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8/10/2019 Toynbee_A Roman Sarcophagus at Pawlowsk and Its Fellows
1/18
A Roman Sarcophagus at Pawlowsk and Its Fellows
Author(s): Jocelyn ToynbeeSource: The Journal of Roman Studies, Vol. 17 (1927), pp. 14-27Published by: Society for the Promotion of Roman StudiesStable URL: http://www.jstor.org/stable/296096.
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8/10/2019 Toynbee_A Roman Sarcophagus at Pawlowsk and Its Fellows
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A ROMAN SARCOPHAGUS AT PAWLOWSK AND ITS FELLOWS.'
By JOCELYN TOYNBEE.
(Plates
-Iii)
In the collection
of ancient
sculpture
t Pawlowsk,near
Lenin-
grad,
there is a Roman
sarcophagus
whichhas never been
published
(plate
i, a-c), though
long
known o students
f
ancient sarcophagi.
A certainamount
of information
s to
its history s supplied
to us
from
he following ources.
Stephani
appendsto
his description f
the sarcophagusn Die Antiken-Sammlungu Pawlowsk,
872,
p.
24,
no.
42,
a short
notice of its
previous
career.
'
Der Sarkophag st in
Rom
im Mausoleum
des Augustus,
worin bekanntlichnahere
und
fernere
Verwandte
der kaiserlichenFamilie
bis gegen
die
Zeit
Hadrians beigesetzt
wurden Becker,Handb.
der rom.Alterth.
h.
I,
s.
639),
gefunden
und
gelangte
zunrichst
n die
Sammlung Lyde
Brown-Cat.
L.
Br.
I779,
sarcofaghi,
o.
I,
un
bellissimo e
ben
conservatosarcofago,
argo quattro
piedi
e mezzo, ornato con sei
maschere
di Fauni
e
Satiri
e con festonie
putti
di
ottimo
gusto;
fu trovato
nel
Mausoleo
d'Augusto.
On the
negative
ide we can
tracethe history fthe sarcophagus till further. In the first lace
we
knowthat
it was
not
incorporated
n the
Lyde
Brown collection
before
768,
as there
sno mention
f t in the
catalogue
compiled
n
that year. Secondly,
lthough
the
Soderini
acquiredpossession
of
the
Mausoleum
n
I546,3
and
had
alreadyby I567
formed
collection
of
ancient
sculpture,
not
only
from
the
Mausoleum,
but
from
the
neighbourhood
f Rome
as
well,
they
were
not
yet
in
possession
f
the
sarcophagus
when Aldroandidrew
up a list
of theiracquisitions
in
I588.4
The latter fact would
seemto cast
a
serious
doubt
upon
the
definite
tatement
s
to
provenance
n
the
Lyde
Brown
catalogue,
and one is temptedto wonder whether he ownersof the Soderini
collection
were
not
drawing
the
long
bow
when,
on
selling
the
sarcophagus
o
Lyde
Brownat somedate between
I768
and
I779,5
'This
paper
owes its
origin
to
the kindness
of
Professor
odenwaldt
of
Berlin,
who
photographed
the sarcophagus
while
on
a visit
to
Russia
in the
summer
of
1926
and
has
allowed
me
to
publish
his
photographs
n this
Yournal.
The
need
for
nvesti-
gating
the
date
of
this
sarcophagus
n
particular
was
first mpressed
upon
me
in the
course
of
a
conversation
with
Mrs. Strong,
who
suggested
that tsreputedprovenance ight
have
an
important
bearing
upon
its
date
and
hence upon
the chron-
ology
of
sarcophagi
n general.
2
The following
references
were
kindly
sent
to
me
by
Mr. I.
A. Richmond.
They
all appear
in
his article
on
the Mausoleum
of
Augustus in
Papers
os
the BritishSchool t
Rome,vol.
x.
I
in-
clude them here
for
the
sake
of
completeness.
a
B.C.,
I895,
pp-
306-7-
4Aldroandi,
Statue di
Roma,
I588, pp. I98-201
Storia
degli Scavi,
iii,
p.
24I
and
Album
de Pierre
Yaques,
1575,
p.
57;
Storia
degliScavi, ii, p.
I5.
5
In
1780
the Soderini
gardens
were
replaced by
a bull ring Diario di Roma, July3,
1780,
no. 570)
and the sale
of
the
collection
must,
therefore,
have
been
going
on
during
the
years preceding
this date.
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8/10/2019 Toynbee_A Roman Sarcophagus at Pawlowsk and Its Fellows
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A
ROMAN SARCOPHAGUS AT PAWLOWSK AND ITS FELLOWS.
I5
they nformed
im that his
purchase
had been' trovato
nelMausoleo
d'Augusto.' In the Codex PighianusBerolinensis f i6i8 (Lat. fol.
6i,
p.
341)
there s
a drawing f the front
f a sarcophagus,
hich
s
labelled inMausoleo
Augusti (plate
i) and
tallieswith
the descrip-
tion quoted
above fromhe
Lyde Brown atalogue.
It is, as we
shall
see, obviously
a reproduction
f the Pawlowsk
sarcophagus,
nd
the
legend
shows
that the latter
had been acquired
by the
Soderini
and
was on view
in the Mausoleum
by
the
beginning
f the seventeenth
century. The sarcophagus
presumably
went to Russia
with the
rest
of
the
Lyde
Browncollection
about the year I787
(Stephani,
o.p.
cit., p. 2).
Turning to the sarcophagus tself,we notice at once that it is
remarkablyong
and narrow
9 43
m.
long
by I77
m.
high).
It rests
on
a
low plinth,
decorated
along
the front nd
short ideswith
an
elaboratekymation.
The plinth
was made
separately
rom he rest,
a
very
unusual feature,
but Professor
Rodenrwaldt
ells me that
in
his
opinionthere can
be
no
doubt
as to its being
antique
and having
originally
elonged
to the
sarcophagus.
The front
s decorated
with
four naked
Amorini supporting
on their
shoulders three heavy
garlands
f
fruit
nd
flowers.
