The Getty Villa

Title: Portrait of a Man Artist/Maker: Unknown Date: 1st century B.C. Medium: Bronze Dimensions: Object: 29.5 × 21.6 × 21.6 cm (11 5/8 × 8 1/2 × 8 1/2 in.) Place: Asia Minor (Place Created) Culture: Roman Object Number: 73.AB.8 Alternate Titles: Head of a Man (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Male portrait This bronze head was broken from a full-length statue and probably depicts a prince or local ruler. The eyes of this statue were originally inlaid with contrasting materials, and the lips were inlaid with copper. This head belongs to a type of portraiture depicting Hellenistic rulers that became popular in the wake of Alexander the Great. Designed as propaganda to legitimize the ruler and emphasize dynastic connections, these portraits were often highly idealized images of their subjects, with even features, thick hair, and smooth skin; they bear an intentional similarity to each other. Even with its idealized features, the statue gives off an aura of power and command, showing the Roman concern with expressing personality through portraiture. Text from: www.getty.edu/art/collection/object/103SXN#full-artwork-details

Title: Portrait of a Man Artist/Maker: Unknown Date: 1st century B.C. Medium: Bronze Dimensions: Object: 29.5 × 21.6 × 21.6 cm (11 5/8 × 8 1/2 × 8 1/2 in.) Place: Asia Minor (Place Created) Culture: Roman Object Number: 73.AB.8 Alternate Titles: Head of a Man (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Male portrait This bronze head was broken from a full-length statue and probably depicts a prince or local ruler. The eyes of this statue were originally inlaid with contrasting materials, and the lips were inlaid with copper. This head belongs to a type of portraiture depicting Hellenistic rulers that became popular in the wake of Alexander the Great. Designed as propaganda to legitimize the ruler and emphasize dynastic connections, these portraits were often highly idealized images of their subjects, with even features, thick hair, and smooth skin; they bear an intentional similarity to each other. Even with its idealized features, the statue gives off an aura of power and command, showing the Roman concern with expressing personality through portraiture. Text from: www.getty.edu/art/collection/object/103SXN#full-artwork-details

Title: Portrait of a Man Artist/Maker: Unknown Date: 1st century B.C. Medium: Bronze Dimensions: Object: 29.5 × 21.6 × 21.6 cm (11 5/8 × 8 1/2 × 8 1/2 in.) Place: Asia Minor (Place Created) Culture: Roman Object Number: 73.AB.8 Alternate Titles: Head of a Man (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Male portrait This bronze head was broken from a full-length statue and probably depicts a prince or local ruler. The eyes of this statue were originally inlaid with contrasting materials, and the lips were inlaid with copper. This head belongs to a type of portraiture depicting Hellenistic rulers that became popular in the wake of Alexander the Great. Designed as propaganda to legitimize the ruler and emphasize dynastic connections, these portraits were often highly idealized images of their subjects, with even features, thick hair, and smooth skin; they bear an intentional similarity to each other. Even with its idealized features, the statue gives off an aura of power and command, showing the Roman concern with expressing personality through portraiture. Text from: www.getty.edu/art/collection/object/103SXN#full-artwork-details

Title: Portrait of a Man Artist/Maker: Unknown Date: 1st century B.C. Medium: Bronze Dimensions: Object: 29.5 × 21.6 × 21.6 cm (11 5/8 × 8 1/2 × 8 1/2 in.) Place: Asia Minor (Place Created) Culture: Roman Object Number: 73.AB.8 Alternate Titles: Head of a Man (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Male portrait This bronze head was broken from a full-length statue and probably depicts a prince or local ruler. The eyes of this statue were originally inlaid with contrasting materials, and the lips were inlaid with copper. This head belongs to a type of portraiture depicting Hellenistic rulers that became popular in the wake of Alexander the Great. Designed as propaganda to legitimize the ruler and emphasize dynastic connections, these portraits were often highly idealized images of their subjects, with even features, thick hair, and smooth skin; they bear an intentional similarity to each other. Even with its idealized features, the statue gives off an aura of power and command, showing the Roman concern with expressing personality through portraiture. Text from: www.getty.edu/art/collection/object/103SXN#full-artwork-details

