Calchas and the prophesies of the Iliad

Despite the addition of a head of Serapis, recut and restored in the 18th century CE, the overall scene of a relief at the J. Paul Getty Museum portrays Calchas, the Argive soothsayer to whom Apollo had given the gift of prophecy. In Homer’s Iliad (II.300-30), the seer foretold that the Trojan War would last for nine years after observing a snake devour a mother sparrow and her eight chicks. The eclectic style of the relief combines the form of a late Classical Attic stele with landscape elements drawn from the Hellenistic repertoire. It was discovered in 1774 at Roma Vecchia in the Villa dei Sette Bassi, which belonged to the senatorial family of C. Bellicus Calpurnius Apolaustus. Such a panel may have decorated a library assembled by a cultured patron well versed in Greek literature. On the underside is a Latinized Greek inscription that reads XEANTHE—likely a version of Xanthe, the former name for Troy.  

It was Calchas who prophesied that in order to gain a favourable wind to deploy the Greek ships mustered in Aulis on their way to Troy, Agamemnon would need to sacrifice his daughter, Iphigeneia, to appease Artemis, whom Agamemnon had offended. Calchas also tells the Greeks that the captive Chryseis must be returned to her father Chryses in order to get Apollo to stop the plague he has sent as a punishment: this triggered the quarrel of the hero Achilles and Agamemnon, the main theme of the Iliad. As kings may do as they please, Calchas finds it necessary to lean on the support of a champion, Achilles, who opposes Agamemnon in assembly. Agamemnon refuses to accept the edict of Apollo that he should give up his prize, but bypasses it by taking Achilles’ prize. There follows "the wrath of Achilles," which is righteous anger on behalf of the divine will. With the help of the gods, Achilles struggles to restore righteousness.

Depictions of Calchas have also been found on 5th century BCE Etruscan mirrors and Calchas along with other characters of the Trojan War were popular subjects of 16th century tapestries.

Relief depicting Calchas observing a serpent attacking a nest of birds, 140-160 CE at the J. Paul Getty Museum. On this relief, a bearded man is seated in right profile on a four-legged stool (diphros) with carved legs and a cushion, and rests his feet on a footstool. With his left hand raised to his check in a contemplative gesture, he supports his left elbow on a gnarled staff held in his right hand. Beneath the chair is a griffin, the symbol of Apollo, god of prophecy. Over his left shoulder he wears a himation that covers his lower body, and sandals. Coiled around the tree in front of him is a snake, which menaces a nest of fledglings and two adult birds perched in the branches. The Pentelic marble head is ancient but does not belong to the original relief; it was recut and restored in the 18th century. The hairstyle and sober expression belong to a divinity, and a hole in the crown for the attachment of a kalathos identifies it as the head of the god Serapis.

Etruscan mirror depicting Calchas in the form of a haruspice, from Vulci, 5th century BCE, at the Vatican Museum courtesy of Wikimedia Commons contributor Waterborough.

The Prophecy of Calchas from a set of tapestries depicting The Story of Troy. late 16th century, from Macao, China, silk and gilt paper, courtesy of the Metropolitan Museum of Art.

 

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Trimalchio's reminder of mortality

The Romans frequently linked images of banqueting and death in both literature and the visual arts. In Petronius' satirical novel, the Satyricon (60s CE), Trimalchio, the crass, nouveau-riche host of a dinner party, brings out a small silver skeleton between courses. The skeleton has flexible joints, and after posing it on the table in various ways, Trimalchio recites a poem to the effect that life is short and should be enjoyed before becoming a skeleton like the one he displays. He declares: “Alas for us poor mortals. Thus we shall all be, after Hades takes us away. Therefore, let us live while it goes well with us.” This bronze skeleton may have been used in the same manner. Although now missing several limbs, it too is jointed in a way that allows it to be posed or shaken so that it jumps and dances. Several similar skeletons are known, including one in silver found at Pompeii. - J. Paul Getty Museum

This remembrance of mortality actually spawned an art movement in the 17th century known as "vanitas"  where artists emphasized the emptiness and futility of earthly items by using still-life arrangements for moral instruction.  These arrangements included skulls, candles, hourglasses, watches, rotting fruit, wilting flowers, and fraying books to remind viewers just how precious and fleeting life is.