The bodies
of
the two Amorini
n
the
corners
re
frontal,
ut their
faces are turned
outwards,
way
from
the centreofthedesign. In each theweight s thrown n the outer
leg,
the
outer arm
is raised
parallel
with the
face and bent back
at
-the
lbow along
one of
the
short
ides
of
the
sarcophagus,
while
the
inner
arm
is hidden behind the
garland.
The two Amorini
who
separate
the
central
garland
from
hose
on either
side face inwards
towards
the
centre, with
their
weight
thrown
on the inner
leg.
The
Amorino on
the left is
looking upwards,
with his
right
arm
raised
in
front
of
him
and
his
left
hidden;
the one
on
the
right
s
glancing
ownwards,
is
right
rm s concealed
and his
eftraised nd
bent
back at
the elbow
behindhis
head.
AllfourAmorini
re
winged,
one wingofeachbeingvisible, heother oncealed. In thecaseofthe
Amorini
t the
sidesthe
outer
wing
of each
appears
round the
corner
on each
of
the
short ides
(plate
i, b, c);
of the centralAmorinithe
rightwing
of the left-hand
ne
and the left
wing
of
the
right-hand
one is spread
out
behind
him.
In
the
semicircular
pace
above each
garland
are two
masks
facing
one
another,
each
pair resting
on a
ledge
covered with
the
skin
of
a beast.
The
masks
of the
left-hand
pair
are
those
of
a
bearded
Silenus
on the
left and
a beardless
Satyr
on
the right
with
a
pedum
between
them;
two
bearded Sileni
form
the central pair, and the right-handpair consistsof a beardless
Satyr
on
the left and
a
Maenad
on the
right.
The
spaces
eft n
the
corners
above
and below
the
garlands
are
filled
by
the
fluttering
1
I
have to thank
Mrs.
Strong
for
her
kindness
in procuring
nd
handing
over to me the
photo-
graph
of this
drawing,
nd the authorities
f the
Staatsbibliothek
at Berlin
for
allowing
me
to
publish
t here.
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8/10/2019 Toynbee_A Roman Sarcophagus at Pawlowsk and Its Fellows
4/18
x6
A
ROMAN
SARCOPHAGUS
AT PAWLOWSK
AND ITS FELLOWS.
endsof taeniae,
arts f which
tand ut
almost ree rom
he back-
ground.The eyes f hemasks,ut notof heAmorini,rerendered
plastically.
The face
and wingof the
left-hand morino
n the
centre, he noses
fthemasks,
ith heexception
fthe
first nthe
left,
nd parts
f thetaeniael
are restoredn
plaster. Each of
the
short
ides s decorated
ith massive arland
foak eaves
uspended
from heshoulder f
the cornerAmorino
n the
one side and
the
tail
of
a dolphin
tanding n
its head
on the other. Taeniae
are
arrangedn patterns
o fill he
spaces boveand
below he garlands,
and t is the arrangement
f hesepatterns
hich lone
distinguishes
the
one sidefrom
heother. The
style f he hort
ides
s compared
with he fronts rougherndmore ummary. he back s, as usual,
left
undecorated.
With thephotograph
ftheoriginal
efore s we
can now
test
the
accuracy
fboth heLyde
Brown atalogue
nd Codex
Pighianus
drawing.
The
LydeBrown atalogue
oes not
tell us verymuch,
but the account
theregiven
is, as far as it
goes,
an accurate
description f
the sarcophagus
t Pawlowsk.
The sarcophagus
s
remarkably
ben conservato,'
nd the statement
f the principal
features
f
the maindesign, he
six masks, arlands
nd
Amorini,
s
perfectly
ccurate. But the
more nteresting
omparison
s that of
the Codex Pighianus rawingfthefrontplate
I)
withthephoto-
graph
f the
sarcophagus.At
first ight ne is
impressed ith
the
high
standard
f
accuracydisplayed
y
the
draughtsman.
The
respectivettitudes
f
the fourAmorini,
he distinctive
eatures
f
the
six
masks,
ncludinghe pedum
etween hose
of the
left-hand
pair,
and
the
animal skinsbeneath
the
masks
re all faithfully
reproduced.
In the garlands
he close
correspondence
etween
drawing
nd
photograph
s even more triking.
Apart
from
few
obvious
iscrepanciesuch s
theflower hich
ppears
n
the
drawing
in the centre fthe right-handarland, ut ofwhichthere s no
trace n
the
original,
nd the
fact hat n
thedrawing
here
re three
flowers
n the middle
of
the central
arland
but
only
two
in
the
original,
t is
possible
o trace
almost
very
detail of the
original
garlands,
eaf
by
eaf
and flower
y flower,
n the Codex
Pighianus
version.
There
are,
of
course,
ertain
oints
n which he
draughts-
man
has
departed
rom
is
model,
nd
for
he
chief
fthese he
fact
that
his
proportions
re
wrong
s
responsible.
His
sarcophagus
s
considerably
eeper
n
proportion
o its
ength
han
he
sarcophagus
itself.
As a result-he
has
not
only
ntroduced
mpty
paces,
ot
found n the original, etween he uppermargin nd the masks,
between
he
edges
nd
the
garlands
nd
between
he
garlands
nd
the
lower
margin,
ut
he has
also been
obliged
to increase
he
'i.e. the first from eft to right) and second of the upper taeniae, and
the
first, hird, ourth,
ifth
and sixth
of the lowertaeniae.
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A ROMAN SARCOPHAGUS AT PAWLOWSK AND ITS FELLOWS.
1
7
stature of his Amorini,who have thus lost something f
the
chubbiness nd roundness f theiroriginals. In addition o this,
also,he hasnotbeenvery uccessfuln the faces ither f masks r
of
Amorini. He has failed, n thewhole, o reproduce
he
baby
harm
of the atter nd to catch he note
of
sprightlinessnd good
humour
in
the
grotesque
eatures f the former.The mask f the
Maenad
on
the
extreme
ight
s
a
particularly
nsuccessful
ffort. The
taeniae
nds eenon
the sarcophagus
tself
etween
he
garland
nd
free
oot f each of the
central
morini o
not
appear
n the
draw-
ing.