Title: Portrait of a Man Artist/Maker: Unknown Date: 1st century B.C. Medium: Bronze Dimensions: Object: 29.5 × 21.6 × 21.6 cm (11 5/8 × 8 1/2 × 8 1/2 in.) Place: Asia Minor (Place Created) Culture: Roman Object Number: 73.AB.8 Alternate Titles: Head of a Man (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Male portrait This bronze head was broken from a full-length statue and probably depicts a prince or local ruler. The eyes of this statue were originally inlaid with contrasting materials, and the lips were inlaid with copper. This head belongs to a type of portraiture depicting Hellenistic rulers that became popular in the wake of Alexander the Great. Designed as propaganda to legitimize the ruler and emphasize dynastic connections, these portraits were often highly idealized images of their subjects, with even features, thick hair, and smooth skin; they bear an intentional similarity to each other. Even with its idealized features, the statue gives off an aura of power and command, showing the Roman concern with expressing personality through portraiture. Text from: www.getty.edu/art/collection/object/103SXN#full-artwork-details

Title: Ribbed Bowl Artist/Maker: Unknown Date: 1st century B.C. Medium: Glass Dimensions: Object: 4.9 × 17 cm (1 15/16 × 6 11/16 in.) Place: Workshop in the Eastern Mediterranean, Italy (Place Created) Culture: Roman Object Number: 2004.25 Alternate Titles: Ribbed Bowl with Blue and White Marbling (Alternate Title) Department: Antiquities Classification: Vessel Object Type: Bowl Cast ribbed bowl of semi-opaque dark blue and milky white mosaic glass formed by slumping into a mold pre-lined with sections of white and blue rods in a swirl pattern. Three incised, concentric rings decorate the inside. Previously fractured and rejoined. Text from: www.getty.edu/art/collection/object/10961V

Title: Ribbed Bowl Artist/Maker: Unknown Date: 1st century B.C. Medium: Glass Dimensions: Object: 4.9 × 17 cm (1 15/16 × 6 11/16 in.) Place: Workshop in the Eastern Mediterranean, Italy (Place Created) Culture: Roman Object Number: 2004.25 Alternate Titles: Ribbed Bowl with Blue and White Marbling (Alternate Title) Department: Antiquities Classification: Vessel Object Type: Bowl Cast ribbed bowl of semi-opaque dark blue and milky white mosaic glass formed by slumping into a mold pre-lined with sections of white and blue rods in a swirl pattern. Three incised, concentric rings decorate the inside. Previously fractured and rejoined. Text from: www.getty.edu/art/collection/object/10961V

Title: Front Panel from a Sarcophagus Artist/Maker: Unknown Date: about A.D. 180 Medium: Marble Dimensions: Object: 46.5 × 173 × 16 cm, 272.1582 kg (18 5/16 × 68 1/8 × 6 5/16 in., 600 lb.) Place: Italy (Place Created) Culture: Roman Object Number: 86.AA.701 Inscription(s): FUERIT POST ME · ET POST GAUDENIA · NICENE VETO ALIUM · QUISQUIS HUNC TITULUM LEGERIT / MI · ET · ILLEI · FECI · / T AELIO EVANGELO / HOMINI PATIENTI / MERUM PROFUNDAT Translation after Koch and Wight (1988): "That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." Alternate Titles: Sarcophagus Panel with a Wool Merchant (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Sarcophagus This fragment preserves the front panel of a four-sided sarcophagus. The inscription identifies its intended occupants as Titus Aelius Evangelus and his wife, Gaudenia Nicene. He reclines on a kline (couch) with a wine cup in one hand and a cluster of grapes in the other. A rooster is perched at his feet. His wife stands and the foot of the couch, a cup of wine raised high in one hand and a garland in her lowered hand. A goat looks out from behind her legs. In front of the couch stands a small three-legged table and a basket-wrapped bottle with its lid off. The scene suggests a funeral banquet and feast. Vignettes depicting aspects of Titus’s daily life, notably his profession as a wool merchant, surround them. To the left, a bearded man seated on a stool holds a small comb in his left hand and with his right, pulls wool through a five-pronged tool attached to a chair-like frame; a ball of wool lies on the seat. At the far right, a young man seated at a low table pulls a thick strand of wool from a basket at his feet and winds it into a ball, likely onto a distaff in preparation for spinning. Other tools of the trade are nearby—a scale with large hooks for hanging wool and an amphora, possibly a weight. Collectively these scenes represent the combing, weighing, and spinning of wool, the steps for processing wool into fabric. The other scenes convey a bucolic setting. The area near the far left edge is roughly worked. The lower part is damaged, but the upper area depicts a sketchy landscape with a projecting rock and a goat climbing a tree. The left and right ends of the panel are decorated with partially preserved sheep. In the upper right, a man leads a horse through an arched doorway and follows a second man moving to the right, who dances with his arms above his head. Both men wear long-sleeved belted tunics, trousers, shoes, and Phrygian caps. On the right, a woman looks back and waves at the two men. These three figures have eluded interpretation and might refer to a religious cult, perhaps the Dioscuri or the cult of Cybele and Attis. The inscription, which runs across the upper edge of the panel and continues under the funeral couch, reads, “That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." The inscription directly addresses those passing by, suggesting a prominent display in a tomb complex. This sarcophagus appears to be related to a marble panel in Stockholm (Museum of Mediterranean Antiquities, MM 1997:001). The Stockholm panel has an inscription that identifies the same-name dedicant, Titus Aelius Evangelus, and a similar scene of wool manufacture. This related panel was likely a separate loculus slab (a marble panel that would cover the side or end of a tomb). Text from: www.getty.edu/art/collection/object/103WER

