G. Aristodemou,Representations of Women and Children in Roman Banquet Scenes

8/10/2019 G. Aristodemou,Representations of Women and Children in Roman Banquet Scenes

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AKTI XII MEUNARODNOG

KOLOKVIJA O RIMSKOJ

PROVINCIJALNOJ UMJETNOSTI

Datiranje kamenih spomenika

i kriteriji za odreivanje kronologije

Pula, 23 28 V 2011.


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AKTI XII. MEUNARODNOG KOLOKVIJA

O RIMSKOJ PROVINCIJALNOJ UMJETNOSTI

Datiranje kamenih spomenika i kriteriji za odreivanje kronologije

Pula, 2014.

Urednica: Ida Koncani Uha

Pula, 23. 28. V. 2011.


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AKTI XII. MEUNARODNOG KOLOKVIJAO RIMSKOJ PROVINCIJALNOJ UMJETNOSTI

Datiranje kamenih spomenika i kriteriji za odreivanje kronologije

PROCEEDINGS OF THE 12th INTERNATIONAL COLLOQUIUM

ON ROMAN PROVINCIAL ART

The dating of stone monuments and criteriafor determination of chronology

AKTEN DES XII. INTERNATIONALEN KOLLOQUIUMS

BER RMISCHE PROVINZIELLE KUNST

Die Datierung von Steinmonumenten

und Kriterien fr die Chronologiefestsetzung

LES ACTES DU XIIMECOLLOQUE INTERNATIONAL

SUR L'ART ROMAIN PROVINCIAL

La datation des monuments en pierre et les

Criteres de determination chronologique

ATTI DEL XII COLLOQUIO INTERNAZIONALE SULL'ARTE

ROMANA DELLE PROVINCE

Datazione dei monumenti lapidei e criteri utilizzati

per la determinazione cronologica

Pula, 23. 28. V. 2011.


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AKI XII. MEUNARODNOG KOLOKVIJAO RIMSKOJ PROVINCIJALNOJ UMJENOSIDatiranje kamenih spomenika i kriteriji za odreivanje kronologije

Pula, . - . svibnja .

Izdava / PublisherArheoloki muzej Istre, Pula / Archeological Museum of Istria, Pula

Za organizatora i izdavaa / For the organizer and publisherDarko Komo

Organizacijski odbor / Organising CommitteeDarko Komo, Alka Starac

Znanstveni koordinator / Scientific CoordinatorAlka Starac

Urednica / EditorIda Koncani Uha

Urednitvo / Editorial boardOndina KrnjakKristina Mihovili

Adriana Gri torga

ajnica urednitva / Editorial board secretaryAdriana Gri torga

Stilska lektura / Stylish lecturerEDIOR PLUSd.o.o., Milena pigi (hrvatski jezik)

Korektura / ProofsEDIOR PLUSd.o.o.

Prijevod na engleski jezik / English translationEDIOR PLUS, Milo Ilgo

Prijevod na talijanski jezik / Italian translationElis Barbalich - Geromella

Oblikovanje / DesignKADARd.o.o.

Priprema za tisak / LayoutKADARd.o.o.

isak / PrintPrintera, Zagreb

Naklada / No. of copies700

iskano / Date of printSrpanj / July .

Arheoloki muzej Istre, Pula, / Archeological Museumof Istria, Pula, .

Zatieno autorskim pravom Arheolokog muzeja Istre.Sva prava pridrana. Copyright by the Archeological Museum of Istria.

All rights reserved.

ISBN ----

Na korici / On the coverAgrippina Minor(?), sredina . st.,fotografija iz Arhive Arheolokog muzeja Istre /

Agrippina Minor (?), mid of the century,the photo fromthe Archive of the Archeological Museum of Istria


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PREDGOVOR FOREWORD 8

RIJE UREDNICE A WORD FROM THE EDITOR 10

ZBIRKA RADOVA COLLECTION OF WORKS 13

Nenad Cambi

Roman Sculpture from Illyricum (Dalmatia and Istria).

Import and Local Production. A Survey 14

Ilona Skupiska-Lvset

Roman Fashion as a Chronological Criterion for the Dating

of Palestinian Portraits 40

Marianne Tabaczek

Zur Datierung eines Grabbaus an der Grenze des Imperiums

(Frankfurt-Zeilsheim) 46

Katarina mid

The Mythological Battle Scene on a Funerary Stele from Celeia:

Menelaus Saving the Body of Patroclus? 50

Claire K. Lindgren

Provincial Ladies in Sculpture: Criteria for Determining Chronology 55

Jasna Jelii - Radoni

The Relief of the Salona Tyche 59

Wolfgang Wohlmayr

Rmische Weihedenkmler im nrdlichen Teil der Provinz Noricum 64

Ingrid Weber-Hiden

Versuche zur Datierung des Inschriftenmaterials von Carnuntum

anhand der Grabstelen. 70

Rachel Feig Vishnia | Vassiliki Gaggadis-Robin

Female Carved Representations from Southern Gaul in the Light

of Iconography and Epigraphy 74

Gabrielle Kremer

Gtter- und Weihedenkmler aus Carnuntum Die Frage der Datierung 81

Marija Kolega

Problems in Dating Portraits from the Julio-Claudian Period

in Liburnia 87

Felix Teichner | Andreea Drgan

A Rider between the East and the West? Old and New Finds from

Municipium Ulpianum(Kosovo) 95

SADRAJCONTENTS


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Nade Proeva

Sur la datation des monuments funraires de Haute Macdoine :

