us Domesticus. Hi father did (this) for his son, who lived for 7 yea rs, and fo r himself II Sacred to the Departed Spirits. For C. Voltilius Domesticus, freedman of Gaius, who lived for 7 years. (First section on front, second on back.)

.J '

..

CATALOG E = 4-=

B:

D:

Shell niche in the lid, flanked by ducks and Attis head acroteria, containing a bust portrait of a nude boy. The inscription is framed by spiral column topped b ' rosettes and pine-cones. Below the inscription, a hrine (armarium?) is framed by balustrade . CIL v1 29472; Altmann (1905) n3; inn (19 ) 225 no. 549" *; Sinn (1991) n9 no. 120" '; ArD no. 2166 ' ; EDCS no. CIL 06, 29472Hadrianic (Sinn)

#84 P: Find-spot unknown (formerly in Palazzo Rusticucci) L: Lost during WW2 (formerly in a collection in Braniewo) T: Marble stela, 62 (H) x 37 (W) Pr: At the time of the last photograph, light weathering and surface chips. J: H P // DIS M S / PHOEBO VIXIT A ' I / ~1EX HJ DIE xxvll H v1 = Sacred to the Departed pirits. For Phoebus, who lived for 1 year, 3 month , 2 day and 6 hours. (The meaning of 'H p ' is unclear but might be 'Boy Hercules'.) S: Arched niche containing a full-fig. portrait of a crouching, nude boy as Hercules. He fight two nakes which are wrapped around his arms and legs. B: CJL v, 36105; Altmann (1905) 283; Wrede (1981) 243 no. 130"*; AnnEpigr (2001) 90 no. 201; EDCS no. CIL 06, 36105D: Based on the epigraphy, 120- 140 (Wrede)

;;

,I

L

;,

,r 0

11

#85 P: Find-spot unknown (from the Galletti collection) L: Rome, MV, GL, inv. 7902 (Dec 06) T: Marble stela, 42 x 22 x (wall) Pr: Surface/edge chips; general weathering; nose-tip lost; top left corner missing J: DIS MAN / D CORNELIO / PRISCO / FILIO DVLCISSI/MO FECIT D / CORNELJVS FELIX / PATER / VIXIT A N VJ / MENSS Vil / DIEBVS XXII = To the Spirits of the Departed. For D. Cornelius Priscus, sweete t son, who lived for 6 years, 7 months and 22 days. D. Cornelius Felix, father, did (this). S: Clipeus containing a bust portrait of a nude boy in three-quarter view. The niche is flanked by cornucopiae and dolphins. B: CIL v1 16291; Amelung (1903) 1'2 216 no. 72b; Diehl (1912) xi no. 23 A13*; Scarpe!Jini (1987) 161 no. 43•; Di Stefano Manzella (1995) 38 no. 27*; Di Stefano Manzella (2003) 62 no. 2299*; EDCS no. CIL 06, 16291D: Early 2nd C (Di Stefano Manzella)

179

=86

P: L:

Via TriumphaJis, Autoparco necropolis (Fig. 128) Rome, 1 , necropoli dell'Autoparco, ii settore della Galea, inv. 1173 (Dec 09) T: >larble tela, 58 x 25 x 5 Pr. 1inor chip along the top right edge /: D , 1 P CORNELIO PRO/TOCTETO FILIO / DVLCISSIMO QVI / VIXIT A IS XIII / DIEB VIIII CORNELi/VS EVTYCHV !Bl ET PR/OTOCENINE FECIT = To the Spirits of the Departed. For P. Cornelius Protoctetus, sweetest son, who lived for 13 years and 9 days. Cornelius Eutychus did (thi ) for himself and Protogeni.na. (Reading kindly supplied by Dott. Spinola at the MV.) Tri. niche, flanked by plain acroteria, containing a bust portrait of a nude boy. B: Liverani and pinola (2006) 22* D: Based on the hair tyle and on comparisons with other piece , early to mid 2nd C

=87

P:

Find-spot unknown (Fig. 41) L: ir David, Museum of Regional and Mediterranean Archaeology, inv. 72-5697 (Nov 09) T: Marble stela, 22 x 67 x 6 Pr. ose-tip damaged; minor surface/edge chips J: D M / CHRYSANTO FECIT / ZOSIMVS PATER / BE E MERE TI VI/XIT A V MES VIII / DIES XXI = To the Spirits of the Departed. For Chrysantus, who lived for s years, 8 months and 21 days. Zosirnus, father, did (this) for his well-deserving (son). S: Arched niche containing a bust portrait of a boy in a t+c. To his left i a money bag, to his right a caduceus, suggesting assimilation with Mercury. B: German and Last (2000) 249-52*D: Early md C (German and Last) #88 P: Find-spot unknown (formerly in Palazzo Cesi) L: Lost (once in Syon Lodge) T: Marble altar, 92 x 65 x 42 Pr: Bad damage to the edges, esp. at the top; heavy weathering to the front, esp. over the portrait J: DllS MAJ\IBVS / CLAVDIO HYLLO / VIX ANN !III MENS VII / DIEB V CLAVDJV TAVRISCVS PATER FILIO / CARISSIMO = To the pirits of the Departed. For Claudius Hyllus, who lived for 4 years, 7 months and 5 days. Claudius Tauriscus, father, (did this) for his dearest son. S: Semi-c. niche, flanked by pulvinars, containing a full fig. portrait of a nude, winged boy as Cupid. He reclines

180

C ATA LO GUE

on hi back, resting hi 1/h on the ground and placing his r/h over hi head. Michaeli (1 2) 45 no. 1; CIL \ ' I 15u ; Vermeule

B:

#89- =93

portrait; surface/edge chips; cracks and discolouration over lower part of the portrait niche [:

DIS MA IBVS / CAFATIAE HEVREM[AE] / VIXIT ANN VI[!)

(1955) 335'; Wrede (19 1) 201 no. 17"; Bo chung (19 ) 89 no. 372; ArD no. 50868; EDCS no. CIL 06, 15u -

D:

/ DIE ·

Cafatia Heurema, who lived for 7 years and 30 days. Rect niche containing a full-fig. portrait of a girl in a tunic. he is hown in profile, carrying a basket of fruit towards a turibulum (incense burner). The lid features everal rosettes. CIL v1 14043a; Luni and Gori (1986) 19 and 84*; EDCS no. CIL 06, 14043a• Based on the monument type and style, mid 1st to mid 2ndC

Based on the style, 100-150 (Bo chung)

#89

P:

Find-spot unknown Naples, MA , Deposit, inv. 292 (Dec 09) T: Marble urn, 22 x 33 x 24 Pr: Cover missing; vertical crack through the inscription; surface/edge chips; general weathering to the front, e p. to the portrait L:

[:

CALPVRNIAE A THIDI / VIX A CVRTIA FELIX VER AE

S:

B:

D:

V ME. '

I SVAE KARIS

VI DIE I

!MAE I FECIT =

For

Calpurnia Anthis, who lived for 5 year , 6 months and 1 day. Curtia Felix did (this) for her dearest vema. Shell niche, flanked by dolphins, containing a bust portrait of a girl in a tunic. At the side are tripods ? . CIL v1 14212; Herrmann-Otto (1994 414; Camode a and Solin (2000) u4 no. 215·; EDCS no. CIL 0 6, 14212Early to mid 2nd C (Camodeca and olin)

B: D:

=92

P: L:

\ ia O tien e, near BSP Rome, B P, Chiostro xvu (Dec 06) T: larble stela, 3 x 25 x (wall) Pr: Recon tructed from four fragments, but with top left ection missing; large cracks through the niche and in cription; heavy weathering to the front; surface/edge chip /:

# 90

Via Bonella (now via della Curia) Rome, IC, Depo iti de! Cello, inv. 5u6 (Jan 10) Marble stela, 46 x 40 x Pr: Bottom ection mi ing; evere damage to the top, with near complete lo of the portrait; edge chip L: T:

D M / L ACILIO OLYMPICO / AClLlA PALAESTRICE .\!ATER PII SIMA / FILIO KARI

S: B: D:

P: L: T:

Pr:

D M // AVCTAE / V A Ill! M IX D XXVII / ATICIA MAR/

To the Spirits of the Departed. For Aucta, who lived for 4 years, 9 months and 27 days. Aticia Marcella did (this) for her weetest verna. Arched niche containing a full-fig. portrait of a girl in a tunic. he holds a large bird in her hands. CJL VI 12800; Filippi (1998) 39 no. 51295*; EDCS no. CIL 06, 12800Ba ed on stylistic comparisons, late 1st to 2nd C CELLA VERNAE / DVLCISSIMAE / FECIT =

P:

[:

[sic] xxx = To the Spirits of the Departed. For

IMO / [QVI] VlXlT

:NJ

B: D:

II /

[ME s -·-) DIEB XIX= To the pirit of the Departed For L. Acilius Olympicus. Acilia Palae trice, mo t deYOted mother, (did this) for her dearest on, who lived for 2 year , (?) month and 19 day . Arched niche, flanked by half-p acr., containing a bust portrait of a nude boy.

T:

CIL

Pr. Top ection lost, inc. most of the portrait; heavy wea-

10505; Gregori (2003) 466 no. 3092•; EDCS no. CIL 06, 10505Early to mid 2nd C (Gregori) VI

Find-spot unknown (from the Fabretti collection) Urbino, IusLap, piano terra, fuori pecchio, inv. 41128 (Dec 09) Marble cippus, 40 x 17 x 1 Damage to the lid and to ·on of the , esp. to the

=93 P: Find- pot unknown (possibly from a tomb in the ancient cemetery below San Sebastiano) L: Rome, Catacombe di an Sebastiano, entrance corridor (Dec 06) l!arble altar, 53 x 38 x 20 thering; everal surface/ edge chips /:

D M / LVTATIA / CALLIPOLIS / FEC SIB! ET / LVTATIAE FE/ LICITATI VERNAE / VA XIII! M Ill = To the Spirits of the Departed. Lutatia Callipolis did (this) for herself and for her verna, Lutatia Felicitas, who lived for 14 years and 3 months.

S:

iche containing remains of a female portrait dressed in a tunic; given the inscription, it seems likely that the portrait was of the deceased girl. The patera and urceus appear on the sides.

181

CATALOG E =94-= 9

B:

AnnEpigr (1977) 27 no. 89; Kleiner (19 7b) 27, no. 130>; Herrmann-Otto (1994) 415; EDH no. 013445; EDCS no. AIIRoma-03, 00071>D: Ba ed on the monument type, late I t to md C

: 94 P: Find-spot unknown (from the "1useo Kircheriano collection) L: Rome, M R, TdD, Galleria Epigrafia, ala 1x, inv. 29739 (Dec 06) T: Marble stela, 59 x 29 x Pr. Edge chip ; general weathering to the front, esp. to the face [: D M / SEX RVFIO / ACHILLEO / \'IX M \'II D \ ' llll EX RVFIVS / DECIBALVS FIL / DVLCIS IMO FEC = To the Spirits of the Departed. For Sex. Rufiu Achilleus, , ·ho lived for 7 months and 9 days. ex. Rufiu Decibal did (this) for his sweetest on. S: Rect. niche containing a full-fig. portrait of a bo · a Mercury. He wears a chlamys over his left boulder, holds a caduceus in his Uh and ha a money bag in the other. He is flanked by a hen to his right and a tortoi e to his left. B: CIL VI 25572; Schauenburg (1962) 52 n.30; \Yrede (1981) 279 no. 222*; Giuliano (1984a) 50 no. 11,33>; Goette (1989) 459*; Uzzi (2005) 175; Backe-Dalimen (2006) 158 no. A25*; ArD no. 17500; EDCS no. CIL 06, 25572D: Based on the hairstyle, 100-150 (Wrede) #95

P:

Find-spot unknown (from the Borgia collection) aples, MA , Deposit, inv. 2835 ( ov 09) T: Marble stela, 36 x 22 x 4 Pr: Light weathering to the front; minor surface/edge chips; noses damaged /: DIS MA JBVS / EPAPHRODITI / ET PLVS1ADIS / LAMYRV ET I HELPIS FILIS / PIISSIMIS / FECERV T = To the Spirits of the Departed of Epaphroditus and Plusias. Lamyru and Helpis did (this) for their most devoted children. S: Arched niche containing 2 bust-length portraits. L- R: a boy in a tunic; a girl in a tunic. B: CIL vi 17194; Carnodeca and Solin (2000) 120 no. 250*; EDCS no. CIL 06, 17194D: Mid 1st to mid 2nd C (Camodeca and Salin) L:

#96 P: Find-spot unknown (from the Munoz collection) L: Mentana, Villa Zeri, patio, parete 11 (Dec 06) T: Marble lastra, 28 x 26 x (wall)

Pr: Edge chips; general weathering to the front

I:

XI DIX H IIX = For M. Baebius ~iarinu , who lived for 11 years, 11 months, 9 da and hour. quare niche, backed by a hell, containing a bust portrai of a nude boy. B: Zeri 19 2) 146 no. 70*; AnnEpigr (1984) 35 no. 118; ArD no. 1231 ; EDH no. 001613-; EDCS no. AE 1984, 00118 D: • lid 1 t to mid 2nd C (EDH) . ! BAE.BIO MARI ·o / y A XJ M

=97

P: L: T:

Roman forum, foundations of public treasury

Rome, :-, rR, TdD, Deposit, inv. 124572 (Dec 06) . 1arble tela, 117 x 50 x 15 Pr. Large horizontal crack through the inscription; surface/ ed e chip · general weathering to the front, esp. to the face /: DI ~1AKIB\" / M VALERIO M F / MASCVLO VIX AN / lllJ M UJ D XX / M VALERIO M F VERO / VIX A N III M III! D XXI / M VALERJVS M L SECV DVS / ET VALERIA M L MELITI "E / PARE. TES FlLIS PIISSIMIS CVM / M VALERIO ~!A CVLO / PATRONO [---] / [---] / FECERVNT [---) IBI / POSTERJSQVE SVORVM = To the Spirits of the Departed. For M. Valerius Masculus, son of Marcus, who lived for 4 years, 3 months and 20 days; and for M. Valeriu Verus, son of Marcus, who lived for 3 years, 4 months and 21 days. M. Valerius Secundus, freedman of Marcus, and Valeria Melitine, freedwoman of Marcus, parents, did (this) for their most devoted sons, with I. Valerius Masculus, patron, also for themselves and their descendants. S: Tri. niche, flanked by half-p acr., containing 2 full-fig. portrait of boys, next to whom are baskets. Both are nude ave for chlamydes draped over their shoulders. The boy on the left holds a small amphora and turns his head towards the centre; the second boy has a grape bunch(?) in his raised r/h. B: CIL v1 28055; BCAR (1978-9) 31 n.121*; Giuliano (1984a) 52 no. 11,34'; EDCS no. CIL 06, 28055D: Mid 1st to mid 2nd C (Giuliano) #98 P: Find-spot unknown (first attested in Lateran collection in 1838) L: Rome, fV, MGP, inv. 9828 (Dec 09) T: Marble relief, 32 x 32 x 6 Pr. Bottom left corner missing; large crack through the centre of the portrait niche; damage to the upper frame; general weathering to the front, esp. to the portraits I:

o

M

II [E]Ros // P

FA

NIVS / DAMA

II

ASIA

= To t he

pirits of the Departed. Eros, P. Fannius Dama, Asia.

-CATALOGUE

S:

Arched niche, framed b • columns, ontaining 3 full-fig. portraits. At the left, a boy in at-mi connected via the dextrarum iunctio to a central man, also dre ed in a t+m. At the right, a girl in a peplos bas an object in her 1/h. he rai e her r/h to 'tug' the draper ' of the man

=99- =103

L:

Rome, MC, Palazzo uovo, Galleria, inv. 1723 (Dec 06) Marble stela, 24 x 22 x (wall) Pr. Left ection lost; damage to the surviving edges; light weathering

T:

[:

D M / CL CI

ET PIA / PARE TES FEC = To the pirit of the Departed. For Claudius Cissus, sweetest on, who lived for 1 year, 9 months, 6 days and 6 hours. Troilu and Pia, parents, did (this). Rect. niche containing a bust portrait of a boy with a ch/amys over his left shoulder. At the sides are half-p acr. CIL VI 149 3; Mattei and Gregori (1999) 220 no. 547\ EDCS no. CIL 06, 14973• lid 1 t to 2nd C (Mattei and Gregori)

while he turn to face the boy. CIL VI 17710; Sinn (1991) 33 no. n"'; ArD no. 21600" -; EDCS no. CIL 06, 17710 1st to 2nd C (Sinn); Mid 2nd C (ArD)

B: D:

S: #99

P: L:

Find-spot unknown (from the Pa ionei collection) Rome, MV, GL, inv. 7 25 (Dec 06) T: Marble stela, 45 x 34 x (wall) Pr: Damage to the frames; general weathering, e p. over the portrait; surface chips D M / [S]EX VETVLE O / ALEXA ORO / \ ' A.'- \'I ,l \'II D

[:

/ XXIII VETVLE VS/ MOSCHYS ET VETV/LE_ -A DO, -ATA / PARE TES/ FECERVNT = To the pirit of the Departed. For Sex. Vetulenus Alexander, who li\'ed for 6 rears, 7 months and 23 day . Vetulenu ;\fo cbus and 'etulena Donata, parent , did (thi ). Arched niche, flanked b half-pa r., ontainin ab tlength portrait of a boy in a tunic \\ith a bu/la. To his side are fluttering ribbon . CIL v1 2 23; Di tefano fanzella (1995_ o no. 24'; Di tefano Manzella (2003) 94 no. 2369>; ED no. CIL 06. 28 23Mid I t to 2nd C (Di tefano /\ianzella

S:

B:

D: ;:100

P: L:

T:

Vigna Ficoroni (1736) Rome, MV, GL, inv. 7779 (Dec 06) Marble stela, 16 x 19 x (wall)

Pr. Bottom ection and left acroterion lo t; light weathering /:

D M / POMPE!A METHE IANVARIO / FI LIO

D:

IMO / Q\'l \'IX1T A.'\. 'I

= To the pirits of the Departed. Pompeia /\lethe, mother, did this) for Cn. Pompeiu Ianuarius, her deare t on, who lived for u years, 1 month and 14 day . Tri. niche, flanked b · half-p acr., ontainin a bu tlength portrait of a boy in a t-t. CIL VI 24553; Diehl (1912) xu no. 24 K5>; Di tefano Manzella (1995) 42 no. 7'; Di tefano l\lanzella (2003) XII / MDI

B:

MATER FECIT C,. / POXPEIO

\'O / CARI

VNO DIEBVS

XJIII

218 no. 2647"; EDCS no. CIL 06, 24553Mid 1st to 2nd C (Di tefano . lanzella

#101 P: Find-spot unknown (from the Fi oroni ·olle tion)

O FILIO / DVLCISSIMO VIX AN / I / M VIIII

D \'l H YI / TROILV

B: D:

=102 P: Find- pot unknown (from the Albani collection) L: Rome, MC, Palazzo uovo, sala delle Colombe, inv. 2119 (Deco6) T: ;\farble lastra, 23 x 21 x (wall) Pr. Bottom ection lost; light weathering; surface/edge chip ; no e-tip mi ing /: D ~I / A ELLA£/ VA II M XI/ APSE S / PATER / [---] = To the pirits of the Departed. For Asella, who lived for 2 ·ear and 11 month . Her father Apsens (did this) [---] hell niche, flanked by half-p acr., containing a bust portrait of a girl in a tunic. B: CIL VI 12510; Mattei and Gregori (1999) 198 no. 468; ArD no . 52140~ and 131201*; EDCS no. CIL 06, 12510D: .\lid 1 t to md C ( lattei and Gregori) =103 Via Latina, vigna Manenti (1852) Rome, MV, MGP, inv. 9837 (Dec 06) T: • 1arble altar, 6 x 31 x 29 Pr. Light weathering; minor losses to some of the portrait detail P:

L:

/:

DI

MA ' IBV / GRA IA£ FAVSTINAE / FECIT PAPI SER /

P\' BLICV SIBI ET / CO TVBERNALI SVAE / CARISSIMAE

To the pirit of the Departed. Papias, servus publicus, did (this) for Grania Faustina, his dearest contubernalis who deserved well of him, for himself and for their de cendants. quare niche, framed by scaled pilasters with Ionic capitals topped by rosettes, containing 3 full-fig. portraits shown in profile. L-R: a man in a t+t; a boy in a tunic; a woman in a t+m. The man places his r/h on the woman's arm while she in turn seems to hold a pomegranate in / BE 'E MERE Tl DE SE / POSTERISQVE / AEORVM =

S:

. .i

CATALOGUE ~104-#108

her 1/h and places her other on the boy's shoulder. He appears to 'cling' to her and touches the pomegranate in her hand. The lid features birds, fruit and half-p acr. The patera and urceus appear on the sides. B: CIL vi 2365; Boschung (1987) 109 no. 66; Kleiner (1987b) 236 no. 100"*; Rawson (1991) PL 6"; inn (1991) 74 no. 41"*; Minten (2002) 134 no. A33; zzi (2005) 1 6; Backe-Dahmen (2006) 161 no. A32\ Hu kin on (200 b) 329; ArD no. 21605 "*; EDCS no. CIL 06, 02365D: Based on hairstyles and names, 130-140, though po sibly earlier (Kleiner) #104 P: Via Appia, vigna near San Sebastiano L: Rome, MV, GL, inv. 9467 (Dec 06) T: Marble altar, 74 x 38 x 31 Pr: Minor discolouration to the inscription; light weathering to the front; small edge chips [: D M / C AELIO / VRBICO FILIO / AELIA PRISCILLA / MATER FECIT = To the Spirits of the Departed. For C. Aelius Urbicus, son. Aelia Priscilla, mother, did (thi ). S: Arched niche, flanked by half-p acr., containing a full-fig. portrait of a nude boy in an awkward po e: his right leg is bent and takes his weight; the other is extended to the side. He holds a grape bunch in his r/h and turns his head back to look at a large rooster. B: CIL VI 10818; Wrede (1971) 139 no. o*; Boschung (1987) 89 no. 385*; Kleiner (1987b) 235 no. 99"*; Di Stefano Manzella (1995) 20 no. 9467*; Bradley (1998a) 529; AnnEpigr (2000) 61 no. 132; Vedder (2001) 61 n-455*; Minten (2002) 134 no. A32; Feraudi-Gruenais (2003) 102 no. 124"*; Backe-Dahmen (2006) 160 no. A31"*; EDCS no. CIL 06, 10818D: Based on the drilled pupils, the hairstyle and the nomen, 130-140 (Kleiner) #105 P: Find-spot unknown L: Rome, MV, GL, inv. 9311 (Dec 06) T: Marble altar Lid, 25 x so x 38 Pr: Main altar missing; losses above the child's head and at the bottom right corner; nose damaged; surface chips S: Shell niche, flanked by half-p acr., containing a bust portrait of a boy. He is nude save for a chlamys over his left shoulder. The top features the patera and urceus as well as an eagle on a thunderbolt (perhaps a reference to his apotheosis). The rear side depicts a putto riding a goat, flanked by a dog and a rabbit. B: Kleiner (1987b) 232 no. 97•; Minten (2002) 132 no. A30

D:

Ba ed on the hairstyle and drilled pupils, 130-140 (Kleiner)

=106

P: L: T: Pr.

[;

S:

B:

D:

:'.\ear Porta apienza (1861) Rome, MV, MGP, inv. 9868 (Dec 06) Marble altar, 68 x 48 x 40 ~o e-tip and part of the chin missing; pulvinars lost; major damage caused by original insertion of the portrait D M / T FLAVIV HER/MES ET FLAVIA/ EDONE FECERVNT / ALCIDE FILIO / PIENTISSIMO / QVI VIXIT A NIS / VI MEN n / DIEBVS xvi = To the Spirits of the Departed. T. Flavius Hermes and Flavia Hedone did (this) for their mo t devoted on, Alcides, who lived for 6 years, 6 months and 16 days. Irregularly shaped and roughly cut niche containing a bust-length portrait of a boy. He is nude save for a chlamys over his left shoulder. The patera and urceus appear on the sides. CIL vi 18088; Altmann (1905) 222 no. 290*; Gercke (1968) 40 no. R39; Boschung (1987) 88 no. 330*; Kleiner (1987b) 237 no. 101"*; Sinn (1991) 73 no. 40 "*; Dixon (1992) 105; Minten (2002) 134 no. A34; Backe-Dahmen (2006) 159 no. A28*; Huskinson (2007b) 328; ArD no. 21617"*; EDCS no. CIL 06, 18088Based on the drill-work and hairstyle, 130-140 (Kleiner)

#107 P: Vigna near S. Agnese L: Rome, MV, GL, inv. 9174 (Dec 06) T: Marble altar, 38 x 22 x 15 Pr: General weathering, esp. to the face; damage to the bottom section; surface/edge chips [: D M / ACIL!AE / RVF! AE / ACILIVS XYS/TVS ET ACI/LIA !ANVA/R!A FIL!AE / CAR!SS!MAE = To the Spirits of the Departed. For Acilia Rufina. Acilius Xystus and Acilia Ianuaria (did this) for their dearest daughter. S: Semi-c. niche containing a bust-length portrait of a girl in a tunic. B: CIL VI 10531; Amelung (1903) 1/4 589 no. 424F; Boschung (1987) 88 no. 334•; Kleiner (1987b) 232 no. 96*; Di Stefano Manzella (1995) 36 no. 9174•; Minten (2002) 132 no. A29; EDCS no. CIL 06, 10531D: Based on the hairstyle, 130-140 (Kleiner) #108 P: Find-spot unknown (from the Giustiniani collection) L: Rome, MV, GL, inv. 9337 (Dec 06) T: Marble altar, 99 x 42 x 39

-- -

1

CATA LOG UE ;:-1 09- =112

Pr: Damage to the child' forehead and no e; light weathering across the front; minor damage to the in cription [: D M / AV LIAE LAODICES / FILIAE DVLCI !MAE / RV TICVS AVG LIB / ARCHITECTV PATER / r rFELICI !MY QVAE / v1x A , v1 ME s v1 / DIEB m1 = To the pirit of the Departed of Aulia Laodice. Most unhappy father, Rusticus, an imperial fre edman architect, (did this} for his sweetest daughter, who lived for 6 year , 6 months and 4 days. Arched niche, flanked by half-p acr., containing a bust portrait of a girl in a t+m. The patera and urceus appear

S:

on the sides. CIL v18725; Amelung (1903) 1/ 4 95 no. 707E'; Bo chung (1987) 88 no. 333*; Kleiner (1987a} 549; Kleiner (1987b) 234 no. 98*; Di Stefano Manzella (1995} 4 no. 9337~; Minten (2002) 132 no. A31; Backe-Dahmen (2006) 160 no. A30*; EDCS no. CIL 06, 08725D: Based on the coiffu re and drilled pupils, 130-140

B:

for life. For M. Iunius Rufus, son of Marcus, member of the Palatina voting tribe. Soterichus, his paedagogus, did (thi ). This i your small resting place, and my own; thi is a sure home for us to inhabit; this is what I built for my elf, when I wa still alive. emi-c. niche at the top containing a full-fig. portrait of a boy in a tunic who has a scroll in his hands. He stands in fro nt of a seated figure, likely to be the paedagogus. At their sides are fu rther scrolls and a capsa. Below, main rect. niche, framed by pilasters, containing a full-fig. portrait of a boy on horseback, taking part in the transvectio equitum ceremony. He wears a trabea, a tunic and a wreath. The reins of the horse are pulled by a viator in a t+c who also holds a staff. B: CIL v1 9752; Esbroeck (1897) 143 no. 15; Veyne (1960) 10 ; Koeppel (1969) 163 11 .114; Kleiner (1987b) 249 no. 110 11 *; EDCS no. CIL 06, 09752D: Based on various stylistic features, 130- 160 (Kl einer)

(Kleiner) # 111

#109 P: Find-spot unknown (from the Campana collection) L: Paris, MdL, Re erve apoleon, inv. MA 256 ( ept 07) T: Marble stela, 97 x 63 x 10 Pr: Damage along the edge and to the column capital ; discolouration to parts of the front; no e-tip mi ing S: Rect. niche, framed by piral columns with compo ite capitals, containing a full-fig. portrait of a girl in a t+m. With her 1/h she touches a kithara which re ts on apedestal, indicating a potential allusion to a Muse. In her r/h is a long, oval object (plectrum?). B: Wrede (1981) 284 no. 238* D: Based on the hairstyle, 130-140 (\ rede} # 11 0

P:

Villa Carpegna (Fig. 125) Baltimore, Walters Art Gallery, Depo it, inv. 23.18 ( ov 09) T: Marble altar, 95 x 57 x 46 Pr: Heavy weathering to the front; urface/edge chip ; crack through the bottom of the portrait niche; facial details lo t; damage to the groom' right arm f: SI QVA TAMEN PIETAS GELIDO MOYET RY TICA M[ANES) / RVMPE MORA [ PE HAEC )OLA E T MIHI GRATIA [VITAE) / M IV JO M F PAL RVFO / OTERICHV PAEDAGOG FECIT / HAE V T PARVAE TVAE MEAEQ SEDES / HAEC CERTA EST DOMVS HAEC COLDmA NOBIS / HAEC EST QVEM MIH I SVSCITAVI VIVY = If in any way, however, rustic piety moves the cold, departed spirits, do not waste time. This hope i for me the le recompense L:

P:

L: T:

Find-spot unknown (bought from an art dealer in 1953) Rome, MC, MCM, Deposit, inv. 2878 (Dec 06)

Marble altar, 93 x 52 x 36 o e-tip lost; Victories on lid damaged; light weathering across the front; damage to the top-right corner [: D M S // SVCCESO DVLCISSlMO VIXIT A N 1111 / MENS X DIEBVS XV III ET PIVS PATER FIL / KARISSIMO FECIT = Sacred to the Departed Spirits. For sweetest Succesus, who lived fo r 4 years, 10 months and 18 days. Pius, father, did (this) for his dearest son . Circ. niche containing a bust portrait of a boy. He rests on an acanthus base and is nude save fo r a chlamys over his left shoulder. The niche is framed by spiral columns with Cor. capitals, to the side of which are garlands, masks and a lion's head. On the lid, mask acroteria flank flying ictories who carry a large wreath. Underneath, ribbons flutter. The patera and urceus appear on the sides. B: Jucker (1961) 26 no. G14*; Mercklin (1962) 274 no. 649b; Bo chung (1987) 105 no. 795*; Kleiner (1987b) 246 no. 108 11 *- ['o M s' omitted from inscription]; Minten (2002) 134 no. A36; Backe- Dahmen (2006) 162 no. A34 11 \ ArD no. 9191911* D: Based on the drill-work and hairstyle, 135- 150 (Kleiner)

Pr.

# 112

P: L:

Find-spot unknown (form erly in the Museo Astuto) Palermo, MusA Regionale, cortile maggiore, inv. 3816 (March 06)

CATALOG E ::113-:11 6

T: Marble cippus, 27 x 17 x 13 Pr. General weathering; damage along the right ide; minor surface/edge chips /: D M / ISIAD!S / V A Xlll M VlllI / D VlII / SVLP!Cl\' / PARIS ET SVLPICIA / LAIS VER AE FEGER= To the pirits of the Departed ofisias, who lived for 13 year , 9 month and 8 days. Sulpicius Paris and ulpicia Lai did (this) for their verna. S: Arched niche, flanked by half-p acr., containing a bustlength portrait of a girl in a t+m. B: CIL VI 19714; Bivona (1970) 240 no. 316>; HerrmannOtto (1994) 415; EDCS no. CIL 06, 19714D: Based on stylistic comparison , early to mid 2nd C #113 P: Via Appia, near San Sebastiano (1793) L: Paris, MdL, Reserve, inv. MA 1633 (July 06) T: Marble altar, 83 x 72 x 40 Pr: Bottom left corner damaged; light weathering; minor edge chips /: D M / SACRVM / DEA AE ET / 1EMORIAE / AELIAE / PROCVLAE / P AELIVS ASCLEPIACVS / A\'G LIB / ET VLPIA PRISCILLA FILIAE / DVLCISSIMAE FECERVNT = acred to the Departed Spirits. For Diana and the memory of Aelia Procula. P. Aelius Asclepiacus, imperial freedman, and Ulpia Priscilla did (this) for their sweete t daughter. S: Arched niche, framed by fluted pilasters, containing a full-fig. portrait of a girl as Diana in Amazonian dress (which exposes a breast) and with a mantle over her left shoulder. She moves to the right, takes an arrow from a quiver strapped to her back and holds a bow in her l/h. A dog runs along beside her. The lid features a central wreath, two birds and mask acroteria. B: Fri:ihner (1878) 132 no. 106; CIL VI 10958; Altmann (1905) 282; Schwarzlose (1913) 49; Cumont (1942) 243; Wrede (1971) 138*; Wrede (1981) 226 no. 91" *; Kleiner (1987b) 241 no. 104"*; Granino Cecere (2001) 290*; Minten (2002) 134 no. A35•; Feraudi-Gruenais (2003) 102 no. 123" *; Backe-Dahmen (2006) 161 no. A33"*; Varner (2006) 295*; Huskinson (2007b) 331; BackeDahmen (2008) 146*; Olson (2008) 144 n.54; ArD no. 15166*; EDCS no. CIL 06, 10958D: Based on the coiffure and the style of the lid, c. 140 (Kleiner) #114

P: L:

T:

Find-spot unknown (from the Passionei collection) Stockholm, Medelhavsmuseet, inv. M sk 231 ( ov 09) Marble altar, 31 x 19 x 19

Pr.

mall patche of discolouration over the inscription; minor edge chips; slight damage to the acroteria J: D ~I CAECILIAE TYCHE / CO IVG! / Tl CLAVDIVS FOR/ n-:sAT\' ET / SIB! F = To the Spirits of the Departed. For Caecilia Tyche, wife. Ti. Claudius Fortunatus did (this) al o for himself. A full-fig. portrait of a crouching, nude boy(?) shown in profile. In front of him, to our left, is a large dog(?); the child offers it an object, presumably a piece of food. The cene i framed by half-p acr. The patera and urceus appear on the ides. B: CIL YI 13 57; AnnEpigr (1997) 48 no. 102; Thomasson and Pavese (1997) 108 no. 182*; EDCS no. CIL 06, 13857D: Based on tyli tic comparisons, c. mid 2nd C ;;115 P: Find- pot unknown L: Frankfurt, Liebieghaus Skulpturensammlung, no inv. (i\!arch 07) T: Marble relief, 40 x 40 x 7 Pr. Damage to the right and bottom edges; light weathering to the front J: D M ASTERJS / V!XIT ANNO M VIII D XIX ASTER ET SPES FILIO DVLCISSIMO = To the Spirits of the Departed of Aster, who lived for I year, 8 months and 19 days. Aster and Spes (did this) for their sweetest son. S: Rect. niche containing a full-fig. portrait of a boy with a mantle around his neck. He reclines on a deathbed, resting on his l/h, and holds a garland in his r/h. His eyes are closed and there is a star above his forehead to signify his apotheosis. At the top is a large, hanging garland from which ribbons flutter. B: Bol (1981) 159*; Wrede (1981) 124•-; Goette (1989) 470*; Vedder (2001) 41 n.251 D: Based on the portrait, Antonine (Vedder) #116 P: Via Appia, vigna Moroni L: Cortona, Museo dell'Accademia Etrusca, sala 11 , inv. 1097 (Jan 07) T: Marble stela, 42 x 30 x 4 Pr: Bottom right section lost; acroteria and top frame damaged; general weathering to the front, esp. over the portrait /: D M / T Ml ISIO HILARIA '0 / V!X!T A VIII M XI / T MINI IVS LO GI VS / ET CLAVDIA HILARA / PARENTES FECER T = To the Spirits of the Departed. For T. Minisius Hilarianus, who lived for 8 years and 11 montlis. T. Minisius Longinus and Claudia Hilara, parents, did (this).

186

CA TALOG E ,; 117- : 119

S:

Laurel-wreath medallion, flanked b ' fluttering ribbons and half-p acr., containing a bust-length portrait of a nude(?) boy. B: CIL v1 22535; Donati (1967) 62 no. 65'; carpellini (19 122 no. 5•; EDCS no. CIL 06, 22535D: Based on comparisons with other piece , Antonine

B:

D: =119

Campu Martius (1498) Paris, MdL, alle 25, inv. MA 1331 (Sept 07) T: Marble altar, 120 x 90 x 22 Pr. ide and back of altar purposefully cut away during antiquity; bottom right corner lost; damage to the chin and no es; some restoration next to the girl's head [: D I I IVLIA.E SEC\ DAE FILIAE CORNELIAE TYCHES VXORI II ET FORMA I GVLARI ET/ MORIBVS PIISSIMIS DOCTRI/ 'AQ SVPER LEGITI MAM I SEXVS SVI AETATEM PRA.EI TAl TISSIMAE QVAE VIXIT / A NIS XI MENS VIIII DXX II ET I COMPARABILIS ERGA / MARITVM ADFECTVS A CTIITATISQVE ET EXIMIAE ERGA / LIBEROS PIETATIS QVAE / VIXIT A IS XXXVI III MENS / !III D VII EX IS MECVM AN XI = To the Spirits of the Departed of Iulia ecunda, daughter, of remarkable beauty, most devout character and outstanding erudition beyond what one would expect for someone of her sex and age. She lived for 11 years, 9 months and 20 days. And of Cornelia Tyche, wife, of incomparable affection and integrity towards her husband and of exceptional devotion toward her children. She lived fo r 39 years, 4 months and 7 day - 11 of tliose years with me. (For the now lost ide inscription, ee Kleiner 1987b: 254.) Square niche, framed by columns with Cor. capitals, containing 2 bust portraits. L-R: a girl and a woman, each in a t+m, who turn towards the centre and rest on acanthus leaf bases. Inside the arched niche at the top, which is flanked by rosette pulvinars, there are several objects: a quiver, a bow, two empty chairs, a cornucopia, a torch, a rudder on a globe and a wheel (allusions to Diana and Fortuna, originally supplemented by a stag on the left side of the altar and a mirror on the right). B: CIL VI 20674; Altmann (1905) 216 no. 279 11 *; Vermeule (1960) 24 no. 230; Jucker (1961) 26 no. GJ5 II*; Wrede (1981) 227 no. 93 11 ; Boschung (1987) 105 no. 791*; Kleiner (1987b) 253 no. 113 11 *; Vedder (2001) 23*; Minten (2002) 134 no. A37; Backe-Dahmen (2006) 162 no. A35 II*; Carro ll (2006) 158; D'Ambra (2007a) 89*; Huskinson (2007b) 329; ArD no. 13002111; EDCS no. CIL 06, 20674*D: Based on the coiffures and the bust length, 150-165 (Kleiner) P:

#117

P:

Via Latina, vig na Aquari, in sepulchral area attributed to the gens Allidia (1843) L: emi, Palazzo Ruspoli, Garden (Granino Cecere) T: Marble altar, 158 x 95 x 96 Pr: General weathering to the front; ome di colouration; surface/edge chips ]: DIS MA 'IBVS I AELIA TYCHE P AELIV HELIX ET AELIA TYCHE / PARENTE$ FILIAE PIISSIMAE ET A.ELIA MARCIANA / SORORI OPTIMAE FECER T ET !Bl POSTERISQVE SVIS = To the Spirits of the Departed. Aelia Tyche. P. Aelius Helix and Aelia Tyche, parent , did (this) for their most devoted daughter and Aelia Marciana, excellent sister, and for themselve , their famil y and their descendants. S: Rect. niche containing a full-fig. portrait of a girl as Diana. She wear a hunting dre with a mantle over her left houlder; her right brea t is expo ed. he holds a bow in her extended 1/h and with her r/h takes an arrow from the quiver on her back. To her right i a small tree trunk; to her left a dog which turns its head towards her. The patera and urceus appear on the ides. B: Matz and Duhn (1881) 111 1 3 no. 3 99; CIL \'I 6 26; Altmann (1905) 282; chwarzlose (1913) ' j; \ 'rede (1971) 139; Wrede (1981) 226 no. 92; AnnEpigr (2001) no. 191; Granino Cecere (2001) 287-92'; EDCS no. CIL 06,06826D: Based on the hairstyle, Antonine (Granillo Cecere) #118

Find-spot unknown Rome, Villa Massimo (Deutsche Akademie), right wall of villa fa~ade (Dec 06) T: Marble relief, 138 x 88 x 20 Pr: Right arm of the woman, large parts of the back frame, the hands of the child and all of the no es lost; general weathering to the front, esp. to the face ; man's head restored in wrong po ition S: 3 full- fig. portraits. L-R: a woman in a h-m with a stola who turns her head inwards; a bo in a t+t on whom the woman may place a hand; a man 1ith a beard in a t+t. In between the adults, both o 'horn eem to hold a satyr mask, there i a pillar or he-rm P:

L:

Lahusen (1991) 41 no. 27*; Kockel (1993) 212 no. N18*; edder (2001) 56 n.388; Minten (2002) 128 no. R22; Backe-Dahmen (2006) 145 no. R22"*; ArD no. 32339 Based on the hair tyles, Antonine (Kockel)

L:

CATALOG UE =120-=124

=122

#120

P: L:

T: Pr: [:

S: B:

D:

Find-spot unknown (but possibly from Rome) (Fig. 63) Civita Castellana, localita Scasato, via Giovanni Trevisan no. 8, house wall ( ov 09) Marble stela, 53 x 35 x 2 Light weathering; some discolouration to the front; minor surface/edge chips D M / SVCCESSAE / FIL DVLCISSIMAE / QVAE VIXJT A / IIII ME S VIII / DIEBVS XXIJI / HYAClNTHV ET DIO YSIAS I PARE TES FE/CERV T = To the pirits of the Departed. For Succes a, sweetest daughter, who lived for 4 years, 8 month and 23 days. Hyacinthus and Dionysias, parents, did (this). Arched niche, flanked by ro ettes and mask acroteria, containing a half-fig. portrait of a girl in a t+m. AnnEpigr (1982) 78 no. 294; Di Stefano Manzella (1981) 164 no. 50*; EDH no. 001789; EDCS no. AE 19 2, 00294Mid to late md C (Di Stefano Manzella)

#121

Find-spot unknown (from the Arundel collection) (Fig. 44) L: Oxford, Ashmolean Museum, Deposit, inv. ANMichaelis 202 (Dec 09) T: Marble altar, 40 x 26 x 21 Pr: Light weathering to the figured scenes, esp. to the faces; loss of the child's arm and the bird's head from the left side; loss of the centaur's head from the right side; surface/edge chips [: D M L MARCIO / PACATO FILIO D/VLCISSIMO / FECIT RO/ DOPE MA/TER IN/ FELI/CISSIMA / QVI VIX Al OS / XV M Villi D Villi = To the Spirits of the Departed. For L. Marcius Pacatus, sweetest son , who lived for 15 years, 9 months and 9 days. Rodope, most unhappy mother, did (this). (Inscription added at later point.) S: Three sides of the altar have scenes of Hercules conducting his labours. Front: an infantile, nude boy battles the many-headed Hydra. Left: an older boy strangles the Stymphalian bird and holds a club in his raised r/h. Right: a mature figure attacks a centaur; he holds the centaur's head in his 1/h and has a club in his raised r/h. Back: a lion fu r, upon which rest a quiver, a set of arrows and a club. The top features a double volute pattern and rosette pulvinars. B: Montfaucon (1724) tom. 1 143 and pl. LIV.1*; Michaelis (1882) 586 no. 202; CIL VI 22086; Wrede (1981) 249 no. 143; Boschung (1987) 114 no. 960; EDCS no. CIL 06, 22086D: 150-200 (Wrede)

Find- pot unknown (in museum by 1775) Rome, MC, sala delle Colombe, inv. 2059 (Jan 10) T: Marble cippus, 42 x 32 x (wall) Pr. Bottom ection lost; surface/edge chips; light weathering to the front J: L PAPIRJVS L F SPERATVS / VIXIT ANN III MIII / QVI POST MORTE l\.iATRIS SVAE DECES // DIS MANIBVS / L PAPIRIVS [---) = L. Papirius Speratus, son of Lucius, who lived for 3 ·ears and 3 months and who died after the death of hi mother. To the Spirits of the Departed. L. Papirius [--- ) Arched niche containing 2 full-fig. portraits shown in three-quarter view. L-R: a standing, nude boy as \\inged Cupid; a seated woman in a t+m with her feet on a tool. They join their right hands, with the boy also holding an object. B: CIL VI 23797; Stuart Jones (1912) 154 no. 37b*; Mattei and Gregori (1999) 140 no. 248; ArD no. 16378*; EDCS no. CIL 06, 23797D: Mid to late 2nd C (Mattei and Gregori)

P: L:

P:

#123

P:

Find-spot unknown (from the Jerichau collection) Copenhagen, ationalmuseet, Antiksamlingen, inv. 2223 (April 07) T: Marble relief, 47 x 89 x 10 Pr: Cracks through the male portrait; damage to the girl's eyebrow and boy's nose; bottom corners lost; edge chips Rect. niche containing 2 bust-length portraits. L-R: a boy in a t+c; a girl in a t+m surrounded by a large crescent moon and 7 stars (perhaps as an allusion to Luna or to their apotheoses). B: Cumont (1942) 240*; Wrede (1981) 265 no. 184"; ArD no.9225"* D: Based on the girl's hair tyle, c. 180 (Wrede)

L:

#124

Columbarium towards end of via Livenza Rome, MC, Deposit, inv. 3082 (Jan 10) T: Marble stela, 22 x 12 x 2 Pr: Cracks in the inscription; general weathering, esp. to the portrait; surface/edge chips J: DIS MA IBVS / FEC COMMVNIS [PAT] / PREPONITI SVO CARJS / Bil E MERETI FILIO / ET MATER BENE / MERE TI vo AT I POSVIT = To the Spirits of the Departed. Communis, father, did (this) for his dearest and wellde erving son, Prepon, and his mother set it up for her well-deserving son. (Reading kindly supplied by Datt. a Velestino at the MC.)

P:

L:

188

CATAL OGUE -"125-::129

S:

Square niche containing a bust-length portrait of a boy

Pr: Surface/edge chips; light weathering to the front, heav-

with a horus lock(?).

B: D:

ier over the face

SA (1923) 368; Panciera (1987) 312 no. 309•

[:

D M / FELIC! VIX A I / ME SES VIIII / PARENTES / PIIS-

Based on the style and portrait, 2nd C(?)

1.\10

FECER = To the Spirits of the Departed. For Felix,

who lived for 1 year and 9 months. H is parents d id (this) for their mo t devoted (son).

#125

P:

Find-spot unknown (first reported in 1748)

L:

Florence, Palazzo Peruzzi, pianerottolo (March 10)

T: Marble stela, 29 x 17 x (wall) Pr: Damage to the frame ; surface chip ; heavy weathering

S:

mall, arched niche, flanked by half-p acr., containing a bu t portrait of a nude boy with a chlamys d raped over his shoulder.

B:

CIL VI 17849; Frascati (1997) 116 no. 63*; AnnEpigr (1997) 64 no. 160; EDCS no. CIL 06, 17849-

D:

Ba ed on the epigraphy, 2nd C (Frascati)

to the front [:

D

M L PACIO / EYTICO V A Vll / M ll

D

XXVll PA/ CIA

STACTE ET C / LVSIVS TERTIVS / FILIO PIE TI IMO

S:

B:

D:

FECRVNT = To the Spirits of the Departed. For L. Paciu Eyticus, who lived for 7 years, 2 months and 2 days. Pacia Stacte and C. Lusius Tertius did ( thi ) for their

P: L:

most devoted son.

T:

Irregularly shaped niche containing a full-fig. portrait of a boy reclining on a kline. He has a mantle over the lower half of his body, holds a grape bunch in his r/h and a wreath in the other. In front, a dog at the left moves towards a mensa tripes. Dlitschke (1874) 11 141 no. 338; C IL vi 23660; Capecchi et al. (1980) 55 no. 35•-; Granino Cecere (2008) 430 no. 4052"; EDCS no. CIL 06, 23660 2nd C (Granino Cecere)

Pr. Damage to the lower edge; general weathering, esp. to

#126 P: Via Appia, vigna Amendola L: Rome, MV, Museo Laterano, inv. 26228 (Dec 09) T: Marble stela, 48 x 27 x 7 Pr: Face of the child lost; surface/ edge chips; patches of discolouration [: D M / M VLPIO PAV/LI ' 0 ANNAEA / ANTYLLA MATER / FILIO DVLCISSIMO / TECIT [sic] QVI VIX A / JS II MENSE I / DIES XVI= To the Spirits of the Departed. For M. Ulpius Paulinus. Annaea Antylla, mother, did ( this) for her sweetest son. He lived for 2 years, 1 month and 16 days. S: Arched niche containing a bust-length portrait of a boy in a tunic. B: CIL VI 29254; Di Stefano Manzella (2003) 1 6 no. 2577'; EDCS no. CIL 06, 29254D: 2nd C (Di tefano Manzella)

~128

L:

T:

aple , MA , Deposit, inv. 2572 (Dec 09) 1arble stela, 33 x 32 x 4 the portrait; surface/edge chips D M / C VIBIVS C F CELER / VIX ANN III! MENSB XI / FRVM AC D VII OSTIO xv / VIBIVS CELER F SVO = To the Spirits of the Departed. C. Vibius Celer, son of Gaius, who lived for 4 years and 11 months. He received the public corn distribution on the 7th day at entrance 15. 1bius Celer (did this) for his son. Arched niche containing a full-fig. portrait of a n ude

[:

S:

boy, shown in profile. In his raised r/ h he holds a whip; in front of him a dog seems to run forwards. Behind him is a basket. CIL VI 10225=33991; Camodeca and Salin (2000) 104 no. 160*; EDCS no. CIL 06, 10225Based on comparisons with oth er pieces, 2nd C

B:

D: #1-29

P: L: T:

Find-spot unknown (from the Casali collection ) Rome, MV. GL, inv. 5825 (Dec 06) Marble s tela, 43 x 17 x (wall) Pr: General weathering to the front, esp. to the portrait; surface/ edge chips; some discolou ration [: D M / G GEMINIO FELI/ CISSIMO FILIO / KA RISSIMO PAR E T/ES I ' FELICISSIMI / FECERVNT QVI VIX/ IT ANNIS X ME 'SE I / DIEBVS XVIII = To the Spirits of the Departed. For C. Geminius Felicissimus, dear est son , who lived for 10 years, 1 month and 18 days. His m ost unhappy parents did (this).

# 1-27

P:

Find-spot unknown (from the Borgia collection )

Find- pot unknown (acquired from the AJtieri collection) Rome, Pontificio lstituto di Archeologia Cristiana, parete sinistra, fila I, inv. 63 ():oy 09 Marble stela, 38 x 29 x 5

S: B:

Arched niche containing a laurel wreath flan ked by two eagles. Inside, a bust portrait of a nude(?) boy. CIL VI 18995; Di Stefano Manzella (2003) 186 no. 2580*; EDCS no. CIL 06, 18995-

D: Based on comparisons with other pieces, 2nd C

CATALOGUE =130-:134

#130 P: Find-spot unknm n L: Urbino, MusLap, pecchio XIX, inv. 4105 Dec 09) T: Marble stela, 45 x 26 x 6 Pr: Top section lost, inc. the portrait head; hea,1· weathering; surface/edge chip /: D M/ M VLPIO VRS1 ·o \'LP! RE PECTI FlLIO XATIOXE ORICO AELIO / CETIO \'lXIT AX1' :l.,'I T AYR r PRIMVS LlBRARIV / FRATRI K F C = To the piri of the Departed. For 11. Ulpius Ursinus, on of L1pius Respectus, native of Aelium Cetium in :s;oricum, who lived for 16 years. T. Aurelius Primus, librarius, aw to it being done for his dearest brother. S: Rect. niche, framed by column (?), containing a bust portrait of a boy in a t+s(?). B: CIL vr 33036; Speidel (1994) 390 no. 714\ ArD no. 75762; EDCS no. CIL 06, 33036D: Based on the epigraphy, mid to late 2nd C ( peidel) #131 P: Vigna ·near the Porta Settimiana (1602) L: Rome, MV, GL, inv. 7021 (Dec 06) T: Marble stela, 51 x 36 x (wall) Pr: Discolouration to parts of the front; general weathering, esp. to the portrait; damage to the bottom frame; edge chips J: D M/ MERCATOR! / AT RAETO / A ORVM XIIII / ERVO DE SE / MERE 'Tl / T AYR GE TILIS / DVPLICARIV DOMINVS = To the Spirits of the Departed. For Mercator, from Raetia, of 14 years, slave who deserved well of him. T. Aurelius Gentilis, duplicarius, his master (did this). S: Arched niche, flanked by half-p acr., containing a fullfig. portrait of a boy recli ning on a kline. He has a mantle over his lower body, holds a wreath in his r/h and a cup in the other. In front, a mensa tripes (centre) and a cista (right). B: CTL VI 32796; Speidel (1994) 380 no. 696*; Di Stefano Manzella (2003) 250 no. 2718"*; ArD no. 99543"*; EDCS no. CIL 06, 32796D: Based on the names, mid 2nd to early 3rd C (Speidel) #132

P: L: T: Pr:

I:

Vigna Ficoroni (from the Museo Kircheriano collection) Rome, MV, GL, inv. 7922 (Dec 06) Marble stela, dimensions unavailable Surface/edge chips; general weathering to the front, e p. to the portrait D M I RVSTIO I HYLAE vr/XIT AN VI / MEN TRES / RVSTIA MAT / FILIO PIISS FEC = To the Spirits of the

B:

D:

189

Departed. For Ru tiu Hyla, who lived for 6 years and 3 month . Rustia, mother, did (this) for her most dernted on. Tri ni he containing a bust portrait of a boy. CJL n 25623; Diehl (19u) XI no. 23 q *; Di Stefano 11anzella (1995) 3 no. 47'' ; EDCS no. CIL 06, 25623Based on compari on with other pieces, 2nd C(?)

=133

P: L:

Find- pot unknown rbino, 1usLap, sala III , inv. 41129 (Dec 09) T: Marble cippus, 38 (H) x 35 (W) Pr. mall crack through the bottom right section; general weathering to the front; minor surface/edge chips /: D M / ATVRNI O / MARCIA GALAC/Ti E FECJT VERNE / VO I FRONTE / p III! I AGRO p VI = To the Spirits of the Departed. For Saturninus. Marcia Galactine did (thi ) for her verna. (This tomb is) 4 feet in front by 6 feet to the rear.

B:

D:

Arched niche, flanked by rosette pulvinars, containing a full-fig. portrait of a boy in a tunic. He holds an object in hi hands. To his left is an oversized bird. CIL v1 25912; Luni and Gori (1986) 84*; HerrmannOtto (1994) 416; EDCS no. CIL 06, 25912Based on comparisons with other pieces, 2nd C

"134 P: Via Tiburtina, vigna Caracciolo L: Rome, 1C, Galleria di Congiunzione, inv. 172 (Dec 06) T: Marble stela, 57 x 43 x 10 Pr. Minor edge chips; light weathering to the front I: e Ii I\ AIAJO ME/1.ITINO / TEK n f/\YKYTAT!1 I H/1.lKJ\A MHTHP KAI l\.1Y/PO rIATH P ATYXECTA I TOI Er!OHCAN EZHCEl\ / MHCrN /iEKATPICIN / HMEPAIC E EA MH / ENOXAfiCHCTO TAl1 / MH TOIAYTA f1A0HC / flEPl TEKN!1N 'E SIS / MOLESTVS E PATIARVS HOC ET OLLAS INCLVSAS CAVE= To the Spirits of the Departed. For L Aelius Melitinus, sweetest son. Mother Felicula and father Myron did this in their ve ry great misfortune. He lived for 13 months and 9 days. Do not cause trouble at this tomb or you may suffer similar treatment with regard to your own children. See to it that you are not a pest and do not allow this sort of behaviour to happen, and take care of the urns that are inside. (Note that the inscription i cut with win place of n and£ instead of E.) S: Irregularly haped niche containing a bust portrait of a nude boy. A rosette appears in each of the top corners. B: CIL v, 10736-; JG xrv 1337; Mattei and Gregori (1999) 142 no. 253; EDCS no. CIL 06, 10736 D: 2nd C (Mattei and Gregori)

_...

.'

--

-.:E....

.._.,....-

I ....,.-.....i

......

-

190

CATALOGUE

#135 P: Vigna 'ari L: Rome, MC, Palazzo 1uovo, Galleria, inv. 16 De 06) T: Marble tela, 2 x 21 x (wall) Pr: Heads of the child and animal mo tl ' lo t; eneral weathering to the front; surface/edge chip [:

DIS MANIBVS / SACRVM / SALVTARJ FILIO PARE TES / VIXIT A

FECER\'NT

S VII M II D XX / HORI

lll /

STAPHYLVS PATER / NICE MATER / STAPHYLE OROR

=

Sacred to the Departed pirit . For alutari . The parents did (this) for their on, who Lh·ed for 7 ·ear , 2 months, 20 day and 3 hour . taph fas, father, Xice, mother and Staphyle, i ter. Arched niche containing a half-fig. portrait of a bo ' in a tunic. He holds a dog in hi hands. CIL v1 25846; AnnEpigr (1992) 36 no. 92.13 ; Mattei and Gregori (1999) 204 no. 495*; EDCS no. CIL 06, 25 462nd C (Mattei and Gregori)

S:

B: D:

=135- =140

B:

CIL VI 26473; King (2000) 141 n.77; Di Stefano Manzella (2003) 104 no. 2393*; EDCS no. CIL 06, 264732nd to 3rd C (Di Stefano Manzella)

D: =138

P: Find- pot unknown (from the Ziist collection) L: Ba el, Antikenmuseum, inv. Zii 606 (March 07) T: }.farble gable, 50 x 122 x 24 Pr. ose-tip lo t; urface/edge chips; general weathering to the front L OTACILIO L F FAL FLORO IV IORI = For L. Otacilius Florus the younger, son of Lucius, member of the Falerna voting tribe.

/:

Tri. gable containing a bust portrait of a boy in a t+s. It i held b two fl)ing putti. At each of the sides, garlands hang from bucrania.

B:

CIL 1 23610; chefold (1969) 114-18*; Goette (1989) 45 >; EDCS no. CIL 06, 23610Based on the hair tyle, 230-240 (Goette)

D: #136 P: Find-spot unknown (from the Ficoroni collection) L: Rome, MC, Palazzo uovo, Galleria, inv. 16 6 (Dec 06) T: Marble tela, 31 x 23 x (wall) Pr. Damage to the frames; general weathering to tlte front; nose-tip lo t /:

\ ia alaria (from the Mattei collection) Rome, 1V, Mu eo Pio Clementino, Loggia Scoperta,

T:

inv. 54 (Dec 09) Marble tela, 60 x 41 x (wall)

Pr. Top left corner missing; heavy weathering to the front,

D M PEI / \' A II M X D XXIII / L PORcn· CASTRE I ET OCTAVIA POLLA / ET VLLATI\'

POLLIO

DELICATAE

S:

Arched niche, cut into the top ection, containing a half-fig. portrait of a girl in a t+m. he has a bird in her raised r/h.

B:

CIL VI 266 9; fattei and Gregori (1999) 204 no. -196\ EDCS no. CIL 06, 266 9-

D:

2nd C (Mattei and Gregori)

#137

P: Via Appia, ,igna Amendola L: Rome, }.fV, GL, inv. 5 1 (Dec 06 T: 1arble tela, 3 23 x wall Pr. Edge chip · general ,,·eatherin to tlte front DI

e p. to the face ; surface chips; damage to the frames

J:

= To the

pirits of the Departed of p , who Lh·ed 2 year , 10 month and 23 da ' . L. Porci Castren is and Octavia Palla and ullatius Pollio (did this) for their delicata. SVAE

/:

-139

P: L:

i'-W ' l

ESTO A.'vUlAE

BO.·AE \'IXJT

A.: ' ~l

Ill

To the piri of the Departed. For Sestus, of good di po ition, ,·ho 1.iwd for 3 ·ears, 4 months and 4 day . Tri. niche, flanked by half-p acr., ;: ~ °' head of a boy between poppy head or po

D M / AVRELIV

nxIT A

'

I

fVClA

S MISSICI/VS CHR VI PRET QVI

XXXVllll MES Vil DIES Villi ORA Villi /

FECIT AELIA L CIA COIVGI VIRGINIO / SVO BENE MER-

= To the Spirit of the Departed. Aurelius Mucianus, discharged soldier of the 6th praetorian cohort, who lived for 39 years, 7 months, 9 days and 9 hour . Aelia Lucia did (this) for her well-deserving husband whom he married when a girl. (The meaning of virginius in the inscription is disputed.) 5 full-fig. portraits. L-R: a boy in a t+t; a woman in a t+m who places her r/h on the head of the first child; a boy in a t•t; a man with a beard in a t+t who holds a scroll in his 1/h; a boy in a t+t. The adults look towards one another. B: CIL VI 2604; pinola (1999) 183 no. 16"*; Di Stefano ~fanzella (2003) 242 no. 2703A*; ArD no. 20790"*; EDCS no. CIL 06, 02604D: Based on the hairstyles, dress and epigraphy, 250- 260 ( pinola) E, "TI FECIT

/ MEN 1m / DIEB 1m =

S:

#140

P:

Find-spot unknown

L:

Rome, MV, GC, inv. 1369 (Dec 06) Marble relief, 110 x 57 x 46

T:

CATALOGt:E =14 1-=144

Pr: Head of the girl mi irlg; re toration to the man' face and left hand as well as the boy' right hand and hair; damage to the bottom edge; horizontal ra · through the portraits; general weathering to the front [: HIC EGO SVM CORNVTV DOLlEN CV~! FILI D\'LCI IMIS v111 = Here I am, grie,ing Comutus, \\ith eight most sweet children. 3 full-fig. portrait . L-R: a bo a Harpocrat , \\ith a chlamys over his houlder, a cornucopia in his Uh and his r/h raised to his lip ; a man \\ith a beard in the gu· e of Saturn, seated on a throne, \\ith drapery over his head and lower body; a girl in a peplos with an apple, pinecone and grape bunch in her 1/h and the other on the lap of the man. She is presented a either Autumn or Flora (Raoul-Rochette's 19th-century drawing how her \\ith an ivy crown). B: Raoul-Rochette (1833) 407•; CIL VI 164 3; Wrede 19 1) 253 no. 160" *; Ricci (2003) 386 no. 93; ArD no. 2037 "; EDCS no. CIL 06, 16483*D: Based on the style, 270-300 (Wrede)

lS

.11

9

sof 111

in 1is r. no

#141 P: Abbazia delle Tre Fontane L: Rome, M R, TdD, aula VII depo it, inv. 135 42 (Dec 06) T: Marble altar, 74 x 29 x 26 Pr: Light weathering; minor edge chips; light lo e to facial details /: D M // FLORO QVI VIX A / DVOBV M X D XXIIII / BASSAEVS FELICISSIMV / SERVEA PARE 'TE FILIO / ovLc1ss1Mo B M F = To the Spirits of the Departed. For Florus, who lived for 2 years, 10 month and 24 day . Bassaeus Felicissimus and Servea, parents, did (this) for their sweetest, well-deserving son. S: Circ. niche containing a bust portrait of a boy in a sagum. He has a horus lock. B: Candida (1979) 91 no. 38*; Giuliano (19 5) 331 no. VII,3*; Boschung (1987) 113 no. 947; Kleiner (1987a) 553; Kleiner (1987b) 272 no. 126*; Kleiner (1992) 460"; Minten (2002) 134 no. A39; Backe-Dallmen (2006) 164 no. A37'; Huskinson (2007b) 330; ArD no. 17508; EDCS no. RICIS-02, 00501/0179D: Based on the hairstyle and the drill-work, 280-320 (Kleiner)

.60 #142

Find-spot unknown (Fig. 20) Mentana, Villa Zeri, patio, parete 11 (Dec 06) T: Marble stela, 71 x 33 x (wall) Pr: Edge chips; light weathering to the front; damage to the chin and nose

CL-UlO D\'1.CJ lMO / QVJ VIXIT AN 'IS III / DIE,·m lAN\'ARI\' C\'M ozv/ A COIVGE VER AE ET FRATRJ B M F = acred to the Departed Spirits. For ,·eete t Clarus, who lived for 3 years and 8 days. Ianuariu \\ith wife Sozusa, did (this) for their welldesening verna and brother. quare niche contairling a full-fig. portrait of a nude bov in an a, kward pose (his legs are bent and do not eem to touch the ground). He holds a circ. object in hi 1/h. To hi right is a large hen which he touches with hi r/h. B: Zeri (19 2) 161 no. 82*; AnnEpigr (1984) 37 no. 127; Vedder (2001) 61 n.452; ArD no. 12323•; EDH no. 001640-; EDCS no. AE 1984, 00127 D: Based on the epigraphy, 4th C (EDH)

/:

D .l

B\

Environs =143

P: L:

0 tia, found in a nearby tomb (1922) (Fig. 25) 0 tia, Iuseo Ostiense, Deposit, inv. 1375 (Jan 07) T: Marble altar, 114 x 61 x 45 Pr. Light weathering and discolouration to the front; minor surface/edge chips /: DIS M.ANIBV / A EGRJLIO A F PAL MAG O VIX / ANN V MESES VIIII DIES VIIII = To the Spirits of the Departed. For A. Egrilius Magnus, son of Aul us, member of the Palatina voting tribe. He lived for 5 years, 9 months and 9 days. S: A full-fig. portrait of a boy in a t+t who stands on a mall plinth. He looks to his right, has a scroll in his 1/h and holds the horn of the adjacent goat with the other (which may allude to the Zagreus myth). The lid feature a double volute pattern, palmettes, lotus blossoms and ro ette pulvinar . The patera and urceus appear on the ide . B: A (192 ) 406 no. 76; CJL xiv 4899; Meiggs (1960) 191; Gercke (196 ) 25 no. R21; Kleiner (1987a) 553; Kleiner (19 7b) 114 no. 12"; Goette (1989) 460; Rawson (1991) Pl. 3'; DLxon (1992) 179'; Rawson (1997a) 220•; athan (2000) 25; Chamay (2001) 11 '; Minten (2002) 130 no. A3; Raw on (2003a) 50; Horn (2005) 105; Uzzi (2005) 1 6; Wileman (2005) 39"; Backe-Dahmen (2006) 147 no. AS '; Hu kin on (2007b) 330; ArD no. 14237; EDCS no.CIL14,04 99·D: Ba ed on the hair tyle and toga form, 50-60 (Kleiner)

P:

L:

=144

P: L: T:

Tuscola Rome, MV, GL, inv. 69 (Dec 06) larble altar, 62 x 27 x (wall)

CAT ALOG E :;:145-: 148

192

Pr: General weathering to the front, esp. m·er the portrait; areas of discolouration; surface/edge chip I: DIS MA I IRE AEI I VIXIT ANNO I I ML'> IB\ XI I DIEBYS XV/ EPAPHRODITVS / CORNELi / ATROCI PP ERVOS FILIO / DVLCISSIMO FECIT / IN FR p III IN AG p I[ = To the Spirits of the Departed of Irenaeus, who lived for 1 year, 11 months and 15 days. Epaphroditus, slaw of primipilaris Cornelius Atrox, did (th i ) for his sweetest son. 'This tomb is) 3 feet across the front and 2 feet to the rear. S: Arched niche, flanked by half-p acr., containin a bu t portrait of a nude boy. B: CIL vi 19698; Amelung (1903) 1/2 2 1no. 154b; Bo chung (1987) 88 no. 338; Kleiner (1987b) 1 2 no. 50~; Minten (2002) 130 no. An; Backe-Dahmen (2006) 146 no. A2>; EDCS no. CIL 06, 19698D: Based on the hairstyle, Trajanic (Kleiner) #145 P: Albanum Caesarum (Albano), villa di Domiziano, eastern section of Galleria di sopra, near Cenobio Late 1st to early 2nd C (Granino Ce ere)

#146 P: Ostia, find-spot unknown L: Ostia, Museo O tien e, in,·. 1-9 (D

o

0 tia, near the Porto d'Anzio, localita Pianabella (1825)

Rome, Palazzo Valentini, main staircase (Dec 06) arble relief, 170 x 99 x 28 Pr: Horizontal cracks th rough the legs of the adults; restoration to the feet, noses and garments as well as to the woman's arms and the man's hands; back frame damaged S: 3 portraits. L-R: a full-fig. portrait of a woman in a t+m with an apple(?) in her r/h and part of her drapery slipping from her shoulder (an allusion to Venus); a bust T:

CATALOG E =149-=151

(ID;00. · AAACTQ:,.; EXO · [EI r]AP YnOX00 IOC KATA rHC ALlliC. IE ITKEY0E/ [A)AAA IIIOC OAPEIIPOC AETOC HPnACE • lE / [ffi1'C)O OMOY KAI IIAIII fErH00TA E 0A CY EIIPOC / OCOPO HIIE KAAO ECnEPO OPA nEAO / [EY E)KA ' c\.\..\El'i'AC TM£ IIAKPYA 0YE OATEP MO! / [ACT)EPA fAP M ECOPAC IIIllil EEZOME ON / [E)VTICHES AVG LIB FJLJO / [on]c1 mo FECIT = Eutiches, son ofEutiches, who went to heaven while still an infant not having known either the bad or good that life brings. He lived for 2 ·ear , 2 month and less than 5 days. He speaks these written word : 'Do not cry any more, dearest father, and ma · ·ou not vent any more the lamentable, insufferable grief that you have in your chest. For even if Hade who dwell down below hid me beneath the earth, yet the eagle that perches beside Zeus snatched me from the fire. Now I it together with Phosphorus and fair He peru . o, dry those tears and make a sacrifice fo r me, father. For when you look upon the stars, you will ee me riding my horse'. Eutiches, freedman of the emperor, did (this) for his sweetest son. ( ote that the in cription is cut with w in place of O and E instead ofE.)

portrait of a girl in a t-rm who appear to 'float' in the air; a full-fig. portrait of a man \\ith a beard in a t-t who hold a croll in hi 1/h. Toe woman places her hand on his houlder. B: Zanker (1975) 271 n.12; Wrede (19 1) 2 n-40; Frenz (1985) 97 no. 32"'; Goette (1990) 136 no. B b 110>; Kleiner (1992) 283'; Kockel (1993) 212 no. ;,;1 '; BackeDahmen (2006) 145 no. R23"'; ArD no. 1 245 D: Based on the male hair tyle, mid Antonine (BackeDahmen) #149

P:

Ostia, find-spot unknown Ostia, Museo Ostiense, to the ide of the depo it, inv. 10310 (Dec 06) T: Marble altar, 55 x 36 x 29 Pr: Significant losses along the top, right and bottom ides, inc. head of the child and part of the inscription; heavy weathering and discolouration, wor ened b • continued exposure ]: D M / QVARTVS C[AESARIS) / ER AV[---) / [---)XAE sv[AE ---] = To the Spirit of the Departed. Quartus, imperial slave, (did thi ) for hi verna [---) S: Rect. niche containing a full-fig. portrait of a tod.7, nude boy as Hercules, wrestling with two nake which are wrapped around his legs. Toe patera and urceu.s appear on the sides. B: CIL xiv 1521; Wrede (1976) 314; Wrede (1981) 250 no. 146*; Kleiner (1987b) 263 no. 119*; Kleiner (1992) 348'; Minten (2002) 134 no. A38; Backe-Dahmen (2006) 163 no. A36*; Huskinson (2007b) 331; EDCS no. CIL 14, 01521-

193

L:

B:

D: Based on the iconography, 160-220 (Kleiner) D:

Arched niche, flanked by half-p acr. and fluted pilasters with Cor. capital , containing a full-fig. portrait of a boy in a t-'-p(?) with a bu/la. He sits on the back of a horse which i led upwards to the sky by the eagle of Zeus (a rope run between the eagle's beak and the horse's mouth). The child ha a star above his head. Galieti (1943) 0-5; AnnEpigr (1945) 36 no. n9; BCAR (1949) App. 62*; Jucker (1961) 140; Wrede (1981) 230 no. 104"; Wiedemann (1989) 42; Strubbe (1998) 50; Rawson (2003a) 359'; Raw on (2003b) 294; EDCS no. AE 1945, 00119" 200-225 (\ rede)

#150 P:

Albanum Caesarum (Albano), villa di Domiziano, ninfeo (1935)

Albano Laziale, Museo Civico, 11\ntiquarium della Chiesa di S. Maria della Rotonda (Dec 06) T: Marble stela, 70 x 38 x (wall) Pr: Reconstructed from several fragments, with left ection of the portrait niche and large parts of the left and lower areas missing; general weathering, esp. to the face; child's nose and right hand lost; hor e's feet damaged; surface chips L:

1:

EYTYX[O)C EYTYXEOYC ET! Hfl!OC OYPANO, HA0E OY KAKO 0¥6£ AfA00N fNOYC BIOC OTT! EPEi [EJ ZHCEN IIYETH ME AC IIYO HMACI OE TE / HTTO:,.; !IIOY CTHAJ\H TAYTA fPAEICA AfTEI / [MHII E]TI KAAIE nATEP fAYKEPOTATE MHII ET! AYHC / [Ol]KTPON ENI CTEPNOIC I

# 151

P:

Ostia, taberne dei Pescivendoli on the decumanus maximus near Porta Marina L: Ostia, Museo Ostiense, inv. 150 (Dec 06) T: Marble stela, 67 x 28 x 8 Pr: Top corner mi ing; horizontal crack through the neck of the child; no e-tip lost; damage to the mouth and olive branch; general weathering to the front A full-fig. portrait of a boy in a t+t with a horus lock. He hold a bird in hi 1/h and an olive branch in the other.