But
in
comparison
ith he
very
aithful
endering
hich
he
drawing ives
of the
design
s a
whole
these
points
f difference
are ofminor mportance,nd therecan be no doubtwhatsoever
that the Codex Pighianus rawingwas done from
he
Pawlowsk
sarcophagus.
The conclusionhusreached rom hestudy fthe design n the
front
s
not affected
y
a further
trikingiscrepancy etween he
drawing
nd the
original.
In
the
former,
hile here
s
no
trace f
the
plinth
nd
kymation,
he
sarcophagus
s
topped by
a
decorated
lid. If the
plinth riginallyelonged
o the
sarcophagus,
s
Professor
Rodenwaldt
elieves,
t is
natural o
suppose
hat
plinth
nd
sar-
cophagus ept
achother
ompanyhrough
ll the
vicissitudesf
heir
history,incetheyare found t Pawlowsk ogether, nd that the
draughtsman
ad his
own
reasons or
eaving
he
former
ut of
his
sketch.
The
lid
is
not
at Pawlowsk
nd,
as there s no
record f t
either n Stephani's atalogue
r
in
the description
f
the works f
art t
Pawlowsk adeduring
he
first
alf f
he nineteenthentury,
it
presumablyarted ompany
rom he
sarcophagus
efore
he
atter
was
transferred
o
that collection. In the
drawing
t is
decorated
with
a
long
frieze-like
anel,
surrounded
y
a
narrow rame
nd
flanked
t
each corner
y
a
satyr-mask
een n
profile. Carved n
relief n thepanel re sixAmorinimountednsea-beastsndfacingalternatelyo right nd eft. On the extremeeft nAmorino ides
a
dolphin owards
he
right,
nd
coming
owards im
s
a
second,
riding
sea-ram nd
masquerading
s
Hermeswith
winged ap
and
caduceus.
The
third,
acing
o
the
right,
estrides
sea-bull
nd
holds
rudder,
hefourth
ides owards
im
on a
sea-horsend
holds
part
fa
spear ?)
in his
eft
hand.
Back
o back
with he fourth
s a
fifth
morino
n a
sea-gryphon
nd armed
with
a
sheathed
word,
and
the eries
nds
with
nother
olphin, arrying
he ixth
Amorino
on its
back, acing
o
the
eft.
Both
dolphin-riders
re
on the
point
of whipping p theirmounts. Of the otherfoureach steadies
himself
n the
saddle
by clinging
n
with
ne
hand
tohorn r
mane.
The
second,
ourth
nd fifth
re
winged
nd
there
eems o be
the
trace
f a
wing
n
the
eft
houlder f
the
first.
We have
no
inde-
pendent
means
of
judging
whether he
lid in the
drawing eally
belongs
o the
sarcophagus
r
not,but,
s we shall
ee,
hecharacter
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8/10/2019 Toynbee_A Roman Sarcophagus at Pawlowsk and Its Fellows
6/18
i8
A ROMAN
SARCOPHAGUS
AT
PAWLOWSK
AND ITS
FELLOWS.
of the design
would support
the viewthat
it is the original
lid,
of
the same date as the rest of the sarcophagus.
The Pawlowsk
sarcophagusbelongs
to
a large and
well-known
class
of sarcophagi escribed
by Altmann
Architectur
nd
Ornanwentik
der antiken Sarkophage)
as
'
Guirlanden-Sarkophage,'
n which
generally
wo, but
sometimes hree,
arge festoons
r garlands
form
one of the leading
elements
n the decoration
f the
long side. There
are fourtypes
of Roman
Guirlanden-Sarkophage.'
First,those
on
which,
as
on our sarcophagus,
he garlands
re supportedby
Amorini,
while masks
ill he semicircular paces
above the
garlands
secondly,
those
in which
figure-scenes
re substituted
for masks thirdly,
he
typewith Victoriesor Nymphs, nsteadofAmorini,holdingup the
garlands,while
masksoccupy
the field
above each
garland;
and
fourthly,
hat with
Victories or
Nymphs as supports
and
figure-
scenes
n the place
of
masks.
All
four'
ypes
of
Roman Guirlanden-
Sarkophage
in general
and
our
Pawlowsk
example
in particular1
are
assigned
y
Altmann
to the first entury
.D.
'Aus dem Gesagten
geht hervor,
wie
die Mehrzahl
der Guirlanden-Sarkophage
em
erstennachchristlichen
ahrhunderte
ngeh6rt
2;
and again,
'
Das
erste nachchristliche
Jahrhundert
un
fullen
die
Guirlanden-Sar-
kophage.'3
One of my objects
in this
paper
is to attemptto show
thatthePawlowsk arcophagus nd the wholegroupof Guirlanden-
Sarkophage'
to which it
belongs
should
be
assigned,
not
to
the
first entury,
ut
to the
first alf
of the
second,
to the
age
of
Hadrian
an.d
he
early
Antonines.
Since
the
Mausoleum
of
Augustus
was used for more
than
a
century
fter
ts
erectionas
a last
resting
place
for members
f
the
imperial
familia,
it
is clear that the
reputed provenance
f
our
sarcophagus,
ven
if certain-and
we have
good
reason
to
regard
t
as
far
from
being
so4-cannot
furnish
s with
any
external vidence
for ts
date.
We
are
therefore
orced o
rely pon
nternal
vidence-
the styleof its relief-work-and ur obvious course n attempting o
fix he
date by
such
means s
to
compare
one
of
the
leading
features
of
its
decoration,
the
garlands
of fruit and
flowers,
with
similar
garlands
ccupying
similar
osition
of
prominence
nd
importance
on
monuments
f certain
date. For the first
entury
we
possess
a
small
series
of such
definitely
ated monuments.