Critres et difficults 101

Iphigeneia Leventi

Grave Reliefs from Roman Thessaly 108

Annarena Ambrogi

Determinazione cronologica dei ritratti rilavorati in et tardoantica:

indizi e criteri utilizzati nel caso di un ritratto dallAgora di Atene 115

Georgia A. Aristodemou

Representations of Women and Children in Roman Banquet Scenes 123

Yvan Maligorne | Serge Fvrier | Jean-Nol Castorio

Les monuments funraires augusto-tibriens de Langres 129

Florian Blanchard | Geert Veerbrugghe

La datation de la colonne du cavalier languipde de Brienne-la-Vieille

(Tricasses, Gallia Lugdunensis). 136

Exhlale Dobruna-Salihu

Portrait Busts on Stelae in Dardania Style, Fashion and Dating 141

Mojca Vomer Gojkovi

Women from Poetovio 148

Holger Wienholz

Grenzen der Datierung 154

Paolo Barresi | Javier . Domingo | Patrizio Pensabene

Gigantismo nellarchitettura templare delle province romane

e le sue implicazioni nellapprovvigionamento e nella messa in opera

delle componenti marmoree 159

Alfred Schfer

Neue Ergebnisse zur Chronologie der rheinseitigen Grobauten der CCAA 166

Giorgio Sobr | Filippo Masino

Theatre Buildings of the Early Imperial Age in Asia Minor:

Some Dating Elements 173

Javier . Domingo

I monumenti architettonici ispanici: alcuni problemi

di datazione stilistica 177

A. Badie | R. Robert | D. Tardy

Les productions des sculpteurs de lEcole dAquitaine au IIesicle :

les transformations du dcor architectural Bordeaux. 182


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Daniela Mateti Poljak

Les blocs dcor architectural antrieurs au palais de Diocltien Split 189

R. Facsdy Annamria

Les traits iconographiques des stles funraires familiales Aquincum 194

Draen Mari

Female Fashion on Late Antique Monuments from Salona (3rd 4thc. A.D.) 203

Piotr Dyczek

New Head of Caryatid from Ancient Risinium (Montenegro) 211

Ivana Popovi

Jewelry and Hairstyle of the Woman on the Family Tombstone from

Kosmaj (Vicinity of Belgrade) 216

Mihai Brbulescu (Roumanie)

L ornatrixde Potaissa 222

Mara Isabel Rodrguez Lpez | Claudina Romero Mayorga

Luxury and Beauty: An Approach to Jewelry worn by Women in Hispania. 226

Pilar Fernndez Uriel | Marta Bailn Garca

Plantae Pedum lamphithtre dItalica. Une reprsentation

des dvots ou une prsence directe de Nemesis Dea? 231

Marija Buzov

The Findings of Sarcophagi Reused as Building Material in the

Church of St. George in Mateko Selo 234

Angela Palmentieri

Materiali marmorei di spoglio dai teatri e anteatri campani 237

Licnia Wrench

Mobilier liturgique palochrtien. Quelques exemplaires provenant

du territoire actuellement portugais 240

POPIS AUTORA LIST OF AUTHORS 243


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Bijenalni meunarodni kolokvij o rimskoj provincijalnoj umjetnostiima dugu tradiciju, stariju od dvadeset godina. Mjesto odravanja semijenja, a Hrvatska je imala ast organizirati kolokvij dvaput, kao i

Austrija, Maarska i Njemaka.Kolokviji su usmjereni na diskusiju o pitanjima vezanim uz

rimsku skulpturu u kamenu i uz raznoliku tematiku provincijalnogstvaralatva. Broj sudionika raste svakim kolokvijem, te je njegovimradom pokriven vei dio rimskih provincija i obuhvaeno dvadesetakdananjih drava.

Na sastanku Znanstvenog odbora XI. meunarodnog kolokvijao rimskoj provincijalnoj umjetnosti, odranome . svibnja .godine u Mridi (panjolska), dogovoreno je da e se XII. kolokvijodrati u svibnju . u Puli.

U razdoblju od . do . svibnja . u sjeditu Zajednicealijana u Puli, u organizaciji Arheolokog muzeja Istre odran je

XII. meunarodni kolokvij o rimskoj provincijalnoj umjetnosti pod

nazivom Meunarodni kolokvij Corpus Signorum Imperii Romani/Rimska kamena skulptura, s glavnom temom Datiranje kamenihspomenika i kriteriji za odreivanje kronologije. Ostale temekolokvija bile su Prikazi ene i obitelji te Novi nalazi.

Na kolokviju je odrano ukupno predavanja te je izloenopostera. Uz predavanja, tijekom kolokvija su odrani i brojnipopratni dogaaji: otvorenje izlobe Pula raanje grada,promocija Akta XI. kolokvija iz Mride koji je odran . godine,vodstvo po Arheolokom muzeju Istre, razgledavanje Pule, posjetNezakciju, cjelodnevni izlet na Brijune, Buzet i Labin te dvodnevniizlet u Zadar, Naronu i Split.

Ciljevi pulskog kolokvija bili su pruiti svim specijalistima zarimsku umjetnost mogunost neposrednog upoznavanja s temama

i mogunost sudjelovanja u diskusiji. Ujedno, cilj je bio omoguitistudentima i specijalizantima visoku pedagoku razinu upoznavanjastrune problematike.

Na skupu su doneseni vani zakljuci o datiranju kamenihspomenika i kriterijima za odreivanje kronologije, prikupljenisu osvrti i razmiljanja na temu prikaza ene i obitelji u rimskojumjetnosti, te su prezentirani novi arheoloki nalazi i znanstvenirezultati.