B:

D:

Becatti (193 ) 49\ Calza (194 ) 30 no. 150; Braemer (1959) 24• (feminine ID); Candida (19 9) 93 n-7; Kleiner (1987b) 273 n.6"; Kleiner (1992) 460; ArD no. 14212 Based on the style, 300-320 (Kleiner)

194

CATALOGUE

ITALIA REGIO I: LATI ·:-,.1 ET CA:-IPANIA

=152-:155

J:

NELIVS M L PATER FECIT = For Cornelia Fausta. Her bones lie here. M. Cornelius, freedman of Marcus, father, did (this).

Capua ( anta Maria Capua \'etere) #152

P: L:

ear to the theatre Capua, MPC, seconda cortile, inv. 24 (De 06)

T: Limestone stela, 130 x 65 x 33 Pr: Severe weathering across the front; lo of the fa ial fea-

B:

tures; edge chips and crack ; right acroterion and bottom corners missing /:

D:

for Princeps, verna. Rect. niche, framed by pila ters, containing 3 full-fig. portraits. L- R: a woman in a lTm in the pudicitia

P: L:

In vicinity of Capua aples, MA , cortile, inv. 3372 (Dec 06)

T:

Lime tone stela, 190 x 71 x 39 evere damage to the sides, inc. loss of the right pilaster; general weathering, esp. to the faces and hands;

=15;

Pr.

acroteria damaged

CIL x 4411; Frederik en (1959) 99; Frederiksen and Purcell (1984) 301 n.u ; Frenz (19 5) 2 n.16 ; Eckert (1988) 138 no. 3A\ Herrmann-Otto (1994) 416; Chioffi

D:

04099 Based on the nomen, 50 to 1 BC (Chioffi)

ERTO FECIT / / PRICIPI VERNA£=

stance; a boy in a tunic who holds a quare object (ID by Chioffi as game-box); a man in a t+t who adop the 'arm -sling' po e. The gable feature a central ro ette.

B:

Rect. niche containing a full-fig. portrait of a girl in a tunic. She holds a now unrecognisable object (fruit?) in her r/h. CIL x 4099; Frederiksen (1959) 99 and 114; Frederiksen and Purcell (1984) 301; Eckert (1988) 167 no. 55 (ID as woman )"*; Chioffi (2005) 121 no. 131"*-; EDCS no. CIL IO,

VIBVLEIA / EPIGE IA // A VIBVLEIO ALEXA [ .·] ' COLLIB-

\ 'ibuleia Epi enia did (this) for A. Vibuleius Alexander, fellow freedman, and

S:

CORNELlAE FAVSTAE / OSSA H lC SITA SVNT / M COR-

J:

QVI CVM DVM HABERET CLAVSAM AN![MY]/LAM MORTALEM AD SVPEROS LICITVM EST [F) !N!TAM AD DIEM P[A] RCE / PVDENSQVE VIX!T OMNI TEMPORE AVRVNC VS

(2005) 11 no. 126A>-; EDCS no. CIL 10, 04411> Ba ed on the tyle and iconography, ;o to 1 BC (Chioffi)

ERA [T] FV[R]IVS ERAT

OM! E / MAGISTER LVD! LIT-

TERARl PHILOCALVS SVMMA QVOM CASTITATE TN / DISCJPVLOS

# 153

P: L:

FIDE

Find-spot unknown Santa Maria Capua Vetere, Anfiteatro (Eckert)

!TA [ DE)CVCVRRIT VITAM / FIDVS SINE METV EJVS OSSA NVNC H!C !TA

T: Limestone stela, 7 x 46 x 35 Pr: Heavy weathering to the front; no e-tip lo t; minor urOS A H

/ FAY TI PL 'I

B:

D:

= As long as

abm·e permitted him to proceed to his destiny day, he I

lies the bones of Faustu ,

S:

V T POSITA A CENTVRIS

thi man had spirit confined in his body, and the gods

face/edge chip

I:

VOS IDEMQVE TESTAMENTA SCRIPS!T CVM

EC / QVOIQVAM PER EGAVIT LAES!T NEM!NEM

I

DECVM.A MAT F

= Here

lived at all time respectfully and with thrift. He was of Aurunca and called himself Furius Philocalus, an ele-

lave(?) of :\L Plinius.

Decuma (Decima?), mother, did (thi ). (The reading i

mentary teacher, who behaved with the utmost mor-

insecure.) Rect. niche containing a full-fig. portrait of a bo · in a tunic. He hold a grape bunch in his r/h and a e ond object in the other. To hi right is a mall doo. Frenz (19 ; ) 25 n.15~ Eckert (19 ) 161 no. 44>;

ality towards his pupils. Likewise he wrote wills with integrity, neither denying nor injuring anyone. Such wa the cour e of his life, both trustworthy and without

AnnEpigr (19 9) 4 no. 163-; EDH no. 014622>; EDCS

containing 3 full-fig. portraits. L- R: a boy in a tunic who holds tablets in his r/ h and turns towards the centre; a eated man in a t+t who holds tablets in his hands and , ho e feet rest on a stool; a girl in a t+m. Both

fear. ow his bones are placed here by the corporation. Arched niche, framed by pilasters with Cor. capitals,

no. AE 19 9, 00163 so to 1 BC (AnnEpigr)

#154 P: Find- pot unknown (fir t

·outh place a hand on the body of the man. The gable een in the Palazzo di

L:

Maggio) Capua, MPC, ala !ornm en, in,·. 131 Dec 06)

T:

Limestone tela, 133 x 55 x 34

Pr: Heavy ,veathering; child' face l through drapery

; ed"e chi · crack

B:

feature a ro ette. CIL x 3969; Vessberg (1941) 206*; Frederiksen (1959) 101; Eckert (1988) 163 no. 46"*; Goette (1990) 155 no. M 19*; Evans (1991) 170; Rawson (1999) 85-6 11.11" ; Rawson (2003a) 160*; Laes (2006) 114; Laes (2007b) 113; Laes (2011); EDCS no. CIL 10, 03969-

CATALOGUE =156-=159

D:

Based on the epigraphy, 50 to 1 BC (Frederiksen)

#156 ear the modern cemetery P: aples, MA , cortile, inv. 4045 (Dec 06) L: Limestone stela, 123 x 61 x 27 T: Pr: Severe weathering and di colouration to the front, worsened by its current location O}ing face-up in openair courtyard); surface/edge chip J: C SABJDIVS AVOMCVLV PAET [!)/ C\" IA HIL\IA /. L.\.TER / PAETVS / FILIV = C. abidius, maternal uncle of Paetus (did this). Cu ia Hilma, mother. Paetus, on. S: Rect. niche, framed by pila ter , containing 2 full-fi . portraits. L-R: a boy in a t+t who adopts the 'arm-sling' pose; a woman in a t+m in the pudicitia tan e. The boy turns towards the woman. B: CIL x 4321; Vessberg (1941) 206 n.1; Frederiksen (1959 99 and 101; Eckert (1988) 158 no. 37A\ EDCS no. CIL 10, 04321D: c. 30 BC (Vessberg) #157 P: Sant'Angelo in Formis (18 3) L: Capua, MPC, primo cortile, inv. 59 (Dec 06) T: Limestone stela, 202 x n6 x 42 Pr: Severe weathering and discolouration; damage to the acroteria and pilasters; child's face lost; re toration to the woman's arm J: [---) ROGO TE VIATOR NI OCIAS MEO [--- )/ [CAE] IA L L MVSCIS SIBEi ET SVEIS DE sv[A PECVNIA) / FACIVNDVM CVRAV[IT) // L CAESIO Q F / TER PATRO O // CAESIA L L / MVSCIS If QVARTO / VERNAE / SVO / CL[--) / VER[ AE] sv[ o J [---] = I ask you, passer-by, not to harm my [loved ones?]. Caesia Muscis, freedwoman of Lucius, saw to it being done from her own money for herself and her family: for L. Caesius, son of Quintus, member of the Teretina voting tribe, patron; Caesia Muscis, freedwoman of Lucius; for Quartus, her verna; for Cl[---] her verna. S: Rect. niche, framed by pilasters, containing 5 full-fig. portraits. L-R: a man in a t+t; a cap. vel. woman in a t+m who is connected to a man in a t+t via the dextrarum iunctio; a child in a tunic, standing on a pedestal; a man in a t+t who adopts the 'arm-sling' pose. The adults all turn inwards. The gable features a Gorgon head. B: CIL x 4053; Frederiksen (1959) 99 and 101*; Frederiksen and Purcell (1984) 301 n.n7; Eckert (1988) 148 no. 21A\ Herrmann-Otto (1994) 416; Chioffi (2005) 83 no. 72A*-; EDCS no. CIL 10, 04053* D: Based on style and iconography, 30 to 1 BC (Chioffi)

195

=158

P:

_ ext to the Basilica Constantiniana L: Casapulla, Collezione Pellegrino, parete A (Chioffi) T: Limestone stela, 106 x 45 x (wall) Pr. everal urface/edge chips; general weathering to the front, e p. to the face (from which the nose is lost); child' hands missing I: Q :-AE\'TVS (mulieris) L PRIMVS / A/N/N IX I H H s s // £/ E!P/T/v/ / E/s/T = Q. Naevius Primus, freedman of Gaia, of 9 year . His bones lie here. He has been snatched away. Re t. niche, framed by pilasters, containing a fullfi . portrait of a boy in a tunic. He holds a circ. object (ball?) in his r/h. To his right a dog leaps up towards his , ·aisL The portrait appears to have breasts so must have original! been intended to be female. The gable feature a patera(?). B: CIL x 4235; Chioffi (2007) 17 no. 3"*; EDCS no. CIL JO, o.p35>D: Latei t CBC (Chioffi) :159

P:

During building work at the Jesuit college Capua, MPC, prin10 cortile, inv. 1 (Dec 06) Travertine stela, 181 x n2 x 40 Pr. evere weathering to the front; facial features lost; several cracks and edge chips; right pilaster and acroterion mi ing J: TITIAE C L / DORCHAE // Q FLORIVS / Q L LICCAEVS // FAVSTAE DELICIVM If Q FLORIO Q L / FAVSTO // Q FLORIVS Q L LICCAEV !Bl SVISQ FECIT //O HS [s) //[---)=For Titia Dorcha, freedwoman of Gaius; Q. Florius Liccaeus, freedman of Quintus; for Fausta, delicium; for Q. Flori us Faustus, freedman of Quintus. Q. Florius Liccaeus, freedman of Quintus, did (this) for himself and his family. The bones lie here [---] S: Rect. niche, framed by pilasters, containing 4 full-fig. portraits. L-R: a cap. vel. woman in a t+m who is connected via the dextrarum iunctio to a man in a t+t; a girl in a t+m, upon whose shoulder the central man places his 1/h; a man in a t+t who holds part of his drapery. The gable features a Gorgon head and is flanked by ha!f-p acr. The frieze below depicts two pigs, two sheep, a ram and a butcher's knife. B: CIL x 4370; Frederiksen (1959) 99 and 100; Zimmer (1982) 101 no. 10A\ Frederiksen and Purcell (1984) 300 n.106; Frenz (1985) 27 n.163; Eckert (1988) 145 no. 17A*; Rawson (2003a) 90*; Chioffi (2005) 129 no. 143"*-; ArD no. 3600\ EDCS no. CIL 10, 04370• D: Based on the style and iconography, c. 30 BC to AD 30 (Chioffi)

L: T:

CATALOGUE

#160

B:

P: L: T: Pr:

D:

First seen in the house of ig. d'Ar ensii 1 6) Capua, 1PC, primo cortile, inv. 56 (De 06) Limestone tela, 152 x 115 x 3 Severe I eathering across the front; fa ial and drapery details mostly lost; edge chips and cracks; left acroterion damaged

J:

m11/i-

P:

M. Brittius Diophantu , freedman of larcus; Oppia Po ilia, freedwoman of Publius; 1. Brittiu Donatus, freedman of Marcus and Gaia; Oppia alvia, freedwoman of Gaia; Brittia Prisca, freed woman of 11arcu . Rect. niche, flanked by pilaster , containing 5 full-fig. portraits. L-R: a man in a t+t; a woman in a t-m; a girl in a t+m; a man in a t+t; a woman in a t+m. All of the adults adopt the 'arm-sling' po e; the girl may have held an object. The gable feature a Gorgon head and i flar!ked by half-p acr. CIL x 404 ; Frederiksen (1959) 109 n.136; Frederiksen and Purcell (19 4) 29 n. 2; Frenz (19 5) 2 n.164,; Eckert (19 ) 140 no. 9" >; Chloffi (2005) 124 no. 13 A>-; EDCS no. CIL 10, 0404 Ba ed on the tyle and iconograph , c. 30 BC to AD 30 (Chioffi)

L:

eris) L /

S:

B:

D:

(mulieris) L DO

'ATV

/ OPPIA

SALVIA / BR1 [TT1 ] A ML / PR1 [ ] CA =

L: T:

to the theatre Capua, MPC, econdo cortile, inv. 13 (Dec 06)

[Q H] O [R] DIO IV

J:

HORDIO [

rvs] I

Q Q

(mulieris)

L

/ Q L / VAVI [

VR\'

l/

// Q

!Bl ET

PATRO [ 1 J II o H II = Q. Hordionius uavi , freedman of Quintus, Quintu and Gaia, (did thi ) for himself and hi patron : Q. Hordionius [---]he , freedman of Quintus; Hordionia Philurnina, freed, ·oman of Quintus; Q. Hordionius urus, freedman of Quintus. The bones lie here. Rect. niche, fram ed by pilasters, containing 5 full -fig. portraits. L-R: a man in a t t who adopts the 'arm sling' po e; a woman in a t+m who is onnected via the dextrarum iunctio to a man in a t+t; a child who e drapery cannot be di cerned; a man in a t- also in the 'arm-sling' pose. The gable featur a Gorgon head and is flanked by acroteria.

Q DECIR! Q L / HERMIA£ / NASO JS // BAEBIAE L L / HELE 'AE // Q DECIRJ Q L AMILC[A)E // Q DECIRI Q L

(Tomb) of Q. Decirius Hermias Naso, freedman of Quintus; of Baebia Helena, freedwoman of Luciu ; of Q. Decirius Amilcar, freed man of Quintus; Q. Decirius Papias, freedman of Quintus. Rect. niche, framed by pilasters with Co r. capitals, containing 4 full-fig. portraits. L-R: a man in a t+t who i connected via the dextrarum iunctio to a cap. vel.(?) woman in a t+m; a child (boy?) in a tunic; a man in a t+t who rests his hand on the shoulder of the woman. The gable features a Gorgon head. CIL x 4105; Frederiksen (1959) 99; Eckert (1988) 152 no. 2 "\ EDCS no. CIL 10, 04105Based on stylistic comparisons, 30 BC to AD 30 PAPIAE =

D:

/ [Q ] L [ -- -) HES // HORDIONlA /

Q L / PHILVMINA // Q HORDIO ' IV

S:

to the front, with the loss of the portrait features; some di colouration; surface/edge chips

1ext

Lime tone tela, 1 1 x 123 x 33 Pr: Severe weathering and di colouration; facial and drapery details mo tly lo t; damage to the in cription, pilaster and gable; child' head mi ing

. 1aria dei Franchi Capua, via eggio dei Cavalieri no. 22/24, inner wall ( 1ay 10)

T: Limestone tela, 130 x 95 x 25 Pr: Right and bottom ections missing; severe weathering

B:

#161

P:

CIL x 4174; Frederiksen (1959) 99 and 114; Frederiksen and Purcell (1984) 302; Frenz (1985) 27 n.163 no. 7; Eckert (1988) 151 no. 25" *; Chioffi (2005) 128 no. 142A*-; EDCS no. CIL 10, 04174* Based on the style and iconography, c. 30 BC to AD 30 (Chioffi)

:!162

MBRITTIVSML/DIOPHA TV // OPPIA [P]Lf PO ILLA // M BRITTIVS M / ET

I:

;::160-=163

=163 P: In the Palazzo Arcivescovile by 1873 L: Capua, MPC, primo cortile, inv. 3 (Dec 06) T: Limestone stela, 216 x 70 x 20 Pr: ignificant losses from both sides; portrait features damaged; severe weathering across the front; horizontal crack through the middle of the main niche [:

[TV] QVI PRAETERIE S SPECTAS MORTIS MONV[MENTVM A PICE QVAM] / [1] DIGNE SIT DATA VITA MIHI QVATTVOR A

o[s

HEIC ANIMAM

VIX[--- ]/ [QV)INTO SCADE[N)S D EP OSVI VN [C MORO R IN] / [L]ATEBRIS [---]

DIS [ --- ) VIVERE DIS [CE VALE]=

You who are passing

by, look at this monwnent of death and consid er how

S:

unde erved a life was given to me. I lived for four years. Dying in the fifth, I laid my spirit to rest in this place. ow I loiter in the hidden recesses with the spirits of the departed. Learn how to enjoy life! Farewell. Rect. niche containing 4 full-fig. portraits. L-R: a man in a t+t who is connected via the dextrarum iunctio to a

197

CATALOGUE =164-=l6

boy in a t+t with a bu/la; a child whose drapery cannot be discerned; a woman in a t+m who places her hand on the head of the boy. The gable features a Gorgon B:

head. CJL x 44 28; Frederiksen (1959) 99; Frenz (19 s) 27 n. 164; Goette (1986) 154 no. 7; Eckert (19 ) 146 no. 18/\*; Chioffi (2005) 134 no. 149A•-; EDC no. CIL 10, 04428* Based on the style and iconography, c. 30 BC to

D:

AD

3°

(Chioffi)

f

0

n a n. o.

#164 P: Found during excavations on the ancient ite but without a particular find-spot L: Santa Maria Capua Vetere, Museo dell'Antica Capua, cortile, no inv. (Dec 06) T: Limestone stela, 145 x 63 x 40 Pr: Severe weathering to the front, with the loss of the portrait features; several surface/edge chip ; acroteria and top of the gable damaged; ome discolouration MP[---]A[---]OMM[---]vcr II o II H II s II I: S: Rect. niche, framed by pila ters with Cor. capital , containing 3 full-fig. portraits. L-R: a man in a t+t who i connected via the dextrarum iunctio to a woman in a t+m. In between, a boy in a t+t. The gable feature a rosette. B: Eckert (1988) 156 no. 34*D: Based on comparisons with other pieces from Capua, late republican to early Augustan #165

T:

oeneral weathering to the front, esp. to the faces; some discolouration C OVTV C L SOTERICVS / C OVIVS C L EROS C OV!VS C [ L - -- ) / C OVIVS C L CARITO DE SVVO / FECERVNT = C. O,iu oterichus, freedman of Gains; C. Ovius Eros, freedman of Gains. C. Ovius [---], freedman of Gains, and C. Ovius Carito, freedman ofGaius, did (this) from their own money. Rect. niche, framed by pilasters, containing 2 portraits. L-R: a full-fig. portrait of a boy in a tunic, perhaps with an object in his hands; a half-fig. portrait of a man in a t- t who adopts the 'arm-sling' pose. The gable features a Gorgon head. B: CIL x 4265; Chioffi (2007) 18 no. 4"*; EDCS no. CIL 10, 04265>D: Late 1st C BC to early 1st AD (Chioffi)

[:

;;-167 P: Find-spot unknown (from the Papa collection) L: Capua, MPC, sala m, inv. 14 (Dec 06)

T: Limestone stela, 71 x 48 x 30 Pr: Bottom section, acroteria and top left corner all lost; general weathering; facial details damaged, esp. the nose and eyes J:

S:

P:

res )11 -

VM \T -

,VI --] ing OW

Donated to the museum in 1883 L: Capua, MPC, sala Mommsen, inv. 18 (Dec 06) T: Limestone stela, 130 x 60 x 34 Pr: Severe weathering across the front; damage to the adult's face; nose-tips lost; surface/edge chips; acroteria missing I: RVFA VORENA p L GE = Rufa; Vorena Ge, freedwoman of Publius. S: Rect. niche, framed by pilasters, containing 2 bustlength portraits. L-R: a girl whose drapery is not visible; a woman in a t+m. The gable features a central rosette. B: Eckert (1988) 174 no. 72A•; Chioffi (2005) 187 no.

1rs. lCe. : of

D:

ian oa

P: L:

244"*-; EDCS no. EE-08-01• Based on the hairstyles, c. 30 BC to AD 30 (Chioffi)

#166

Find-spot unknown Casapulla, Collezione Pellegrino, parete B (Chioffi)

Lime tone stela, 120 x 65 x 30

Pr. Damage to the top section; several surface/edge chips;

B:

D:

P BRITT!O PR! C!PI / FEC!T BR!TTIA CALLIN! DELICIO sv[o] / HIC v1xrT AN[ os] xv= For P. Brittius Princeps. Brittia Callinice did (this) for her delicium, who lived for 15 years. Rect. niche, framed by pilasters, containing a full-fig. portrait of a boy in a t+t. He adopts the 'arm-sling' pose and may have had an object in his 1/h. Frederiksen (1959) 99 and 114 n.117; Frederiksen and Purcell (1984) 301 n.117; Frenz (1985) 27 n.166 no. 2; AnnEpigr (1987) 75 no. 2531; Eckert (1988) 160 no. 41 "*; Chioffi (2005) 61 no. 31" *-; ArD no. 3596; EDH no. 008511; EDCS no. RECapua 00031• 1st C (Chioffi)

Fundi (Fondi)

#168

P: L:

Found in reused context

Fondi, Chie a di San Francesco, built into central partition wall (Dec 06) T: Marble relief, 54 x 105 x (wall) Pr. Damage to the no es and chins; surface/edge chips Rect. niche containing 3 half-fig. portraits. At the left, a man in a t+t who is connected via the dextrarum iunctio

CATA LOGUE

to a cap. vel.(?) woman in a t+m; the· turn towar

=169- =1 4

one

in a t+t; a full -fig. portrait of a boy(?) in a t+t with two birds in hi hands; a half-fig. portrait of a woman in a t- m; a half-fig. portrait of a wom an in a t+m. The adults all adopt the 'arm- ling' pose.

another. At the right, a girl in a tuni . B:

Pen abene (19 5) 294\ Frenz (1977 1 n.59; Frenz

D:

(1985) 100 no. 37">; ArD no. 66 9 Based o n the hair tyles, late Augustan (Frenz)

#169 P: Sant'Arcangelo L: Fondi, Museo Civico del Castello, no inv. (Dec 06)

T: Marble relief, 62 x 85 x 34 Pr: Severe weathering/mutilation to the front, with the lo

S:

B: D:

B:

· A (192 ) 3 o no. 3*; Colucci Pescatori (1975) 42*; Zank.er (1975) 2 9 n. 5; Frenz (1985) 124 no. 86"* Based on the hair tyles, late Augustan (Frenz)

D:

=172 cafati, localita P:

atriano, trada provinciale NoceraCastellarnmare (1959) aleroo, !usA Provinciale dell'Agro Nocerino, sala D, no inv. (Jan 07) Limestone tela, 100 x 45 x 41

of the faces; substantial damage to the edges; urface

L:

chips Rect. niche containing 4(?) portraits. L-R: a half-fig. m an in a t+t; a bust of a nude boy which 'float ' in the

T: Pr: Damage to the gable and grapes; surface/edge chips;

air and which the man seem to touch with his r/h; a half-fig. woman in a t+m. It i po ible that there was a second bust in the now lost section at the right Frenz (1985) 101 no. 39~ First quarter of the 1st C (Frenz)

no e lost; general weathering Arched niche containing a full-fig. portrait of a girl in a tunic. he holds a grape bunch in her r/h and a cornucopia(?) of fruit in the other.

B:

Romito (2005) 43"> 1 t C (Romito)

D: Elsewhere #170 P: Le Curti, between Capua and Caserta 1 45 L: Copenhagen, 1y Carl berg Glyptotek, room 22a, inv. H.I.

T:

.6 (April 07)

Lime tone tela, 94 x 60 x 45

Pr: Damage to the frame ; heavy weatherin to the front,

=173

P:

Quarto Flegreo (Quarturn), via Vicinale, prop. Goliuso (1966) (Fig. 45)

L: T:

Pozzuoli, Anfiteatro, lap., inv. 9/153656 (May 07) !arble altar, 100 x 40 x 40 !inor weathering and discolouration to the front

Pr: [:

S:

DI MA IB / L A ' ' ! L F PAL / FORTY ATI / VIXIT ANNIS

= To the Spirits of the Departed of L. Annius Fortunatus, son of Lucius, member of the

esp. to the face ; no e-tip lo t; child' face missin · ur-

!III / ME SIB VIII DIE I

face chips 3 full-fig. portraits. L-R: a woman in at m with a pomegranate in her 1/h; a child (girl?) in a t+m, perhap 11ith

Palatina voting tribe, who lived for 4 years, 8 months and 1 day. Arched niche, framed by pilasters, containing a bust

an object; a cap. vel. woman in a t+m with a pomegran-

portrait of a nude boy on a small pedestal.

ate(?) in her 1/h. Both adult adopt the 'arm- ling' po e. B:

Frenz (197 ) 31; Frenz (19 5) 105 no. 46"> (ID a man an d woman); Fi cher-Han en (1992) 170 no. 125">

B:

AnnEpigr (2002) 132 no. 352; ArD no. 25559; EDCS no.

D:

Based on the hair tyle, late republic to earl Augu tan (Fischer-Han en) It is po sible that the monument i votive ( ee

D:

AE 2002, 00352*Late 1st to early 2nd C (AnnEpigr)

Fischer-Hansen). #171 P: Abellinurn (Avellino), Atripalda, via Provinciale (192 ) L:

Avellino, !u eo Provinciale Irpino, inv. 62 (June 06)

T:

Limestone relief, 95 x 150 x 40 Pr: General weathering to the front, esp. over the faces; damage to the frame ; urface chip ; adul ' no e-tips S:

and child's head mi ing Rect. niche containing 5 portrai . L-R: a half-fig. portrait of a woman in a h ·m; a half-Ii . portrait of a man

# 174 P: Find-spot un known, but perhaps Nemi (from the Cardinal Despuig collection) L: Palma de Mallorca, Museo Municipal/Ayuntamiento (Gercke) T:

Marble relief, 66 (H) x 58 (W)

Pr: Restoration to the noses and chins; modern breaks S:

along the top and sides; general weathering to the front 2 bust portraits. L-R: a wom an in a t+m; a gi rl in a tunic whose portrait rests on an acanthus stem pedestal. It is likely that the original composition contained a m an at the right.

CATALO GIJ E =175-=1 9

B:

Hubner ( 1862) 307 no. oo (ID as arcophagus I; Po ulsen (1933) 27*; Jucker (1961) 23 no. G9 " >; Gercke 196

D:

freedman of Gaius, and Gavia ica, freedwoman of Gaius, et (this) up. quare niche containing 2 bust-length portraits. L-R: a man in a t+t; a girl in a tunic.

36

no. R35 Based on the hair tyle , 100-125 (Jucker

B: REGIO II : AP

LIA ET C AL ABRIA

Beneventum (Bene,·ento)

199

D:

Frenz (19 5) 153 no. 139*; Stelluti (1988) 239 no. 213*; telluti (1997) 146 no. 76 "*; AnnEpigr (1997) 125 no. 333; EDCS no. AE 1997, 00333•B ed on the female hairstyle, early to mid Augustan Frenz)

#175

P: L: T: Pr:

S:

West wall of a palazzo in via an Ga tano Benevento, Museo de! annio, inv. 434 Dec 06 Limestone relief, 100 x 9 x 40 Right section lost; damage to the bottom frame; general weathering to the front , e p. to the face ; urface chips Rect. niche, framed by fluted pila ter with Cor. capitals,

=17

P: L:

\ 1gna larulli Minni, Torre S. Anna (1890) Lo t ( olen from a private collection in 1967)

T:

, larble tela, 3 x 43 x 16

Pr. Hea, • weathering and di colouration, esp. to the faces; /:

preserving 2 portraits. L-R: a half-fig. man in a t-t in the 'arm-sling' pose; a full-fig. boy in a tunic \\ith a bird in his r/ h. Originally there was probably a further portrait in the now lost right ection. The gable features a Gorgon head and ivy vine and i flanked by half-p acr.

B: D:

no e and chin lost; urface/ edge chips L AGR PRJM\' S S I E TE / C HELE AE ET PYLLINI F TRJPERAE VJ

ERVA = L. Agr ius Primus (did this )

b' order of his will for himself and his family: for wife Helena, for daughter Phyllis, for slave Tryphera, living. Arched niche, flanked by half-p acr. and columns with volute capitals, containing 2 half-fig. portraits. L-R: a

Frenz (1985 ) 133 no. 105* Augustan to Tiberian (Frenz)

girl in a tunic with a large bird in her l/h; a woman in a t+m who places her arm around the girl's shoulder.

#176 P: Built into the Duomo Benevento, Duomo, campanile (Dec 06) L: T: Limestone relief, dimensions unavailable Pr: Heavy weathering to the front; original frames

S:

B: D:

missing Rect. niche containing a half-fig. portrait of a cap. vel. woman in a t+m. She holds a swaddled baby in her 1/h and adopts the 'arm-sling' pose with the other. Zanker (1975) 302 n.126; Frenz (1977) 19 n .64; Frenz (1985) 117 no. 71*; ArD no. 1921• Tiberian (Frenz)

B:

AnnEpigr (1994) 151 no. 495; Stelluti (1997) 136 no.

D:

1-50 ( telluti)

61 A• -; EDCS no. AE 1994, 00495

REGIO III: BRUTTIUM ET LUCANIA :179

P: L:

T: Pr.

Larinum {Larino) .e

#177

P: to

L:

Found during construction of a wall at the Stazione ferroviaria (1882) Larino, Palazzo Ducale, scalone di accesso, parete sini tra (Feb 07)

,ks

T:

mt

Pr: General weathering, esp. to the faces; nose-tip lot;

a es-

/:

1

da

Limestone stela, 90 x 46 x 8 corners damaged; edge chips C GAVJO CL SCIPIO l / ET OPTATAE / C MEVJVS CL PHI/ LEROS / GAVIA C L / !CA POS = For C. Gavius Scipio, freedman of Caius, and for Optata. C. Mevius Phileros,

I:

Con ilinurn (Padula), localita Leonardo, north of the mona tery (1955) Padula, MusA della Lucania Occidentale, lap. , no inv. (Jan 07) Limestone stela, 229 (H ) x 59 (W) Large crack through the bottom of the main niche; losses to the upper left and lower right sides; bottom right corner mi ing; heavy weathering to the front, e p. to the portrait T HELVJO QVARTO FI LIO / T HELVIO HESPE RO PRIV[ IGNO] / HEL L.U ECV 'DAE CO ' IVG! / SECV Dl0 HELVIAE PROCY[LAE) / VILICV !Bl ET VIS FECIT / QVOD FACER FILIV / PATRJ DEB\'IT i[D] / CIRCO FILIO FECIT PAT[ER) = For on

T. Helviu Quartu ; for tep-son T. Helvius

He perus; for wife Helvia ecunda. ecundio, bailiff of Helvia Procula, did (this) for him elf and his family. What the son ought to do for the father, instead the father did for the son. (Reading of the first part of the inscription vary dramatically.)

CATALOGUE =l 0 -= l -t

200

S:

B:

D:

Rect. niche containing a full- Ii . portrait of a bo ' in a t+t. He holds an object (fruit? in hi Lb and adopts the 'arm-sling' po e. The gable featur a ro ette. eut ch (1962) 10 '; AnnEpigr (1966 2 no. 106; Eckert (1988) 45'; Carl en (1995) 95• -; Romito (2006 1, no. 4*; EDH no. 015224; EDCS no. In dt-03-01, 00229 Based on the names, 50-100 (Helvia Procula was the daughter of T. Helvius Basila and the wife of C. Dillius Vocula, who died in 70) REGIO I

SAM

I

#180 P: Vallone Santa Lucia (2 km from Miranda) L: Miranda, Piazza Principale, built into town gate (Feb o ) T: Limestone relief, 93 x 153 x 47 Pr: Heavy weathering to the front, e p. to the face ; nosetips lost; frames damaged, with two corners missing J: C PACCIVS L F VLTI IA CAPITO EX SIB! ET SVI FIERJ I // L PACCIO FATRI [sic] // ERATIA MATRJ // PACCIAE ORORJ = C. Paccius Capito, son of Lucius, of the oltinia tribe, ordered thi for him elf and his family: for L. Pacciu , father; for eratia, mother; for Paccia, i ter. S: Rect. niche containing 4 half-fig. portrait . L- R: a man in a t+t , ith a capsa below him; a man in a t+t; a cap. vel. woman in a t+m; a girl in a t+t with a large ba ket below her. All four adopt the 'arm- ling' po e. Toe portraits at either end are significantly maller than those in the middle. B: Diebner (1979) 168 no. I 57 (mid 1 t CBC date)>; Frenz (1985) 149 no. 132'-; ArD no. 12468' D: Based on the female hairstyle, early Augustan (Frenz) #181

Found in reused context Trasacco, Chiesa ; ArD no. 15435; EDCS no. CIL 11, 00038D: Based on the style, late everan to mid 3rd C (Rebecchi)

Elsewhere # 201

P:

Forum Cornelii (Imola), localita Ca telbologne e, Parrocchia della Serra, Casa S. Bartolo L: Bologna, MCA, atrio biglietteria, inv. 19042 (Aug 06) T: Limestone stela, 136 x 55 x 15 Pr: Bottom section missing; crack through the top niche; damage to the top and sides; noses lost; general weathering to the front [: L FVRVIVS L L ALEXA D / SIB! ET SVIS / FVRVIAE L L CHIAE // [---] = L. Furvius Alexander, freedman of Lucius, (did this) for himself and his family: for Furvia Chia, freed woman of Lucius [---] S: At the top, double-arched niche, flanked by caryatids, containing 2 half-fig. portraits. L- R: a man in a t+t who adopts the 'arm-sling' pose; a woman in a t+m who places her r/h on the man's shoulder. They turn towards one another. At bottom, double-arched niche, flanked by Victories, preserving heads of a man and a boy. The top of the stela features a vine frieze, a hunt scene (in the gable) and lion acroteria. B: CIL XI 680; Ferri (1931) 119*; Susini and Pincelli (1960) 52 no. 42A*; Morigi Govi (1988) 73 no. 13; Pflug (1989) 168 no. 39A*; EDCS no. CIL 11, 00680D: Based on the hairstyles, 1- 35 (Pflug)

Parma, find-spot unknown (first attested in the Cathedral) L: Parma, MA , inv. 1496 LS (Dec 07) T: Limestone stela, 224 x 62 x 17 Pr: Damage to the top left edge; small loss at the top right corner; light weathering; nose-tips lost ]: C MV ATIVS / P F SIB! ET / LVCILIAE SEX F / ROMVLAE / C MV ATIO / C F OVELLO F / V F / IN F P XXIV IN A P x11 = C. Munatius, son of Publius, did (this) while living for himself, for Lucilia Romula, daughter of Sextus, and for son C. Munatius ovellus, son of Gaius. (This tomb is) 24 feet across the front and 12 feet to the rear. S: quare niche containing 3 portraits. L-R: a half-fig. man in a t+t; a head of a boy; a half-fig. woman in a t+m. Both adult hold their drapery. The left side of the tela features a vine pattern.

B:

D:

CIL XI 1092; carani (1965) 153 no. 2*; Pflug (1989) 179 no. 59\ ArD no. 15360; EDCS no. CIL 11, 01092Ba ed on the hairstyles, 1-35 (Pflug)

:203

P:

Faventia (Faenza), Cotignola, Ponte della via Gabina at the crossing with il Fosso Vecchio (1817) L: Cotignola, Municipio, Palazzo Sforza, cortile (June 06) T: Lime tone stela, 154 x 83 x 32 Pr. Damaged during WW2; large crack through the middle; acroteria lost; general weathering to the front, esp. to the portrait f: C VARJVS C L DIO / VARIA CHRESTE / LIBERTA / EVRIPVS FILIV / 1 FR P L / 1 AGR P xxxxv = C. Varius Dio, freedman of Gaius; Varia Chreste, freedwoman; Euripus, son. (This tomb is) 50 feet across the front and 45 to the rear. S: At the top, rect. niche containing 2 bust-length portraits. L-R: a man in a t+t; a woman in a t+m. At bottom, arched niche containing a bust-length portrait of a boy in a t+t who holds tablets in his 1/h. The niches are framed by spiral columns with Cor. capitals. The gable features a Gorgon head and is topped by a sphinx and lion acroteria.

B:

D:

CIL XI 665; Rossini (1938) 99 no. 68*; Mansuelli (1964) 140 no. 214A>; Pflug (1989) 167 no. 37A*; Ceroni and Ca adio (2002) 12-13*; ArD no. 5019; EDCS no. CIL 11, 00665Based on the hair tyle , 30- 40 (Pflug)

#204 P: Bononia (Bologna), an Ruflillo, bed of the river Savena (1963)

206

CATALOG E =205 -= 20

L: Bologna, !CA, Depo it, in . AER .1 7 (Jan o T: Limestone altar lid, 53 x 7 25 Pr: Severe erosion (no doubt due to i find- po ; facial

J:

feature lo t; damage to the edge Semi-c. niche containing 4 bust portraits. L-R: a man, a boy (centre top), a girl (centre bottom) and a woman.

S:

B:

Mansuelli (1964) 147 no. 226 (ID as 4 rnal

D:

(1968) 21 no. R14 Based on the bust forms, Claudian (Gere ·e

(did thi ) for him elf and for his excellent wife, Mettia Paulina. Front: clipeu held by two cupids which contains 3 bust portrait of a man, a girl and a woman. Left: a full-

· ; Gercke

length tatue(?) of inerva(?) on a pedestal, framed by olumns which support the pediment. Right: a sacrifice ene with 4 full-fig. portraits around an altar. At

# 20;

P: L: T: Pr:

Forum Livi (Forll), . Pietro in \'incoli Ravenna, 1 , chio tro, inv. u (Aug 06) Limestone stela, 161 x 66 x 23 Large section of the right side, inc. one of the portrai missing; vertical crack through the centre of the lower half; discolouration over the woman' face; damaoe to the left column, gable and right acroterion; no e-tip l t VIVVS FECIT SIB! ET VI[ ] // C ,IARI\' CL CLE1(EX ) / MARIAE TE PIAE L ABl[NO FILIO) C :\I.ARIO AGIU LIB// (vac.) II C MARIO I FA TO LIB .. C ~1ARIO . EYA•. _

J:

THO LIB = C. Mariu Clemens, freedman of Gai , did (thi ) while living for him elf and his family: for. !aria Te pia, freedwoman; for abinu , on; for C. • larius Agilis, freedman; for C. Marius Faustus, freedman; for C. 1arius Evanthu , freedman. At the top, rect. niche containing 3 b t-len portrait . L-R: a man in a t+t; a bo) in a tunic!? I; a woman in a t+m. In centre, rect. niche containin 2 bust portrait of men. At bottom, further reel ni he, al o \lith 2 bust portraits of men. The niche are flanked b · leaf columns with Cor. capitals. The gable feature a ro ette(?) and is flanked by lion acroteria. CIL xi 195; Poul en (1928) 6 no. s\ Ferri (1931) u '; Mansuelli (196 ) ns no. 1"'; Gercke (196 ) 24 no. R19; Pflug (1989) 165 no. 34"•-; usini (1997) 306·; Carroll (2006) n5; ArD no. 15420; EDCS no. CIL 11, 00195 Ba ed on the hair tyle , 50- 5 (Pflug)

S:

B:

D:

CA TRIC!AE / ATVRNJ AE FIL / VIXIT ANN VI S / P CASTRICIV ATVRN[I •) / PAT MAG AVG POLLEN[ T] / A\'G BAGIEXN !Bl E[T) / METTIAE PAVLIN[AE] / VXORI OPTIM[AE) = For Castricia alumina, daughter, who lived for 6½ year . P. Castricius Saturninus, father, augustalis in Pollentia and Augusta Bagiennorum,

the left, a woman in a t+m. At the right, a cap. vel. man in a t-t who conduct the rites. In front of him , a girl in a tunic with an object in her hand. To the left is what appear to be a lave. Rear: scutum (shield ) in front of two cro ed hastae (spears). The lid features rosette pulvinar .

B:

CIL v 7604; AnnEpigr (1988) 141 no. 572; Dexheimer (199 ) 166 no. 243*; Barelli and Cravero (2001) 60; EDH

D:

no. 008372"-; EDCS no. CIL 05, 07604 100- 150 (Barelli and Cravero)

REGIO X: VE

ET IA ET HISTRIA

Altinum {Altino)

=20

P: L: T:

ecropoli della via Annia, localita Bolio (1960) Altino, 1A , inv. AL. 21 (Dec 07)

Lime tone stela, 124 x 74 x 18 Pr: Top right and bottom ections lost; damage to the portraits in the top row; cracks and losses to the pilas ters; urface chips; di colouration to parts of the front; general weathering, esp. to the faces /: M PONTJVS M' F / VIVVS SIB! ET/ COELIAE T F FVCT!ENAE vxoRI ET/[·--]= M. Pontius, son ofManius, (did this) while living for himself and for Coelia Fuctiena, daughter of Titus, his wife, and [---]

REGIO IX: LIGURIA #206

P: L:

Alba Pompeia (Alba), from the ancient ite but without a ecure find- pot (1 9) Bra, ilus o Civico di Archeologia toria e Arte, no inv. (July 06)

T: Marble altar, 173 x 95 x 92 Pr: Heavy weathering to all ides, e p. to the portraits; losses to the lid and frame ; right ection of the front badly damaged

At the top, rect. niche containing 3 half-fig. portraits. L-R: a woman in a t+m, possibly with part of her drapery(?) in her r/h (ID by Pflug as potential scroll); a man in a t+t; a man in a t+t. At bottom, second rect. niche, also with 3 half-fig. portraits. L-R: a man in a t+t; a girl in a t+m with a circ. object in her r/ h (pomegranate?) and a braid with a bead in her hair; a man

in a t+t. All six adopt the 'arm-sling' pose. The niches are framed by pilaste rs with leaf capitals. Half-p. acr. appear at the top.

CATALOGUE

B:

;;208-;;213

carfi (1970) 257 no. 50*; AnnEpigr 19 1 107 no. 4--11; Pflug (1989) 214 no. 14 ; Compo tella 1996 192 n.1_9·;

in a t- m; a boy in a t+t who holds a grape bunch in his rib and a bird in the other. Both turn their heads

EDH no. 003 94-; EDCS no. AE 19 1, oo 1 D:

Based on the hairstyle , 1- 25 (Pflug)

:208 P: Find-spot unknown but, ba ed on the tyle, perha

L:

Altinum Torcello, Mu eo Provinciale, in,·. 349 (Dec 09)

T: Limestone stela, 103 x 65 x 19 Pr: Bottom ection mi ing; general weatherin esp. to the S:

B:

B:

D:

inKar . • · .\ 1930 -16 no. 5*; Sena Chiesa (1960) 16 no. 9*; Ger ·e 196 ) 30 no. R26; Gabelmann (1972) 86 no. d*; Pflug 19 9 :u2 no. 16 A B ed on the hairstyle , 30-70 (Pflug)

= 211

L:

At the top. arched niche, framed b · pilasters and ba ·ed by a mussel shell, containing 2 half-fi0 • portraits. L-R: a woman in a t+m; a man in a t1-t(?). Both eem to adopt the 'arm-sling' pose. Below, rect. niche ontaining 2 portraits of boys (only the heads of whom urvive). There are traces of lion acroteria at the top. Callegari (1930) 14 no. 8\ Ferri (1931) 120-1•; ena Chiesa (1960) 17 no. 10•; Ghedini and Ro ada (19 2) 63 no. 1 •

I: Lim - one medallion, 35 x 29 x 21 Pr. Le - ection badly damaged, , ith the loss of the frame and part o - the in ription; crack above the head of the child; no-e-tip damaged; light weathering to the front /:

' ---,Y _-L'-nll= [---]us,of year. Circ. niche, resting on plinth, containing a bust-length portrait of a boy in a t+t.

B:

Ghedini 19 3) 67 no. 5-4'; Scarpellini (1987) 131 no.

Based on the hairstyle • 1-40 (Ghedini and Ro ada)

1 ·-

D: #209 P: Necropoli della via Annia

=2u

L:

P:

Altino, MA , inv. AL. 171 (Deco ) T: Limestone stela, 77 x 65 x 30 Pr: Central acroterion lost; light weathering to the front;

S:

small areas of discolouration; fingertip damaged Arched niche, framed by pilaster and half-pa r., ontaining 3 half-fig. portraits. L-R: a woman in a t-m; a

Lim - one tela, 3 x 55 x 31

a

P: L:

e o , niche (mo tly lot) containing 2 half-fig. · -, robabl · a woman in a t+m (left) and a m an in at- (ri0 t,. At bottom, rect. niche containing 2 half-g. rtrai of men who turn towards one anoilier. The

In the lower frame i a clipeus containing a bust-length portrait of a girl in a tunic. The niches are framed by vine-decorated column .

B:

ov 09, the director of the now Palazzo

Bortolatto (1959)

1 •;

ena Chiesa (1960) 19

T: Limestone stela, 84 x 44 x 25 Pr: Acroteria lost; surface/ edge chips; general weathering to the front

S:

Arched niche, backed by a mussel shell and framed by pilasters, containing 2 half-fig. portraits. L- R: a woman

11.2;

Galliazzo (19 2) 1 o no. 62*; Pflug (1989) 217 no. 153A*; Compo tella (1996) 197 n. 161*

D:

Based on ilie hai r tyles, 50-75 (Pflug)

Dona-Balbi-Lucheschi informed me that it is no longer there.

a

tCJ.

man at ilie left, in at- , holds a word handle in his 1/h and a tablet in his r/h. The man at ilie right wears a t+t.

Uncertain. Pflug attributed it to the Palazzo Lucheschi in Venice but, in

:t. 1ean 1es

S. Michele de] Quatro

·on lo , in . further portraits; right fram e dam-

- alon the bottom edge; noses lost; general ,eatherin to the front

Zimmer (1982) 177 no. 106; Pflug (19 9) 225 no. 176· ; Compostella (1996) 193 11.152'; ArD no. 02.p Late T iberian to early Claudian {Zimmer)

#210

oale collection)

• I eo Bailo, inv. 3263 (Aug 06)

T:

Pr. To

centre. The bottom fran1e features the tools of a Jaber. a plumbline (perpendiculum) at the left, a leYel libel/a) in the centre, and a rule (regula) at the right.

D:

tinum? (from the Tm ·

girl in a t+m ; a man in a t+t. All three adop the 'arm-

B:

B ed on the hairstyle, c. mid 1st C

L:

sling' pose and the adults turn their heads towards the

l-

Ii della \ia Annia, localita Portegrandi, propri-

P:.

portraits; surface/ edge chip ; no e and acroteria lo t

D:

s.

207

Aquileia

P: L:

T:

S. Lorenzo (built into wall in casa di Pietro Sgubin) Aquileia, MA , GL, no inv. (Dec 07) Limestone stela, 49 x so x 14

CATALOG

208

E

Pr: Damage to the no e, chin and parts of the draper ·; edge chip ; ome discolouration; general , ·eathering to

S:

the front Arched niche, flanked by t\ ·o e of pilasters, containing a full-fig. portrait of a girl in a t-m ,ith a lunula pendant on her forehead. he holds a bird in her r/h and a cup in the other. Dolphins decorate the top

B:

corners. Scrinari (1972) 118 no. 346* (end 3rd C date)'; Pflug

D:

(1989) 192 no. 90 Based on the drapery and iconography, 50- 5 (Pflug)

=2 14- =21 8

L:

Aquileia, Villa Margherita (Brusin) T: Limestone stela, 128 x 66 x 24 Pr. urface/edge chip ; general weathering to the front, esp. to the portrait. [:

D M / T BADY I / SABI 1A I / QVI VIX ANN V M X / T BAD\' IV

T: Limestone stela, 75 x 45 x 15 Pr: Light weathering to the forehead and no e of the child;

B: D:

119 no. 1A 904; EDC no. CIL 05, 011242nd C (Hope)

::217

minor edge losses

I:

NEBRIDI /

S:

Diogenes, teacher (did thi ). Arched niche, flanked by plain pilasters, containing a half-fig. portrait of a bo · in a t t. He holds a croll in

B:

D:

D IOGE ES /

/ FILJO DVLCISSIM / L M IN FR P

the rear. Tri. niche containing a bust-length portrait of a boy in a t+c. Rosette appear in the top corners. CIL v 1124; Bru in (1991) 386 no. 904" *; Hope (2001)

S: #214 P: Find-spot unknown L: Aquileia, MA , GL, inv. 261 (Dec 07)

PAVLI

xxxxv / IK AGR P L = To the Spirits of the Departed ofT. Badu ius Sabinianus, who lived for 5 years and 10 months. T. Badusius Paulinus (did this) for his sweetest on. Thi tomb is 45 feet across the front and 50 feet to

PRAECEPTOR

= For

ebri .

his r/h. crinari (19 2) 116 no. 342"'; Pflug (19 9) 193 no. 92"; Brusin (1991) 32 no. 22°; Hope (2001) 115 no. IA 722"; Lettich (2003) 221 no. 2 6'; UEL no. 14006*; EDCS no.

P: L: T:

Reu ed in wall near la Braida Aquileia, M , GL, inv. 1113 / R.C. n-41 (Dec 07) Limestone stela, 125 x 72 x 14 Pr. Reconstructed from t\Vo fragments; bottom right section lost; areas of the portrait niche and left edge re tored; discolouration to the drapery and the child's face; no e-tips lost; edge chips

J:

D M / ET PERPETVAE SE [CVRJT] / ATI AVRELIO APRO [FIL] / IO I FELICISSIM [O QVI ] / VIXIT ANNIS[---] / AVRELJVS

lnscr-Aqu-01, 00722Based on the style, late 1 t C (Scrinari)

E[ --- ]/ VS ET APRA F[ECERVNT) [---] / VNO FILIO [---

] = To the Spirits of the Departed and to ever-present #215 P: Find-spot unknown (from collection in Grado) L: Ranchi ; CAG 1 (1992) 6 D: Based on stylistic comparisons, 2nd C ?) #289 P: Cin1etiere di\llean L: Private Collection (CAG) T: Limestone stela, 56 x 26 x 12 Pr: Heavy weathering to the front; minor urface1edge hip S: Arched niche, framed by pila ter and backed by a shell(?), containing a half-fig. portrait of a child in a t with an apple in the r/h. B: Esperandieu II (1908) 468 no. 1 26" '; Cirier (19 6 203 no. vm-18; CAG 18 (1992) 6 D: Based on the monument type and on compari ons \\ith other pieces, 2nd C(?) #290 P: Cimetiere d'Allean (1849) L: Bourges, MdB, inv. 1856.2.13 ( ept 07) T: Limestone stela, 103 x 67 x JO Pr: Bottom right corner missing; general weatherin · horizontal crack through the top of the niche; di colouration to parts of the front; nose-tip lost J: Traces survive but they are now virtually illegible. S: Arched niche, framed by pilasters, containing a full-fig. portrait of a boy in a git. He holds a bird in his 1/h and an apple in the other. A mall female portrait, perhaps of Luna, appears in the centre of the top frame. B: CJL xm 1342; Esperandieu 11 (1908) 357 no. 1520" \ Cirier (1986) 107 no. m -22'; CAG 18 (1992) 65" ; Coulon (1994) 123* D: Based on stylistic comparisons, mid 2nd to 3rd C(?) # 291

P:

Cimetiere d'Allean (1849) Bourges, MdB, inv. 1856.2.8 (Sept 07) T: Limestone stela, 134 x 60 x 13 Pr: Right acroterion lost; damage to the frames and pilasters; surface/edge chips; small areas of discolouration; general weathering to the front I: 01 MA M PR1sc1 1 [ --- J = To the Spirits of the Departed and the memory of Priscinus [---] S: Square niche, framed by pilasters, containin 2 portraits. At the right, a half-fig. man with a beard w a L:

=2 9-:293

B:

D:

223

g - t plus a carf. In his arms he holds a full-fig. boy in a t \\ith a bu/la. Both are shown in three-quarter view and turn to look at one another; the boy also holds an apple in hi r/h. The gable features a quadriga led by Sol and is flanked by volute acroteria. CIL xu1 1340; Esperandieu II (1911) 352 no. 1510"*; Er oux 1962) 192 no. 214*; Cirier (1986) 35 no. 1-41*; c,.G 1 1992) 63"*; Coulon (1994) 153*; Coulon (1998) 1-· ; De 1s (2004) 236 n.39; EDCS no. CIL 13, 01340Bas on the male portrait, late 2nd to mid 3rd C

=292

P: L:

Cime ·ere d'Allean (1849) Botm! , • IdB, inv. 1856.2.1 (Sept 07)

T: Pr:

e,·ere , ·eathering and discolouration to the front, with the lo o the facial features; nose missing; surface/ e oe R _ niche, framed by pilasters, containing a half-fig. portrai1 o a child (girl?) with an object in her hands. Es erandieu identifies the attribute as a doll but the pr en ·a ·on i too poor for this to be confirmed.) B: E perandieu u (1908) 362 no. 1535"*; Cirier (1986) 38 no. I- .!-'; C\G 1 (1992) 65 D: The ondition is too poor to allow anything other than a general 2nd to 3rd C date

Burdigala (Bordeaux) # 2 93

P:

Rue • -euYe-de-l'lntendance no. 8 (now rue GuillaumeBrochon no. ), jardin Faget, reused in a Roman wall (1 31 Fi . 26) L: Bordeam, ~Id.A, inv. 60.1.268 (Sept 07) T: Lim tone ela, 85 x 42 x 22 Pr: Top ri 0 ht and bottom left corners, as well as most of the right frame, lo t; damage to the nose, hands and drapery of the child, as well as the animal's body 1: D :-1 ' --- ) L~Tv [---] / PAT[---] = To the Spirits of the Departed. [---). Laetus, father, (set this up). S: Arched ni- containing a full-fig. portrait of a girl in a tuni 1,irn a ne ace and bracelets. She holds a puppy in her ban the tail of which is pecked by a large hen. (See Johns ~003: - -60 for discussion of the dog.) B: Jullian 1 - , -- no. 26 ; CIL XIII 787; Esperandieu ll (1908) 19~ no. 119· ~; Franzoni (1956) 7; Braemer (1959) 24 no. 2'; \ ale · (1964 25 no. 7*; Gercke (1968) 30 no. R27; Musee _-\_ uitaine ( 1969 ) 43 no. 16*; Orgogozo (1992) 32 (ID - bo · Laetus)'; Coulon (1994) 102* and 116; Kastner 19 - 9' ; Bradley (1998a) 528*; Coulon

.:. . _ --

•

CATALOGUE

224

j

__ .......,

Bordeaux, MdA, inv. 6o.1.2o8 (Sept 07) Limestone stela, 142 x 62 x 34 Pr: Top of the gable and acroteria lost; damage to the lower right corner; surface/edge chips; noses lost; light weaT:

thering to the front

#294

I CINTVGENA p = For Aveta deceased, of 25 years. Cintugena, mother, set (this) up.' Reel. niche containing 2 full-fig. portraits. L-R: a woman in a gc+t with a bracelet, a flower held against her chest in her r/h and a mirror in her raised 1/h; a girl in a tunic with a fruit basket in her 1/h and a flower in her raised r/h. The gable features an acanthus pattern;

AVETE D AN XXV MATER

P:

Local provenance but without a secure find-spot

I:

L:

(entered museum between 1845 and 1850) Bordeaux, MdA, Reserve, inv. 60.1.245 (Sept 07)

S:

T: Limestone stela, 50 x 39 x 37 Pr: Bottom left corner, inc. most of first child's body, lost; restored crack through the chest of the second child; surface/edge chips; left acroterion missing; noses lost; general weathering [D] M / [- - -]!NVS AN DIORATA / [--- ] II DIRAT[--- ] PP

S:

Arched niche containing 2 half-fig. portraits. L-R: a boy and a girl, both in tunics. The girl has an apple in her r/h and a bird in the other. Jullian (1887) 338 no. 245; CIL XIII 721; Esperandieu II (1908) 163 no. 1127*; Braemer (1959) 30 no. 6*-; EDCS no. CIL 13, 00721 Hadrianic (Braemer)

#295

an ascia appears on the right side. Jullian {1887) 310 no. 208" ; CIL xm 664; Esperandieu II (1908) 164 no. 1128"*; Hahl (1937) 34; Braemer (1959) 70 no. 50*; Eydoux (1962) 192 no. 213*; Valensi (1964) 34 no. 14*; Musee d'A quitaine (1969) 60 no. 32*; EDCS no.

B:

J:

D:

i';TiJIIIII;' ...

. ~

L:

no. u67; EDH no. 045458-; EDCS no. CIL 13, 00787 Based on the hairstyle, late 1st to early 2nd C (Braemer)

B:

I

#294 #298

(1998) 26*; Johns (2003) 56-60*; AnnEpigr (2003) 375

D:

i

CIL 13, 00664Based on the style and monument form, Antonine

D:

(Braemer) #297

P:

Foundations of !'Hotel de l'Intendance, reused in a Roman wall (1756) Bordeaux, MdA, inv. 60.1.142 (Sept 07)

P:

Foundations of !'Hotel de l'Intendance, reu ed in a

L:

L:

Roman wall (1756) Bordeaux, MdA, inv. 60.1.176 (Sept 07)

T: Limestone stela, 64 x 42 x 17 Pr: Surface/edge chips; nose missing; light weathering to

T: Limestone stela, 155 x 108 x 29 Pr: Reconstructed from three fragments, but with several

the front [:

TIBERI M XVI / C IVL TAVRIA VS / PATER ET MAX-

edge chips/cracks; head of the child, adult noses and

IMI LLA / MATER =

left acroterion lost; general weathering to the front; sur-

C. Iulius Taurianus, father, and Maximilla, m oth e r

face/edge chips

[:

[o]

M / L SEC[--- ] CINTVC ' ATO ET CL MAT AE CO

( et this up). Arched niche containing a half-fig. portrait of a boy in a gc+t with a scarf. He holds a bird with both hands.

ET

S:

' AE FIL SEC [---] VRBA A p = To the Spirits of the Departed. For L. Sec[---] Cintugnatus, and for Claudia Matua, wife, and for Senodonna, daughter.

B:

SE ODO

Sec[---] Urbana set (this) up. Arched niche containing 3 full-fig. portraits. At the left, a woman in a gc+t is connected via the dextrarum iunctio to a man with a beard in a gc+t; he ha a et of tablets in his Vh. In front of them, a girl in a tunic has a grape bunch in her r/h and an apple(?) in the other. B: Jullian (1887) 1 4 no. 176"; CJL xm 44; Esperandieu 11 (1908) 162 no. 1124"*; Hahl (1937) 34; Hatt (1951) 158; Braemer (1959) 51 no. 28'; Musee d'A quitaine (1969) 51 no. 25•; Coulon (1994) 1 8"; EDCS no. CIL 13, oo 44D: Based on the male hair tyle, Antonine (Braemer)

S:

#296

P:

D:

Roman wall (1756)

Jullian {1887) 264 no. 142" ; CIL xm 769; Esperandieu II (1908) 189 no. 1187"*; Braemer (1959) 33 no. 10*; Valensi (1964) 25 no. 8*; Musee d'Aquitaine (1969) 47 no. 20*; Coulon (1994) 116; Baills (2003) 128 n.55; EDCS no. CIL 13, 00769Antonine (Braemer)

#298

P: L:

Court of !'Hotel de l'Intendance (1780) Bordeaux, MdA, Reserve, inv. 60.1.193 (Sept 07)

T:

Limestone stela, 65 x 57 x 23

Pr: Left edge and top of the gable damaged; nose and chin of the child missing; small area of loss to the drapery;

I: Foundations of !'Hotel de l'Intendance, reu ed in a

(Tomb) of Tiberius, of 16 months.

light weathering [o] M / A MAB I LI

P =

To the Spirits of the Departed. For

Amabilis. Her father (set this up).

CATALOGUE #299- =304

S:

Square niche containing a half-fig. portrait of a girl in a gc+t. An ascia appears on the left side while the gable features an acanthus pattern. Jullian (1887) 301 no. 193" ; CJL xm 64 ; Esperandieu II (1908) 176 no. 1154" '; Braemer (1959) 4 no. 25\ EDCS no. CIL 13, 00648Based on the hair tyle, Antonine (Braemer)

B:

D:

of the econd child i completely lost); damage to the e · urface chip Rect. niche containing 4 full-fig. portraits. L-R: a woman in a gc+t; two children, the first of whom may

be a ho •, both in a git; a man in a gc+t. The boy holds a ball or apple in his r/h while the second child has a grape bun h in the r/h and a bird(?) in the other. The man is eated and eems to hold a set of tablets.

# 299

P:

T:

D: ;;:302

Pr: Damage to the corners; surface/edge chip ; general weathering to the front; scratching over the in cription; nose and parts of the drapery lost J: SECY DINO D AN II M VJ / MACRll\-V CVR = For Secundinus, deceased, of 2 years and 6 month . Macrinus saw to it (being done). S: Rect. niche containing a half-fig. portrait of a boy in a gc+t. On the left side there is an ascia. B: Jullian (1887) 375 no. 294; CIL XIII 841; Esperandieu IJ (1908) 189 no. 1186"*; Braemer (1959) 4 no. 24•; Coulon (1994) 148; EDCS no. CIL 13, oo 41D: Based on the hairstyle, Antonine (Braemer)

Found between 1 45 and the Depot J.-J. Bel

L:

Bordeaux, . ldA, R erve, inv. 60.1.184 (Sept 07) Lime tone tela, 1 x 49 x 21

T: Pr:

J:

Foundations ofl'H6tel de l'Intendance (1756) Bordeaux, MdA, Reserve, inv. 60.1.257 (Sept 07) Limestone stela, !09 x 52 x 25

Rect. niche containing a full-fig. portrait of a girl in a t. he ha an apple(?) in her 1/h while with the other she lifts the lid from a basket which contains grapes. Jullian (1 ) 293 no. 184; CJL xm 824; Esperandieu n (190 ) 1 4 no. 1172>; Braemer (1959) 88 no. 68*; EDCS no. CIL 13, 00824 150-200 (Braemer)

D: :303

Pr: General weathering to the front, esp. to the face; surface/edge chips; damage to the right and bottom frames

P:

T:

Pr: Top section lost, inc. most of the head; damage to the frames; surface chips; general weathering to the front

lndercillus.

S:

Rect. niche containing a full-fig. portrait of a girl in a gc+t who has a bracelet. She holds an object against her chest in her 1/h (flower or blossom?) and a large apple in the other. Jullian (1887) 345 no. 257; CIL xm 747; Esperandieu

B:

Antonine to Severan (Braemer)

Arched niche containing a full-fig. portrait of a boy in a gi t. He holds a rattle(?) or ball(?) in his 1/h and a whip(?) in the other. An ascia appears on the left side.

11

(1908) 192 no. 1194" *; Braemer (1959) 71 no. 51• -; EDCS no. ClL 13, 00747

D:

Local provenance but without a secure find-spot Bordeaux, MdA, Reserve, inv. 60.2.73 (Sept 07) Limestone stela, 65 x 49 x 27

L:

JNDERCA I DER/ CJLLJ FIL = Inderca, daughter of

J:

1

eYere weatherin to the front, with the lo s of the facial features and damage to the object held by the child; ub tantial lo es to the frames; surface chips Now nearly illegible, with reading differing.

#300

L: T:

50 built into a wall next to

P:

B:

P:

E perandieu 11 (190 ) 160 no. 112111*; Braemer (1959) 52 no. 29>; i\Iusee d'.Aquitaine (1969) 52 no. 26* Based on the hair tyl , Antonine (Braemer)

B:

Found during excavations at the Chateau du Ha for the erection of the Palais de Justice (1840-3) Bordeaux, MdA, Reserve, inv. 60.1.294 ( ept 07) Limestone stela, 61 x 43 x 32

L:

225

B:

Esperandieu Ir (1908) 190 no. 1188*; Braemer (1959) 90 no. 73* 150-200 (Braemer)

D:

#301

P: L:

T:

Cours d'Alsace et Lorraine no. 101 (1868) Bordeaux, MdA, Reserve, inv. 60 .2.29 (Sept 07) Limestone stela, 76 x 69 x 28

Pr: Right section, inc. part of the final portrait, missing; heavy weathering to the front, esp. to the faces (that

#304

P: L:

Find-spot unknown

Bordeaux, MdA, Reserve, inv. 60.2.65 (Sept 07) T: Limestone stela, 61 x 42 x 33 Pr: Top left corner lost; surface/edge chips; nose and forehead of the child damaged; general weathering to the front

226

S:

B: D:

CATALOG

Arched niche containing a full -fig. p rtrait of a boy in a g/t. He hold a ball in hi s 1/h and a econd object(?) in the other. Braemer (1959) 87 no. 65*; Esperandieu no. 8924* Based on the drapery, 150- 200 (Esperandieu)

#3 05

P: L:

Rue Guillaume- Brochon no. 7 (1826) Lost (first described by Jouannet and now known only through hi article) T: Limestone(?) cippus, dimensions unknown Pr: Based on the illustration provided by Jouannet, the monument was weathered, with damage to the child's face and several surface/edge chips. 1: n M / CL SPAR IOLI A III = To the pirits of the Departed of Claudius Sparsiolus, of 3 years. S: Reel. niche containing a full-fig. portrait of a boy in a g/t. He hold a cup in each of his hands. A dog it to hi right. B: Jullian (1887) 233 no. 104"*; Cll, xm 703; E perandieu II (1908) 188 no. 1184 11 \ Braemer (1959) 95 no. 89; EDCS no. CTL 13, 00703D: Based on stylistic compari on , mid to late 2nd C #306 P: Local provenance but without a ecure find- pot l: Bordeaux, MdA, Re erve, inv. 60.2.71 ( ept o ) T: Limestone tela, 65 x 47 x 40 Pr: Top section lost, inc. part of the head; light weathering; edge chips; loss of the girl' right hand S: Rect. niche containing a full-fig. portrait of a girl in a git. he holds a bird in her 1/h and a second object(?) in the other. B: E perandieu n (190 ) 194 no. 119 \ Braemer (1959) 9 no.71" D: 150-200 (Braemer) #307 P: Local provenance but without a ecure find- pot L: Bordeaux, dA, Re erve, inv. 60.2. ( ept o ) T: Lin1estone stela, 55 x 42 x 23 Pr: Severe weathering to the front, with the lo of the portrait feature ; child' arm mi ing; urface/edge chips S: Arched niche, backed by a shell and framed b , pila ters, containing a full-fig . portrait of a child in a tunic. B: Esperandieu II (1908) 187 no. 1181,.; Braerner (1959) 91 110.77* D: 150-200 (Braemer)

E

;;30;- =310

#308

La mai on Faget (now rue Guillaume-Brochon no. 7), reused in a Roman wall (1831) L: Bordeaux, MdA, inv. 60.1.333 (Sept 07) T: Lime tone stela, 60 x 53 x 13 Pr. Surface/edge chips; light weathering; damage to the nose-tip and parts of the drapery [--- FILI]AE ET [P]A[T E] SIB! V[ I]VA / POS = [- --] set /: (this) up for her daughter, fa ther and herself while living. S: Square niche containing 3 portraits. L-R: a half-fig. woman in a t+m and a bonnet/hairnet who adopts the 'arm- ling' pose; a bust-length girl in a t+m; a half-fig. man with a beard in a gc+t(?). B: Jullian (1887) 407 no. 333; CIL XIII 895; Esperandieu n (1908) 159 no. 1120 11 *; Hahl (1937) 34; Braemer (1959) 63 no. 42'; Coulon (1994) 146; EDCS no. CTL 13, 00895D: Based on the hairstyles, Severan (Braemer)

P:

#3 09

P: L: T: Pr. I:

S:

B:

D:

Foundation of l'H6tel de l'Intendance (1756) Bordeaux, MdA, Reserve, inv. 60.1.231 (Sept 07) Lime tone cippu , 71 x 47 x 24 Top right section lost; severe weathering to the front; damage to the face, hands, feet and attributes D [M] I ET [MEMORIAE] / CI TV[---] = To the Spirits of the Departed and the Memory of Cinlu [---] Arched niche, framed by pilasters, containing a full-fig. portrait of a girl in a g/t. She holds a dog or rabbit in her hands. Jullian (1887) 329 no. 231"; CIL XIII 689; Esperandieu II (1908) 187 no. 1179 11 "; Braemer (1959) 84 no. 64 (ID as woman)*-; Coulon (1994) 103; EDCS no. CIL 13, 00689 3rd C (Braemer)

Convenae (Le Comminges) #3 10

P:

Found reu ed in church wall Garin, north wall of the Chapelle de Saint-Pe-de-laMoraine (March 10) T: Marble Block, 51 x 43 x 68 Pr: Damage along the left edge; surface chips; heavy weathering to the front At the top, 2 half-fig. portraits. L-R: a woman and a man with a beard. Below, a bust portrait of a child. Their garments cannot be discerned. B: Sacaze (1892) 443 no. 4"; Espcrandieu II (1908) 27 no. 888*; Hatt (1945) 197 no. 77; CAG 31/2 (2006) 165 11 * L:

227

CATALOGUE #3 11-#316

D:

who has a long stick(?) in his 1/h, used for support.