We
begin,
of
course,
with
the
magnificent
arlands
of the Ara
Pacis,
decreed
in
13
B.C.5
The
altar at
Naples,
dating
fromthe
year
A.D.
18,6
is
a
second
landmark,
nd we have
a third in the altar of
Amemptus
n
the Louvre, forwhich the inscription,describingAmemptus as
1
Altmann,
op.
cit.,
p.
76.
2
ibid.,
p. 80.
3
ibid.,
p.
IOO.
4
vide
supra,
p.
14.
5 Strong,
Scultura
romana,
p.
47,
fig.
z
-
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20 A ROMAN SARCOPHAGUS AT PAWLOWSK AND ITS FELLOWS.
protest. The third rides gaily upon an ass; the fourthhas slipped
offover his horse's tail and is seated on the ground, still clutching
the bridle and the fifth, eated in a similar
position,
but having,
apparently, allen offfrom he side, also reins n his mount, n this
case
a
panther, by the bridle. The sixth, seventh and eighth are
careering long in grand tyle,mountedon an ass,
a
lioness and
a
lion
respectively.
Trees and
reeds are faintly ndicated in the back-
ground. But our main business s with the treatment f the fruit
and flowergarlandson the front. Each of the garlands emerges t
either nd from large, stylised alyx
of
ong, spiky eaves, and forms
a
stiff, ompact
and
solid
mass
of
large, heavy
fruits,
ccasionally
varied by five-petalled, osette-like lowers, et close togetherone
beside
the
other.
Leaves and small
berries re carved
in
low relief
on
the background
t the
edges
of
the festoons,but these do
not
relievethe hardness ftheir outlines. For all their richness nd the
careful modelling
of
the individual fruits hese garlands must be
described
as
purely
conventional. One
glance
is sufficiento
reveal
the gulf
hat
separates
hem
from
he
wreaths f the
Ara
Pacis on
the
one
hand,
and from
he
garlands
of
the
Julio-Claudian nd
Flavian
altarson the
other. The
sarcophagus arlandshave not that rounded
look
as of real
garlands uspended
n
mid-air,
which in the festoons
of the Ara Pacis is produced by the skilfulgradation of the relief
from he sides
owards he
centre. We miss, oo, the ife nd lightness
of the Augustan wreaths,where the fruits
are
much
smaller
in
proportion
and,
instead
of
being massed together,
are
separated
fromone anotherby
a
wealth of flowers,eaves and corn-ears nd
sprays
of
ivy,
oak
and laurel which spread out on to the background
from
he centre of
the
garlands
nd serve to break and
soften
heir
outlines. This
naturalism,
n the
best sense
of the
term, begins
to
disappear
in the
Julio-Claudian garlands,
as
can
be seen when we
compare
the
altar at
Naples
with the Ara
Pacis,
and
therealreadywe can detect the
beginnings
f a new
process
which came to
take
the
place
of that
naturalism,while
being,
ike
t, essentially
he
product
of the
Roman
age, and which developed rapidly through
the Flavian period down to the end ofthe first entury .D. This
new
process
s the use of
the drill for
boring
nto
the surface
f the
garlands,
for
deeply undercutting individual leaves,
fruits
and
flowers,
nd
for
producing strong contrasts
f
light
and
shade, an
effect
described
by
Professor
Rodenwaldt
as
'
eine
prickelnde,
nerv6se
Lebendigkeit.
Once
again,
we
findnothinig
f this n the
garlands fourdated Hadrianic sarcophagus.
It is
clear,
then,
that the
style
of
the
Hadrianic
garlands
s
quite
distinctfrom either of the
two
methods of treatment
mployed
n
the
garlands
of dated
monuments of
the
first century. Indeed
1
op. cit., p. 24.
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A ROMAN SARCOPHAGUS AT PAWLOWSK
AND
ITS
FELLOWS. 2I
this conventional
reatment
f the garlands
s just what
we should
expect in a Hellenisingage, when vegetable formswere studied
not so much
for
theirown sake, with
a view
to reflecting
ature
or producing
pictorial
effect,
s fortheir
value as pure
ornament,
and when the
decorator
turned more
readily to
mythology
nd
human life
than to the
plant
and animal
worldsfor his
material.
Hence the
Hadrianic fruit
nd flower
garlandshark
back to Greek
and Hellenistic
prototypes
the garlands
f
the Lateran sarcophagus,
with
their harp
outlines
nd
flat, ompact
forms,
tand much
closer
to those of
the circular
Dionysiac altar
in the
theatre at Athens,
dated by
its inscription
s
belonging
to the
years
140-130
B.C.,
than to the wreathsof the Ara Pacis. We mustnow return o the
garlands
of the Pawlowsk
arcophagus.
Falling
from
arge,stylised
oak-leaf calyces,
these
garlands
are
made
up
of
the
same large,
heavy,
carefully
modelled fruits
nd occasional
rosette-like
lowers
as
those on the
Lateran sarcophagus,
rrangedcompactly
n neat,
orderly
rows,
one row
being
carefully
ivided
offfrom anotherby
a
coil
of the taenia
whichis
twisted
roundeach wreath
and holds
it
together,
motive
which
gives
an added touch
of
conventionality
to their general
appearance.
They
are flat, solid
festoons,with
hard,
crisp outlines.
We
look
in vain for
the naturalismof
the
Ara Pacis and for the pictorial treatmentof the Julio-Claudian
and Flavian
altars,
forany,
that is to say,
of the features hat
we
should
expectto find
f Altmann'sfirst-centuryating
were correct.
Without
doubt,
it is the
second-,
not the
first-,entury arland-style
that
meets
us
here. Apart
from he
taeniae
twisted round
the
body
of
the wreaths
the
family
ikeness etween
the Pawlowskfruit-and-
flower arlands
nd
those
of
the
Lateran
piece
is so
striking
hat on
the
score
of the
garlands
alone we
should
be
justified
n
assigning
the former
o
the
same date
as the
latter-to the
time of Hadrian.