Zadovoljni smo jer je kolokvij usmjerio interes najeminentnijihstrunjaka za znanstveno podruje od velikog znaaja za poznavanjerimske civilizacije na bogatu arheoloku batinu i znanstveni rad u

Arheolokom muzeju Istre, potaknuo razvoj studija rimske umjetnostiu Puli, Istri i iroj geografskoj regiji, te unaprijedio prihvaanje i

Te biennial International Colloquium on Roman Provincial Art hasa long-standing tradition that goes back more than twenty years. Tevenues change and Croatia has twice had the honor of organizing this

event, as did Austria, Hungary and Germany.Tese colloquia are focused on the discussion of issues related to

Roman stone sculpture, as well as a variety of themes associated withprovincial creativity. Te number of participants has been growingwith each such event, for which we can say that it covers most Romanprovinces that extend themselves across the boundaries of more thantwenty present-day countries.

At a meeting of the Scientific Committee of the thInternationalColloquium on Roman Provincial Art, held on May , , atMrida in Spain, it was agreed that the thColloquium will beorganized in May of at Pula.

Tis event was staged at the headquarters of the Italian Unionat Pula in the period from May , , and organized by the

Archaeological Museum of Istria. Te official title of the thInternational Colloquium on Roman Provincial Art was InternationalColloquium Corpus Signorum Imperii Romani/Roman stonesculpture, the main topic of discussion being Te Dating of StoneMonuments and Criteria for Determining the Chronology. Teother examined themes were Depictions of Women and Families,and New Finds.

A total of lectures were held and posters were exhibitedat the colloquium. In addition to lectures, a variety of accompanyingevents were also organized during the colloquium: the opening ofthe exhibition Pula - the Birth of a own, the promotion of theProceedings from the thColloquium held at Mrida in , aguided tour around the Archaeological Museum of Istria, a sightseeing

tour around Pula, a visit to Nesactium, a day trip to the Brioni Isles,Labin and Buzet, and a two-day trip to Zadar, Narona and Split.

Te objectives of the colloquium at Pula can be summarizedas an attempt to offer all experts in the field of Roman art anopportunity to acquaint themselves first-hand with the issues atstake, and to participate in the ensuing discussions. At the same timewe also sought to introduce on a high educational level the variousprofessional issues to both students as well as individuals specializingin this field.

Tis event saw the adoption of important conclusions regardingthe dating of stone monuments, and the criteria for determiningthe chronology. A series of reviews and reflections were collected onthe topic of how women and families were depicted in Roman art,

Predgovor Foreword


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poznavanje arheoloke batine i rimske umjetnosti u lokalnomi regionalnom drutvenom kontekstu.

Glavni cilj po okonanju samog projekta je bila objava Akta

XII. meunarodnog kolokvija o rimskoj provincijalnoj umjetnosti.U zborniku koji je pred nama prikupljeno je i prezentirano ukupnoradova, koji e posluiti kao referenca za najuglednija sveuilitai istraivake centre.

Ovom prilikom bih zahvalio svim djelatnicima Arheolokogmuzeja Istre koji su uloili velike napore kako bi se kolokvijpripremio i odrao na najvioj razini, te ijim je radom i pripremljenovaj zbornik, koji zatvara priu o pulskom XII. meunarodnomkolokviju o rimskoj provincijalnoj umjetnosti.

Darko KomoRavnatelj Arheolokog muzeja Istre, Pula

coupled by presentations of new archaeological finds and scientificresults.

We are satisfied because the colloquium focused the interest of

the most eminent experts from a scientific field that is of paramountimportance for the understanding of Roman civilization, to therich archaeological heritage and scientific work at the ArchaeologicalMuseum of Istria. It furthermore encouraged the development ofRoman art studies not only in Pula, but also in Istria and the widergeographical region, and promoted the acceptance and understandingof archaeological heritage, and Roman art, in the local and regionalsocial context.

After the conclusion of the event itself, the main goal was thepublication of the Proceedings from the International Colloquiumon Roman Provincial Art. In these Proceedings we collected andpresented a total of papers that will serve as reference in the mostprestigious universities and research centers.

On this occasion I would like to express my heartfelt gratitudeto the staff of the Archaeological Museum of Istria, who have madehuge efforts to prepare and carry out this colloquium on the highestlevel, and whose work was also essential for the compilation of theseProceedings that draw to an end the story about the thInternationalColloquium on Roman Provincial Art held at Pula.

Darko KomoDirector of the Archaeological Museum of Istria, Pula


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Dvanaesti meunarodni kolokvij o rimskoj provincijalnoj umjetnostiodran je u Hrvatskoj, u Puli, u razdoblju od . do . svibnja .Glavna tema kolokvija bila je problematika pod naslovom Datiranje

kamenih spomenika i kriteriji za odreivanje kronologijeuz koju su bilaodrana predavanja na temu Prikazi ene i obitelji teNovi nalazi.