Title: Front Panel from a Sarcophagus Artist/Maker: Unknown Date: about A.D. 180 Medium: Marble Dimensions: Object: 46.5 × 173 × 16 cm, 272.1582 kg (18 5/16 × 68 1/8 × 6 5/16 in., 600 lb.) Place: Italy (Place Created) Culture: Roman Object Number: 86.AA.701 Inscription(s): FUERIT POST ME · ET POST GAUDENIA · NICENE VETO ALIUM · QUISQUIS HUNC TITULUM LEGERIT / MI · ET · ILLEI · FECI · / T AELIO EVANGELO / HOMINI PATIENTI / MERUM PROFUNDAT Translation after Koch and Wight (1988): "That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." Alternate Titles: Sarcophagus Panel with a Wool Merchant (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Sarcophagus This fragment preserves the front panel of a four-sided sarcophagus. The inscription identifies its intended occupants as Titus Aelius Evangelus and his wife, Gaudenia Nicene. He reclines on a kline (couch) with a wine cup in one hand and a cluster of grapes in the other. A rooster is perched at his feet. His wife stands and the foot of the couch, a cup of wine raised high in one hand and a garland in her lowered hand. A goat looks out from behind her legs. In front of the couch stands a small three-legged table and a basket-wrapped bottle with its lid off. The scene suggests a funeral banquet and feast. Vignettes depicting aspects of Titus’s daily life, notably his profession as a wool merchant, surround them. To the left, a bearded man seated on a stool holds a small comb in his left hand and with his right, pulls wool through a five-pronged tool attached to a chair-like frame; a ball of wool lies on the seat. At the far right, a young man seated at a low table pulls a thick strand of wool from a basket at his feet and winds it into a ball, likely onto a distaff in preparation for spinning. Other tools of the trade are nearby—a scale with large hooks for hanging wool and an amphora, possibly a weight. Collectively these scenes represent the combing, weighing, and spinning of wool, the steps for processing wool into fabric. The other scenes convey a bucolic setting. The area near the far left edge is roughly worked. The lower part is damaged, but the upper area depicts a sketchy landscape with a projecting rock and a goat climbing a tree. The left and right ends of the panel are decorated with partially preserved sheep. In the upper right, a man leads a horse through an arched doorway and follows a second man moving to the right, who dances with his arms above his head. Both men wear long-sleeved belted tunics, trousers, shoes, and Phrygian caps. On the right, a woman looks back and waves at the two men. These three figures have eluded interpretation and might refer to a religious cult, perhaps the Dioscuri or the cult of Cybele and Attis. The inscription, which runs across the upper edge of the panel and continues under the funeral couch, reads, “That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." The inscription directly addresses those passing by, suggesting a prominent display in a tomb complex. This sarcophagus appears to be related to a marble panel in Stockholm (Museum of Mediterranean Antiquities, MM 1997:001). The Stockholm panel has an inscription that identifies the same-name dedicant, Titus Aelius Evangelus, and a similar scene of wool manufacture. This related panel was likely a separate loculus slab (a marble panel that would cover the side or end of a tomb). Text from: www.getty.edu/art/collection/object/103WER

