Roman Strigillated Sarcophagi: Art and Social History First Edition Janet Huskinson 0191019534 9780191019531

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• ISBN 10: 0191019534
• ISBN 13: 9780191019531
• Author: Janet Huskinson

This is the first full study of Roman strigillated sarcophagi, which are the largest group of decorated marble sarcophagi to survive in the city of Rome. Characterized by panels of carved fluting – hence the description ‘strigillated’, after the curved strigil used by Roman bathers to scrape off oil – and limited figure scenes, they were produced from the mid-second to the early fifth century AD, and thus cover a critical period in Rome, from empire to early Christianity. Roman Strigillated Sarcophagi focuses on their rich potential as an historical source for exploring the social and cultural life of the city in the later empire. The first part of the volume examines aspects of their manufacture, use, and viewing, emphasizing distinctive features. The second part looks at the figured representations carved on the sarcophagi, and at their social significance and creativity, concentrating on how their various arrangements allowed viewers to develop their own interpretations. The subjects represented by the figures and the flexibility with which they might be read, provide invaluable insights into how Romans thought about life and death during these changing times. The final part of the volume surveys how later societies responded to Roman strigillated sarcophagi. From as early as the fifth century AD their distinctive decoration and allusions to the Roman past made them especially attractive for reuse in particular contemporary contexts, notably for elite burials and the decoration of prominent buildings. The motif of curved fluting was also adopted and adapted: it decorated neo-classical memorials to Captain Cook, Napoleon’s sister-in-law Christine Boyer, and Penelope Boothby, and its use continues into this century, well over one and a half millennia since it first decorated Roman sarcophagi.

Table of contents:

OPPORTUNITIES, PROBLEMS, AND SOLUTIONS
Past problems
Changing approaches
STRIGILLATED SARCOPHAGI AND HUMAN AGENTS
Viewers
FORM AND STYLE
Fluting: Form and content
Symbolism
Figures: Form and content
Style
OUTLINING THE CHAPTERS
TWO: Introducing the Sarcophagi
INTRODUCING STRIGILLATED SARCOPHAGI: TYPICAL FEATURES
The sarcophagi
The fluting
Architectural elements: Columns, inscription panels, doors, and walls
Figured decoration
Changes over time
Themes on sarcophagi from Rome: A chronological outline
PART I: Production, Use, and Viewing
THREE: Making and Acquiring Strigillated Sarcophagi
STRIGILLATED SARCOPHAGI AND THE ‘SARCOPHAGUS TRADE’
Sources of marble
Recycled marble
From quarry to Roman workshop
Imports to and exports from Rome: Sarcophagi and craftsmen
Immigrant craftsmen in Rome
Roman export or local copy?
ADDING THE DECORATION
Designing
Carving the decoration
By whom?
Order of carving: Flutes first or figures?
Carving the fluting: Techniques and difficulties
Figured imagery
Colour
CUSTOMERS OF STRIGILLATED SARCOPHAGI AND THEIR CHOICES
How much choice?
Using unfinished sarcophagi
Who were the customers of Roman strigillated sarcophagi?
Inscriptions
Iconography and subject choice of figured scenes
Other indicators of patrons’ status or identity
FOUR: Strigillated Sarcophagi and their Burial Contexts
TOMBS ACCOMMODATING INHUMATION AND BURIAL
Tomb 11 at Isola Sacra
Mausoleum Phi (of the Marcii), Vatican cemetery
TOMBS FOR INHUMATION ONLY
Tor Cervara
CONCLUSION
FIVE: The Decoration of Strigillated Sarcophagi
SOURCES, ANTECEDENTS , AND ASSOCIATIONS
FLUTING
ARCHITECTURAL MOTIFS
Shrines and tombs
Inscription panels on the sarcophagus chest
Houses and villas
FIGURES
MOTIFS, LOCATION, AND VISUAL DYNAMICS
Fluting
Architectural motifs: Borders and frames
FIGURES
CONCLUSION
SIX: Viewing Strigillated Sarcophagi
‘VIEWERS ’ AND ‘THE VIEWER’
VIEWING STRIGILLATED SARCOPHAGI: INDIVIDUAL FIGURED SCENES
VIEWING THE EN SEMBLE
Visual cues for viewing images as an ensemble
Paired figures
Centre and corners
CONCLUSION
PART II: Representations
SEVEN: Representing Romans
INTRODUCTION
‘PORTRAITS ’: THEIR FORMS AND SETTINGS ON STRIGILLATED SARCOPHAGI
Portraits at the centre
Central busts
Full length figures at the centre
Portraits at the corners
On lids
On side panels
CONTEXTUALIZING PORTRAITS: BY INTERNAL DETAILS
Framing and supporting the portrait
Details within the portrait
Evaluating details
CONTEXTUALIZING PORTRAITS: BY LINKING WITH FIGURES IN OTHER PANELS
Linking to images on lids
Linking to motifs below the clipeus
Linking to subjects across the central and corner panels
Changing subjects in the corner panels
Evaluating relationships
CONTEXT AND CONTENT 1 : GENDER RELATIONS
Same and different: Men and women as a pair
In the centre
Paired at the corners
Same and different: Individual portrait figures
Portraying women
Portraying men
Blurring gender boundaries
CONTEXTS AND CONTENT 2: CHANGING COMMUNITIES AND SENSE OF SELF
EIGHT: Mythological Imagery
INTRODUCTION
Mythological images on Roman sarcophagi: An overview
THE RANGE OF MYTHS DEPICTED ON STRIGILLATED SARCOPHAGI
THE DEPICTION OF SINGLE FIGURES
SINGLE SCENE S WITH NARRATIVE ELEMENTS
LINKING IMAGES ACROSS THE SARCOPHAGUS
Linking with other images of the same myth: Suggesting a single mythological narrative
Linking with images of other myths
The Three Graces and Narcissus
The Dioscuri
Cupid and Psyche embracing, and Bacchic figures
Ganymede, Narcissus, and Cupid torturing Psyche
Linking with images of humans
Linking with images of symbolic figures
MYTH AND THE REPRESENTATION OF GENDER
MYTH AND CHANGES I N CULTURE AND SOCIETY
Myth and the representation of social values
Strigillated sarcophagi and the representation of myth in the third century
NINE: Symbolic Figures
INTRODUCTION
Some problems in interpretation
SAMPLE 1: IMAGES ON SARCOPHAGI IN PARTICULAR LOCATIONS
Seasons
Linked with other images
Figures of lions
Linked to other images
Figures and motifs in central mandorle
Linked with other images
Seated philosopher and standing woman
Linked with other images
Conclusion
SAMPLE 2: SYMBOLIC FIGURES, PORTRAITS, AND BIBLICAL SUBJECTS
‘Crypto-Christian’?
Outlining the range of subjects
Pastoral figures
The female orans
Philosophers
Analysis of the sample
Conclusion
SYMBOLIC FIGURES AND THE REPRESENTATION OF GENDER
SYMBOLIC SUBJECTS AND CULTURAL CHANGE
TEN: Representing Christians and their Beliefs
INTRODUCTION
Continuities and changes
Chapter outline
BIBLICAL SUBJECTS
Subjects depicted in single scenes
Linking biblical scenes
Linking scenes from the same biblical narrative
Linking scenes from different biblical narratives
CHRISTIAN SYMBOLIC IMAGES
Generic figures
The ‘Good Shepherd’ and orans
Holy men and ‘saints’
Mid-fourth-century developments
Images of Christ
Emblematic images
PORTRAYING CHRISTIANS
Details within portraits
Juxtaposed motifs and figures
REPRESENTING CHRISTIANS: INDIVIDUALS AND COMMUNITIES
Belonging to secular society
Belonging to Christian communities
CONCLUSION
ELEVEN: Strigillated Sarcophagi and the Jewish Community in Rome
STRIGILLATED SARCOPHAGI AND FRAGMENTS WITH JEWISH INSCRIPTIONS
STRIGILLATED SARCOPHAGI DISCOVERED IN JEWISH CATACOMBS IN ROME
PART III: Reception
TWELVE: The Reception of Roman Strigillated Sarcophagi: Approaches to its Study
THIRTEEN: The Reuse of Strigillated Sarcophagi
REUSE IN ANTIQUITY
Strigillated sarcophagi reused in catacombs and funerary basilicas at Rome
THE EARLY MIDDLE AGES: RELIQUARIES FOR SAINTS IN ROME
THE TWELFTH TO THE FIFTEENTH CENTURY: REUSE OF STRIGILLATED SARCOPHAGI IN ITALY
Elite burials: Pisa and Palermo
Decorating buildings: Gaeta and Genoa
THE REUSE OF STRIGILLATED SARCOPHAGI IN RELIGIOUS AND SECULAR CONTEXTS IN ITALY, FROM THE SIXTEENTH
Reuse as tombs: The case of St Peter’s in the Vatican
Displays of sculpture in palazzi and villas in Rome
The Villa Medici
The Villa Borghese
New didactic values
Counter-Reformation and sacred archaeology
In museums and collections
THE LATE NINETEENTH TO THE TWENTY-FIRST CENTURIES: REUSE IN THE CREATION OF IDENTITIES. SOME EXAMPLE
FOURTEEN: Adopting the Strigillated Motif: Some Case Studies
POST ANTIQUITY: NORTH AFRICA AND FRANCE
ITALY IN THE MIDDLE AGES AND EARLY RENAISSANCE
ROME AND BRITAIN IN THE LATER EIGHTEENTH CENTURY AND EARLY NINETEENTH CENTURY
Piranesi, Clérisseau, and Robert Adam
British funerary monuments
ROME FROM THE LATER NI NETEENTH CENTURY
POSTSCRIPT: COPIES AND FAKES OF ANCIENTS TRIGILLATED SARCOPHAGI

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