Based on comparisons with other pieces from Le

B:

With the other he holds the girl's 1/h. Ledain (1884) 19 no. 71 (4th C date); Esperandieu

D:

a woman in a tunic)• 2nd to 3rd C (Musee Sainte-Croix)

Comminges, 3rd C (cf Esperandieu no. 8075)

(1908) 314 no. 1421"*; Coulon (1994) 119 (ID of adult as

#J ll

P: L:

Sere, near Capvern Capvern-les-Bains, wall of la Maison Verdier-Petot in

T:

rue Victor Hugo (April 07) Marble stela, 48 x 35 x (wall) Based on the available illustration, the stone is broken

Pr: S:

B: D:

along all of its sides and heavily weathered Rect. niche containing 3 half-fig. portrait . L-R: a woman, a child and a man. Above the niche there are traces of bird feeding on grape bunche . Brutails (1918) 245*; Esperandieu 1x (1925) 201 no.

S:

6920*; Hatt (1945) 208 no. u8; CAG 65 (1997) 127 Based on comparisons with other pieces from Le Comminges, 3rd C (cf. Esperandieu no. 8058)

B:

baby in swaddling. Ledain (1884) 19 no. 72; Esperandieu II (1908) 316 no. 1425"*; Coulon (1994) 45*; Coulon (1998) 10*; Deyts

D:

(2004) 236* 2nd to 3rd C (Musee Sainte-Croix) The function of the piece as either funerary or votive is

#312 Found in field ploughing at Debat Der Arieou near

L:

Vignec (1878) Bagneres-de-Luchon, Musee du Pays de Luchon, inv.

000.5301 (July 07) T: Marble stela, m x 40 x 30 Pr: Severe weathering, esp. to the portraits; surface/edge

S:

#314

P: L: T: Pr:

P:

T:

II

chips; some discolouration D M / PRIMAE FILIAE / ET PRIMILLAE / NEPOTI PVT[ ---] / [c]RSPA MATER= To the Spirits of the Departed. For Prima, daughter, and Primilla, neptis. Put[---] Crispa, mother, (did this). (The reading is insecure; see CAG for details.) Tri. niche containing 2 bust portraits of a woman and a

Chauvigny, leglise otre-Dame (1862) Poitiers, Musee Sainte-Croix, inv. A.862.3 (Sept 07) Limestone stela, 98 x 52 x 36 Substantial damage to the edges; nose missi ng; heavy weathering to the front, esp. to the portrait Arched niche containing a full-fig. portrait of a male

disputed. #315

P:

Cenon-sur-Vienne, in the ruins of a small building (1800)

L: T:

Poitiers, Musee Sainte-Croix, inv. 837.3-1 (Sept 07)

Limestone stela, 163 x 61 x 24 Pr: Damage to the adult's nose and the child's feet; surface/ edge chips; general weathering [:

LEPIDA VALE TIS F / REGINI VXOR / LEP!DA REGINI FIL / PIETATI = Devoted Lepida, daughter ofValens and wife ofReginus; and Lepida, daughter of Reginus.

S:

B:

CIL xm 380; Sacaze (1892) 497 no. 413*; Esperandieu

D:

(1908) 27 no. 886 (illustration only)*; Hatt (1945) 207 no. 116*; Esperandieu xrn (1949) 8 no. 8074 (photo reversed)*; CAG 65 (1997) 267"-; EDCS no. CIL 13, 00380 3rd C (Esperandieu)

II

Elsewhere

B:

Ledain (1884) 9 no. 6; CIL xm 1167; Esperandieu

Il

(1908) 306 no. 1407"*; Coulon (1994) 147* (ID of adult as man); BaiUs (2003) 129 (same ID as Coulon); Deyts

D:

(2004) 236*; EDCS no. CIL 13, 011673rd C or later (Musee Sainte-Croix) The function of the piece as either funerary or votive is disputed.

#313

P: L: T:

Civaux, reused as a sarcophagus cover Poitiers, Musee Sainte-Croix, inv. 947.21.1 (Sept 07) Limestone stela, 138 x 59 x 20 Pr: Adult nose and upper section of the child's face Jo tlight weathering to the front; minor surface chip ' S: Arched niche, framed by pilasters, containing 2 full-fig. portraits. L~R: a girl in a fringed tunic who has a Jong, thm obJect m her r/h; a man with a beard in a t ?)

Irregularly shaped niche containing a half-fig. portrait of a woman in a gc+t and a full-fig. portrait of a small girl who lies in front of her with her head on a cushion. The girl seems to be in swaddling.

girl.

LUG DU

E

SIS

Agedincum (Sens) #316

P:

Local provenance but without a secure find-sp ot (16th to 17th century)

CATALOGUE #317-:321

228

L:

Sens, MM, salle 9, inv. Julliot A.77 (Sept o )

T: Limestone stela, 165 x 81 x 37 Pr: Top left corner missing; crack through the main niche; several surface/ edge chips; heavy weathering; facial feaI:

S:

B:

D:

nues lost [F]ELICIANVS FORTY ATI / FILIVS = Felicianus, on of Fortunatus. Arched niche, framed by pilasters, containing 3 full-fig. portraits. L-R: a woman in a gc+t who holds a child in a tunic in her arms; a man in a gc+t who has tablet in his l/h and a now lost object in the other. On the ide i an ascia. Julliot (1866) 27 no. 77; CJL XIII 2971; Esperandieu IV (19u) 37 no. 2811*; Linckenheld (1927) 69; CAG 89/2 (2002) 701 no. 4571' ; JD no. 177"; EDCS no. CIL 13, 02971Based on stylistic comparisons, 175-225 UD)

1: S:

B:

c[---]A AGREST = C[---]a, daughter (or wife?) of Agrestis. Rect. niche containing 3 full-fig. portraits. L-R: a girl in a gc+t who holds two objects in her hands; a woman in a gc+t who places her hands on the children; a boy in a gc+t who has a scroll and stylus in his r/h and tablets in the other. The children turn inwards. JulJiot (1866) 31 no. 85; CIL xm 2966; Esperanclieu

,v (1911)

27 no. 2796"*; Braemer (1959) 83; Coulon (1994) 116 and

D:

149*; Coulon (1998) 40*; CAG 89/2 (2002) 671 no. 232"*; Moirin (2003) 42*; JD no. 185"*; EDCS no. CIL 13, 02966Based on the hairstyles, 200-225 UD)

#319

P:

Wall near the Formau gate (1852)

L: T:

Sens, MM, salJe 3, inv. Julliot A.81 (Sept 07) Limestone altar, 125 x 60 x 46

Pr: Bottom section missing; parts of the niche frame lost; large horizontal crack in centre; child's head missing; general weathering

#317 P: ear the Porte Saint-Didier in the Feineux wall (1846) (Fig. 118)

L:

[:

Sens, MM, salle 3, inv. Julliot A.88 (Sept 07)

For the son of Didius Leucus and Martina, who lived

T: Limestone stela, 149 x 73 x 35 Pr: Top section lost; parts of the bottom corners damaged;

/:

heavy weathering/mutilation, with the loss of the facial features; surface/edge chips D M M M / FORTIO IS AVG MER/CATILLE CON ET FORT/

S:

S:

B:

D:

tablets in his r/ h and a second object in the other. The adults turn towards the centre. Julliot (1866) 32 no. 88; CIL xm 2973; Esperandieu 1v (1911) 29 no. 2799"*; Braemer (1959) 51 n.1; Coulon (1994) 146; CAG 89/2 (2002) 660 no. 982"~; JD no.

B:

L: T:

Pr:

long cord) in the other. On the side is an ascia. Julliot (1866) 29 no. 81; CIL xm 2955; Esperandieu

,v

(1911) 44 no. 2829"*; Linckenheld (1927) 70; Coulon

D:

(1994) 103; CAG 89/2 (2002) 669 no. 222"*-; JD no. 181"*; EDCS no. CIL 13, 02955" Based on stylistic comparisons, 200-250 UD)

#320 P: Local provenance but without a secure find-spot L: Sens, MM, Reserve, inv. Julliot A.183 (Sept 07) T:

Limestone block/relief, 81 x 82 x 59

Pr: Only a small fragment survives; severe weathering/ mutilation to the front, with the loss of nearly all facial

188"*; EDCS no. CIL 13, 02973Based on the hairstyle , 200-225 UD)

(1858) Sens, MM, alle 3, inv. Julliot A.85 ( ept 07)

B:

and drapery detail 3 full-fig. portraits of a woman, a child and a m an; their drapery is difficult to discern. The wom an holds two objects in her hands. Esperandieu JV (1911) 29 no. 2800" *; CAG 89/2 (2002)

Limestone stela, 150 x 63 x 32 Large crack through the middle of the main niche; ev-

D:

700 no. 448 Based on stylistic comparisons, early to mid 3rd C

#318

P:

for 2 years, 4 months and 10 days. Arched niche, framed by pilasters, containing a full-fig. portrait of a boy in a fringed git who has a horus lock. He holds a cup in his r/h and a second object (with a

v ATE NEPTI POS = To the Spirits of the Departed. Thi tomb is set up to the memory of Fortio, imperial lave, of Mercatilla, wife, and of Fortunata, neptis. Rect. niche containing 3 full-fig. portraits. L-R: a woman in a gc+t who has a mappa in her l/h and a second object in the other; a girl in a gc+t who e attributes are lost; a man with a beard in a gc+t who has

[D M] / DIDI LEVCI / ET MARTNAE FILIO / VIXIT ANNOS [ME ]s m, DIES x = To the Spirits of the Departed.

11 /

Ramparts between the Saint-Hilaire and Formau gates

eral surface/edge chips; heavy weathering to the front, esp. over the portraits; damage to the no es and parts of the garments

#321

P:

Ramparts between the Saint-Hilaire and Formau gates (1858)

,.-"

CATALOG UE #32 2- #326

---229

L: Autun, MLap St Nicholas, galerie sud, inv. M L 673 en , IM, ou -sol 4, inv. Julliot A.Bo ( ept o ) (Sept 07) Lin1estone stela, 177 x 83 x 57 T: Sandstone stela, 48 x 36 x 16 Pr: Large crack through the centre of the monument; porPr: Missing bottom right section filled in with restoration; trait detail from the front and left ides lost; heavy heavy weathering to the front, esp. to the face; surface/ weathering; urfaceledge chips edge chips J: D M II GII IITODIII II GIIM IA ' // GIIMMA = To f: D M ROXT[---] / [---]![---] the Spirits of the Departed. Genetodia. Gemniana. S: Arched niche containing a half-fig. portrait of a boy in Gemma. a g/t. He holds a rattle in his hands. S: Front: arched niche, framed by pila ter , containing B: CIL Xlll 2755; Esperandieu llI (1910) 112 no. 1959"*; a full-fig. portrait of a woman in a gc+t. he holds a perfume ve el in her Uh and a mappa in the other. Pinette (1985) 264 no. 535"*; CAG 71/J (1993) 157 no. Under the inscription are two female head , eemingly 522"; Coulon (1994) 74; EDCS no. CIL 13, 02755wearing turbans, looking towards the woman. Left: tri. D: Based on stylistic comparisons, 2nd C(?) niche, framed by pilaster , containing a full-fig. portrait of a girl in a git. She look to her left, and hold #324 an object in her rl h and a bird in the other. Under the P: Find-spot unknown (before 1907) inscription are two Attis heads which look outwards. L: Autun, Musee Rolin, salle 7, inv. ML 690 (Sept 07) Right: tri. niche, framed by pilasters, containing a fullT: Limestone stela, 53 x 34 x 9 fig. portrait of a woman in a git. She looks to her right, Pr: Bottom section missing; nose-tip and hands damaged; and holds a mappa in her 1/h and a chest/casket in the surface/edge chips; general weathering other. Under the inscription are outward-looking Attis S: Arched niche containing a full-fig. portrait of a boy in a heads. git. He holds an apple in his r/h and a second object in B: Julliot (1866) 28 no. Bo; CIL XIII 2975; Esperandieu 1v the other. (1911) 24 no. 2792"\ CAG 89/i (2002) 670 no. 231"*; JD B: Esperandieu III (1910) 111 no. 1956*; Pinette (198 ) 26 5 4 no. JBo"'-; EDCS no. CIL 13, 02975 no. 536a*; CAG 71/i (1993) 173 no. 651; Coulon (199 4) D: Based on the hairstyles, 225-260 UD) B*; Coulon (1998) 22• D: Based on stylistic comparisons, 2nd C(?) L:

T:

Augustodunum (Autun) #325

#322

P: L: T:

P: L:

Necropole des Champs Saint-Roch (before 1889) Autun, MLap t icholas, galerie sud, inv. M L146 ( ept 07) Sandstone stela, 89 x 43 x 23

T:

S:

B:

D:

D I PRISCILLA / NERTOMARJ vx/o/R // SVADVGENV F = To the Spirits of the Departed. Priscilla, wife of ertomarus, and Suadugenu, daughter. Rect. niche containing 2 half-fig. portraits of and · I· h . a woman a g1r .' t e1r drapery is difficult to d.1scern. Th e woman po111ts to an apple held in the girl's r/h.

evere w~athering and discolouration to the front, w1~ child s face disfigured due to erosion; surface/edge chips

I:

D M .' MARCINVS = To the Spirits of the Departed Marc111us. ·

S:

Arched niche containing a half-fig. portrait of a boy 111 a gc+t(?). He holds a dish(?) and an apple(?) . h. hands. · 111 1s