Title: Front Panel from a Sarcophagus Artist/Maker: Unknown Date: about A.D. 180 Medium: Marble Dimensions: Object: 46.5 × 173 × 16 cm, 272.1582 kg (18 5/16 × 68 1/8 × 6 5/16 in., 600 lb.) Place: Italy (Place Created) Culture: Roman Object Number: 86.AA.701 Inscription(s): FUERIT POST ME · ET POST GAUDENIA · NICENE VETO ALIUM · QUISQUIS HUNC TITULUM LEGERIT / MI · ET · ILLEI · FECI · / T AELIO EVANGELO / HOMINI PATIENTI / MERUM PROFUNDAT Translation after Koch and Wight (1988): "That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." Alternate Titles: Sarcophagus Panel with a Wool Merchant (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Sarcophagus This fragment preserves the front panel of a four-sided sarcophagus. The inscription identifies its intended occupants as Titus Aelius Evangelus and his wife, Gaudenia Nicene. He reclines on a kline (couch) with a wine cup in one hand and a cluster of grapes in the other. A rooster is perched at his feet. His wife stands and the foot of the couch, a cup of wine raised high in one hand and a garland in her lowered hand. A goat looks out from behind her legs. In front of the couch stands a small three-legged table and a basket-wrapped bottle with its lid off. The scene suggests a funeral banquet and feast. Vignettes depicting aspects of Titus’s daily life, notably his profession as a wool merchant, surround them. To the left, a bearded man seated on a stool holds a small comb in his left hand and with his right, pulls wool through a five-pronged tool attached to a chair-like frame; a ball of wool lies on the seat. At the far right, a young man seated at a low table pulls a thick strand of wool from a basket at his feet and winds it into a ball, likely onto a distaff in preparation for spinning. Other tools of the trade are nearby—a scale with large hooks for hanging wool and an amphora, possibly a weight. Collectively these scenes represent the combing, weighing, and spinning of wool, the steps for processing wool into fabric. The other scenes convey a bucolic setting. The area near the far left edge is roughly worked. The lower part is damaged, but the upper area depicts a sketchy landscape with a projecting rock and a goat climbing a tree. The left and right ends of the panel are decorated with partially preserved sheep. In the upper right, a man leads a horse through an arched doorway and follows a second man moving to the right, who dances with his arms above his head. Both men wear long-sleeved belted tunics, trousers, shoes, and Phrygian caps. On the right, a woman looks back and waves at the two men. These three figures have eluded interpretation and might refer to a religious cult, perhaps the Dioscuri or the cult of Cybele and Attis. The inscription, which runs across the upper edge of the panel and continues under the funeral couch, reads, “That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." The inscription directly addresses those passing by, suggesting a prominent display in a tomb complex. This sarcophagus appears to be related to a marble panel in Stockholm (Museum of Mediterranean Antiquities, MM 1997:001). The Stockholm panel has an inscription that identifies the same-name dedicant, Titus Aelius Evangelus, and a similar scene of wool manufacture. This related panel was likely a separate loculus slab (a marble panel that would cover the side or end of a tomb). Text from: www.getty.edu/art/collection/object/103WER