But
there
s
yet
another
point
of close
resemblance etween
the
two
sarcophagi. No less mportant hanthegarlands s a leadingmotive
in
the decoration
re the
figures
upporting
hem,
the fourAmorini
of
the Pawlowsk
arcophagus
nd
the two
Amorini nd
Satyr
on
the
one
in
the
Lateran.
We have
seen
that
the
attitudesof the
corner
Amorini
are identical
on both
pieces,
but the
likeness
goes
much
further
han
that.
We
find on both
the same
chubby,
baby faces,
the
same
well-rounded, plump
little bodies and
round,
sturdy
limbs,
he
same
treatment
f the hair marked
y
the careful
endering
of the
separate
ocks
nd
the absence
of
drilling.
The one
difference
lies inthetreatment ftheeyes,whichare leftplainin thePawlowsk
Amorini
but incised
in the Lateran
pair.
But
plain eyes
are
no
argument
for
an
earlier
date,
for
eyes
are not all
plain
in the
first
century
nd
all
incised
after
the
beginning
f Hadrian's
principate.
1
Sch6ne,
Griech.
Reliefs,
Taf. v-vi.
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22
A
ROMAN SARCOPHAGUS AT
PAWLOWSK AND ITS
FELLOWS.
The plasticrendering
f the eyes
occurs poradicallyn relief
culpture
from heAra Pacis onwards nd,though twas certainly omingvery
much
nto fashion nder Hadrianand became
almostuniversal nder
the Antonines,
we note its absence
in so well authenticated
a
Hadrianicmonument s
the
dated
altarfromOstia in the
Terme.
Having now,
as I
hope,
established the
Hadrianic date of
our
sarcophagus
in the
light of the dated
Lateran piece, we
will
look at some
other
examplesof Roman
'
Guirlanden-Sarkophage
selected
from Altmann's list
and elsewhere,
observinghow they
conform o,
or
deviate
from, he canons
of Hadrianic style n the
treatment
oth of garlands nd
of figures.
Of thefirst ypeof thesesarcophagi, hoseonwhich thegarlands
are held
up by Amorini,while
masksoccupy the spaces
above, we
will
taketwo
examples
from he Terme and the
Lateran
respectively.
The
Terme
piece
is a small child's
sarcophagus,
ound
in
I885 on
the
Via
Salaria.1
On
the
front re
two garlands
upported
on
the
shoulders
f
three
Amorini,
with
a
pair
of
comic
masks, esting
n a
rocky edge,
above each
garland.
The three
Amorini,
f
whom
the
left-hand
and
central
ones are
winged,
but the
right-hand
one
apparently ot,
are
in
precisely
he same attitudes
s
the two corner
and
the
left-hand
central Amorini
of
the
Pawlowsk
sarcophagus.
They displaythe sameroundness nd chubbiness nd,apartfrom he
presence
of
a
few
small
drilled
holes,
the same
treatment f the hair
while,
s on the dated Lateran
piece,
the
pupils,
f the
eyes
re
marked.
In
the garlands,
which
show
no
undercutting,
he same
type
of
calyx
appears
as
on the Lateran
sarcophagus.
Ihe
left-hand
garland
s
composed
of
heavy, compact
fruits,
he
right-hand
ne is
made
of
long, flat,
piky eaves,
with
a
flower
f the familiar
osette
type
in
the centre.
The
corners
bove
and
below
the
garlands
re
filled
as usual
with
taeniae.
The character
of both
garlands
and
Amorini
eaves
no room for doubt
that
Amelung
is
right
n
saying
that the sarcophagus diirfteaus der Zeit Hadrians stammen.'
It
is
interesting
o
compare
the
designs
on the shortsides with the
lid in the
Codex
Pighianus
drawing.
On
the
left-hand
hort
ide
an
Amorino
rmed with
a
spear
rides
on a
sea-dragon
owards
he
right
(plate i,
f)
on the other
hort
ide another
Amorino,
masquerading
s
Hermes with
winged cap
and
caduceus,
ides
to
the
left n a sea-ram.
Since,then,
the
motives
on the lid
in the
drawing
do
actually
occur
on
a
sarcophagus
of
this
date,
we
have
at
any
rate
some
grounds
for
hinking
hat the lid
may
actually
have
belonged
to the Pawlowsk
sarcophagus3 Of the lid of our Terme piece Helbig says: ' am
I
Melanges
d'archeologie
et
d'histoire,v, I885,
PI.
x; Paribeni, Museo Nazionale
Romano,
p.
245,
no.
695; Helbig,
op. cit., ed.
3, 11,
p. I96, no.
I455.
Altmann (op.
cit.
p. 75), writing
n I902,
reproduces
it as
his figure
z8 with
the legend
'
Villa
Pamfili' below,
but according
to Strena
Helbigiana,
p. 5,
note 4, published
in 1900, the
sarcophagus
was then in the
Museo
Nazionale.
2
StrenaHelbigiana,
loc. cit.
3
Three
of the
figures
n the Codex Pighianus
lid-Amorino on
sea-bull to r., Amorino
on sea-
horse
to 1. and Amorino as
Hermes on sea-ram
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8/10/2019 Toynbee_A Roman Sarcophagus at Pawlowsk and Its Fellows
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A ROMAN SARCOPHAGUS
AT
PAWLOWSK
AND
ITS FELLOWS. 23
Deckel sehen wir jagende Putti.' But
the
hunters,
who are coping
with a bear, a lion, a boar and a fourth nimal, now lost, are not
'putti,' forthey
are bearded. The
group
of the
huntsman
bowling
over a bear on the extreme ight
s
repeated on the front
f another
sarcophagus
n the Terme.
1
The
Lateran
sarcophagus
Sala
ix),
of which the front lone
is
preserved,
s
decoratedwith two large
garlands of the same heavy fruit
nd
rosette-like lowers
merging
from fig-leaf calyces. The garlands are supported
by three
Amorini
with the
same
round, plump limbs and bodies
and baby
faces. A pair ofDionysiac masks, een in profile, n a rocky edge,
occupy the space above each garland. This sarcophagus
is,
perhaps,a little ater thanthe Pawlowsk, ated Lateran, and Terme
sarcophagi.