B:

~~~ xrn

CIL Xlll 2736· E . d' ' speran ieu III (1910) 111 no. 1957•· CAG 71/J (1993) 154 no. 496" ; EDCS no CIL , . . · 13, 02736D: B d a e on stylistic comparisons, 2nd C

Based on the hairstyles, Antonine (Esperandieu)

#326

2751; Esperandieu III (1910) 106 no. 1945"*; 71/J (1993) 158 no. 529 (ID as adult couple)"; EDCS no. CIL 13, 02751 _

P: #323

P:

icholas, galerie sud, inv. M L 129

andstone stela, 88 x 3s x 14

Pr:

Pr: Severe weathering, chipping and discolouration to the front; noses and large parts of the child' b d /d s o y rapery lost

I:

ecropole du Bois Saint-Jean Autun, MLap St ( ept 07)

ecropole des Champs Saint-Roch (before 1882)

L: T:

Local provenance but without a secure find-spot (b fi e~

~0

Autun, Musee Rolin, salle 7, inv. ML 185 (Sept o7) Sandstone stela, 78 x 49 x 19

230

CATALOGUE

Pr: Severe weathering/mutilation to the front, with the

#327- =332

I:

loss of the facial features; substantial damage along the edges; heavy discolouration Arched niche co ntaining a full -fig. portrait of a child

S:

B:

(boy?) in a git with two objects in his hands. Esperandieu III (1910) 112 no. 1960*; Pinette (1985) 264

B:

D:

no. 536bA*; CAG 71/J (1993) 172 no. 634 A* The condition is too poor to allow anything other than

S:

D M I APINVLA sou r FILIA = To the Spirits of the Departed. Apinula, daughter ofSolinus. Arched niche, framed by pilasters, containing a half-fig.

portrait of a girl in a g/t with a scarf. CIL Xl!l 2928; Esperandieu IV (1911) 84 no. 2898 A*; Braemer (1959) 30*; CAG 89/J (2002) 194 no. 122A*;

EDCS no. CIL 13, 02928-

D:

Ba ed on stylistic comparisons, late 1st to 2nd C

a general 2nd to 3rd C date.

Intaranum (Entrains-sur-Nohain)

Autessiodurum (Auxerre) #327

P: L: T: Pr:

Avenue Pierre-Larousse (1912) (Fig. 21) Auxerre, MAH, inv. 912.1 (Sept 07)

B:

Limestone stela, 86 x 53 x 19 Bottom section missing, inc. legs of the child; light weathering; minor surface/edge chips; slight damage to the nose, chin and hands of the boy COCILLVS / IAVR!Cl FIL= Cocillus, son of lauricus. Rect. niche containing a full-fig. portrait of a boy in a tunic with a dog in his hands. Hanging on his chest is a flat, circ. disc, perhaps intended as a bulla. Eydoux (1962) 183 and 187 no. 206*; CAG 89/i (2002)

D:

193 no. 112A*Based on stylistic comparisons, late 1st to 2nd C(?)

I: S:

#330

P: L:

By the chateau du Due de Mortem art Entrains-sur- ohain, Exposition archeologique

T: Pr:

Maison des Fouilles, no inv. (May 07) Limestone stela, n5 x 57 x 20 Bottom section missing; surface/edge chips; light

a la

I:

weathering, esp. to the faces D M I MONVME TVM / GNATA ALBI FILI A = To the Spirits of the Departed. Tomb of Gnata, daughter of

S:

Albus. Arched niche, framed by pilasters, containing a full-fig. portrait of a woman in a gc+t. In her arms she holds a child in a tun ic. (A report from 1838 suggests that there was a second infant by the right knee of the woman, not mentioned in later publications; see Devauges for details.)

B:

#328

P: L:

Said to be from the ancient walls of the city

Auxerre, MAH, inv. XLV (Sept 07) Limestone stela, 50 x 34 x 14 Pr: Losses along the left edge; damage to the niche frame; general weathering to the front, esp. to the faces; noses lost; surface chips I: M MARIi ET IVN/ IORIS !OE ALIS / FILI (The reading is insecure; see CAG for details.) S: Arched niche containing 2 bust-length portrait of boys in tunics. B: CIL XIII 2937; Esperandieu 1v (1911) 93 no. 2919 A*; CAG 89/J (2002) 192 no. 103 (ID as two men); EDCS no. CIL T:

D:

CIL XIII 2915; Esperandieu 1x (1925) 290 no. 7097A*; Devauges (1988) 99 no. 101A*; Coulon (1994) 22*; CAG 58 (199 6) 158A*; EDCS no. CIL 13, 02915Based on the female hairstyle, mid to late 2nd C

#331 P: Local provenance (from the garden of M. Paultre

L:

Desormes) Auxerre, MAH, inv.

XXIX

(Sept 07)

T: Limestone stela, 57 x 40 x 21 Pr: Bottom section missing; surface/edge chips; general /:

weathering, esp. to the face; nose lost D MI AMOR!= To the Spirits of the Departed of Amor.

S:

Arched niche containing a half-fig. portrait of a boy in a g/t. He holds an apple in his l/h and a rattle in the other.

#32 9 P: Maison Therriat on !'avenue de Saint-Florentin (1885) L: Auxerre, MAH, inv. ESP 2898 (Sept 07)

B:

Leblanc-Devau (1830) 272; CIL

T:

D:

(1910) 274 no. 2312A*; Devauges (1988) 100 no. 103 A*; CAG 58 (1996) 158A; EDCS no. CIL 13, 02909Based on stylistic comparisons, late 2nd to 3rd C

13, 02937-

D:

Based on stylistic comparisons, late 1st to 2nd C

Limestone stela, 63 x 47 x 9

111

Pr: Bottom right corner lost; damage to the top left corner; surface/edge chips; light weathering; re toration to parts of the inscription

#332 P: La route de Bouhy (1895)

XIII

2909; Esperandieu

CATALOGUE #3 33 -#337

L:

His drapery cannot be discerned. A lunar crescent

aint-Germain-en-Laye, 1useedJ\rcheologie Nationale, inv. 52733 ( ept 07)

T: Limestone stela, 114 x 39 x 15 Pr: o e-tip lost; light weathering to the front; minor edge chips D M / AP! osvs 1cu s = To the pirits of the Departed.

J:

Apinosus Iclius. Arched niche, framed by pilasters, containing a fullfig. portrait of a boy in a gc+t with a carf. He holds an olla(?) in his 1/ h and a mallet/axe in the other. To his right there is a dog which looks upward , to his left a

S:

B:

D:

B:

appears at the top. Deyts (1982) 105 no. 4*-; AnnEpigr (1985) 174 no. 671; Planson (1986) 45*; CAG 21/3 (2009) 32 no. 4*; EDH no.

D:

1st C (EDH)

002190 11 ; EDCS no. AE 1985, 00671

#335

P: L: T:

Roman necropolis, without a secure find-spot Nuits-Saint-Georges, MM, inv. 93.02.84 (Sept 07)

hen which pecks the ground. CIL x111 2911; Esperandieu m (1910) 272 no. 2309 11*; Braemer (1959) 117*; Devauges (1988) 99 no. 100 11*; Coulon (1994) 103 and 120; CAG 58 (1996) 15811*; JD no.

Pr:

Limestone stela, 90 x 39 x 15 ose-tip lost; minor surface/edge chips; light weather-

I: S:

ing to the front SAPLVTO MERCON/O = For Saplutus Merconus. Arched niche containing a full-fig. portrait of a boy in a

303*; EDCS no. CIL 13, 02911Based on the style, late 2nd to 3rd C

B:

g/t with a scarf. He holds an apple in his r/h. CIL xm 2851; Esperandieu m (1910) 156 no. 2054A*; Deyts (1982) 118 no. 78*; Plan son (1986) 46 no. 35*; Coulon (1994) 194*; CAG 21/3 (2009) 36*; EDH no.

#333

P:

Chalet de l'Etoile (1904), but probably from the nearby

L:

necropolis Unknown. Formerly in the garden of the Chalet de l'Etoile in Entrains-Sur- ohain, but stolen or lost in the

1970s. T: Limestone stela, 54 x 36 x 17 Pr: Bottom corners missing; heavy weathering, esp. to the face; surface/edge chips S: Arched niche containing a half-fig. portrait of a girl; her drapery is difficult to discern. She holds a cup in her r/ h and an apple in the other. B: Esperandieu III (1910) 268 no. 2299*; Devauges (1988) 101 no. 10411*; CAG 58 (1996) 158 D: Based on stylistic comparisons, 3rd C(?)

003110-; EDCS no. CIL 13, 02851 1st C (EDH)

D: #336

Roman necropolis, area AH/21 Nuits-Saint-Georges, MM, inv. B 110/5 (Sept 07)

P: L: T: Pr:

Limestone stela, 49 x 26 x 20 Substantial damage and losses to the side edges; heavy weathering to the front, esp. to the portrait; surface chips DRIBVLI vrxTvL[I] = (Tomb) of Dribulus, son of Vixtulus.

I: S:

Arched niche containing a bust-length portrait of a boy whose drapery is hard to discern.

B:

Deyts (1982) 105 no. 5*; AnnEpigr (1985) 174 no. 672; Planson (1986) 46; CAG 21/3 (2009) 32 no. 5*; EDH no. 002193 11 -; EDCS no. AE 1985, 00672 1st C (EDH)

Les Bolards #334

P: L: T: Pr:

I:

S:

231

Roman necropol is, area z/20 Nuits-Saint-Georges, MM, inv. 93.02.64 (Sept 07) Sandstone stela, 66 x 21 x 15 Left side lost; damage to the child's nose and right arm; general weathering to the front; surface/edge ch ips SARICAARICI = (Monument) of Saricaaricus. (In AnnEpigr and on the EDH, the inscription is translated as 'Sarica, wife/daughter of Aricus: but this would make the presence of a whip - typically held by males - rather problematic.) Rect. niche containing a half-fig. portrait of a boy(?) with a whip in his r/h an d a grape bunch in the other.

D: #337

P: L:

Roman necropolis (before 1870) Saint-Germain-en-Laye, Musee d'.Archeologie Nationale, inv. 81697 (Sept 07) T: Limestone stela, 55 x 40 x 14 Pr: Bottom section missing; damage to the top frame; gen eral weathering; surface chips ]: VE[---]I VEBRVL[LI P)

S:

Arched n iche containing a full-fig. portrait of a child in a git with an apple in the r/ h and a grape bunch in the other.

232

B:

D:

CATALOG

Esperandieu III (19!0) 158 no. 2060\ CIL XIII 11237; CAG 21/3 (2009) 36; EDCS no. CIL 13, 11237Based on stylistic comparisons, late 1st to 2nd C

E

=33 -;;343

S:

B: #338 P: Roman

ecropolis, found in a ditch to the east of the main road

L:

uits-Saint-Georges, MM, inv. 93.02.74 (Sept 07)

T: Limestone stela, 114 x 51 x 11 Pr: Reconstructed from two fragments, with large crack

S:

B: D:

visible; severe weathering, esp. to the portraits; substantial damage along the edges; parts of the top and left frames lost Rect. niche containing 2 full-fig. portraits. At the left, a man with a beard in a gc+t plus a scarf who has tablets in his 1/h. He is connected via the dextrarum iunctio to a boy at the right who wears a git. The boy turns towards the man. Deyts (1982) 109 no. 18*; Deyts (1996) 8 11.9; CAG 21/3 (2009) 31* Based on the male portrait, mid to late 2nd C

Lugdunum (Lyons)

Rect. niche containing a full-fig. portrait of a girl in a

git. he has a cape(?) over her head (see Croom 2002:

D:

136) and an animal (dog? cat?) in her hands. Esperandieu (1900) 89 no. 1333*; Esperandieu III (19w) 34 no. 1783; CIL xm 11201; Coulon (1994) w3; Johns (2003) 55 n.12; Darblade-Audoin (2006) 99 no. 279 "*; CAG 69/2 (2007) 684 no. 12*; EDCS no. CIL 13, 112013rd C (Esperandieu)

#341

P: L:

Quartier de Trion, in a well (1885) Lyons, Musee Gallo-Romaine, inv. 2001-0-339 . (Sept 07) T: Limestone stela, 81 x 51 x 28 Pr: Bottom section missing; gable damaged; surface/edge chips; general weathering, esp. to the faces S: Square niche containing 2 half-fig. portraits. L-R: a girl and a woman, each in a t+m and with earrings. The girl also has a pearl necklace. The gable features a central rosette and is flan ked by mask acroteria. B: Bazin (1891) 273*; Esperan dieu III (19JO ) 34 no. 1782"*; Audin (1986) 85; Darblade-Audoin (2006) 97 no. 277"*; CAG 69/2 (2007) 621 no. 2* D: Based on the hairstyles, 250-275 (Darblade-Audoin)

#339

P: L: T:

Pr: S: B:

D:

Necropole Saint-Irenee (before 1816) Lyons, Musee Gallo -Romaine, inv.

(Sept 07) Marble cippus, 41 x 28 x 24 Damage to the left frame; nose-tip missing; light weathering to the front Oval niche containing a bust portrait of a boy in a t+t. It rests on a pedestal. Below are two inward-facing asciae. Esperandieu III (19w) 37 no. 1790"*; Darblade-Audoin (2006) 97 no. 276 "*; CAG 69/2 (2007) 679 no. Sb*; ArD

#342 P: Autricum (Chartres), Vauroux valley, during clearance for the construction of the station (1849) L: Chartres, Musee des Beaux-Arts, Reserve, inv. 1989.1.519.1 (Sept 07)

T: Limestone stela, 33 x 42 x 24 Pr: Losses along most edges, with the bottom right corner missing; damage to the man's nose and mouth; general weathering over the front, esp. to th e faces; surface/

no. 11576 Based on the hairstyle and drapery, 3rd C (DarbladeAudoin)

#340 P: Q uartier Saint-lrenee, propriete Favier (1900) L: Lyons, Private Collection (Feb o ) T: Limestone tela, 54 x 44 x 16 Pr: Damage to the corner ; heavy weathering and discolouration to the front

J:

Elsewhere

2001-0-348

edge chips

J:

D M FLAVINAE / FLAY! F VERA I / VE RA N [I F J = To the Spirits of the Departed. For Flavina, daughter of Flavus. Veranius, son ofVeranius, (set this up).

S:

B:

Rect. niche containing 3 bust-length portraits. L-R: a man, a boy and a woman . Behind their heads there is a square frame. CIL XIII 3056; Esperandieu IV (1911) m no. 2958 "*;

D:

Coulon (1994) 150*; CAG 28 (1994) 159 no. 112"*; EDCS no. CIL 13, 03056Based on the style, early to mid 2nd C(?)

D M / AVR/ ELIAE / SAT/ YRAE / T FILI/AE / QVE / VIXIT / ANN / VI / M V / D / XXI! / MAR/VLI) I A / MA/TER / S D

= To the Spirits of the Departed. For Aurelia Satyra,

daughter of Titus, who lived for 6 ·ear , 5 months and 22 days. Marulli na, mother, gave thi to her.

#343 P: Melodunum (Melun), la place

otre- Dame (1864)

CATALOGUE #344-#348

L: T: Pr: /:

B:

D:

Melun, Mu ee, inv. 967.333 ( ept o )

D:

Limestone stela, 54 x 29 x 14 Damage along the edge , esp. at the left; heavy weather-

#346

ing to the front, particularly over the face

P:

233

Based on the hairstyle, 100-150 (Bance)

Sablan (1907-10) Metz, MAH, salle gallo-romaine, inv. E4340 (Sept 07)

L:

[--- S]ER[E]NVS FIL Rect. niche containing a full-fig. portrait of a child in a g/ t. The child holds a ball(?) in the r/h and a second

T: Limestone stela, 56 x 31 x 14 Pr: Top/bottom sections lost; heavy weathering, esp. to the

object in the other. CIL x1u 3016; Esperandieu 1v (1911) 10 no. 2947A*; Musee Melun (1991) 88"*-; CAG 77/2 (2008) 857'' (ID

S:

as woman); EDCS no. CIL 13, 03016 Based on stylistic comparisons, mid to late 2nd C(?)

B:

face; surface/edge chips Arched niche, backed by shell, containing a full-fig. portrait of a boy in a t+t. He has a scroll in his r/h an d a ball(?) in the other. Esperandieu v (1913) 412 no. 43401\*; Bance (1995) 52 no. 59"'; Freigang (1997) 436 no. Med 226" *; CAG 57/2 (2005) 308 no. 125"*; ArD no. 90122"*

#344

P: L:

Beaune, in reused context (1909) Beaune, Musee des Beaux-Arts, Reserve, inv. 44.804

D:

(Feb 10)

#347

T: Limestone stela, 65 x so x 12 Pr: Reconstructed from two fragments, with large, visible

P:

crack through the centre; damage along the edges; surface chips; general weathering to the front

L:

150-200 (Bance)

Rue de Verdun, opposite l'eglise de Sainte-Therese, area ofl'Ecole Industrielle (1935) (Fig. 30) Metz, MAH, Reserve, inv. E8441 (Sept 07)

J:

LVCINVS SOMO[NI F] = Lucinus, son of omonus.

T: Limestone stela, 56 x 43 x 30 Pr: Damage to the pilasters; child's head lost; general

S:

Rect. niche containing 2 half-fig. portraits. L-R: a man with a beard in a gc+t(?) who has a cup in his r/ h; a

I:

girl whose drapery is difficult to discern but who also has a cup in her r/h. The man places his 1/h around her shoulder.

B:

CIL xrn 2645; Esperandieu m (1910) 185 no. 2105*; CAG

D:

21/2 (2009) 54"; EDCS no. CIL 13, 02645Based on the style and portraits, mid 2nd to 3rd C

weathering; surface/edge chips D M I LVP!O / EVSTACHIO = To the Spirits of the Departed. For Lupius Eustachius.

S:

Rect. niche, framed by pilasters, containing a full-fig. portrait of a boy in a g/ t. In his r/h he holds an object comprising a handle leading to a spherical top (toy?).

B:

In his 1/h he may have a fruit or blossom . Esperandieu xiv (1955) 38 no. 8441A*; AnnEpigr (1983)

D:

107"\ Freigang {1997) 435 no. Med 214"*; CAG 57/2 (2005) 275 no. E27 3"; ArD no. 90222A*; EDH no. 000331"-; EDCS no. ILTG 00374 2nd C (EDH)

199 no. 709; Vigneron (1986) 46; Bance (1995) 99 no. BELGICA Divodurum (Metz) #345 P: L: T:

Built into Roman wall between rue des Murs and rue Saulnerie Metz, MAH, salle gallo-romaine, inv. E8439 (Sept o 7) Limestone stela, 55 x 44 x 2 6

Pr: Bottom section missing and filled in with restoration· heavy weathering, esp. to the portraits (from which th~ details are lost); surface/ edge chips I: S:

La Citadelle

L:

Metz, MAH, Reserve, inv. E4310 (Sept 07 ) Limestone stela, 75 x 103 x 53

T:

Pr: Top section lost, inc. adult torsos and heads; severe damage to the child's face; surface/edge chips; general wea th ering to the front; child's feet lost

Traces survive but they are now virtually illegible. Arched niche, framed by pilasters, containing a full -fig. po_rtrait of a woman in a gc+t. She holds a swaddled chi ld 111 her arms. An ascia appears on the left side

B:

#348

P:

Es;erandieu xiv (1955) 37 no. 8439"*; Coulon (1~94) 58 ; Bance (1995) 27 no. 28"*; Freigang (1997) 420 no Med 159"*; CAG 57/2 (2005) 169 no. A34 2" .

S:

iche, framed by pilasters, containing 3 full -fig. portraits. ~-R: a woman in a gc+t with a dish(?) in her 1/h; a child (boy?) in a git with two objects in his hands one perhaps a bird, the other being square in shape· ~ man Ill a gc+t with a long, thin rectangular object in ~is 1/h . On each of the ides, acanthus leaves grow out of a large crater.

234

B:

D:

CATALOGUE =349-;.353

Lorrain (1874) 55 no. 7 ; Hoffman (1 89) 40 no. Esperandieu v (1913) 39 no. 4310'; Braemer (1959) 51 n.1; Bance (1995) 82 no. 89"\ Freigang (1997) 434 no. Med 208"*; CAG 57/2 (2005) 239 no. 25"; ArD no. 90353"* 2nd C (Bance)

#349 P: La Horgne-au-Sablon (1903) L: Metz, Mairie de Montigny-les-Metz, inv. E4361 (Oct 06) T: Limestone stela, 98 x 38 x 24 Pr: Damage to the pilasters; surface/edge chips; general weathering to the front J: D M / SVARIGILLI / VASSILLI FIL = To the pirit of the Departed ofSuarigillus, son ofVassillu. S: Rect. niche, framed by pilaster , containing a full-fig. portrait of a boy in a git plus scarf. He holds a round object (apple?) in his r/h. 'I ith his 1/h he touche the head of the dog which leaps up towards him. B: CIL XIII 4433; Esperandieu V (1913) 421 no. 4361"\ Musee Central Metz (1964) xxxv1 no. 157; Coulon (1994) 99 and n8; Bance (1995) 34 no. 36"'; Freigang (1997) 436 no. Med 232"'; CAG 57/2 (2005) 304 no. 75"*; Carroll (2006) 257; EDCS no. CIL 13, 04433D: Based on the epigraphy and dre , 2nd C (Bance) #350 P: ecropole du ablon, near la Lunette d'An;:on (1905) (Fig. 12) L: Metz, MAH, alle gallo-romaine, inv. £4364 ( ept 07) T: Limestone stela, 69 x 33 x 28 Pr: Reconstructed from two fragments, with the bottom right corner filled in with restoration; large repaired crack through the portrait niche; surface/edge chips; general weathering to the front J: o M I AELIOLAE = To the Spirits of the Departed. For Aeliola. S: Rect. niche, framed by pilaster , containing a full-fig. portrait of a swaddled baby. On the left ide there i an ascia. B: Esperandieu v (1913) 422 no. 4364"'; CIL XIII 11363; Musee Central Metz (1964) xxxv1 no. 155; Coulon (1994) 44\ Bance (1995) 23 no. 22"\ Baill (2003) 129\ Deyts (2004) 236 n.34; CAG 57h (2005) 2 5"'; ArD no. 90124"\ EDCS no. CIL 13, 11363D: Based on the epigraphy and face, 2nd C (Bance) #351 P: La Horgne-au-Sablon (1903) L: Metz, Hotel de Region, inv. E4366 ( ept o )

T: Limestone stela, 71 x 68 x 24 Pr: evere weathering to the front, esp. over the faces; surface/edge chips J: D M / CARA TODIE ET SEXTI I FILI = To the Spirits of the Departed of Carantodia and of Sextus, son. S: Arched niche containing 2 bust-length portraits. L-R: a woman in a gc+t; a boy who seems to be in swaddling. Rosette pulvinars appear at the top. B: CIL Xlll 4359; Esperandieu v (1913) 423 no. 4366"*; Coulon (1994) 137*; Bance (1995) 26 no. 27"*; Baills (2003) 129*; CAG 57/2 (2005) 300 no. 31"*; Carroll (2006) 154; EDCS no. CIL 13, 04359D: Ba ed on the epigraphy and style, 211d to early 3rd C (Bance) #352

P: L: T: Pr:

J:

B:

D:

Ilot- aint-Jacques, reused in a rampart (1974-5) Metz, MAH, salle gallo-romaine, inv. 75.38.58 (Sept 07) Limestone stela, 152 x 114 x 60 Large diagonal crack through the main niche; surface/edge chips; child's head lost; heavy weathering to the front, esp. over the portraits; restoration to crack through feet [---]IOLAE SILVlCI FIL1AE SACVRIVS / VXORI SACER FIL VIVI POSVERVNT = For [---J iola, daughter of Silvicus, wife. Sacurius, with son Sacer, set (this) up while they were living. Rect. niche containing 3 full-fig. portraits. At the left, a woman in a fringed gc+t with a dish(?) in her 1/h and a round object in her other. In the centre, a boy in a fringed git with tablets in his rlh. He appears to turn towards the woman, reaching out for the circ. object held by her. At the right, a man with a beard in a fringed gc+t. He holds tablets in his r/h. Both adults turn towards the centre. On the left side, a large animal (possibly a deer) moves towards the right while on the right side a panther moves to the left. An ascia also appears on the left side. AnnEpigr (1976) 136 no. 478; Freigang (1997) 432 no. Med 199"*; Bromwich (2003) 347*; CAG 57/2 (2005) 187"*; Laes (2006) 88*; ArD no. 90340*"; EDH no. 006330-; EDCS no. AE 1976, 00478 Based on the hairstyles, mid 2nd to early 3rd C

#353 P: !lot-Saint-Jacques, reused in a rampart (1974-5) L: Metz, MAH, salle gallo-romaine, inv. 75.38.36 (Sept 07) T: Limestone stela, 102 x 62 x 54 Pr: Damage to the top section; surface/edge chips; light weathering and discolouration over the main niche; nose-tips lost

CATA LO GUE

[--- ) SIVMVTTLE ET AIF~ EP FIL PO cv[---J = [- --]. For SiumuttJa and Afra, neptis. The on aw to it being set up. (The reading i not ecure.) S: Rect. niche containing 2 full-fig. portrait . L-R: a girl in a git who holds a round object in her r/h and turns towards the centre; a man with a beard in a gc+t. They hold hands (with the girl' 1/h and the man' r/h). B: Coulon (1994) 152'; Bance (1995) 5 no. 4"'; Freigang (1997) 431 no. Med 196>; Coulon (199 ) 24>; CAG 57/2 (2005) 195 no. 66"; Laes (2006) 93\ ArD no. 90097"'D: Based on the male portrait, early 3rd C (Bance) /:

#354-#359

235

T: Limestone stela, 103 x 53 x 24 Pr: Severe weathering to the front, with the loss of the facial features; several surface/edge chips; damage to the top section /: D M / SEPPE ET NE [ ---] I VICTORHIVS = To the Spirits of the Departed. For Seppa, Ne[---] and Victorius. S: Arched niche containing 3 full-fig. portraits. L-R: a woman in a gc+t with a mappa(?) in her r/h; a girl in a gc+t with a bird in her 1/h; a man in a gc+t with tablets in his 1/h. The woman seems to place her 1/h on the shoulder of the girl. B: CIL xm 3408; Esperandieu v (1913) 39 no. 3682"*; Misciattelli (1981) 11 no. 6*; Bance (1995) 85 no. 93"*; EDCS no. CIL 13, 03408D: 2nd C (Bance)

Durocortorum (Reims) #354 P: Local provenance but without a ecure find- pot L: Reims, MASR, inv. 978.20 35 ( ept 07) T: Limestone stela, 30 x 27 x 12 Pr: Bottom and lower right areas Io t; deep cratch in the top of the portrait niche; urface/edge chip ; general weathering, esp. to the face /: D M M GAB/RJLLE = To the pirit of the Departed and the memory of Gabrilla. S: Arched niche containing a full -fig. portrait of a girl in a g/t. She holds an apple(?) in her r/h. B: CIL XIII 3325; Esperandieu V (1913) 56 no. 3726>; Misciattelli (1981) 18 no. 34'; Bance (1995) 53 no. 61>; EDCS no. CIL 13, 03325D: Based on similarities to another Gallic piece, Hadrianic (Misciattelli). Bance favour the 3rd C.

#357 P: Local provenance but without a precise find-spot L: Reim , MASR, Reserve, inv. 978.20 225 (Sept 07) T: Limestone stela, 76 x 62 x 25 Pr: Top/bottom sections lost; surface/edge chips; patches of re toration along the left side; heavy weathering, esp. to the child's face S: 3 full-fig. portraits of 2 adults and 1 child. Both adults turn inwards, seem to wear a gc+t and may have held (now lost) objects. The child in the centre, perhaps also in a gc+t, holds an apple in the 1/h. B: Esperandieu v (1913) 45 no. 3697*; Misciattelli (1981) 17 no. 28' D: Ba ed on stylistic comparisons, 2nd CU)

#355

=358

P:

P: L: T:

Faubourg Ceres (1889) L: Reims, MASR, Reserve, inv. 97 .20 223 ( ept 07) T: Li mestone stela, 103 x 54 x 20 Pr: Substantial losses along all of the sides; severe weathering to the front, with mo t of the facial detail mi ing; surface chips S: Arched niche containing 2 full-fig. portraits. L- R: a woman in a gc+t with an apple(?) in her r/h; a girl in a git with an object in her 1/h and perhap a econd in her now missing r/h. The woman places her 1/h on the shoulder of the girl. B: Esperandieu v (1913) 43 no. 3692" \ Mi ciattelli (19 1) 10 no. 3'; Bance (1995) 70 no. 79* D: Based on the drapery, 100-150 (Bance)

Cemetery near Route de Neufchatel (1881) Reim , MASR, Reserve, inv. 978.20 196 (Sept 07) Limestone relief, 48 x 72 x 55 Pr: Top/bottom ections lost; damage to the corners and ides; urface chips; face of the child on the left lost S: 4 full-fig. portraits of 2 adults (behind) and 2 children (in front), all of whom wear a g/t. The adult at the left and both of the children held objects, with that of the second child perhaps being an apple. The sides feature eated adults cutting cloth (right) and pounding something in a mortar (left). B: Esperandieu v (1913) 39 no. 3683" ; Misciattelli (1981) 15 no. 24• D: Based on stylistic comparison , 2nd C(?)

#356

#359

P: L:

Faubourg Ceres, Ia Maladrerie (1889) Reints, MASR, inv. 978.20 197 (Sept 07)

P: L:

Local provenance but without a ecure find-spot Reims, MASR, inv. 9 .20 1 3 ( ept 07)

--~

CATALOGUE

=360- =364

doll)*; Mi ciattelli (1981) u no. 8 (ID as possible male); Coulon (1994) 95"; Bance (1995) 54 no. 62 (ID as child with doll)*; Da en (2003c) 205*; EDCS no. CIL 13,

Limestone stela, 83 x 42 x 19 Pr: Upper section, inc. head of the adult, Jo t; heavy weathering to the front, esp. to the child' face; urface/edge T:

S:

chips Rect. niche containing 2 full -fig. portraits. At the left, a seated woman in a gc+t, connected via the dextrarurn iunctio to a boy(?) at the right in a git. The , ·oman seems to have an object in her 1/h and may also place a finger on the boy' head; the boy too may have held an

B:

object in his 1/h. Esperandieu v (1913) 54 no. 3720\ Mi ciattelli (19 1) 22

D:

no. 53"*; Bance (1995) 70 no. Bo* 2nd C (Bance)

---

D:

03437Based on the epigraphy, 2nd C (Bance)

:362 P: Found on the corner of the roads from Reims to SaintBrice and Courcelles (1855) L: Reirns, MA R, inv. 978.20 219 (Sept 07) T: Lime tone tela, 9 x 53 x 22 Pr. Top right corner lost; damage along the left side; surface/edge chips; general weathering to the front, esp. to the child' face

#360 P: La Haubette (1848) L: Reims, MASR, inv. 978.20 185 ( ept 07) T: Limestone stela, 74 x 41 x 13 Pr: Left acroterion missing; severe weathering to the front, with the los of the facial features; surface/ edge chip ;

S:

B:

D:

I

cu

= To the pirits of the Departed of Lucillu , on(?) of Cliucil[---J Arched niche, framed by pilaster , containing a full-fig. portrait of a boy in a t. He eems to hold objects in D M

LVCILLI

CIL[--- J

both hand. CIL xm 3354; Esperandieu (1913) 60 no. 3 36 (ID of one object as po ible dollt; Mi iattelli (19 1) 14 no. 16*; Coulon (1994) 94 (ID as girl Lucilla)\ Bance (1995) 55 no. 63 (ID of one object a doll)>; EDCS no. CIL 13,

B:

D:

length portrait of a boy in a git. CIL XIII 3355; Esperandieu v (1913) 54 no. 3721A*; Misciattelli (1981) 19 no. 35*; Bance (1995) 62 no. 72*;

T: Lime tone stela, 69 x 26 x 17 Pr: Based on the most recent photograph, heavy weathering, e p. over the portrait, a well as e,·eral urface/ edge chip .

J:

DM [--· ]

S:

Arched niche containing a full-fig. portrait of a child in a git who ha a round object (apple?) in the 1/h and a econd, cylindrical object in the other. The top feature acroteria in the form of heads, that at the left male, at the right female. Habert (1901) 219 no. 699 (ID as adult ; Esperandieu (1902) 236 no. 14 8 (ID a irl with doll); CJL xm 3437; Esperandieu v (1913) 5 no. 3;3 ID as girl with

Ba ed on the epigraphy, 3rd C (Bance)

:363 P: Local provenance but without a secure find -spot L: Reims, 1ASR, inv. 978.20 187 (Sept 07) T: Lime tone stela, 85 x 38 x 19 (original); 45 x 34 x 19 (current)

Pr. Substantial damage since being viewed by Esperandieu; evere weathering, with the loss of the facial details; urface/edge chips Arched niche containing a full-fig. portrait of a boy in a o t. He holds an apple(?) in his 1/h and a second object

03354Based on the epigraphy, 2nd C (Bance)

#361 P: Faubourg Cere , la Maladrerie (1 97) L: Uncertain. In 200 it could not be found b · the MA R in Reim , its last recorded location.

B:

S:

D M / ET MEMORIE / LVCILLI = To the Spirits of the Departed and the memory of Lucillus. Arched niche, framed by pilasters(?), containing a bust-

EDCS no. CIL 13, 03355-

damage to the gable

J:

J:

B:

in the other. Esperandieu v (1913) 50 no. 3710*; Misciattelli (1981) 18 no. 10 (ID as man); Bance (1995) 52 no. 60*

D:

2nd to 3rd C (Misciattelli)

Senon #364 P: Necropolis L: erdun, Musee de la Princerie, inv. 54 14 38 (Sept 07). It

, a formerly number A2 145. T: Limestone block, 41 x 88 x 59 Pr: Central section of a larger monument, damaged along the top and bottom sides; heavy weathering to the front, esp. to the portraits; edge chips; nose-tips lost S: Front: large niche, framed by pilasters decorated with a volute pattern, containing 3 half-fig. portraits(?). L-R: a

-----

.

- - - -- -- -

CATALOGUE #365-#369

woman in a gc+t who ha a mappa in her r/h; a girl in a git who has a bottle in her 1/h; a man with a beard in a gc+t who has a mone ba in his 1/h. The adults turn towards the centre. Right: a a T with a grape bunch in his 1/h. Left: a man with a beard; a ·oke(?) hangs above him. Reiners (1918) 31'; Esperandieu IX (1925) 380 no. 7249"*; CAG 55 (2002) 509" > Based on styli tic compari on , everan

B:

D:

#365

P: L:

ecropolis Verdun, Musee de la Princerie, Reserve, inv. 54 14 37 (Sept 07). It was formerly number A2 144.

T:

Limestone block, 41 x 93 x 68

237

Solicia (Soulosse) #367

P: L:

Les Vosges (arrondissernent de

eufchateau)

Metz, H6pital Sainte Croix, entrance corridor, inv. E4873 (Sept 07) T: Limestone stela, 67 x 41 x 37 Pr: Severe weathering to the front, with facial features lost; surface/edge chips S: Arched niche, framed by pilasters, containing a half-fig. portrait of a boy in a g/t. He has a round object (fruit?) in his r/h and a second object in the other. B: Lorrain (1874) 42 no. 39; Hoffman (1889) 34 no. 39; Esperandieu v1 (1915) 188 no. 4873"*; Bance (1995) 50 no. 57"*; CAG 88 (2004) 354 D: 100-150 (Bance)

Pr: Severe weatherina mutilation to all of the ides, with most of the culpture on the front now hard to di cern; numerous cracks through the main niches; surface/

I:

S:

edge chips CARA00o IVS

/

SA VA[CI] FILI = Carathounus, on of

Sanuacus. (Text appears above the boy.) Front: rect. niche containing 2 full-fig. portraits. L-R: a woman in a gc+t who has a mappa in her r/h; a man with a beard in a gc+t who holds a money bag in his l/h. Right: arched niche containing a full-fig. portrait of a boy in a git. Left: arched niche containing a full-fig. portrait of a girl in a git who has a grape bunch in her hands. Reiners (1918) 32*; Esperandieu 1x (1925) 381 no. 7250" *;

D:

CAG 55 (2002) 509"*Based on stylistic compari on , Severan

#366 ecropolis P: L: Verdun, Musee de la Princerie, inv. A2 149 ( ept 07)

T: Limestone stela, 40 x 61 x 45 Pr: Bottom section missing; severe weathering, esp. to the

B: D:

Les Vosges (arrondissement de eufchateau) Uncertain. In Oct 06 it could not be found by the MAH in Metz, its last recorded location.

L:

B:

S:

#368

P:

faces; child's head lost; urface/edge chips Double-arched niche, framed by fluted pilasters and backed by a mussel shell, containing 3 full-fig. portraits. At the left, a woman in a gc+t who is joined via the dextrarum iunctio to a child in a tunic. She places her 1/h on their shoulder. At the right, a man with a beard in a gc+t. He holds a money bag in his r/h and place the other on the head of the child. Both adults turn inwards. Reiners (1918) 32*; Esperandieu 1x (1925) 383 no. 255*; CAG 55 (2002) 5n "* Based on comparisons with other pieces, Severan

T: Limestone stela, 58 x 46 x 19 Pr: Bottom section missing; damage to the frames; general weathering, esp. to the face; nose-tip lost Arched niche containing a full -fig. portrait of a girl in a g/t. She has a circ. object (hoop?) in her hands. Lorrain (1874) 45 no. 52; Hoffman (1889) 35 no. 52; Esperandieu v1 (1915) 190 no. 4877" *; Bance (1995) 50

S:

B:

no. 56"*; CAG 88 (2004) 354 Early 2nd C (Bance)

D:

Elsewhere #369

P:

Orolaunum (Arion). First known in Luxembourg 'in

L:

aedibus Jenetterianis' (1671) Metz, MAH, salle gallo-romaine, inv. £4097 (Sept 07)

T:

Limestone cippus, 108 x 80 x 69

Pr: Heavy weathering over all sides, esp. to the faces; damage to the corners; surface/edge chips; three heads from

S:

banquet scene lost Front: rect. niche containing 2 full-fig. portraits. At the left, a woman in a fringed gc+t and a bonnet is connected via the dextrarum iunctio to a man with a beard in a gc+t. They turn towards one another. Left: rect. niche containing 2 full-fig. portraits. L-R: a woman in a gc+t who has a casket in her hands; a man with a beard in a gc+t who holds a money bag in his 1/h. They turn towards one another. Right: the upper niche contains a banquet scene. eated around a mensa tripes, upon

• CATALOGUE : 3 0-:374

which is a cooked chicken, are two men and a woman; a second woman tand at the tea All wear Gallic dr , the women with bonnet . On a helf behind there are pots and jugs. The lower niche contain 5 full-Ii . portraits of children in tuni . At the left, a tanding girl looks towards 3 seated bo , in the centre; the · watch a dog drinking from a bowl. At the right, a tanding bo)' plays a flute. Lorrain (1874) 61 no. 89; Hoffman (1 9) 44 no. 39; Esperandieu v (1913) 266 no. 4097"'; Pobe and Roubier (1961) 73 no. 218"; Mu ee Central Metz (1964) xxx no. 117*; Coulon (1994) 100'; Bance (1995) 43 no. 49" ~; Freigang (1997) 413 no. Trev 102"'; Bradley (199 a) 52 ; Rothe (2009) 123 no. T24*; ArD no. 90101"'

B:

D:

Esperandieu v1 (1915) 208 no. 4904"*; Coulon (1994) 120; Bance (1995) 33 no. 35"* Late ind C (Bance)

B: D: :372

P:

Ranchers (Roncheres), near Montiers-sur-Saulx (1874) Bar-le-Due, Musee Barrois, Reserve, no inv. ( ov 06)

L:

T: Limestone stela, 60 x 25 x 6 Pr: ubstantial damage to the frames; heavy weathering to the front, esp. over the portrait; nose lost; parts of the child' hair damaged A full-fig. portrait of a boy in a g/t. He holds a cup in hi r/h and round objects (fruit?) in the other. Maxe-Werly (1876) 404 no. 3; Esperandieu v1 (1915) no. 4669" '; Bance (1995) 48 no. 52*; CAG 55 (2002)

B:

150-200 (Bance)

D: #370 P: Fohren, near Trier (1862) (Fig. 32) L: Trier, RL, inv. G 37 theta (March 07)

or votive is uncertain.

T: Sandstone cippu , 65 x o x 96 Pr: General weathering to the front, e p. to the portrait (from which the features are lo t); minor urface/edge

J:

S:

B:

chip ; ome di colouration D M / PRIMVL1 I F ·n EQ\' E 1 'TI ET PRl~IVLE FILIO SERVO = To the pirits of the Departed of Primulu , infant of equen and Primula. (The ' did thi ) for their

L:

de Jaulzy (1923) oi on , Musee, inv. 93.7.1296 (Oct 06)

cracks through the main niche; heavy weathering, esp. to the port rails; child's head largely lost; surface chips; damage to the frames Rect. niche containing 3 fulJ.fig. portraits. L-R: a woman in a gc+t, perhaps with an object in her hands; a child in a git with an apple(?) in the r/h; a man with a beard in a gc+t. The adults turn towards one another

B:

1 5-250 (Rothe)

D:

while the child looks up. Esperandieu x1 (1938) 39 no. 7706*; Ancien and Tuffreau-Libre (1980) 17•; Misciattelli (1981) 10; CAG 02 (2002) 456' Ba ed on the stylistic comparisons, late 2nd to early 3rdC

et

T: Limestone tela, 70 x 19 x 12 Pr: General weathering to the front, e p. to the face; ur· face/edge chips Rect. niche containing a full-fig. portrait of a boy in a gc+t plus a scarf. He has a horus lock(?) and holds a long, thin object in his r/h, perhap an axe (but not an ascia, as sometime ugge ted). A maJJ dog rests on the ground under his feet. The top feature acanthus(?) leaves as well as half·p acr.

oviodunum (Soissons), reused in castrum wall on rue

T: Limestone tela, 145 x 92 x 58 Pr. Recon tructed from three fragments, with visible

him are a fruit ba ket and a toy wheel. Hettner (1 93) 92 no. 195; CIL xm 4199; Esperandieu VI (1915) 432 no. 5260" '; chindJer (19 ) 102'; Freigang (1997) 402 no. Trev 16" *; Rothe (2009) 13 no. T94" ·;

#371 P: Grand, Behaut, cimetiere du nord (1 5) L: Epinal, Mu ee Departemental d'A rt Ancien Contemporain, inv. 194 / R.2006.1.529 (Aug o )

S:

=373

P:

slave son. Arched niche containing a full.fig. portrait of a eated boy, hown in profile. He eems to wear a tunic and reaches forward tm ards a dog and a large bowl. Behind

EDCS no. CIL 13, 04199D:

3 3• Ba ed on compari ons with other pieces, 2nd C(?) The clas ilication of the monument as either funerary

='374 P: amarobriva (Amiens), rue Riolan near the Gare du L:

ord (1902) Amiens, Musee de Picardie, Reserve, inv. 1907.1146.1

(Sept 07) Limestone stela, 44 x 27 x 14 Pr: Reconstructed from two fragments (now stored separately), with large, visible crack through the adult's head; damage along the right edge; surface chips; nose lost; T:

CATALOGUE #375-#376

general weathering to the hands and feet of the woman as well as the child's face S:

(which the child touche with her hand). Esperandieu v (1913) 162 no. 3934\ Ma y (1979) 69*; Bayard and Mas y (19 3) 177 no. 4 n. o\ CAG Soh (2009) 207 no. 67> Based on styli tic compari on , late 2nd to 3rd C(?)

D:

B:

#375

P: L: T: Pr:

I:

S:

and a child). Frieze: family meal. Attic: cloth testing scene. Gable: Hylas and nymphs as well as mask acroteria. East side. Main scene: Achilles held by Thetis. Frieze: cloth workshop. Attic: account scene. Gable: mountain goddess. North side. Base: cloth scene. Main scene: apotheosis of Hercules with four wind gods in the corner and Minerva looking on. Frieze: cloth transport scene. Attic: Eros and two griffins. Gable: sun god. West side. Base: cloth wagon pulled by mules. Main scene: Perseus and Andromeda, with Minerva observing. Frieze: tenants bringing goods. Attic: wagon scene. Gable: Mars and Rhea Silva. (Reconstruction based on Zahn.) CIL xm 4206; Esperandieu v, (1915) 437 no. 5268 11 *; Reiners (1918) 32; Dragendorff and Kruger (1924)*; Koepp (1926b) 49*; Zahn (1968)*; Gabelmann (1987) 297; AnnEpigr (2001) 460 nos. 1408-9 11 ; Carroll (2006) 144; Rothe (2009) 131 no. T62 11 *; EDH no. 047176-;

Arched niche containing 2 full-fig. portraits. At the left, a child (girl?) in a git and a scarf(?) who turns towards the centre. ext to her, a eated woman, dressed in a gc+t with frilled top, who rests her leg on a stool and holds a fruit ba ket in her 1/h. A dog lie on her lap

B:

Igel, on the road linking Trier and Luxembourg Igel, MoselstraEe, in itu (March 07) Sandstone pillar monument, 2210 x 512 x 426 Continued exposure, de pite its ESCO Ii ted tatus, is causing sub tantial damage, with heavy ero ion over the figured cene . Although the nature of its location makes close in pection problematic, all portrait features are damaged and the tone i di coloured and weathered. Several ection of ome of the frieze are now completely lo t. D M p [ - - -] SECV[---J m e T [---] / o [--- FI] LI SECY D[I I] SECVR[I] ET PVBLIAE PA/CATA[E] CO '!YGI SECY DI, I A[VE]NTI, I ET L SAC/CIO MODESTO ET MODESTIO MACEDO l FILIO EI/JYS LVCI EC DI 1[v ] AVE TI[ ]vs ET SECY DI/ IV[S E]C RV PARE TIBV [DEF]V CTIS ET / s[rn1 ] VIVI VT ABERE T FEGER T. The damage makes a translation difficult but it eem to have been erected for P. [---] ecundiniu ; for two sons of L. Secundinius Securus; for Publia Pacata, the wife of L. Secundiniu Aventinus; for L. accius Modestus and his son Modestius Macedo. It wa made by L. Secundinus Aventinus and L. ecundinius ecurus for their deceased parents and themselve while they were living. South side. Base: cloth scene in which a man in a gc+t has an account book and money on a table and is flanked by seven men. Six of them count money; a seventh separates the group from the scene on the right in which a further group of six men inspect cloth. Main scene: rect. niche, framed by pilasters decorated with birds and putti and topped by acanthus capitals, containing 3 full -fig. portraits. L- R: a man in a gc+t with a scroll in his 1/h; a boy in a t+t who is connected via the dextrarum iunctio to a second man, also in a t+t, who has a scroll in his 1/h. Above them are three bu tlength portraits in clipeatae (perhaps a boy, a woman

2 39

EDCS no. CIL 13, 04206 Early to mid 3rd C (Rothe)

D: ;;376

P: L: T:

eumagen, found between 1877 and 1884 (Figs. 69-71) Trier, RL, multiple inv. nos. (March 07) Sandstone pillar monument, 210 x 187 x 145 (portrait scene from front). It was originally over 10 m high (Massow).

Pr: Fragments from various scenes survive, with heavy weathering, surface/edge chips and damage to the faces. The museum now displays a restored version.

J: S:

[D] M / [---] Front: rect. niche backed by a shell. It is framed by pilasters decorated with vines and topped by Cor. capital . Inside are 3 full-fig. portraits. At the left, a woman in a t+m is connected via the dextrarum iunctio to a man with a beard in a t+t. He has a scroll in his 1/h. Both turn inwards. In the centre, a boy. Right: above, rect. niche in which a man on horseback, dressed in a t+c, leads a hunt. He lifts a dead rabbit while the attendant in front controls a large dog. Below, rect. niche containing a seated man who reads from an account book. He is flanked by four men, presumably tenants. The niches are framed by pilasters decorated with acanthus leaves and topped by Cor. capitals. Left: above, arched niche containing a woman in a fringed t+c who sits on a wicker chair. Surrounding her are four women in tunics; the figure on the left adjusts the woman's hair while the others carry cosmetic objects (two vessels and a mirror). The lower niche is lost. The niches are framed by pilasters decorated with acanthus leaves and topped

,,. • """"""""_ _ _ _iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiia

CATALOGUE : 3

B:

-=3 1

by Cor. capitals. (For detail of the other fragments, see

Pr: Heavy weathering to the front, esp. to the portrait; sur-

Massow.) Esperandieu v1 (1915) 321 no. 5142 and 331 no. 5146';

I:

Massow (1932) 158 no. 184A*;

face/ edge chips D M I AHTEHE / FIL OBILIS I VIXIT ANIS / V = To the Spirits of the Departed. For Ahteha, who lived for 5

chindler (19 ) 105';

S:

years. obilis (did this) for his daughter. Arched niche containing simple half-fig. portrait of a

B:

girl, perhaps with an object in her hands. RIB 388 no. 1180; Phillips (1977) 26 no. 66"*; Mattern

Gabelmann (1987) 298; Coulon (1994) 1 2'; Bance (1995) 86 no. 94A*; Coulon (199 ) 6'; ~loirin (2003) 41~; Carroll (2006) 144; D'Ambra (2007a) 113'; Rothe (2009) 129 no. T56A* c. 225 (Carroll)

D:

(1989) 773 no. 77*; Raybould (1999) 325 no. 1180; Wilson (2002) 476*; Adams and Tobler (2007) 147 no. 349;

EDCS no. RIB 01180-

#377

P: L: T: Pr:

D:

Sien, Kr. Birkenfeld (1839) Trier, RL, inv. St. W. 129 (March 10) Sandstone stela, 27 x 25 x 9 Small fragment broken along three

(Phillips)

ide ; heavy

weathering Circ. niche containing a full-fig. portrait of a girl(?) in a gc+t. She holds an apple in her l/h . (Freigang and Rothe

S:

identify a girl while others prefer a woman.) Hettner (1893) 191 no. 481; Esperandieu v1 (1915) 255 no. 4997*; Freigang (1997) 402 no. Trev 12*; Rothe (2009)

B:

0:

#380 P: Late level ofE-W road south of site XI (1937) (Fig. 6) L: Corbridge, Roman Fort Museum, inv. co 23338 (May 10)

T: Sandstone stela, 157 x 53 x 19 Pr: Light weathering to the niche, becoming far heavier over the inscription; damage to the feet and face D M / SVDRENVS / ERTOLE NOMI E / VELL!BlA FELICISSI/ ME VIXIT A IS Jill / DIEBVS LX = To the Spirits of the

J:

138 no. T95 Based on the hairstyle, early to mid 3rd C (Rothe)

Departed. Sudrenus (did this) for Vellibia Ertola, who lived most happily for 4 years and 60 days. (There are

#378

P:

Augusta Treverorum (Trier), St Matthias

S:

Trier, RL, inv. 1963,61 Fnr. 53 (March 07) T: Lin1estone relief, 69 x 116 x 13 Pr: Substantial damage along the edge ; evere weathering

L:

edge chips Arched niche, framed by pilasters, containing 2 full-fig. portraits. L-R: a boy in a tunic with a vessel (inkpot?) in his r/h who turns towards the centre; a seated man in a t+s who holds an unrolled scroll in his 1/h and a writ-

B:

0:

tone.

B:

RIB 389 no. 1181; Phillips (1977) 28 no. 71" *; Mattern (1989) 772 no. 74*; Raybould (1999) 325 no. u81*; Adams and Tobler (2007) 147 no. 350; EDCS no. RIB ou81-

D:

Based on the epigraphy, late 3rd to early 4th C (Phillips)

ing implement in the other. Rheinische Landesmuseum Trier (1984) 208 no. 94'; Freigang (1997) 408 no. Trev 59A*; Rothe (2009) 122 no.TIS 4th C (Rothe)

traces of an earlier inscription underneath.) Arched niche, framed by columns, containing simple full-fig. portrait of a girl in a dress. She holds an apple(?) in her hands. Beneath the niche are drilled holes, perhaps so that garlands could be hung from the

to the front, with the loss of the adult' head; urface/

S:

Based on the find-spot and style, late 3rd to early 4th C

Deva (Chester) #381 P: East part of the north wall (1887) L: Chester, Grosvenor Museum, Deposit, inv. 1999.6.112

BRITA

(March 10)

IA

Corstopitum (Corbridge)

T: Sandstone stela, 124 x 84 x 14 Pr: Reconstructed from several fragments, with cracks along the joins; bottom section missing; adult's head

#379

P: L: T:

Late level of E-W road south of site XI (193 ) Corbridge, Roman Fort Mu eum, inv. co 23335 (May 10) Sandstone stela, 140 x 61 x 1

damaged; general weathering

I: S:

DM /[ ---J Arched niche, framed by pilasters, containing a Totenmahl scene. Lying on the kline, at the right side,

#382-#384

CATALOGUE

an adult wears a tunic with a mantle draped over the lower body. The figure ha a cup in the raised r/h. At the left, also on the kline, a boy in a tunic who reaches forward to touch the cup. In front of the couch is a mensa tripes; at the top of the niche there are hanging garlands. The left ide feature repre entations of a hammer and angle. (The gender of tile adult is unclear, though initially recogni ed a female; Mattern argues for a male ID. Without the chance to examine it in person, it is not po ible to decide either way, though in the available photo it doe eem to be rather masculine. ) Liversidge (1955) no. n\ Toynbee (1964) 207; RIB 189 no. 567*; Mattern (1989) 759 no. 46\ Henig (2004) 22 no. 65"*; Adams and Tobler (2007) 135 no. 225; UEL no.

B:

J:

D M / FL CALL!MOR/PHJ VIX A I XXXXII / ET SERAPJO I

= To the Spirits of the Departed of Flavius Callimorphus, who lived for 42 years, and for Serapion, who lived for VIX / ANN III M VI THESA/EVS FRATRI ET FIL!O / F C

3 years and 6 months. Thesaeus saw to it being done for his brother and son. (It remains unclear whether the boy is the son of the man shown in the image or of the dedicator.) Totenmahl scene. A man in a tunic reclines on a kline, using his left arm for support (draped over which is a napkin). Standing in front of him, a boy in a tunic(?), perhaps with an object in his r/ h. The man seems to place his r/ h on the boy's shoulder. Below the couch is an amphora (left) and a mensa tripes (right), upon

S:

which a bird perches. Watkin (1886a) 215*; Haverfield (1900) 65 no. 115; Webster (1950) 28 no. n5; Liversidge (1955) no. 6*; Toynbee (1964) 201; RIB 185 no. 558; Mattern (1989) 762 no. 52*; Raybould (1999) 320 no. 558; Henig (2004) 23 no. 68"*; Adams and Tobler (2007) 133 no. 216; UEL no.

B:

14923; EDCS no. RrB 00567Based on compari ons with other piece and on the male hairstyle, early everan (Mattern)

D:

#382

14958; EDCS no. RIB 00558Based on comparisons with other pieces, 225-250 (Mattern)

P:

West part of the north wall (1891) Chester, Grosvenor Museum, Roman tone Room, inv. 156 (June 06) T: Sandstone Altar, 69 x 51 x 33 Pr: Bottom section mis ing; several edge chips; repaired cracks through the portrait niche; general weathering

L:

to the front Arched niche, framed by pilasters, containing a full-fig. portrait of a sleeping boy on a couch. He ha a mantle over his legs and holds an apple in his r/h. Above the arch are two rosettes while underneath a second niche contains two birds (the larger one at the left appears to feed the younger one at the right). The gable has a central rosette and is flanked by leaf-decorated pulvinars. On the sides, birds pick at grapes. Haverfield (1900) 75 no. 156; Liversidge (1955) no. 20*; Mattern (1989) 760 no. 49*; Henig (2004) 10 no. 24"*; UEL no. 14954 Based on comparisons with other pieces, early 3rd C (Mattern)

S:

B:

D:

D:

#384

P:

L:

L:

Found during sewer construction along the west waU near Grosvenor Road (1874) Chester, Grosvenor Museum, Roman Stones Room, inv. 115 (June 06) Sandstone stela, 127 x 66 x 14

(March 10)

heads now detached; large cracks through the front; edge chips

J:

D M / RESTITAE V / AN VU ET M/ ARTIAE V AN III /

= To the Spirits of the Departed. For Restita, who lived for 7 years, and for Martia, who lived for 3 years. Their parents (did this). PARE TES

S:

Irregularly shaped niche, backed by a m ussel shell, containing a Totenmahl scene. Lying on the kline are two girls who support themselves with their left arms. Their drapery is badly damaged but they may wear long-sleeved tunics. In front of the kline is a mensa

tripes. B:

Haverfield (1900) 62 no. m; Liversidge (1955) no. 8*; Toynbee (1964) 208; RIB 188 no. 566; Mattern (1989) 761 no. 51*; Raybould (1999) 320 no. 566; Henig (2004) 22 no. 64"*; Adams and Tobler (2007) 134 no. 224; UEL no. 14956- ; EDCS no. RIB 00566

T: Pr: Heavy weathering to the front, with the loss of both of the faces; surface/edge chips; damage to the niche frame

West part of the north wall (1890) Chester, Grosvenor Museum, Deposit, inv. 1999.6.111

T: Sandstone stela, 107 x 63 x 12 Pr: Bottom section missing; portraits badly damaged, with

#383

P:

241

D:

Based on the style and on comparisons with other pieces, 225-250 (Mattern)

· CATALOGUE ;,385-.=38

242

Eburacum (York) #385

P:

The Mount, between Mill Mount and Scarcroft Road (1861) L: York, YM, Deposit, inv. YORYM: 200 .6171 (May 10) T: Sandstone stela, 94 x 64 x 19 Pr: Top section lost, inc. most of the portrait; edge chip ; light weathering /: [D] M / CORELLlA OPTATA A Xlll / SECRET! MANE QVI REG 'A / ACHERVSlA DJTIS I COLI/TIS QVO PARVA PETVNT POST / LVMI A VITE EXIGVVS CJ IS / ET SIMVLACRVM CORPOIS VM/ BRA I ' 0 TIS G ATE GE 1/ TOR SPE CAPTVS INIQVA / SVPRE 1VM H C ATE / MISERANDVS DEFLEO FI EM / Q CORE FORTI PAT F C = To the Spirits of the Departed. Corellia Optata, of 13 years. You remote souls of the departed who inhabit the Acheronian kingdoms of Dis and who, after the paltry splendour of life, make for the scanty ashe and ghost of the body, the shade of an irU1ocent daughter. I, a father, possessed by unfair expectation, pitiably lament this final end of my daughter. Q. Corellius Fortis saw to it being done. S: iche which originally contained a full-fig. portrait of a child (presumably a girl), of whom only the feet now survive. B: Kendrick (1862) 30; CIL VII 250; RIB 230 no. 684; Tufi (1983) 34 no. 52"*; Mattern (1989) 794 no. 128*; Raybould (1999) 322 no. 684; Carroll (2006) 200; Adams and Tobler (2007) 139 no. 255; EDCS no. RIB D:

00684Based on the epigraphy, 2nd C (Tufi)

#386 P: Old cricket ground between the River Ouse and Leeman Road, during construction of the station (1872) L: York, YM, inv. YORYM: 2010-43 (May 10) T: Sandstone stela, 97 x 76 x 17 Pr: Bottom section missing; surface/edge chips; general weathering to the front, e p. to the portrait ; damage to the pilasters and top frame /: AEL!AE AEL!ANAE / VIX A ·[---] = For Aelia Aeliana, who lived[---] S: Arched niche, framed by pilasters and backed by a shell, containing a Totenmahl scene. Lying on the kline, L- R: a woman in a gc+t with a jug/gla in her l/h and part of her drapery in the other; a man with a beard in a gc+t who holds a scroll in hi l/h and place the other around the woman's shoulder. They use their elbows for support. At the left, a full-fig. portrait of a tanding girl

in a tunic who has a bird in her hands. In front of the kline is a mensa tripes laid with food. Next to it, a small barrel. Above the niche are dolphins, a central rosette and scrollwork B: Kendrick (1873) 20*; CIL VII 1343; Liversidge (1955) no. 9•; Toynbee (1964) 209; RIB 229 no. 682*; Tufi (1983) 25 no. 40A*; Mattern (1989) 797 no. 134*; Bradley (1998c) 46; Raybould (1999) 322 no. 682; Adams and Tobler (2007) 138 no. 253; EDCS no. RIB 00682D: Based on the hairstyles, late 2nd to early 3rd C (Mattern)

#387

P: L: T: Pr: J:

S:

B:

D:

Albemarle Road, near the Mount (1922) (Fig. 10) York, YM, Deposit, inv. YORYM: 2006.2902.i-ii (May 10) Sandstone stela, 188 x 71 x 17 Crack through the centre of the inscription; surface/ edge chips; heavy weathering D M / MANTINI[A]E MAE/RJCAE ET CANDIDA£ / EIVS MATRI BARITAE / M AVR[I] IVS SIMN[vs] / TITVLVM POSIT = To the Spirits of the Departed. For Mantinia Maerica and her mother Candida Barita. M. Aurinius Simnus set up this inscription. Arched niche containing a Totenmahl scene. Lying on the kline is a woman in a gc+t(?). She leans on her elbow for support and holds a cup in her 1/h. At the left, a full-fig. portrait of a girl in a tunic who has a cup in her 1/h and a jug in the other; she turns towards the woman and stands on a small podium. In front of the kline is a mensa tripes. At the top of the niche is a hanging garland. Collingwood and Taylor (1921) 236 no. 5*; Angelo Raine (1923) 62*; Liversidge (1955) no. 10*; Toynbee (1964) 209; RIB 232 no. 689*; Tufi (1983) 28 no. 43A*; Mattern (1989) 798 no. 135*; Raybould (1999) 322 no. 689; Adams and Tobler (2007) 139 no. 260; Stewart (2008) 159*; EDCS no. RIB 00689Based on the child's hairstyle, Severan (Mattern)

#388

P: L:

Find-spot unknown (found reused in the church tower) York, Micklegate, St Martin-cum-Gregory Church, north aisle ( ov 09) T: Sandstone stela, 137 x 90 x 27 Pr: Severe weathering/mutilation to the front, with the loss of the facial features; large, restored crack through the upper section; surface/edge chips S: Arched niche, framed by pilasters, containing 3 full-fig. portraits. L-R: a woman in a gc+t; a child in a gc+t; a man in a t+t. Further details cannot be discerned.

CATALOGUE #389-#392

B:

Benson (1905) 37; Tufi (1983) 36 no. 54il*; Mattern (1989) 797 no. 133 Based on the female hairstyle, Severan (Mattern)

D: #389

P: L:

T: Pr: /:

S:

B:

D:

Albemarle Road, near the Mount (1922) (Fig. 11) York, YM, inv. YORYM: 1998.25 (May 10) Sandstone stela, 163 x 99 x 25 Minor surface/edge chip ; damage to the noses; light weathering to the front D M / IVLIE VELVE PIE Tl SI/ME VIXIT A L AVREL / MERCVRIALIS HER FACI/V DVM CVRAVIT VIVVS / SIB! ET sv1s FECIT = To the Spirits of the Departed. For most devoted Iulia Velva, who lived for 50 years. Aurelius Mercurialis, heir, saw to it being done while living for himself and hi family. Arched niche, framed by pila ters, containing a Totenmahl scene. Lying on the kline i a woman in a tunic; she rests her head on her 1/h and holds a cup in the other. At the right, a full-fig. portrait of a man with a beard in a gc+t who holds a scroll in his r/h. Behind him is a mail table. In front of the kline is a mensa tripes laid with ve sels and a full-fig. male in a tunic who holds a vase(?) in his r/h and a jug(?) in the other. At the left, a full-fig. girl(?) in a gc+t is seated in a wicker chair and holds a bird in her hands. The top corners feature pine-cones. Collingwood and Taylor (1921) 235 no. 4*; Angelo Raine (1923) 62'; Liversidge (1955) no. 3'; Toynbee (1964) 208; RIB 231 no. 688 (ID of child as 'lady')*; Tufi (1983) 27 no. 42A'; Mattern (1989) 799 no. 137*; Dixon (1992) 176*; Rodriguez Colmenero (1997) 84; Raybould (1999) 322 no. 688; Alcock (2006) 150 (ID as woman or maidservant)'; Adams and Tobler (2007) 139 no. 259; EDCS no. RIB 00688Based on the hairstyles, 200-250 (Mattern)

#390 Corner of Dalton terrace and the Mount, reused as a sarcophagus lid (1859) (Fig. 96) L: York, YM, inv. YORYM: 1998.18 (May 10) T: Sandstone stela, 175 x 89 x 26 Pr: Heavy weathering/mutilation, with the loss of the facial features; damage to the top right corner and left frame; surface/edge chips ]: D M FLAVIAE AVGVSTI AE / VIXIT A XXXV!lll M VII D XI FILIVS / SAENIVS AVGSTI VS VIXIT A ID Ill/ [---]A VIXIT A I M Vllll D V C AERESIVS / SAENVS VET LEG VI VIC co 'IVG! CARI/[s]SIMAE ET SIB! F C = To the pirit of the Departed. For Flavia Augustina, who lived for 39

S:

B:

D:

243

years, 7 months and 11 days; Saenius Augustinus, son, who lived for 1 year and 3 days; [---]a. who lived for 1 year, 9 months and 5 days. C. Aeresius Saenus, veteran of the legio VI Victrix, saw to it being done for his dearest wife and for himself. Double-arched niche, framed by pilasters, containing 4 full-fig. portraits. L-R: a girl in a git who holds a ball or apple in her 1/h; a woman in a gc+t who has a cup or loom in her l/h and a distaff in the other; a boy in a t+p who has a ball or apple in his 1/h; a man with a beard(?) in a t+p who holds a scroll in his l/h. The top edge features seven rosettes. On right side, an angle and a hammer. Kendrick (1860) 29; CIL VII 245; Liversidge (1955) no. 3*; Toynbee (1962) 160 no. 88*; Toynbee (1964) 203; RIB 230 no. 685*; Wilson (1975) 207* (ID as two sons); Tufi (1983) 24 no. 39il*; Mattern (1989) 796 no. 132*-; Gardner and Wiedemann (1991) pl. 10*; Rodriguez Colmenero (1997) 84; Raybould (1999) 322 no. 685; Adams and Tobler (2007) 139 no. 256; D'Ambra (2007a) 85*; EDCS no. RIB 00685 Based on the female hairstyle, mid 3rd C (Mattern)

#391

P: City wall by the Old Station (1839) L: York. YM. Deposit, inv. 2007.6170 (May 10) T: Sandstone stela. 100 x 77 x 24 Pr: Top/bottom sections lost; damage along the right frame; surface chips; heavy weathering J: DM /[ ---J S: Rect. niche, framed by fluted columns, containing 2 fullfig. portraits. L-R: a man in a t+s who has a long. thin object in his 1/h (ID by Mattern as a trumpet) and a staff or lance in the other; a boy in a t+p who holds some of the man's drapery with his r/h and tablets(?) in the other. B: CJL Vil 257; RIB 235 no. 699*; Tufi (1983) 36 no. 55A*; Mattern (1989) 796 no. 131*; Adams and Tobler (2007) 140 no. 268; EDCS no. RIB 00699D: 3rd C (Mattern)

P:

#392 P: Mount Hotel, next to Roman road leading to Tadcaster

(1892) York, YM, Deposit, inv. 2007.6201.i-ii (May 10) andstone stela, 180 x 62 x 22 Pr: Heavy weathering, esp. to the adult face; child's head missing; losses to the frames; bottom section stored separately J: D M / IVLIE BRICE A XXXI / SEPRO IE MARTI E AN VI/ SEPRONIVS MARTI VS F C = To the Spirits of the Departed. For Julia Brica, of 31 years, and for empronia Martina, of 6 years. Sempronius Martinus saw to it being done. L: T:

CATALOGUE =393-:39

244

S:

B:

Arched niche containing 2 full-fig. portraits. L-R: a girl in a t+m with a bird in her hand ; a woman in a t+m holding a vase. Toynbee (1962) 160 n-4; Toynbee (1964) 204'; RIB 231 no. 686*; Tufi (1983) 26 no. 41 11*; Mattern (19 9) 795 no. 130*; Raybould (1999) 322 no. 686; Adam and Tobler

L:

Carlisle, Tullie House Museum and Art Gallery, inv. CALMG 1998,368 (April 06) T: Sandstone stela, 122 x 91 x 15 Pr. Heavy weathering/mutilation, esp. to the faces; damage to the acroteria and left pilaster; part of the woman's left

(2007) 139 no. 257; EDCS no. RIB 006 6Based on the hairstyles, 3rd C (Mattern)

D:

Londinium (London) #393

P: L:

Westminster School, Great College London, Museum of London, Roman Gallery, inv. 61.122 (Oct 06)

T: Limestone stela, 23 x n x 9 Pr: Only the body of the boy survives, with the head and S:

B: D:

right hand lost; toes damaged; general weathering A full-fig. portrait of a seated child (boy?) in a t+m with a ball in his 1/h and perhaps a second object in his r/h. Marsden (1980) 74*; Mattern (1989)

L:

6-3 Cro swall, EC3 (1980-1) London, Mu eum of London, lortimer Wheeler House ( torage Facility), inv. XWL97 (Oct 06)

T:

D:

Limestone stela, 73 x 65 x 23

#396

P:

Bowling Green Hotel, Lowther Street, in a Roman

L:

cemetery (1885) Carlisle, Tullie House Museum and Art Gallery, inv. CALMG 1995,384 (April 06)

T: andstone stela, 137 x 69 x 16 Pr. Complete when excavated but top section, inc. head of the child, accidentally destroyed soon after; surface/ edge chips; general weathering to the front; some dis-

Pr: Recon tructed from everal fragment , with parts of the lower area lost and the whereabouts of the lowermo t fragment unknown in Oct 06; general weathering, esp.

J:

B:

D:

(1989) 743 no. 10* Based on the female hairstyle, Hadrianic (Mattern)

5 no. 103

2nd to 3rd C (Mattern)

#394

P:

B:

knee missing Arched niche, framed by fluted pilasters and backed by a mu el shell, containing 2 full-fig. portraits. At the left, a woman in a gc+t i seated on a wicker chair. She holds a large fan in her r/ h and has a bird in her lap. At the right, a boy in a tunic touches the bird with his r/ h and may have held an object in the other. The woman places her 1/h on his shoulder. The acroteria comprise lion and a central sphinx, all of which seem to have human head in their mouths. Haverfield (1922) 37 no. 103*; Liversidge (1955) no. 32'; Toynbee (1962) 161 no. 89*; Toynbee (1964) 206; Coulston and Phillips (1988) 167 no. 497"*; Mattern

to the face D M // [M]EMORIAE / [PERPE]TVJTATI / [---] MARClAAE / [QVAE VIX]IT A ' X / [ --- ) AVREL / [---)£Cs C / [- --]RTI / [---]vs F c = To the pirits of the Departed and the memory of Marciana, who lived for 10 year , [---]. Aureliu [---] aw to it being done. Semi-c. niche, framed by pila ter and ro ette pulvinar , containing a half-fig. portrait of a girl in a t+m. Hassall and Tomlin (19 2) 396 no. 1; AnnEpigr (19 2) 165 no. 655; Mattern (1989) 84 no. 102'; Raybould (1999) 330 no. 1; EDH no. 001003-; EDCS no. AE 1982,

J:

colouration to the inscription D I s / VACIA I Fl ANS A JII = To the Sacred Dead.

B:

D:

Vacia, infant, of 3 years. Arched niche containing a full-fig. portrait of a girl in a gc+t. She has a grape bunch in her r/h. The inscription is inside a tabula ansata. Ferguson (1886) 318*; Watkin (1886b) 283; Toynbee (1964) 205; RIB 320 no. 961; Coulston and Phillips (1988) 167 no. 495 11*; Mattern (1989) 744 no. 12 (photo reversed)*; Raybould (1999) 325 no. 961; Carroll (2006) 201; Adams and Tobler (2007) 145 no. 328; EDCS no. RIB 00961Based on comparisons with other pieces, 100-150 (Mattern)

00655 3rd C (Mattern)

Olerica (Old Carlisle) Luguvalium (Carlisle) #395

P:

ear Murrell Hill in excavation on the . el on marble works (1878)

#397

P: L:

Cunningarth estate, found during ploughing (1891) Carlisle, Tullie House Museum and Art Gallery, inv. CALMG 1900,8 (April 06)

C ATALOGUE

T: andstone stela, 51 x 72 x 15 Pr: Small fragment broken along three ides; heavy weathering S: Large niche, framed by column , containing 2 full-fig. portraits. L-R: a eated woman in a gc t \\ith a bird in her lap, upon which he places her 1/h; a girl in a tunic with a bird in her hands. The compo ition may be irnilar to the Murrell Hill piece from Carli le (=395). B: Wright and Phillip (1975) no. 231 11 ; Mattern (19 9) 786 no. 107 D: Based on the child' hair tyle, everan (Mattern) #398 P: Cunningarth e tate (before 1 8 ) L: Carlisle, Tullie House Museum and Art Gallery, inv. CALMG 1978,110 (April 06) T: Sandstone stela, 36 x 36 x 8 Pr: Small fragment broken along three ide ; hea\ weathering S: A woman who hold a baby in her arm ; their drapery is difficult to di cern. B: Coulston and Phillips (198 ) 169 no. 449• 11 D: There is little by which the piece can be dated, o a general 2nd to 3rd C date eems en ible. (Caul ton and Phillips recorded the monument as lo t, ugge ting a 211d to 3rd C or even medieval date.)

#398-#402

D:

245

Based on the epigraphy, early to mid 1st C (Tomlin and Hassall)

#400

P:

Voreda (Old Penrith), 200 yards north of the fort on the Roman road from Carlisle to Penrith (1828) (Fig. 72) L: London, British Museum, Room 70, inv. 1969-7-1.4 (Aug 06) T: Limestone stela, 218 x 89 x 19 Pr: Top of the gable lost; general weathering to the front, esp. to the face; surface/edge chips J: DIS / MANIB M COCCEI / NO NI ANNOR VI / HIC SIT VS E T = To the Spirits of the Departed of M. Cocceius on nus, of 6 years. Here he lies. Rect. niche containing a full-fig. portrait of a boy in a git plus a scarf. He has a palm-branch in his r/h and a whip(?) in the other. Rosette pulvinars appear at the top. B: CIL Il 328; Haverfield (1913) 191 no. 17*; Birley (1947) 175; RIB 310 no. 932; Mattern (1989) 787 no. 110*; Raybould (1999) 324 no. 932; Adams and Tobler (2007) 144 no. 315; Stewart (2010)*; EDCS no. RIB 00932D: Ba ed on the name, late 1st to early 2nd C (Mattern) .;-401

P:

Elsewhere #399 P: Glevum (Gloucester), London Road no . 11 -20 (2004) (Fig. 9) L: Abingdon, Oxford Archaeology Unit, tore, inv. Tombstone 1 (Jan 07) T: Limestone stela, 103 x 59 x 14 Pr: Reconstructed from everal fragments, with lo e to the top and bottom right ection a well as large cracks where the pieces meet; severe weathering, e p. to the faces; surface chips /: M[A)RTIALIS / G[A)LLO I ERV / [ A ]o XIII! / [H ] E = Martialis, slave of Gallonius, of 14 years. Here he lies. S: Arched niche, framed by pilasters, containing a Totenmahl scene. Lying on a kline is a man in a t+t, part of which is draped over his head. He has a croll in his 1/h. At the left, a full-fig. portrait of a standing boy in a tunic. In front of the couch is a mensa tripes laid with vessels. B:

Tomlin and Hassall (2005) 474 no. 2*; AnnEpigr (2005) 305 no. 896; EDH no. 054341-; EDCS no. AE 2005, 00896

Lindum (Lincoln), found during the building of St within's Church (1871) L: Lincoln, The Collection, inv. LC cc 1972.107 (Feb 06) T: Lime tone tela, 56 x 44 x 22 Pr. Only part of the upper right section is preserved, with cracks running through it; general weathering; damage to the child's nose and the animal's ears A full-fig. portrait(?) of a boy in a gc+t with a hare in hi hands. The niche is framed by pilasters decorated with leaves or scales and topped by foliate capitals. B: Richmond (1946) 55 (ID as 'young man')*; Toynbee (1964) 201*; Mattern (1989) 782 no. 96; Huskinson (1994) 28 no. 58"*; Bradley (1998a) 528 D: Ba ed on the style, late 1st C (Mattern) # 402

P:

L:

Brocavum (Brougham), in a field 500 yards south of the castle and subsequently used in a weir in the River Eamont (1827) Penrith, Brougham Castle, entrance shop (April 06) Sandstone stela, 113 x 88 x 23

T: Pr: Top and upper left section , inc. the head, lost; substantial damage to the edge ; severe weathering and discolouration to the front

-

-

------p-·

CATALOGUE :403-:40

[ ---] / AN AMORIS PATER / ET RE O 'A :\!ATER/ F C = [---] Annamoris, father, and Res ona, mother, a, to it

=405 P: Onnum (Halton Chesters), centre of the fort (1973)

being done. A full-fig. portrait of a boy in a gc t with a ball(?) in hi

L:

S: B:

1/h. RIB 264 no. 784; Birley (1973) 15\ Mattern (19 9) 742

[;

D:

no. 8; Raybould (1999) 323 no. 7 4; Adam and Tobler

Newca tie, Museum of Antiquities, Store, inv. 1973-15 (April 06) T: and tone stela, 122 x 55 x 18 Pr: Two fragments stored separately; lower left section lost; gable damaged; surface/edge chips; general weathering,

(2007) 142 no. 288; EDCS no. RIB 00784Based on the style, possibly the 3rd C (Mattern)

[;

#403

P:

Find-spot

L:

(Risingham) in 1601 (Fig. 15) Cambridge, University Mu eum of Archaeology and

unknown,

but

een

in

Habitancum

Rect. niche, framed by cable moulding, containing 3 portraits. L-R: a half-fig. woman in a gc+t; a bustlength boy(?) in a tunic(?}, on whom both adults place a hand; a half-fig. man with a beard in a gc+t. The gable

Anthropology, inv. D 1970.11 (Jan 0 6)

T:

Sandstone stela, 71 x 39 x 10 Pr: Damage to the bottom right corner; edge chip ; light [;

weathering to the front D M / BLESCIVS / DIOVICVS / FILIAE / SVAE / VIXSIT / A VM / I ET DIE/ XXI = To the pirit of the Departed.

B:

S:

r/h. B:

no. 85*; Raybould (1999) 330 no. 6; EDH no. 006729-;

EDCS no. AE 1977, 00523

D:

D:

Based on the female hairstyle, mid to late 3rd C (Phillips)

,1406 Magna (Carvoran), precise find-spot unknown

P:

CIL v11 1017; RIB 413 no. 1254; Phillip (1977) 9 no.

L:

267"*; Mattern (1989) 787 no. m>; Raybould (1999) 326 no. 1254; Adams and Tobler (2007) 14 no. 363; EDCS

T:

no. RIB 01254Ba ed on the style, 3rd C (Phillip )

features a central pine-cone. Wright and Ha sall (1974) 462 no. 6*; Phillips (1977) 95 no. 258*; AnnEpigr (1977) 133 no. 523; Mattern (1989) 777

Blescius Diovicus (did this) for his daughter. he lived for 1 year and 21 day . Tri. n iche containing a bu t-length portrait of a girl in a tunic. She may have an object (ball?) in her

e p. to the faces VI/ TA/ LIS// [D] M / [TITVLV]M POSV/ [ERVNT v]IRlL!S E / [---]s VI/[ VI SIB! ET ---] VOS I [---] = Vitalis // To the pirit of the Departed. This inscription was set up by irilis and[ ---] while living for themselves and [---]

Haltwhistle, Blenkinsopp Hall (Aug 06)

Sand tone stela, 60 x 51 x 19 Pr: Top/bottom sections lost; severe weathering to the

S:

front, with the loss of the face; surface/edge chips Arched niche containing a full-fig.(?) portrait of a boy with a dog in his hands. His drapery cannot be discerned.

#404 P: Olicana (Ilkley), foundations of the Grove Congregational Church in Green Lane (1867) L: Ilkley, Manor House Museum, no inv. (April 06) T:

Sandstone tela, 167 x 101 x 14

B:

Coulston and Phillips (1988) 91 no. 223•

D:

ind to 3rd C (Coulston and Phillips)

#407 P: Uncertain, but perhaps from Greta Bridge (in or before 1763). See RIB for details.

Pr: Reconstructed from everal fragment , with con picuous restoration; general weathering, e p. to the face ; I: S:

edge chips The tabula ansata is blank but the in cription may have been painted. Arched niche containing 3 full-fig. portrait . L-R: a boy in a git with a di h(?) in hi r/h and tablet in the other; a woman in a gc+t who has a pearl necklace, holds a cup in her r/h and a mappa in the other; a man with a beard in a t+p. Above the niche i a mall mus-

B:

sel shell. Collyer and Turner (1885) 2 ; Tufi (19 3) 58 no. 99•;

