Chapter 18 - Hannah's List



Cuirassed bust of Gordian III 18-15 p. 266-7 

Most likely the top half of a full-length bust of the teenage emperor, this bust is a military portrait of a unique format. Except for the absence of the beard, it is typical of the era. It highlights the emperor’s youth. As in other busts contemporary with this one, his hair is short and the locks are incised into the stone. With his head turned sharply to the right, he seems unwilling or unable to look at the viewer.



Togate Bust of Phillip the Arabian 18-6 p. 267 

Phillip took the place of Gordian as emperor after his death. This togate bust depicts Phillip as first citizen. Even though he already had the support of the military, it was important to project the image of a man of the people and how he had control over every sector of the state, similar to Augustus. His furrowed brow and scowling expression may reflect the insecurity felt in the time period.



Bust of Julia Mamaea 18-11 p. 269-70 

An important trendsetter, Julia Mamaea, the mother of Severus Alezander, was one of the most powerful women of the era. This bust depicts her as a mature woman with a simple, natural hairstyle in the style of Julia Domna’s wig. Unlike Julia Domna, this Julia looks away from the viewer. It is said that her face reflects the insecurity of the time period.

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Calibri;mso-bidi-theme-font:minor-latin">

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family: "Times New Roman";mso-bidi-font-family:Calibri;mso-bidi-theme-font:minor-latin">Bust of a woman 18-12 p. 269-70 

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Calibri;mso-bidi-theme-font:minor-latin">This bust sports a much more elaborate hairstyle than Julia Mamaea, but that may be because this woman is depicted as much younger. A chisel was used to pick out hairs of the eyebrows and individual strands of hair. A drill was used to render the curls. Her “nervous glance” is characteristic of the insecure time period.

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Calibri;mso-bidi-theme-font:minor-latin">

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family: "Times New Roman";mso-bidi-font-family:Calibri;mso-bidi-theme-font:minor-latin">Sarcophagus with Battle of Romans and Barbarians 18-15 p. 272-3 

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Calibri;mso-bidi-theme-font:minor-latin">Battle scenes were popular sarcophagus themes during this time since it was an era characterized by continuous war. This one depicts the Romans fighting who are probably the Goths. The figures are very dynamic and emotive and there is little unused space. It is an extreme rejection of the Classical perspective. We see similar things in the Column of Antoninus Pius, Marcus Arueilus and the Arch of Septimius Severus. It is representative of the dissatisfaction that Latin Imperial artists felt with the Classical style.

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Calibri;mso-bidi-theme-font:minor-latin">

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family: "Times New Roman";mso-bidi-font-family:Calibri;mso-bidi-theme-font:minor-latin">Sarcophagus with Lion Hunt 18-17 p. 273-4 

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Calibri;mso-bidi-theme-font:minor-latin">There was a longstanding tradition in the region that prowess in hunting equated to prowess on the battlefield, so this was not an unusual motif. The victory of this Roman general over the lion also symbolizes his victory over death itself, such as a happy afterlife that is free from the troubles of the time period.

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Calibri;mso-bidi-theme-font:minor-latin">

<p style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span style="mso-fareast-font-family: "Times New Roman";mso-bidi-font-family:Calibri;mso-bidi-theme-font:minor-latin">Sarcophagus with Achilles and Penthesilea 18-21 p. 276-7 

This work depicts both the fascination with Greek mythology and the turbulence of the time period. It depicts a battle in which Achilles stabs the Amazon Queen but falls in love with her too late. Unlike earlier depictions, the two do not look at each other but instead of turned away from each other; Penthesilea is already dead. Freestanding busts of the time also had the subject’s head and gaze turned resolutely away from the viewer.