The drill has
been
used
for
cuttinggroove-like
ines
in
the hair
of
the
masks
and
for
outlining
the
individual
fruits nd
flowers,
use which
s,
of
course,quite
different
rom
hat displayed
on
the
Junia
Procula altar,
where the
drilling serves
the
purpose,
not
of
outlining,
but
of
throwing p
the
fruit nd
flowers n strong
lights against
dark
shadows. The
garlands
are,
also,
as a
whole,
still
stiffer
nd
flatter than
those
of
the
three
sarcophagi just
mentioned.
One
of the
finest
xamples
of
the
second
type
of Guirlanden-
Sarkophage,' hosewithAmorini,but with figure-scenesnstead of
masks
bove
the
garlands
s
the
fragment
f
a
sarcophagus
ront n the
Museo
Archeologico
at
Venice,
containing
the
right-hand
garland,
the
central
and
corner
Amorini
upporting
t
and,
on
a
rocky edge
above
the
garland,
a
scene
representing
he
Rape
of
Persephone.3
Robert
assigns
he
fragment
o the
second half of the first
entury.
But
the
style
f the
garland
s not that
of
either he ate
Julio-Claudian
or
the
Flavian
period.
It falls rom
he same
massive
alyces
s
appear
on
the Hadrianic
sarcophagus
n the Lateran
and,
though
t
is
perhaps
slightlyricher and less rigidthan
the
wreaths
of the
latter,yet itsflatness nd compact solidity, s contrastedwith the light and shade
effects
f
the
first-centurvarlands, learly
mark t out as
belonging
to the
early
second
century. Again,
the
modelling
of
the limbs
and
bodies
of the Amorini
and
the
treatment
of
their hair
bring
the
fragment
nto close
relationship
with
the
Hadrianic
piece.
Nor
again
does
the
scene above
the
garland convey
that
impression
f
spatial depth
which
Sieveking
as
shown
to
be
an
essential
haracter-
istic
of
first-century
eliefs.
Similarly,
he
style
f
Amorini, arlands
and
figure-scenes
n
the
sarcophagus
n the
Palazzo
Mattei
at
Rome
with scenes from the storiesof Oedipus and of Polyphemus and
to
1.-occur on a fragmentary
arcophagus
id in
Berlin
(Berlin, Beschreibung
er antikenSculpturen,
no.
906).
I
Paribeni,
op. cit.,
p.
I38,
no.
z64
(Chiostro,
Ala III).
2
Benndorf-Schbne, ie
antiken
Bildwerke
des
lateranensischen
useums,
.
I88,
no.
294.
3
Robert, Die antiken
Sarkophagreliefs,
II,
3,
no-
358)
p.
457,
P1. cxix.
4
Das romische
Relief
(Festschrilt
Paul
Arzdt,
I925).
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8/10/2019 Toynbee_A Roman Sarcophagus at Pawlowsk and Its Fellows
12/18
24 A
ROMAN SARCOPHAGUS AT
PAWLOWSK
AND ITS
FELLOWS.
Galatea,
1
and
on that
in
the GiardiniGherardesca
n Florence,with
scenesfrom he story fPhiloctetes, forbids s to agree with Robert
in
describing
hem both
as
'Arbeit des
ersten Jahrhunderts.' Still
more
closely
allied
to
the dated Lateran
sarcophagus
s
a
recent
addition to the Terme from
the Via Labicana.
On the front
stiff, olid fruit-garlands,
f which each fruit s
modelled separately
from he rest,flat n treatment
nd hard in outline,hanging from
fig-leaf alycesof the usual kind,
are supportedby three wingless
Amorini
with
slightly ncised eyesand undrilled
hair, who, though
not
nearly
so pretty
or
so successfulas those
of the sarcophagi
discussed o far, how, nevertheless,
he samegeneralcharacteristics.
The rustic scenes of sacrifice bove the garlandshave the regular
neutralbackground nd non-spatial
ffect
f
Hadrianic reliefs.
The
short sides
bear
a close resemblance
to those
of
the Pawlowsk
sarcophagus. Each is decorated
with a garlandhanging from the
shoulder
f
the
cornerAmorinoon one side
and
from
he tail of an
inverteddolphin
on the other. The spaces
above the wreaths
are
filled, owever,not with flutteringaeniae,
butwithanimal scenes,
stork evouring
snakeon the eft plate i, d),
an
eagle tearing
hare
on
the
right plate i, e).
Paribeni
assigns
the
sarcophagus
o the
beginning
f thesecond century
.D.; it
may
well have been executed
during he principate fHadrian.
Of the third type
of
'
Guirlanden-Sarkophage,'
hose
with
Victories
or
Nymphs
nstead
of Amorini and with
masks above the
garlands, here
s a muchweathered xample
n
theBorghese
Gardens
at
Rome with
three
winged Victories,
which
need not detain
us here.
Of the fourth
type,
with
supporting
Victories
or
Nymphs
and
figure-scenes
nstead
of
masks, ne
well-known
nstancewill
suffice,
the
Actaeon sarcophagus
in
the Louvre,
dated
as
Augustan
by
Altmann,4 Wace,5
Robert6 and
Mrs.
Strong,
but now
rightly
attributed
by
Sieveking8
nd
Mrs.
Strong9
to
the
age
of
Hadrian.
There is, of course, no need for me to describe so familiara
sarcophagus
here.
f
would only
call
attention o the fact that
its
Hadrianic date is indicated
not
only by
the neutral
background
f
the figure-scenes
nd the Neo-Attic
influence visible
in the
'
Meerthiasos
on the
lid,
the two
points
which
Sievekingbrings
forward,
ut also
by
the
treatment
f
the
garlands,which,
though
somewhat
more undercut than
those
of the Lateran
piece
etc.,
are
undeniably
he
product
of
the
Hadrianic
garland-style.