Od izuzetne i nacionalne vanosti bilo je ugostiti itavniz znanstvenika koji su svojim radom doprinijeli cjelovitijemsagledavanju materijalne kulturne i umjetnike antike batine.Hrvatska je imala ast, po drugi put, ugostiti strunjake s podrujadananje Europe. Istraivaki rad, upoznavanje, diskusija i valorizacijabatine te razmjena informacija temeljne su odrednice svakog lanaarheoloke zajednice koji koraa u znanost i promie svijest o prolostiovjekova djelovanja. Fantastino zamiljena ideja o promicanjuinformacija i vrednovanju umjetnikog opusa antikog stvaralatvaobjedinjena je i realizirana kroz susrete na znanstvenim kolokvijimapod nazivom Corpus Signorum Imperii Romani. emelje sad ve

uvrijeenoj, dugogodinjoj tradiciji odravanja ovih znanstvenihsusreta, koji se odravaju svake druge godine u razliitoj dravi,udarili su . u Austriji, u Grazu, strunjaci Manfred Hainzmanni Erwin Pochmarski. Ideja, pretoena u djelo, rezultirala je bogatim,sadrajnim i strunim publikacijama koje su valorizirale arheolokustruku s povijesno-umjetnikog i stvaralakog aspekta rimskihmajstora na razliitim prostorima rimskih provincija. Kolokviji suposveeni razliitim pitanjima iz iroke teme o rimskoj provincijalnojumjetnosti. Nakon prvog kolokvija u Austriji (Graz), kolokvijisu odrani u sljedeim dravama: . Maarska (Veszprm,koordinatorica Sylvia Palgyi), . Njemaka (Bonn, koordinatorGerhard Bauchhen), . Slovenija (Celje, koordinatorica VeraKolek), . Nizozemska (Maastricht, koordinator itus Panhuysen),. Maarska (Budimpeta, koordinatorica Paula Zsidi), .Njemaka (Kln, koordinator Peter Noelke), . Hrvatska (Zagreb,koordinatori Mirjana Sanader i Ante Rendi Mioevi), . Austria(Innsbruck, koordinatorica Elisabeth Walde), . Francuska (Arles,

Aix-en-Provence, koordinatori Vassiliki Gaggadis-Robin, AntoineHermary, Michel Redd i Claude Sints), . panjolska (Mrida,koordinatori rinidad Nogales Basarrate i Isabel Rod de Llanza) te. Hrvatska (Pula, koordinatorica Alka Starac).

Ve . godine u Zagrebu se odrao VIII. meunarodnikolokvij o problemima rimskog provincijalnog umjetnikogstvaralatva.

U okviru XII. meunarodnog kolokvija o rimskoj provincijalnojumjetnosti koji je obradio teme pod naslovom Datiranje kamenih

Te welfth International Colloquium on Roman provincial artwas held in Croatia, at Pula, in the period from May to , .Te main themes of the colloquium were issues that can be collectively

titled Te Dating of Stone Monuments and Criteria for Determiningthe Chronology. A series of lectures were held at the same time,their themes being Depictions of women and familiesand New Finds.

It was indeed a momentous event of national importance tobe able to host a whole series of scientists who, with their work,contributed towards a better understanding of material culture andartistic heritage of the ancient world. For the second time Croatiahad the honor to host European experts from this field. Researchactivities, the exploration, discussion and evaluation of heritage,and exchange of information, are fundamental elements for everymember of the archaeological community, who is on the scientificroute, promoting an awareness of past human activities. A brilliantlyconceived idea regarding the promotion of data, and the evaluation

of the artist ic spectrum of ancient creativity, were merged and realizedin the course of meetings at scientific colloquia titled Corpus SignorumImperii Romani. Te groundwork for this nowadays well-established,longtime tradition of maintaining scientific gatherings in differentcountries on a biennial basis was prepared at Graz, Austria, in ,by experts Manfred Hainzmann and Erwin Pochmarski. Tisidea, turned into reality, resulted in scores of rich, meaningful andprofessional publications that enriched the archaeological professionfrom the historical-artistic and creative aspects of Roman mastersfrom different areas of Roman provinces. Tese colloquia dealt withvarious issues related to the broad theme of Roman provincial art.

After the first colloquium held in Austria (Graz), there followed aseries of other colloquia that were organized in the following countries:in Hungary (Veszprm, coordinated by Sylvia Palgyi), inGermany (Bonn, coordinated by Gerhard Bauchhen), inSlovenia (Celje, coordinated by Vera Kolek), in the Netherlands(Maastricht, coordinated by itus Panhuysen), in Hungary(Budapest, coordinated by Paula Zsidi), in Germany (Cologne,coordinated by Peter Noelke), in Croatia (Zagreb, coordinatedby Mirjana Sanader and Ante Rendi Mioevi), in Austria(Innsbruck, coordinated by Elisabeth Walde), in France(Arles, Aix-en-Provence, coordinated by Vassiliki Gaggadis-Robin,

Antoine Hermary, Michel Redd and Claude Sints), inSpain (Mrida, coordinated by rinidad Nogales Basarrate andIsabel Rod de Llanza), and in Croatia (Pula, coordinated by

Alka Starac).

Rije urednice A word from the Editor


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spomenika i kriteriji za odreivanje kronologijei Prikazi ene i obitelji,nalazi se trideset sedam () autorskih radova u kojima su razraenapitanja i problemi oko datiranja i identifikacije kamenih spomenika

iz razliitih rimskih provincija, preko Afrike, Hispanije, Grke,Dalmacije, Macedonije, Dacije, Norika, Germanije, Moesije, Italije.

Zadaa ureivanja Zbornika povodom XII. meunarodnogarheolokog kolokvija Corpus Signorum Imperii Romani, bila jeveliki izazov proet raznim radnim zadacima i postupcima nunimaza objavu publikacije. Nimalo lagan zadatak, od faze upoznavanjas graom, prikupljanja tekstova preko suradnje s prevoditeljima,lektorima, dizajnerom do korekture, finalizacije i konane objave,pretvorio se naposljetku u harmonian rad i dobro upravljanjedodijeljenom mi zadaom. Glavnina posla bila je pisana ili usmenakomunikacija sa sudionicima XII. kolokvija koji su objavili radove uovom Zborniku. Susretljivost, naklonost i elja za objavom znanstvenihspoznaja, rijei su kojima bih opisala suradnju s autorima radova.