Title: Front Panel from a Sarcophagus Artist/Maker: Unknown Date: about A.D. 180 Medium: Marble Dimensions: Object: 46.5 × 173 × 16 cm, 272.1582 kg (18 5/16 × 68 1/8 × 6 5/16 in., 600 lb.) Place: Italy (Place Created) Culture: Roman Object Number: 86.AA.701 Inscription(s): FUERIT POST ME · ET POST GAUDENIA · NICENE VETO ALIUM · QUISQUIS HUNC TITULUM LEGERIT / MI · ET · ILLEI · FECI · / T AELIO EVANGELO / HOMINI PATIENTI / MERUM PROFUNDAT Translation after Koch and Wight (1988): "That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." Alternate Titles: Sarcophagus Panel with a Wool Merchant (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Sarcophagus This fragment preserves the front panel of a four-sided sarcophagus. The inscription identifies its intended occupants as Titus Aelius Evangelus and his wife, Gaudenia Nicene. He reclines on a kline (couch) with a wine cup in one hand and a cluster of grapes in the other. A rooster is perched at his feet. His wife stands and the foot of the couch, a cup of wine raised high in one hand and a garland in her lowered hand. A goat looks out from behind her legs. In front of the couch stands a small three-legged table and a basket-wrapped bottle with its lid off. The scene suggests a funeral banquet and feast. Vignettes depicting aspects of Titus’s daily life, notably his profession as a wool merchant, surround them. To the left, a bearded man seated on a stool holds a small comb in his left hand and with his right, pulls wool through a five-pronged tool attached to a chair-like frame; a ball of wool lies on the seat. At the far right, a young man seated at a low table pulls a thick strand of wool from a basket at his feet and winds it into a ball, likely onto a distaff in preparation for spinning. Other tools of the trade are nearby—a scale with large hooks for hanging wool and an amphora, possibly a weight. Collectively these scenes represent the combing, weighing, and spinning of wool, the steps for processing wool into fabric. The other scenes convey a bucolic setting. The area near the far left edge is roughly worked. The lower part is damaged, but the upper area depicts a sketchy landscape with a projecting rock and a goat climbing a tree. The left and right ends of the panel are decorated with partially preserved sheep. In the upper right, a man leads a horse through an arched doorway and follows a second man moving to the right, who dances with his arms above his head. Both men wear long-sleeved belted tunics, trousers, shoes, and Phrygian caps. On the right, a woman looks back and waves at the two men. These three figures have eluded interpretation and might refer to a religious cult, perhaps the Dioscuri or the cult of Cybele and Attis. The inscription, which runs across the upper edge of the panel and continues under the funeral couch, reads, “That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." The inscription directly addresses those passing by, suggesting a prominent display in a tomb complex. This sarcophagus appears to be related to a marble panel in Stockholm (Museum of Mediterranean Antiquities, MM 1997:001). The Stockholm panel has an inscription that identifies the same-name dedicant, Titus Aelius Evangelus, and a similar scene of wool manufacture. This related panel was likely a separate loculus slab (a marble panel that would cover the side or end of a tomb). Text from: www.getty.edu/art/collection/object/103WER

Title: Front Panel from a Sarcophagus Artist/Maker: Unknown Date: about A.D. 180 Medium: Marble Dimensions: Object: 46.5 × 173 × 16 cm, 272.1582 kg (18 5/16 × 68 1/8 × 6 5/16 in., 600 lb.) Place: Italy (Place Created) Culture: Roman Object Number: 86.AA.701 Inscription(s): FUERIT POST ME · ET POST GAUDENIA · NICENE VETO ALIUM · QUISQUIS HUNC TITULUM LEGERIT / MI · ET · ILLEI · FECI · / T AELIO EVANGELO / HOMINI PATIENTI / MERUM PROFUNDAT Translation after Koch and Wight (1988): "That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." Alternate Titles: Sarcophagus Panel with a Wool Merchant (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Sarcophagus This fragment preserves the front panel of a four-sided sarcophagus. The inscription identifies its intended occupants as Titus Aelius Evangelus and his wife, Gaudenia Nicene. He reclines on a kline (couch) with a wine cup in one hand and a cluster of grapes in the other. A rooster is perched at his feet. His wife stands and the foot of the couch, a cup of wine raised high in one hand and a garland in her lowered hand. A goat looks out from behind her legs. In front of the couch stands a small three-legged table and a basket-wrapped bottle with its lid off. The scene suggests a funeral banquet and feast. Vignettes depicting aspects of Titus’s daily life, notably his profession as a wool merchant, surround them. To the left, a bearded man seated on a stool holds a small comb in his left hand and with his right, pulls wool through a five-pronged tool attached to a chair-like frame; a ball of wool lies on the seat. At the far right, a young man seated at a low table pulls a thick strand of wool from a basket at his feet and winds it into a ball, likely onto a distaff in preparation for spinning. Other tools of the trade are nearby—a scale with large hooks for hanging wool and an amphora, possibly a weight. Collectively these scenes represent the combing, weighing, and spinning of wool, the steps for processing wool into fabric. The other scenes convey a bucolic setting. The area near the far left edge is roughly worked. The lower part is damaged, but the upper area depicts a sketchy landscape with a projecting rock and a goat climbing a tree. The left and right ends of the panel are decorated with partially preserved sheep. In the upper right, a man leads a horse through an arched doorway and follows a second man moving to the right, who dances with his arms above his head. Both men wear long-sleeved belted tunics, trousers, shoes, and Phrygian caps. On the right, a woman looks back and waves at the two men. These three figures have eluded interpretation and might refer to a religious cult, perhaps the Dioscuri or the cult of Cybele and Attis. The inscription, which runs across the upper edge of the panel and continues under the funeral couch, reads, “That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." The inscription directly addresses those passing by, suggesting a prominent display in a tomb complex. This sarcophagus appears to be related to a marble panel in Stockholm (Museum of Mediterranean Antiquities, MM 1997:001). The Stockholm panel has an inscription that identifies the same-name dedicant, Titus Aelius Evangelus, and a similar scene of wool manufacture. This related panel was likely a separate loculus slab (a marble panel that would cover the side or end of a tomb). Text from: www.getty.edu/art/collection/object/103WER

