DOI Page / Citation link:
https://doi.org/10.11588/diglit.37251#0082
5°
SAFA DEI TRIONFI 4
man. Above is a Victory (head and arms lost), similar in character to
the former, with drapery that leaves her r. leg bare.
This central composition is complete in itself. The already
referred to, which flank the tomb on either side, are on a larger scale but
have similar columns and capitals. On the capitals are imposts which
support a low segmental arch. Above the arch at each corner are sea-
horses, placed there with the same symbolic significance as the marine
deities over the chapel pediment. Within each <3^A%/<2 stands a group of
Seasons represented as winged Cupids, repeating, as it were, in a major
key the theme of the chapel door. The Seasons are nude but for a cloak
fastened at the breast with a large brooch ornamented with either a head
of Medusa (B, C) or a head in profile (A, D). Each has long curly hair
with one piece tied into a high tuft over the forehead. The Seasons de-
scribed from 1. to r. are as follows : (A) Spring, wearing a wreath of
flowers, holds a high basket of flowers in his r. hand and a staff (broken)
in his 1. By his r. leg is the goat that so frequently appears as the com-
panion of Spring. Between this figure and the next is a Pan's mask on
a low plinth. (B) Winter, wearing a wreath of reeds, holds in his 1. hand
two ducks, head downwards. His r. arm encircles the top of a reed
which grows from behind the pedestal of the Pan's mask. By his 1. leg
is a boar looking up. (C) Autumn represented as a Dionysiac figure
wearing a wreath of ivy berries, holds in his 1. hand a bunch of grapes;
his r. arm is broken at the elbow. By his r. leg is the Dionysiac panther.
(D) Summer, who wears a wreath of ears of corn and flowers, holds in
his 1. hand a high basket like A ; his r. arm is broken at the wrist. By
his 1. leg is a seated lion (i. e. 7V<?, the sign of the summer solstice). On
the ground between C and D is a Dionysiac mask with wreath adorned
at either side with clusters of ivy berries balancing the Pan's mask of the
1. side; it rests on a plinth; above against the wings of the Cupids are
remains of what appear to be two fish tails. The Four Seasons all look
towards the tomb in the centre, i. e. A and B look to 1., C and D to r.
The pupils are not plastically indicated; the hair is profusely worked with
the drill. The relief is so high that the figures may be said to be in the
round. The chiastic arrangement of the Seasons (Spring, Winter, Autumn,
Summer) with the two Seasons—Winter and Autumn—that forbode death,
nearest the tomb, and the Seasons—Spring and Summer—that symbolize
resurrection, at each end, is noteworthy (cf. E. Strong, p. 228).
From the point of view of its symbolism this sarcophagus belongs to
a long series adorned with similar versions of the Four Seasons (see the
examples in Rome collected in Matz-Duhn, A72/2A? 7?277zwrA? 222 Aw;, ii,
nos. 3005-35) which, as symbolizing the passing of time, were a favourite
theme of late Roman sepulchral imagery (see also Tdzy/. JT<?T. 7, 11,
&-<?/% FT, 10 in this collection). The sepulchral chapel with the half-open
door (sometimes interpreted as the door of Hades) is also a favourite
motive (see GVzrA, no. 92). From the point of view of its art the
Sarcophagus belongs to a series with figures standing within niches,
which went through a long process of development, the latest stage of
which seems represented by the Sidamaria Sarcophagi. It is possible, as
Amelung has already hinted, that examples like the present, in which the
lateral niches with arched tops are independent of the central construction,
are the forerunners of the alternate carved and pointed niches of the later
SAFA DEI TRIONFI 4
man. Above is a Victory (head and arms lost), similar in character to
the former, with drapery that leaves her r. leg bare.
This central composition is complete in itself. The already
referred to, which flank the tomb on either side, are on a larger scale but
have similar columns and capitals. On the capitals are imposts which
support a low segmental arch. Above the arch at each corner are sea-
horses, placed there with the same symbolic significance as the marine
deities over the chapel pediment. Within each <3^A%/<2 stands a group of
Seasons represented as winged Cupids, repeating, as it were, in a major
key the theme of the chapel door. The Seasons are nude but for a cloak
fastened at the breast with a large brooch ornamented with either a head
of Medusa (B, C) or a head in profile (A, D). Each has long curly hair
with one piece tied into a high tuft over the forehead. The Seasons de-
scribed from 1. to r. are as follows : (A) Spring, wearing a wreath of
flowers, holds a high basket of flowers in his r. hand and a staff (broken)
in his 1. By his r. leg is the goat that so frequently appears as the com-
panion of Spring. Between this figure and the next is a Pan's mask on
a low plinth. (B) Winter, wearing a wreath of reeds, holds in his 1. hand
two ducks, head downwards. His r. arm encircles the top of a reed
which grows from behind the pedestal of the Pan's mask. By his 1. leg
is a boar looking up. (C) Autumn represented as a Dionysiac figure
wearing a wreath of ivy berries, holds in his 1. hand a bunch of grapes;
his r. arm is broken at the elbow. By his r. leg is the Dionysiac panther.
(D) Summer, who wears a wreath of ears of corn and flowers, holds in
his 1. hand a high basket like A ; his r. arm is broken at the wrist. By
his 1. leg is a seated lion (i. e. 7V<?, the sign of the summer solstice). On
the ground between C and D is a Dionysiac mask with wreath adorned
at either side with clusters of ivy berries balancing the Pan's mask of the
1. side; it rests on a plinth; above against the wings of the Cupids are
remains of what appear to be two fish tails. The Four Seasons all look
towards the tomb in the centre, i. e. A and B look to 1., C and D to r.
The pupils are not plastically indicated; the hair is profusely worked with
the drill. The relief is so high that the figures may be said to be in the
round. The chiastic arrangement of the Seasons (Spring, Winter, Autumn,
Summer) with the two Seasons—Winter and Autumn—that forbode death,
nearest the tomb, and the Seasons—Spring and Summer—that symbolize
resurrection, at each end, is noteworthy (cf. E. Strong, p. 228).
From the point of view of its symbolism this sarcophagus belongs to
a long series adorned with similar versions of the Four Seasons (see the
examples in Rome collected in Matz-Duhn, A72/2A? 7?277zwrA? 222 Aw;, ii,
nos. 3005-35) which, as symbolizing the passing of time, were a favourite
theme of late Roman sepulchral imagery (see also Tdzy/. JT<?T. 7, 11,
&-<?/% FT, 10 in this collection). The sepulchral chapel with the half-open
door (sometimes interpreted as the door of Hades) is also a favourite
motive (see GVzrA, no. 92). From the point of view of its art the
Sarcophagus belongs to a series with figures standing within niches,
which went through a long process of development, the latest stage of
which seems represented by the Sidamaria Sarcophagi. It is possible, as
Amelung has already hinted, that examples like the present, in which the
lateral niches with arched tops are independent of the central construction,
are the forerunners of the alternate carved and pointed niches of the later