D:

Hartley (1987) 31*; Mattern (19 9 7 o no. 93• Based on the female hair tyle, mid 3rd C (Mattern)

L:

Lost Stela, material and dimensions unknown Pr: Based on the available illustration, the top section was T:

lost, inc. the head; heavy weathering to the front; sev-

I:

eral surface/edge chips D M s / SALVIA DO A/TA VlXSIT AN Vlll M l = Sacred to the Departed Spirits. Salvia Donata, who lived for 8 years and I month. A half-fig. portrait of a girl. Her drapery cannot be

B:

discerned. CIL v11 283b; RIB 253 no. 750*; Raybould (1999) 323 no. 750; Adams and Tobler (2007) 141 no. 280; EDCS no. RIB 00750-

I•I

---

----

,,

--........

Bonn, LVR, Depot, inv. u200 (June 06)

L:

T: Limestone stela, 67 x 87 x 19 Pr: Small fragment with breaks along three sides; general weathering; surface/edge chips 2 niches, backed by mussel shells and framed by pilasters, containing 4 half-fig. portraits. Above, a man and a boy, each in a t+t; they adopt the 'arm-sling' pose and hold scrolls in their left hands. Below, a woman and a girl (only the heads of whom su rvive). Overbeck (1851) 40 no. 85; Lehner (1918) 281 no. 692; Esperandieu vm (1922) 249 no. 6274"*; Gabelmann (1972) 134 no. 22; BauchhenE (1979) 18 no. 4"*; Rothe

S:

Mill (before 1732)

B:

nose-tip lo t; surface/edge chips; damage to the bottom left corner and top frame PERVICAE FILIAE =

To the

pirit of the

I:

DIS M /

S:

Departed. For Pervica, daughter. Arched niche containing a full-fig. portrait of a girl in a tunic, perhaps with an apple or ball in her r/h. VII 743; Bruce (1875) 143 no. 281A*; Toynbee (1964) 205; RIB 548 no. 1747; Coulston and Phillips (1988) 89 no. 216"*; Mattern (1989) 775 no. 81'; Raybould (1999) 328 no. 1747*; Adams and Tobler (200 ) 154 no. 424;

CIL

EDCS no. RlB 017473rd to early 4th C (Mattern)

(2009) 168 no. u43* Claudian (Rothe)

D: #411

P: L: T: Pr:

Miinsterplatz, in the wall of a Roman house Bonn, LVR, inv. 63.1273 (March 07) Limestone stela, 77 x 61 x 18 Fragment with breaks along three sides; heavy weathering/mutilation, with the loss of the faces; restoration to lower section; surface chips

Not included in this catalogue i a mall fragment from Lincoln showing what appears to be a boy charioteer. Its designation as funerary is uncertain. See Huskin on 1994: 15

J:

[· -- ]PT[---] /[--·]

iche backed by a mussel shell which contains a

Totenmahl scene. At the left, a seated woman in a

no. 28 GERMA

IA I

t+c holds on her lap a small child dressed in a tunic. Behind them, a second woman, probably a slave, holds a bird(?). In the centre is a table with a dish containing apples. Behind it, reclining on a couch, are a woman (left) and a man (right), each in a gc+t. Both hold cups.

FERIOR

Bonna (Bonn) #409 P: Corner of KolnstraEe and Heer traEe (18 5) (Fig. 64) L: Bonn, LVR, Depot, inv. 3645 (June 06) T: Limestone stela, 129 x 62 x 23 Pr: Top section lost, inc. head of the child; surface/edge chips; general weathering J: P ROMA/ IVS P L / MODESTVS / A ' ORV 1 / XVI H E = P. Romanius Modestus, freedman of Publius, of 16 years. Here he lies.

S:

~rched(?) niche containing a half-fig. portrait of a boy m a t+t. He holds a scroll in his r/h. Below the inscript10n are two rosettes.

B:

CIL xm 8u5; Lehner (1918) 319 no. 795; Esperandieu vm (1922) 257 no. 6290"*; Bauchherill (1979) 15 no. 1"'; Rothe (2009) 168 no. u42"'; UEL no. 15581*; EDCS no.

D:

Based on the style and drapery, 30-50 (BauchhenE)

CIL 13, 08u5-

#410

P:

247

\ ith only a basic illustration available, no more than a

ewcastle, Museum of Antiquities, inv. 1822-47 (April 06) L: T: Sandstone stela, 159 x 69 x 16 Pr: Heavy weathering to the front, e p. to the portrait;

D:

1

general 2nd to 3rd C date can be offered

:408 P: Aesica (Great Che ters), E of the fort near Walltown

B:

----

#408-#412

CA TALOGUE

D:

...,,,,

There may have been a further seated person in the

oelke (1998) 413*; Rothe (2009) 169 no. u45* Ba ed on the iconography and style, 160-200 (Bauchhenf.l)

D:

Colonia Agrippina (Cologne) #412

P:

1orbertstraEe no. 11 ( 19 63) Cologne, RGM, inv. 62.2 74 (March 07 ) T: Lime tone tela, 196 x 45 x 25 Pr: \Voman' nose and mouth lost; child's eyes and nose damaged; general weathering to the front; surface/edge chips I: BELLAE VO /vc1 F REMAE / LO GINVS / VIR ILLAEIVS /

L:

S: Precise find-spot unknown

now missing right section. Gabelmann (1972) 122*; Bauchhenf.l (1979) 35 no. 36"*-;

B:

FECIT PIE = Devoted hu band Longinus did (this) for Bella, daughter of onucus, of the Remi tribe. Arched niche, framed by pilasters, containing a half-fig. portrait of a woman in a t+c as well as a bonnet/cap.

CATALOGUE

:;:413-;=416

She holds a swaddled baby in her arms. The gable features acanthus leaves and a pine-cone and i flanked by

J:

half-p acr. B:

the pirits of the Departed and the memory of [-- -] // everina, nurse. (Last section repeated on both ides.)

Gabelmann (1972) 133 no. 15 11 ' ; Galsterer and Gal terer (1975) 75 no. 31011*; Kampen (198ia) 95"; Borger (1986) 181*; Carroll (2002) 91"; Boatwright (2005) 315 n. 3; CarrolJ (2006) 6'; Rothe (2009) 160 no. u 211 '; ArD no.

S:

9403111*; EDCS no. RSK 00310•Based on the archaeological context, c. 20 (Borger)

D:

P: L:

Ebertplatz (1974) Cologne, RGM, inv. 75.1189 (March o ) T: Limestone stela, 72 x 60 x 15 Pr: Bottom section mi ing and filled in with re toration; cracks in the main niche; sub tantial damage to the

woman in a tunic. he leans over a cot which contains a waddled baby. Right: rect. niche, framed by pilasters, containing a full-fig. portrait of a seated woman in a

face ; surface/edge chips; general weathering OM /[ - --]

Rect. niche containing 2 full-fig. portrait . L-R: a boy in a tunic with a ball(?) in his 1/h and a econd object (which is long and thin) in the other; a man with a

Front: at the top, a circ. niche contains a bust-length portrait of a woman in a t+m. Below, a rect. niche, framed by pilasters with Cor. capitals, contains a full fig. portrait of a shepherd in a tunic. He has a lamb on his boulders while two sheep rest by his feet. (See Rothe for discus ion of the portrait.) Left: rect. niche, framed by pilasters, containing a full-fig. portrait of a

#413

J: S:

corners damaged; minor surface chips; damage to the pilasters D M / 1EMORIAE [ ---] // SEVERI A / NVTRIX = To

B:

t+c. he exposes her breast to feed the small baby held in her arms. CIL XIII 8356; Galsterer and Galsterer (1975) 79 no. 33111'; Kampen (1981a) 149 no. 29 11 '; Dixon (1988) pl. 9•; Dixon (1992) 178' ; Coulon (1994) 46*; Coulon (1998) 11*; Faust (1998) 127 no. 114•; Corbier (1999) 1275; George (2000) 200; Carroll (2002) 59•; Coulon (2003a)

beard in a t+s who has a surveying object (level?) in his r/h and a econd item in the other. (Alternatively, it ha been argued that the man i accompanied by a slave

B:

holding a pair of compa e in hi r/ h .) Galsterer and Gal terer (19 1) 257 no. 21; Fau t (199

167-8'; Deyts (2004) 236 n.36; Boatwright (2005) 315 11.83; Carroll (2006) 206*; DJ\mbra (2007a) 108'; Rothe (2009) 166 no. u32 11 '; Rothe (in press)II; ArD no.

D:

125 no. 10611'-; ArD no. 9411 11 • Based on the tyle and coiffure, 200- 225 (Faust)

D:

8412 11'; EDCS no. RSK 00331•Based on the style, 225-250 (Faust)

Find-spot unknown, but po sibly from Colonia

#416 P: Kunibertskloster (1854)

Agrippina

L:

#414

P:

L: Cologne, RGM, inv. RGM tein 397 (March 07) T: Limestone stela, 35 x 31 x 13 Pr: Bottom ection mi ing; right ide lo t; general weath-

B:

ering, esp. to the face; surface/edge chips Arched niche containing a full-fig. portrait of a boy in a gc+t with an apple(?) in his hand . Binsfeld (1960) 166 no. 31'; Fau t (199 ) 124 no. 10411 ;

D:

Rothe (2009) 164 no. u 2311"; ArD no. 94121 11• Based on the tyle, 200- 230 (Fau t)

S:

#415 P: Silvan traEe, near the cemetery of (Fig . 122-4) L: Cologne, RGM, inv. 4-414 ( larch o )

damage to the portraits

J:

D M LIB ERAL! TO / PROB! 0 TRIBVNO / Q PRAETORIA O ET/ LIBERALINIAE Q PRO/ BJNAE FILIA E EIIVS BAR/

= To the pirits of the Departed. For Liberalinius Pro bi nus, praetorian tribune, deceased, and for Liberalinia Pro bi na, BARI IA ACCEPTA M/ ARITO ET FILIAE OBITIS

S: everin (1966)

Limestone altar, 82 x 53 x 32 Pr: Front: bottom section m i ing; evere weathering/ mutilation; faces, left pilaster and a roteria lo t; general weathering. ide : light \\"eathering; bottom

Cologne, RGM, inv. 75.1189 (March 07)

T: Limestone stela, 91 x 61 x 14 Pr: Surface/edge chips; light weathering to the front; minor

B:

his daughter, deceased. Barbarinia Accepta (did this) for her deceased husband and daughter. Rect. niche containing 3 bust-length portraits. L- R: a woman in a t+m; a girl in a t+m; a man in a t+s. Klinkenberg (1902) 125 no. 64; Klinkenberg (1906) 271;

CIL

T:

D:

XIII 8267b; Esperandieu vm (1922) 352 no. 6449 1\ Galsterer and Galsterer (1975) 50 no. 196b 11 ' ; Faust (1998) 120 no. 8911*; Rothe (2009) 166 no. u3311 ; ArD no. 9411011*; EDCS no. CTL 13, 08267a-bBased on the hair tyle, 250- 270 (Faust)

C ,.T.-\LOGr£

249

= ..11 --= 21

th hands of the first man; feet, upper torso and o · the e ond man lost; damage to the head and

#417 P: Achter traEe (oppo ite no. 22 L: Cologne, RG 1, in,·. RG>l tein 26 (. lar ho:;)

of th entral woman- general weathering to

T: Limestone stela, 2 x 66 x 15 Pr: Light weathering; mall lo to the bottom left omer; D M / POTE 'Tl ' A

[~;\,/A,."'\0 COXl\"GI cE:·/ n"RIO . .J LEG

XXII ET/ SERVAl'\"I>O FlLIO £T ~L\Xl. .:I: FILIE f F C = To the Spirits of the Departed. Potentina ing done for Sennianus, h band, enturion oi e ~io.\.""'(JJ,

and for Servandus, on, and for. 1aximina Rect. niche containing 3 b t-length portrai . L-R: a boy in a tunic; a girl in a tunic; a man in at- . The man turns towards the centre. Klinkenberg (1902) 124 no. 61; Klinkenber 1906) 313; CIL XIII 8290; Binsfeld (1960) 166 no. 23·; Gal erer an Galsterer (1975) 58 no. 22 " '; Fau t (199 122 no. 9," ' ; ArD no. 94109"*; EDCS no. CIL 13, o 290•Based on the male hair tyle, 250-270 (Fa t)

S:

B:

D:

-

P: L:

Area of St Gereon (1 90) Lost. The monument was pre,iousl · held a both Cologne (inv. 33.49) and Bonn (inv. 67 6). T: Limestone stela, 52 x 47 x 9 Pr: Upper left section lo t; large horizontal era · through the portrait niche; surface/edge chip ; general weathering to the front /:

[D] M / [--- ]IDIO / [I FAN]TI DVL/[CI

S:

/ [ANN ---j M VIII GORGO/[, IY] ET TIGRI PAT [ES] FILIO KARISS F C = To the pirits of the Departed. For [---]idius, sweetest infant, who lived for [---] ·ear and 8 months. Gorgonius and Tigri , parents, aw to it bein done for their dearest on. Clipeus contairling a bust-length portrait of a bo ·. His drapery cannot be discerned. Klinkenberg (1902) 126 no. 72; CIL XIII 3 3; Lehner (1918) 344 no. 869; Esperandieu VIII (1922) 3 1 no. 6493 11 *; ArD no. 94098"*; EDCS no. CIL 13, o 3 3Based on stylistic comparisons, 3rd C(?)

D:

IM]O QVI \TOT

Elsewhere #419

P: L:

ickenich, near Andernach (1931)

Bonn, LVR, entrance hall, inv. 31.86-7 and 31.222- 6 (March 07) T: Limestone/tufa gravestone, 250 x 230 x 78 Pr: Large areas of restoration, inc. the top and bottom areas of the final niche, the upper section of the central niche

- ·o tai 4 full-fig. portraits. In the in a t-m, perhap with an object in his ni he, L-R: a woman in a t+m with r · welleryand a bonnet; a boy in a t+m

B:

in hb 1/b and hold the woman's hand die rtht niche, a man in a t+t with a The monument i topped by acroteria :"o • o; a - :-hinx entre) and lions (sides). On chained lave . Es eran ·eu XI 193 75 no . 75 and 7759"*;

D:

(19,2 135 no. 2 " \ Bauchhenl3 (1975) 91-.!·; .'\n · ·o uJous- track (19 6) 179 no. N2 11 *; Carroll (. 006) r··; Rothe (2009) 156 no. M22"* . ti is C (Carroll)

#418

B:

e ortraits; crack through the central

I:

surface/edge chip

I:

. to

GER. IA TIA

PERI OR

Andemantunnum (Langres) : .po

P: L:

Ceme err outh of the citadelle (1843) Langr .1AH. im·. 4·.13 ( ept 07) Lim tone tela, 102 x 54 x 20

T: Pr: Li ht weathering to the front; nose-tips lost; minor sura e ed e hip

I:

l\"T/J\·cc1 II PIXTACI I AMorucos Iu c Pixta · and amoricos.

= (Tomb) of

Arched niche, framed by pilaster and half-p acr., containin 3 half-fi . portraits. L-R: a man in a t+m; a cap. vel. woman in a t-m; a boy in a t+m. The males turn their head inward while all three grasp part of their draper · with their r/h. B: Ro ·er (1902) 55 no. 4; CIL xm 5788; Esperandieu 1v (1911) 290 no. 3265"'; CAG 52/2 (2001) 118 11 *; Le Bohec (2003) 2 2 no. 4 2"\ EDCS no. CIL 13, 05788D: Ba ed on the tyle, 2nd C(?) "421

P: L:

Le faubourg de Franchi e , wall of a garden (19th century) (Fig. 34) Langres, .MAH, inv. 45.9.1 ( ept o )

CATALOGUE #422-#427

T: Limestone stela, 74 x 51 x 17 Pr: Surface/edge chips; general weathering, esp. to the heads; damage to the right pilaster

J:

T: Limestone stela, dimensions unknown Pr: Based on the illustration, it was in good condition. J: D M / CRIClRI LABEO ANN [ ---] I VICTOR DOM! p C = To the

D M // LOLLIO GEMi/NO GEMELLVS / P P C / DERISORI

Spirits of the Departed of Cricirus, son of Labeo, of [---] years. Victor, son of Domus, saw to this being set up. Arched niche containing a full-fig. portrait of a boy in a git. He has a dog in h is l/h and tablets in the other. CIL xm 5750; Esperandieu IV (1911) 310 no. 33151\*; CAG 52/2 (2001) 134A*; Le Bohec (2003) 252 no. 447A; EDCS

= To the Spirits of the Departed. For Lollius Geminus,

S:

comic performer/mime. Gemellus, father, saw to it

S:

being set up. Arched niche, framed by pilasters, containing a fullfig. portrait of a boy in a tunic. He has a ball in his 1/h

B:

and an animal lead(?) in the other. To his right is a dog

no. CIL 13, 05750-

D: Based on the epigraphy, 2nd C (Le Bohec)

B:

which looks upwards. Royer (1902) 44 no. 65; CIL xm 5701; Esperandieu IV (1911) 284 no. 3249A*; CAG 52/2 (2001) 104A*; Le Bohec

D:

(2003) 213 no. 3711\*; EDCS no. CIL 13, 05701Based on the epigraphy, 150-200 (Le Bohec)

"425 P: From the Roussat collection on rue des Piliers (1615) L: Lost T: Limestone stela, dimensions unknown Pr. Based on the illustration, it was in good condition.

#422 P: Cemetery south of the citadelle L: Langres, MAH, Reserve, inv. 845.12 (Sept 07) T:

J:

DIBV[ G]IE / CATIOLA M T p // D M = To the Spirits of the Departed. For Dibugia. Catiola, mother, set up this inscription. Arched niche containing a full-fig. portrait of a girl in a gc+t. She has a flower in her r/h and a small dog in the

Limestone stela, 68 x 64 x 16

Pr: Only the lower left section survives, preserving the bottom half of the child; surface/edge chips Niche, framed by pilasters, containing a full-fig. portrait of a boy in a g/ t with a whip in his r/h. Royer (1902) 75 no. 187; Esperandieu Iv (1911) 288 no.

S: B:

3260A*; CAG 52/2 (2001) 1241\ Based on comparisons with other pieces from Langres, mid to late 2nd C(?)

D:

S:

other. B:

CIL xm 5737; Esperandieu Iv (1911) 310 no. 33141\*; CAG 52/2 (2001) 1361\*; Le Bohec (2003) 255 no. 451 A*-; EDCS no. CIL 13, 05737

D:

Based on the epigraphy, 2nd C (Le Bohec)

#426 P: Citadelle

#423

P: L:

Cemetery south of the citadelle (1845) Langres, MAH, Reserve, inv. 845.11 (Sept 07)

T:

Limestone stela, 103 x 45 x 23

L: T:

Langres, MAH, Reserve, inv. 873-5 (Sept 07) Limestone stela, 88 x 50 x 26 Pr: Top section lost, inc. the head (the face shown in

Pr: Preserved as several fragments, with severe weather-

Esperandieu is a plaster addition); damage to the feet

ing and discolouration to the front; main image mostly lost; numerous urface/edge chips MALLVS FEST[ FILIVS / H s E = Mallus, son of Festus. Here he lies.

and parts of the drapery; light weathering; surface/edge chips; concrete additions along the sides

J: S:

B:

D:

Rect. niche, framed by pilasters, containing a full-fig. portrait of a boy in a git. He ha an apple or ball in his r/ h. To his left is a dog which looks upward . Royer (1902) 57 110. 88; CIL XIII 5804; Esperandieu IV (1911) 287 no. 32571\*; CAG 52/2 (2001) 1181\; Le Bohec (2003) 279 no. 495 A*; EDCS no. CIL 13, 05804Based on the epigraphy, perhap 2nd C (Le Bohec)

#424 P: Prieure de Saint-Didier, found during digging for a well (1699) L: Lost

S:

Rect. niche, framed by pilasters, containing a full-fig. portrait of a boy in a g/t. He has tablets in his 1/h and a second object (stylus holder?) in the other.

B:

Royer (1902) 78 no. 207; Esperandieu rv (1911) 287 no. 3256A*; CAG 52/2 (2001) 1251\ Based on stylistic comparisons, mid 2nd to 3rd C(?)

D:

#427 P:

From the ramparts between la tour Saint-Ferjeux and la tour du Virot (in museum since 1845) (Fig. 119)

L: T:

Langres, MAH, inv. 845-4 (Sept 07) Limestone stela, 114 x 60 x 37

Pr: Top of the gable lost; surface/edge chips; heavy weathering, esp. to the faces

CATALOGUE #428-#432

D Mf ET MEMORIAE DE/CEMBRIS ALVM/ I ET SOICELASI ET/ REGI E VXORI VI/VJ AEDICAVER = To the Spirits of the Departed and the memory of alumnus December, and Soigelasius, and wife Regina. This was constructed while they were living. Arched niche containing 3 half-fig. portraits. L-R: a woman in a gc+t(?); a boy in a tunic; a man with a beard in a gc+t(?). The adults turn their heads inwards. Royer (1902) 59 no. 93; CIL xm 5752; Esperandieu IV (1911) 289 no. 3262" '; CAG 52/2 (2001) 135 1\ Le Bohec (2003) 253 no. 448 11 *-; EDCS no. CIL 13, 05752 Based on the epigraphy, mid 2nd to early 3rd C (Le Bohec)

J:

S:

B:

D:

#428

P: L: T: Pr: J:

S:

B:

D:

Inside the citadelle Langres, MAH, Reserve, inv. 861.7 (Sept 07) Limestone stela, 101 x 68 x 46 Several surface/edge chips; heavy weathering to the front, esp. to the portraits [D M] ET MEMORIAE CAR[A]/T[VLL]I QVI VIXIT Af.1/ IS XXXII CASTVS PA/TER ET CASTVS CARAT/[v]LLI FIL VIVI P c = To the Spirits of the Departed and the memory of Caratullus, who lived for 32 years. Castus, father, and Castus, son of Caratullus, saw to it being set up while they were living. (The reading of the inscription is not secure.) Arched niche, framed by pilasters, containing 3 half-fig. portraits. At the left, a man with a beard who is connected via the dextrarum iunctio to a second adult at the right (who may be a younger man or a woman); both wear a gc+t and turn their heads inwards. In between them, a boy in a tunic. On the sides there are representations of tools, inc. an ascia on the left side. Royer (1902) 77 no. 200; CIL xm 5731; Esperandieu IV (1911) 289 no. 3263 (ID as man and woman) 11 *; CAG 52/2 (2001) n8 (ID as man and woman)"; Le Bohec (2003) 247 no. 437 11 - (ID as two men); EDCS no. CIL 13, 05731 Based on the epigraphy, late 2nd to early 3rd C (Le Bohec)

#429

P:

Cemetery near the citadelle Langres, MAH, inv. 861.20 (Sept 07) T: Limestone stela, 89 x 35 x 26 Pr: Only the lower left, weathered, section survives, containing the dog and part of the child. S: iche, framed by pilasters, containing a full-fig. portrait of a boy in a fringed git. He has a grape bunch L:

B: D:

251

in his 1/h. To his right is a small dog which looks upwards. Royer (1902) 85 no. 205; Esperandieu IV (19u) 288 no. 3258 11 *; CAG 52/2 (2001) 124 11 Based on stylistic comparisons, mid 2nd to mid 3rd C

#430 P: Local provenance but without a secure find -spot L: Langres, MAH, Reserve, inv. 861.5 (Sept 07) T: Limestone stela, 54 x 71 x 26 Pr: Only the top section survives; man's nose and chin lost; damage to the child's nose-tip; surface/edge chips; light weathering S: Arched niche containing 3 full-fig.(?) portraits of a woman, a girl and a man. The adults turn their heads inwards. B: Royer (1902) 78 no. 203; Esperandieu IV (19n) 313 no. 3323"*; CAG 52/2 (2001) 145 11 D: Based on the hairstyles and portraits, mid 2nd to mid 3rd C #431

P:

Cemetery south of the citadelle (1845) Langres, MAH, Reserve, inv. 845.7 (Sept 07) T: Limestone stela, 87 x 45 x 22 Pr: Severe weathering/mutilation, with the loss of the facial features; surface/edge chips I: Traces survive but they are now virtually illegible. S: Arched niche, framed by pilasters, containing a full -fig. portrait of a child (girl?) in a g/t. She has two objects in her hands (one of which may be a bird). B: Royer (1902) 74 no. 183; Esperandieu IV (1911) 283 no. 3246 11 *; CAG 52/2 (2001) 126 11 D: Based on stylistic comparisons, mid 2nd to 3rd C(?)

L:

#432

P:

ear la route d'Humes (1924/5) L: Langres, MAH, Reserve, inv. R 2006.1.126 (Sept 07) T: Limestone stela, 75 x 46 x 41 Pr: Small fragment broken along three sides; general weathering; concrete additions near the top; nose of the child lost S: 3 full-fig. portraits of 2 adults and a child. The adults (mostly lost) seem to be connected via the dextrarum iunctio. The boy wears a tunic and holds a bird in his 1/h. B: Societe Historique et Archeologique de Langres (1931) no. 307; CAG 52/2 (2001) 101 D: The condition is too poor to allow anything other than a general 2nd to 3rd C date.

• - - . 252

#433-=43

CATALOGU E

Dibio (Dijon)

B:

E perandieu IV (1911) 381 no. 3457" *; Deyts (1976) no. 243"*; Bance (1995) 81 no. 88"*; Vernou (2004) no. 2 • 2nd C (Bance)

#433

P:

Rue Chabot-Charny (ancient rue de wall (1669)

L:

Pr:

Dijon, MA, inv. Esp 3477 / Deyts 78 ( ept 07) Limestone stela, 135 x 62 x 34 Top and left sides missing; severe weathering and dam-

S:

child's heads; urface/ edge chip ; damage to the hands Arched niche containing 3 full-fig. portraits. L-R: a

T:

inge ), castrum

D: =436

age to the front, with the los of the woman's and the

two objects, perhaps a rattle in his 1/h and an apple in

D:

Castrum wall, from tlie foundations ofla tour du Petitaint-Benigne (1819)

L:

Dijon, 1A, inv. Arb 146 I Deyts 89 (Sept 07)

T:

Limestone stela, 79 x 62 x 34 mall fragment; general weathering; several surface chip ; child' nose-tip lost Bo in a t+p(?). To the right there are remains of an adult' drapery; above tlie child's head there is an ascia. On tlie left ide, a woman in a t+m.

Pr.

woman, a child and a man, each in a git, the woman perhaps with a cloak. She hold a va e in her r/h, which the man seems to touch. He ha a beard and hold a money bag in his 1/h. The boy(?) in front of them has

B:

P:

the other. Esperandieu 1v (1911) 391 no. 3477"*; Deyts (1976) no. 78*; Bance (1995) So no. 87*; Vernou (2004) no. 2;->;

CAG 21/2 (2009) 279* 100-150 (Bance)

B:

E perandieu

D:

9"\ Coulon (1994) 23*; CAG 21/2 (2009) 284 Based on tlie tyle, 2nd C (Deyts)

IV

(1911) 408 no. 3518"*; Deyts (1976) no.

=-B

P:

Found in two part in the castrum wall, one piece near la Tour de Bar (1 52) and one on the rue Lamonnoye

#434 P: Rue Chabot-Charny, castrum wall (1 19) L:

Dijon, 1A, Reserve, inv. Arb 16

T:

Limestone tela, u9 x 69 x 40

De}

(1 63)

Dijon, MA, inv. Arb 67 I Deyts 75 (Sept 07) Lime tone tela, 1 6 x 140 x 48 Onl · the bottom left and top right corners survive; gen-

l: 96

ept o:,)

T: Pr.

Pr: Recon tructed from four fragmen , \1ith the op

eral weathering; child's hand lost

tion lo t, inc. the adult' head; era · in th dra

S:

B:

D:

Front: at bottom left, a full -fig. portrait of a boy in a g/ t; he turns toward the centre and holds an object in his r/h. At tlie right, a full-fig. portrait of a man (only the

where the piece join; damage to the ide ram · ~en eral weathering; baby' face lo t A full-fig. portrait of a woman in a g -t. he u po a

head of whom is pre erved). There are traces of drapery in ben,·een, sugge ting a tliird portrait, probably of a woman. The niche was framed by pilasters decorated \,ith lea,·e and topped witli triglyph capitals. Left: a

swaddled baby with her left arm. Esperandieu IV (1911) 405 no. 350 "'; De) 1 ,6) no. 96"*; Coulon (1994) 56>; Bance (1995 29 no. 30 · ; Deyts (1996) n. ; \ emou (2004) no. 26'; G.\G 11 :! (2009) 281* Based on the drapery, early 2nd C Bance)

ene from a butcher' hop; nvo men in tunics chop beef from a large carcass. Right: a man counts money at a table. B:

#435 P: Local provenance but ,1ithout a L: Dijon, MA, Reserve, in,·. Arb 159 De)1 --, '

T: Limestone tela, 90 x 6 x 2 Pr: Top/ bottom ection lo t, inc. the adul ' hea ; general weathering to the front, e p. to the child' face; urface

S:

chip 3 full-fig. portrait . L-R: a woman in a O t who holds a mirror in her r/ h; a child in a g ,ith a ball or ratone bag in tie in the r/ h; a man in a his hand . The woman pla shoulder.

d the man's

perandieu 1v (1911) 396 no. 3487"*; Deyts (1976) no. 1511' ; Bance (1995) 79 no. 86*; Vernou (2004) no. 45*;

CAG 21/2 (2009) 271~

D:

Based on tlie style, 211d C (Deyts)

#438

P:

Found in Roman rampart crossing the nave of l'eglise

L:

Saint-Etienne (1819) Lost (see CAG for details)

T:

Limestone stela, 45 x 44 x (wall)

Pr: Top section mis ing, inc. the torso and face of the child; damage to the frames; surface chips; general weathering; dog's head lost

,

-

- ~ - -

-

CATALOGUE #439-#444

S:

A full-fig. portrait of a child (boy?) in a g/t who holds a whip or rattle in his 1/ h. A small dog sits to his right and looks upwards. B: Esperandieu 1v (1911) 401 no. 3498*; Bance (1995) 32 no. 32A*; CAG 21/2 (2009) 268 D: Based on the drapery, 2nd C (Bance) #439 P: Sainte-Chapelle (1819) L: Dijon, MA, inv. Deyts 245 (Sept 07) T: Limestone stela, 97 x 42 x 29 Pr: Top section missing, inc. the child's head; surface/edge chips; general weathering to the front, esp. over the child's hands; dog's head lost S: Arched niche containing a full-fig. portrait of a child (boy?) in a t+p(?) with a rattle in his r/h and a bird(?) in the other. A small dog sits to his left and looks upward . The left side features an ascia. B: Esperandieu IX (1925) 349 no. 7193*; Deyts (1976) no. 245*; Bance (1995) 33 no. 34*; CAG 21/2 (2009) 278"* D: Based on the style, 2nd C (Deyts) #440 P: Les Poussots, Roman cemetery L: Saint-Germain-en-Laye, Musee di\rcheologie ationale, inv. 50481 (Sept 07) T: Limestone stela, 45 x 36 x 13 Pr: Substantial damage to the frames; heavy weathering, esp. to the portrait (from which the features are lost); surface/edge chips I: M D BALIN! BELLI I ILIA M = To the pirits of the Departed. Tomb of Balinis, daughter of Bellinus. (The reading of the inscription is not secure.) S: Arched niche containing a full-fig. portrait of a girl(?) in a gc+t. She holds an apple in her r/h and a grape bunch in the other. B: CIL XIII 5498; Esperandieu IV (1911) 393 no. 3480 (ID as woman)"*; Deyts (1996) 8 n.11; Le Bohec (2003) 78 no. 87" *; CAG 21/2 (2009) 251 (ID as man); EDCS no. CIL 13, 05498D: Based on the epigraphy, 2nd C (Le Bohec)

e

d; ·r-

#441 Tour d'Aurelien (18th century) Dijon, MA, Reserve, inv. Arb 161 / Deyts 94 (March 10) Limestone stela, 117 x 56 x 29 Left and bottom sections missing; severe weathering; damage to the heads, drapery and hands; los e to the frames; surface chips

P: L: T: Pr:

253

S:

Rect. niche containing 2 full-fig. portraits. At the left, a man in a gc+t with a horn over his head, seemingly attached to a strap held in his 1/h. At the right, a child (boy?) in a tunic; he holds a whip in his 1/h and turns towards the man, extending his r/h, in which he seems to hold an object, towards him. B: Esperandieu IV (1911) 386 no. 3465" *; Braemer (1959) 123*; Deyts (1976) no. 94A*; CAG 21/2 (2009) 264* D: Antonine (CAG) #442 P: Discovered by Philibert Delamare in the foundations of the castrum in the 17th century (see CAG for further details). L: Chevigny-Saint-Sauveur, l'eglise paroissiale (CAG) T: Limestone stela, 74 x 30 x 14 Pr: Severe weathering to the front; damage to the frames; surface chips S: Arched niche containing a full-fig. portrait of a child (boy?) in a g/t. He holds a whip in his r/h and a dog(?) in the other. B: Esperandieu IV (1911) 402 no. 3500A*; Bance (1995) 32 no. 33*; Johns (2003) 55 n.u; CAG 21/2 (2009) 262" D: The condition is too poor to allow anything other than a general 2nd to 3rd C date

#443 P: Find-spot unknown, but perhaps from Dibio L: Dijon, MA, inv. 996.2.1 (Sept 07) T: Limestone stela, 116 x 41 x 18 Pr. Part of top left frame missing; several surface/edge chips; damage to the child's head, hands and feet; general weathering to the front I: Deyts suggests that the inscription should be restored as 'sABIANI RVAMI MO !ME TVM', with the translation 'Monument of Sabianus Ruamus'. Le Bohec favours 'sAB[---] ILVA MOJNMNT: translated 'Monument of abinus ... ilva (did this)'. S: Arched niche containing a full-fig. portrait of a boy in a git. He holds an apple(?) in his r/h and an object in the other. B: Deyts (1996) 8*; Le Bohec (2003) 125 no. 191"*; Vernou (2004) no. 39*; CAG 21/2 (2009) 289 (ID as man)* D: 2nd to 3rd C (Le Bohec)

Confluentes (Koblenz) #444 P: Andernach, Burgtor (1880) L: Bonn, LVR, inv. 2801 (March 07)

I

•

--·.

-

254

-----

---

'

CATALOGUE :445-:44 7

T: Limestone stela, 295 x 9 x 36 Pr: Head of the smallest figure lost; heavy weathering, e p. to the faces; surface/edge chips J: [F]IRMVS / ECCO IS F / MIL EX COH / RAETORVM / NATIONE M/0 TA VS / A XXXVI / TIP X[ ]II / HERE [E]X TES / PO[SVl]T II FVSCV / SER // [---] = Firmu ' son of Ecco, soldier from the coho rs Raetorum, native of Montanus, of 36 years and of 1 years enrice. The heir set this up according to the I ill.// Fu cu , Jave. S: Arched niche, backed by a hell, containing 3 full-fig. portraits. At the left, a male {probably a slave) in a h·c with an object in his 1/h. In centre, a man as a oldier with a spear in his r/h and a sword attached to his wai t. He stands on a podium. At the right, a boy in a t-t who turns inwards and on whom the central man place his 1/h. He may hold a scroll. The gable features a central rosette and acanthus leaves and is surmounted by acroteria in the form of a phinx (centre) and lions id ). The side faces feature repre entation of Atti . B: CIL xm 7684; Lehner (191 ) 26 no. 665; E erandieu vm (1922) 212 no. 6207""; Koepp (1926b 3 no. 1'; Brilliant (1963) 51; BauchhenE (1975) 1 ID or third figure a man)'"; EDCS no. CIL 13, o 6 4• D: Ba ed on the tyle, Claudian to -eronian (Bauchhen£)

Mogontiacum (Mainz) :446 P: West of Bahngeleise (Abtsgasse), reused as sarcophagus cover (1 8 ) (Fig. 24) L: Mainz, LM, Steinhalle, inv. S 150 (March 07) T: Limestone tela, 159 x 75 x 29 Pr: Damaged in\ 2 and now restored, but with the bottom ection lost; diagonal crack through the centre; heavy weathering, esp. to the portrait (from which the details are lo t); edge chips [: Q YOLTTY Q F / VIATOR A XVI / H S E / MATE R ET PATER I PRO PIETAT POSY/ERE = Q. Voltius Viator, son of Quintus, of 16 years. Here he lies. His mother and father piously et (this) up. Rect. niche, framed by pilasters, containing a full fig. portrait of a boy in a t +s with a scarf. He stands between two horses, holding their rei ns with both hands. The gable features a central sphinx and is flanked b · half-p acr.

B:

Koepp (1926b) 41 no. 2•; Selzer (1988) 169 no. m *; Bopper! (1992) 1 no. 13"'; Hope (2001) 162 no. CIL xm 7123; Rothe (2009) 152 no. Mt'; Stewart (2010)*; EDCS D:

#445 P: Built into the city wall near t Florin L: Koblenz, Mittelrhein Museum, Lap., inY. - 30 ( larch o,) T: Limestone tela, 1 o x u x 32 Pr: Severe weathering, with the lo of mo t of the facial features; large cracks; ub tantial Based on the toga type, 200-230 ( UEL)

P: L:

Built into a wall at St Michaelskirche (1955) Salzburg, St Michaelsk.irche, north wall (April 07). It is

not currently visible. Marble ash chest cover, 53 x 76 x (wall) Pr: Severe weathering/mutilation to the front, with complete loss of the portrait features; substantial damage to

T:

S:

B:

the edges Arched niche containing 3 half-fig. portraits. L-R: a woman, a child and a man. The woman has a t+m and a round piece of fruit in her r/h; the details of the other two portraits are lost. Hell (1956) 24 no. vm; Heger (1973) 17; Heger (1975) 41 no. 73"*; UEL no. 311

....

.

-

·:DIii -

--

.

~

-

-

- - ~ •

CATALOGUE #516-#520

D:

who has a necklace with a Lunula pendant and an apple/ pomegranate in her r/h; a man in a t+p who places his r/h around the shoulder of the girl and holds her 1/h with the other. The gable features a Gorgon head and hippocampi. It is surmounted by a central pine-cone and lions at the sides. The lower frieze depicts a central vase flanked by sea creatures. CIL III 5684; Schober (1923) 109 no. 236*; Ferri (1933) 119/figs. 136-8"; Noll (1949) 22*; Winkler (1971) 6; Eckhart (1976) 34 no. 28"*; Stelzer (1996) 18*; UEL no. 471" *; EDH no. 035324" *- ; EDCS no. CIL 03, 05684" Based on the costumes, 100-150 (UEL)

Based on the monument type, late 2nd to mid 3rd C (Heger)

#516

P: L: T: Pr:

S:

B: D:

Built into a wall at Pfarrkirche Maxglan (1949) Salzburg, Pfarrkirche Maxglan, inner wall (April 07) Marble ash chest cover, 28 x 25 x (wall) Male portrait mostly missing; severe damage to the frames; child' features lost; general weathering to the front Arched niche containing 3 half-fig. portraits. L-R: a woman in a t+m(?) with fruit in her r/h; a child in a tunic; a man who places his r/h on the woman's shoulder. Hell (1951) 12; Hell (1958) 34 no. 7; Heger (1975) 41 no. 75" *; UEL no. 313• Based on the monument type, late 2nd to mid 3rd C (Heger)

#517

P: L: T:

Built into a wall at the Pfarrkirche in Puch (1969) Salzburg Museum, Deposit, inv. 166/69 (April 07) Marble ash chest cover, 41 x 100 x 59 Pr: Left end lost; surface/edge chips; crack through the main niche; damage to the frames; general weathering to the front; nose-tips lost I: D M [---] S: Central semi-c. niche containing 2 half-fig. portraits of, L-R, a woman in a bonnet and a t+m and a man in a t+s who has a scroll in his 1/h; they are connected via the dextrarum iunctio. At the right side, a smaller niche contains a half-fig. portrait of a boy in a t+s with a scroll. The niche at the other end is lost. B: Heger (1975) 40 no. 72""- ; UEL no. 310"* D: Based on the monument type and epigraphy, late 2nd to mid 3rd C (Heger)

Lauriacum (Enns)

B:

D: #519

P: L: T:

House no. 43 at Oed-Ohling (1952) Oed-Ohling, Volksschule Ohling (June 07) Marble stela, 88 x 56 x 22 Pr: Small fragment broken along all of its sides; general weathering across the front; loss of the adults' heads [: D M / FL SVRIO H[---] / [ET] VAL I 'G/[ENV]A COIVX / [VIVI] F srn[, ---] = To the Spirits of the Departed. Flavius Surio and Valeria Ingenua, wife, did (this) while living for themselves and [---] S: 3 bust-length portraits. L-R: a woman and a girl, both in tube dresses, mantles and necklaces with Lunula pendants; a man with a beard in a t+s. The frieze below features two dolphins and a plant. B: Franz and Neumann (1965) 96; Schabes (1966) 12; Eckhart (1976) 40 no. 39"*; UEL no. 483""-; EDCS no. ILLPRO 00874* D: Based on the jewellery, names and beard, early 2nd C (Eckhart) #520

P: L: T: Pr:

# 518

P: L: T: Pr: J:

S:

Stadelgasse, 'Plochbergergut' (1847) Enns, MusL, Raum IV, inv. Rx 13 (April 07) Limestone stela, 260 x 116 x 23 Man's chin and both noses lost; minor edge chips and surface losses; some damage to the frames PRIVATIVS / SILVESTER V F / SIB! ET PRIVATIAE SILVI AE FILAE / OBIT A XII = Privatius Silvester did (thi ) while living for himself and for Privatia Silvina, daughter, who died aged 12 years. Rect. niche, framed by spiral columns , ith Cor. capitals, containing 2 half-fig. portraits. L- R: a girl in a t+m

[:

S:

B: D:

1llf

Built into a wall at the Pfarrkirche in St Valentin St Valentin, Pfarrkirche, outer wall (April 07) Marble stela, 91 x 37 x (wall) Bottom left corner lost; damage to the frames; general weathering to the portrait, exacerbated by the monument's continued exposure [.]YR! 'AE / [I]ANVARI / (F]IL O A X /[---]=For[.] urina, daughter of Ianuarius, who died aged 10 years [---]. (The final lines are virtually illegible but may contain PATR in line 6 and FEC in line 7-) Arched niche, framed by pilasters, containing a half-fig. portrait of a girl. either her drapery nor the object she holds in her hands can now be discerned. CIL III n820; Eckhart (1976) 38 no. 37" *; UEL no. 481*; EDCS no. CIL 03, u820"2nd C (Eckhart)

l:

• -- - --- - - --- ---===----- 270

#521 P: 'Ziegelfeld'. reused in a late antique burial (1951) L: Enns, MusL, Raum 1, inv. Rx 127 (April 07) T: Conglomerate stela, 93 x 78 x 25 Pr: Small fragment broken along three sides; general weathering across the front; loss of the portrait features; surface chips /:

[Dj M // CAPITONIO VRSO / 0 AN Xll AYR CAPITO /(I]

To the pirits of the Departed. For Capitonius rsus, who died aged 12 years. Aurelius Capitonius, candidatus in the legio II ltalica (did this) [---] iche, framed by columns, containing 3 half-fig. portraits. At the left, a woman in a t+m(?) with an apple in her r/h. She places her other on the shoulder of the adjacent boy (who wears a t+s and holds a scroll with both hands). At the right, a man in a t+s who has a sword in his hands. The frieze below features a boar and a dog. Deringer (1956) 442- 6*; Winkler (1971) 7; Eckhart (1976) 40 no. 40"'; UEL no. 484"\ EDH no. 035762; EDCS no. ILLPRON 00979•Based on the military reference, 200-230 (UEL) VS CANDIDATVS / [LEG 11] ITAL/ [---) =

S:

B:

D:

#521-#525

CATALOGUE

Kampen (2009) 114*; UEL no. 482"'; BDH no. 021811"; ILLPRO 00921•Ba ed on the military reference, 200-230 (UBL)

EDCS no. D: "523

P: L: T:

Plochbergergriinde, Parz. 101/i (1983) (Fig. 39) Enns, MusL, Raum 1, inv. Rx 177 (April 07) Marble stela, 86 x 74 x 18 Pr: Substantial damage to all edges; loss of the nose-tips and scrolls; surface chips; general weathering to the front Rect. niche containing 4 half-fig. portraits. At back left, a woman with a necklace in a t+m holds an apple in her r/h. he places her 1/h on the shoulder of the adjacent man. He has a beard, wears a t+s, holds a scroll in his 1/h and places the other on the girl in front. In the front row, a boy in a t+s with a scroll in his 1/h and a girl in a t+m with a necklace and a grape bunch in both hands. B: Stelzer (1996) 15•; Kremer (2001) 125 no. 88"'; UBL no. 4613" ~ D: everan ( UBL) =524

#522 P: Ruine Spielberg, Enn -Enghagen no. 22, found in reused context (1942) (Fig. 105) L: Enns, MusL, Raum 1, inv. Rx 176 (April o ) T: Conglomerate stela, 233 x 8 x 28 Pr: Loss of all portrait features; damage to the niche frame; general weathering aero the front; urface chip [;

D M / AEL QVARTI V / CORN LEG II ITAL / P F VIVVS FECIT SIB! / ET AYR CRISP! AE / CONIVG VIVAE FECIT / ET AEL QVAR FILO A

/ Xllll ET FILIS D\'OBV / VI\'! FECIT

= To the Spirits of the Departed. Aelius Quartinus, cor-

S:

B:

nicularius in legio II Italica Pia Fide/is, did (thi ) while living for himself and for Aurelia Crispina, wife, living when this was done, and for Aelia Quartina, daughter, who died aged 14 years, and for their two ons, who were alive when thi was done. Double-arcaded niche, framed by pilaster , containing 5 full-fig. portrait in 2 row . At back, L-R: a woman in a t+m who places her 1/h on the man and her r/h on the boy in front; a girl in a tunic who has a bird in both hands; a man with a beard in a t+ who ha a sword in his 1/h and places the other on the boy below. In front: 2 boys, each in a t+ , one with a rabbit in his hands, the other with a bird. The frieze below feature a hunt scene (a dog chases a rabbit). AnnEpigr (1950) 41 no. 114; Deringer (1956) 445; Winkler (1971) 20; Eckhart (1976) 39 no. 3 " ~; telzer (1996) 13;

P: L: T:

Enn -Kri tein no. 40, Parz. 559 (1931) Enn , MusL, Raum I, inv. Rx 64a-c (April 07) Lime tone tela, 58 x 74 x 9 Pr: Recon tructed from 4 fragments but with large areas lo t. Only the girl, the hands of the adults and part of the boy' body survive. Rect. niche containing 4 half-fig. portraits in 2 rows. Above, a woman in a t+m with fruit in her r/h and her other on the boy' shoulder. Next to her, a man in a t+s who has a word in his 1/h and places the other on the girl' shoulder. Below, L-R: boy in a t+s with a scroll in both hands; a girl in a tunic with a bird in her hands. B: Schleker (1933) 91- 2; Eckhart (1976) 42 no. 43" '; UEL no.487"' D: Based on the style, early 3rd C (Eckhart) .;525

P:

Mauthausener Strafse 11, built into a wall

L: Enns, MusL, Raum I, inv. R x 3a-d (April 07) T: Marble stela, 46 x 69 x 16 Pr: Reconstructed from four fragments but with edge losses; S:

cracks in portraits; nose-tips lost; hands damaged 3 half-fig. portraits. L-R: a woman with a bonnet(?), a t+m and a necklace who places her 1/h on the shoulder of the adjacent child; a boy in a t+s who holds an object; a man with a beard in a t+s who has a sword. The adults turn towards one another.

'

-

~ -

-

CATALOGUE

Eckhart (1976) 43 no. 44"*; UEL no. 488* Based on comparisons with other pieces, mid 3rd C (Eckhart)

B:

D:

-

#52 6- # 531

Lentia (Linz) #529

P:

Wall opposite west gate of the castle (1833) Linz, Oberosterreichisches Landesmuseu m, Schloss-

L: #526

P: L:

Greinsfurth, in the Ybbs river (1907) Hainburg, AZL , inv. 17.662 (June 06)

T:

Marble stela, 152 x 83 x 18

Pr: Severe erosion and discolouration to the front side, esp. over the portraits; small loss to the top right corner;

museum, Raum

Schober (1923) So no. 175; Eckhart (1976) 41 no. 42" *; UEL no. 486 Based on the female hairstyle and male beard, 200-270

D:

T:

Limestone stela, 79 x 53 x 22 Severe weathering/ damage to the front, with large part

Pr:

of the centre missing; surface/edge chips; pockets of heavy erosion over the faces 4 half-fig. portraits in 2 rows. Above, a woman in a bon net(?) and a t+m with her r/h on the shoulder of a boy in front and her 1/h around the shoulder of the adjacent man. He has a beard and wears a t+s; the position of his hands cannot now be verified. Below, a boy with a scroll in his 1/h and a girl with a grape bunch in both hands;

S:

B:

their drapery is too poorly preserved to be identified. Seidel (1956-60) 123; Eckhart (1976) 37 no. 35 " *; UEL

D:

no. 479* 3rd C (Eckhart)

1705 (April 07)

bonnet; a boy in a t+p(?) with a scroll in his 1/h. The central female places her r/h on the shoulder of the man at the left. (Eckhart identifies, L-R: a woman, a girl and a boy while the UEL has, L-R: a man, a woman or a girl and a man or a boy.)

B: D:

Eckhart (1981) 49 no. 61 " *; UEL no. 585"* Based on the hairstyle of the first portrait, Antonine

(UEL)

(UEL) #527 P: Ebenboden no. 17 (1957) L: Weyer, Ennsmuseum Kastenreith, no inv. ( ov 07)

B

3 half-fig. portraits. L-R: a man in a t+s(?) with a scroll(?) in hi s 1/h; a woman or a girl in a t+m and a

beard in a t+s who has a sword or scroll in his 1/h.

B:

inv.

and nose-tips; surface chips

S:

surface/ edge chips Double-arched niche containing 3 half-fig. portraits. L-R: a woman in a t+m with an apple(?) in her r/h; a girl in a t+m with an object in her r/h; a man with a

S:

IV,

T: Limestone stela, 73 x 69 x 12 Pr: Heavy weatheri ng to the front; damage to the frames

#530

P: L:

Hauptplatz no. 10, Hartwagner House (1881) Linz, Oberosterreichisches Landesmuseum, Depot, inv. B 1703

(April 07)

T: Granite medallion, 65 (Diam) x 15 (D) Pr: Damage to the frame; general weathering across the front; surface chips

S:

Medallion containing 3 half-fig. portraits. L-R: a woman in a t+m; a boy in a tunic, perhaps holding an object; a man with a beard in a t+s who has a scroll in his 1/h. The woman places her r/h on the body of the boy; the man places one arm around the woman's shoulder.

B: D:

Eckhart (1981) 54 no. 70"*; UEL no. 595"* Based on stylistic comparisons, mid 2nd to mid 3rd C

Virunum (Zollfeld) #531

#528

P·

Military camp, corner ofTeichweg-Grollerstra.Be, Parz.

L: T:

1064/2, Haus Hohensinner (1949) Enns, MusL, Depot, inv. Rx 139 ( ov 09) Marble stela, 20 x 30 x 20

P:

Between Bundesstra.Be and Gasthaus Stralsenhiasl (1931)

L:

Maria Saal, Propsteikirche, under the arcade (Jan 07 ) Marble tela, 68 x 60 x 20

T:

Pr: Bottom section missing; face and hands damaged; general weathering and discolouration; surface/edge chips

Pr: All that survives is a small and heavily weathered fragment, preserving garments from two portraits. S:

B: D:

iche containing 3(?) half-fig.(?) portraits. In the centre, a child (girl?). At the right, a man in a t+ . Originally the left side may have included a female portrait Eckhart (1976) 51 no. 62" *; UEL no. 502" 3rd C (Eckhart)

J:

ARD! E A

V / ET SECVNDAE AN XV / CASIME AN XX

I [---] = For Nardina, of 5 years, and for Secunda, of 15 years, and for Casima, of 20 years [---] S:

Rect. niche containing a half-fig. portrait of a girl in a t+m who has a bird in her 1/h. To her sides are two large rosettes; the frame is decorated with vines. (It is unclear

~

272

CATALOG

E

#532 - #537

which of the three females named in the in cription i

#535

P:

B:

pictured.) Piccottini (1972) 35 no. 143" '; UEL no. 67A ~; EDCS no.

D:

ILLPRO ' 00779*Late 1st C {Piccottini)

L:

Built into a wall at the Stiftshof (Fig. 76) t Georgen am Langsee, Stiftshof, so uth arcade (Jan 07)

T: Marble relief, 67 x 77 x 15 Pr: General weathering across the fro nt, esp. to the boy's face and hands; some damage to the bottom frame Rect. niche, framed by spiral columns with Car. capital , containing 3 half-fig. portraits. L- R: a woman in a tube dress and mantle with a necklace, a bonnet and an apple/pomegranate in her r/h; a boy in a tunic; a man in a t+t with a scroll in his 1/h. The woman places her 1/h on the shoulder of the boy. At the top a small frieze

#532 P: Built into a wall (before 1692) L: Zollfeld, Prunnerkreuze, outh wall (Jan 07)

S:

T: Marble relief, 83 x 63 x (wall) Pr: Large crack through the inscription and bottom of the medallion; general weathering to the front; damage to the edges; surface chip ; no e-tip lo t /: The inscription is not ancient. S: Medallion containing half-fig. portraits of 2 boy , both of whom wear tunics. In front of the fir t boy i a hare. B: Schober (1923) 181*; Piccottini (1972) 21 no. 123"\ UEL no. 848* D: Based on the hairstyles, 90- 120 (UEL)

B:

features vines. Garb ch (1965) 140 no. 52.2" ; Piccottin i (1972) 39 no.

D:

152"*; UEL no. 876* Based on the male hairstyle, 100-130 (UEL)

~536

P: L:

#533

P: L: T: Pr: S:

B: D:

Built into a wall (before 1870) St Veit an der Gian, Hauptplatz no. 24, built into a wall (July 06) Marble relief, 70 x 110 x (, all) General weathering; no e-tip lo t; damage to the edges; patches of minor discolouration Medallion containing 3 bust-length portraits. L- R: a woman in a tube dress and a bonnet; a girl in a tunic; a man in a t+p{?). To the ide , genii tand on podia and lean against the frame. Schober (1923) 132 no. 289\ Garbsch (1965) 142 no. 64.2 1\ Piccottini (19 2) 23 no. 125"*; UEL no. 850~ Based on the male hair tyle, c. 100 (Piccottini)

T: Pr.

Lap., inv. 79 (Jan 07) Marble altar, 77 x 42 x 22 Left side lost; medallion fra me badly damaged; top of the child's head and part of his chest missing; damage along the right edge; general weathering to the front

/:

[P ) VBL QVARTVS / [PV) BLIC CV PI TAE / CO NIVGl / [ET) iATVRO F = Publicius Quartus (d id this) for Publicia Cupita, wife, and for Maturu s, son. Medallion containing a bust-length portrait of a boy in

a

B:

D: #534 P: Find-spot unknown (before 1821) L: St Veit an der Gian, Pfarrkirche, west wall (July 06) T: Marble relief, 56 x 61 x (wall) Pr: Facial details lost; general weathering; damage to the frames; surface chip S: Rect. niche containing 3 portraits. L-R: a half-fig. woman in a tube dres , a mantle and a bonnet who has an apple/pomegranate in her r/ h; a bust-length boy( ?) in a tunic who hold an object (bird?) in his 1/h; a balffig. man in a t+t who has a croll in his 1/h. The adults turn towards one another. B: Garbsch (1965) 147 no. 82"; Piccottini (1972) 38 no. 15011*; UEL no. 874* D: Based on the male hairstyle, 100- 125 (UEL)

Find-spot unknown (before 1870) Klagenfurt, Landesm useum for Karnten Rudolfinum,

tunic.

CIL m 4954; Piccottini (1972) 26 no. 12911*; Piccottini {1996) 97 no. 47*; UEL no. 853*-; EDCS no. CIL 03, 04954* 100-150 (Piccottini)

#537

P:

Built into a wall (before 1870) Zollfeld, GasthofFleissner, built into a wall (Jan 07) T: Marble medallion, 85 (Diam) x (wall) Pr: Heavy weathering across the fro nt; loss of the child's face and the adults' noses; dam age to the hands; chips to the frame; some di scolouration S: Medallio n containing 3 half-fig. port raits. At the left, a woman in a tube dress, a mantle and a bonnet who has a necklace with a lunula pendant and an apple/pomegranate in her r/h; she places her other around the shoulder of the man in a t+ t at the right. He has a beard and holds a scroll in his 1/h. Both adults turn towards the centre while the man places h is r/h on the girl(?) in

L:

5

....

-

.

-

CATALOGUE #538-#543

front. She wears a tunic and holds a bird(?) with both B:

hands. Garbsch (1965) 146 no. 81.9 "*; Piccottini (1972) 15 no.

D:

u5"*; UEL no. 840• Mid 2nd C (Piccottini )

#538

P:

Built into a wail (before 1936) Meiselding, Pfarrkirche St Andrea , south wall ( ov

L:

09) Marble medallion, 75 (Diam) x (wail) General weathering across the front; damage to the frames; loss of the nose-tip and part of the child's face

T: Pr:

S:

Medallion containing 3 bust -length portraits. L-R: a woman in a tube dress, a mantle and a bonnet who turns inwards; a child (girl?) whose drapery cannot be discerned; a man with a beard in a t+t.

B: D:

Piccottini (1972) 15 no. n6"*; UEL no. 841 "* 150-200 (Piccottini)

#539

P:

a smaller podium. She wears a tube dress, has a necklace with a lunula pendant and holds an apple in both hands.

B:

CIL

D:

05669*Based on the costumes and the names, 70-120 (UEL)

T: Marble gable, 50 x 75 x 24 Pr: General weathering across the front; nose-tip damaged; surface/edge chips S: Tri. niche containing a bust-length portrait of a girl in a t+m. Above the niche are two dolphins while below is a frieze decorated with ivy vines. On the ide , genii hold torches. B: UEL no. 9160"* D: Based on the drapery and style, late 2nd to 3rd C

Elsewhere

#541

P: L:

P:

B:

Stiglitz-Thailer (1959) 163*; AnnEpigr (1961) 44 no. 182; Ubl (1979) 37 no. 23"*; Weber (1993) 199*; UEL no. 355 "*; EDCS 110. ILLPRON 00899•-

D:

Based on the names and the monument form, 75-100

(UEL) #542

P: L: T: Pr.

Hartberg, built into a wall at the church (Fig. 74) Hartberg, Pfarrkirche, Transept ( ov 09) Marble relief, 91 x 91 x (wall) Heavy weathering to the front, with the loss of female's head and male's chin; discolouration over the face of the child; bottom left corner missing; damage to th e frames

J:

IVLIVS AVITVS / ET CAIXV / RANTILLI F VF SIB/ [E]T 'AMO / A IX = Ti. Julius Avitus and Caixu, daughter of Rantillus, did (this) while living for themTl

TI IVLIO A

GoBam, Burgkirche St Pancratius, built into a wall Stift Melk, Cloisters (March 07)

Marble altar, 115 x 95 x 55 Pr: Top corner of the right side lost; general weathering to the portraits; edge chips and surface scratches /: AIVCCIO I / !GRIN! FAN/ XVI ET SECY DI AE /FA VI CVPITA / MATER VIVA FECIT / ET SIB! = For Aiuccio,

selves and fo r Ti. Iulius Annarnus, of 9 years.

T:

Rect. niche containing 3 half-fig. portraits. L-R: a woman in a tube dress and mantle who has a bonnet and a necklace with a lunula pendant; a boy whose details are lost; a man in a t+s.

B:

CIL III 5513; Garbsch (1965) 155 no. 125.1"; Weber (1969)

Front: inscription. Left: rect. niche containing a fullfig. portrait of a boy standing on a podium. He wear

D:

137 no. 80"*; Hainzmann and Schubert (1986) 61 no. 1221; UEL no. 1465*; EDH no. 038646-; EDCS no. CIL 03, 05513• 80-130 (UBL)

a tunic and holds a bird in both hands. Right: rect. niche containing a full-fig. portrait of a girl standing on

543 P: Dobl, built into a wall at the church

son of igrinus, of 16 years, and for Secundina, daughter, of 6 years. Cupita, mother, did (this) while living also for herself.

S:

Augustiana (Traismauer) , Venusbergstrafse 12 (1959) Traismauer, Museum fiir Fri.ihgeschichte, no inv; currently displayed in the Castle (June 06)

T: Sandstone stela, 160 x 55 x 13 Pr: Horizontal crack through the top section; minor edge chips; light weathering; damage to the nose and chin [; MAVETA / VERECVDI F / AN Ill / H S E / ROMAN M / P = Maveta, daughter of Veregudus, of 3 years. Here she lies. Romana, mother, set (this) up. S: Circ. niche containing a bust-length portrait of a girl, perhaps wearing a bonnet.

#540 L:

III 5669=n809; Garbsch (1965) 137 no. 19"; Ubl (1979) 54 no. 52"*; UEL no. 384"*; EDCS no. CIL 03,

Parz. 55 (1999) Zollfeld, gasthofFleissner, Garden (UEL)

L:

273

~

CATALOGUE # 544 - #547

274

L:

Dobl, Pfarrkirche, south wall (March 10)

Montfaucon (1724) Tom. v 45 : CIL Ill 5437; Schober (1923) 129 no. 281*; Ferri (1933) n5/fig. 127*; Modrijan and Weber (1965) 23 no. 155A*; Weber (1969) 58 no. SA*; Hainzmann and Schubert (1986) 61 no. 1212; Weber (1993) 202•; UEL no. n65 A*; EDH no. 038054A-; EDCS

B:

T: Marble relief, dimensions unavailable Pr: Final adult head falsely restored; child' head lo t; damage to the frames; general weathering across the front

S:

Rect. niche containing 4 half-fig. portraits. L-R: a man in a t+s with a sword in his r/ h; a child (girl?) in a tunic with a neck.lace(?); a woman in a tube dress, a mantle

no. CIL 03, 05437" Ba ed on the costumes, the monu ment type and the absence of a male beard, 100-120 (UEL)

D:

and a bonnet who has a neck.lace with a lunula pendant as well as a bracelet; a man in a t+ with a scroll in hi

B: D:

l/h (incorrectly restored with female head). The central

#546

woman places her hands on the child.

P: Ga blitz, field west of Flur Laabach-Rabenstein (1975) L: Gablitz, Linzerstnille 62, by the Raiffeisenbank (Nov 09 ) T: and tone stela, 260 x 100 x 34 Pr: Damage to parts of the acroteria, pilaste rs and col-

Garbsch (1965) 136 no. 7A; UEL no. 1414* Based on the costumes and male portrait, late 1st to mid 2nd C

umns; general weathering across the front; surface/ #544

P: L:

Wieselburg, Pfarrkirche, built into a wall (1950) Wieselburg, Museum fur Ur- und Friihgeschichte, inv.

T:

296 (Oct 06) Top of a marble stela, 43 x 97 x 18 Severe weathering, with the loss of the portrait feature ;

Pr:

[:

devoted wife, of 60 years. Rect. niche, framed by pilasters with Cor. capitals, con taining 2 half-fig. portraits. L-R: a wom an in a tube dre and mantle with a bonnet; a man with a beard in a t+p. The are joined via the dextrarum iunctio and the woman a1 o places her 1/h on the man's shoulder. Above,

some discolouration; surface/edge chip Tri. niche containing a bu t-length portrait of a boy in a t+s(?). He holds a bird in his hands while to hi ide

S:

are two animal (a boar and a dog?). Eckhart (1976) 36 no. 34A"; UEL no. 4 " Based on the monument type, Flavian to late

B:

D:

in a small circ. niche, a bust portrait of a child(?) . The

ntonine

frieze below features two sea dragons; the gable depicts a child crouching between an owl and a duck. The acro-

(Eckhart) #545

P:

Graz, St Leonhard Church (18 1 )

L:

Graz, UJ, inv. Lap 155 ( ov 09)

T: Marble stela, 288 x n6 x 29 Pr: Minor damage to the frame ; top right corner lo t; light /:

S:

edge chip D M / SECVNDVS AVIT! / V F SIB! ET / LlTVSSE ESINERT! / F · LX co PIEN = To the Spirits of the Departed. ecundus, son of Avitus, did (this) while living for him elf and for Litussa, daughter of Esinertus, his most

B:

D:

teria are in the form of lions. Farka (197 6b) 39-44 (ID of child as Gorgon head); Erben (1977) 208 no. s 120 (same ID as Farka )'\ UEL no. 1884*-; EDCS no. Lupa 01884 Based on the style, 100-150 (Erben)

weathering CA TIVS / SECY DV V F 1B / ET CA TlAE IVN! F / BO !AE VXOR! ET/ CANT!AE L F BO 11ATAE = L. Cantius

#547 P: Feldkirchen, reused in the altar of the church

Secundus did (this) , hile living for him elf and for

L:

Graz, UJ, Depot, inv. Lap 253 (Aug 07)

Cantia Bania, daughter of Iunius, hi wife. And for

T:

Marble relief, 79 x 114 x 23 Breaks along iliree sides, with most of the inscription

L

Cantia Boniata, daughter ofLuciu . 3 bust-length portraits within laurel-wreath medallions. In the top row, fran1ed by piral col= and rosettes, are (left) a woman in a tube dre and mantle with a bonnet and brooches and (right) a man in a t+t(?). Below, a econd woman in sin1ilar attire to the first one.

Pr:

lost; general weathering to the front; facial features

I:

She is flanked by 2 full-fig. portrait of (left) a girl in a tunic who holds fruit(?) in both hands and (right) a boy in a tunic who ha a bird in both hands. The gable, above which there are two dolphin , features a Gorgon head.

S:

damaged; surface chips [M] PACCIVS MAR!N[vs / MF ET v]IB!A Q F INGEN [VA / VI F SIB ET PAC]C!AE SECVNDI [AE / FILIAE AN --- ] = M. Paccius Marinus, son of Marcus, and Vibia Ingenua, daughter of Quintus, did (this) while living for them selves and for their daughter Paccia Secundina, of [---] years [---] Reel. niche containing 3 bust-length portraits. L- R: a woman in a tube dress and mantle who has a bonn et

·-

....... _

-

---------

--

CATALOGUE

B:

D:

EDH no. 039118-; EDCS no. ILLPRO 01174* Based on the beard and costumes, 120-180 (UEL)

B: D:

#548 L:

Cresnjevec, built into a wall at the church Slovenska Bistrica, Cresnjevec, St Mihael's Church (Dec

T:

Pr:

S:

09) Limestone stela, 116 (W) x (wall) Severe weathering across the front, with the los of the portrait details; some discolouration; damage to the left

B: D:

UEL no. 4152 A* Based on stylistic compari ons, late

1

knew its current location in ov 09. T: Limestone relief, 60 x 113 x 23 Pr: Three incomplete fragments; severe weathering; portrait features lost

B:

D:

T: Pr:

Rect. niche containing 3 half-fig. portraits. L-R: a woman in a tube dres and mantle with a necklace; a child, perhaps with an object in the r/h; a man with a croll(?) in hisl/h. Leber (1972) 82; Piccottini (1994) 106 no. 641 A\ UEL no. 2343* 2nd C (Piccottini)

-

275

to place a hand; a man with a scroll in his 1/h. Further details of drapery cannot now be discerned. UEL no. 1757* Based on stylistic comparisons, 2nd C(?)

Sankt Dionysen, built into a wall in the church (Fig. 28) Sankt Dionysen, Pfarrkirche, Apsis (Nov 09) Marble relief, 122 x 156 x (wall) Severe weathering/mutilation to the heads, with all features lost; some discolouration; damage to the hands

J:

IV !ANO BVRRAN! F AN L / SVCELA VCCON !S F MARITO ET TERENTINO ET IVLIA E TERTINI F NEP

= For

Iunianus, son of Burranus, of 50 years. Sucela, daughter of Ucco, (did this) for her husband and for Terentinus and neptis Juliana, daughter of Tertinus. S:

Rect. niche containing 4 half-fig. portraits. L-R: a woman in a tube dress and mantle who has a bonnet, a brooch, a necklace with a lunula pendant and a bracelet; a girl in similar attire to the woman; a boy in a t+s with an apple in his r/h and a scroll in the other; a man with a beard in a t+t who has a scroll in his 1/h. The woman places both of her hands on the shoulders of the boy and the girl.

B:

CIL III 5463; Weber (1969) 68 no. 15 A; Hainzmann and Schubert (1986) 67 no. 1330; UEL no. 1402*; EDH no.

D:

038062- ; EDCS no. CIL 03, 05463* 150-200 (UEL)

L: T:

ankt ikolai im Sausal, built into a wall (1968) (Fig. 18) Sankt ikolai im Sausal, Pfarrkirche (Jan 07) Marble medallion, 72 x 50 x (wall)

Pr: Crack through the portrait niche; part of the inscription lost; patches of discolouration; general weathering to the front

1: #550

p CASS[IO] MATER IA/NO [FILIO AN

x]m = For P.

Cassius Maternianus, son, of 13 years.

P:

Kaindorf an der Sulm, Grottenhof

L:

Seggauberg, Tempelmuseum Frauenberg (UEL ) Marble relief, 68 x 93 x 36

Medallion containing a half-fig. portrait of a boy in a t+t. He holds a bird in his 1/h, a second object in the other and has a horus lock.

T: Pr: Severe weathering, with the loss of the portrait features;

B:

substantial damage to the frames; accretions in the top right corner; surface chips

D:

Rect. niche containing 3 half-fig. portrait . L-R: a woman in a tube dress and mantle with a necklace; a child whose details are lost but who may hold an apple,

P:

livnica, built into a waU at the church

pomegranate and on whose shoulder the woman eem

L:

Slivnica, Svete Marije Church (July 10)

S:

~---

and attributes; surface/edge chips

t to 2nd C

#549 P: Klein Sankt Paul, restoration work at the church (1972) L: Uncertain. The piece was once at the Pfarrhau in Klein Sankt Paul, but neither the Pfarramt nor tandesamt

S:

L:

figure above main niche; surface/edge chips Tri. niche containing a half-fig. portrait of a woman in a tube dress. To her sides are crouching, naked children. Above the niche are a bust of Sol(?) to the right and a now lost figure to the left. The frieze below is decorated with vines.

-

#551

P:

P:

----

#548-#553

and a necklace with a lunula pendant; a girl in a t+m(?); a man with a beard in a t+s(?) Modrijan and Weber (1965) 8 no. 253*; Weber (1969) n6 no. 59A*; Kremer (2001) 124 no. 81; UEL no. n51 A*;

-

AnnEpigr (2004) 384 no. 1087A; UEL no. 2882 A*; EDH no. 052215-; EDCS no. AE 2004, 01087 Ba ed o n the toga type, Severan (UEL)

#553

---

~

CATALOGUE

#5 54-,155 9

Marble ash chest cover, 137 (W) x (wall)

T:

S:

Arched niche containing 3 half- fig. portraits. L-R: a woman in a tube dress and mantle who has a bonnet, a pearl necklace, a neckband with a lunula pendant, and drapery or a mappa in her r/h; a girl in a tunic with a bird in her 1/h; a man with a beard in a t+t(?) who has an object in his 1/h. Both adults place a hand on the girl.

a necklace; the garments of the others cannot now be

B:

discerned. The children seem to hold objects. UEL no. 4145A•

Garbsch (1965) 137 no. 17A; Hausmann (1994) 13•; UEL no. 1067A*

D:

Ba ed on tylistic comparisons, 2nd to mid 3rd C

Pr: Severe weathering, with the loss of the portrait features; vertical crack in the middle; damage to the frames; substantial surface chips

S:

Shell niche containing 6 half-fig. portraits. L-R: a woman, a child, a man, a woman, a child and a man. The first woman wears a tube dress and mantle and has

B: D:

Based on the female hairstyle, everan (UEL)

#554

P: L:

Pesnica pri Mariboru, built into a wall (1844) Pesnica pri Mariboru, Sv. Marjeta Church, west side

(UEL) T: Marble ash chest cover, 50 x 167 x (wall) Pr: Severe weathering across the front, with the loss of

#557 P: Moderndorf, near the crossroads (1796) L: Moderndorf, Propsteikirche, west wall (Nov 09) T: Marble stela, 123 x 56 x (wall) Pr. Heavy weathering; portrait features lost; frames damaged; urface/edge chips

J:

D M /

most portrait features; damage to the frames; urface/ edge chips Arched niche, backed by a shell and framed by col-

S:

VOLVP/TAS A

t+s who has a scroll or word handle in hi 1/h. maller niches at either end of the monument feature ervant .

B:

Diez (1948) 162 no. 25\ Garb ch (1965) 143 no. 1A; UEL

D:

no. 4143A* Based on stylistic comparison , late 2nd to 3rd C

B:

This mound covers you lightly, girl

0571 7-; EDCS no. CIL 03, 04910• Based on the hairstyle, 190-220 (UEL)

D: :558

P: L:

# 555

P:

XII =

from Carthage, love of the Muses and pleasure of the grace . Era ina, of 12 years. (D Mis not antique.) iche containing a bust-length portrait of a girl in a t+m who ha a pearl necklace. CIL III 4910; Piccottini (1972) 32 no. 136il*; Hainzmann and Schubert (1986) 17 no. 314; UEL no. 860*; EDH no.

umns, containing 5 half-fig. portrait . L-R: a man in a t+s with an object in hi r/h; a boy in a t+ , al o ,,;th an object in his r/h; a woman in a tube dre and mantle; a girl in a tunic(?), upon whose houlder the preceding woman places her hand; a man with a beard in a

ON GRAVIS / HIC TEXIT TVM/VLVS TE PUNICA

/ VIRGO / MVSARVM AMOR / ET C HARITVM / ERASINA

Bad Walter dorf (Fig. m) nternberg, chloss Moosham, Battlements (April 07) Marble relief, 85 x 165 x (wall)

wall

under

the

Bischofshofen, Pfarrkirche (1999) Salzburg Museum, Deposit, inv. 100039 (April 10) Marble ash chest cover, 36 x 116 x 72 Pr: Right section, inc. part of the child' head, lo t; severe

T: Pr. Damage to the frames; heavy weathering and discol-

weathering across the front; mall cracks through the main niche; surface/edge chips

woman, a boy, a man, a boy, a woman and a man. Each of the females wears a tube dress, mantle, bonnet, necklace and bracelet. They place their hands on the chil-

L: T:

S:

Arched niche containing 2 half-fig. portraits. L-R: a woman in a tube dres and mantle; a boy in a t+s(?).

B: D:

UEL no. 11986*

dren in front of them. Each of the adult males has a beard and a t+t, and holds a scroll in his 1/h. The first boy wears a tunic while the second, dressed in a t+s, may hold a scroll.

Based on stylistic compari ons, late 2nd to 3rd C

#556 P: Gleisdorf, Ziegelei (1948) L:

ouration; facial features lost Rect. niche containing 6 half-fig. portraits. L-R: a

B: D:

UEL no. 1719il* Based on the toga type, 200-230 (UEL)

Gleisdorf, Heimatmuseum, Depot, no inv. (Aug 07)

T:

Marble relief, 68 x 98 x 31 Pr: Severe weathering/mutilation to the front ide, with the Joss of all portrait features; ; EDCS no. CIL 03, 10950> D: Based on the nam and co tume, 0-120 UEL)

L:

#634 P: Zalavar, 1n el Biikko , e ondary use L: Keszthely, Balatoni Muzeurn, Lap., inv. , -75.1 (April 10) T: Marble stela, 9 x 6 x 11 Pr: Fragment broken along three ides; evere weatherin mutilation, \\ith the near omplete lo of the portrait ; surface/edge chip I: [c c]AESERNIV c/ [F EK)ECIO AS (vac.) \' F [ 181 ET) MARCIAE Q FI 1-··A)EC0:-11 AK (vac.) I (ETC c)AE ER,' ,10 CAE/[ ---Jo F A · xx H E = C. Caesernius enecio, on of Gaius, of(?) years, did (thi ) while lhing for himself and for Marcia [---Jaeco, daughter of Quintus, of (?) years, and for son C. Caesernius Cae(··· ]us, of 20 ·ears. Here he lies. S: 3 half-fig. portrait of 2 adults (behind) and 1 child (in front). The condition i too poor to allow an· certainty about their drapery. B: RJU 2 26 no. 292" '; Ertel, Palag)i and Redo (1999) 46 no. 20" *; UEL no. 3405"\ EDH no. 03 7 o-; ED no. RIU-02, 00292 D: Based on the epigraphy, 100-150 (UEL) #635

P:

Ondod (1929) Szombathely, Savaria Muzeum, Lap., inv. 6 .10.114 ( ept 07) T: Limestone stela, 137 x 89 x 30 Pr: Large patches of re !oration; cracks through the middle; heavy weathering to the portraits (from which the details are lost) f: D M // Q [---)C F [--· ]/ L F[---] CAL[E) 'DI :V / [---]v /[---]/SE[---]/ POSVI [T ET] oc/TAVIE FLORENTrNE S: Rect. niche, framed by spiral columns, containing 3 half-fig. portraits. L-R: a woman in a bonnet(? , a tube

L:

2 93

dress and a mantle; a child (girl?) whose details cannot be discerned; a woman in similar attire to the first one but with a bird(?) in her hands. Mocsy and Szentleleky (1971) 105 no. m (ID as marB: ried couple)"*; AnnEpigr (1972) 120 no. 412 (married couple); RIU 1 124 no. 143" ; Buocz (1994) 57 no. 83 (married couple)*; UEL no. 3334•; EDH no. 009589-; EDCS no. RIU-01, 00143* D: 101-150 (EDH) #636

P: L: T:

Dolnja Lendava (1852) Mur ka obota, PM, inv. unavailable (UEL) andstone stela, 208 (H) x 77 (W) Pr: Heavy weathering; damage to the frames and acroteria; urface/edge chip /: VIBE :V / VA I F / V F SIB! ET / MARC CRISPINA / CON ET MARCIO / VIBIANO F A VIII = Vibenus, son of Vannius, did (this) while living for himself and Marcia Cri pina, wife, and for Marcius Vibianus, son, of 8 year. Rect. niche containing 3 half-fig. portraits. L-R: a woman in a tube dress, a mantle and a bonnet who holds an apple in her r/h; a boy in a t+s, perhaps holding an object; a man with a beard in a t+t who has a croll in his 1/h. The frieze beneath features a boar and a rabbit being chased by dogs; at the bottom of the stone there are tv,o dolphins. The acroteria are in the form of lion (sides) and a bearded male head (centre). B: CIL m 4149; Desjardins and Romer (1873) 104 no. 209">; chober (1923) 107 no. 234*; Ferri (1933) 262/fig. 320>; Hoffiller and aria (1938) 198 no. 448*; UEL no. 3 4"; EDCS no. CIL 03, 04149D: Based on tyli tic comparisons, c. mid 2nd C : 63 P: Andautonia (Donji Cehi), necropolis (1989) (Fig. 104) L: Zagreb, Arheolo ki Muzej, inv. KS 929 (April 10) T: Limestone tela, 1 6 x 81 x 22 Pr. Damage to the acroteria; losses and restoration to the in cription frame ; nose-tips lost; light weathering to the front /: D M / VALENS ET / MELANIA / CAESERNI AVITI / SERVI !Bl ET / VALE Tl AE A XX / ET DONICO A II / FIL!IS KARI IMI[ ] = To the Spirits of the Departed. Valens and Melania, slaves of Caesernius Avitus, (did this) for them elves and for their dearest children: for Valentina, of 20 years, and for Donicus, of 2 years. S: Rect. niche, framed by columns with Cor. capitals, containing 4 half-fig. portraits. L- R: a woman in a tube

294

#638-;;642

CATALOGUE

dress, a mantle and a bonnet who has a necklace and a bracelet; a boy in a t+s(?) upon whose shoulder the preceding woman places her r/ h; a woman in similar attire to the first one; a man with a beard in a t+s who

Pr: Severe damage to the front and edges, with the Joss of the faces and parts of the two bodies; top/bottom sections lost; surface chips

has a whip(?) in his hands. The gable features a Gorgon head and acanthus leaves; the acroteria are in the form of lions. The frieze below the main niche features a rosette pattern.

B:

AnnEpigr (2002) 397 no. 1125 11 ; UEL no. 8 16 11 *; EDH no. 046270 11 - ; EDCS no. AE 2002, 01125*

D:

Based on the male portrait and on stylistic comparisons, mid to late 2nd C

Arched niche containing 2 full-fig. portraits. L-R: a child (boy?) whose drapery cannot be discerned; a man in a t+p(?) UBL no. 159411* Based on the costume, 100-200 (UBL)

B: D: #641

P:

carbantia (Sopron), AgfaJva, bed of the Liget-Baches (1978) (Fig. 113) L: Sopron, Soproni Muzeum, Fabricius Haus, Lap., inv. 28 (Sept 07) T: andstone stela, 250 x 91 x 33 Pr: Reconstructed from several fragments, with large and visible cracks; losses to the inscription; damage to some of the frames; surface/edge chips; genera] weathering, esp. to the faces

#638

P: L:

Bagodvitenyed, found in two pieces from 1973 onwards Zalaegerszeg, Gocseji Muzeum, inv. 77,15.9 and 90.19.1 (Feb 07) T: Limestone stela, 90 x 56 x 13 Pr: Bottom section missing; large cracks through the centre; area of the left edge mi sing; general weathering across the front; surface chips S: Square niche containing 3 half-fig. portrait . L-R: a woman in a t+m with a pearl necklace and a bracelet; a boy in a t+s; a man in a t+s with a scroll(?) in hi 1/h and a sword handle in the other. The woman places her 1/h on the shoulder of the man and her r/h on the shoulder of the boy. The gable features a cantharus and two panthers. Above it are two genii holding torche . B: Ertel, Palagyi and Redo (1999) 43 no. 16 11 *; UEL no. 4565 D: Mid 2nd C (Ertel, PaJagyi and Redo)

/:

LI[T]VGE A AT/T[I ] F V F SIIBI SECY DI/[

Borovo, secondary use Vukovar, Gradski Muzej, Depot, inv. br. AZ-552 ( ov 09)

L:

T: Limestone stela, 58 x 45 x 35 Pr: Right and bottom sections missing; severe weathering/ mutilation to the portraits, with the loss of all features; surface/edge chips f:

D [M] / [--- ] AVR F [-- - ]

S:

B:

Rect. niche containing 3 half-fig. portrait . L-R: a woman in a t+m(?); a girl(?) in a t+m with a bird in her hands; a man in a t+s(?) Dautova-Rusevljan (19 3) 31 no. 219 11 "; UEL no. 4281;

D:

EDCS no. Lupa 042812nd C (Dautova-Rusevljan)

#640

P: L: T:

eusiedl am See, west of the Gut hof Eisenstadt, LB, Lap., inv. 30.55 (Aug o ) Limestone stela, 116 x Box 22

FAN [

[sic]

ET

I

IVL[IO)

--- ET) VIB[E)/NE VE RNACLAE AN

v = Litugena, daughter of Attus, did (this) while Jiving for herself and for Julius Secundinus, son, of 1---J years. And for Vibena, vernacula, of 5 years. Arched niche, above which are dolphins, containing 4 half-fig. portraits. L-R: a woman in a bonnet (?), a tube dress and a mantle who holds a young baby in her arms; a girl in a tube dress(?) with a bird in her r/h and a second object in the other (perhaps fruit); a man with a beard in a t+s who has a scroll in his 1/h. He seems to place his other hand around the adjacent child's shoulder. The inscription is framed by vi nes bearing grape bunches, beneath which there is a representation of the lupa Romana myth. M6csy (1988) 101-8*; Boppert (1992) 57; Kovacs (2005) 52 no. 42•; UEL no. 382711*; BDH no. 037755-; EDCS no. RI -S, 00042* 100-200 (EDH)

#639

P:

o]

B:

D: "642

P:

Kapoks, Eger-patak (1962) Keszthely, Ba]atoni Muzeum, Garden, no inv. (April 10) T: Limestone ash chest cover, 58 x 97 x 58 Pr: Severe weathering, chipping, erosion and discolouration; bottom right section lost; portraits badly

L:

S:

damaged Arched niche containing 5 bust-length portraits. L-R: a boy; a woman; a man with a beard(?) in a t+s(?); a child; a man or a boy. Further details cannot be discerned.

~

IE

-----

-· 295

B:

Ertel, Palagyi and Redo (1999) 96 no. 149"*; UEL no.

Pr: Small fragment broken along three sides; heavy wea-

D:

4594• Mid to late ind C (Ertel, Palagyi and Redo)

S:

thering; surface chips The surviving rect. niche contains at least 3 half-fig. portraits. L-R: a girl(?) whose details are lost; a woman in a t+m and a bonnet; a boy in a t+m. The niche above contained further portraits but all that remain are the hands of a man with a scroll.

#643

P:

Vindobona (Vienna), Stephansplatz, known since the middle ages but rediscovered in 1888 (Fig. 75)

L:

Vienna, Kunsthistorisches Museum, Depot, inv. Ill 779

B:

Farkas and Gabler (1994) 75 no. 78 11 *; Szonyi (2003) no.

D:

42; UEL no. 3830 11 • Late 2nd C (Farkas and Gabler)

(Aug 07)

T: Marble stela, 168 x 85 x 17 Pr: Stored in two parts; edge breaks; general weathering; damage to facial features, esp. tho e of the child [:

P TITIVS / Fir !TVS / V F

lB ET / JVCVNDA E C!V!S / FIL

co I A XL = P. Titiu Finitus did (this) while living for himself and for hi wife Iucunda, daughter of Ci vis, S:

of 40 years. Double-arched niche containing 3 half-fig. portraits. L-R: a woman in a tube dress, a mantle and a bonnet who has a bracelet and a necklace with a lunula pendant; a girl in a tunic(?) with a bird in her 1/h; a man with a beard in a t+t who has a scroll in hi 1/h. The

#646 P: Tornyopuszta, late Roman grave (199 4) Unknown. The UEL gives the location as the Kuny Domokos Megyei Muzeum in Tata but in April 2010 I

L:

was informed that it is not there.

T: Limestone stela, dimensions unavailable Pr: Severe weathering, with the loss of the portrait features; several surface/edge chips Arcaded niche containing 5 half-fig. portraits. L-R: a woman in a t+m with a necklace; a girl(?) in a tunic;

S:

woman places her 1/h on the houlder of the girl. In the hunt frieze below, dogs attack rabbit .

B:

D:

CIL

III

4583=11307;

a boy in a t+s(?); a child whose details cannot be discerned; a man with a beard in a t+s who has a scroll or sword handle in his 1/h. Both adults seem to place a

chober (1923) 84 no. 183"; Ferri

(1933 ) 137/fig. 159'; Garbsch (1965) 163 no. 167 1\ eumann (1967) 27 no. 33; Mosser (2003) 372'; UEL no. 630 11 *; EDCS no. CIL 03, 04583'Based on the costume, the beard and the iconography, 150-200 (UEL )

#644 P: Monchhof (1945) L: Eisenstadt, LB, Lap. , inv. 30.560 (Aug 07)

T: Limestone stela, 57 x 39 x 13

hand on the children in fro nt of them. UEL no. 5671* Based on the female hairstyle, Severan (UEL)

B: D: # 647

P: L:

Find-spot unknown Tata, Kuny Domokos Megyei Muzeum, no inv. (April 10)

T:

Limestone block, 74 x 40 x 44

Pr:

Right and bottom sections, presumably inc. furth er portraits, lost; surface chips; nose-tips damaged; general weathering to the front

Pr: Small fragment broken along three sides; heavy weathering; facial feature lost

MI c [--- l

l:

D

S:

At least 4 half-fig. portraits, with 2 adults at the back

B:

and 2 children in front. All that survives is a boy in a t+s with an object in his hands and one of the adult's hands on his shoulder. ext to him is a second child (girl?), upon whose shoulder there is also an adult hand. UEL no. 2256 11 *; EDCS no. Lupa 02256*-

#648

D:

Based on stylistic comparisons, mid to late 2nd C

P:

Hegyesd, found as cover for a late antique grave at Peterhegy (1970)

L: T:

Keszthely, Balatoni Muzeum, Lap., inv. 77-86.1 (April 10) Sandstone stela, 155 x 100 x 20 Severe damage to the frames and the adults' nose -tips;

#645

P:

Arrabona (Gyor), found during building work at Kaptalandomb (1875)

L: T:

Gyor, Xantus Janos Muzeum, Lap., inv. 57.1.31 ( ept 07) Limestone stela, 66 x 78 x 27

Arched niche containing 2 half-fig. portraits. L-R: a woman in a belted tunic; a child in a tunic upon whose

B:

shoulder the woman places her r/h. UEL no. 5667*

D:

Based on stylistic comparisons, mid 2nd to early 3rd C

Pr:

ll

---------------------

loss of the child's head; scratches to the inscription; surface/edge chips; general weathering

CATALOGUE #649-#651

I:

S:

B:

D:

[---]M OPTAREM [Sl]T TERRA LEVI[S] / PROPERAVIT ETAS oc VOLVIT FA/[T]vs MEVS HIC SITA EST IVLIA / [D]VBITATA A XX PARE TES F / [P] QVIBVS EA FACER£ DEBE I [IT]A FECIT G [sic] I ROMVL ET VAL/ MATERO MEMORIAM s ET p = [---] I would like the earth to lie lightly. Life has passed by quickly, this was what fate had in store for me. Here she lies, Iulia Dubitata, of 20 years. The parents set (this) up for their daughter, thus it was done by those to whom it was owed. C. Iulius Romulus and Valeria Matero for the memory of themselves and their descendants. Rect. niche, framed by colwnns with Cor. capitals, containing 4 half-fig. portraits. L-R: a woman in a t+m with a necklace, a small circ. object (coin?) in her r/h and a casket in the other; a woman in a tunic with a necklace; a boy(?) in a tunic with a bird in his 1/h and a second object in the other, upon whose houlders the woman behind places her hands; a man with a beard in a t+s who holds a large scroll in his 1/h. RIU 1 42 no. 313"*; AnnEpigr (1996) 429 no. 1238; Ertel, Palagyi and Redo (1999) 77 no. 96""; UEL no. 772"*; EDH no. 050390-; EDCS no. CSIR-u-08, 00096 Based on the female hairstyle and the co tume, 1 0-225 (UEL)

#649 P: Oslip, north of street between Eisenstadt and chiitzen

(1934) L: Eisenstadt, LB, Lap., inv. 25.339 (Aug 07) T: Limestone relief, 53 x 109 x 30 Pr: Heavy weathering/mutilation, esp. to the faces (that of the third person is lost altogether); substantial surface/ edge chips; damage to the frames; part of hand and attributes missing S: Arcaded niche containing 4 half-fig. portrait . L-R: a woman in a tube dress and a bonnet; a boy in a t+s with a hare in his hands; a girl(?) in a bonnet, a tube dress and a mantle who has a spherical object in her hands; a man with a beard in a t+s. The woman places her hand on the arm and shoulder of the boy. B: Barb (1935) 5; Pascher (1949) 107 no. 2; Kruger (1970) 47 no. 291*; UEL no. 53• D: Based on the costumes, the beard and the sagum type, 200-230 (UEL) #650

P: L:

Balatonfiired-Balatonaracs, right shore of the SedBaches (1900/01) Nemesvamos-Balacapu tra, Roman Lap., inv. 37/1901 (June 06). It is part of the M M coUection.

T: Sandstone stela, 177 x 76 x 21 Pr: Damage to the top edge; general weathering; facial features lost; surface/edge chips ];

S:

B:

D:

D M

Rect. niche containing 5 half-fig. portraits. L-R: a woman in a t+m who hold an object (apple?) in her r/h and places her 1/h on the adjacent child's shoulder; a boy in a t+s with a now lost object in his hands; a man with a beard in a t+s who has a scroll in his 1/h and places his r/h on the shoulder of the first woman; a girl in a t+m with an apple in her r/h; a man with a beard in a t+s who has a scroll in his r/h and places his 1/h on the shoulder of the adjacent girl. The lower frieze features vegetal decoration; the bottom niche depicts a dolphin (left) and a sea panther (right). RIU 1 66 no. 349"; Bark6czi (1985) 99•; Ertel, Palagyi and Redo (1999) 85 no. 115"*; Palagyi (2004) 37 no. 15; UEL no. 3414"*-=4057 Based on the sagum type, 200-230 ( UEL)

#651

Tata, vineyard Lat6hegy (1797) Tata, Angolpark (English Gardens), 'Artificial Ruins: built into a wall (March 10) T: Lime tone stela, 325 x 123 x 33 Pr: Large crack through the inscription; older man's forehead lost; general weathering across the front; surface/ edge chips [: D M / VAL SATYR !NO VET/ EX DVP ALAE I VLP / CONT QVI VIXIT A L ET / VAL SABI O MIL LEG I AD / STIP Ill VIXIT AN XXV FILIO / CAES DIGNA MARITO ET FILIO / F c = To the Spirits of the Departed. For Valerius Saturninus, veteran, former duplicarius from the ala I Ulpia Contariorum, who lived for 50 years. Also for son Valerius abinus, soldier from legio I Adiutrix, of 3 years service, who lived for 25 years. Caesia Digna saw to it being done for her husband and son. S: Arched niche, framed by spiral columns with Cor. capitals, containing 4 half-fig. portraits. L- R: a man in a t+s with a scroll in his 1/h; a woman in a t+m who adopts the 'arm-sling' pose; a girl in a tunic who seems to hold a bird; a man with a beard in a t+s who has a scroll in his 1/h and upon whose shoulder the woman places her 1/h. The acroteria are in the form of lions, each with a ram's head in its mouth. The gable features Venus and Adonis; above the main portrait niche are nude boys with dolphins. The lower friezes contain an abbreviated Totenmahl scene as well as dogs hunting rabbits. At the very bottom, Attis figures flank a scene in which a man with a lance leads a horse. P: L:

CATALOGUE #652-#656

B:

D:

CIL m 4278; Schober (1923) 90 no. 192*; Barkoczi (1944) x.1*; RJU 3 68 no. 694A; Lorincz (2001) 192 no. 113; UEL no. 694*; EDH no. 037889-; EDCS no. CIL 03, 04278* Based on the female hairstyle and the military reference, 200-240 (UEL)

#652 P: Babolna, built into the Evangeli al church L: Koma.mo, Podunajske Muzeum, Lap., inv. 11 2792 (March 10) T: Limestone stela, 125 x o x 1 Pr: Bottom ection mi ing; damage to the frame ; general weathering to the front; lo of ome facial detail ; urface/edge chip S: Double-arched niche contair!ing 3 half-fig. portraits. L-R: a woman in a bonnet and a t+m who has a necklace and holds an apple in her r/h; a man with a beard in a t+s who has a scroll in hi 1/h; a girl in a t+m upon whom the man places hi r/h. The woman may place her 1/h on the houlder of the man. In the niche below there is an abbreviated Totenmahl cene. B: Barkoczi (1944) xLv111.2•; Garb h (1965) 161 no. 153.6A; UEL no. 4064A• D: Based on the beard, co turne and tyle, 200-250 (UEL) #653 P: Purbach an1 eusiedlersee (before 1 9 ) L: Eisenstadt, LB, Lap., inv. w 525 (Aug o ) T: Sandstone tela, 138 x 84 x 1 Pr: Top section lost, inc. ome of the heads; urface/edge chips; loss of facial feature ; general weathering [: D M / M!MORIA ETERNE / AVRILlA CIR! CE "TI/, A QVI V!XCET A V / XXV AVRILIV ECVM/ DJ ;y IP RCLV / POSVVIT CARI cov/G1 OJ HIC TYTE / QVE DOi\fV ITER/NA ERT [sic] = To the pirit of the Departed and the eternal memory of Aurelia Cre centina, who lived for 25 years. Aureliu ecundinus set up thi tomb for his dearest wife. This will be her eternal home. S: Rect. niche containing 3 half-fig. portrait . L-R: a woman in a t+m(?) with a cup(?) in her hands; a child in a tunic with a large bird in both hands; a man in a t+m(?) with a scroll(?) in his 1/h. Both adults place a hand on the child's shoulder. B: Pascher (1949) 117 no. 2; Kruger (1970) 44 no. 280A*; UEL no. 42"*; EDCS no. Lupa 00042*- (with corrected version of the inscription) D: Based on the name and epigraphy, 225-300 (UEL) #654

P:

Siscia (Sisak), Dammbau (1787) (Fig. 29)

297

L: Zagreb, Arheoloski Muzej, inv. KS 931 (April 10) T: Marble stela, 135 x 88 x 22 Pr: Bottom section restored; damage to the acroteria and columns; general weathering, esp. to the portraits; surface/edge chips J: DOMV ETERNE ET PERPE/[T]VE SECVRITATI CEN!VS / [---)IA VS VE VF FL TIBE/[RIAN]r[co] QVJ VAN XXX / [---] IE VRSE Q VA / [---] [---)NE Q VAN JIil / [---) Q v A / [--- ] = To the eternal home and ever-present ecuritas. Caenius [---)ianus, equestrian, did (this) while living for Flavius Tiberianicus, who lived for 30 years, and for [---)nia Ursa, who lived for [---) years, and for [---Jna, who lived for 4 years, and for[---], who lived for [---) years. Rect. niche, backed by a shell and framed by spiral columns with Cor. capitals, containing s half-fig. portraits. L-R: a man in a t+s with a scroll in his l/h; a woman in a tube dress, a mantle and a bonnet who has a necklace and holds a pomegranate in her r/h; a girl in a tunic with a wreath in both hands; a girl in a t+m(?) who has a necklace and holds a casket in her hands; a man with a beard in a t+s who has a scroll in his 1/h. The woman and second man seem to place a hand on the shoulder of the final girl. The gable features a Gorgon head and acanthus leaves; the acroteria are in the form of lions, each with a ram's head in its mouth. B: CIL m 3985; AnnEpigr (1999) 414 no. 1245A; UEL no. 817*; EDH no. 048572A-; EDCS no. CIL 03, 03985* D: 225-250 (AnnEpigr) ;655 P: Brunn am Gebirge, grave 24 (1972) L: Brunn am Gebirge, Heimathaus, Romermuseum, no inv. (March 10) T: Limestone medallion, 65 x 90 x 31 Pr: Bottom section missing; edge chips; heavy weathering, esp. to the portrait Laurel-wreath medallion containing 3 half-fig. portrait . Above, a woman in a t+m. Below, a girl in a tube dre s with an apple in her r/h; a girl in similar attire but with an object in her r/h (ID by Erben as a croll). B: Farka (1976a) 60'; Erben (1977) 207 no. S 118; UEL no. 4412• D: Based on the style, 3rd C (Farka) i;656 P: Find- pot unknown L: Tata, Kuny Domokos Megyei Muzeum, no inv. (April 10) T: Limestone block, 103 x 77 x 48

CATALOGUE

#657 - #661

II Adiutrix, bene.ficiarius to the tribuni laticlavii, of 40 years of age and 20 years service. Also Secundinus, son, of[---] years. Here they lie. Aelia Catta set (this) up while living for her most devoted husband and son, as

Pr: Heavy weathering, with the loss of most facial features; damage to the frames; bottom right section missing; surface/edge chips 2 rect. niches containing 7 half-fig. portraits. Top niche, L-R: a woman with a bonnet and a t+m; a girl in a tunic with fruit in her l/h and a bird in the other; a man with a beard in a t+s; a child whose details cannot be discerned. Both adults place their hands on the children in front of them. Lower niche, L-R: a woman in a t+m with a pomegranate in her 1/h; a child in a tunic with a piece of fruit in both hands; a man(?) in a t+m. The sides are decorated with amphorae and dolphins.

S:

B: D:

well as for herself. Square niche, framed by columns, containing 3 halffig. portraits. L-R: a woman in a tube dress and mantle with joined hands (but no object in them); a boy in a tunic with a bird in his 1/h; a man in a t+p with a scroll in his 1/h and a sword handle in the other. UEL no. 5042" *; EDCS no. Lupa 05042*Based on the names, the epigraphy and the military reference, 120-160 (UEL)

S:

B: D:

UEL no. 5665* Based on stylistic comparisons, mid md to 3rd C(?)

#659

P: #657

P:

Uncertain (it has been attributed to both Aelium

T:

Limestone stela, 64 x 85 x 26 Pr: Top/bottom sections lost; vertical crack through the middle; heavy weathering, esp. over the portraits; male

Cetium and Brigetio) L: Gollersdorf, Justizanstalt (Aug 07) T: Limestone stela, 160 x 104 x 21 Pr: Bottom section missing; general weathering, esp. to the

S:

Precise find-spot unknown Budapest, MNM, NC, inv. 269.1875 (Sept 07)

L:

head lost; several surface chips Square(?) niche, framed by columns, containing 3 halffig. portraits. L-R: a woman in a tube dress, a mantle and a bonnet who has a necklace and a neckband with a lunula pendant; a girl in a t+m with an apple in her r/h; a man in a t+p with a scroll in his 1/h. Both adults

faces; columns damaged; surface/edge chips Arcaded niche, framed by columns with Cor. capitals, containing 5 full-fig. portraits in 2 row . First row, L-R: a woman in a t+m with earring and a necklace , ho holds an apple in her 1/h; a man with a beard in a t+ ; a man with a beard in a t+s who holds tablets in his 1/b. Lower row, L-R: a boy in a t+p with an object (tablets?) in his 1/h; a boy in a tunic with an apple in hi 1/h. They

B:

turn towards one another. Wallner (1935-8) 75; Pascher (1949) 38 no. 1; Ubl (1979)

D:

32 no. 16" *; UEL no. 348* Based on the hairstyles and dress, 250-300 (UEL)

PA

O IA I FER!OR

place a hand on the shoulders of the girl.

B:

D:

#660 P: Attilakrt. n4 L: Budapest, M M, Garden Tent, inv. 78.1903,2 ( UEL) T: Limestone stela, dimensions unavailable Pr: Bottom section missing; lower left corner damaged; surface/edge chips; general weathering to the front, esp.

S:

Aquincum (Budapest) #6;8 P: Precise find-spot unknown L: Budapest, AM, East Lap., inv. 81.7,6 ( ept 07) T: Limestone stela, 19 x 93 x 27 Pr: Broken along the top, right and bottom edge ; severe weathering/mutilation, with the loss of the beads; some discolouration; urface/edge chips

J:

D M / CLA SECVND/ V

MILE

LEG II AD / BF T RIB

UEL no. 2879"* Based on the female hairstyle, Antonine (UEL)

over the portraits Rect. niche, framed by columns, containing 3 halffig. portraits. L- R: a woman in a t+m with an apple/ pomegranate in her r/h; a boy in a tunic with a bird in both hands; a man with a beard in a t+t who holds a scroll in his 1/h. Tue gable features a central disc and is flanked by hippocampi.

B: D:

UEL no. 2881*" Based on the female hairstyle, 140- 170 (UEL)

'!

LATICLAV / A N XXXX STIP XX / ET SECVNDINVS F [A ---] / H S SV T AELIA / CATTA CO ' IVG! P [IE] / TIS-

= To the pirits of the Departed. Claudius Secundu , oldier in the legio

#661 P: Obuda L: Budapest, AM, Column Lap., inv. 64.n.103 (March 10)

SIMO ET FILIO / ET SIB! VIVA / p

T:

Sandstone stela, 109 x 65 x 21

CATALOGUE # 662-#666

Pr: Bottom section missing; damage along the right edge, with the loss of part of the final portrait; some discolouration; heavy weathering, esp. to the faces; surface/ edge chips S: Rect. niche containing 4 half-fig. portraits. L-R: a man with a beard in a t+p(?); a woman in a tube dress and a bonnet; a child in a tunic; a man with a beard whose drapery is lost. The men both turn inward ; the woman looks to her left and may place her hand on the child' shoulder. The gable features a ro ette. B: emeth (1971) 56 no. 151; UEL no. 5151~ D: Antonine (UEL) #662 P: Synagogue at Lajos utca no. 165 (1895) (Fig. 81) L: Budapest, AM, Ea t Lap., inv. 64.10.10 ( ept o ) T: Limestone stela, 96 x 62 x 1 Pr: Top/bottom ections lost; break along the right edge; surface chips; general weathering to the front /: FLAVIA A!VLO / AA XX H E/ GALLIO O/ RORI PIENTI / ET AVITVS / COK OBRI ' I / PIE:-n1 IM = Flavia Aiulo, of 20 years. Here she lies. (Thi wa et up by) Gallio for his most devoted ister and Avitus for his mo t devoted cousin. S: Square niche, framed by column , containing a halffig. portrait of a woman in a tube dre and mantle. he holds a swaddled baby in her arms. B: CIL III 14352; Kuzsinszky (1934) 102 no. 97; zilagyi (1956) 70•; Boatwright (2005) 313; UEL no. 2 54" '; EDCS no. CIL 03, 14352• D: Based on the epigraphy, 100-200 (UEL ) #663 P: Precise find- pot unknown L: Budapest, M M, AC, inv. unavailable ( ept o ) T: Limestone stela, 167 x 93 x 24 Pr: Top section lost; lower edge damaged; urface/edge chips; general weathering over the front, esp. to the faces; some discolouration D M / [A ]TISTIAE A TISTI F / [F]I[R] 1AE A , XXV / I: ERVENIVS [---]VRIO / IVG! PIE TISSIME / PO VIT / D IOSTOBIIVM / TAE III FIR/;\>IEAO VICTORIA / Vl AIMO I V / ERETIIE = To the Spirits of the Departed. For Antistia Firma, daughter of Antistius, of 25 year . Erveniu [---] urio set (this) up to his most devoted wife. (Text which follows is difficult to interpret.) S: Square niche containing a half-fig. portrait of a woman in a tube dress, a mantle and a bonnet who ha a neckband with a lunula pendant. She holds a swaddled baby in her arms.

B: D:

299

CIL m 10539; UEL no. 3045*; EDCS no. CIL 03, 10539*Based on stylistic and iconographic comparisons, 2nd C

#664

P: L:

Becsi ut, west cemetery, grave 78 Budapest, AM, East Lap., inv. 86.11.2 (March 10) T: Limestone stela, 210 x 85 x 11 Pr: Light weathering; minor damage to the faces; edge chips; top corners lost S: Rect. niche containing 4 full-fig. portraits in a Totenmahl scene. At the left, a seated woman in a bonnet and tube dress has a fruit basket in her hands. To the right, a man with a beard in a t+m reclines on a kline; he holds a cup in his 1/h and touches the head of a reclining boy with the other. In front of the couch is a standing boy (servant?) in a tunic with a cup in his r/h. ext to him is a mensa tripes laid with meats. B: UEL no. 2919 11 • D: Based on stylistic comparisons, md C #665

P: L: T: Pr: S:

B: D:

Precise find -spot unknown Budapest, M M, AC, inv. unavailable (UEL) Limestone stela, 140 x 119 x 34 Bottom section missing; surface/edge chips; general weathering, heaviest over the portraits Rect. niche, framed by fl uted pilasters, containing 3 portraits. L-R: a full-fig. portrait of a seated woman in a tube dre s and a bonnet who has a bracelet, and a necklace and holds an apple/pomegranate in her 1/h; a bust-length portrait of a girl in a tunic(?) who 'floats' behind the adults; a full-fig. portrait of a seated man with a beard in a t+t \ ho holds a scroll in his 1/h. The gable features a ro ette and acanthus leaves and is flanked by half-p acr. chober (1923) 7 no. 165; UEL no. 2977 11 * Based on the costumes and the male beard, 100-200 (UEL)

;;666 P: Precise find-spot unknown L: Budapest, M M, C, inv. unavailable (UEL) T: Limestone stela, 91 (W) Pr: evere weathering/mutilation to the front, with the loss of all portraits; bad damage to the frames; substantial surface chips I: D M I VIGILIVS PRIMVL/vs MIL LEG II AD [---] / STIP XVII IVL VICT[o]/RINA CONIVGI CA/RJSSIMO F C = To the pirits of the Departed. Vigilius Primulus, soldier in legio II Adiutrix, of 17 years service. Iulia Victorina aw to it being done for her dearest husband.

300

S:

CATALOGUE :;667

Rect. ~iche, framed by pilasters, containing 3 half-fig. portraits. L-R: a woman in a t+m with an apple in her r/ h; a girl in a tunic; a man in a t+s with a scroll in his 1/h.

B:

CIL

D:

Based on the epigraphy, 100-200 ( UEL )

III 10524;

B: D:

UEL no. 3038*; EDCS no. CIL 03,

10524•-

# 667

P: Precise find-spot unknown (Fig. 66) L: Budapest, AM, East Lap., inv. 91.4.2 (Sept 07) T: Limestone stela, 93 x 79 x 17 Pr: Top/ bottom sections lost; general weathering, esp. over 1: S:

the faces; surface chips D M / [--- ]

S:

Based on the monument type, 170-250 (UEL)

L: Budapest, M M, NC, inv. 6.1869.1 (UEL) T: Limestone stela, 245 (H) x 91 (W) Pr: Top of the gable missing; horizontal crack through the bottom of the portrait niche; damage to the pilasters; surface chips; face of first adult lost; general weathering, esp. over surviving faces

J:

D M / M AYR TITVS QVI VIX / A AYR MATE [RN]E QVI VIX / A

LXX ET CONIVG EIVS /

L ITEM FILIO RVM / EORVM

Square niche, framed by columns, containing 4 halffig. portraits in 2 rows. Above, L-R: a woman in a t+m;

MAYR TI[ - --] / TITIA O QV! MJLIT / IN CO H I ASTOR QV!

a man with a beard in a t+s who holds a scroll in his

VALE T I / QVI VIX A

1/h. Below, 2 boys, each in a t+s. The adult each place a hand on the shoulders of the children . In the lower

CLEM/ ENS LEG VI FERRAT / QVI EST PROB IN LEG II / A

VIX / A

Limestone stela, 96 x 87 x 21 Bottom section mi sing; general weatherin mutilation, with the loss of the econd adult's head; damage to the nose-tips, the woman's chin and the left column;

D:

Based on the hairstyles, Severan (UEL)

#669 P: Precise find-spot unknown L: Budapest, M M, C, inv. unavailable (Sept 07)

T: Limestone medallion, 53 x 63 x 26 Pr: Small fragment broken along all of its sides; general weathering across the front, esp. to the faces; adult' forehead lost; surface chips Semi-c. niche, flanked by genii/cupids with baskets,

XII POS TITL / PARENT SVIS MAYR

CORN EL PLOTIA O LEG

S:

= To the Spirits of the Departed.

parents. Rect. niche, framed by pilasters, containin g 5 half-fig. portrait . L-R: a woman in a t+m(?) with a necklace; a young man in a t+s with a scroll in his 1/h; a woman in a t+m with an apple/ pomegranate in her r/h; a man with a beard in a t+s; a boy in a tunic upon whom the man behind places his 1/ h. The gable features a rosette and is flanked by half-p acr. The lower frieze contains an abbreviated Totenmahl scene.

surface chips Rect. niche, framed by columns, containing 6 half-fig. portraits in 2 rows. Above: a woman in a t+m; a man (?), mostly lost; a man with a beard in a t+p. Below are the heads of three children. The gable, above which there is a pine-cone(?), features a Gorgon head (?).

UEL no. 2742 11 •

XXX ITEM AYR SVRE QVI / VIX AN XX ITEM AYR

M. Aurelius Titus, who lived for 70 years, an d his wife Aurelia Materna, who lived for 50 years. Likewise for their children: for M. Aurelius Ti[---) Titianus, who erved in cohors I Asturum and lived for 30 years; for Aurelia Sura, who lived for 20 years; for Aurelius Valen , who lived for 12 years. M. Aurelius Clemens, of legio VI Ferrata, who was recruited into legio II by legate Cornelius Plotianus, set this inscription up for his

UEL no. 10715•Severan (UEL )

B:

S:

J/h.

#670 Obuda

# 668 Buvar-Gasse, reu ed in a late Roman grave (19 4) Budapest, AM, East Lap., inv. 1. .3 (March 10)

P: L: T: Pr:

shoulder the preceding woman places her hand· a man with a beard in a t+s who holds a scroll in his Schober (1923) 154 no. 356; UEL no. 298111*

P:

niche there is an abbreviated Totenmahl cene.

B: D:

#671

B:

Desjardins and Romer (1873) 63 no. 125*; CIL III 10507;

D:

chober (1923) 114 no. 254; Garbsch (1965) 149 no. 106.12 11 ; Fitz (1993) 535 no. 319.14 11 ; UEL no. 2976 11 *; EDCS no. CIL 03, 10507• Based on the military reference, 183-185 (Fitz)

#671 P: Marcius 15 -e ter (1898) L: Budapest, AM, Column Lap., inv. 66.11.5 (March 10) T: Limestone stela, 78 x 83 x 22 Pr: Bottom ection missing; top right edge damaged; some

containing 3 half-fig. portraits. L-R: a woman (mostly

discolouration; general weathering to the front; loss of

lost); a boy in a t+s, with an apple in hi r/ h, on whose

some nose-tips

~

l I 1 p

s

B

CATALOGUE

S:

B: D:

Arched niche, framed by columns with Cor. capitals, containing 6 half-fig. portraits in 2 rows. Above, L-R: a man with a beard in a t+s; a woman in a t+m with earrings; a man in a t+s; a man with a beard in a t+s, perhaps with a scroll in hi 1/h. Below, heads of two boys. emeth (1971) 64 no. 179"; UEL no. 2751"* Severan ( UEL)

Precise find-spot unkno11'n L: Budapest, AM, Ea t Lap., inv. 1. .1 ( ept o ) T: Limestone medallion, 52 x 44 x 13 Pr: Small fragment broken along three ides; heavy weathering over the front; nose-tip lost; urface chip S: Medallion containing 3 half-fig. portraits. L-R: a man (mostly lost); a woman in a t+m; a boy(?) in a tunic. Both adults seem to place a hand on the shoulder of the boy. B: UEL no. 10600~ D: Based on stylistic compari on , mid 2nd to mid 3rd C #673 P: Precise find-spot unknown L: Budapest, M 1 1, AC, inv. unavailable (UEL) T: Limestone stela, 146 x 91 x 23 Pr: Bottom section mi ing; gable tip and right acroterion lost; damage to the column ; hea\'y weathering, esp. over the faces; surface/edge chip S: Rect. niche, framed by columns, containing 3 half-fig. portraits. L-R: a woman in at m; a girl in a tunic with a bird in her r/h and a econd object in the other; a man with a beard in a t+ who hold a croll in his Uh. The woman places her r/h on the boulder of the girl. Toe gable features a Gorgon and i tlariked b half-p acr.; the lower niche contain an abbreviated Totenmahl cene. B: UBL no. 3053"* D: Based on stylistic compari ons, mid 2nd to mid 3rd C

#672-#677

D:

Based on stylistic comparisons, mid 2nd to mid 3rd C

#675

Kiscelli ut 10/Korvin Otto ut 63 Budapest, AM, Taborvarosi Muzeum, inv. 70.10.5 (March 10) T: Limestone stela, 217 x 85 x 21 Pr: Surface/edge chips; general weathering to the front, with the loss of the nose-tips; some discolouration

P: L:

/:

D M / VAL PROCLIANVS VE / Q V A N LXX M X D X / AVRELlA PROCLA CONIV X ET FLAVIVS / PROCLIANVS MILES / LEG I ADIVT FILIVS / VNA CVM MATRE / PATRI

I F c = To the Spirits of the Departed. Valerius Proclianus, veteran, who lived for 70 years, 10 months and 10 days. Aurelia Procula, wife, and Flavius Proclianus, son, soldier in legio I Adiutrix, together with his mother saw to it being done for his dearest father. Rect. niche, framed by columns with Cor. capitals, containing 3 half-fig. portraits. L-R: a woman in a t+m; a child, mostly lost, on whom the woman places both of her hands; a man with a beard in a t+s who holds a scroll in his 1/h. The gable features a rosette and acanthus leaves and is flanked by half-p acr. The lower frieze depicts an abbreviated Totenmahl scene. B: AnnEpigr (1962) 25 no. 113; Garbsch (1965) 148 no. 106.6; AnnEpigr (1967) 110 no. 368; UBL no. 285ofl*; EDH no. 016645-; EDCS no. AE 1962, 00113 D: Based on the names and costume, 200-230 (UEL) CARlSSIMO

=676

P:

Lak'tanya ut Budape t, AM, Column Lap., inv. 63.10.60 (March 10) T: Lime tone tela, 105 x 65 x 20 Pr: Bottom section missing; damage along the top and left edge ; cracks in the central frieze; surface chips; severe weathering/mutilation, with the loss of the faces

L:

/:

#674 P: Becsi ut/Perenyi ut (west cemetery, grave 39) L: Budapest, AM, Depot, inv. 81.8.11 (March 10) T: Limestone stela, So x 76 x 18 Pr: Bottom/top left sections lost; heavy weathering and di colouration; surface/edge chips S: Rect. niche, framed by columns with Cor. capitals, containing 3 half-fig. portraits. L-R: a woman in a t+m with an apple in her r/h; a girl in a tunic with a bird in her hands; a man with a beard in a t+s(?) who holds a scroll in his 1/h. The gable is flanked by half-p acr.; the lower frieze contains an abbreviated Totenmahl cene. B: UEL no. 10538"*

301

B:

D:

DM / MEMO [RIAE---]/[---]F[---]

Rect. niche, framed by columns, containing 5 halffig. portraits in 2 rows. Above, L-R: a man in a t+s; a woman in a t+m with earrings; a woman in a t+m with earring . In front, 2 children on whom the first and third adult place their hands. The frieze below features an abbreviated Totenmahl scene. Garb ch (1965) 149 no. 106.13" ; emeth (1971) 46 no. 115; UEL no. 2852"*; EDCS no. Lupa 02852*Based on the co tume, 200-250 (UEL)

#677

P:

L:

Precise find- pot unknown Budapest, M M, Tent 4, inv. unavailable (UBL)

302

#678 - #68 1

CATALOGUE

T: Limestone stela, 74 x 106 x 20 Pr: Small fragment broken along the top and bottom sides;

J:

D M

general weathering, with the loss of the nose-tips and damage to the chins; surface/edge chips S:

B:

D:

FILIA / PARE TIBVS KARISSI/MJS TITVLVM DE SVO /

Rect. niche containing 4 half-fig. portraits. L-R: a woman in a t+m who adopts the 'arm-sling' pose; a girl in a tunic with an apple/pomegranate in her r/h; a man with a beard in a t+s who holds a scroll in his 1/h; a man in similar attire and pose to the previous one. Bark6czi (1985) 98'; UEL no. 3227•

RIS BENIG ISSIMIS = To the Spirits of the Departed. For Aurelius Maximus, veteran of legio Tl Adiutrix, father. And for Aelia Prima, mother. And for Aelia Ressilla, grandmother. Aurelia Ingenua, daughter, saw to this inscription being done from her own money for her dearest parents, (along with) Aurelius Valens, soldier in the legio II Adiutrix, for his kindest parents-in-law. Arched niche, framed by columns with leaf capitals, containing 5 half-fig. portraits in 2 rows. Above, L-R: two women, each in a t+m and perhaps with a hairnet; a man with a beard in a t+s who holds a scroll in his 1/h. Below, 2 boys, each in a t+s and with a scroll in their Uh. It seems that the two women behind place their hands on their shoulders. The frieze below featu res an abbreviated Totenmahl scene. At the very bottom is a large crater from which vegetation grows.

Based on the female hairstyle and costume, 200-250 S:

Becsi ut 102 (Fig. 84)

L: Budapest, AM, Column Lap., inv. 64.10.7 (Sept 07) T: Limestone stela, 250 x 98 x 16 Pr: Bottom left corner lost; chips over the inscription; light weathering; nose-tips and acroteria damaged D M // AVR BITO COR

LEG II AD / STIP XVIll BELLO DESI

VIXSIT / ANN XXXVIII M Ill ET VITAL FILIO / VTX A

'

CIL III 3678; Garbsch (1965) 149 no. 106.10"; UEL no.

B:

2992"*-; EDCS no. CIL 03, 03678'

!III M XI D XVIII ET BITILLE / FILI ET DALMATIO FJLIO ET QVI TILi/LIANO FILIO PO V AVRELIA Q

S:

B:

D:

'/TJLILA

co IV ET FILIBVS SVIS ME/MORIAM = To the pirit of the Departed. For Aureliu Bitu , comicen in legio II Adiutrix, of 18 years service. He died in battle having lived for 38 years and 3 months. Al o for italinu , son, who lived for 4 years, 11 month and 1 day ; and for Bitilla, daughter; and for Dalmatius, on; and for Quintililianus, son. Aurelia Quintilila et (thi ) up in memory of her husband and children. Double-arched rect. niche containing 2 full-fig. portraits. L-R: a boy on podium, dressed in a t+ , with a scroll in his 1/h; a man with a beard in a t+s who hold a shield, a sword and a scroll and who has a horn above his left shoulder. The top features a rosette, acanthus leaves and half-p acr. The central niche shows an abbreviated Totenmahl scene. CIL m 15159; Schober (1923) 73 no. 158*; Kuzsinszky (1934) 109 no. 217*; agy (1971) 117 no. 23•; emeth (1971) 52 no. 137; UEL no. 2846"\ EDCS no. CIL 03, 15159•Based on the costume and the names, 220-250 (UEL)

#679

Based on the names and the sagum type, 220-260

D:

(UEL) ~680

P:

Obuda (1869) 1M, Lap., inv. 6.1869-4 (Sept 07) L: Budapest, T: Limestone stela, 185 x 95 x 23 Pr: Bottom ection missing; heavy weathering/mutilation to the front, with the loss of the faces; damage to the columns; surface chips /:

S:

B:

P:

Precise find-spot uriknown Budapest, M M, AC, inv. RD 160 ( ept 07) T: Limestone stela, 230 x 78 x 23 Pr: Top of the gable and parts of the frame lo t; heavy weathering, esp. over the faces; pockets of erosion in the inscription; surface chip

AVR MAXIMO / VET LEG II ADI PATRI / ET AEL

FACJENDVM CVRAVIT / AVR VAL MIL LEG II AD I / SOC-

(UEL)

J:

f

PRIME MATRI / ET AEL RESSILLE AVIE / AVR INGENVA

L:

D:

D M / AVR AVLVPORI / VET LEG I AD [---] / AV R VITA LIS

[ ---] = To the Spirits of the Departed. For Aurelius Aulupor, veteran of legio I Adiutrix [---]. Aurelius italis [-- -]. Rect. niche, framed by columns with Cor. capitals, containing 3 half-fig. portraits. L-R: a wo man in a t+m who adopts the 'arm -sling' pose; a boy in a t+s with a bird in his 1/h; a man with a beard in a t+s who holds a scroll in his 1/h. The gable features a rosette and is flanked by mask acroteria. The niche below depicts an abbreviated Totenmahl scene. Desjardins and Romer (1873) 78 no. 156*; CIL III 10504; Garbsch (1965) 149 no. 106.11"; agy (1971) 127 no. 40•; UEL no. 2974"'; EDCS no. CIL 03, 10504•Based on the names and the costume, 220-280 (UEL)

# 681

P:

Tanu16 utca

....__

f

.....

---_--_-:::;___

--~ -

CATALOGUE #682-#686

Budapest, AM, East Lap., inv. 81.8-4 (Sept 07) T: Limestone stela, 71 x 85 x 16 Pr: Bottom section mi ing; ome di colouration; pockets of erosion in the main niche; general weathering acros the front, esp. to the face S: Rect. niche, framed by column \\ith leaf capital , containing 4 half-fig. portraits. L-R: a woman in a t+m who adopts the 'arm- ling' po e; a boy in a t+ with a bird in his hands; a girl in a t+m; a man with a beard in a t+s who ha a scroll in hi 1/h. The gable features a rosette and acanthus leave . B: UEL no. 5164"* D: Based on stylistic compari on , 3rd C(?)

L:

1

e

#682 P: Precise find-spot unknown L: Budapest, AM, Entrance Hall, inv. 64.11.142 (March 10) T: Limestone relief, 38 x 73 x 5 Pr: Bottom section and top left corner mi ing; surface/ edge chips; general weathering to the front, heavie t over the faces S: Rect. niche, framed by pilasters, containing 5 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m; a man in a t+s with a scroll(?) in his r/h; an older man with a beard in a t+t who holds a croll in his 1/h. Below, L-R: a boy with an object in his hands; a girl with an apple/pomegranate in her r/h. The garments of the children cannot be discerned but the first and third adults each seem to place a hand on their shoulders. The sides and back feature representation of tools (inc. an angle, han1mer and chisels). B: Kuzsinszky (1934) 192 no. 481; UEL no. 2932,v D: Based on stylistic comparisons, 3rd C

LS

1LO

in )ll

JY ed

,)

#684

Reused as a gravestone in a Jewish cemetery (Fig. 95) Budapest, Magyar Zsid6 Muzeum, inv. 64.1963 (Dec 09) Limestone relief, 76 x 144 x 14 Broken along the top and right sides; heavy weathering, esp. to the portraits (from which the details are lost); surface/edge chips [: D M / MEMORIAE PETRONIAE VALERIAE QD IN FLORE AETATIS co/NSTITVTAE QVAE VIXIT ANN XIII M XI D XV ET PETRO IO CAESIANO / QVI VIXIT ANN !III M V D VIIII ET PET CAESERIO QVI VIXIT AN / V M V D V ET PETRONIAE NONNOSAE QVAE VIXIT ANN II / M III D VIII PETRONIVS CENSRINVS ET AVRELIA MAXIM / PARENTES FILIS CARJSSIMIS FACIENDVM CVRAVER = To the Spirits of the Departed and the memory of Petronia Valeria, taken in the prime of her life, who lived for 13 years, 11 month and 15 days. Also fo r Petronius Caesianus, who lived for 4 years, 5 months and 9 days. And for Petronius Caeserius, who lived for 5 years, 5 months and 5 days. And for Petronia Nonnosa, who lived for 2 years, 3 months and 8 days. Petronius Censorinus and Aurelia Maximina, parents, saw to it being done for their dearest children. S: Rect. niche, framed by columns with Cor. capitals, containing 4 half-fig. portraits. L-R: a girl in a t+m with a mirror(?) or a flower(?) in her hands; a boy in a t+s with an object in his r/h; a boy in a t+s with an object in his r/h; a girl in a t+m and earrings. B: agy (1945) 134•; UEL no. 2929; EDCS no. Lupa 02929D: Based on the epigraphy, 3rd C (Nagy)

P: L: T: Pr.

""68;

s IS

303

#683 P: Becsi ut/Perenyi ut (west cemetery, grave 39) L: Budapest, AM, East Lap., inv. 81.7-28 (March 10) T: Limestone stela, 109 x 85 x 18 Pr: Severe weathering/mutilation to the front, with the loss of almost all of the portrait details; substantial surface/ edge chips J: AELIAE AETERNAE / VIX A, !II ET AELIAE / DOMANVLAE ET AEL / [.]o[.]v10 AELIA T[---] /[---] =For Aelia Aeterna, who lived for 3 years, and for Aelia Domanula, and for Aelius [---Jvius. Aelia T[---J . S: 4 half-fig. portraits in 2 rows. Above, a woman and a man in a t+s. Below, 2 children. The condition is too poor to discern any other details. B: AnnEpigr (2005) 419 no. 1257; UEL no. 10693•-; EDH no. 054741; EDCS no. AE 2005, 01257 D: 3rd C (AnnEpigr)

Precise find-spot unknown Budapest, AM, East Lap., inv. 86.11.3 (March 10) Limestone stela, 98 x 91 x 21 Top section lost; severe weathering, esp. to the faces; substantial urface/edge chips S: 5 half-fig. portraits in 2 rows. Above, a woman(?), a child and a man(?). Below, 2 children (inc. a boy in a t+s at the left?) upon whom the adults place their hands. The condition is too poor to discern any other details. B: UEL no. 10704• D: Based on stylistic comparisons, 3rd C P: L: T: Pr.

""686

P: L: T:

Precise find-spot unknown Budapest, AM, Depot, inv. 2004.1.90 (March 10) Limestone medallion, 61 x 57 x 15

CATALOGUE

#687-#691

and Quintus, of 7 years. Here they lie. Magissaes, parent, set (this) inscription up to the memory of his

Pr: Crack near top; general weathering to the front, esp. to S:

the faces; damage to the frames; urface chip Shell-backed niche containing 3 half-fig. portraits. L-R: a woman in a t+m who adopts the 'arm-sling' po e; a

S:

girl in a tunic; a man with a beard in a t+ who has a scroll in his 1/h. B: D:

B:

UEL no. 2733"* c. 235-c. 285 ( UEL)

sons. Square niche featuring 2 half-fig. portraits of boys, each in a t+s and holding the other's hand. With their free hands they hold whips. CIL 111 3695; Desjardins and Romer (1873) 107 no. 219*; chober (1923) 97 no. 209*; Braemer (1959) 30*; UEL no. 4063/\*; EDCS no. CIL 03, 03695*Based on the names and the inscription, 70-120

#687 P: Fort in Buda L: Budapest, AM, East Lap., inv. 73,9.13 ( ept 07)

D:

T:

" 690 P: Budafok (1816) (Fig. 2) L: Budapest, M M, Lap., inv. RD 127 (UEL) T: Limestone stela, 145 x 60 x 25 Pr: Light weathering; nose-tip lost; minor surface chips; damage to the bottom edge

Limestone stela, 51 x 52 x 24 Pr: Small fragment broken along all sides; heavy weatherS:

ing; surface/edge chips Rect.(?) niche containing at least 5 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m; a man in a t+s; a man in a t+s. Below, 2 boys, each in a t+s, the first of whom has an apple/pomegranate in his r/h.

(UEL)

/:

M VLPJVS / SABI VS V S / ET CL PVSINNA / PARENTES FIL / SABINAE A / XIIII H s E / D M = To the Spirits of the Departed. M. Ulpius Sabinus and Claudia Pusinna, parents, (did this) while living for themselves and for

agy (1950) 374*; UEL no. 10633* Based on the portrait style, mid 3rd C ( agy)

B: D:

#688 P: Late Roman fort (1998) L: Budapest, AM, East Lap., inv. unavailable ( ept 07)

T:

S:

Limestone stela, 186 x 84 x 18

Pr: Top missing; large horizontal crack through the mid-

B:

dle; discolouration over the front; severe weathering, esp. to the portraits; surface/edge chips Rect. niche, framed by pilasters, containing 5 half-fig. portraits in 2 rows. Above, L- R: a woman in a t+m with an apple(?) in her 1/h; a woman in a t+m and earrings who places her r/h on the child in front of her; a man with a beard in a t+s who has a scroll in his 1/h. Below, L-R: boy in a t+s with an apple in his hands; a girl in a t+m, also with an apple in her hands. The frieze below features an abbreviated Totenmahl scene.

S:

UEL no. 4557/\* Tetrarchic ( UEL)

B: D:

daughter Sabina, of 14 years. Here she lies. Rect. niche containing a half-fig. portrait of a girl in a t+m with an apple/pomegranate in her r/h and a bird in the other. The gable features a rosette. CIL m 3407; Desjardins and Romer (1873) 65 no. 127*; Schober (1923) 99 no. 214*; Nagy (1971) 115 no. 18*; UEL no. 2696"*; EDCS no. CIL 03, 03407Based on the names, coiffure and epigraphy, early to

D:

mid 2nd C #691

P:

Southern slopes of the Gellertberg (1847) (Fig. 77) L: Budapest, M M, Lap., inv. 31.1847,1 (Sept 07) T: Limestone stela, 230 x 80 x 12 Pr: Top of the gable lost; surface/edge chips; light weathering, heavier over the faces

/:

BROGIMARA / DALLONIS F / AN XXV ET IA/NTVNA FIL AN

II / H

Budapest #689

P:

Precise find-spot unknown

L: T:

Budapest, M M, Tent 1, inv. RD 219 (June 06) Sandstone stela, 236 x 80 x 23

S:

Pr: Face of second child lost; edge chip ; general weathering; some discolouration [;

SAETIBOLVS / AN Xlll ET QVI/ 'TV MAGISSAES / F PARE S / T PM=

AN YI! / H S E /

aetibolu , of 13 years,

s s MAG IO CONIV/GI ET FILIAE /

TM p =

Brogimara,

daughter of Dallo, of 25 years, and Ian tuna, daughter, of 2 years. Here they lie. Magio set this inscription up for the memory of his wife and daughter. Laurel medallion, framed by pilasters, containing 2 half-fig. portraits. The woman (left) and the girl (right) both wear belted tube dresses, neck.laces and bracelets. The woman, who also wears a bonnet and a mantle(?), places her 1/h on the shoulder of the child. The girl holds an apple in her 1/h. The gable features a Gorgon head; the central frieze depicts vines.

r-

, · - --- -~ -~

-

CATALOGUE

B:

D:

CIL 111 3594; Desjardins and Romer (1873) 109 no. 222A*; Schober (1923) 126 no. 277; UEL no. 788A*; EDCS no. CIL 03, 03594*-

#692-#69 6

T:

J: S:

Rect. niche, framed by column with Cor. capitals, containing 3 half-fig. portraits (originally there were almost certainly more). L-R: a child, mo tly lost; a woman in a t+m(?) and a bonnet; a man in a t+ with a croll in his 1/h and a set of styli in front of him. The gable features a rosette and acanthus leave . In the lower niche there is an abbreviated Totenmahl cene.

UEL no. 2758A\ EDCS no. Lupa 02 5

D:

Based on the male portrait and tyli tic compari on ,

>_

#693

T: Pr:

B:

Garbsch (1965) 163 no. 172.2A; UEL no. 4067 A*; EDCS

D:

no. Lupa 04067* Based on the costume, the male beard and inscription, 130-170 (UEL)

#695 P:

Find-spot unknown (from the Zichy collection)

L:

Budapest, AM, Column Lap., inv. 64.10.175 (March 10)

T: Pr:

Limestone stela, 136 x 57 x 19 Severe damage to the portrait, with the loss of all of

/:

the features; chips in the inscription; top of the gable missing D M / LVPO VIXIT / ANN IS / III ALE/XANDE/ R BM == To

Opposite the Csa zar-furdo thermal bath , Frartkel Le6

the Spirits of the Departed. For Lupus, who lived for 3 years. Alexander (did this) for the well-deserving. Arched niche, flanked by dolphins with tridents, con-

Str. 62-64 (1899) Budapest, AM, Column Lap., inv. 64.10. ( ept 07) Limestone stela, 95 x 61 x 16 Right acroterion mis ing; damage to the frame ; ome

taining a half-fig. portrait of a boy (drapery and other detail difficult to discern). The gable features grape bunches.

discolouration; surface chip ; no e-tip lo t /:

VET ET ELIA / DVBITATA ZE/

B:

To the pirits of the Departed. Manilius Rogatu , veteran, and Aelia

D:

Dubitata, parents, did (thi ) while living for their daughter Zebuca, of 10 year . Arched niche containing 2 half-fig. portraits. L-R: a

P:

D M / MA IL ROGA/TV BVCA FIL A

S:

Rect. niche containing 4 half-fig. portraits. L-R: a woman in a t+m with a necklace; a girl in a tunic on whom the woman places her r/h; a man in a t+s with a scroll in his 1/h; a man with a beard in a t+p who has a scroll in his 1/h. The gable features a rosette and acanthus leaves while the lower niche contains an abbrevi-

early to mid 2nd C

L:

D M/ [---]

ated Totenmahl scene.

M / [---]

B:

P:

Limestone stela, 82 (W) x 23 (D) heavy weathering to the front, esp. over the portraits;

weathering

[o]

305

surface/edge chips

"692 P: Esku ter (1898) L: Budapest, AM, East Lap., inv. 72.7.1 (Sept 07) T: Limestone stela, 113 x 58 x 22 Pr: Left and bottom ections lo t; surface chips; general

[: S:

---

Pr: Bottom section missing; top of the gable damaged;

Based on the names, the co tume and the monument type, 100-150 ( UEL)

-

X / PAREN VIYI / FEC ==

girl in a tunic who ha a band of jewellery in her hair (perhaps an allusion to the Isi cult) as well as an apple in her hands; a woman in a t+m who places both of her hands on the shoulders of the girl. At the top, half-p acr. B:

CIL

D:

15164*Based on stylistic comparisons, 2nd C(?)

III 15164; Kuzsinszky (1934) 102 no. 207; emeth (1971) 59 no. 159; UEL no. 2848A*; EDCS no. CIL 03,

#694 P: Find-spot unknown, but possibly Budapest L: Budapest, M M, Depot, inv. 62.51.1 (UEL)

CIL III 3600; emeth (1971) 48 no. 121; UEL no. 4062 A*; EDCS no. CIL 03, 03600*Based on the inscription, 100-200 (UEL)

F696

Esku ter (1898)

L: T:

Budapest, AM, Column Lap., inv. 66.11.43 (Sept 07) andstone tela, 84 x 74 x 25 Pr: Top/bottom ections lost; heavy weathering; some discolouration; surface/edge chips S: Rect. niche, framed by columns with Cor. capitals, containing 4 half-fig. portraits. L-R: a woman in a t+m; a boy in a tunic, with an apple or ball in his 1/h, upon whose shoulder the first woman places her r/h; a woman or a girl in a t+m with a blossom in her hands; a man with a beard in a t+s who has a scroll in hi s 1/h. In the lower niche there is an abbreviated Totenmahl scene.

B:

emeth (1971) 62 no. 170A; UEL no. 275711*

D:

everan (UEL)

.w: -

CATALOGUE #697-~702

306

#697 P: Gellertberg L: Budapest, M M, Depot, inv. unavailable (UEL) T: Sandstone stela, 86 x 95 x 21 Pr: Bottom section missing; gable top damaged; heavy weathering, esp. to the faces; surface/edge chips S: Rect. niche containing 3 full-fig. portraits(?). L-R: a man with a beard in a t+s; a girl (mostly lost); a woman in a t+m. The gable features a rosette and cornucopiae. B: Schober (1923) 98 no. 213 (incorrectly associated with an inscription); UEL no. 9841"* D: Based on stylistic comparisons, mid 2nd to mid 3rd C

S:

B:

D:

#698

P: L: T:

Marcius 15-e ter (1898) Budapest, AM, East Lap., inv. 73.9.4 (March 10) Limestone stela, 104 x 98 x 23 Pr: Top/bottom sections lost; surface/edge chips; general weathering, esp. to the hands S: Rect. niche, framed by columns, containing 3 half-fig. portraits (originally there may have been a fourth). L-R: a woman in a t+m; a woman in a t+m; a boy in a t+s, with a scroll in his Ith, on whom the preceding woman seems to rest a finger. In the niche below there is an abbreviated Totenmahl cene. B: 1agy (1950) 361*; agy (1971) 126 no. 38\ UEL no.

D:

I:

2756 11 * Early 3rd C ( agy)

#699 P: Eskil ter L: Budapest, AM, East Lap., inv. 81.8.2 (Sept 07)

T: Limestone stela, 54 x 102 x 21 Pr: Top/bottom sections lost; large vertical crack through the centre; head of the second adult mi sing; heavy weathering, esp. to the faces; surface/edge chips S: Rect. niche, framed by columns, containing 7 half-fig. portraits in 2 rows. Above, L-R: a man in a t+s; a man in a t+s; a woman in a t+m; a man in a t+t. Below, L-R: a boy, a girl and a second boy. The fir t three adults place a hand on the houlders of the children in front of them.

#701 P: Find-spot unknown (in the museum since 1994) L: Budapest, AM, East Lap., inv. 95.9.1 (Sept 07) T: Limestone stela, 70 x 94 x 30 Pr: Top and bottom sections lost; severe weathering and mutilation, with the loss of the portrait features; sur-

S:

B: D:

T: Limestone stela, So x 75 x 19 Pr: Top/bottom sections lost; hea, ' weathering and discolouration; surface chips

face/edge chips Rect. niche, framed by pilasters, containing 3 half-fig. portraits. L- R: a woman in a t+m who adopts the 'armling' pose; a girl in a t+m; a man in a t+s with a scroll in hi 1/h. A servant appears on each of the sides.

UEL no. 1068211* Based on tylistic comparisons and the female coiffure, early to mid 3rd C

#702

P: L: T:

Precise find-spot unknown Budapest, AM, Garden, inv. 2000.14.5 (Sept 07) Limestone stela, 155 x 91 x 22 Pr: Broken into three fragments; heavy weathering to the front, esp. over the faces; damage to the pilasters; surJ:

B: UEL no. 3036 11 * D: Based on the sagum and toga type, 200-230 (UEL) #700 P: Eskii ter (1898) L: Budapest, AM, Column Lap., inv. 63.10.125 ( ept 07)

D MI SEP MARI AE I CONIVG[I] / v[ ---] = To the Spirits of the Departed. For Septimia Marina, wife, who lived for[-- -) Rect. niche, framed by columns, containing 4 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m; a man in a t+s with a scroll in his 1/h. Below, L-R: a girl whose drapery cannot be discerned; a boy in a t+s. Both adults place their hands on the shoulders of the children. The niche below features an abbreviated Totenmahl scene. CJL III 14353.1; Garbsch (1965) 149 no. 106.1511 ; Nemeth (1971) 63 no. 175; UEL no. 2750"*; EDCS no. CIL 03, 14353,1*Based on stylistic comparisons, early to mid 3rd C

S:

face/edge chips D M / FL VRSVS BlARCVS / EX NVMERO EQVITES / DALMATAS [.)CE TVM I CIRPI QVI V[XIT AN L / ME m[r) D Xll AVR MVNI ![A c)ONIVGI DVL/CISSIMO ET AVR [vR) SINA / FILIA F c = To the Spirits of the Departed. Flavius Ursus, biarchus, once a member of the Dalmatian cavalry at Cirpi, who lived for 50 years, 4 months and 12 days. Aurelia Munnia saw to it being done for her sweetest husband and (ie. with?) Aurelia Ursina, daughter. Rect. niche, framed by pilasters with Cor. capitals, containing3 half-fig. portraits (originally there may have been a fourth at the left-hand side). L-R: a woman in a t+m with an apple in her 1/h; a girl in a tunic with an object in her hands; a man with a beard(?) in a t+s who has a scroll

CATALOGUE

in his 1/h. Both adults place their free hand on the shoulders of the girl. The gable is flanked by mask acroteria; the lower niche depicts an abbreviated Totenmah/ scene. On the bottom edge of the monument there i a mall crater from which ivy branches grow upwards. UEL no. 10559*Based on the military reference and tyle, 3rd C

B: D:

#703-#705

T:

307

Limestone stela, 183 x 120 x 24

Pr: Top/bottom sections lost; surface/edge chips; general weathering to the front

J:

D M / AEL MARCELLAE / CONIVGI PIE T VIX!T / AN XVI-

III ET AELIAE / VERAE SOCRE VIXIT / AN LV ET SIB! VIVS ET / AVR MAG !ANO FIL/ SVO MAR AVR ZOS IMVS / POSVIT / SI QVI HVIC TITVLO / MA VS INTVLERIT / EXTRA BO OS MORES/ OPTO TALE DOLOREM / [---]DAT[---)

#703

P:

Obuda? In the po e ion of the zapary family from 1830 and then tran ported to Albertir a in 1 7 . L: Budape t, M , Roman Lap., inv. 62. 0.1 ( ept 07) T: Limestone stela, 1 1 x 76 x 2 Pr: Damage to the central frieze; minor edge chip ; light weathering to the front, with the lo of the no e-tip

J:

[D M] / BO ' E MEMORIAE / CL MAXIMILLAE / QI VIXJT AN

XXV / ET DOM DO~f ' IO/ NI QVl DF EST IN / RETIA

CO IVG! EI/V

QI

A N XXXVII / AVR \'RBANA ET

I GENVA SORORI BE EMERE ' Tl // 1H IOPU A 'EITJUIO ET llHKOHA 'I

ET BH, ffiIMU ET Cl>EIAEin

, 'OITPfl

ru: 0Em: = To the pirits of the Departed. For the good memor of Claudia 1aximilla, who lived for 25 year . And for Domitiu Domnion who died in Raetia, her husband, who lived for 3 ·ear . Aurelia Urbana and lngenua ( et thi up) for their welldeserving ister // For the memory of Anastasius and Decusanus and Benjamin, our on. One od! One god! One god! (Greek text added at end of 4th century.) Rect. niche, framed by piral columns with Cor. capitals, containing 3 half-fig. portrai . L-R: a woman in a t+m; a girl(?) in a tunic with a bird in her hands and a menorah on her h t; a man ,1ith a beard in a t+m. The woman places her r/h on the shoulder of the girl; the man places hi 1/h on the woman' boulder. Between the adult i a menorah. The able featur a disc incised with a menorah and i flanked by half-p acr.; the lower frieze contain an abbreviated Totenmahl scene. (Menorah incisions are later addition .) CIL III 106n; Garbsch (1965) 14 no. 101"; Bilkei (1979) 27 no. 9" ; Kovacs (2005) 21 no. 214"'; UEL no. 3121" *; EDH no. 035901 "-; EDC no. CIL 03, 106u* 300-400 (UEL) EII 0El1I / EII 8El1I

S:

B:

D:

Campona ( agyteteny) #704

P: L:

Precise find-spot unknown Owned by the M M in Budapest but currently stored by the Kastelymuzeum in agyteteny, inv. 257.1 3,7 a+ b (Nov 09)

B: D:

= To the Spirits of the Departed. For Aelia Marcella, most devoted wife, who lived for 19 years. And for Aelia Vera, mother-in-law, who lived for 55 years, and for himself, living, and for Aurelius Magnianus, his son. M. Aurelius Zosirnus set (this) up. If anyone lays hands on this stone with intentions other than good, I wish them grief. Rect. niche, framed by columns, containing 4 half-fig. portraits. L-R: a woman in a t+m with a grape bunch in her hands; a woman in a t+m with a ring and a bracelet; a boy in a t+s, with an apple in his r/h, upon whose houlder the central woman places her r/h; a man in a t+ . The frieze below contains an abbreviated Toten mah/ cene, a well as representations of (left) an ascia and a et of compasses(?) and (right) an angle measure. CIL m 3403; Garbsch (1965) 150 no. 106.27" ; UEL no. 2780"'; EDCS no. CIL 03, 03403*2nd C (Garbsch)

= 05 P: Preci e find- pot unknown L:

Owned by the M M in Budapest but currently stored b · the Ka telymuzeum in agyteteny, inv. 62,72.1 (Nov 09) T: Limestone tela, 255 x 87 x 28 Pr. Top ection lo t; urface/edge chips; general weathering, esp. to the face (with the loss of some details); damage to the columns I: D :1-1 / SEPT rv ILE / co IVG! KARE Q VA XXV / P AELIVS / C01" TA / QVSTOR (custos?) ARMOR / LEG Ii ADIVT / \'IV SIB! FECI / ET co SATI E / FI LIE= To the Spirits of the Departed. For eptirnia Iunila, dear wife, who lived for 25 years. P. Aelius Constans, custos armorum in legio II Adiutrix, did (this) while living also for himself and for daughter Constantina. Rect. niche containing 3 half-fig. portraits. L-R: a woman in a t+m who adopts the 'arm-sling' pose and ha a necklace with a lunu/a pendant; a child (girl?), po ibly with an object in her hands; a man with a beard in a t+s around whose shoulder the woman places her arm. The niche below features an abbreviated Totenmahl scene.

308

B:

D:

CATALOGUE #706-#710

CIL 111 3399; Garbsch (1965) 150 no. 106.2811 ; UEL no. 2787'; EDCS no. CIL 03, 03399•2nd C (Garbsch)

#706 P: Precise find-spot unknown L: Owned by the M Min Budapest but currently stored by the Kastelymuzeum in agyteteny, inv. 84.23.1 ( OV 09) T: Limestone stela, dimensions unavailable Pr: Severe weathering and erosion across the front, with substantial damage to the portrait features; several surface abrasions and chips; breaks along the right edge I: [o] M / [--- ] S: Rect. niche containing 3 half-fig. portraits. L-R: a woman; a child (girl?); a man with a beard and a scroll in his 1/h. The drapery is now too damaged to be discerned. The frieze below contains an abbreviated Totenmahl scene. B: UEL no. 1140•D: Based on stylistic comparisons, late 2nd to 3rd C(?) #707

P:

Precise find-spot unknown Lost T: Stela, material and dimensions unknown Pr: Unknown (no image survives) [: M !VL PROBO VET LEG / II ADI QVI VIX A LIIII / PATRI ET C IVL HO ORATO / MIL COH ' STIP Ill FR / QVI V!XIT A ' XXII ET / AELlAE DECORATAE MATRI / VIVAE C IVL PROBIANVS / CAN LEG S S [TAM]QVAM ET / GETER! FRATRES PATRI ET FRATlRI ET] / MATRI VIVE FAC CVRAVERVT = For M. lulius Probus, father, veteran of legio II Adiutrix, who lived for 54 years. And for C. Iulius Honoratus, brother, soldier in cohors milliaria umidarium, of 3 years service, who lived for 22 years. And for Aelia Decorata, mother, living. C. lulius Probianus, candidatus in the above-mentioned legio, and his other brothers saw to it being done for their father, brother and living mother. S: 3 half-fig. portraits of a man, a woman and a child. B: CJL m 3398; Lorincz (2001) 277 no. 403 11 ; UEL no. 2789; EDCS no. CIL 03, 03398D: 200-250 (Lorincz)

L:

#708 P: Precise find-spot unknown L: Owned by the M M in Budape t but currently stored by the Kastelymuzeurn in agyteten , inv. 4.1859.5 (Nov 09)

T: Limestone stela, 48 x 84 x 27 Pr: Small fragment from the portrait niche; heavy weathering; surface/edge chips iche containing 5 half-fig. portraits. L-R: a man, a girl, two women and a man. Their garments are extremely damaged but the women may wear tunics and mantles and the men tunics and saga. The latter also hold scrolls in their left hands. B: UEL no. 1175• D: Based on stylistic comparisons, 3rd C(?) Gorsium (Tac)

#709 P: Reused in the floor of a building (Fig. 46) L: Tac, Gorsium Szabadteri Muzeum, inv. 62.763.1 (March 10) T: Marble stela, 215 x 102 x 23 Pr: Top/bottom sections lost; large cracks in the inscription; general weathering to the front J: D M / P AEL RESPECTVS / DEC MV VF S / ET VLP AMASIAE / CO IVG! AELIA / MATERIO FIL / ANN X H S E / PARE TES T M P = To the Spirits of the Departed. P. Aelius Respectus, decurio of the municipium, did (this) while living for himself and for Ulpia Amasia, wife. Aelia Materio, daughter, of 10 years. Here she lies. The parents set (this) inscription up to her memory. S: Rect. niche, flanked by herms(?), containing 2 half-fig. portraits. L-R: a woman with a tube dress, a bonnet, a neck.lace, earrings and an apple in her r/h; a girl in similar attire to the woman, also with an apple in her r/h. The niches at the bottom contain a satyr and a Maenad in the corners as well as two females holding various items in the centre (they may be the mother and daughter named in the inscription or else servants). B: AnnEpigr (1965) 5 no. 12; AnnEpigr (1972) 124 no. 430; Vidman (1975) pl. 17•; Susini (1982) tav. x11*; RJU 6 274 no. 154011 ; UEL no. 3586"'; EDH no. 017272 11 •-; EDCS no. RJU-06, 01540* D: Based on the names, costume and style, 140-180 (UEL) #710 P: Precise find -spot unknown L: Tac, Gorsium Szabadteri Muzeurn, inv. 10 815 (March 10) T: Limestone stela, 88 x 101 x 28 Pr: Bottom section missing, inc. large part of the portrait niche; top of the gable damaged; light weathering across the front; nose-tips lost S: Rect. niche, framed by columns with Cor. capitals, containing 4 half-fig. portraits (originally there may

1

I

#:

P: L:

T: Pr

S:

;

~·-

------

--

CATALOGUE #711-#715

a woman in a tube dress and a bonnet who holds a

have been more). L-R: a man, ith a beard in a t+s(?); a woman in a tube dre ; a child (girl?), mostly lost; a man with a beard in a t+ who hold a croll in his l/h. The gable, , hich is flanked b half-p acr., feature enu , Adoni and\ ulcan(?). B:

UEL no. 30 6/\•

D:

Ba ed on tyli tic comparisons, mid 2nd to mid 3rd C

:711

P:

Precise find- pot unknown Tac, Gor ium zabadteri uzeum, in,·. unavailable due

L:

swaddled baby in her arms; a man in a t+s. The gable features a rosette. Bark6czi (1954} 288 no. 60"*; UEL no. 3985* Ba ed on stylistic comparisons, mid 1st to 2nd C

B:

D:

:714

P: ineyard ofJ. Herrmann L: Budapest, M M, Roman Lap., inv. 22.1905.31 (Sept 07) T: Limestone relief, 106 x 123 x 21 Pr. Heavy weathering and mutilation to the front, with the lo s of all of the adults' heads; damage to the frames;

to restructuring at the museum (~larch 10)

urface/edge chips quare niche containing 5 seated full-fig. portraits. L-R: a woman in a bonnet, a tube dress and a mantle

T:

Lime tone tela, 36 x 56 x 26 Pr: Small fragment from the portrait niche; hea, weather-

S:

ing; surface/edge chip Rect. niche containing 3 half-fig. portrai (originall there were probably mo re). L-R: a woman in a h-m; a child in a tunic, with fruit in both hands, on whom the first woman places her r/ h ; a woman in a t m, perhap

who has bracelets, a necklace and an apple/pomegranate in her r/h; a man in a t+s, with a whip in his r/h, upon whose shoulder the first woman places her 1/h; a woman in similar attire to the first one but with an apple in her 1/ h; a boy in a tunic who sits on the lap of the woman and on whose head she places her r/h;

with an apple in her r/h.

B: D:

UEL no. 10464' Based on styli tic compari on , late 2nd to mid 3rd

a man in a t+p who places his hand on the shoulder of

C(?)

B: D:

#712

P: L:

T: Pr:

S:

Precise find-spot unknown Tac, Gor ium zabadteri Muzeum, inv. 10 04 (;\larch 10) Limestone relief, 81 x 60 x 22 Fragment broken along all of i ide ; eneral weathering acros the front; no e-tip and cheek of the child damaged 2 full-fig. portraits (originally there may have been more). L-R: a girl in a t+m \\ith pearl-adorned jewellery in her hair and a casket in her hand ; a man in a t-1.t

B:

UEL no. 4575•

D:

Based on stylistic compari on , late 2nd to 3rd C(?)

lntercisa (Dunaujvaros)

the adjacent woman. Bark6czi (1954) 304 no. 172" *; UEL no. 3945* Ba ed on stylistic comparisons, mid 1st to 2nd C

= 15 P: L: T: Pr.

Late Roman grave in vineyard of Istvan Kincses

M, Tent 6, inv. 73.1908.1 (UEL) Budape t, Limestone tela, 152 x 93 x 22 Top ection lo t, inc. the heads; damage to the bottom left comer, with large section missing; heavy weathering; everal urface chips

1:

with a scroll in his l/h. He places hi r/h on the boulder of the girl.

OTIO\ A lXIT / AN XII ET REGILlA / A ![!]II HS SVNT / L"'- i\'ARI\'S OT10/ [v] 'A P[A]RVIS SIB! / [v1v1] POS\'ER\'KT = Otiouna, who lived for 12 years, and Regilia, of 3 years. Here they lie. Januarius and Otiouna set (thi ) up while living for themselves and their small ones (i.e. children).

S:

#713 P: Vineyard Hauser

Rect. niche, framed by columns, containing 4 half-fig. portraits in 2 rows. Above, L-R: a woman in a tube dress with drapery or a mappa in her l/h; a girl in a tube dress with a fruit basket in her hands; a man in a t+s

C, inv. 73.1909.2 (UEL)

L:

Budapest, M M,

T:

Limestone stela, 107 x 119 x 17

Pr: Bottom section missing; diagonal crack in gable and main niche; severe weathering/ mutilation, with the lo of the faces; damage to the columns; surface/edge chips S:

_.

- _

-

- - - - - - - - - -- - - -

with a scroll in his 1/h. Below, intruding into the lower niche, a girl with a bird in her hands. To her side is an abbreviated Totenmahl scene. B:

Rect. niche, framed by columns with Cor. capitals, containing 4 half-fig. portraits. L-R: a man in a t+s;

D:

Bark6czi (1954) 287 no. 56"*; RIU 5 210 no. 1251"; Boatwright (2005) 300*; UEL no. 3578*; EDH no. 037399- ; EDCS no. RIU-05, 01251* Based on the epigraphy, mid 1st to 2nd C

310

CATALOGUE #716-#721

#716

B:

P: L: T:

D:

Vineyard of Karoly Tiszuczky Budapest, M M, AC, inv. 22.1905.23 (Sept 07) Limestone stela, 193 x 94 x 25 Pr: Damage to the top and right edges; cracks across the front; heavy weathering/mutilation, with the loss of the heads; surface/edge chips J: P AELIVS VITA/ LIS A Xlll ET / P AELIVS VIC/TOR A I H s s M I VL IA VARIVS / FILIS P = P. Aeliu Vitalis, of 13 years, and P. Aelius Victor, of 1 year. Here they lie. M. Ulpius lanuarius set (this) up for his sons. S: Rect. niche, framed by pilasters, containing 2 half-fig. portraits. L-R: a man or a boy in a t+p plus cloak I ho has a scroll(?) in his 1/h and a small, circ. object in the other; a boy in a t+p with a grape bunch in his r/h. The gable features a rosette and is flanked by half-p acr.(?) B: Schober (1923) 100 no. 219*; Bark6czi (1954) 289 no. 65"*; RJU 5 114 no. 1156 1'; UEL no. 3516 11 *; EDH no. 037290-; EDCS no. RIU-05, 01156* D: 100-150 (UEL) #717 P: Vineyard Hauser L: Budapest, M M, Tent 4, inv. 110.1908.2 (UEL) T: Limestone stela, 112 x 104 x 24 Pr. Top left and bottom ection mi ing; heavy weathering/mutilation over the front, with the lo of the faces; several surface chips S: Rect. niche, framed by column , containing 3 eated full-fig. portraits. L-R: a woman in a tube dre and a bonnet who has a fruit basket in her r/h; a girl in a tube dress with a flower(?) in her 1/h; a man in a tunic and local gown with a scroll in hi 1/h. The gable features a fruit basket. Above it there are marine creatures. B: Schober (1923) 76 no. 163; Bark6czi (1954) 288 no. 59 11 '; UEL no. 3112* D: 2nd C (Schober) #718

P:

Vineyard Hau er Budapest, M M, Tent 2 and 5, inv. 90.1909.5 (UEL) Lime tone stela, 95 x 82 x 19 Pr: Recon tructed from three fragment but with the bottom ection lo t; general weathering to the front; surface/edge chip J: CEN[---] / [---] S: iche containing 3 half-fig. portrait . L-R: a woman in a bonnet; a boy(?) in a tunic; a man in a t~ (?) with a scroll(?) in his 1/h and a dagger(?) under hi right arm. The adults are joined via the dextrarum iunctio. L: T:

Bark6czi (1954) 285 no. 41 11 *; RIU 5 174 no. 1214 11 ; UEL no. 3966*; EDH no. 037343-; EDCS no. RIU-05, 01214* Based on stylistic comparisons, 2nd C(?)

#719

P:

Vineyard Hauser L: Budapest, MNM, Tent 2, inv. 26.1910.1 (UEL) T: Limestone stela, 188 x 115 x 15 Pr. Top/bottom sections lost; large crack through the centre; surface/edge chips; general weathering J: D M / M ANTONIVS CE/ SORINVS DO/MO APAMIA AN LXXX / ET MA TONIVS OPT/ATVS NEPOS E!US / AN VII H [s] S ET VLPI[AE] / ZOSIMEN VIVAE / CONIVGI EIUS I M A TONIVS MA [R] /CIA 'VS PARENTI[Bv]s / ET FILIO EO [RvM] / [F c] = To the Spirits of the Departed. M. Antonius Censorinus, native of Apamia, of 80 years, and M. Antonius Optatus, his nepos, of 7 years. Here they lie. And for Ulpia Zosimena, his living wife. M. Antonius Marcia.nus saw to it being done for his parents and son. S: Rect. niche, framed by columns, containing 3 half-fig. portraits. L-R: a woman in a t+m; a boy in a t+s with a croll in his 1/h; a man in a t+s. The woman places both of her hands on the shoulder of the boy. The niche below features genii with garlands. B: Bark6czi (1954) 289 no. 68 11 *; RJU 5 114 no. 1158 1\ UEL no. 3517*; EDH no. 037292-; EDCS no. RIU-05, 01158* D: 101-200 (EDH) #720 P: Vineyard Tiszuczky (1905) L: Budapest, MNM, Garden, inv. 22.1905.20 (UEL) T: Limestone stela, 118 x 74 x 19 Pr: Bottom section missing; damage to the left acroterion; crack through the portrait niche; general weathering to the front; surface chips Rect. niche, framed by columns with Cor. capitals, containing 4 half-fig. portraits in 2 rows. Above, 2 men, each with a beard and dressed in a t+s; the first places his hand on the child in front while the second holds a scroll in his 1/h. Below, a boy in a tunic and a woman whose drapery is lost. The gable features a rosette and is flanked by half-p acr. B: Bark6czi (1954) 292 no. 90*; UEL .no. 3939* D: Based on stylistic comparisons, mid 2nd to early 3rd C "721