Title: Front Panel from a Sarcophagus Artist/Maker: Unknown Date: about A.D. 180 Medium: Marble Dimensions: Object: 46.5 × 173 × 16 cm, 272.1582 kg (18 5/16 × 68 1/8 × 6 5/16 in., 600 lb.) Place: Italy (Place Created) Culture: Roman Object Number: 86.AA.701 Inscription(s): FUERIT POST ME · ET POST GAUDENIA · NICENE VETO ALIUM · QUISQUIS HUNC TITULUM LEGERIT / MI · ET · ILLEI · FECI · / T AELIO EVANGELO / HOMINI PATIENTI / MERUM PROFUNDAT Translation after Koch and Wight (1988): "That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." Alternate Titles: Sarcophagus Panel with a Wool Merchant (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Sarcophagus This fragment preserves the front panel of a four-sided sarcophagus. The inscription identifies its intended occupants as Titus Aelius Evangelus and his wife, Gaudenia Nicene. He reclines on a kline (couch) with a wine cup in one hand and a cluster of grapes in the other. A rooster is perched at his feet. His wife stands and the foot of the couch, a cup of wine raised high in one hand and a garland in her lowered hand. A goat looks out from behind her legs. In front of the couch stands a small three-legged table and a basket-wrapped bottle with its lid off. The scene suggests a funeral banquet and feast. Vignettes depicting aspects of Titus’s daily life, notably his profession as a wool merchant, surround them. To the left, a bearded man seated on a stool holds a small comb in his left hand and with his right, pulls wool through a five-pronged tool attached to a chair-like frame; a ball of wool lies on the seat. At the far right, a young man seated at a low table pulls a thick strand of wool from a basket at his feet and winds it into a ball, likely onto a distaff in preparation for spinning. Other tools of the trade are nearby—a scale with large hooks for hanging wool and an amphora, possibly a weight. Collectively these scenes represent the combing, weighing, and spinning of wool, the steps for processing wool into fabric. The other scenes convey a bucolic setting. The area near the far left edge is roughly worked. The lower part is damaged, but the upper area depicts a sketchy landscape with a projecting rock and a goat climbing a tree. The left and right ends of the panel are decorated with partially preserved sheep. In the upper right, a man leads a horse through an arched doorway and follows a second man moving to the right, who dances with his arms above his head. Both men wear long-sleeved belted tunics, trousers, shoes, and Phrygian caps. On the right, a woman looks back and waves at the two men. These three figures have eluded interpretation and might refer to a religious cult, perhaps the Dioscuri or the cult of Cybele and Attis. The inscription, which runs across the upper edge of the panel and continues under the funeral couch, reads, “That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." The inscription directly addresses those passing by, suggesting a prominent display in a tomb complex. This sarcophagus appears to be related to a marble panel in Stockholm (Museum of Mediterranean Antiquities, MM 1997:001). The Stockholm panel has an inscription that identifies the same-name dedicant, Titus Aelius Evangelus, and a similar scene of wool manufacture. This related panel was likely a separate loculus slab (a marble panel that would cover the side or end of a tomb). Text from: www.getty.edu/art/collection/object/103WER