Neizmjerno zahvaljujem kolegama iz struke, koji su mi svojimsavjetima svesrdno pomogli da Zbornik bude konano objavljen.

iskanjem ovog Zbornika dananja je arheoloka javnost zavidnobogatija za znanstvena saznanja o rimskom umjetnikom stvaralakomizriaju civilizacijske kulture prolog vremena.

Knjiga je ispred nas tolle legge!

Ida Koncani Uha

Already in , the thInternational Colloquium on problemsregarding Roman provincial art was held at Zagreb.

Within the framework of the thInternational Colloquium on

Roman provincial art, which has addressed topics titled Te Datingof Stone Monuments and Criteria for Determining the Chronology, and,Depictions of Women and Families, there were papers by differentauthors, which dealt with questions and issues regarding the datingand identification of stone monuments from different Romanprovinces, across Africa, Hispania, Greece, Dalmatia, Macedonia,Dacia, Noricum, Germania, Moesia and Italy.

Te task of editing the Proceedings on the occasion of the thInternational Archaeological Colloquium Corpus Signorum ImperiiRomaniwas a big challenge that encompassed various duties andprocedures that were necessary for a successful publication. No easytask, from the starting phase that included familiarization with thematerials, and collection of texts, followed by collaboration with

translators, language editors, and designers, to the finalization phaseand final publication, this whole undertaking eventually became aharmonious, well-coordinated and managed homework. Most of thework consisted of written correspondence or verbal communicationwith the participants of the thColloquium, who published theirpapers in these Proceedings. Helpfulness, goodwill and a desireto publish scientific notions are words with which to describe thecollaboration with the authors of the papers. I am immensely gratefulto my professional colleagues, who with their advice wholeheartedlyhelped the publication of the Proceedings.

By printing these Proceedings, the archaeological public atlarge is today quite a bit richer as regards scientific knowledge aboutRoman artistic, creative expression of the civilizational culture from

ancient times.Te book is facing us - tolle legge!

Ida Koncani Uha


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Information about Greek symposiaand Roman banquets (convivia) isgathered from archaeological evidence, written sources, art and literarydescriptions. Te Roman convivium differs from the Greek symposiumsince it focuses on the eating session and the meals ( cena)rather thanon the following drinking session. Teir difference is underlinedby Cato commenting that Romans rightly emphasized the aspect ofliving together by calling a group of reclining friends a convivium

rather than a symposium.Another differentiation lies in the presence and the role of

women at them. It is generally accepted that respectable and marriedwomen in Classical and Hellenistic Greece were not present insymposiaor other traditionally male gatherings. Special occasionswhen respectable women attended common banquets were limited,e.g. family weddings and funerals or certain religious ceremonies.Regarding family feasts of the Classical and Hellenistic period, it ismost probable that women would not even sit in the same room withmen. Athenaeus in his Deipnosophists (.d-f) describes a weddingfeast preparation where men and women were sitting at separatetables. Furthermore, house women (married women, daughters andslaves) were served half the food portion in comparison to men .

Contemporary art reflects the above described norms. As canbe deducted from the archaic and classical vase painting, the onlywomen present at male symposia were of a lower social status - slaves,dancers, flute girls or courtesans (hetaerae) obliged to serve the guests.Tese women were depicted reclining among men and they were verylightly -or not at all- dressed. Te only occasion when respectablewomen appeared in banquet scenes of that period was in a different

oiles , pp. -. Cited in Alcock , p. . Dunbabin , pp. -. On funerary feasts as family gatherings, Cumont , pp. -; Dalby , pp. -. Cited inBurton , p. . Corley , p. no. . Corley , p. ; Dunbabin , p. ; Roller , p. .

category of monuments, the so-called banquet reliefs. Te earliestexamples of these banquet reliefs go back to the archaic period, andaccording to Dentzer they were votive reliefs intending to consecratea hero cult, whereas during the Hellenistic and the Roman periodsthey were also used for a different category of sculpted monuments,the funerary reliefs. Te main composition remains relatively stablefrom the archaic period until late antiquity: a central male figure is

depicted reclining on a couch, sometimes holding a wine cup withhis right hand. An elegant table full of food and pastry is placed infront of him. A female figure is depicted at the left side of the scene,in profile view. She is modestly dressed, sitting, sometimes standing,but never reclining. Te central pair is usually environed by otherfigures, e.g. servant-slaves ready to serve wine and food. Tey aresmaller and carved in lower relief than the main figures. Te sceneis supplemented by a dog, either lying under the couch or eatingleftovers. Te woman present in those early monuments would beidentified either as the divine companion of the hero or as the spouseof the deceased. Although these women did not actually participatein the banquet, their modestly seated position confirms beyonddoubt their status as legitimate companions of the male figure.

In contrast to the women of the Classical and Hellenistic Greeceand under the influence of their Etruscan predecessors, Roman womengained more freedom and their presence in banquets with men becamemore distinct. At first they would sit, later on they would recline atthe same couch with men, thus provoking the conservative RomanElite who would always consider the reclining position for women as

Dentzer , p. . For an early discussion on the hero cult reliefs, Broneer , p. no. , p. , fig..

Marks-Good , pp. -, figs. (woman seated), (woman seated), (womanstanding).

On slaves at Roman convivia, DArms . On the ser vant iconography, Dunbabinb and Petrut - Musta .

