DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52594#0564
Roman Sarcophagi.
Of normal Roman type, this sarcophagus is decorated
with three winged and clothed genii holding a massive fruit
garland; above this on one side are two satyr masks, on the
other two bacchant (or Dionysus) masks. On the ground
below are numerous clusters of grapes of which hares,
doves, peacocks, farmyard fowl and other birds are eating.
On the lid are two small genii carrying an inscription
panel. Left: a shepherd with sheep in a rocky landscape
with trees; right: woman with her hair in the style of the
middle of the 3rd cent. A. D. and with a scroll in her hand
in front of a parapetasma (cloth) *) borne by two cupids.
The sarcophagus is richly painted: Hair and beard and
the animal bodies are in yellow, though the hares are yellow
only about the neck. The deceased has traces of red pigment
in hair and face, perhaps iron oxide from the soil.
There is nothing particularly Christian about this sarco-
phagus, for the shepherd among the sheep is also a motive
on pagan sarcophagi, especially the Endymion specimens,
and in ivory reliefs (cf. Nos. 779, 784 and Robert: Antike
Sarkophagreliefs III, 1 pls. XIV-XVIII and XXII. Virgilii
picturae antiquae ex codicibus Vaticanis. Roma 1835. Pl. Ill
seqq. v. Graeven: Antike Schnitzereien p. 34. Cf. Arndt-Ame-
lung 1171). Later on the scene is applied symbolically in
catacomb painting for Christ and the Church (v. Sybel:
Christliche Antike I p. 243). The other decoration is also
common to both pagan and Christian (v. Sybel 1. c. II p. 61.
Museo Torlonia pl. CXVII 458). The scroll in the woman’s
hand does not appear until Roman times; in the Hellenistic
period it is carried only by males, but in the Roman era
many ladies were crammed with learning (cf. Pfuhl, Arch.
Jahrb. XXII 1907 p. 121. Plutarch: Pompejus cap. LV. Juvenal:
Sat. VI v. 434 seqq.).
In an earlier period, the beginning of the Empire, the
woman, representing the skilful housewife, was depicted
carrying account tablets. Cf. L. Curtins: Die Wandmalerei
Pompejis pls. XI and XII and p. 378.
Nor is there any Christian allusion in the inscription,
which reads:
*) Parapetasma was usually a door curtain. Peristroma was a rug
to cover the dining couch.
560
Of normal Roman type, this sarcophagus is decorated
with three winged and clothed genii holding a massive fruit
garland; above this on one side are two satyr masks, on the
other two bacchant (or Dionysus) masks. On the ground
below are numerous clusters of grapes of which hares,
doves, peacocks, farmyard fowl and other birds are eating.
On the lid are two small genii carrying an inscription
panel. Left: a shepherd with sheep in a rocky landscape
with trees; right: woman with her hair in the style of the
middle of the 3rd cent. A. D. and with a scroll in her hand
in front of a parapetasma (cloth) *) borne by two cupids.
The sarcophagus is richly painted: Hair and beard and
the animal bodies are in yellow, though the hares are yellow
only about the neck. The deceased has traces of red pigment
in hair and face, perhaps iron oxide from the soil.
There is nothing particularly Christian about this sarco-
phagus, for the shepherd among the sheep is also a motive
on pagan sarcophagi, especially the Endymion specimens,
and in ivory reliefs (cf. Nos. 779, 784 and Robert: Antike
Sarkophagreliefs III, 1 pls. XIV-XVIII and XXII. Virgilii
picturae antiquae ex codicibus Vaticanis. Roma 1835. Pl. Ill
seqq. v. Graeven: Antike Schnitzereien p. 34. Cf. Arndt-Ame-
lung 1171). Later on the scene is applied symbolically in
catacomb painting for Christ and the Church (v. Sybel:
Christliche Antike I p. 243). The other decoration is also
common to both pagan and Christian (v. Sybel 1. c. II p. 61.
Museo Torlonia pl. CXVII 458). The scroll in the woman’s
hand does not appear until Roman times; in the Hellenistic
period it is carried only by males, but in the Roman era
many ladies were crammed with learning (cf. Pfuhl, Arch.
Jahrb. XXII 1907 p. 121. Plutarch: Pompejus cap. LV. Juvenal:
Sat. VI v. 434 seqq.).
In an earlier period, the beginning of the Empire, the
woman, representing the skilful housewife, was depicted
carrying account tablets. Cf. L. Curtins: Die Wandmalerei
Pompejis pls. XI and XII and p. 378.
Nor is there any Christian allusion in the inscription,
which reads:
*) Parapetasma was usually a door curtain. Peristroma was a rug
to cover the dining couch.
560