Title: Front Panel from a Sarcophagus Artist/Maker: Unknown Date: about A.D. 180 Medium: Marble Dimensions: Object: 46.5 × 173 × 16 cm, 272.1582 kg (18 5/16 × 68 1/8 × 6 5/16 in., 600 lb.) Place: Italy (Place Created) Culture: Roman Object Number: 86.AA.701 Inscription(s): FUERIT POST ME · ET POST GAUDENIA · NICENE VETO ALIUM · QUISQUIS HUNC TITULUM LEGERIT / MI · ET · ILLEI · FECI · / T AELIO EVANGELO / HOMINI PATIENTI / MERUM PROFUNDAT Translation after Koch and Wight (1988): "That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." Alternate Titles: Sarcophagus Panel with a Wool Merchant (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Sarcophagus This fragment preserves the front panel of a four-sided sarcophagus. The inscription identifies its intended occupants as Titus Aelius Evangelus and his wife, Gaudenia Nicene. He reclines on a kline (couch) with a wine cup in one hand and a cluster of grapes in the other. A rooster is perched at his feet. His wife stands and the foot of the couch, a cup of wine raised high in one hand and a garland in her lowered hand. A goat looks out from behind her legs. In front of the couch stands a small three-legged table and a basket-wrapped bottle with its lid off. The scene suggests a funeral banquet and feast. Vignettes depicting aspects of Titus’s daily life, notably his profession as a wool merchant, surround them. To the left, a bearded man seated on a stool holds a small comb in his left hand and with his right, pulls wool through a five-pronged tool attached to a chair-like frame; a ball of wool lies on the seat. At the far right, a young man seated at a low table pulls a thick strand of wool from a basket at his feet and winds it into a ball, likely onto a distaff in preparation for spinning. Other tools of the trade are nearby—a scale with large hooks for hanging wool and an amphora, possibly a weight. Collectively these scenes represent the combing, weighing, and spinning of wool, the steps for processing wool into fabric. The other scenes convey a bucolic setting. The area near the far left edge is roughly worked. The lower part is damaged, but the upper area depicts a sketchy landscape with a projecting rock and a goat climbing a tree. The left and right ends of the panel are decorated with partially preserved sheep. In the upper right, a man leads a horse through an arched doorway and follows a second man moving to the right, who dances with his arms above his head. Both men wear long-sleeved belted tunics, trousers, shoes, and Phrygian caps. On the right, a woman looks back and waves at the two men. These three figures have eluded interpretation and might refer to a religious cult, perhaps the Dioscuri or the cult of Cybele and Attis. The inscription, which runs across the upper edge of the panel and continues under the funeral couch, reads, “That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." The inscription directly addresses those passing by, suggesting a prominent display in a tomb complex. This sarcophagus appears to be related to a marble panel in Stockholm (Museum of Mediterranean Antiquities, MM 1997:001). The Stockholm panel has an inscription that identifies the same-name dedicant, Titus Aelius Evangelus, and a similar scene of wool manufacture. This related panel was likely a separate loculus slab (a marble panel that would cover the side or end of a tomb). Text from: www.getty.edu/art/collection/object/103WER

Title: Front Panel from a Sarcophagus Artist/Maker: Unknown Date: about A.D. 180 Medium: Marble Dimensions: Object: 46.5 × 173 × 16 cm, 272.1582 kg (18 5/16 × 68 1/8 × 6 5/16 in., 600 lb.) Place: Italy (Place Created) Culture: Roman Object Number: 86.AA.701 Inscription(s): FUERIT POST ME · ET POST GAUDENIA · NICENE VETO ALIUM · QUISQUIS HUNC TITULUM LEGERIT / MI · ET · ILLEI · FECI · / T AELIO EVANGELO / HOMINI PATIENTI / MERUM PROFUNDAT Translation after Koch and Wight (1988): "That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." Alternate Titles: Sarcophagus Panel with a Wool Merchant (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Sarcophagus This fragment preserves the front panel of a four-sided sarcophagus. The inscription identifies its intended occupants as Titus Aelius Evangelus and his wife, Gaudenia Nicene. He reclines on a kline (couch) with a wine cup in one hand and a cluster of grapes in the other. A rooster is perched at his feet. His wife stands and the foot of the couch, a cup of wine raised high in one hand and a garland in her lowered hand. A goat looks out from behind her legs. In front of the couch stands a small three-legged table and a basket-wrapped bottle with its lid off. The scene suggests a funeral banquet and feast. Vignettes depicting aspects of Titus’s daily life, notably his profession as a wool merchant, surround them. To the left, a bearded man seated on a stool holds a small comb in his left hand and with his right, pulls wool through a five-pronged tool attached to a chair-like frame; a ball of wool lies on the seat. At the far right, a young man seated at a low table pulls a thick strand of wool from a basket at his feet and winds it into a ball, likely onto a distaff in preparation for spinning. Other tools of the trade are nearby—a scale with large hooks for hanging wool and an amphora, possibly a weight. Collectively these scenes represent the combing, weighing, and spinning of wool, the steps for processing wool into fabric. The other scenes convey a bucolic setting. The area near the far left edge is roughly worked. The lower part is damaged, but the upper area depicts a sketchy landscape with a projecting rock and a goat climbing a tree. The left and right ends of the panel are decorated with partially preserved sheep. In the upper right, a man leads a horse through an arched doorway and follows a second man moving to the right, who dances with his arms above his head. Both men wear long-sleeved belted tunics, trousers, shoes, and Phrygian caps. On the right, a woman looks back and waves at the two men. These three figures have eluded interpretation and might refer to a religious cult, perhaps the Dioscuri or the cult of Cybele and Attis. The inscription, which runs across the upper edge of the panel and continues under the funeral couch, reads, “That there be after me and after Gaudenia Nicene any other person [inhumed in this sarcophagus], I forbid; whoever reads this inscription, [which] I have made for me and for her, let him pour unmixed wine for Titus Aelius Evangelus, a patient man." The inscription directly addresses those passing by, suggesting a prominent display in a tomb complex. This sarcophagus appears to be related to a marble panel in Stockholm (Museum of Mediterranean Antiquities, MM 1997:001). The Stockholm panel has an inscription that identifies the same-name dedicant, Titus Aelius Evangelus, and a similar scene of wool manufacture. This related panel was likely a separate loculus slab (a marble panel that would cover the side or end of a tomb). Text from: www.getty.edu/art/collection/object/103WER