P: L: T:

Orehegy Budapest, M M, Roman Lap., inv. 6.1926.96 (Sept 07) Limestone medallion, 61 x 54 x 15

CATALOGUE : 722-;;725

Pr. Right edge missing; heavy weathering over the front, with the lo of ome facial feature ; damage to the frames; surface chip Medallion containing 4 half-fig. portrait . L-R: a woman in a t m who has earring and a neckla e with a lunula pendant; a bo · in a t \\i th a bird in hi r/h; a woman in imilar attire to first one; a man ,dth a beard in at+ ·ho hot a croll or part of his drapery in hi Uh. B: Ferri (1933) 21 /Ii . 2 - "; Bar ·6czi 195 295 no. 109" ~; UEL no. 4003A~ D: Based on the female hair -le, eYeran ( UEL) #722 P: Vineyard of F. z6rad L: Budapest, i\1, Roman Lap., inv. .190 .2 ept o ) T: Limestone stela, 2 x 59 x 16 Pr: Top section lost, inc. the adult' head; damage to the bottom edge; light weatherin · no e-tip lo t; urface chips [: D MII SEPTIMlAE / CO,· TAXTI:.AE CO. "I\'GI Q \' / A.', •• XXXII ET AVREL!AE / FLORE.;TIXAE FILIAE Q ,, A.'\X I M AVR BA V / F C = To the piri of the Departed. For Septimia Con tantina, wife, who liYed for 32 ·ear , and for Aurelia Florentina, daughter, who lived for 1 ·ear. M. Aurelius Bas us aw to it being done. S: Rect. niche, framed by column , containing 2 half-fig. portrait . At the back, a woman in a t·m place both of her hand on the shoulder of the girl in front The latter wears a t+m and has earring . Ivy leaY frame the inscription. B: Bark6czi (1954) 290 no. 74M; RI 5 216 no. 125 ; UEL no. 3579*; EDH no. 03 404-; ED no. RJU-05, 0125 D: Mid 2nd to 3rd C (EDH)

B:

D:

#72 3 Vineyard of Karoly Tiszuczky (Fig. 65) L: Budapest, M M, C, inv. 22.1905.13 ( ept 07) T: Limestone stela, 175 x 72 x 21 Pr: Bottom right corner damaged; surface chip ; general weathering, esp. to the face ]: D MII MAVR RVFI IA O Q V/ A ' X FILIO ITEM / AVRE· LIAE RVFINAE / FILIAE SVPERSTITI / M A R R\'Fl:\'V / MIL LEG I ADI / ET VLPIA FIRM! A / co nvxx El\' PARENTES SIB! / QVOQVE / POSVERVNT = To the pirits of the Departed. For M. Aurelius Rufinianu , on, who lived for 10 years. Likewise for Aurelia Rufina, li\ing daughter. M. Aurelius Rufinus, soldier of the legio I Adiutrix, and his wife Ulpia Firmina, parents, et (thi ) up (for their children) and also for them eJye .

Square niche, framed by pilasters, containing 4 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m; a man with a beard in a t+s who holds a scroll in his 1/h. Below, L-R: a boy in a t+s; a girl in a t+m. Both adults place their hands on the shoulders of the children. The gable feature a rosette and is flanked by half-p acr. Bark6czi (1954) 283 no. 28 11 *; Bark6czi (1985) 102*; RIU 5 160 no. 120011 ; UEL no. 3549*; EDH no. 037332-; EDCS no. RIU-05, 01200* Mid 2nd to mid 3rd C (EDH), but probably Antonine.

= 24 P: L: T:

ineyard of Istvan Kincses Budapest, M, Tent 6, inv. 73.1908.2 ( UEL) Lime tone tela, 194 x 67 x 18 Pr: Recon tructed from everal fragments but with the bottom ection lo t; several cracks through the portrait niche; damage to the columns; heavy weathering, esp. to the faces; urface/edge chips J: AEL CESVll!ARI/us LIBBO IS [F) / SIB! ET CO!VG[I) / ET FILIO VIVO / POSVIT = Aelius Cesumarius, son ofLibbo, et (thi ) up for himself, his wife and his living son. Rect. niche, framed by columns with Cor. capitals, containing 3 half-fig. portraits. L-R: a woman in a tube dress(?), a mantle and a bonnet(?); a boy with a bird in his hands; a man in a t+s with a scroll in his 1/h. The gable, above which there are lions, features a Gorgon head. B: Bark6czi (1954) 290 no. 7111*; RIU 5 106 no. 115211 ; UEL no. 3,12'; EDH no. 037289- ; EDCS no. RIU-05, 011s2* D: ~lid 2nd to 3rd C (EDH) =725

P:

Grave 1110 Dunaujvaro , lntercisa Muzeum, Entrance Hall, inv. 5.65.1 ( ov 09) T: Limestone tela, 141 x 70 x 20 Pr. Bottom section missing; damage to the gable; surface/ edge chip ; general weathering, esp. to the faces J: D ! // MEMORIAE AYR BARBAE / VET LEG II AD ET AYRELI / PROB!A 'O MIL LIEG [sic] ss / GAVDENTIO ET FIRM! 1/ Al'\0 Q\1 IX ANN VIII / AVREL!A HERACL!A LI/BERTA EX T TAME!N[T)o F c = To the Spirits of the Departed and the memory of Aurelius Barba, veteran of legio II Adiutrix, and for urelius Probianus, soldier in the above-named legio, and for Aurelius Gaudentius and for Aurelius Firminianus, who lived for 8 years. Aurelia Heraclia, freedwoman, saw to it being done according to the will. S: Rect. niche, framed by pilasters, containing 4 half-fig. portraits. L- R: a man; a man with a beard; a boy with a L:

P:

311

312

B: D:

CATALOGUE #726 - :;;729

scroll in his r/h; a man with a beard and a scroll in his l/h. Each of them wears a t+s. The gable features a rosette and acanthus leaves; the frieze in the middle contains an abb reviated Totenmahl scene. AnnEpigr (1971) 112 no. 339; RIU 5 138 no. 1179A; UEL no. 3528/\*; EDH no. 011566A-; EDCS no. RIU-05, 01179' Mid 2nd to 3rd C (EDH)

#726 P: Reused in grave 815 L: Dunaujvaros, Jntercisa Muzeum, Entrance Hall, inv. 67.2.344.6 ( ov 09) T: Limestone stela, 139 x 50 x 24 Pr: Damage to the right edge; heavy weathering to the front; surface/edge chips J: D M / AVREL SALA/MAT! VET EX rv/CEN [sic] CIVI AEDES / QVI VIX AN IS LXX / I HIS MJL!TAVIT / A XL AYR PVS/rNTVLVS GE ER/ [E]X [-- -] F[Ac] cv[R] = To the Spirits of the Departed. For Aurelius Salamas, veteran, formerly ducenarius of the civis Aede sitanus. He lived for 70 years and erved for 40. Aurelius Pusintulus, son-in-law, saw to it being done according to the will. S: Arched niche containing a half-fig. portrait of a man with 2 half-fig.(?) portraits of children beneath him. It is not pos ible to discern their garments. B: AnnEpigr (1971) 113 no. 343; RIU 5 162 no. 1201A; UEL no. 3550A*; EDH no. 011578A-; EDCS no. RIU-05, 01201' D: Mid 2nd to 3rd C (EDH) #727 P: Vineyard Tiszuczky (1905) L: Budapest, M M, Garden, inv. 22.1905.27 (UEL) T: Limestone stela, 112 x 88 x 13 Pr: Top left corner and bottom sections mis ing; large diagonal crack through the main niche, with the loss of the male's head; general weathering to the front, esp. over the portraits; surface/edge chip S: Rect. niche, framed by columns, containing 3 half-fig. portraits. L-R: a woman in a t+m; a girl in a t+m; a man in a t+s with a croll in his l/h. The frieze below features an abbreviated Totenmahl scene. B: Bark6czi (1954) 292 no. 89'; UEL no. 3941/\* D: Based on stylistic compari ons, mid 2nd to mid 3rd C #728 P: Vineyard Hauser L: Budapest, M M, Depot (north cellar), inv. 50.1909.1 (UEL) T: Limestone stela, 180 x 72 x 18

Pr: Fragment broken along the top, right and bottom sides, with most of the portrait niche lost; general weathering across the front; surface chips; damage along the left edge J: MAVR PRIM[O QVJ v1]/x AN LETT[- --] / MVIXANXXXXV [ET A]/MME SORO[RI QVAE] / VIX AN X ET [AVRELI] /AE FLORE Q[VAE vrx] / A PARVM M [AVREL] / PRIMIANV[S MILES] / CHO HE PA[RE T!BVS] / BENEMERE[NTIBVS POS] = For M. Aurelius Primus, who lived for 50 years, and for T[---J, mother, who lived fo r 45 years, and for Amma, sister, who lived for 10 years, and for Aurelia Flora, who lived for scarcely one year. M. Aurelius Prin1ianus, oldier in cohors milliaria Hemesenorum, set (this) up for his well-deservi ng parents. S: Rect. niche, framed by columns, containing 3 half-fig. portraits (originally there were probably more). L-R: a woman in a belted tunic; a child in a tunic with a bird in both hands; a man in a t+p with a cup in his 1/h. The niche below features an abbreviated Totenmahl scene. B: Bark6czi (1954) 280 no. 15A*; RJU 5 158 no. 1197A; Lorincz (2001) 259 no. 341A; UEL no. 3546*-; EDH no. 037330; EDCS no. RIU-05, 01197* D: Based on the military reference, early 3rd C (Lorincz) ;;729 P: Vineyard of Karoly Tiszuczky (Fig. 90) L: Budapest, M M, Roman Lap., inv. 22.1905.12 (Sept 07) T: Limestone stela, 193 x 89 x 14 Pr: Top left corner missing; some discolouration; erosion over the inscription; general weathering to the front, esp. to the faces; surface/edge chips [: D M / AVRELIAE BARACHAE [v] IX!T / ANN XXXV ET AVRHL [sic] GER/MA[ ]ILLAE VIXIT / ANN rm ET ALTERA/ FILIA AVRELIA GER/MA ILLA VI[XIT] ANN/ !I ET IMMOSTAE MATRI sv/E VIXIT A 'N LX GERMAN/rvs VALE S MIL COH M HEM/ES VXORJ ET MATRI ET FI/UIS POSVIT ET SIB! VVIVS [sic] FECIT = To the Spirits of the Departed. For Aurelia Baracha, who lived for 35 years, and for Aurelia Germanilla, who lived for 4 years, and other daughter Aurelia Germanilla, who lived for 2 years, and for mother Immosta, who lived for 60 years. Germanius Valens, soldier in the cohors Hemesenorum, set (this) up for his wife, mother and children as well as himself. He did this while living. S: iche, backed by a mussel shell and framed by columns with Cor. capitals, containing 5 half- fig. portraits in 2 rows. Above, L- R: a woman in a t+ m; a woman in a t+m, with a neckband, upon whose shoulder the first woman rests her 1/h; a man with a beard in a t+s. Below: 2 girls in tun ics upon whose shoulders the woman and

r·

~ _-

-

...

- - - - - - -- - -

CATALOGUE #730 - #734

man behind rest hands. The man al o place a hand on the shoulder of the central woman. At the top are dolphin while in the middle frieze there i an abbreviated Totenmahl scene. At the bottom there is a crater from

B:

D:

Schober (1923) 101 no. 222*; Bark6czi (1954) 284 no. 34"*; RJU 5 140 no. 1181 1\ UEL no. 3530•; EDCS no. RIU-05, ou81*200-250 (UEL)

which ivy leave grow upwards. B:

AnnEpigr (1906) 34 no. 10 ; chober (1923) 93 no. 198*; Bark6czi (1954) 2 1 no. 19A' ; AnnEpigr (19 3) 221 no. 782; RJU 5 120 no. 1161"; Boah1Tight (2005) 311'; UEL no. 3518"'; EDH no. 000529" and 021905" -; EDCS no.

D:

RJU-05, 01161' 200-250 (UEL)

#730 P: Vineyard of Karoly Ti zuczky (Fig. 5) L: Budapest, M !, C, inv. 22.1905.14 ( ept o ) T: Limestone stela, 132 x 59 x 21 Pr: Damage to the gable; general weathering over the front, esp. to the faces; urface chip ; bottom edge missing T: D M / CL A TO IV / VIXJT ANNI / V A."ffONlN/ VS RSSVS / VEXJLLAR!\' / F[I)L ~lR p = To the piri of the Departed. Claudius Antonius, who lived for 5 years. Antoninus Ru us, vexillarius, et (this) up to hi deserving son. S: Square niche, framed by caled column with leaf capitals, containing 2 half-fig. portraits. L- R: a bo • in at+ with a grape bunch in hi r/h; a man with a beard in a t+s who place hi 1/h on the boy' boulder. The gable features a ro ette and bird ; the in cription i framed b ' vines with grape bunche . B: Schober (1923) 105 no. 230; Ferri (1933) 216 fig. 26 ' ; Bark6czi (1954) 2 4 no. 35" '; RIU 5 1 no. 121 "; UEL no. 3559"*; EDH no. 03 34 - ; EDCS no. RIU 05, 0121 D: 200-250 (UEL ) #731

P: L: T: Pr:

J:

S:

Vineyard of Karoly Ti zuczlry Budapest, M M, Roman Lap., inv. 22.1905.5 ( ept o ) Limestone stela, 120 x 42 x 15 Bottom left corner and top of the gable missing; general weathering to the front, esp. to the face; surface chips; nose-tip lost D M / AYR CAS/SlA O FILIO / VIX ' IS / IIII AYR SIL/ VA VS B/ [F] TRIB PA/ [TER] B [MP] = To the pirits of the Departed. For Aurelius Cassianus, on, who lived for 4 years. Aurelius Silvanus, beneficiarius tribuni, father, set (this) up for his well-deserving so11Square niche, framed by columns with leaf capitals, containing a half-fig. portrait of a boy in at+ with a croll in his 1/h. The gable features a rosette and is flanked by half-p acr.; the inscription is bordered by ivy vines.

#732 P: Precise find-spot unknown L: Uncertain. The UEL lists the stone as belonging to the SIKM in Szekesfehervar (inv. 50.148) but in Dec 09 1 wa informed that it is not there. T: Limestone stela, 75 x 97 x 14 Pr. mall fragment broken along three sides; surface chips; heavy weathering to the front, esp. over the faces Rect. niche, framed by columns, containing 4 halffig. portraits in 2 rows. Above, two women, each in a t+m. Bel01 , nvo boys, each in a t+s. The adults place their hands on the shoulders of the children. The frieze below feature an abbreviated Totenmahl scene. B: Bark6czi (1954) 292 no. 88*; UEL no. 4ou• D: Based on the sagum type, 200-250 (UEL) =733

P: ineyard of Karoly Tiszuczky (Fig. 82) L: Budapest, M M, Roman Lap., inv. 22.1905.3 (Sept 07) T: Limestone stela, 185 x So x 20 Pr. General weathering across the front, esp. to the portraits; damage to the pilasters and frames; chips in the in cription J: D M // AEL fVNATIO / CAPS COH HEMS / STVP XXVIII DO:\! / AM AVR CA SA/VNA CO ANT / BASSO VEX EC HER / A CTISS CO 'IVG[ !) / CON SE NATIBQ SVIS / FECIT / M M = To the pirits of the Departed. For Aelius Iunatius, capsarius of the cohors Hemesenorum, of 28 year ervice, a native of Samosata. Aurelia Cansauna, wife, with Antonius Bassus, vexillarius, second heir, set up this monument for the memory of her most pious hu band and for herself and her children. Rect. niche, framed by pilasters, containing 6 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m whose breast is bared and who holds a swaddled baby in her arms; a man with a beard in a t+s. Below, L-R: a girl in a t+m; a girl in a t+m; a boy in a t+s. B: AnnEpigr (1906) 35 no. uo; Schober (1923) 99 no. 216*; Bark6czi (1954) 280 no. 18"*; RIU 5 108 no. 1153"; Boatwright (2005) 287*; UEL 3513"*; EDH no. 021914"-; EDCS no. Rru-05, 01153• D: 240-260 (UEL)

= 34 P: ineyard Sz6rad as cover for a late antique grave

CATALOGUE #735-"738

314

Budapest, MNM, Tent 7, inv. 97.1913 (UEL) Limestone stela, 179 (H) x So (W) Pr: Right and bottom sections missing; severe weathering/ mutilation over the front, with the loss of the heads; damage to the frames and acroteria; surface chips; some discolouration S: Rect. niche, framed by columns with Cor. capitals, containing 4 half-fig. portraits. L-R: a man in a t+s with a scroll in his 1/h; a boy in a t+s with a bird(?) in his hands; a woman in a t+m; a man in a t+ who writes on an unrolled scroll using a tylus. The , oman places her hand on the final man. The gable features a Gorgon head and is flanked by hippocampi; the lower niche contains an abbreviated Totenmahl scene. B: Bark6czi (1954) 292 no. 85"*; UEL no. 3971* D: Based on stylistic comparisons, 3rd C L: T:

/:

S:

B:

Matrica (Szazhalombatta)

#735

D:

D M / CL I GENVS / BVC COH MAYR / ET FLA PAVLINA CO / VIX AN XXVI / ET CL PAVLINVS / [ET CL] INGE[N] VA I [SIBI VJVVS ET] co 'IV/ [ET FILJS SVIS P] = To the Spirits of the Departed. Claudius Ingenuus, bucinator in the cohors mi/liaria Maurorum, set (this) up while living for himself, his wife and his children: Flavia Paulina, wife, who lived for 26 years, and Claudius Paulinus and Claudia Ingenua. Rect. niche, framed by columns with Cor. capitals, containing 4 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m; a man with a beard in a t+s who has a croll in his l/h. Below, L-R: a boy in a t+s; a girl in a t+m with an apple in her hands. The gable features a Gorgon head; the central niche has an abbreviated Totenmahl scene. AnnEpigr (1982) 217 no. 816" ; RIU 6 162 no. 14341\ Lorincz (2001) 270 no. 380" ; AnnEpigr (2001) 546 no. 1682; UEL no. 3143"*-; EDH no. 001005; EDCS no. RIU06, 01434 Based on the military reference, 180-200 ( UEL)

P:

Roman camp (Fig. 27) L: Budapest, M M, Tent 2, inv. 226.1873,15 (UEL) T: Limestone stela, 102 x 49 x 12 Pr: Top, right and bottom ections mi ing; horizontal crack through the portrait niche; general weatherin mutilation over the front, with the lo of the portrait features; surface chip [: D [M] // AEL SVRA POSV[IT] / 1ATR1 VAE M(A]/MT .EA LA [sic] = To the Spirits of the Departed. Aelia ura et (this) up for her mother Mamertina, of 60 years. S: Rect. niche, framed by column , containing 2 half-fig. portraits (originally there were probably more). L-R: a girl in a tunic with an apple/pomegranate in her 1/h; a woman in a t+m with poppy-heads in her 1/h. She places her r/h around the girl's boulder. Below is an abbreviated Totenmahl scene. The gable features a rosette. B: CIL III 10376; Garbsch (1965) 159 no. 147"; RJU 6 158 no. 1431"; UEL no. 3060"*; EDH no. 032002"; EDCS no. CIL 03, 10376*D: Ba ed on the names, 130-250 (UEL) #736 P: Boom west of the camp (1977) L: Szazhalombatta, Matrica Muzeum, Garden, inv. 95.3.6 (March 10) T: Limestone stela, 180 x 78 x 24 Pr: Bottom section missing; damage to the ide and gable; several surface chips and abra ion ; general weathering to the front, esp. over the portrait

#737 P: outh of the military cemetery as cover for a late antique grave (1957) L: zekesfehervar, SIKM, Lap., inv. 67-2.1 (Dec 09) T: Lime tone stela, 158 x 116 x 26 Pr. Top section lost, inc. most of the portraits; cracks in the incomplete inscription; general weathering; vertical crack in centre; surface/edge chips [: D M / SEPT OCNA VIX[IT] / AN XXXV ET VL[PIAE / EM] ER!TAE FILIAE / EI[vs] VIXIT AN XII / ET AE[LIO ---] LIO F[IL] EIVS / QVI VIX [MEN] SES VI / AEL MAR[---] / OPTIO co [ IVG!] / P!NT!SS![MAE] / PO[SV!T] = To the Spirits of the Departed. Septimia Ocna, who lived for 35 years, and for Ulpia Emerita, daughter, who lived for 12 years, and for Aelius [---]lius, son, who lived for 6 months. Aelius Mar[---], optio, set (this) up for his most devoted wife. S: Rect. niche, framed by columns, containing 4 half-fig. portraits. L-R: a woman in a t+m; a boy in a tunic with a scroll in his 1/h; a girl in a t+m(?); a man with a scroll in his 1/h. The niche below contains an abbreviated Totenmah/ scene. B: AnnEpigr (1965) 5 no. 11; Fitz (1968) 210 no. 46"; AnnEpigr (2001) 546 no. 1683; RIU 6 166 no. 1437 11 ; UEL no. 3148*-; EDH no. 017269" ; EDCS no. RIU-06, 01437 D: Based on the names, 200-240 ( UEL) #738

P:

}

I.

S:

Precise find-spot unknown (Fig. 106)

r •

CATALOGUE

L:

----

Sirmium ( remska Mitrmica) #739 P: Excavations in local area L: Sremska Mitrovica, Muzej rema, Lap., inv. A 117 ( ov 09) T: Marble stela, 130 x x 30 Pr: Bottom section mi ing; light weathering; DO e-tips lost S: Above: arched niche, flanked b · genii 11ith torches, containing 2 bust-length portrai of men, each with a beard and dre ed in a t+ . Below: quare niche, framed by scaled column , containing 3 half-fig. portraits. L-R: a woman in a t+m who hold part of her drapery; a girl in a tunic with a bird in her 1/h; a woman in the ame attire and pose as the previou one. B: Dautova-Rusevljan (19 3) 14 no. A\ EL no. 433 * D: 2nd C (Dautova-Rusevljan) #740 P: Precise find-spot unknown L: Sremska Mitrovica, Muzej Srema, Lap., in . A 3 ( ovo9) T: Limestone stela, 84 x 59 x 26 Pr: Bottom section missing; heavy weathering; damage to both faces; several surface/edge chips 1: D M I AUR SIMPLICIUS / [v1x] A VI /[-- -]= To the Spirits of the Departed. Aurelius Simpliciu , who lived for 6 years [---] S: Arched niche, framed by columns, containing 2 halffig. portraits. L- R: a boy in a t+s with a horus lock(?)

-

315

#739-#743

and a bird in his r/h; a man, also with a horus lock(?), dressed in a t+t and holding a scroll in his 1/h. The lower niche contains an abbreviated Totenmahl

Szazhalombatta, Matrica Muzeum, Garden, inv. 2010.1.1

(March 10) T: Limestone stela, 156 x 115 x 28 Pr. Bottom section missing; general weathering, esp. to the portraits; part of the central woman' face lost; damage to the acroteria; some di colouration S: Arched niche, backed by a mus el hell and framed by spiral column with Cor. capitals, containing 6 half-fig. portraits in 2 rm . Above, L-R: a woman in a belted tunic; a woman in a t+m who adopts the 'arm-sling' po e; a man with a beard in at+ who has a word(?) in hi 1/h. Below, 3 boy , each in at+ and with an apple in their 1/h. The first woman places both of her hands OD the boulders of the fir t bo ; the man may place his r/h on the final boy. The acroteria are in the form of lion , each with a ram's head in its mouth. The lower niche contain tti figures and an abbreviated Totenmahl scene. B: UEL no. 4059A• D: Based on the costume, 220-270 (UEL)

:"\,:_

B: D:

scene. CIL m 10225; Schober (1923) 78 no. 169; UEL no. 3114'; EDCS no. CIL 03, 10225*Based on the costume and the lack of a beard, late antique (UEL)

Sopianae (Pees) "741

P: L:

Bi chofsburg Budapest, M, C, inv. 62.57.1 (UEL ) T: Limestone stela, 48 x 56 x 22 Pr. mall fragment of the portrait niche; heavy weathering; surface/edge chips Rect.(?) niche which preserves 3 half-fig. portraits (originally there may have been more). L-R: a man in a t+p(?) who has a dagger in his r/h and a whip in the other; a woman in a tube dress who has a necklace; a child (mostly lo t). B: Koller (1804) 17*; Fiilep and Burger (1974) no. 20*; Burger (1991) 45 no. 50*; UEL no. 667* D: Based on the costume, 100- 160 (UEL) - 742 P: Bajcsy-Zsilinsky utca no. 8 L: Pe , JPM, RegM, Lap., inv. 1243 (Sept 07) T: Limestone tela, 102 x 87 x 22 Pr. Bottom ection missing; top corners and first adult's head damaged; general weathering across the front, e p. to the face ; surface/edge chips Arcaded niche containing 4 half-fig. portraits. L-R: a woman in a t+m who wears earrings and has an apple in her r/h; a boy in a tunic with an apple in his l/h; a man in a t+s who places two fingers of his r/h on the shoulder of the adjacent male; a man with a beard in a t+s who has a scroll in his 1/h. Underneath the main niche there is an abbreviated Totenmahl scene. B: Burger (1959) no. 40*; Fiilep and Burger (1974) no. 52*; Burger (1991) 37 no. 30A'; UEL no. 647* D: Late 2nd to early 3rd C (Burger) = 43

P: Bercsenyi utca L: Pe , JPM, RegM, Lap., inv. R 83.5.2 (Sept 07) T: Limestone stela, 68 x 74 x 19 Pr. mall fragment of the portrait niche; heavy weathering; surface/edge chips

~--

S:

Rect. niche, framed by columns, containing at least 4 half-fig. portraits in 2 rows. Above, 2 adults (mostly lost), who place their hands on the shoulders of the children in front. Below, L-R: a girl in a t+m with a bird in her r/h; a boy in a tunic with a bird in his r/h. The niche beneath features an abbreviated Totenmahl scene. Burger (1991) 49 no. 63*; UEL no. 679* Late 2nd to early 3rd C (Burger)

B: D: #744

P: L: T:

Precise find -spot unknown Pees, JPM, RegM, Lap., inv.

R

83.5.1 ( ept 07)

Limestone stela, 47 x 63 x 21 Pr: Small fragment of the portrait niche; heavy weathering;

S:

B:

D:

surface/edge chips Rect. niche containing 4 half-fig. portrait in 2 row . Above, 2 adults (mostly lost) who place their hands on the shoulders of the children in front of them. Below, L-R: a child in a tunic; a girl in a tunic who holds a piece of bread or a flower in both hand . Toe niche below features an abbreviated Totenmahl cene. Burger (1991) 49 no. 64*; UEL no. 6 o> Late 2nd to early 3rd C (Burger)

#745 P: Grave chamber no. 11 (1964) L: Pees, JPM, RegM, Lap., no inv. ( ept o ) T: Limestone stela, 107 x 59 x u Pr: Reconstructed from six fragments but with large cracks in between; left side mi ing; evere weathering to the front, with the loss of all portrait feature S: Rect. niche containing 3 half-fig. portrait . L-R: a man, a child (boy?) and a woman. Further details cannot be B:

D:

D:

"747 P: Cathedral, found during restoration work L: Pees, Cella Septichora, no inv. (Nov 09) T: Limestone medallion, 58 x 51 x 21 Pr. Bottom right section missing; heavy weathering to the front, with the loss of most of the frames and large sections of the portraits Medallion containing 2 half-fig. portraits. L-R: a boy (mostly lost); a woman dressed in a bonnet and a t+m who wear earrings. B: Fillep and Burger (1974) no. 49*; Burger (1991) 55 no. 81"*; UEL no. 737* D: Early 3rd C (Burger) #748

P: L:

Wall of the library in the Cathedral (1873) Budapest, M M, AC, inv. R D 380 (Sept 07) T: Limestone stela, 101 x 57 x 15 Pr. Top ection lost, inc. the adults' heads; heavy weathering, esp. to the children's faces; damage along the right ide; urface/edge chips J: CESERN FIRMILL[A] / V F SIB! ET MAR LVCID[I]/ ANO CONT A

LVCIO CANDI LEG II AD[!] / ET VLP PROCLlNE NlR! ET /

discerned. Fillep and Burger (1974) no. 77*; Burger (1991) 46 no. 52; UEL no. 10994• Late 2nd to early 3rd C (Burger) S:

surface/edge chips [D] M /[ --- ]ERV F S / [---] C ET CLAY/ [---]A O ET/ [---]XXVET/[---]

S:

Rect. niche, framed by spiral column , which probably contained 4 half-fig. portraits. Above, a woman in a tunic and a man in a t+s. Below, a girl in a t+m.

XLllll ET / MARC LVCIDO FIL AN / XL ET

MARC F!RMT !A[NO] /MILAN XXVJI ET VLP SIA [---] /

#746 P: Wall of the library at the Cathedral L: Budapest, M M, Tent 2, inv. RD 393 (Sept 07) T: Limestone stela, 63 x 45 x 22 Pr: Small fragment of the portrait niche; heavy weathering;

J:

Koller (1804) 10*; CIL 111 3313; Fillep and Burger (1974) no. 43*; RIU 4 52 no. 981"*; Burger (1991) 33 no. 23*; UEL no. 640*; EDH no. 037498-; EDCS no. CIL 03, 03313* Based on the sagum type, 200-230 (UEL)

B:

B:

LVCIE ET MAR IVLIA O A VI / EPOTIBVS = Caesernia Firmilla did (this) while living for herself and for her husband Marcius Lucidi.anus, of 44 years; and for Marcius Lucidus, son, of 40 years; and for Marcius Firrninianus, soldier, of 27 years; and for Ulpius [---] Lucius, candidatus of legio II Adiutrix; and for Ulpia Proclina, daughter-in-law(?); and for grandchildren Lucia and Marcius Iulianus, of 6 years. Rect. niche containing 5 half-fig. portraits in 2 rows. Top row, L-R: a man in a t+s; a woman in a t+m with a necklace; a man in a t+s with a scroll in his 1/h. Lower row, L-R: a boy in a t+s, with a stylus in his r/h and tablets in the other, on whose shoulders the man behind places his hands; a girl in a tunic and a necklace, who holds a bird in both hands, upon whose shoulder the woman behi nd places a hand. Below, a frieze features a hunt scene in which a dog chases a deer( ?). On the left side, vines grow from a cantharus. Koller (1804) 10*; CIL Ill 3308=10289; Fillep and Burger (1974) no. 44*; RTU 4 54 no. 983; Burger (1991)

I

-

- -

·~ -----

~

C ATALOGUE #749- #7 53

35 no. 27" '; UEL no. 644'; EDH no. 03 500; EDCS no.

B:

Koller (1804) 10*; CIL Ill 3312=10288; Fiilep and Burger (1974) no. 32*; RIU 4 66 no. 994; Burger (1991) 46 no.

CIL 03, 03308"-

5311*; UEL no. 670*; EDH no. 037534-; EDCS no. CIL

D: Based on the military reference and sagum type, 200-

03, 03312•

240 (UEL)

D:

Ba ed on the sagum type, 200-240 (UEL)

#749

P: L:

T:

Aranyhegy (1 3) Budape t, l:K.\1,. ' C, inv.

"751 R

P:

o 379 ( ept 07)

L:

Limestone tela, 6 x 6 x 10

Pr: Small fragment broken along the top and bottom; ome surface chip and cratche ; eneral weathering to the

T: Limestone stela, 107 x 82 x 26 Pr. Two large fragments, broken along all sides; heavy weathering; facial features lost; surface chips Reel. niche containing 4(?) half-fig. portraits. L-R: a man; a woman in a t+m with earrings, upon whose houlder the preceding man places a hand; a girl in a tunic, with an apple in her 1/h, upon whose shoulders the woman behind places her hands; a man in a t+s who may hold a stylus. To the sides of the frieze below, \ hich features an abbreviated Totenmahl scene, are

front

J:

O M // M RE TVTW OP OF A. · LXX\'

EP VR r,·E VI\'E

p P ET M YR O :11IL / LEG Ill ITALICE OF AS XXV ET

MAR / AQVJL!NE OF A.'1 XXX\' ET :'-lAR COTO AN X FRATRJBV

ITE:11

v/(---

co.·1v)G

[ - - - ) OF

VA OPTIME

To the pirits of the Departed. For most devoted parent larciu Re tutianus, father, deceased, of 75 year and for eptimia Ur ina, living. Also for ibling Marcius Ur us, oldier in the legio Ill Italica who died aged 25 ·ear and .\[arcia Aquilina, who died aged 35 ear , and ~larciu Co , who died aged 10 year . Al o for u[---1, ex ellent pouse, and Ael(ius or ia) [- --) S: Rect. niche containing 4 half-Ii . portrai . L-R: a woman in a t+m; a boy in at upon who e shoulder the first woman places a hand; a woman in a t- m \1ith an apple/pomegranate in her r/h; a man in a t-t· who holds a croll in hi 1/h. Below, a hunt frieze features a horse and a boar (running to the left) and a leopard and a boar (to the right). B: Koller (1804) *; CIL Ill 3309; Ffilep and Burger (197 ) no. 45*; RJU 4 64 no. 992; Bur er (1991) 3 no. 32" • ; UEL no. 649*; EDH no. 03 50 ; EDCS no. CIL 03, 03309· D: Based on the sagum type and the military reference ,

Re toration work at the Cathedral Pees, JPM, RegM, Lap., inv. 1256 (Sept 07)

ET AEL [ --- ] =

B:

dolphins. Burger (1959) no. 41*; Fillep and Burger (1974) no. 34*;

D:

Burger (1991) 33 no. 24"*; UEL no. 641• Based on the sagum type and the female hairstyle, 220240 (UEL)

.:']52

P:

Felso etater (1943) Pe , JP.\!, RegM, Lap., inv. 70.13.1 (Sept 07) T: Lime tone altar, 78 x 88 x 25 Pr. Bottom ection mi in g; light weathering; damage to the a roteria and to the child's chin Double-arched niche containing 3 half-fig. portraits.

L:

L- R: a woman with a bonnet and earrings; a girl with a diadem and earrings; a man with a beard in a t- (?). On the lid, ilenus head in centre, flanked by Libera with a grape bunch (left) and Liber with a rhyton and hydria (right). On the sides there are images of servants(?).

200-240 (UEL) #750

P:

B:

Fiilep and Burger (1974) no. 60; Burger (1991) 35 no. UEL no. 645•

Wall of the library at the Cathedral Budapest, M M, Tent 1, inv. R o 388 ( ept 07) Limestone stela, 63 x 67 x 13 Pr: Top/bottom sections lost; damage to the column ; general weathering

D: 200- 260 (UEL)

J:

P:

L: T:

0 M / L CAE

RE[Nn

S:

SECY/

DI O / A ' LXX / ET L CAE:S FLO/

o ---] = To the Spirits of the Departed. For L.

Caenius Secundinus, of 70 years, and for L. Caeniu Florentinus [---] Rect. niche containing 4 half-fig. portraits. L-R: a man in a t+s; a man in a t+s; a boy in a t+s with a croll in his 1/h; a woman (?), mostly lost.

2 •;

= 53 Find-spot unknown (donated to the museum from the private collection of A. Horvaths) (Fig. 87) L: Pees, JPM, RegM, Lap., inv. 1254 (Sept 07) T: Limestone stela, 54 x 109 x 16 Pr. mall fragment broken along all of its sides; heavy weathering/mutilation across the front; portrait features lost

-

318

CATALOGUE ,;,754- - 75

S:

9 portraits over 2 rows. Above, 4 full-fig. portraits. L-R: a woman in a t+m, a bonnet and a necklace; a man in a t+s with a scroll in his 1/h; a woman in a t+m with a necklace; a man in a t+s, with a scroll in his 1/h, upon whose shoulder the adjacent woman places a finger. Below, 5 half-fig. (?) portraits. L-R: a boy(?); a girl(?); a girl(?); a woman in a t+m, with a necklace and earrings, upon whose shoulder the man behind places a hand; a boy(?). B: Fiilep and Burger (1974) no. 59•; Burger (1991) 38 no. 3Y'*; UEL no. 650• D: Based on the fibulae and ring, 250-300 ( UEL)

Szekesfehervar

D:

Based on the sagum type, 200-250 ( UEL)

#755 P: Ruins of the basilica L: Szekesfehervar, SIKM, Depot, inv. unavailable (Dec 09) T: Lin1estone stela, 48 x 57 x 17 Pr: Small fragment of the portrait niche; heavy weathering; surface/edge chips S: Rect. niche containing 3 half-fig. portraits. At the left, a woman(?) who places her hand on the shoulder of the child in front. At the right, a man(?). B: UEL no. 12798* D: The condition is too poor to allow anything other than a general 2nd to 3rd C date.

#754

P: L: T: Pr:

I:

S:

B:

Church of Santa Maria Virgo (1784) Budapest, M M, AC, inv. RD 193 (UEL) Limestone stela, 172 x 87 x 12 Top right corner and left column missing; substantial dan1age to the frames; light weathering; cracks, ome restored, in the inscription; damage to the hands and noses of the portraits D MIC DIG IVS SECY DIA •[vs]/ NATIO, E RAE VF SIB! ET AVR[EL) / DECCIAE CO 'IVG ET MVNICl[PI] / Pl! SIMAE ET FEMI AE RARISSIM[AE] / AC PVDICIS !MAE CVIVS MORTEM / DOLENS PER AB E 'TIAM MEI COXTI/ GISSE PER CVLPAM CVRA TIVM co[N]QUE/ROR VIX AN XXVJII M X [D)IEB XXIIII ET/ C DIG '10 DECORATO FIL v[Ix A ---)II M VIII! / DIEB XVII ITEM VIV[E. TI) BVS / DIG [l)AE DECORATAE ET AVREL / ECVNDINAE FILIABVS / AVG M BRlG[ETIO IS) = To the pirits of the Departed. C. Dignius Secundianus, native ofRaetia, did (this) while living for himself and for Aurelia Deccia, his most devoted wife and citizen, the mo t rare and virtuous of women. Grieving for her death, I lament that it befell her during my absence through the failure of the physicians. She lived for 28 years, 10 months and 24 days. Also for C. Dignius Decoratus, son, who lived for [---)II years, 9 months and 17 days. Likewise for living daughters Dignia Decorata and Aurelia Secundina. Augusta/is of the municipium Brigetio. Rect. niche, framed by columns, containing 3 half-fig. portraits. L-R: a woman in a t+m; a boy in a t+s; a man with a beard in a t+s. The woman places both of her hands on the shoulders of the boy; the man may have placed his 1/h on the woman's shoulder. The frieze below features vines. CIL III 3355; Desjardins and Romer (1 73) 98 no. 193"*; Bark6czi (1944) vm3*; RJU 6 242 no. 1509; UEL no. 4032*; EDH no. 032128- ; EDCS no. CIL 03, 03355•

Tabajd #756 P: Hill near Farkasfa Allee L: Budapest, M M, Tent 6, inv. 107.1901.1 (UEL) T: Limestone stela, 292 x 97 x 26 Pr: Top section lost, inc. the heads; surface/edge chips; general weathering J: M VLP PROV! /CIALIS AN L / H S E / VLPIA MATTVTA I co IVG! PIE T/ISIMO ET SIB! / VIVA p = M. Ulpius Provincialis, of 50 years. Here he lies. Ulpia Mattuta set (this) up while living for her most devoted husband and for herself. S: Rect. niche, framed by columns, containing 3 half-fig. portraits. L-R: a woman in a tube dress(?) with an object (fruit basket?) in her hands; a child, mostly lost; a man, mostly lost. Under the inscription there is a wagon scene. B: CIL III 3375; Schober (1923) 98 no. 211*; Visy (1997) 34 no. 39"; RJU 6 86 no. 1370"; AnnEpigr (2004) 399 no. 1133; UEL no. 774"*; EDCS no. CIL 03, 03375D: Based on the names and iconography, 110- 150 (UEL) #757 P: Built into a wall L: Tabajd, R6mai Kotar, no inv. (Jan 10) T: Limestone stela, 112 x 118 x 32 Pr: Bottom section missing; top of the gable lost; cracks through the portraits; severe weathering to the front; surface/edge chips S: Rect. niche, framed by columns, containing 4 half-fig. portraits. L- R: a woman in a tube dress and a bonnet; a boy, mostly lost; a girl in a tube dress; a man with a beard in a t+t. The girl appears to place her hands on the arm and shoulder of the man. The gable features a Gorgon head and is flanked by half-p acr.

I-

ar Ill

-

-

- -------

--

---- --

--~- - - - - - - - =

CATALOGUE #7 58 -#7 62

B: D:

UEL no. 12765* Based on the female dress and stylistic comparisons, 2ndC

#760 P: Hunkahegy (1896) L: Budapest, AM, Column Lap., inv. 66.11.7 (Sept 07)

T: Limestone stela, 195 x 90 x 17 Pr. Top, left and bottom sections missing; heavy weatherUlcisia Castra ( zentendre)

ing/mutilation over the front, with the loss of the faces; urface chips Reel. niche, framed by columns, containing 2 half-fig. portrait (originally there were probably more). L-R: a woman in a t+m(?); a child in a tunic with a bird in the r/ h. The woman places her arm around the child's houlder. The niche below features an abbreviated

#758

P:

R6mai sane utca 14, found reused in late Roman grave no. XVI

L: Szentendre, FKM, Lap., inv. ; .24.1 ( ept o ) T: Sandstone stela, 230 x x 23 Pr: Discolouration over the front; general weathering; J:

S:

nose-tips lo t; minor urface/edge chip MIRA CRE CEN/TI F A_'< XXX T P / .\1 ATIV RVFVS / VET LEG II AD SIB! / ET COK B :\I PO = Mira, daughter of Crescens, of 30 year . M. Attiu Rufu , \·eteran of the legio II Adiutrix, et thi in cription up for him elf and his well-de erving wife. Square niche, framed by column with Cor. capital , containing 3 half-fig. portraits. L-R: a woman in a bonnet and tube dress with a necklace and an apple/ pomegranate in her r/h; a bo in a tunic; a man with a beard in a t+t. Both adults place a hand on the boulders of the boy. The gable features a ro ette; the top cor-

B:

D:

ners have dolphin . The central frieze contain a \ agon scene and an abbreviated Totenmahl motif. RIU3 258 no. 913'; Mar6ti (2003) 2ono.1411'; Boatwright (2005) 309*; UEL no. 6011'; EDH no. 03 535• -; EDCS no. RIU-03, 00913• Based on the iconography and the beard, 130-190 (UEL)

Totenmahl scene. B: D:

#761 P: R6mai anc utca 16, found reused in late Roman grave no. XVII L: zentendre, FKM, Lap., inv. 58.30.1 (Sept 07) T: Lime tone stela, 150 x 109 x 20 Pr. Top/bottom sections lost; crack through the portrait niche; general weathering and discolouration to the front; urface/edge chips f: D M / ONIO IA ARIO / VET LEG II ADI P F ET / AE[L] vc1(?) [---]v(---1 / [---] = To the Spirits of the Departed.

For onius Ianuarius, veteran of legio II Adiutrix Pia Fide/is, and for Ael[---]

#759

P: L:

Precise find- pot unknown Budapest, AM, Column Lap., inv. 66.11.50 ( 1arch 10) T: Limestone stela, 14 x 103 x 20 Pr: Bottom section mi ing; right half of the main niche lost; vertical crack in the centre; edge chip ; general weathering to the front, with damage to the faces S: Rect. niche, framed by columns, containing 3 half-fig. portraits. L-R: a woman in a tube dress, a mantle and a bonnet with a bracelet and a brooch; a girl in similar attire to the woman, perhaps with an object in her hands; a man(?), mostly lost. The woman places her r/ h on the shoulder of the girl. Above the niche is a garland frieze while the gable features a Gorgon head_The

B:

D:

lower niche contains an abbreviated Totenmahl cene as well as representations of tools. Garbsch (1965) 159 no. 149.9 11 ; emeth (1971) 12 no. 11; UEL no. 318211• Based on the costumes, 100- 200 (UEL)

emeth (1971) 44 no. m 11 ; UEL no. 318311* 150-230 (UEL)

B:

D:

Reel. niche, backed by a mussel shell and framed by column , containing 5 half-fig. portraits in 2 rows. Above, L- R: a woman in a t+m; a man with a beard in a t+s. Below, L- R: a girl in a tunic with a grape bunch in her hands; a boy in a t+s with a bird(?) in h is hands; a girl in a tunic with a blossom(?) in her hands. Both adults place their hand on the shoulders of the children. The niche below feature an abbreviated Totenmahl scene. AnnEpigr (1939) 9 no. 11; RIU 3 260 no. 916 11 ' ; Mar6ti (2003) 27 no. 21 11• ; UEL no. 3165'; EDH no. 022365'-; EDCS no. ruu -03, 00916' Based on the beard and the sagum type, 200-230 (UEL)

;:762 P: R6rnai anc utca 16, reused in late Roman grave no. xix (192 /9) L: Szentendre, FKM, Lap., inv. 65.13.1 ( ov 09) T: Lime tone tela, 130 x 99 x 28 Pr. Top/bottom sections lost; damage to the sides; heavy weathering/mutilation to the front, with the loss of the face ; sections of the main niche missing; substantial urface/edge chips

320

J:

CATALOGUE = 763 -:; 766

D Mf P AEL CRISP! 0 QD / CORNIC LEG II AD p F / [---] = To the Spirits of the Departed. For P. Aelius Crispin us, formerly cornicularius in legio II Adiutrix Pia Fide/is

S:

Arched niche, backed by a shell and framed by columns with Cor. capitals, containing 5 half-fig. portraits (probably four adults behind and a child in front). Dolphins appear in the top corners. The condition is too poor for further details to be discerned. Mar6ti (2003) 30 no. 24" *; UEL no. 5982* Based on the style, 200-250 (UEL)

[---J S:

B:

D:

Rect. niche, backed by a mussel shell and framed by columns with Cor. capitals, containing 5 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m; a boy in a t+s; a man in a t+s. Below, 2 children (mostly lost) on whom the adults seem to place their hands. The lower niche contains an abbreviated Totenmahl cene. AnnEpigr (1939) 9 no. 12; RIU 3 228 no. 883'\ Mar6ti (2003) 42 no. 36"*; UEL no. 3150\ EDH no. 022368"-; EDCS no. RIU-03, 00883* Based on the costumes and the epigraphy, 200-230 (UEL)

#763 P: Hunkadomb, in a late antique grave (1896) (Fig. 120) L: Budapest, AM, Column Lap., inv. 63.10-7 (Sept 07) T: Limestone stela, 150 x 86 x 21 Pr: Top/bottom sections missing; general weathering, esp. to the faces; surface/edge chip ; no e-tip lost J: DM/ T FL CO STA TI/ NO A, NV ET FL VIAE EX VPERAf TAE A :-I XX ET FLA/VIAE CO.' TA.'\TI/NAE AN •. II FILI I T [---]TAS ET / [---] = To the pirits of the Departed. For T. Flavius Con tantinu , of 5 year , and for Fla,ia Exsuperata, of 20 year , and for Flavia Con tantina, of 2 year . T. [---]tas and [---] (did this) for their children [---] S: Rect. niche, framed by column , containing 5 half-fig. portraits in 2 row . Above, L- R: a woman in a t+m; a woman in a t+m with a necklace and a fruit basket in her hands; a man with a beard in a t+ who ha a croll in his 1/h. Below, L-R: a boy in a tunic, with a bird in his 1/h, upon whose shoulder the first woman places her r/h; a girl in a t+m with an apple in her hand . The frieze beneath contains an abbreviated Totenmahl scene. B: CIL III 14354.2; agy (1971) 125 no. 36*; Nemeth (19 1) 63 no. 177; RIU 3 244 no. 902">; AnnEpigr (2005) 402 no. 1197; Boatwright (2005) 300•; UEL no. 3178"*; EDH no. 038525-; EDCS no. CIL 03, 14354,02* D: Based on the sagum type, 200-240 (UEL) #764 P: Reused in late Roman grave no. .>..'VI L: Szentendre, FKM, Lap., inv. 65.61.1 ( ov 09) T: Limestone stela, 127 x lll x 24 Pr: Top left and bottom sections mis ing; large cracks through the main niche; severe weathering, with the loss of the portrait features; surface chip

B: D:

Vereb

Precise find-spot unknown Szekesfehervar, SIKM, Lap., inv. 51.4.1 (Dec 09) T: Limestone stela, 224 x 75 x 24 Pr. Large cracks through the portrait niche; heavy weathering over the front, with the loss of the facial features; surface/edge chips; top of the gable damaged; some discolouration 1: MEITIMA CASA/MO IS F AN XV / T P PATER F P = Meitima, daughter of Casamo, of 15 years. Her father set this inscription up for his most devoted daughter. S: Rect. niche, framed by columns with leaf capitals, containing 3 full-fig. portraits. L-R: a girl in a tube dress; a eated woman with a bonnet, a tube dress, bracelets and an apple in her r/h; a girl standing on a podium, wearing a tube dress and holding an object in her hands. The fir t girl places her hand on the woman's lap. B: CIL m 3364=10348; Garbsch (1965) 162 no. 163.2"*; RIU 6 94 no. 1378; UBL no. 715"*; EDH no. 031900"-; EDCS no. CIL 03, 03364* D: Ba ed on the names, the costume and the monument type, 100- 150 (UEL) L:

tn66

P: Precise find-spot unknown L: zekesfehervar, SIKM, Lap., inv. 51.11.1 (Dec 09) T: Limestone stela, 173 x 99 x 30 Pr: Top/bottom sections lost; surface/edge chips; heavy

1:

weathering, esp. over the faces; large pockets of damage in the inscription D M // P AEL ERO TO I DEC / COL AQ FLAMINICO / QVI VJXIT AN IS I Llll ET p AELIO VINDICI / FI[uoj QVJ V!XIT A [N ---]! / IT [AELIA]E VICTOR[I]NE / FIL QV [vr]XIT ANN / VIII ET p AEL IN/PETRATO FILIO / QVI VIXIT A VI CVI VITA PAR/VA MORS VALDE / CITATA FVJT QUEM / FLENTES DOLEVNT / MISERIQVE PAREN/ TES SEPT DECORA/TA CONIVGI PIEN/[njss1Mo ET FIL!S I [co]MMVNIBV[S ET] / AEL[II r]NPETRA[TVS ET] / [DE] CORATVS [---] I [---] = To the Spirits of the Departed. For P. Aelius Fronto, decurio of colonia Aquincensium,

CATALOGUE

priest, who lived for 53 years. Also for P. Aeliu Vindex, on, 1 ho lived for[---) ·ear . And for Aelia ictorina, daughter, who lived for

;;767-;;771

/:

DIS MA

Arched niche, framed by columns with Cor. capitals, containing 2 half-fig. portraits. At the back, a man in a

Inpetratus, on, who liYed for 6 year , to who e little life

B:

t+ with a scroll in his 1/h. In front of him, a boy in a tunic who is flanked by genii. The gable features a rosette. Desjardins and Romer (1873) 110 no. 226*; UEL no.

D:

3058"*; EDCS no. Lupa 03058*Based on stylistic comparisons, 2nd C(?)

death came quickl · and whom the poor weeping parent mourn. eptimia Decorata (did thi ) for her mo t Aelius Inpetratu and Aeliu De oratus. Reel niche, framed by columns with Cor. capital , containing 6 half-fig. portrai in 2 row . Above, L-R: a woman, mo tly Io t; a man or a bo ' in a t~ l\ith a croll in his l/h; a woman or a girl in a t m with a fruit basket

S:

in her hands; a man 11ith a beard in at . Below, L-R: a boy in a tunic, with an apple in his bands, upon who e shoulder the woman behind place her r/h; a boy in a

#769

P:

Csakvar Budapest, M M, AC, inv. 62-40.1 (UEL)

L: T:

Limestone stela, 148 x 90 x 23

Pr. Bottom ection missing; top frame damaged; surface chip ; general weathering, esp. to the faces Rect. niche, framed by columns with Cor. capitals, containing 3 half-fig. portraits. L-R: a woman in a t+m and

tunic, with an apple in hi l/h, upon who e boulder the man behind place his l/h. The niche below features an abbreviated Totenmahl cene. CJL m 3362=10347; Bark6czi (19 5) 9 ; RIV 6 92 no. 1377; UEL no. 4050"'; EDH no. 031 9 "-; EDCS no. CIL 03, 03362• Based on the names and the co tumes, 230-260

B:

D:

/ SEXTVS MENTO/SIL!VS MILES [-- -) / [---] /

[---] / [ --- ] / [---] / SATRJVS [---)

·ear . And for P. Aeliu

devoted husband and the children of both of them, and

321

a bonnet who ha a necklace and an apple in her r/h; a boy in a tunic with a scroll (or perhaps sword) in his 1/h; a man witli a beard in a t+s who has a sword in his 1/h. Tue gable features a ro ette with garlands and is flanked

(UEL)

by hippocampi. The niche at the bottom contains an abbreviated Totenmahl scene, watched by Attis figures. El ewbere

B:

chober (1923) 119 no. 262; Garbsch (1965) 151 no. 110.2"; UEL no. 2774"* 2nd C ( chober)

D: Bassianae (Donji Petrovci), in the Orthodox cemetery (1874) Zagreb, Arheolo ki }.luzej, inv. K 5u (April 10) T: Limestone stela, 127 x 9 x 30 Pr: Inscription and right ection of the portrait niche mi

L:

ing; large cracks through the niche and gable; damage along most edge ; hea weathering, esp. to the faces Rect. niche, framed b · piral column , containing 2 half-fig. portraits of a man and a boy, each in at+ . The

S:

= P: L:

B: D: #768

P: L:

T:

Uncertain, but perhaps Aquincum or Intercisa Budapest, M M, Depot (north cellar), inv. unavailable

etus alina (Adony) zekesfehervar, SIKM, Lap., inv. unavailable (Dec 09) Limestone stela, 105 x 122 x 24

T: Pr. Bottom ection missing; acroteria damaged; general weathering; surface/edge chips Rect. niche, backed by a mussel shell and framed by column with Cor. capitals, containing 3 half-fig. portraits(?). L-R: a woman with Palmyrene hair in a t+m;

man places hi r/h on the boulder of the bo . Originally there would have been further portraits to the right The gable features a Gorgon head; the top corners have dolphins. The frieze depict hippocampi. Dautova-Rusevljan (1983) 19 no. 81"*; UEL no. 4363" 2nd C (Dautova-Rusevljan)

0

a boy in a t+m; a man with a beard in a t+m who places his hand on the shoulder of the boy. The gable features enus and Adonis.

B: D:

UEL no. 3870"• Based on the hair tyles, 2nd C

:771 P: Bicske, built into a wall at the castle L: Bicske, Castle (UEL)

(UEL)

T:

Limestone stela, 173 x 67 x 23

Pr. Fragment broken along the top, left and bottom sides;

Pr: Crack in the inscription; surface/edge chip ; general weathering; bottom damaged

Lime tone tela, 108 x 52 x 32 heavy weathering over the front, esp. to the portraits (from which the details are lost); surface chips

322

S:

CATALOGUE #77 2-= 776

B:

Rect. niche, framed by pilaster , containing 4 half-fig. portraits in 2 rows. At the left, a woman who place her hands on a child in front (both mostly lo t). At the righ t, a man with a beard in a t+s. He place hi hand on the shoulders of the child (girl?) in front of him; he wears a t+m. The niche below features an abbreviated Totenmahl scene. UEL no. 12768*

D:

Based on stylistic comparisons, mid 2nd to mid 3rd C

of ala I Thracum , and Aurelia Sabinilla saw to it being done while alive for themselves and their daughter. Rect. niche, framed by pilasters with leaf capitals, containing 3 half-fig. portraits. L-R: a woman in a t+m; a girl in a t+m, with an apple in her hands, upon whose shoulder the woman places her r/h; a man with a beard in a t+s who holds a sword or dagger in his l/h. The gable features a Gorgon head while the top corners have hippocampi. 1n the central niche there is an abbreviated Totenmahl scene; at the bottom vines grow from

#772

P:

a cantharus. Gyur6

B:

L:

Szekesfehervar, SIKM, Lap., inv. 50.91.1 (Dec 09) T: Limestone stela, 270 x 103 x 2 Pr: Top section lost, inc. most of the portraits; large horizontal crack in the inscription niche; surface/edge chips; general weathering S: Rect. niche containing 5 half-fig. portrait in 2 row . Above, a man in a t+s with a scroll in his l/h as well as 2 further adul ts (mostly lost). Belm, L-R: a boy in a t+s(?), with an apple(?) in his hands, upon who e shoulder the adult behind place a hand; a girl in a t+m. The frieze below depicts an abbreviated Totenmahl scene. The inscription field is framed by vine 11ith grape bunches which grow from a cantharus. B: Bark6czi (1985) 98'; UEL no. 4020· D: Based on the sagum type and style, 200-240 (UEL) #773

P: L:

Szabadbattyan, Csikvar Tac, Gorsium Szabadteri Muzeum, inv. 10 01 (March

D:

CIL m 3351; Bark6czi (1985 ) 98*; Lorincz (2001) 216 no. 19211 ; RIU 6 254 no. 1522 1'; UEL no. 3587"*; EDH no. 032164 11 *-; EDCS no. CIL 03, 03351• 200-250 (Lorincz)

#774

P:

Budaiir (2002) Budaiirs, FKM, Lap., inv. 2003.20.5 (Nov 09) T: Limestone medallion, 64 x Bo x 10 Pr: Top section lost; damage to the frames; general weathering to the front, esp. over the child's head; some discolouration; surface chips S: Medallion containing 3 half-fig. portraits. L-R: a woman in a t+m who adopts the 'arm-sling' pose; a girl in a tunic with an apple in her hands; a man in a t+s with a scroll in his 1/h. The woman places her 1/h on the houlder of the girl. B: UEL no. 6000"* D: Ba ed on the sagum type and the monument form, 200-250 (UEL) L:

10)

T:

Limestone stela, 260 x 88 x 23 Pr: Reconstructed from several fragments but with large cracks and areas of loss, esp. in the central frieze and the left section of the portrait niche; general weathering across the front [;

D [M] // HIC IACET IN TVMV/ LO AYR SABI A / PIE ' TISSIMA CO JVX / A

OR XXV QVEM / LAPIS IST[E]

TEGIT / RAPTA [EST D]E LVCE / SERENA Q[VAE] MAG IS / DEBVERAT FE[ss] os / SEPELIRE PARE TES / 0 DOLOR 0 PIETAS / 0 FVNERA TRISTIA co/

JVGIS MARCVS AYR

/ ATTIANVS DEC ALE I TRH/ ACVM ET AYR SABI ILLA / FILIA EORU DVM VIVI /

!Bl FACIV DVM CVRARVNT =

To the Spirits of the Departed. Here in this mound lie Aurelia Sabina, most devoted wife, of 25 year , whom this stone covers. She was snatched from the light of day and ought rather to have buried her wearied parents. Oh the sadness, oh the affection, oh the sorrowful death of her spouse! M. Aureliu Attianus, decurio

#775

P:

Gyiirkiiny Szekszard, Wosinsky M6r Megyei Muzeum, inv. 93-27.1 (June 06) T: Limestone stela, 88 x 52 x 19 Pr. Small fragment broken along the top, right and bottom sides; severe weathering, with the loss of the woman's head; surface chips S: Arcaded niche, framed by fluted pilasters with Cor. capitals, containing 2 half-fig. portraits (originally there were probably more). L-R: a woman in a t+m; a girl(?) in a tunic with a necklace. B: Burger (1991) 42 no. 40*; UEL no. 657* D: 200-250 ( UEL) L:

#776 P: Acsa (Vertesacsa), Flur Kiirtelap area L: Szekesfehervar, SIKM, Lap., inv. 50.102.1 (Dec 09)

I

I(

-: -

4

k

•

-

- ·

-

CATALOGUE

-

-

---.

=777-~780

· oeneral cratching

Pr.

323

of ero ion in the inscription; general weathe ring across the front; urface/edge chips

J:

over the inscription

J:

- - -- - -- --

Pr. Top ection lost, inc. the faces of the recipients; pockets

Limestone tela, 230 x u3

T:

-

_

ER£"0 • IIU T COH I

'LP

D M / AYR

P

EVERA / AEL SATYR I O / CONIVG I P V A

LXXX / ET AEL EXVPERATO / ET APVL MACRJNIAN / FILIS ET AVREL / NIGRI AE MAT/ ET [- -- ]F I[---]M[-- - ] / s ET

ATO[---Jr ET SIB/ M P = To the Spirits of the Departed. Aurelia evera set (this) up for the memory of herself and for Aelius Saturninus, most devoted husband, of o years, and for sons Ael ius Exsuperatus and Apuleius }.[acrinianu , and for Aurelia igrina, mother, and [---] Rect. niche, flanke d by columns, containing 3 half-fig. portraits. L-R: a woman in a t+m with a scroll(?) in her

Uh; a bo • in a t+ with a scroll in his 1/ h; a man in a t- with a croll in hi 1/h. The frieze below features an abbre,; ated Totenmahl scene while the inscription is flanked b · vines and grape bunches which grow from a amtharus. scene.

CIL m 6454=10349; chober 19_3 113 no. __ 9; Bar.·oczi (1985) 98>; Lorincz (2001 231 no. 2_ • ; RlL. 6 o. 1380; UEL no. 3596•; EDH no. 031906 - ; EDCS no. CIL

B:

03, 06454" 200-250 (Lorincz)

D: #777

P:

Martonvasar, hill near the raih ·a · tation

L:

Szekesfehervar, Ital, Lap., inv. 5670 Dec 09) Limestone tela, 11 x x 21

T:

Pr: Top/ bottom ection missin · hea, · weatherin ; th the lo s of the portrait features; urface ed e chip/: D M f SEP VALE:S.T/ D.'E Q\"0 .. FI L [ ] EP PROBES • Q""A ) E VIX A ' / [--- FECE] R EP [ --- ] ET [ ---]/ [--- 1 = To the Spirits of the Departed_ For eptimia 'alentina, daughter, and eptimia Proba, who lived for [--- ) years. Septim [-- -J and [---) did (this).

S:

Rect. niche, framed by columns, containing 3 half-fig. portraits. L-R: a woman in a t+m; a boy in a t (?), with an apple in his hand , upon who e houlder both adults seem to place a hand; a man in a t+s with a croll in his Uh. The niche below feature an abbreviated Totenmahl scene.

B:

3606=10373; RIU 6 80 no. 1362A; UEL no. 66 4 A>; EDH no. 031855'' - ; EDCS no. CIL 03, 03606 Based on the names, 200-260 (UEL )

CJL

D:

III

AnnEpigr (19 4) 211 no. 734; RIU 4 86 no. 1010*; Burger 1991) 52 no. 72"; UEL no. 691*; EDH no. 001761*-; ED no. Riu -04, 01010* Based on the co tume, 250- 300 (UEL)

B:

D: =779

P:

Grgeteg, monastery (1948)

L:

rem ka Mitrovica, Muzej Srema, Lap., inv. '. ' ov o9)

T:

Limestone medallion, 75 x 42 x 21

A

1170

Pr: Left an right ides missing; damage to the frames; surfa e chip ; general weathering to the front; nose-tips lost 1ledallion containing 3 half-fig. portraits. L-R: a woman in a h·m with a necklace; a boy in a t+s, perhap \\; th an object in his hands; a man with a beard in at- , perhap with a scroll in his 1/h. Both adults place a hand on the houlder of the boy.

B:

Dautova-Ru' evljan (1983) 14 no. 19A*; UEL no. 4325 * 3rd C (Dautova-Rusevljan)

D:

PA -

0

IA ( WITHOUT SECU RE A OCIATIO )

;;780 P:

Unknown

L:

Budapest, ~ 1 [, AC, inv. 62.59.1 (UEL) Limestone tela, 112 x 96 x 21

T:

Pr. Bottom ection mis ing; lower left corner damaged;

#778

P:

Szilagy (1961)

L: T:

Pees, JPM, RegM, Lap., inv. R 62.314.1 (Sept o ) Limestone stela, 178 x 105 x 27

urface/edae chip ; general weathering, esp. to the faces; no e-tip lo t Rect. niche containing 4 half-fig. portraits. L-R: two women, each in a t+m with a bonnet; a boy in a t+m

•

--

--

CATALOGUE

324

#78I #786

are too damaged to be discerned but the adults place their hands on the shoulders of the child gable features rosettes. ·

with a grape bunch(?) in h is hands; a man with a beard m a t+t. The man and second woman place hands on the shoulders of the boy; the woman also places a hand on the man's shoulder. In the niche below, a man on horseback charges forward.

B: UBL no. 9784* D: Based on the stylistic comparisons, mid 2nd to early 3rdC

Based on stylistic comparisons, mid 2nd to 3rd C(?)

#784

Unknown Szekesfehervar, SIKM, Depot, inv. unavailable (Dec o9)

P: L:

T: Limestone stela, 30 (H) x 6o (W) Pr: Small fragment of the portrait niche; heavy weathering; Unkn own Budapest, MNM, Tent 5, inv. unavailable (UBL)

L: T:

Limestone stela, 106 x m x 27 Pr: Reconstructed from two fragments, with the top left and bottom sections lost; heavy weathering, esp. to the

surface/edge chips iche which seems to have contained 3 half-fig. portraits. L- R: an adult, now lost; a child; a man in a t+s

S:

faces; surface/edge chips Rect. niche, framed by columns with Cor. capitals, con-

S:

e

UEL no. 12787''

B: D:

#781

P:

;y

with a scroll in his 1/h.

B: D:

UEL no. 12797• Too little survives to give anything other than a general 2nd to 3rd C date.

taining 3 half-fig. portraits. L-R: a woman in a t+m who has a necklace with a lunula pendant and a fruit basket in her hands; a boy in a t+s; a man in a t+p with a round object in his r/h and a whip(?) in the other. The

DACIA

Alburnus Maior (Ro~ia Montana)

gable features a Gorgon head(?) and acanthu leaves and is flanked by half-p acr.

#785

UBL no. 10217•

P:

Based on stylistic comparisons, 20d C(?)

L:

B: D:

Precise find-spot unknown Turda, Muzeul de Istorie, inv. 2594 (June 06)

T: Gritstone medallion, 60 x 60 x 15 Pr: Right and lower edges lost; general weathering, esp. to

#782

the faces; surface chips Circ. niche, backed by mussel shell, contain ing 4 halffig. portraits in 2 rows. Above, L- R: a woman in a t+m and a bonnet; a man with a beard in a t+t(?). Below,

P: Unknown L: Budapest, M M, Depot, inv. 62.148.1 (UBL) T: Limestone stela, 93 x 79 x 21 Pr: Top/bottom sections missing; damage to the column ; severe weathering, with the loss of the portrait feature ; surface/edge chips Rect. niche, framed by columns, containing 3 half-fig. portraits. L- R: a man in a t+s; a child in a tunic with an object (apple?) in the 1/h; a man with a beard in a t+s who has a scroll in his 1/ h. The first man place his r/h on the shoulder of the child. The frieze below features

S:

an abbreviated Totenmahl scene.

B: UEL no. 9838" * D: Based on stylistic comparisons, mid 211d to mid 3rd C

L-R: a boy in a t+s; a girl in a t+m. Pop, Aldea, Chifor and Lu.dice\ (1968) 420 no. 2; Mi\ea (1971) 437 no. 2*; Pop, Moga and Aldea (1972) 511 no. 33; Teposu Marinescu (1982) 195 no. 28*; UEL no. 15050

B:

D: 150-200 (UEL) #786 P: Precise find -spot unknown L: Ro~ia Montana, Muzeul Mineritului Aurifer, Lap., no inv. ( ov 09) Gritstone stela, 244 x 97 x 20 Pr: Cracks through the top section; surface/edge chips; general weathering to the front, esp. over the portraits

T: #783 P: Unknown Szekesfehervar, !KM, Depot, inv. unavailable (Dec 09) L: T: Sandstone stela, 95 x ;2 x 19 Pr: Bottom ection mi ing; severe weathering, esp. to the S:

faces; surface/edge chip Double-arched niche containing 3 half-fig. portraits. L- R: a woman, a child and a man. Detail of drapery

J:

D M / ALEXAND/ ER GAi VIX / A ' 05 XXXX / P CAIVS FILIVS

= To the Spirits of the Departed. Alexander, son of Gaius,

S:

who lived for 40 years. Gaius, son, set (this) up. Laurel-wreath medallion, flanked by wind protomae, containing 3 half-fig. portraits. L- R: a woman in a tube

~

!

- -

.

--

--------

CATALOGUE #787-#791

dress(?) and a mantle; a child (in front) wearing a tunic;

Pr. Bottom section ffilssmg; surface/ edge chips; general

a man with a beard in a t+m. The frieze above feature a cantharus flanked by birds while the stone i topped by

S:

weathering, esp. to the faces; nose-tips and chins damaged

lions. B:

D:

AnnEpigr (19 ) 197 no. 6 9; Rus u (19 9) 219 no. 3'; Tepo u Marines u (19 2) 120 no. o; IDR m / 3 403 no. 412" '; UEL no. 14992; EDH no. 014016" -; ED no. AE 1978, 00679 Based on the names, 150-200 (AnnEpigr)

Found before the Fir t World War Alba lulia, I U, inv. 2 (Feb 10) T: Andesite stela, 1 x 6 x 24 Pr: Surface/edge chip ; heavy weatherin to the front, e p. to the portraits D M / AVRELI AMBV / \'IX.IT AXXI LICI IA V / CONl\'GI rn/:,.;ocEXTI

[:

P A.Ell\' PO/ \'IT B M

XXX L\1AE

= To the pirits of the Departed. Aurelia arnbu, who lived for 30 years. P. Aelius Licinianus et (this) up for his well-deserving and mo t blamele 11ife. Circ. niche containing 2 half-fi . portraits. L-R: a girl in a tube dre (?); a woman in a t-m(? ,. bo,·e the ni he are grape bunche .

S:

B:

Florescu (1930) 93 no. 2 • (incorrectl listed as fig. 22); Teposu Marine cu (19 2) 134 no. 133" '; IDR u I/3 40 no. 416" '; Bianchi (19 5) 2 2 no. 130 · '; UEL no. 1501 ; EDH no. 046116· -; EDCS no. IDR-03-03, 00416 2nd C (Tepo u Marine cu)

D: #788

L:

Abrud, Strada Detunata, Biserica romano- atoli tower Limestone stela, 90 x 92 x 6

Pr: Bottom, lower right and top left ection lo t; hea, , weathering/mutilation, e p. to the face ; chips

urface

/:

D M / [ ---]

S:

Circ. niche, flanked by dolphins, containing 3 half-fig. portraits. L- R: a woman in a t+m; a boy in a t+p(?); a m an in a t+p(?).

B:

D:

man or a boy in a tunic. Above the niche are rosettes and grape bunches; the gable features an ascia. 435 no. 1'; Teposu Marinescu (1982) 136 no. 139•; Bianchi (1985) 272 no. 131•; Gramatopol (2000) 238 no. 109•; UEL no. 15018

D:

T:

2nd to 3rd C (Bordenache Battaglia) Ampelum (Zlatna)

:: 90

P: L:

een in 184 at the house of Gregor Tiivisi Lost

T: tela, material and dimensions unknown Pr. Based on the illustration, the bottom sectio n and econd portrait were lost and it was heavily weathered. /:

D

M / CL TERTVL/ LI A VIX AN/ Nos

IIII

CL / VERA

MATER /[-- -]= To the Spirits of the Departed. Claudia Tertullina, , ho lived for 4 years. Claudia Vera, m other ( et thi up) [---)

If the illu tration i reliable, a rect. niche contained 2 half-fig. portraits of females, each in a t+ m. B:

CIL III 132 ; 1 oe ke (1977) 362 no. AM P 42; IDR m /3 348 no. 353'; EDH no. 045798- ; EDCS no. CIL 03, 01328

D:

Early to mid 2nd C ( oeske)

CIL ll! 1274; oeske (1977) 386 no. ALB 42; !DR m / 3 416 no. 425•; EDH no. o46173- ; EDCS no. CIL o3, o1274 151-230 (EDH)

= 91 P:

Find- pot unknown, but probably Ampelum (Fig. 91)

L:

Cluj- apoca, ( 1arch 10)

T:

Lime tone medallion, 60 (Diam) x 23 (D)

Bucharest, M IR, inv. 36 906 (July 06 ) Limestone stela, 90 x 7 8 x 16

IT, Exhibition, inv. v 30.698 = MIC/J3

Pr. Los es along the left, bottom and right edges; general weathering to the front, esp. to the port raits; noses damaged; urface chips Laurel-wreath medallion, backed by a mussel shell containing 5 half-fig. portraits in 2 rows. Above, L- R: ~ woman in a t+m with earrings; a man with a beard in a t+s. Below, 3 boys in tunics.

B:

chober (19u) 276 no. 3*; Florescu (1930) 123 no. 79•; Fern (1933) 327/ figs. 425- 7*; Bordenache Battaglia

#789 P: Case Ridel, built into a wall ( 1847)

L:

Bordenache Battaglia (1969) 138 no. 067; Milea (1971)

Abrud, Roman Catholic church of . , 'i olai ' 1 47)

wall ( ov 09) T:

Semi-c. niche containing 5 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m and a bonnet who wear a pair of earrings; a boy in a tunic; a man in a t+m. Below, L-R: a woman or a girl with a bonnet; a

B:

L:

P:

325

~1969) 260 no. G159" *; Pop, Moga an d Aldea (1972) no. 43; Teposu Marinescu (1982) 191 no. 1611*; Gramatopol (2000) 229 no. 101•; UBL no. 15042 Antonine to Severan (UEL) ,12

D:

.- . -

'' j -

~

-

--

~

CATA LOG UE #7 92-= 796

#792

P: L:

Seen in 1847 at the house of Gregor Tiivisi Lost

B:

T:

Stela, material and dimensions unknown Pr: Based on the available illustration, the right section of the monument was missing. I: [D M] / AEL SILVA[N-] / VlX!T A [ ---] / ET AVR [EL] [---] I [---]

S:

B:

D:

If the illustration is reliable, a semi-c. niche contained 3 half-fig. portraits. Above, a woman in a t+m. Below, 2 children in tunics. Ackner and Millier (1865) 122 no. 592; CIL m 1325; oeske (1977) 373 no. AMP 77; !DR m/3 335 no. 338"; UEL no. 12302; EDH no. 045785-; EDCS no. CIL 03, 01325 Based on the names, Severan to late 3rd C (UEL)

#793 P: Built into a wall L: Unknown. Teposu Marinescu gave the location as the ~coli Generale in Zlatna but on May 10 the Mayor informed me that no such piece exi ts there. T: Limestone altar, 84 x 45 x 43 Pr: Based on the illustration available in the published literature, it was severely weathered and had everal urface/edge chips. S: Rect. niche containing 3 half-fig. portraits of a man and a woman (above) and a child (below). Their drapery cannot be discerned. On the left ide, an Attis figure holds a pedum. B: Wollman and Grecu (1976) 107 no. 5*; Tepo u Marinescu (1982) 172 no. 49 D: 2nd to 3rd C (Teposu Marinescu) Apoldul de Sus #794 P: Precise find-spot unknown (Fig. 94) L: Sibiu, M B, Lap., inv. A 1392a (Jan 10). Its former number was 2120. T: Limestone medallion, 93 x 89 x 23 Pr: Bottom left corner missing; discolouration over the lower portraits; general weathering to the front, esp. to the portraits; noses lost S: Laurel-wreath medallion with ro ettes, backed by a mussel shell, containing 6 half-fig. portraits in 2 row . Above, L-R: a woman in a t+m with a bonnet(?) and earrings; a man with a beard in a t+c. Below, L-R: a boy, two girls and a second boy (who e drapery cannot be discerned).

D:

Schober (1911) 278 no. 5*; Schober (1923) 212*; Florescu (1930) 124 no. Bo*; Ferri (1933) 329 fig. 430*; Bordenache Battaglia (1969) 138 no. D66; Pop, Moga and Aldea (1972) 507 no. 16; Teposu Marinescu (1982) 188 no. 2"*; Bianchi (1985) 280 no. 208"*; ArD no. 18462; UEL no. 15037 Antonine (UEL)

#795

P: L:

Precise find-spot unknown Sibiu, M B, Lap., inv. A 1533 (Jan 10). Its fo rmer number was 3063. T: Limestone medallion, 106 x 75 x 28 Pr: Severe weathering, esp. to the portraits; edge chips; damage along the bottom Laurel-wreath medallion, backed by a mussel shell, containing 6 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m; an infant (only head of whom is pictured); a man with a beard(?). Below, L-R: a boy(?) in a t+m; a girl in a t+m; a boy in a t+m. It is unclear whether the bottom portraits depict adults or children. B: Schober (1911) 279 no. 6*; Florescu (1930) 124 no. 81*; Pop, Moga and Aldea (1972) 507 no. 17; Teposu Marinescu (1982) 190 no. 10" *; UEL no. 15038 D: 2nd C (Teposu Marinescu)

Apulum (Alba Iulia) #796 P: Precise find-spot unknown L: Alba Iulia, M U, inv. 125 (March 07) T: Limestone stela, 110 x 68 x 20 Pr: Bottom section missing; severe weathering to the fro nt, with the loss of all of the portrait features; substantial urface/edge chips l: DM /[ ---] Arched niche containing 6 half-fig. portraits in 2 rows. Above, L-R: a woman and two men. Below, L-R: two girls and a boy. They seem to wear stylised tunics and mantles, apart from the first girl who has a tube dress(?). The gable features a Gorgon head; the top corners have lion(?) heads. B: Florescu (1930) 96 no. 34*; Teposu Marinescu (1982) 115 no. 52*; Bianchi (1985) 279 no. 197 (listed as unknown provenance)*; !DR m/5 360 no. 461*; Ciongradi (2007) 163 no. s/A 17"*; UEL no. 11034*; EDCS no. ID R- 03- 0502, 00461*D: Based on the style and coiffures, fi rst half of tlie 211d C (Ciongradi)

1 ~

l

I J

~--

~ ~

-- ---

: _-E --

-----

CATALOGUE :;797-#801

#797

P:

Precise find-spot unknown L: Alba Iulia, M U, inv. 115 (March 07) T: Sandstone medallion, So (Diam) Pr: Severe weathering to the front, esp. to the faces; urface/edge chip S: Laurel-wreath medallion, backed by a hell, containing 2 half-fig. portraits. At the back, a man with a beard in a t+m. In front, a girl in a t+m. B: Florescu (1930) 126 no. 4>; Pop, Moga and Aldea (1972) 507 no. 8; Tepo u ~larinescu (19 2) 192 no. 1 ; Ciongradi (2007) 2;3 no. M/A 3A> D: Based on the coiffure and tyle, Hadrianic (Ciongradi) #798 P: Found during work at trada Vasile Ale andri no. 3 (1943) U, inv. 293 and 467 (March o ) L: Alba Iulia, T: Limestone stela, 92 x 56 x 35 (top right), 9 x H x 35 (lower right), 100 x 57 x 56 (lower left) Pr: Top left section mi ing and univin° area plit into three large fragments; general weathering to the front, esp. to the faces (with that of the child lo t altogether); surface/edge chip J: [---]/[---]IVS [--- ]A:S/V DOM F[AYE:STI)A YET LEG XIII GEM [VIX A·] LX \'L / PRl C!LLA C[Ol\'GI ET v]ERATIA / TATVTA F B l PO = [·-- ]ius [--- ]anus, native of Faventia, veteran of the legio XIII Geminia, who lived for 60 year . Ulpia Pri cilia and \'eratia Statuta set (thi ) up for their well-de en'ing husband and son. S: Laurel-wreath medallion, flanked b · grape bunche and an arch supported b column \\ith Cor. capitals, containing 3 half-fig. portrai . L-R: a woman (mo ti' lost); a child (mo tly lo t); a man in a t-m. AboYe, a winged cupid, who eem to hold a wreath and a garland, as well as ro ette , birds and i,1· leave . At the bottom, vi nes with grape bunches grow from a large crater. B: Russu (1959) 891 no. 32; AnnEpigr (1960) 67 no. 244; Teposu Marinescu (1982) 119 no. 6 '\ Bianchi (19 5) 269 no. 99"*; IDR m/5 462 no. 609•; Ciongradi (200 ) 165 no. s/A 21"*; UEL no. 11692; EDH no. 01 994>-; EDCS no. AE 1960, 00244 D: Based on the epigraphy, Antonine (UEL) #799 P: Built into a fortification wall L: Alba lulia, MNU, inv. 91 (March 07) T: Limestone altar, 76 x 47 x 39

Pr: Bottom section missing; severe weathering, esp. to the face ; damage to the corners and medallion frames; surface/edge chips J: D M / VIRIA PVBLIA v/IRI PVBLI FILIA v, /x AN XX! / VIR[ ·-- ] = To the Spirits of the Departed. Viria Publia, daughter of Virius Publius, who lived for 21 years. ir(-- -1 S: 1edallion, backed by a shell, containing 4 bust-length portraits in 2 row . Above, a woman in a t+m and a man with a beard(?) in a t+m. Below, 2 children (a boy and a girl, each in a t+m?). B: CIL III 1249; Florescu (1930) 110 no. 62*; Teposu Marine cu (1982) 169 no. 37*; IDR I1I/5 457 no. 603"*; Ciongradi (2007) 200 no. A/A1"*; UEL no. 11671*; EDH no. 03 987'' - ; EDCS no. CIL 03, 01249 D: Based on the female hairstyle, Antonine (UEL) ::800 P: Parto area, trada Dacilor, during building works (19 3) L: Alba Iulia, MNU, inv. 8215 (Feb 10) T: Lime tone tela, 1 8 x 85 x 24 Pr: Damage to the edges; cracks through the portrait niche; evere weathering/mutilation to the front, with the loss of the face ; surface chips [: D M / VLP!\' AIVTOR VJ/XIT A LXXX VLPI/A JAIA CO VL"{JT A ' L FI/LI ET FILIA S PARENT/BYS POSIERVNT BE/ :SE :-.1ERE:STIBVS = To the Spirits of the Departed. Ulpius Adiutor, who liYed for o years. Ulpia Iaia, wife, who liwd for 50 year . Their sons and daughter set (this) up for their well-de erving parents. emi- . niche containing 4 half-fig. portraits in 2 rows. Above, a woman in a t+m and a man in a t+c. Below, 2 children, each in a t+m. Above the arch, which is supported by piral column with Cor. capitals, are sea creature , a peacock, wind protomae and genii with garlands. B: Balu\a (19 6) 129 no. 14\ AnnEpigr (1986) 217 no. 614; IDR m / 5 45 no. 604A\ Ciongradi (2007) 166 no. s!A 22A•; UEL no. 116 2•; EDH no. 008082*-; EDCS no. AE 19 6, 00614 D: Based on the tyle and typology, Antonine (Ciongradi) ;;801 P: Found reu ed in a Christian cemetery L: Alba Iulia, I U, inv. 325 (March 07) T: Lime tone ela, 95 x 59 x 18 Pr. Top, left and bottom ection lost; heavy weathering/ mutilation to the front, with evere damage to the faces [: [D] M/[ ---]I DIOFAN/[ I ?---]/[---]