Broneer , p. . Dunbabin , p. . Corley p. , no. ; Corley ; Roller , p. .

Georgia A. Aristodemou

Representations of Women and Childrenin Roman Banquet Scenes

Recenti ricerche tendono a considerare la cena come una nestra sulla vita sociale

e religiosa dell antichit greco-romana. Questarticolo cerca di dimostrare quanto il

motivo e il concetto del banchetto abbiano contribuito alla formazione dell identit

sociale nel mondo greco-romano. Le scene di banchetti sono importanti perch

illustrano sia ambienti domestici che cene rituali funerarie. Scene di banchetti

raffigurate su pitture murali, su mosaici o rilievi funerari, che rappresentano uomini,

donne e bambini, cio famiglie intere a cena, ci offrono informazioni signicative tanto

sulla struttura familiare quanto sulla formazione dellarte romana nel periodo imperiale.

Key wordsbanquet, symposium, convivium, Roman, family, iconography, funerary,reliefs, frescoes, mosaics.


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124 Representations of Women and Children...

Different societies of the eastern Graeco-Roman worldas reected in funerary banquet scenes.

Te funerary banquet iconography spread throughout theMediterranean world from the Archaic and Classical periods until the

Late Roman period

.Te Hellenistic period was a period of prosperity which gavethe opportunity to wealthy citizens to project their wealth. One wayto achieve this was through expensive family funerary monuments,among them the impressive multi-figured banquet reliefs. Multi-figured banquet reliefs appeared in the eastern part of the Greekworld by the second half of the c. B.C., and two of their majorproduction centers were the city of Kyzikos and the island of Samos.

Kyzikosis known for a large series of multi-figured banquetreliefs, dated mainly in the c B.C.. In the Kyzikos reliefs carvedinscriptions confirm that the displayed persons belong to the samefamily. Each participants name, including those of women andchildren, is written on the relief. When two men are depicted reclining

on the same couch, they are probably father and sonor brothers. Inthe Kyzikos reliefs the mother figure stands out, differentiating herselffrom the other women. Tough families with many children were notuncommon, scenes like these were not the rule. Multi-figured reliefsreflected the economic opulence of the displayed family and they weremost probably specifically ordered.

Te island of Samosholds a massive production of funerarybanquet reliefs, abundant in the Hellenistic period, decreasing inRoman times. Some of the Hellenistic reliefs were re-used in theImperial period, as deducted from the newly carved inscriptions.Samian banquet reliefs are also multi-figured and characterized bya paratactic arrangement of the depicted persons. Half of the reliefsgathered by Fabricius reproduce the reclining man motif. In some

cases more than one man recline on the same couch . Te scene issupplemented with one woman sitting on the left side, or with twowomen flanking the food table. Tey usually sit on a difros, rarely onthe couch itself. Women are almost always depicted in profile view,modestly dressed in a long chiton and himation, while their namesare not mentioned in the funerary inscriptions. No connection, e.g.through gestures, is visible between men and women. Te Samianreliefs reveal that in the Samian community women, regardless thesocial status of the family, were considered inferior to their husbands.Te banqueting scene is completed with figures of children. Childrenwere depicted either standing in front of the couch or sitting on it oron their mothers knees. In case of standing children it is not alwaysclear whether they are free born or servants.

Dunbabin , pp. -. On funerary reliefs from Italy, Frenz . On funerarybanquet reliefs from Greece, Tnges-Stringaris , Schmaltz . On grave reliefsfrom Attica, Diepolder , Von Moock and Himmelmann .

Fabricius , p. . Fabricius , p. , pl. a (IKyz ), pl. a (IKyz , , ), pl. a (IKyz ), pl.

b (IKyz , , , , F). Fabricius , p. (IKyz , , PM ). Fabricius , p. ; Roller , p. . Fabricius , p. (H , , , a, PM , , , , ), p. . Fabricius , p. , taf. b (H , Samos, Vathy Arch. Museum Inv. no. ), taf. b

(H , Venice, Arch. Museum Inv. no. ). Fabricius , p. , taf. b (H , Samos, Vathy Arch. Museum Inv. no. ), (H

, Samos, Vathy Arch. Museum Inv. no. ) Fabricius , p. , pl. a (H , Vathy, Archaeological Museum, no. ). Fabricius , p. . Fabricius , taf. (H , Samos, Vathy, Archaeological Museum, Inv. Nr. ), taf.

(H , Samos, Pythagoreion Inv. No. ).

shameful. Tis gradual change in the female posture is apparent bothin literature and art iconography. Etruscan artists depicted husbandsand wives reclining on the same banquet couch, conveying in art whatthey knew as normal in the Etruscan Elite banqueting habits . Writtensources of the early c.A.D.testify that Roman wives were allowed

to attend banquets with their husbands

. In the same period, painteddepictions of elegantly dressed wives lying at the same couches withtheir husbands show that Roman artists used the already establishediconography of symposia to depict the Roman concept on banquetinghabits. However, frequent depictions of both seated and recliningwomen in the same scenes show ambivalence between iconographicalconventions and real-life banquets.