The
'
Guirlanden-Sarkophage'
were
never
completely
usted
by
those with scenes frommythology r daily life,though
the latter
1
Robert,
op.
cit.,
II,
pp.
I90-I)
P1.
lx.
2
ibid. pp.
I48-I52, Pi.
ii-
3
N.d.S.,
6th
series,
voL i,
1925,
pp.
407-9,
fiz.
i, tav.
xxiv.
4
op.
cit.,
p.
79.
o
Papers
of
the BritishSchool
t
Roie, V, p. I96,
P1.
xxiii.
6
op. cit.,
II, I, pp.
I-5,
P1.
i
7
op. cit.,
p.
52, fig-0-
8
oP. cit.,
p.
32.
9
op.
cit.)
p.
4I7.
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13/18
A ROMAN SARCOPHAGUS
AT PAWLOWSK AND ITS
FELLOWS. 25
became increasingly opular
from the second half of the second
centuryonwards. A garland-sarcophagust Naples, dated by the
male
and female
portraitbusts above the garlands
to the middle of
the third
century,
howstheirstyle t this period.
1
In the garlands
the drill
has
come into ts own again, but the effects dull and lifeless
and there is no Julio-Claudian
prickelnde,
ervc'se
Lebendigkeit
to compensate for the
loss of the richness nd carefulmodellingof
Hadrianic work.
The
Amorini are no longer charmingbabies, but
ugly, lanky boys, with unpleasing top-knots and hair that is
riddled
with
drill-holes. But there was an intermediatestage,
which
I
will
illustrate
by
three
'
Guirlanden-Sarkophage whose
style,while closelymodelled on that of the Hadrianic age, yet gives
the
mpression
f a
somewhat aterdate. Of
what s
perhaps he atest
ofthetrio, sarcophagus t Clieveden, decorated
withfour
Amorini,
threegarlands,
mask
bove the first nd thirdgarland,
nd a modern
bust above the second,Robert
says:
'
The sarcophagus
may well
belong
to
the beginning
of the second century:
it can hardly be
later than the
time
of
Trajan.'
2
But a comparison f the Clieveden
sarcophaguswith
the dated Lateran piece must surelyconvince us
that the former,
with
its
far
flatter nd more rigid
garlands nd its
Amorini,who, though
babies still in
body, are
less child-like nd
pleasing in expressionand have rudimentary top-knots,' s the
work
of a
period
later
than the time of
Hadrian.
Similarly,
he
delightful arcophagus
n the
Metropolitan
Museum
at New
York,
with
three
garlands,
four Amorini
and
scenes from the
story
of
Theseus
above the
garlands,
which Robert
rightly
describes
as
nicht alter
als die Zeit
Traians,' shows a degreeof stiffness,
latness
and
conventionality
n
the treatment of
the
garlands
of
leaves,
grapes
and
flowerswhich seems to mark t as
post-Hadrianic.
But
the
Amorini,
f
somewhat ess
graceful
n
pose,
are the
same
chubby
babies
as those of the
Hadrianic
sarcophagi,
nd the
charming esignon the lid,withtwo Amorinimounted,one on a lion,theotheron a
goat,
and
four others
driving
n
bigae
drawn
by
bears, lions,
oxen
and
boars
respectively,
mmediately
recalls
the
lids of
the
d ated
Lateran
sarcophagus
nd the
Codex
Pighianusdrawing,
nd the short
sides
of the child's
sarcophagus
n
the
Terme.
Finally,
on our
third
sarcophagus,
that
in the
Palazzo
Barberini,
decorated
with
four
Amorini,
three
garlands
and scenes from
the
legend
of
Marsyas
above,
we
notice not
only
ncreased
solidity
nd compactness
and
a free
use of
hard,
drilled ines n the
thick, ope-like
estoons
f fir-
cones, fruit, orn-ears nd flowers, ut also a heaviertouch in the
treatment
f
the
Amorini.
But
if
the execution s
Antonine
t still
1
Ruesch, Guida
del MuseoNazionale
di Napoli,
I9I
I, p. I2,
no.
28;
Phot. Alinari no. 3433I
Napoli.
2
7.H.S.,
xx,
pp. 8I-2,
P1.
vii, ,
b,
c.
3
Robert, op. cit., III, 3 no.
425,
pp-
50I-5,
P1. cxxxiii.
4
Robert,
op. cit., III, 2,
no.
I96, pp.
244-6,
P1. lxiii.
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z6
A ROMAN SARCOPHAGUS AT
PAWLOWSK AND ITS FELLOWS.
breathes
he spirit fHadrianic
work. At any
rate we cannot
accept
Robert'sconclusion s to its date, ausgezeichneteArbeitdes ersten
Jahrhunderts.'
To
sum
up, the Pawlowsk
sarcophagus, lleged to
have
come
from he Mausoleum
of Augustus,
belongs to a clearlydefined
eries
of Roman
'
Guirlanden-Sarkophage,'
he earliest
xamples
of which,
owing to
their close
affinities ith the dated
Lateran
sarcophagus,
must be
assigned o the
Hadrianicage. We have
seenthatAltmann's
first-century
ating
is quite
incompatible
with
the
style
of the
garlandson the pieces
which we have examined,
nd I am not aware
of
the existence
f anyotherswhich
revealfirst-centuryorkmanship.
The actual idea of introducingAmorini to support the hanging
garlandswas not, of
course, invented
in the second century
A.D.
We meet with
it,
for instance, on the
probably pre-Augustan
Monument
of the Julii at S.
Remy,I
on the Claudian
relief with
personifications
f Etruscan cities
in the
Lateran,2 and on
the
architectural
elief,
lso in the
Lateran,
from
he
Monument
of the
Haterii,dated by its
portrait usts o the Flavian
period.
It further
appears
on the lid of a sarcophagus
n the Galleria
Lapidaria in the
Vatican,4
the front f which is
decoratedwith a couple
of winged
and
horned
lions and acanthus
scrolls bearing such a
remarkably
close resemblanceto the winged and horned lions and acanthus
scrolls n the Lateran frieze-fragments
romTrajan's forum5
hat it
seemsvery probable
that the sarcophagus s
also of Trajanic
date.