328

CATALOGU E

S:

Arched niche, supported by spiral columns and flanked

# 802-,;807

S:

Rect. niche preserving 2 portraits. At th e left, a man (?) with a scroll in his 1/h. At the right, a girl in a t+m around whose shoulder the man places his arm. Originally there were probably further portraits in the now lost left ection. Teposu Marinescu (1982) 138 no. 147; Bianchi (1985) 270 no. 113; !DR m /5 471 no. 622*; Ciongradi (2007) 169 no. S/ A 30*; UEL no. 13036; EDH no. 039015•-; EDCS no. IDR-03-05-02, 00622 Based on the tyle, mid 2nd C (Ciongradi)

by palmettes, containing 3 half-fig. portraits. L-R: a woman in a t+m (mostly lost); a child in a t+m; a man in a t+c.

CJL m 7813; Teposu Marinescu (1982) 114 no. 49"";

B:

Bianchi (1985) 270 no. 109•; /DR m /5 398 no. 523""; Ciongradi (2007) 163 no. s!A 18"*; UEL no. 11176"; EDH

B:

no. 038931•-; EDCS no. CJL 03, 07813" Based on monument typology, mid 2nd C (Ciongradi)

D:

D: #802

P: L: T: Pr:

Roman cemetery (1957) Alba Julia, M U, inv. 114 (March 07) Limestone medallion, 120 x 85 x 20 Diagonal crack through the top left ection; general weathering to the front, esp. over the portrait ; surface chips; nose-tips lost Laurel-wreath medallion containing 3 half-fig. portraits. L-R: a woman in a t+m with earrings; a boy in a t+s; a man in a t+s. The wreath is upported by lions

S:

and topped by a pine-cone. Protase (1960) 324 no. 1*; Prota e (196ia) 13 no. 7\ Protase (1961b) 134 no. 1•; Bordenache Battaglia (1969) 261 no. m63; Teposu Marinescu (1972) 219'; Pop, loga and Aldea (1972) 506 no. 2; Tepo u Marine cu (1982) 192 no. 19"; Gramatopol (2000) 22 no. 9 '; Ciongradi (2007) 257 no. Ml A 17""; UEL no. 15044; ArD no. 156"

B:

D:

# Bo;

P:

Roman cemetery north-west from Cetate in reused

L:

context (1984) Alba Julia, M U, inv. 8218 (Feb 10)

T: Limestone stela, 61 x 47 x 10 Pr: Small fragment from left side; heavy weathering; surface/edge chips o [M]/ cv[---] /[ ---1 Laurel-wreath medallion preserving 2 half-fig. portraits. Above, a man in a t+s. Below, a boy in a t+s. Originally there were probably further portraits in the now miss-

J: S:

B:

D:

ing right section. Baluta (1986) 132 no. 17*; /DR m /5 362 no. 466*; Ciongradi (2007) 160 no. s/A 7A*; UEL no. 11070*; EDH no. 038803*-; EDCS no. rnR-03-05-02, 00466* Ba ed on the style, second half of the 2nd C (Ciongradi)

Based on the style, mid 2nd C (Ciongradi)

,,806 #803

P: L: T: Pr:

Precise find-spot unknown Alba Julia, M U, inv. m /I (March 07) Limestone stela, 43 x 35 x 20 Small fragment of the portrait niche; heavy weathering;

surface/edge chips S: Arched niche, supported by column with Cor. capital , containing 2 half-fig. portrait . Above, a man in a t+p. Below, a girl(?) in a t+m(?). Originally there were probably further portraits in the now missing right section. B: Teposu Marinescu (1982) 122 no. Bo*; Bianchi (1985) 270 no. 112; Ciongradi (2007) 169 no. sf A 31•

D:

S:

surface/edge chips. 4(?) half-fig.(?) portraits of 2 adults at the back (mostly lost) and 2 boys in front. The larger boy at the right

B:

wears a t+s. Pop, Moga and Aldea (1972) 504 no. 5*; Teposu Marinescu (1982) 197 no. 38; Ciongradi (2007) 254 no. MIA 71\*

D:

Based on the style, mid to late 2nd C (Ciongradi)

#807

P: Find-spot unknown Alba Julia, M U, inv. 468 (Feb 10)

T: Limestone stela, 55 x 55 x 17 Pr: Small fragment, broken along three ides; heavy wea thering; pilaster damaged

I:

Parto~ district Alba Julia, MNU, inv. 609 (Feb 10) T: Limestone medallion, 20 x 22 x 19 Pr: Small fragment of the portrait niche; heavy weathering;

Perhaps mid 2nd C (Ciongradi)

#804

P: L:

P: L:

[D] M

1 [--- ]s VET

LEG

t [xrn G --- ) c[---1 I [---)

Excavated by Lajos Mihaly near the railway station in the direction of Zlatna

L: Alba Julia, MNU, inv. 282 (Feb 10) T: andstone stela, 46 x 62 x 22 Pr: Top/bottom sections lost; surface/edge chips; heavy weathering, esp. to the faces

I

:

. --

----

- -~

- ~

329

CATALOGUE #808 - #812

J: S:

B:

D:

a woman in a t+m with a

C AESERNI / [--- V?)ET / [--- ) Arched niche containing 3 half-fig. portrait . L- R: a woman in a t+m; a child who e detail cannot be di -

D M /

a beard in a t+ . The adults at each end turn inwards.

cerned; a man in a t+ . Teposu Marine cu (19 2) 13 no. 146•\ IDR 111/ 5 3 no. 491'; Ciongradi (200 ) 160 no. IA 9 '; UEL no. 1mo'; EDH no. 03 6 ~ -; EDCS no. IDR-03-05-02, 00491' 2nd C (Ciongradi)

Below, L-R: a boy in a t+s; a girl in a t+m with a stola who has an apple/pomegranate(?) in her r/h; a boy in a t+ with an object in his r/h. The gable features a rosette and acanthus leaves and is flanked by half-p acr. B:

#808

P: L:

T:

Precise find- pot unknown Alba Iulia, ~ , inv. 1 4 (~larch o ) Limestone tela, 21 x ll2 x 30

Flore cu (1930) 90 no. 22*; Bordenache Battaglia (1969) 266 no. G179\ Floca and Wolski (1973) 49 no. 121*; Teposu Marinescu (1982) u3 no. 44•; Bianchi (1985) 267 no. 82 (attribution as Sibiu)" *; Gramatopol (2000) 238 no. 108'; Ciongradi (2007) 176 no. SIA 59"*; UEL no.

Pr: Bottom section mi ing; pat he of re toration; general

[:

S:

14985

weathering and di colouration to the front; ub tantial surface/ edge chip

D:

D M f VLP MAX I IILE P O \'IT ARTORJY \"I, CTOR CO ' IVGJ BE E / [MERE}:-.,[! \ ' IX) A: " XX\' [--- ) = To the Spirit of the Departed. For ilpia laxsimilla, who lived for 25 year . Artorius ictor et thi up for his well-de erving wife [--- )

=810

Laurel-wreath medallion ,,ith ro e

P: L: T: Pr:

ported br

leaf column 11ith Cor. capitals and ba .·ed b · a shell niche, containing 4 half-fig. portrai in 2 roK . Abo,·e, L- R: a woman in a h ·m and a bonnet; a man 1,ith a

,,,.

mourners; above, two genii, one 11ith a rape bunch, the other with a poppy, hold a garland ,,·hich · urrounded by an eagle, a Gorgon head and ro ett . Florescu (1930) 103 no. 45'; Ferri 1933 30; fig . 410 11*; Bordenache Battaglia (1969 26.1 no. Gi-5>; Tepo u Marinescu (1982) u no. 64'; Bianchi 19 ; 26 no. 92A*; Gramatopol (2000) 237 no. 106>; IDR m 5 61

ly ht

11690*; EDH no. 03 994'-; EDCS no. IDR-03-05-02, 00608*

no. 608" *; Ciongradi (200 ) 16 no.

D: SU

B:

#809 Avrig, but probably Alba Iulia

in

~avy

T: Limestone stela, 170 x 90 x 31 Pr: Bottom section missing; horizontal crack in the portrait

S:

Pop, Moga and Aldea (1972) 503 no. 1•; Teposu

D:

Based on the tyle, everan (Ciongradi)

= 1l P: l:

T: Pr:

S:

Preci e find - pot unknown Alba Iulia, Mi\TlJ, inv. 402 (March 07) Limestone medallion, 53 x 50 x 15 mall fragment broken along three sides; heavy weathering Laurel-wreath medallion containing 4 half-fig. portraits in 2 row . Above, a woman in a t+m and a man in a

t+ (?). Below, a boy in a t+s and a girl in a t+m.

B:

Pop, loga and Aldea (1972) 504 no. 6*; Teposu Marine cu (19 2) 1 no. 1; Ciongradi (2007) 254 no. UA 6J\>

D:

Ba ed on the tyle, everan (Ciongradi)

Sibiu, M B, Lap., inv. A 7501 (Jan 10). Its former number wa 7581.

I

mall fragment of the portrait niche; heavy weathering; urface/ edge chips

Marinescu (19 2) 197 no. 37; Ciongradi (2007) 255 no. An" '

10.

P: L:

tr. Traian no. 36 (1970) Alba Iulia, l , inv. 917 (Feb 10) Lime tone medallion, 31 x 22 x 13

:>!

A 19" '; (,'EL no.

Based on compari on 11ith other pieces, late rnd C (UEL)

Based on the hairstyles, everan (Ciongradi)

2 portrait of unknown length: a man with a beard in a t-m (behind) and a boy (in front).

beard in a t+p. Below, L- R: a bo · in a t-m; a boy in a t+p. Underneath, a Gor on head is flanked by rn

B:

stola who adopts the 'arm-

sling' pose; a woman in the same attire and pose as the previous one but with an object in her r/h; a man with

niche; edge damage; general weathering to the front, esp. over the faces Rect. niche, framed by columns with Cor. capital , containing 6 half-fig. portraits in 2 rows. Above, L- R:

:812

P: L:

Preci e find- pot unknown Alba Iulia, 1 , inv. 5 (Feb 10)

T:

Limestone pillar monument, 95 x 52 x 30 evere weathering, e p. to the face ; ubstantial surface/

Pr:

edge chips; bottom corners mi ing; portrait of final child lo t

330

CATALOGUE #813-#818

S:

Arched niche, framed by spiral columns, containing 5 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m and a bonnet(?) who has a necklace; a man with a beard in a t+p. Below, 3 children (boys?) who e garments cannot be discerned. The ide feature vines and grape bunches growing from a cantharus. Teposu Marinescu (1982) 173 no. 51; Ciongradi (200 ) 212 no. pf/A 1 Severan (Ciongradi)

B:

D: #813

P: L: T: Pr: /: S:

!DR m /3 430 no. 438"; AnnEpigr (1995) 391 no. 1297; EDH no. 043749"-; EDCS no. IDR-03-03, 00438 151-250 (EDH)

B:

D: #816

P: L:

Ruda necropolis, Petrine~ti

/:

D M / AVR VALERIVS / v1[xIT] ANNIS XL[ .. ] / [Av] R BANEA(?) co I / B M P = To the Spirits of the Departed. Aurelius Valerius, who lived for (?) years. Aurelia Banea(?) set (this) up for her well-deserving husband.

S:

Circ. niche containing 3 half-fig. portraits. L-R: a woman, a child (in front) and a man. The gable features a pine-cone; the frieze below the niche depicts an abbreviated Totenmahl scene. !DR m /3 430 no. 437""; AnnEpigr (1995) 391 no. 1295; EDH no. 043747"-; EDCS no. AE 1995, 01295 Late 2nd to early 3rd C (AnnEpigr)

Brad, Muzeu1 Aurului, inv. unavailable (EDH) T: Limestone stela, 190 x 82 x 13 Pr. General weathering to the front, esp. to the portraits; minor surface chips

Precise find -spot unknown Alba lulia, M U, inv. 386 (Feb 10) Limestone stela, 42 x 32 x 21 Small fragment; heavy weathering; surface/edge chips [D] M/[- --]IO/ [---] iche, framed by spiral columns, preserving a half-fig. portrait of a child (girl?). Ba.luta (1986) 132 no. 18; !DR mis 363 no. 467''; Ciongradi (2007) 171 no. IA 37'; UEL no. 11071"; EDH no. 038805"-; EDCS no. IDR-03-05-02, 0046 ~ 151-270 (EDH)

D:

#814

=817

P:

Str. Traian no. 36 (19 o) L: Alba Iulia, MNU, no inv. (Feb 10) T: Limestone medallion, 29 x 26 x 26 Pr: mall fragment of the portrait niche; heavy weathering;

P: L: T: Pr.

B:

D:

S: B:

surface/edge chips A bust-length(?) portrait of a boy, behind whom are the remains of an adult. Pop, Moga and Aldea (1972) 503 no. 2>; Tepo u Marinescu (1982) 198 no. 41; Ciongradi (2007) 256 no.

B:

Ruda necropolis Brad, Muzeul Aurului, inv. unavailable (EDH) Limestone tela, 120 x 72 x 9 Bottom section missing; surface/edge chips; heavy weathering, esp. to the faces D M / [. A ]TO I/[---] VIXIT / [AN ]IS XLV / [---]RITI /

/:

[---] Tri. niche containing 4 half-fig. portraits in 2 rows. Above, a woman in a t+m and a man in a t+s(?). Below, 2 boys(?), each in a t+s(?). At the top of the niche there

MI A 12"

D:

2nd to 3rd C (Teposu Marinescu)

is a central pine-cone flanked by two rosettes.

B:

Brad

!DR m /3 427 no. 435"; AnnEpigr (1995) 391 no. 1296; EDH no. 043748"- ; EDCS no. IDR-03-03, 00435 Late 2nd to early 3rd C (AnnEpigr)

D:

#815

P: L: T:

Ruda necropoli Brad, Muzeul Aurului, inv. unavailable (EDH) Limestone stela, 277 x 93 x 20 Pr: Reconstructed from everal fragments; heavy weathering to the front, esp. to the portrait ; urface/edge chip /:

S:

D M / DVLES MAXIM I VIX /

IS XLVII !VAL / AXJS AN I

[---] / A IA 'ICE co IV[---]/ [---]L!O [---] / [---] p Arched niche containing 3 half-fig. portraits. L-R: a woman in a t+m; a child (in front); a man with a beard in a t+s(?). The stone is topped by lion ; the lower frieze contains an abbreviated Totenmahl cene.

Bruda (Aiud) #818

P: L: T: Pr.

S:

Local farm (1951) (Fig. 107) Bucharest, M IR, inv. 66446 (July 06) Limestone medallion, 100 x 119 x 22 Light weathering to the front; minor damage to the adults' portraits and to the top-left frame; part of the acroterion lost Circ. niche, backed by a mussel shell, containing 3 halffig. portraits. L- R: a woman in a t+m and a bonnet who

•

,

.

- ...ii,,._

-

-

!

•!I""'~~~,··""""

..

.

~~ ~

. l.L_,l .e

-

----

---·

-

-

'

-

---

--------

CATALOGUE

B:

D:

wears a pair of earring ; a boy in a t+p; a man in a t+p, around \ ho e boulder the woman eems to place her hand. He in turn places his hand around her houlde r. Below the niche is a central Gorgon head flanked by lion with animal heads under their pa\\ (a ram' at the left, a hor e' at the right). Protase (1960) 325 no. 2·; Protase {1961b 13 no. 2'; Bordenache Battaglia (1969) 261 no. 016 · Tepo u Marinescu (19 2) 219>; Pop,. Io a and Aldea (19;2) 506 no. 1; Teposu i\larinescu (19 2) 194 no. 25 >; Bianchi (1985) 281 no. 212"\ Grarnatopol (2000) 230 no. 103>; ArD no. 8 '; UEL no. 15049 100-150 {Tepo u Marinescu)

#819 P: Precise find - pot unknown L: Aiud, Muzeul de Istorie, inv. 3191 (Jul '06 T: Limestone aedicula relief, 155 x 90 11 Pr: Bottom left ection Jo t; h ·o adult heads mis in · bea,·y weathering to the front, esp. to the suni\in fa from which the feature id · urface chip S: 6 full-fig. portrai in 2 row . :\.bO\·e, L- R: a rnm in a t+m who adopts the 'arm-slin 'po e; a ·oman in the same attire and po e as the fir tone; a man in a - \,ith a scroll in hi 1/h. Below, L-R: a boy (mo r lo in a t+m; a boy in at- . All three of the adul hand on the boulder of the children. B: Pop and oroceanu (196 ) 354 no. >; Floca and o (1973) 26 no. 79">; Tepo u . larin cu (19 2) 219 no. 97"*; Bianchi (19 5) 279 no. 19 (lis ed unknown provenance); EL no. 15090 D: 150-200 (UEL)

# 819- # 823

B:

-=821

P:

Preci e find- pot unknown L: Tirgu Mure, MAI, inv. 4901 (UEL) T: Limestone stela, 110 x 75 x 22 Pr. Right edge and top left corner damaged; bottom section mi ing; urface/edge chips; general weathering, esp. to tlie face (detail of which are lost) J: DM[--·] S: Laurel-\\Teatli medallion, backed by a shell, containing 3 half-fig. portrait . L-R: a woman in a tube dress and a bonnet; a boy in a t-rm; a man witli a beard in a t+m. The gable, whi h i upported by vegetal columns with Car. capital , contain a rosette. The top corners feature \'ictories(?) and furtlier rosettes. B: Paulovi (1944) 89'; Bordenache Battaglia (1969) 263 no. Gl 2"; Teposu Marinescu (1982) 116 no. 59"*; Bianchi (19 5) 2 2 no. 135"*; UEL no. 14545D: 1· 0-200 {Tepo u Marinescu)

= P: L: T:

/:

Precise find- pot unknown Tirgu 1ure , !Al, inv. a-b (Teposu Marinescu) Lime tone medallion, 43 x 46 x 15 top and bottom areas lost; heavy weathering, esp. to the fa es; surface/edge chip Circ. ni he containing 4 half-fig. portraits in 2 rows. bove, a woman in a t+m and a man with a beard in a t~ . Both place tlieir hand on the boulders of the 2 children in front (who e genders and dress cannot be dis erned).

B:

Pop, Aldea, Chifor and Ludke! (1968) 415 no. 4; Pop,

D:

Moga and Aldea (1972) 50 no. 22*; Teposu Marinescu (19 2) 196 no. 32 2nd to 3rd C {Tepo u J\1arinescu)

D [M] // Fl !TVS [-- - ]/ VI AK[---]/ FER P [---]/ET

svP1[rvs-- -]IFA [ ][-- -] S:

22

Pr. Recon tructed from two fragments, witli parts of the

Crist~ #820 P: Castle at Gome ti L: Tirgu Mure~, MA1, inv. 4902 (UEL) T: Limestone stela, 129 x 61 x 16 Pr: Top and right sections lost; general weathering and di colouration; surface chip

33 1

Paulovics (1944) 95*; Teposu Marinescu (1982) 123 no. 83'''; Bianchi (1985) 273 no. 140 '\ IDR m /4 108 no. 140*; UEL no. 14994; EDH no. 045081- ; EDCS no. IDR03- 04, 00140 101- 250 (E DH)

D:

Rect. (?) niche, framed by pilasters, containing 2 half-fig. portraits of (above) a woman in a t+m witli an ob·ect in her r/h and (below) a child in a tunic. Originall · there were probably furthe r portraits in tlie now lo t ection to the right. At the sides, spiral column topped by Car. capitals.

"23 P: Pre i e find- pot unknown

L: T: Pr.

,_

'. : : : ~

1lrgu ,\lure , I.Al, inv. unavailable (Teposu Marinescu) Lime ton tela, 7 x 62 x 24 Bottom ection and right ide missing; heavy weathering, esp. O\'er the faces; head of tlie child lo t; substantial surface/edge chip

CATALOGUE #824-#829

332

S:

Rect. niche featuring a Totenmahl scene. At the left, a woman in a belted tunic sits on a cathedra. In the centre, a child and a man (?) recline on a kline, in front of

B:

David (1966) 460 n.9; Pop and Soroceanu (1968) 353 no. 3*; Bordenache Battagl ia (1969) 253 no. G131; Teposu Mari nescu (1972) 220*; Floca and Wolski (1973) 22 no. 69A*; Teposu Marinescu (1982) 220 no. 100A*; Bianchi

which is a mensa tripes. It is possible that a further por-

(1985) 276 no. 172*; UBL no. 15092 150-200 (UBL)

trait appeared in the now missing right section. The

B:

gable features a Gorgon head. Paulovics (1944) 92*; Teposu Marinescu (1982) 132

D:

no. 123 2nd to 3rd C (Teposu Marinescu)

D:

#827

P: L:

Precise find-spot unknown Cluj- apoca, M IT, Roman Lap., inv. v 15.828 =

#824

P: L: T: Pr: S:

B:

(March 10) Precise fi nd-spot unknown Tirgu Mure~, MAI, inv. 10 (Teposu Marinescu) Limestone medallion, 46 x 30 x 16 Teposu Marinescu records it as 'fragmentary'. Laurel-wreath medallion, backed by a shell, containing 2 bust portraits of a woman (at the back) and a boy (in front). Pop, Aldea, Chifor and Luciicel (1968) 415 no. 5; Pop, Moga and Aldea (1972) 509 no. 23; Teposu Marinescu

D:

IN 1593

T: Limestone stela(?), 37 x 36 x 21 Pr: Small fragment of the portrait niche; heavy weathering; surface/edge chips At the right, a half-fig. portrait(?) of a woman. Her garments cannot be discerned. To the left there are remains of a second portrait, identified by Teposu Marinescu as

S:

B: D:

a boy. Teposu Marinescu (1982) 198 no. 43 2nd to 3rd C (Teposu Marinescu)

(1982) 188 no. 3 2nd to 3rd C (Teposu Marine cu)

lli~ua #825

P: L: T: Pr:

:828 Precise find-spot unknown Tirgu Mure~, MAI, inv. 26 (Teposu 1arinescu) Gritstone medallion, 33 x 32 x 18 Small fragment of the portrait niche; heavy weathering;

S:

surface/edge chips Circ. niche pre erving 2 half-fig. portraits of a woman

B:

(at the back) and a girl (in front). Pop, Aldea, Chifor and Ludicel (1968) 415 no. 6; Pop,

P: L:

Precise find-spot unknown asaud, Muzeul Bistrita, inv. unavailable (Teposu Marinescu)

T: Gritstone medallion, 58 (Diam) Pr: Severe weathering, esp. to the faces (from which the

S:

details are lost); surface/edge chips Laurel-wreath medallion, backed by a shell, containing 3 half-fig. portraits. L-R: a woman in a t+m; a boy in a

Moga and Aldea (1972) 508 no. 21A*; Teposu Marine cu

D:

(1982) 196 no. 33A 2nd to 3rd C (Teposu Marinescu)

B:

tunic; a man with a beard in a t+s. Pop, Moga and Aldea (1972) 510 no. 28A; Teposu

D:

Marinescu (1982) 189 no. 6A 2nd C (Pop, Moga and Aldea)

Gherla #829

#826

P: L: T: Pr:

S:

Roman castrum Buchare t, M IR, inv. 37872 (July 06) Limestone aedicula relief, 142 x 86 x 10 Top section lo t; general weathering to the front, esp. to the portraits (details of which are mostly lost); substantial surface/edge chips 4 full-fig. portraits. L-R: a woman in a t+m in the 'armsling' pose; a boy in a t+s, upon whom the woman places her 1/h; a man in a t+s with a scroll in his 1/h; a boy in a t+s upon whom the man place hi r!h. Both boys held objects.

P:

Found during agricultural work near to the Roman camp of the ala Tungrorum Frontoniana (1950) asaud, Muzeul Bistrita, inv. 5113 (Teposu Marinescu)

L: T: Tufa medallion, 60 x 38 x 15 Pr: Left and right sides lost; damage to the top fra me; heavy weathering to the front, esp. over the faces; surface S:

chips Laurel-wreath medallion containing 3 half-fig. portraits. L-R: a woman in a t+m who adopts the 'arm-sling' pose; a boy(?) in a t+s(?); a man with a beard in a t+s. The adults turn inwards.

CATALOGvE = 30-= 34

B:

Pop, Moga and AJdea (1972 -16; Danila (19 3) 605-9\ Tepo u larine cu (19 2 196 no. Late 2nd C (Danila)

D:

.\licia \"e\el

#830 P:

G 'U!ai Ca tie

1

-o

D

L:

~

T: Ande ite tela, 6 x 62 1 Pr: Top/bottom ectio lo ; weathering aero ]:

· oeneral

the front,

D M / AEL lA.XYARL\

\U: ..\c· XYIII / P All .liJ.L.\c;Y

To the piri of the D aned :\ell Ianuarius, who liYed for 1 -ears. P. Aeli Aelian e ( · ) up FPP=

rtrai

S:

in

2

row .

B:

no.

333

S:

Back wall: 4 fulJ-fig. portraits in 2 rows. At the back, L-R: a woman in a t+m; a man with a beard in a t+p. In front, L-R: a boy in a t+s with a scroll in his 1/h; a girl in a t-m with earrings who has an apple/pomegranate in her 1/h. Left wall: 3 fulJ-fig. portraits. L-R: a woman in a t m , ho place her r/h on the shoulder of the child; a girl in a t+m with a flower in her hands; a man with a beard in a t+s who has a scroll in his 1/h and his r/h around the shoulder of the woman. Right wall: 3 fullfig. portraits. L-R: a woman in a tunic and gown; a boy in a t+s with tablets and styli in his hands; a man with a beard in a t+p who has a scroll in his 1/h. He places his r/h around the shoulder of the woman; she reciprocates the gesture but also places her r/h on the shoulder of the boy. The acroteria are in the form of a pine-cone (centre) and lions ( ides). B: Flore cu (1930) So no. 3"; Ferri (1933) 341/figs. 448-9*; Floca and \\olski (1973) 4 no. 1"*; Teposu Marinescu (19 2) 19 no. 1*; Bianchi (1985) 280 no. 200"*; Ciongradi (200 ) 218 no. Ae/M 1"* D: B ed on the hairstyles, early Antonine (Ciongradi)

19 1

- ; WCS

= 33 Preci e find-spot unknown De,·a, MCDR, Depo it, inv. 23.nS (Dec 09) L: T: andstone stela, 227 x 104 x 24 Pr: Recon tructed from 4 fragments, with severe cracks through the niche and inscription; general weathering; urface/edge chip ]: D ~! MATTA\'lA LAEDA / VIX XXV ET BLA/STE FIL L ~1ATTAVI/V BLA TY co / ET FIL BM p = To the Spirits of the Departed. lattavia Laeda, who lived for 25 years, and for Blasta, daughter. L. Mattavius Blastus set (this) up for hi well-de erving wife and daughter. Laurel-wreath medallion, backed by a shell, containing 2 half-fig. portrait . L-R: a girl in a t+m with earrings; a woman in a t+m. Above the arch, which is supported by column with Cor. capitals, are genii, garlands, grape bunche and a central Gorgon head. B: David and Marghitan (1968) 131 no. 1*; AnnEpigr (1971) 131 no. 402; Teposu Marinescu (1982) 121 no. 77; IDR ui/3 1 1 no. 1 1\ Bianchi (1985) 267 no. 78"*; Ciongradi (200 ) 195 no. s/M 17" *; UEL no. n828; EDH no. 011 40-; ED no. IDR-03-03, 00181 D: Based on hair tyle and typology, Antonine (Ciongradi) P:

D:

Based on the nam

Hadriani

Ciomrradi)

#831 P: Ancient necropoli near l\ficia L: Deva, MCDR, Depo it, in,·. 2452 D 09) T: Gritstone medallion, o Diam x 20 D) Pr: Light weatherin a ro the front; a uI · no damaged; minor edge hip S: Laurel-wreath medallion ontaining half-Ii . portraits. L-R: a woman in a t-m; a bo ' in a t-c; a man with a beard in a t+c. B: Floca (1937-40) 341 no. 2•; Pop, Moga and Aldea (19 2) 512 no. 39; Tepo u 1arine u (19 2) 193 no. 23' ; Bianchi (1985) 280 no. 206\ Ciongradi (200 ) 25 no. 1-.I/M 2" ' ; UEL no. 15047 D: Based on the coiffures and tyle, Hadrianic to early Antonine (Ciongradi) #832 P: Find-spot

unknown (from the museum' old collection) L: Deva, MCDR, Deposit, inv. 3528 (Dec 09) T: Andesite aedicula monument, 230 x 60 x 60 Pr: Top left section of hind wall lost; several era · through the portrait areas; general weathering to all "de · urface/edge chips

= 34 P: Preci e find - pot unknown

L: Deva, MCDR, Deposit, inv. 105 (Dec 09) T: Andesite pillar monument, 73 x 65 x 45

334

CATALOGUE #835 - #839

Pr: Corners damaged; heavy weathering to the front, esp.

# 837

to the portraits (from which most of the detail are lost); surface/edge chips S:

P: L: T: Pr:

Arched niche, supported by columns with Cor. capitals, containing 4 half-fig. portraits in 2 rows. Above, a woman and a man, each in a t+m. Below, 2 boys, each in a t+m (?). Above the niche are vines with grape bunches.

B:

Florescu (1930) 115 no. 69*; Floca and Wolski (1973)

D:

48 no. 124•; Teposu Marinescu (1982) 174 no. 57•; Ciongradi (2007) 213 no. Pf/M 4* Mid 2nd C (Ciongradi)

]:

L:

T:

Find-spot unknown, but probably Micia Deva, MCDR, Deposit, inv. 15873 (March 10) Andesite Stela, 67 x 55 x 22

S:

Pr: Small fragment broken along three sides; heavy D M /

QVI TVS !MAGI A[LAE? CAM?)/[PAG?)O [VM? ---)

/ [---] = To the Spirits of the Departed. Quintus, imaginifer in the ala Campagonum(?) [---) S:

B:

Arched niche, supported by columns with Cor. capitals, containing at least 4 half-fig. portraits in 2 row: . The adult above are mostly lost while the children below comprise a girl(?) in a t+m (left) and a boy in a t+s (right).

B:

Teposu Marinescu (1982) 125 no. 95\ !DR m/3 1 3 no.

D:

183*; Bianchi (1985) 267 no. 9*; Ciongradi (2007) 195 no. s!M 18; UEL no. 11830; EDH no. 045597-; EDCS no. IDR-03-03, 00183 Based on the costume, late Antonine (Ciongradi)

Based on the available illustration, it was heavily wea thered and had several surface/edge chips. D

M f C IVLIVS SOSIPAT/ER VIXIT A LXX / ET C IV[ L)

If the preserved illustration is reliab le, a rect. niche contained 6 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m; a child; a man with a beard. Below, 3 further portraits (though it is unclear whether they are of adults or children).

weathering [:

Lost (at Gyulai Castle in 19th century) Stela, material and dimensions unknown

A TIPA/TR [v1x] AN XVI / ET C [IVL) VALEN/TIN[vs ] VIX AN I XXII[---]1[---1 IVL II? Ev/oovs [--- c ]ONIV/ GI ET FILis / BM P = To the Spirits of the Departed. C. lulius Sosipater, who lived for 70 years. And C. Iulius Antipater, who lived for 16 years. And C. Julius Valentinus, who lived for(?) years. [---] Julius Euhodus [---]. [---) set (this) up for their well-deserving husband and children.

#835

P:

Precise find-spot unknown

D:

CJL III 1388; !DR m /3 178 no. 178*; Ciongradi (2007) 191 no. s/M SIi*; UEL no. 11817; EDH no. 045594-; EDCS no. CJL 03, 01388 151-270 (EDH)

,;838 P: Marea necropolis, to the east of Micia

L:

Deva, MCDR, Deposit, inv. 23.352 (Dec 09)

T: Limestone stela, 120 x 75 x 20 Pr: Damage along the right side; left corners missing; surface chips; heavy weathering, esp. to the face (from which the details are lost) D M /CORBY/SIN IO / VIX A x[.J /[ ---]=To the Spirits of the Departed. For Cornelius Businnius, who lived for (?) yea rs [---)

#836 P: Local cemetery L: Deva, MCDR, Deposit, inv. 2465 (Dec 09)

l:

T:

S:

Laurel-wreath medallion containing a bust-length p ortrait of a boy(?) in a t+s. (It is unclear whether the age should be restored as that of a child or adult.) The top corners feature acanthus leaves.

B:

Floca (19 68) ll4 no. 3*; AnnEpigr (1971) 131 no. 401; Teposu Marinescu (1982) 143 no. 174*; !DR m/3 175 no. 174*; Bianchi (1985) 266 no. 71*; Ciongradi (2007) 190 no. s/M 5*; UEL no. 11813; EDH no. 011737-; EDCS no.

Andesite stela, 290 x 90 x 26

Pr: Two large diagonal cracks through the top and centre;

S:

B:

general weathering, esp. to the face ; damage to the inscription frame and bottom right corner Laurel-wreath medallion with rosette , flanked by wind protomae, contairling 3 half-fig. portraits. L-R: a woman in a t+m; a boy in a t+s; a man with a beard in a t+p. At the top, a Gorgon head is flanked by genii holding a bird (left) and a flower (right). Floca (1937-40) 342 no. 3•; Bordenache Battaglia (1969) 265 no. G176; Teposu Marine cu (19 2) 145 no. 17 *; !DR m/3 189 no. 190*; Bianchi (1985) 266 no. 3•; Ciongradi

D:

(2007) 189 no. s/M 3*; UEL no. 1183 =15025 Based on the coiffures, costume and tyle, late Antonine to Severan (Ciongradi)

D:

IDR-OJ-03, 00174 Based on the names, Severan to late 3rd C (UEL)

#839 P: Found during railway line construction (1879) L: Deva, MCDR, Deposit, inv. 68 (Dec 09)

T:

Limestone stela, 123 x 73 x 19

. --~ -

;

-

-

I

-

-

--

--------- - - CATALOGUE #8 4 0 - #8 43

edge chips; heavy weathering, esp. to the portraits; head

S:

B:

D:

of the fir t child lost D M / A 'TO IA QVAETA / VIX AN XXXlll ET / Ai'\'TO. IA VALE 'TI/ 'A FIL VIX A XII / A..'\'TO. TY / VALE1''T FILM ET s I B M P = To the piri of the Departed_ Antonia Quaeta, who lived for 33 'ear and Antonia \ alentina, daughter, who lived for 12 ·ears. Antoniu \ alentinus, son, set (this) up for hi well-de erving mother and sister. Sem i-c. niche containino 4 bust-length portraits. bove, a woman and a man, the latter perhap \\ith a croll in his r/ h. Below, a boy and a girl. Their garments cannot be discerned. CIL III 7869; Florescu (1930) 96 no. 33'; Tepo u Marinescu (19 2) 146 no. 1 1>; /DR 111/ 3 164 no. 162>; Bianchi (1985) 266 no. 75'; Ciongradi (2007) 191 no. M 7"*; UEL no. 11 oo; EDH no. 04544 -; ED no. CIL 03, 07869 Based on the names and epi!!raph , everan to late 3rd C (UEL)

#840 P: Found during railwa · line construction in a local necropoli (1 65) L: Cluj- apoca, . IT, Roman Lap., inv. ,· 31.617 = .\flC 6 (March 10) T: Andesite stela, 140 x 62 x 19 Pr: General weathering, esp. to the faces; urface edge chips; patches of restoration /: D M / AYR MA[T]VRY YET ERAXY CHOR Cm!AGENORV / VIX AN L AYR PRL\ XY \TI AN XYlliI ..\\'R SVRVS MILi ' M / I YlX Ai, LX A\'R EY TI. 'A nx Al" B s XVII AVREL/lA VRILLA / .\lATER pp F B .\I= To the Spirits of the Departed. Aurelius Maturus, veteran of the cohors Commagenorum, who lived for 50 ·ear ; Aurelius Primanu , who lived for 19 ·ears; Aurelius Surus, soldier of the numeri },-iaurorum Miciensium, who lived for 20 year ; Aurelia Eu tina, who lived for 17 years. Aurelia Surilla, mother, piously did (thi ) for the well -deserving. (The meaning of's 'after Eustina's name is unclear; Bordenache Battaglia sugge ts bona

S:

B:

335

Battaglia (1969) 138 no. n65A; Teposu Marinescu (1982) 143 no. 173"*; /DR m/3 168 no. 166"*; Bianchi (1985) 266 no. 74*; AnnEpigr (2004) 419 no. 1208; Ciongradi (2007) 190 no. s/M 4 (photo reversed)"*; UEL no. 15023;

Pr: Top section lost; bottom left corner damaged; surface/

/:

: ~ - - .}I -~~

EDH no. 045474"-; EDCS no. CIL 03, 06267 D:

Ba ed on the names and style, early 3rd C (Ciongradi)

=841

P: L: T:

Find-spot unknown (from the museum's old collection) Deva, MCDR, Deposit, inv. 123 (Dec 09) Limestone relief, 47 x 75 x 15 Pr. Bottom section missing; large crack in left section of the portrait n iche; corners dam aged; severe weathering, esp. to the faces Rect niche containing 5 half-fig. portraits. L-R: a woman in a t+m; 2 children; a man with a beard; a woman in a t+m. The man seems to hold a cup in his r/ h and a econd object in the other. B: Floca and \ ol ki (1973) 12 no. 18*; Teposu Marinescu (19 2) 219 no. 94; Ciongradi (2007) 225 no. Ae/M 28 "* D: Based on the female hairstyle, first half of the 3rd C (Ciongradi)

1apoca

(Cluj - apoca)

=842

P:

Bulevardul Pavlov (Fig. 19)

L:

Cluj- apoca, IT, Rom an Lap., inv. v 15.880 = II 563 (March 10) Limestone tela, 78 x 71 x 22

T:

Pr. Bottom ection missing; corners dam aged; general weathering, heavie t over the faces (from which most of the detail are lo t); surface/edge ch ips Laurel-wreath medallion containing 3 half- fig. portraits. L- R: a woman in a t+m who adopts the 'arm -sling' po e; a girl in a t+m with a bird in her r/h; a man with a beard in a t+ . The corner are decorated with acanthus leav . B:

chober (1911) 2 2 no. 9\ Florescu (1930) 99 no. 39 *; Bordenache Battaglia (1969) 264 no. G174"; Teposu Marinescu (19 2) 139 no. 157A*; Bianchi (1985) 275 no. 159~; Bodor (1987) 216 no. 31 150-200 (Teposu Marinesc u)

salute.)

D:

Circ. niche containing 5 half-fig. portraits in 2 row . Above, L-R: a woman in a t+m; a woman in a t+m; a man in a t+s. Below, L-R: a boy in at+ ; a man with a beard in a t+p. Above the niche are two acanthus leaves.

P:

Foundation of Armata Ro~ie no. 32 (later Bulevardul Lenin no. 6)

L:

CI L Ill 6267; Schober (1911) 281 no. 8*; Flore cu 1930) 93 no. 29*; Ferri (1933) 330/figs. 431- 2\ Bordenache

T:

Cluj- apoca, M IT, Roman Lap., inv. v 15 .833 = IN 7697 (March 10) Limestone stela, 85 x 90 x 16

::843

336

CATALOGUE

Pr: Bottom section ITl!ssmg; top edge damaged; severe

S:

B:

D:

weathering, esp. to the faces; head of the second adult lost; surface chips Laurel-wreath medallion with ro ettes, above which are dolphins, containing 3 half-fig. portraits. L-R: a woman in a t+m; a child (mostly lost); a man in a t+s(?). At the top, a wreath is flanked by Victories and lions. Vlassa (1965) 36 n.63; Pop (1968) 484 no. 7'"; Tepo u Marinescu (1982) 120 no. 71\ Bianchi (1985) 275 no. 160*; Bodor (1987) 216 no. 32; UEL no. 12323 Based on the style, 150- 200 (UEL )

#844 P: Precise find-spot unknown L: Dej, Muzeul Municipal, inv. n /92 (June 06) T: Limes tone stela, 62 x 62 x 20 Pr: Bottom section missing; damage along the left ide; surface/edge chips; severe weathering, esp. to the face (from which the details are lost) S: Rect. niche containing 5 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m who adopt the 'armsling' pose; a woman in the ame po e and attire as the previous one; a man with a beard in at+ . Below, 2 children (whose genders and dre cannot be di cerned).

B: D:

#844-#848

T: Gritstone medallion, 87 x 77 x 18 Pr: Bottom left edge missing; heavy weathering to the front,

B:

D:

Porolissum (Moigrad)

#847

P: L:

Precise find-spot unknown (Fig. 88) Zalau, Muzeul de Istorie ~i Arta, inv. 215 (July 07) T: Limestone medallion, 35 x 55 x 23 Pr: Small fragment of the portrait niche; heavy weathering;

S:

Teposu Marinescu (1982) 126 no. 100~ 2Ud to 3rd C (Teposu Marinescu) Patringeni (near Ampelum)

#845

P: L:

Precise find-spot unknown Cluj- apoca, M T, Roman Lap., inv.

15. 68 = 1 4485

(March 10) T: Limestone pillar monument, 150 x 55 x 43 Pr: Acroteria damaged; bottom right corner lost; heavy weathering to the front, esp. to the portrait ; surface/ S:

B:

D:

edge chips Front: rect. niche, framed by columns, containing 3 half-fig. portraits. L- R: a woman in a t+m; a child (details too damaged to be discerned); a man in a t+s. The gable, above which there is a pine-cone, features a Gorgon head. Left: dolphins and Attis. Right: a ro ette, a bird and a standing female figure. Florescu (1930) m no. 64\ Floca and Wolski (1973) 48 no. n9b*; Teposu Marinescu (1982) 171 no. 47 A*; UEL no. 12357 2Ud C (Teposu Marine cu)

#846

P: L:

Precise find-spot unknown Bucharest, M IR, inv. 54.5n (March 10)

esp. to the portraits (from which the features are lost); surface/ edge chips Laurel-wreath medallion, backed by a shell, containing 3 half-fig. portraits. L-R: a woman in a t+m with earrings; a child in a tunic (whose gender cannot be discerned); a man in a t+m. Schober (19n) 275 no. 1*; Florescu (1930) 123 no. 78*; Pop, Moga and Aldea (1972) 510 no. 32; Teposu Marinescu (1982) 189 no. 7" ; Gramatopol (2000) 229 no. 100*; Ciongradi (2007) 253 no. Ml A 4 (attributed to Alba Iulia)" * Based on the style, mid 2nd C (Ciongradi)

B:

D:

nose-tips lost iche which contained at least 8 half-fig. portraits in 3 rows. At the top, a woman in a t+m and a man in a t+c. In the middle, 3 females, each in a t+m, and a man with a beard in a t+s. At the bottom, a gi rl and a boy (only the heads of whom are preserved). (Teposu Marinescu suggests that the lower six portraits are all of children but this seems unlikely.) Pop, Aldea, Chifor and Lucacel (1968) 417 no. 9*; Pop, Moga and Aldea (1972) 510 no. 30; Gudea and Lucael (1975) 42 no. 137*; Tepos u Marinescu (1982) 194 no. 27* 2Ud C (Teposu Marinescu)

#848 P: Garden of Castle Teleki at Jibou L: Zalau, Muzeul de Istorie ~i Arta, inv. 1051 (July 07) T: Limestone altar, 90 x 67 x 43 Pr: Bottom section missing; damage to the acroteria; heavy weathering/mutilation, with the near complete loss of some of the portraits; surface chips S: Rect. niche, framed by columns with Cor. capitals, containing 5 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m with earrings; a man with a beard in a t+p(?); a man with a beard in a t+p(?). Below, a boy(?) and a girl(?) whose garments cannot be discerned. The gable features an acanthus leaf and is flanked by lion(?) acroteria.

•.

-

' ~

-

-::::::-

-

-

-

-

------=

I

-

-

-

~-

337

CATALOGUE #849-#853

B:

. . . (1937-40) 324 n 0 · 3~., Gudea and Luciiel Da1coV1c1u (1975) 42 no. 140*; Teposu Marinescu (1982) 171 no. 46'; Gudea, Schmidts and chuller (1998) 122

for 8 years. Surillio, who lived for 25 years. Rufina, who lived for 2o years. Aelius Bolhas, of Bannaeus, veteran once of the numerus Palmyrenorum Porolissensium,

D:

3rd C (Teposu Marinescu)

and Aelia Domestica, his wife, set (this) up for their most devoted and sweetest daughter, and for their welldeserving libertus and servants. Rect. niche containing a Totenmahl scene. At the left,

#~9 P: Find-spot unknown (from a private collection) L: Zalau, Muzeul de I torie i Arta, inv. 1046 (July o ) T: Limestone aedicula relief, 60 x 55 x 30 Pr: Small fragment of the portrait niche; heavy weathering;

S:

B:

D:

surface/edge chip 3 full -fig. portrait . At back, a woman in a t-t-m and a man in a t+s(?) \,ith a croll in his l/h. In front, a child whose drapery and gender cannot be dis emed. Pop and oroceanu (196 r1 no. 2·; Floca and \\'ol ki (1973) 26 no. ; Gudea and Lu · el 19- 5, .!Ono. 131•; Teposu Marinescu (19 2) 220 no. 102 ; Bianchi 19 ; ) 278 no. 18 2nd to 3rd C (Tepo u Marinescu

a ervant in a tunic. In the centre, behind a mensa tripes, 3 figure (perhaps the girl, man and woman named in the inscription) recline on a couch, each with a cup in their 1/h. At the right, a man with a beard, shown in profile, sits on a cathedra.

B:

CIL m 907=7693; Russu (1969) 173; Teposu Marinescu

D:

(19 2) 130 no. us*; Bianchi (1985) 274 no. 151*; UEL no. 1500 ; EDH no. 048895A-; EDCS no. CIL 03, 00907 Antonine to everan (UEL)

=852

P: L:

Find- pot unknown, but possibly Potaissa Cluj-:s.lapoca, MNIT, Roman Lap., inv. v 60.979 (March 10)

T:

Liniestone aedicula relief, 53 x 55 x 12

Pr.

L:

Bottom ection missing; diagonal crack through the top; damage to the frames; general weathering, esp. to the portraits; urface/edge chips

S:

Rect. niche containing 3 half-fig. portraits(?) in a Totenmahl cene. At the left, a cap. vel. woman in a t+m its on a cathedra. In the centre, a boy in a t+s reclines on the /dine and holds a grape bunch in his r/h. At the ri ht, a man with a beard in a t+m reclines on the kline

#850

P:

Find-spot unknown (from the collection)

elen)i-Tele •·

Zalau, Muzeul de lstorie i Arta, in\'. 10-15 Jul: o,) T: Limestone aedicula relief, 124 x 6 x 32 Pr: Small fragment of the portrait ni he; hea 1· \ ·eatherino· surface/edge chip

B:

3 full-fig. portraits. At back, L-R: a man in a t- \,ith a scroll in hi l/h; a woman in a t-m. In - on , a child whose drapery and gender cannot be · erned. Pop and oroceanu (196 r1 no. 1·; Floca an (1973) 24 no. 7; Gudea and Lucael 19- 5 .!1 no. 1µ·; Teposu Marinescu (19 2 220 no. 103 ; Bian hi 19 5 278 no. 189

D:

and holds a cup in his 1/h.

B:

Flores u (1930) 8 no. 17\ Mitrofan and Teposu (1970)

D:

533>; Floca and Wol ki (1973) 16 no. 35A*; Teposu , larinescu (19 2) 218 no. 92A\ Bianchi (1985) 283 no. 221J\>; Bodor (19 ) 213 no. 28A*; UEL no. 15089 150-200 (Tepo u :\1:arine cu)

2nd to 3rd C (Tepo u 1Iarin cu)

Potais a (Turda) #851 P: Precise find-spot unknown L: Tirgu Mure~, MAI, inv. 7904 (UEL )

T:

Limestone stela, 130 x o x 23

Pr: Top ection lost; surface/edge chips; hea\1' weathering,

=853

P:

Preci e find- pot unknown

L:

Buchar t, In titutul de Arheologie, inv. L2059 (July 06) x 7 x 15 Lime tone tela,

T:

Pr: Bottom ection mi ing; damage to the frames; heavy weathering, e p. to the portraits; face of the first child lo t; urface chip

esp. to the portraits [:

D M / AEL THAD 1ES PALMYRA / VIX AN Vlll VRlLLIO / VIX A, XXV RVFINA VIX / AN XX / AEL BOLHA BA:' AEI VET EX N PALMVR / ET AEL DOMESTICA CO, ~TL ·x AEIVS POSVERA T / FIL!AE PIE TISSIMAE ET C\" LC~[E [sic] ET LIBERTO ET ME /ESTERIIS BM = To the of the Departed. Aelia Thadmes of Palrn}Ta

I:

D ~1

1---)

Arched n iche, upported by columns with Cor. capitals, containing 3 half-fig. portrait . L-R: a boy in a t+p; a woman in a t m with an object in her 1/h; a boy or a man in a h· \,ith a croll in hi 1/h. The woman places her r/ h around the boulder of the first boy.

--i:

CATALOGUE #854-#859

338

B:

Bujor (1967) 193 no. 8*; Teposu Marinescu (1982) 138 no.

D:

150 Bianchi (1985) 273 no. 142"*; EDH no. 0427132nd C (Bujor) 1\

Tibiscum {Jupa) #857

P:

Courtyard of manor house (1930) Lugoj, Muzeul de Istorie, Etnografie ~i Arta Plastica, no inv. ( OV 06) T: Limestone stela, 80 x 49 x 17 Pr: Top ection lost, inc. most of the portraits; general weathering; surface/edge chips [; D M / P AEL I CENVA / VIX AN II ET/P ING FLORENTIN/ A vx A II P P = To the Spirits of the Departed. Publia Aelia Ingenua, who lived for 2 years, and Publia lngenuvia{?) Florentina, who lived fo r 2 years. Their parents set (this) up. S: Rect. niche containing 4 half-fig. portraits in 2 rows. Above, 2 adults (mostly lost). Below, 2 girls(?), the second of whom wears a tunic. Further details cannot be discerned. At the bottom there is an ascia. B: /DR m/I 186 no. 159*; Teposu Marinescu (1982) 152 no. 217; Bianchi (1985) 261 no. 34; UEL no. 15030; EDH no. 046531*"-; EDCS no. TDR-03-01, 00159 D: 100-200 (Teposu Marinescu) L:

#854 P: Local cemetery L: Turda, Strada Dr. Toan Rafiu no. 44, Memorial House of Petofi Sandor ( ov 09) T: Limestone aedicula relief, no x 93 x 18 Pr: Bottom section missing; heavy weathering, esp. to the

portraits; surface/edge chip 5 full-fig. portrait in 2 row . Above, L- R: a man in a t+s with an ascia(?) in hi r/h and a croll in the other; a woman in a t+m with a flower in her 1/h and a bird(?) in the other; a man in a t+s. Below, L-R: a boy in at+ ; a girl(?) whose drapery is lost. Floca and Wolski (1973) 18 no. 49"*; Teposu Marinescu (1982) 221 no. 106" ; Bianchi (1985) 274 no. 155 Late 2nd to early 3rd C {Teposu Marine cu)

S:

B: D: #855

P: Local necropolis L: Turda, Muzeul de I torie, inv. 19 2 (June 06) T: Gritstone aedicula relief, 150 x 64 x 20 Pr: Large cracks through the centre; general weathering to the front, e p. to the faces; damage along the bottom edge; surface/edge chip ; no es lo t S: Rect. niche containing3 full-fig. portraits. L-R: a woman in a t+m who adopts the 'arm- ling' po e; a girl in a t+m with poppy-heads in her 1/h; a man with a beard in at+ who holds a scroll in his 1/h_ B: Floca and Wolski (1973) 16 no. 36"\ Tepo u [arinescu (1982) 221 no. 105"\ Bianchi (19 5) 274 no. 154; UEL no. 15093 Late 2nd to early 3rd C {Teposu Iarinescu)

D:

#858

P: L: T: Pr:

Local necropolis Tirni~oara, Muzeul Banatului, Lap., inv. 6353 (Nov 09) Andesite aedicula relief, 111 x 60 x 16 Bottom left section, inc. the body of the child, filled in with re toration; severe weatheri ng, esp. to the portraits; urface/edge chips 3 full-fig. portraits. L-R: a woman in a t+ m and a bonnet(?) with an apple/pomegranate(?) in her r/h; a girl (mo tly lost); a man with a beard in a t+s who holds a croll in his 1/h.

B:

Floca and Wolski (1973) 28 no. 86*; Teposu Marinescu (1982) 220 no. 101 Late 2nd to early 3rd C (Teposu Marinescu)

# 856

D:

P: L: T: Pr:

#859 P: Precise find-spot unknown

S:

B:

D:

Preci e find-spot unknown Turda, Muzeul de I torie, inv. 1061 (June 06) Limestone tela, 79 x 94 x 28 Bottom section mi ing; general weathering, esp. over the faces; corner damaged; urface/edge chip Rect. niche containing 5 half-fig. portraits. At the left, a woman in a t+m with an object in her r/h. In the centre, 3 boys, each in at+ . At the right, a man with a beard in a t+s. The gable feature acanthus leave . Jude and Pop (1972) 9 no. 6\ Tepo u !arine cu (19 2) 132 no. 124*; Bianchi (1985) 2 4 no. 146\ UEL no. 150n Late 2nd to early 3rd C (Tepo u Marinescu)

L: T:

Timi oara, Muzeul Banatului, Lap., inv. 7481 (Feb 10) Gritstone stela, 63 x 40 x 27 Pr: Small fragment of the portrait niche; heavy weathering; surface/edge chips S: Arched niche preserving 2 half-fig. portraits of a man (at the back) and a child (in front). Originally the composition probably contained two further portraits in the now missing left section. B: Tepo u Marinescu (1982) 134 no. 131 (with incorrect inv.) D: 2nd to 3rd C {Teposu Marinescu)

CATALOGUE

#8 60-#864

L-R: a woman, a child and a man. Their drapery cannot be di cerned. Tue gable featured a rosette and acanthus leave . To its side were dolphins with tridents. Hohenhausen (1775) 65*; Alicu, Pop and Wollman (1979) 180 no. 530 1\ Teposu Marinescu (1982) 136 no. 141; Bianchi (1985) 264 no. 57; Ciongradi (2007) 143 no. sis 10 and sis 11 (incorrectly listed twice)* Based on the monument type, first half of the 2nd C

pia Traiana (Sarmizegetusa) #860 P: Find- pot unknown, but perhap Ulpia Traiana

L: Deva, MCDR, Depo it, inv. 100 (Dec 09) T: Sand tone tela, 155 x 4 x 1 Pr: Severe weathering, with the lo of the portrait detail ; surface/edge chip ; bottom ection mi ing S: Laurel-wreath medallion containing 2 half-fig. portrait of aduJts (at the back) and I bust-length portrait of a child (in front). Tue gable features a ro ette flanked b birds. Florescu (1930) 94 no. 30>; Alicu, Pop and \\oilman (1979) 181 no. 534; Tepo u i\iarinescu (19 2) 1.14 no. 1 ; IDR rn/3 262 no. 264; Bianchi (19 5) 2 9 no. 194 (Ii ted as unknown origin); Ciongradi (200 ) 145 no. I 16> Based on the tyle, fir t half of the 2nd C (Ciongradi)

B:

D:

B:

D:

(Ciongradi) #863

P: L: T:

Find-spot unknown, but perhaps Ulpia Traiana Bucharest, M JR, inv. 69518 (JuJy 06) andstone pillar monument, 120 x 60 x 40 Pr: Bottom section missing; general weathering; surface/ edge chips; damage to the sides; Attis figures now little more than outline Arched niche, supported by columns with Cor. capitals, containing 4 half-fig. portraits in 2 rows. Above, L- R: a woman in a t+m; a man with a beard in a t+s. Below, 2

#861 Find-spot unknown ( een at the church in ampetru

P:

during the I th and 19th centuries) Lost

L:

B:

T: Stela of unknown material and dimen ions Pr: Based on the illustration, the bottom left orner was J:

damaged and the whole piece was 1reathered. D M / [c)AECl[L)lA CF VAL/(E,.TI)r A \'lXIT A:-. f VXEMAIVS[---) / [--- ] = To the piri of the Departed. Caecilia Valentina, daughter of Gaius, who lived for

r---

S:

B:

D:

I years as my wife. If the illustration i reliable, a ir . niche ontained · bust-length portrait in 2 rm, . Abo,·e, a woman and a man. Below, 3 children. The drapery of all fi,·e, as well as the gender of the children, cannot be di emecl CIL 111 152 ; Alicu, Pop and Wollman (19 9) 17 no. 522"*; IDR rnh 335 no. 39 A>; Tepo u ~larine u (19 2) 136 no. 142A; Bianchi (19 5) 265 no. 62; Ciongradi (2007) 143 no. / 9 A>; EDH no. o 410-; EDCS no.

D:

boy , each in a t+s. On sides, Attis figures. Florescu (1930) 113 no. 66*; Ferri (1933) 341-2/fig. 450*; Floca and Wolski (1973) 48 no. 123*; Alicu, Pop and \Vollman (1979} 173 no. 509*; Teposu Marinescu (1982) 173 no. 52; Ciongradi (2007) 210 no. pf/s 2* Based on the coiffures and style, early Antonine (Ciongradi)

: 86-t Find- pot unknown (purchased in Zam) L: Deva, MCDR, Deposit, inv. 3593 (Dec 09) T: andstone pillar monument, 115 x 50 x 40 Pr: e\"ere weathering, e p. to the portraits; damage to the left ection of the gable and to the columns flanking the main niche; nose lost; surface/edge chips; bottom

P:

ection mi ing Front: quare niche, framed by columns with Cor. capital , containing 4 half-fig. portraits in 2 rows. Abm·e, L- R: a woman in a t+m with earrings; a man \11th a beard in a t+p(?). Below, a boy and a girl, each in a t-'-m. The gable features hippocampi; the truncated p TaITiid at the top ha vines bearing grape bunches. Left: Gorgon head in gable; a man on horseback in main niche. Right: dolphin in gable; a man (servant?)

CIL 03, 01528 Based on the monument type, first half of the 2nd C (Ciongradi)

#862

P:

Find- pot unknown, but perhap Ulpia Traiana Lost. In 1 67 it wa een leaning again the wall of the church in Riu de Mori T: Limestone(?) tela, dimension unknown Pr: Ba ed on the illu tration, the bottom section was missing, the right side damaged and the whole piece weathered. S: If the illustration is reliable, a medallion backed by a shell and flanked by birds contained 3 half-fig. portrait .

339

L:

B:

D:

in a tunic in main niche. Alicu, Pop and Wollman (1979) 173 no. 510"*; Teposu Marinescu (1982) 173 no. 53"*; Ciongradi (2007) 211 no. pf/5 3A• Based on the hairstyles and stone type, early Antonine (Ciongradi)

340 CATALOGUE _ 65 - 868 #865 P: L:

Find-spot unknown, but perhaps Ulpia Traiana Bucharest, M IR, inv. 38952 (July 06)

T: Limestone medallion, 112 (H) x 86 (Diam) x 32 (D) Pr: General weathering to the front, esp. to the portraits (from which some of the features are lo t); minor urface/edge chips

S:

Laurel-wreath medallion, backed by a shell, containing

L:

Cluj- apoca, M IT, Roman Lap., mv. · IN 20.2 04 (March 10)

T:

Limestone stela, 176 x 9 6 x 20

Pr. Horizontal crack through the inscription; surface/edge chips; general weathering to the front, esp. to the portrait ; top right corner lost I: D M / lVLIO SECVNDO / EXP ST!P XXX!l / DOMO AGR!P

B:

vrx[r]T AN LV / [H] F c = To the Spirits of the Departed. For Tulius Secundus, explorator, of 32 years service, native of Agrippina. He lived for 55 years. The heir saw to it being done. Rect. niche, framed by vegetal pilasters, contai ning 3 half-fig. portraits. L-R: a woman in a t+m; a gi rl whose drapery is not visible; a man in a t+m . The gable features a central rosette; the top corners have peacocks picking at fruit. Daicoviciu, Gostar and Daicoviciu (1959) 358;

D:

Bordenache Battaglia (1969) 136 no. 061; Costar (1969) 493 no. 2•; AnnEpigr (1972) 139 no. 486" ; Gostar (1972) 241'; AnnEpigr (1974) 142 no. 546; Teposu Marinescu (1982) 113 no. 4511*; !DR m /3 261 no. 263*; Bianchi (1985) 266 no. 68"*; UBL no. 14986; EDH no. 011457- ; EDCS no. AE 1974, 00546 100- 150 (Teposu Marinescu)

4 half-fig. portraits in 2 rows. Above, L-R: a woman in a t+m and a bonnet who ha earring and an apple in her r/ h; a man with a beard in a t+ who has a croll in his 1/h. Below, L-R: a boy in a t+m with a bird in hi hands; a boy in a t+m with a stylu in his r/h and tablet in the other. The adult place their free hand around each other's shoulders. Florescu (1930) 127 no. 86'; Ferri (1933) 329/fig. 429'; Tudor (1965) 113*; Bordenache Battaglia (1969) 260 no. G162; Alicu, Pop and \Vollman (1979) 1 2 no. 505'; Teposu Marinescu (1982) 191 no. 1411*; Ciongradi (2007) 25 no. M / M 4 (origin a Micia)" '; UEL no. 15040 (origin as Micia) Antonine (UEL)

B:

D:

"866 P: Find-spot unknown, but perhap lpia Traiana L: Deva, MCDR, Depo it, inv. u6 (Dec 09) T: Gritstone medallion, 104 (H) x 5 (Diam) Pr: Large crack through the bottom ection, filled in with restoration; heavy weathering/mutilation to part of the front, with the loss of ome of the portrait feature ; urface chips S: Laurel-wreath medallion with ro ette , backed by a mussel shell, containing 6 half-fig. portraits in 2 row . Above, L-R: a woman in a bonnet and a t+m with earrings; a man with a beard in a t+s; a man in a t+c. Below, L-R: a boy, a girl and a boy (who e garments are too damaged to be di cerned). B: Florescu (1930) 126 no. 85*; Ferri (1933) 329/fig. 42 ~; Protase (1960) 329 no. 9; Bordenache Battaglia (1969) 260 no. G161; Alicu, Pop and \; oilman (1979) 1 1 no. 504•; Tepo u Marinescu (1982) 189 no. 5'; Bianchi (1985) 282 no. 220 (Ii ted as unknown origin)"'"; Gramatopol (2000) 229 no. 102*; UEL no. 15039 D: 2nd C (Tepo u Marinescu)

:868

P: L:

eica Mica (1856) ibiu, M B, Lap., inv. A 3432 (Jan 10). Its former number wa 7205. T: Grit tone tela, 248 x 106 x 23 Pr: Large horiwntal crack through the centre; surface/edge chip ; top right corner missing; general weathering to the front, esp. to the portraits (the details of which are lost) /: D M / COTV SVCCESSI F / CIVES NORICA VIX / AN LV CL LAT! VS / POSVIT CO IVG! BEN/E MERENTI / H S E = To the Spirits of the Departed. Cotu, daughter of Succes us, citizen of oricum, who lived for 55 years. Claudius Latinus set (this) up for his well-deserving wife. Here she lies. Arched niche, backed by a mussel shell and supported by spiral columns with Cor. capitals, containing 3 full -fig. portraits. L- R: a boy in a tunic who holds the woman's hand; a woman in a t+m who holds the man's hand; a man in a t+p with a scroll in his l/h. Above are two genii, one with a poppy (left) and one with a grape bunch (right). They also hold a garland, underneath which are two rosettes.

Elsewhere #867

P:

Ora~tiora de Sus, in the Roman castrum (195 ) (Fig. 54)

B:

CIL m 966; Florescu (1930) 89 no. 20*; Teposu Marine cu (1982) u 7 no. 62' ; Bianchi (1985) 267 no.

CATALOGUE

#869-#874

85; !DR m/4

D:

00966 101-150 (EDH)

P:

no. 91\ AnnEpigr (2004) 414 no. u81; UEL no. 14991; EDH no. 044943•"-; EDCS no. CIL 03,

D:

Based on stylistic comparisons, 2nd C

#872 Tirnava, church tower (1857) Sibiu, M B, Lap., inv. A 1534 (Jan 10). Its former num-

L:

ber was 3064.

#869 P: Ghirbom, PutuJui brook L: Seb~, luzeul Municipal, inv. 2195 (r-. !arch 10)

T: Limestone stela, 56 x 21 x 20 Pr: Bottom section missing; top corners Jost; severe weathering, esp. to the portraits (from which the features

Lime tone medallion, 90 x o x 1 Pr: Severe weatherin mutiJation, with all of the faces lost; T:

bottom section mi ing; urface/edge chip Laure1-11Teath medallion containing half-fig. portraits in 2 row . Abm·e, L-R: a woman in a t+m; a child

S:

are mostly lost); surface/edge chips; damage to the columns = To the Spirits of the Departed. Prima, daughter of Macer,

[:

D M / PRIMA MACRI / Fl AN L SECV/[ ND ---] / (---]

of 50 years. Secun [---] Laurel-wreath medallion, backed by a shell, containing 3 half-fig. portraits. L-R: a woman in a t+m; a boy(?) in a tuni c; a man with a beard in a t+p who holds a scroll in his Uh. The woman places her r/h around the man's shoulder and her 1/h on the shoulder of the boy. The man also places his r/h around the woman's shoulder.

(who e detail are too dama ed to be di cerned); a man in a t+p. Below, 4 further portraits, the gender and garments of which cannot be determined (it i unclear

S:

whether the depi t adults or children).

B:

Wollman (19 o) 1 9 no. 19•; Pop, ~fo a and Aldea (1972) 509 no. 25; Tepo u Marinescu 19 2 193 no. 21•;

UEL no. 15045 2nd C (Pop, 1\lo a and Aldea

D:

The arch in which the wreath appears is supported by

#870

P:

T: Pr:

B:

column with Cor. capitals. CIL 111 962=7725; Florescu (1930) 97 no. 36*; Teposu Marine cu (1982) 11 no. 60*; !DR 111/ 4 82 no. 94*; EDH

D:

2nd C (Florescu)

Oltenia (Bobu), 'Ghetaria Jui Berbe e' (1961 Craiova, Muzeul Olteniei, in,·. I 5600 19716 • 'ov 09)

L:

Limestone medallion, 67 x 7 x 21 Right section mis ing; evere , ·eatherin

no. 044461*-; EDCS no. CIL 03, 00962

p. to the

=

S:

faces; surface/edge chip Laurel-wreath medallion ontainin° traits. L-R: a woman in at-man a

B:

a tunic; a man (mostly Jo 1}. Toropu (1975) u1 no. 1'; Bian hi 19 - ::o_ 13·; Bondoc, Florescu and Gheo e (_001 - no_ : Bon

D:

in

P: L: T: Pr:

(2004) 7 no. 2· 2nd C (Bondoc)

Brincoven~ti T"ugu ~lure , MAI, inv. 65 7 (Teposu Marinescu) Lime tone aedicula relief, 110 x 65 x 18 Bottom ection missing; adults' heads lost; general

holds a croll(?) in his hands.

B:

P: L:

Bologa Cluj- apoca, r,.

D:

T: Pr:

(March 10) Limestone aedicula relief(?), 65 x 59 x 1 Small fragment of the portrait niche; hea, · weathering; surface/edge chip Rect. niche containing 3 full-fig. portraits. L-R: a woman in a tube dress and mantle who has a bracelet and holds a pomegranate(?) in her r/h; a girl in a tunic with an object in her hands; a man in at ,,ith a roll

P: L:

B:

3

weathering; urface/edge chips 3 full-fig. portraits. L-R: a woman in a t+m who adopts the 'arm- ling' pose; a girl in a t+m with an object fruit?) in her hands; a man with a beard in a t+s who

#871

S:

341

I, Roman Lap., inv. v 60.9

in his 1/h and possibl y a second object in th Bianchi (1985) 282 no. 218*

Protase and Zrinyi (1975) 61*; Teposu Marinescu (1982) no. 99 150-200 (Tepo u Marinescu)

220

=8 4

ura ~lica, built into a wall of the church (1587) ibiu, MNB, Lap., inv. A 1909 (Jan 10). Its former num-

ber wa 4101. Limestone tela, 152 x 76 x 20 Pr: Top section lo t, inc. mo t of the main niche; left and T:

right sides mi ing; urface chip ; general weathering to the front

342

f:

CATALOGUE

D M / [ I]VL MAGIO A / VIX A ' XXI / P P F B M / H E

= To the Spirits of the Departed. Iulia Magiona, who

S:

lived for 21 years. Her father set (this) up to his welldeserving daughter. Here she lies. Laurel-wreath medallion containing 2 half-fig. portraits. Above, a woman in a t+m. Below, a child in a tunic.

B:

AnnEpigr (1971) 124 no. 380; Teposu Marine cu (1982) 143 no. 171" ; IDR m / 4 75 no. 88*; UEL no. 15022; EDH no. 011677*"-; EDCS no. AE 1971, 00380 D: 150-200 (UEL) #875

P:

Find-spot unknown (suggestions include Ulpia Traiana,

L:

Apulum and Micia) Ploiesti, Muzeul de lstorie i Arheologie Prahova, Lap.,

inv. 64-1075 (Dec 09) T: Lime tone medallion, 85 (Diam) Pr: Reconstructed from three fragment , with top left ection mis ing; large cracks in the medallion; discolouration to part of the niche; general weathering; portrait S:

B:

D:

of the econd child lo t Laurel-wreath medallion, backed b , a mus el hell, containing 4 half-fig. portraits in 2 row . Above, a woman in a t+m \\ith a necklace (mo tl ' lo t) and a man "ith a beard in at+ . Below, 2 boys, each in at+ . The medallion is upported by two lion . Prota e (1960) 326 no. 3; Protase (1961b) 136 no. 3; Pop, Moga and Aldea (1972) 512 no. 3 ; Tepo u l'.larine cu (19 2) 189 no. "*; Ciongradi (200 ) 259 no. :-.1h 1 6"\

UEL no. 15043 Ba ed on the coiffure and tyle, e,·eran (Ciongradi)

#876 P: llovita, 20 km north-we t of Drobeta (Drobeta Turnu L:

everin) Drobeta Turnu

everin,

:875 - "880

L:

Tinli~oara, Muzeul Banatului, inv. 7479 (Jan 07) T: Limestone stela, 65 x 42 x 18 Pr: mall fragment of the portrait area; heavy weathering; surface/edge chips Circ. niche, flanked by wind protomae, containing 2 half-fig. portraits. ln the centre, a child whose drapery and gender cannot be discerned. At the right, a man with a beard in a t+p. There was probably a further portrait in the now lost left section. The gable features an acanthus leaf. B: Daicoviciu (1928-32) 124*; Teposu Marinescu (1982) 135 no. 138*; Bianchi (1985) 262 no. 37 D: Late 2nd to early 3rd C (Teposu Marinescu) #878

P:

Tihau, wall near to the Roman camp (1954) Zalau, Muzeul de lstorie ~i Arta, inv. 1026 (Teposu Marine cu) T: Lin1e tone aedicula relief, 80 x 50 x 10 Pr: Small fragment of the portrait area; heavy weathering;

L:

urface/edge chips; nose lost Arched niche, franied by columns, containing a full-fig. B:

D:

s / ,,.

B: D:

annot be discerned).

Bianchi (19 5} 258 no. 9• Ba ed on tylistic compari on , mid 2nd to mid 3rd C

#877 P: Lipova

Germisara (Geoagiu), local cemetery Geoagiu, Str. Independentei no. 8, Church, built into outer wall (Jan 10)

T: Grit tone aedicula relief, 106 x 72 x (wall) Pr: Top section missing, inc. the adults' heads; severe weathering, with the loss of the child's features; (restored) cracks in the main niche; surface/edge chips 4 full-fig. portraits in 2 rows. Above, L-R: a woman in a t+m(?) who places her r/ h on the shoulder of the child in front; a man (mostly lost) in a t+s(?). Below, L- R: a

B:

Laurel-wreath medallion . c;ontaining 3 half-fig. portraits. L-R: a· woma.h, -~ ~ild 'and a man with a beard (further detail

Marinescu (1982) 209 no. 47 3rd C (Teposu Marinescu)

~879

P: L:

uzeul Regiunii Porplor de

Fier, Garden, inv. L II 72 (Feb 10) T: Limestone tela, 105 x 5 x 25 Pr: Bottom ection mi i!Jg; evere weathering, with the lo of the portr-ait detail;/ ur-fa_ce/edge chip ; part of the front coy.;ed by mo

portrait of a girl in a tunic. She has a cup in her r/h. Protase (1961a) 140 no. 8*; Floca and Wolski (1973) 28 no. 87'; Gudea and Lucie! (1975) 40 no. 130; Teposu

D:

boy in a tunic with a scroll in his r/ h and tablets in the other; a girl in a tunic with a bird in her r/h. Wollman (1968) 116 no. 8*; Floca and Wolski (1973) 24 no. 74"*; Teposu Marinescu (1982) 218 no. 90"; UEL no. 15096 200-300 (Teposu Marinescu)

- 880 P: Petnic, near Herculane L: Baile Herculane, Muzeul de Istorie, no inv. (April 10) T: Sandstone stela, 108 x 67 x 41

CATALOGUE

Pr. Bottom section mis ing; evere weathering/mutilation,

S:

B:

D:

with the loss of the portraits; urface/edge chip Rect. niche, framed by pilasters, containing 5 half-fig. portraits in 2 rm . Above, a woman in a t-m and a man in a t+ ?). Below, children "" o ender and garments canno be discerned . The _ a rosette. Wollman (1971 - 9 no. · ; WR m/1 ,, no. 10_·; Tepo u 1arin cu 19 2 u3 no. - 6; i'EL no. l.!9 , 2nd to 3rd C (Tepo u. larin cu)

#881

P: L:

Razboieni-Cetate Cluj- apoca, . ·IT, Roman La ., inv. • 60.9 o (March 10)

T:

#881

343

Lime tone tela, 64 x 73 x 17

Pr: Small fragment broken along all sides; heavy weathering; portrait feature lost [AE]L E[---]T V [---] / [···] Rect. niche containing 6 half-fig. portraits in 2 rows. :\hove, a woman in a t+m and a man in a t+p(?); both pla e their arms around each other's shoulders. Below, children who e gender and garments are difficult to di cern (though the second may be a girl in a t+m and the third i likely to be a boy in a t+p). B: CIL m 934; Paulovics (1944) 106*; Russu (1959) 883 no. 20~; Tepo u 1arinescu (1982) 128 no. 1061' ; IDR m/4 67 no. 5·; UEL no. 15257; EDH no. 044932-; EDCS no. CIL 03, 00934 D: 2nd to 3rd C (Teposu Marinescu)

J: S:

MUSEUM INDEX Entries take the following form: City, Mu eum/Collection: Catalogue

Abingdon, Oxford Archaeology Unit: 399 (1) Abrud, Biserica romano-catolic: 788

Bologna, Museo Civico Archeologico: 47 (19225), 55 (19378), 201 (19042), 204 (SAER 4447)

797 (u5), 798 (293 & 467), 99 (91), oo ( 215), 01 (325), 802 (114), 803 (m / 1), 804 (46 ), 805 ( 218), 06 (609), Bo (282), 808 (184), 810 (917), 811 (402), 12 (85), 13 (3 6),

(AL 21 ), 209

171), 211 (AL. 3.731) Amiens, Musee de Picardie: 374 (1907.n46.1) Anacapri, Villa an Michele: 7 Ancona, Museo Archeologico azionale: 190 ( 3) Aquileia, 1u eo Archeologico azionale: 213, 214 (261), 21 (AL.

(m3 / R.C. n.41), 21 (914) Aquileia, Villa Margherita: 216 Aries, Musee Lapidaire: 253 ( FA ' 92.00.162) Augsburg, Peutingerhaus: 476 Augsburg, Rorni ches Mu eum: 471 (Lap 2), 4 2 (Lap ), 4 3 (Lap 5), 474 (Lap 10), 475 (Lap 336), 4 8 (156 & 157) Autun, Musee Lapidaire t icholas: 322 (M L 146), 323 (M L 673), 325 (M L 129) Autun, Musee Rolin: 324 (ML 690), 326 (M L 185) Auxerre, Musee d'Art et d'Hi toire: 327 (912.1), 328 (XLv), 329 2898), 331 (xx1x) Avellino, Museo Provinciale lrpino: 171 (62) ( ESP

Avenches, Musee Romain: 459 (x/1342) Bad Deutsch Altenburg, Museum Carnuntinum: 590 (10 9) Badajoz, Museo Arqueol6gico Provincial: 269 (n909) Bagneres-de-Luchon, Musee du Pays de Luchon: 312 (000.5301) Baile Herculane, Muzeul de I torie: 880 Baltimore, Walters Art Gallery: no (23.18) Bar-le-Due, Musee Barrois: 372 Basel, Antikenmuseum: 78 (Zii 454), 138 (Zii 606) Beaune, Musee des Beaux-Arts: 344 (44.804) Belvis de Monroy, Casa de la Morcona: 2 3 Benevento, Duomo: 176 Benevento, Museo de! Sannio: 175 ( 434) Berlin, Deutsches Historisches Mu eum: 4

umber)

Bicske, Castle: 771

Aiud, MuzeuJ de Istorie: 819 (3191) Alba Iulia, MuzeuJ ational al Unirii:

814 Albano Laziale, Museo Civico: 150 Altino, Museo Archeologico azionale: 20

umber (Inventory

Bonn, LVR-Landesmuseum: 409 (3645), 410 (u200), 411 (63.1273), 419 (31.86-87), 444 (2801) Bordeaux, Musee dl\quitaine: 293 (60.1.268), 294 (60.1.245 ), 295 (60.1.176), 296 (60.1.208), 297 (60.1.142), 298 (60.1.193), 299 (60.1.294), 300 (60.1.257), 301 (60. 2.29), 302 (60.1.184), 303 (60.2.73), 304 (60.2.65), 306 (60.2.7 1), 307 (60.2.77), 308 (60.1.333), 309 (60.1.231) Boston, Museum of Fine Arts: 75 (99.348) Bourges, Musee du Berry: 274 (1964.20.1), 275 (1950.1.13), 276 (1857.1.1), 277 (1915.19.2), 278 (1901.25.1), 279 (1857.1.4), 281 (1950.1.4), 282 (1894.5.5), 283 (1965 -45.1), 284 (1950.1.429), 285 (1950.1.24), 286 (1856.2.u), 287 (1856.2.14), 288 (1856.2.5), 290 (1856.2.13), 291 (1856. 2.8), 292 (1856.2.1) Bourges, Private Collection: 280, 289 Bra, Museo Civico di Archeologia Storia e Arte: 206 Brad, MuzeuJ Aurului: 815, 816, 817 Brescia, Musei Civici d'Arte, Storia e Scienze: 238 (2894) Bruck an der Leitha, Schloss Prugg: 582 Brunn am Gebirge, Romermuseum: 655 Bucharest, InstitutuJ de Arheologie: 853 (L2059) Bucharest, Muzeul ational de Isto rie a Romaniei: 789 (36906), 818 (66446), 826 (37872), 846 (54.5u ), 863 (69518), 865 (38952) Budaors, Ferenczi Karoly Muzeum: 774 (2003-20.5) Budapest, Aquincumi Muzeum: 658 (81.7-6), 661 (64.n .103), 662 (64.10.10), 664 (86.11.2), 667 (91.4.2), 668 (81.8.3), 671 ( 66.11.5), 672 (81.8.1), 674 (81.8 .11), 675 (70.10.5) , 676 (63.10.60), 678 (64.10.7), 681 (81.8-4), 682 (64.11.142), 683 (81.7-28), 685 (86.n.3), 686 (2004.1.90), 687 (73.9.13), 688, 692 (72.7-1), 693 (64.10.8), 695 (64.10.175), 696 (66.11.43), 698 (73.9-4), 699 (81.8.2), 700 (63. 10.125), 701 (95.9.1), 702 (2000.14.5), 759 (66.11.50), 760 (66.11.7), 763 (63.10.7) Budapest, Magyar Nemzeti Muzeum : 570, 572 (R D 151), 5 3, 577, 595, 596 (20.1902.15), 597 (20.1902.16), 622, 623 (20.1907.12), 659 (269.1875), 660 (78. 1903-2), 663, 665,666, 669,670 (6.1869.1), 673,677,679 (RD 160), 680 (6.1869-4), 689 ( RD 219), 690 (RD 127), 69 1 (31.1847.1), 694 (62.51.1), 697, 703 (62.70 .1), 713 (73-1909.2), 714 (22.1905.31),

MUSEUM

l

DEX

715 (73.1908.1), 716 (22.1905.23), 717 (110.1908.2), 718

Dijon, Musee Archeologique: 433 (Esp 3477 / Deyts 78),

(90.1909.5), 719 (26.1910.1), 720 (22.1905.20), 721 (6.1926.96), 722 (8.1908.2), 723 (22.1905.13), 724 (73.1908.2), 727 (22.1905.27), 728 (50.1909.1), 729 (22.1905.12), 730

434 (Arb 167 / Deyts 96), 435 (Arb 159 / Deyts 243), 436 (Arb 146 / Deyts 89), 437 (Arb 67 I Deyts 75), 439 (Deyts 245), 441 (Arb 161 / Deyts 94), 443 (996.2.1), 462

(22.1905.14), 731 (22.1905.5), 733 (22.1905.3), 734 (97.1913), 735 (226.1 3.15), 741 (62.57-1), 746 (RD 393), 748 (RD 380), 749 (R D 379), 750 (R D 388), 754 (RD 193), 756 (107-1901.1), 768,769 (62-40.1), 7 0 (62.59.1), 781,782 (62.148.1)

(Arb 106 / Deyts 221), 463 (Arb 201 / Deyts 184), 464 (Arb 177 / Deyts 60) Dobl, Pfarrkirche: 543 Drobeta Turnu Severin, Muzeul Regiunii Portilor de Pier:

Budapest, Magyar Zsid6 Muzeum: 6 4 (64.1963) Buniel, Private Collection: 261 Cambridge, UniYer ity Mu eum of Archaeology and Anthropology: 403 (o 19 0.11) Capua, Museo Provinciale Campano: 152 (24), 154 (131), 157 (59), 159 (1), 160 (56), 161 (13), 163 (3), 165 (18), 167 (14) Capua, via eggio

23

267 7, 594,723 77 3,110, 241, 5 231 30 132 10 3,690,

3

216 3 2, 205, 242, 651, 690 35 2 25 59 352 390 6 9 26 135 160 3 7 420 365 334 44 63, 206 32, 2, 133, 19 > 206, 651, 52 177 119, 179, 241, 243, 531 495 , 497, 754 183 34, 200, 540, 547, 754 375 299, 496, 497, 625, 641, 653, 658, 750 179 11, 34, 74, 97, 182, 197, 495, 545, 546, 567, 658, 867

Securus Sedata

8

340

375 500

Senecio Sennianus Senodonna Seppa Sequens Serapion Serenianus Serenus Sermo Servanda Servandus Servea Sestus Severa Severina Severus Sextus Silvanus Silvester Silvicus ilvina Similis Simnus Simplicius Sira Siumuttla Soigelasius Solinus olva omonus osipater Sosthenes Soterichus ozusa parsiolu Spatale Spendusa Speratus Spes Spica Spinther Stabilio Stacte Staphyle Staphylus Statuta Stercorius uadugenu Suarigillus uavis

369

634 417 295 356 370 383 776 343,776 184 46 417, 575 141 137 270,778 415, 496 181 351,493 731 518 352

518 191 387 740 493 353 427 329 617 344 837 266 110,166 142 305 195 22,68 122, 197 55, 115, 136 223 22 18 125 135 135 798 218 322 349 161

370

INDEX OF COGNOMI A

Successa Successus Succesus

120, 566 86 111

Sucela

551 380 62 70 586 20 626 6 0, 735 40 51 519 161, 595, 604, 605, 40

Sudrenus Sumotus Superba Superia Supinus Suppa Sura Surilla Surillio Surio Surus Sympherusa Symphor Synctyche Tacita Talalnius Tales Tancinu Taurianus Tauriscus Telesphoris Terentinus Tertia Tertinus Tertiu Tertulla Tertullina Tertullinus Tertullus Tespia Thadmes Thais Thamyrus Theodotus Thesaeus Thetis Threpte Threptus Tiberianicus Tiberius Tigri Titianus Titus Tongeta Toutomara Troilus

49 40 42 572 618 196 23 29 8 452, 453 551 626 500, 551 125 18 790 500 500 205 51 66 200 383 35 38 61 654 297 418 670 670 273 603 101

Trophime Tryphera Tutorius T ·che Ucco Urbana

Ur ulus ru Uxavillu acia ala Valens alentina Valentinus Valeria alerianus alerius Vanniu Vas illu Vattatus Vebrullus Veco egetus Veladus Velva enisa enu ta enustus Vera eranius Verciovus eregudus erianu Vero erucuus erus estali Viator ibena Vibenu Vibia Vibianus Vibius

53, 66 9, 178 496 76, 114, 117, 119 551 63, 295,448, 703 264,493 104 4 2, 654 579 702,749 130,579 186 776 493,521,562,702,749 563 396 631 315, 619, 637, 670, 679, 729 497, 637, 777, 839, 861 837,839 251,684 485 816 636 349 564 337 582 273 251 389 585 52,227 20 704,790 342 583 541 594,626 631 626 97 59 446 641 636 562 48, 636 562,577

I

Victor Victoria Victorian us Victorina Victorin us Victorius Vindex Virilis Visso Vitalina Vitalinus

28, 424, 716, 808 576, 5 6, 623 4 5 32, 36, 4 4, 5 6, 623, 666, 766 623 356 66 40· 603 625

67

371

DEX OF COGNOMINA

Vitalis Vixtulus Vonucus Votice Xystus Zebuca Zilluta Zo ime Zosimena Zosimus

405,566,582,680,716 336 412 191 107 693 624 70 719 49, 87, 70

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