Roman banquets evolve around adults. In Roman societychildren were considered outsiders and were not frequent participantsin banquets, at least not in the public ones . When children of theupper class attended private family banquets, they were probably notgiven much attention. According to acitus (Annales, .), childrenof the nobility participated in formal banquets, however they sat at

a different table behind their fathers couches and were served dishesof smaller portions and poorer quality. Te existing evidence, too,reveals no more than a circumstantial interest in children. Childrenappeared in banquet reliefs from the Hellenistic period and theybecame more frequent during the imperial period. However, in themajority of sculpted or painted banquet scenes from the Romanworld that include children, they seem to be servants; family childrenbecome more recognizable from some point on. Tey are usuallydepicted seated under or at the edge of the dinning couch or next totheir mothers chair and in some cases in the arms of their mothers.In the case of more than one child present in the scene, they areusually boys; daughters, compared to sons, are not depicted so often.Te names of children are usually not mentioned epigraphically.

During the Roman period, the banquet scenery applied bothto domestic and funerary grounds. In wealthy Roman householdsbanquet scenes were depicted in mural paintings and mosaic floors. Infunerary environments banquet scenes were depicted in tomb frescoesand in funerary sculpture (banquet reliefs, grave stelae, ossuaries,altars, sarcophagi, round sculpture).

Dunbabin , p. ; Roller , pp. , ; Roller , p. . Roller , p. ; Roller , p. . Indicative examples are the arquinia tomb frescoes, see Dunbabin , pp. -nos.

-, fig. (omb of Hunting and Fishing), fig. (omb of the Leopards), fig. (omb of the Ship), p. no. .

Bronner , pp. -, fig. ; Corley , p. no.

Dunbabin , pp. -, pp. -, fig. (Pompei, House of the Chaste Lovers), fig.-(Pompei, House of the riclinium), pl. II (Herculaneum, Napoli, Museo Nazionale), pl. III (Herculaneum, Napoli, Museo Nazionale ).

Dunbabin , p. . Donahue , p. ; Prescendi ; Laes . Nielsen , p. . Bradley , p. ; Nielsen , p. ; Alcock , p. ; Roller , p. . Dixon , p. ; Fabricius , p. no. (reliefs from Odessa, omoi, Byzantion:

PM-, -, , -, , , -, , -). Children seated on a stool: Fabricius , p. no. , PM (Nicaea), PM (fig.

, Cyme), PM (Kyzikos); Children seated at the edge of the dining couch, Fabricius, p. no. , IKyz(Kyzikos), (pl. b, Samos); Infants in mothers arms:Pfuhl - Mbius /, pp. -, pl. .

On depictions of girls, Fabricius , p. no. : H B, fig. c, g, PM (Smyrna), , , , .

Dunbabin , p. . J. M. Dentzer () dealt with the subject thoroughly bystudying at least reliefs and K. M. D. Dunbabins monograph in , focused on theiconography of the Roman banquet.


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Georgia A. Aristodemou 125

one outstanding case a woman is depicted reclining while the man isseated. Tese reliefs are an exception to the established iconography.Te reclining posture for a woman is revolutionary for it does not

portray a hetaera, as seen in the Classical period, but a free citizen, alawful wife, a mother. Tis novelty challenges the established socialand familial morals of the Greek world. It probably corresponds to thesocial niveau of the depicted Rhodian women, although theinscriptions do not clarify their status (free citizens or metoikoi) .Rhodian reliefs indicate that women enjoyed a different status in themore liberated Rhodian society. Wealthy Rhodian women duringHellenistic times exercised patronage and enjoyed general recognitionamong their co-citizens. Additionally, inscriptions inform us that asearly as in the Hellenistic period such wealthy women financed openbanquets in which they undoubtedly participated. Tese influentialwomen were expected to express their power by reclining amongmen. Tis behavior is directly connected to the financial prosperity of

the island of Rhodes which enabled the local Elite to promote itself,using both secular and funerary art .

Despite the example of Rhodes, in terms of portraying theposition of women in banquet scenes, the Roman art remainedinconsistent for a long time. Art depictions of both seated and recliningwomen co-existed during the Imperial period. Especially in thefunerary iconography the reclining posture was still considered a tabooand depictions of seated females outnumber those of reclining ones .

Te subject of the married couple is also reproduced in the seriesof funerary banquet reliefs from the city of Byzantion. Pfuhl andMbius have gathered almost reliefs, /of which are dated in theimperial period (c.A.D.). Women are depicted modestly dressedand usually seated on a throne, a chair or at the edge of the dining

couch, but not reclining. Tis posture indicates that the Byzantionsociety is more conservative than the Rhodian one and that womenare considered inferior to men. On the other hand certain gestures

Fabricius , p. fig. , pl. b (PM : Rhodes, Archaeological Museum, no no.). Fabricius , fig. , pl. a (PM : citizens), fig. , pl. b (PM : metoikoi). Fabricius , p. , pp. -. Fabricius , p. . On educated women from the Roman East participating in public

life, Hemelrijk ; Kirbihler ; Mantas ; Mantas ; Kearsley . Burton , p. . Dunbabin , p. . Fabricius , p. . Bradley , p. ; Dunbabin , p. ; Wilkins - Hill , p. . Fabricius , p. . Fabricius , p. . Fabricius , p. .

During the first two centuries of the Imperial period, funerarybanquet reliefs were massively produced in the Greek East. Betweenthe and the c.A.D.the Roman banquet scenery evolved,presenting numerous variations of the main subject. Te divergencesof the basic iconographic motif are usually regional and include the

increased number of the participants, the presence of family childrenor the elaborate furniture and background details.Te island of Tasosis known for its sculptural production.