But it
was the Hadrianic
designer
who first ave the
Amorini-and-
garlandmotive place
of honour
on the front f sarcophagi,
ealising,
no
doubt, not only
its intrinsic uitability or
such
a field but
also
the opportunity
whichthe Amorini
nd the
semicircularpaces
left
freefordecoration bove
the garlandsgave to
artistswhose
interests
lay
in
the human face and
figure
nd in
mythological
cenes
rather
than invegetablemotivesfor heirown sake. What,then, tmaybe
asked,
are the Roman sarcophagus
ypes
of the first entury
.D.
The
answer
s
that
no such typesexist.
In his
recent
article
on
the
Caffarelli
arcophagus
n
particular,
nd
first-centuryarcophagi
n
general,
ProfessorRodenwaldt produces
only
three
real
sarcophagi,
including the Caffarelli
iece, which he
can assign
to
that
period.
Of
these the Caffarelli arcophagus,
which
he dates
from
the
style
of
its garlandsas early
Tiberian,while
Roman in
the
treatment
f
its
garlands
and bucrania, is Greek
inasmuch
as all
four
sides
are
decorated, nd withregard
o
the
othertwo,
the
Raffael
arcophagus
in the Pantheon and the sarcophagusdecorated with acanthus
scrolls n
the
Campo
Santo
at
Pisa,
his assignment
f
them
to
the
1
Brunn-Bruckmann,enkmdler,
1.
496.
2
Strong,
op.
cit., p. 96,
fig. 66.
3
ibid.,
p.
130,
fig. 83.
4
Amelung,
Cat., p. 256, P1.
26;
Gusman,
L'art
dkcoratif e Rome,
P1.
54.
5
Phot. Alinari
no.
635o
Roma.
6
op.
cit.,
p.
14,
figs.9,
IO.
7
ibid., p. I6, fig. iz.
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A ROMAN SARCOPHAGUS AT PAWLOWSK AND ITS FELLOWS. 27
beginning
f the Empire
nd to the Flavian ge respectively
s only
tentative. Nor is it any onger ossible o give first-centuryate
to the sarcophagust Naples
decoratedwithpilasters,
arlands nd
figures
f
gods
and Muses,whichhas long
enjoyed
reputationor
being Augustan.2
As Mrs. Strong points
out,3 Sieveking, n
his
article nRomanreliefs,
now assigns he sarcophagus
o the time
ofHadrian.And, ndeed,
otonly oes carefultudy
f hegarlands
themselves
eveal closekinship ith he
garlands four Hadrianic
'
Guirlanden-Sarkophage,'ut
a first-centuryate seems
o
be ruled
out by theirposition n the
design, ythe mpression
heygive of
onlybeing
here, s it were, n sufferance,
trained ightlycross he
top insteadof hangingnaturally,rd even then, n some cases,
encroachedpon by the
figures f gods and Muses,
who form he
main
ubject
f
the
decoration
just
as on the
octagonal
inerarium
ofLucius Lucilius Felix
n the Capitol5the conventional
arlands
and Silenus-masks,
arvedn low relief
round he top,are but
the
merest ccessory
s
comparcdwith
the
seven charming
morini,
ownbrothers
o the Amorinif the sarcophagi,
ho aremodelled n
high
relief nd
occupy
more than three
quarters
f
the available
field.
The fact is thatwhilethe dated Hadrianic
Orestes
and
Niobid
sarcophagin theLateran
stand
n
date, s
well
s in beauty,
at the head of the long ineofRomanmythologicalarcophagi,7
so
also the
predecessors
f
the
Hadrianicdecorative arcophagi
re
exceedingly
ew
nd far
between.
Is
it possible
hat n this udden
efflorescence
f the art of
sarcophagus
ecoration nder Hadrian,
which
eems o
imply fairly ide-spread
ubstitutlon
f
burial
for
cremation
n
disposing
f
the
dead at
this
pericd,
we
have
the
reflection
f somechange nthe eschatological
utlook
f
he
Roman
world
t the
beginning
f thesecond
entury
.D.
?
I
This first-century ating has, in
fact, been
questioned by C. Weickert who, in his reviewof
Rodenwaldt'saper.
Gnomon,
927,
pp.
2I5-222),
assigns
both
sarcophagi
o the second
century.
2
Altmann,
op.
cit., p. 53, fig.
zi;
Strong,
op. cit.,
p.
5I,
fig. 2.
3
Op.
Cit., p.
4I7.
op. cit.,
note
64.
?Mus.
Capit.
Cat.,
p.
9I,
no.
Io,
P1.
z6;
Strong,
op.
cit., p. 290, figs. 176,
177;
Gusman,
op. it.,
pl.
34-
6
Strong,op. cit.,
pp.
283, 285, figs. 74, I75.
'
I have not been able to discover any
mythological sarcophagus of the Roman period
which can be assigned, ither on external evidence
or on grounds of style, to a pre-Hadrianic date.
Altmann's dating of the Ny-Carlsberg Dionysiac
sarcophagus Arndt, La Glyptotbeque y-Carlsberg,
p. zog, fig. iz6)
as
'
sicher
trajanisch is based on
the falseassumption hat the lid with the Trajanic
reclining igure elongs to it.
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J.R.S.
vol.xvii
(X927).
PLATE
I.
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~
.
-
.
~
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a
b
c
__~~~~~~
__~~~~~~~~~~~~~
_-_~~~~~~~~~~~~~~~~
.
.
a,b .FOTADEDSO_ACPAU_NTH'ALWKCLETON
ERLNNRD 43M OG
7 .DE
(sep.1)
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2M
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-
8/10/2019 Toynbee_A Roman Sarcophagus at Pawlowsk and Its Fellows
18/18
J.R.S.
vol. xvii
1927).
PLATE
-1II.
41~~~~~~~~~~~~~~~
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