Title: Grave Naiskos of Demainete with an Attendant Holding a Partridge Artist/Maker:Unknown Date: about 310 B.C. Medium: Marble Dimensions: Object: 96.5 × 47.5 × 15 cm, 80.3 kg (38 × 18 11/16 × 5 7/8 in., 177 lb.) Place: Greece (Attica) (Place Created) Culture: Greek Object Number: 75.AA.63 Inscription(s): Inscription, "ΔHMAINETH ΠPOKAEOYΣ" Translation: "Demainete [daughter] of Prokles". Alternate Titles: Gravestone of Demainete (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Relief Taking the form of a shallow naiskos, or three-sided funerary monument, this Greek relief sculpture once marked the grave of a little girl. The girl takes up virtually the full height of the relief, while a smaller figure is recognizable as an enslaved person by her diminutive scale, short hair and long-sleeved garment. The inscription running over their heads identifies the girl as Demainete, the daughter of Prokles. Both Demainete's hairstyle and the shoulder cords of her dress are signs of her youth. The girl holds a bird in her now damaged right hand and her attendant cradles another large, fat bird, probably a partridge. Although the meaning is not known for certain, young girls frequently hold birds on funerary monuments. The depiction may be a simple reference to a beloved pet, or it may have a deeper symbolic meaning representing the life or soul of the child. The size of the monument, the quality of the carving, and the individual touches included, such as the two types of birds, indicate that Demainete came from a wealthy and prominent Athenian family. Text from: www.getty.edu/art/collection/object/103T1X

Title: Grave Naiskos of Demainete with an Attendant Holding a Partridge Artist/Maker:Unknown Date: about 310 B.C. Medium: Marble Dimensions: Object: 96.5 × 47.5 × 15 cm, 80.3 kg (38 × 18 11/16 × 5 7/8 in., 177 lb.) Place: Greece (Attica) (Place Created) Culture: Greek Object Number: 75.AA.63 Inscription(s): Inscription, "ΔHMAINETH ΠPOKAEOYΣ" Translation: "Demainete [daughter] of Prokles". Alternate Titles: Gravestone of Demainete (Alternate Title) Department: Antiquities Classification: Sculpture Object Type: Relief Taking the form of a shallow naiskos, or three-sided funerary monument, this Greek relief sculpture once marked the grave of a little girl. The girl takes up virtually the full height of the relief, while a smaller figure is recognizable as an enslaved person by her diminutive scale, short hair and long-sleeved garment. The inscription running over their heads identifies the girl as Demainete, the daughter of Prokles. Both Demainete's hairstyle and the shoulder cords of her dress are signs of her youth. The girl holds a bird in her now damaged right hand and her attendant cradles another large, fat bird, probably a partridge. Although the meaning is not known for certain, young girls frequently hold birds on funerary monuments. The depiction may be a simple reference to a beloved pet, or it may have a deeper symbolic meaning representing the life or soul of the child. The size of the monument, the quality of the carving, and the individual touches included, such as the two types of birds, indicate that Demainete came from a wealthy and prominent Athenian family. Text from: www.getty.edu/art/collection/object/103T1X