Funerary banquet reliefs constitute a long relief series dating fromthe classical period until the late Roman period. Tey reproducethe iconographical scheme of the man reclining on a couch and themodestly dressed woman sitting on a chair on the left side of thescene. Te elegant table in front of the couch is full of fruits anddishes. No other men are depicted except some small servant figures.Te relief of Demetriaand Pankarposis a characteristic example andaccording to the epigraphical and typological criteria is dated in thec.A.D.. It repeats the motif of the seated woman and the recliningman. Te Greek inscription informs us that they are not a married

couple, but siblings. Te same iconographical motif continues in laterperiods, executed in a rather dry stereotypical manner. A marriedcouple is depicted in the c.A.D.relief no. (Figure). Tehusband reclines holding a scroll (evidence of his higher status) whilethe wife is seated at the left edge of the couch, modestly dressed ina long chiton and a himation. Small servant figures flank the couchready to serve their masters. In front of the landlord, an elegant roundtable with leonine feet is full of food and fruits. Te married coupledoes not hold hands or connect to each other on an emotional level.In the contemporary relief of Vyzestwo variants are detected: thesmall figure on the right recognized rather as a servant than a familychild, and the gesture of the banqueter towards the seated womanwhich reveals their marital connection and evokes the apocalypses

gesture by her. Tough not of a high artistic quality, this relief ischaracterized by a warmer and more spontaneous spirit than theprevious one. An interesting variant where a baby figure is depictedon the mothers knees leaning towards the father comes from anotherrelief of the early Imperial period and portrays close familial relations .

Te iconographical subject of the reclining couple was notdeveloped in funerary art of the Greek world until the Imperial period,and when it did, it first appeared on the island Greece.

Te island ofRhodeswhich provides us with a continuous seriesof funerary banquet reliefs constitutes an exception. Tough most ofthe Rhodian reliefs date as early as the c. B.C., they demonstrate adifferent social status of women in the Rhodian society. Te majorityreproduce the basic motif of the reclining man and the modestly dressed

seated woman, which in this case is sitting on the dining couch insteadof a chair. However, it is noteworthy that certain Rhodian reliefsdepict women reclining, either with men or with other women. In

On funerary reliefs from the East, Dentzer . On funerary reliefs from NW AsiaMinor, Cremer . On funerary reliefs from the eastern Greek world, Pfuhl-Mbius/and Fabricius .

Dunbabin , p. . Holtzmann . Grandjean , p. nr., fig. . Grandjean , p. no. , fig. . Grandjean , p. no. , fig. . Pfuhl-Moebius /, nos. , -, -. Fabricius , p. , p. , pp. -. Fabricius , pl. b (PM , Rhodes, Archaeological Museum, nr. ), pl. a

(PM , Rhodes, Archaeological Museum, nr. ).

1. Thasos, Archaeological Museum, no. 60. 2ndc. A.D. Photo: G. Aristodemou.


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Georgia A. Aristodemou 127

iunctio), i.e. the handclasp between a man and a woman is an evidenceof the most intimate relationship, the marital bond. Tis gesturedefinitely reveals the continuing connection between the deceased andthe living members of a family. Sentimental bonds are also expressedwhen the man touches his wifes shoulder or when he crowns her with

a wreath

. Roller comments, however, that the motif of the seatedwoman indicates the inferior position of women in the house; evenwhen the wife enjoys a reclining position next to her husband, shedoes not enjoy the same pleasures, e.g. the food table is placed closerto the husband, implying that women had an unequal participation inthe life or afterlife pleasures unlike their husbands.

Banquet scenes of the imperial period depicted in murals, mosaicsand banquet reliefs, represent men, women and children sharing ameal, thus providing us with valuable information on the structure ofthe Roman family. Scholars should bear in mind that each banquetscene must be approached separately, in relevance to its context,medium and provenance. Te situation varies according to the factorssuch as the era, the place or the cultural and social level of the depicted

client and the artist of the monument. Mosaics, frescoes literarysources focused on earthly pleasures, evidently follow a more relaxediconography. Funerary monuments with banquet scenes are aboutfamily bonds and family memories, and that makes them by naturemore conservative.

Common dinners express the systems through which familiesand communities connect with each other. Te form and content ofthe banquet scenery are a combination of social and cultural factors,mirroring the close link in the Roman thought between the afterlifeand the conviviumof the living.

Cf, Fabricius , pl. a (F : Byzantion. Constantinople, Archaeological Museum,no. ).

Fabricius , pl. b (H b: Pythagoreion, Samos, Archaeological Museum, no. ),

pl. b (F: Byzantion, Constantinople, Archaeological Museum, no.). Roller , p. . Nielsen , p. . Dunbabin , p. ; Roller , p. ; Roller , p. , p. . Roller , p. . Bradley , p. .

are probably servants, while the seated or reclining ones are probablythe ladies of the house. Within this framework some of these late

funerary banquets depict women reclining and dinning without thecompany of men. During the c.A.D., banquet scenes both fromsecular and funerary context decrease. Tis is probably due bothto the spiritual prohibitions of the new religion (Christianity) andthe troubled times. In biblical iconography, the banquet scenery isadopted for narrating Old and New estaments banquets, e.g. theHerodes banquet, the Cana wedding, the Secret Dinner.

Te banquet iconography functions as a visual comment on thesocial values and moral perceptions of the Roman period. Accordingto M. Roller, the way families were represented on their tomb stones,corresponds to what they used to do when they lived . Family bondsare visible through gestures. Te so called dexiosis-gesture (dextrarum

Dunbabin , pp. -. Roller , p. . A funerary banquet of three women is depicted in a mosaic of the

late c. AD, uncovered in theAntiochnecropolis (sector -L (Worcester Art Museum,no. .). See, Kondoleon , pp. -no. ; Dunbabin , p. no. , pl. XIV.

Dunbabin , pp. -. Roller , pp. -.

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