Image: Miniature bronze skeleton, 2 5/8 inches tall, Roman, 25 BCE - 100 CE, at the J. Paul Getty Villa in Pacific Palisades, California. Made of bronze, this miniature skeleton features round eye sockets and a wide, grinning mouth with large upper teeth. Pin holes in the clavicle bone show that the arms were separately attached and moveable. The same is true of the pelvis bone where the left femur is still attached. The other end of the femur also has a pin hole for the attachment of the tibia. Only the pin remains of the right leg. The neck and head are also attached by pins. Most of the right-side ribs and both arms of the skeleton are missing 

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The tragic boy emperor, Philip II

Philip II (Latin: Marcus Julius Severus Philippus; 237 – 249CE), also known as Philip the Younger, was the son and heir of the Roman Emperor Philip the Arab by his wife Marcia Otacilia Severa. When his father became emperor in 244, young Philip was appointed caesar at the age of only seven-years-old. In 247, he became consul, and was later elevated by his father to the rank of augustus and co-ruler.  Although ancient historians claim both Philip the Arab and his son were killed in battle by Decius.  

Decius was a distinguished senator who had served as suffect consul in 232, had been governor of Moesia and Germania Inferior soon afterwards, served as governor of Hispania Tarraconensis between 235 and 238, and was urban prefect of Rome during the early reign of Emperor Philip the Arab. In 248 or 249 Decius was sent to quell the revolt of Pacatianus and his troops in Moesia and Pannonia, a rebellion seen by some modern historians as emerging Balkan separatism.  After the collapse of the revolt, Decius let the troops proclaim him emperor. Philip advanced against him and was killed at Verona, Italy, in September 249. The Senate then recognized Decius as emperor, giving him the attribute Traianus in reference to Emperor Trajan, an emperor considered the ultimate example of a ruler at the time. According to the Byzantine historian Zosimus, Decius was clothed in purple and forced to undertake the [burdens of] government, despite his reluctance and unwillingness.  

Modern scholars do not think Philip II was with his father in Verona and suggest that when news of his father's death and the proclamation of Decius as the new emperor reached Rome, the Praetorian Guard murdered the 12-years-old. 

Bust of Philip II at the archaeological museum in Venice, Italy, courtesy of Wikimedia Commons contributor Architas.

Previously crushed portrait of Philip the Younger from Asia Minor, 235 CE, bronze, at the J. Paul Getty Museum (Villa)

Portrait of Philip II, 247-249 CE, from the Chiragan Roman Villa, now in the Musée Saint-Raymond, image courtesy of Wikimedia Commons contributor Daniel Martin.

 

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Veristic portraiture

 Verism first appeared as the artistic preference of the Roman people during the late Roman Republic (147–30 BCE) and was often used for Republican portraits or for the head of “pseudo-athlete” sculptures. Verism, often described as "warts and all," shows the imperfections of the subject, such as warts, wrinkles, and furrows. It should be clearly noted that the term veristic in no way implies that these portraits are more "real." Rather, they too can be highly exaggerated or idealised, but within a different visual idiom, one which favours wrinkles, furrows, and signs of age as indicators of gravity and authority. Age during the Late Republic was very highly valued and was synonymous with power, since one of the only ways to hold power in Roman society was to be part of the Senate. Yet to be in the Senate, a Roman patrician had to be at least forty-two years of age, which in ancient times was considered a mature stage of life.

It is debated among scholars and art historians whether these veristic portraits were truly blunt records of actual features or exaggerated features designed to make a statement about a person's personality. It is widely held in academia that in the ancient world physiognomy revealed the character of a person. Thus, the personality characteristics seen in veristic busts could be taken to express certain virtues very much admired during the Republic.

Verism, while the height of fashion during the Late Republican era, quickly fell into obscurity when Augustus and the rest of the Julio-Claudian dynasty (44 BC-68 CE) came to power. During this imperial reign, Greek Classical sculpture that featured "eternal youth" was favored over verism. It wasn't until after the suicide of Nero in 68 CE that verism was revived.

During the Year of the Four Emperors (68-69 CE) that resulted from Nero's suicide, when Galba, Vitellius, and Otho all grappled for the throne, verism made a resurgence, as seen in obverse portraits of Galba on bronze coins or marble busts of Vitellius. When Vespasian and his sons came to the throne the Flavian dynasty harnessed verism as a source of propaganda. Scholars believe that Vespasian used the shift from the Classical style to that of veristic portraiture to send a visual propagandistic message distinguishing him from the previous emperor. Vespasian's portraits showed him as an older, serious, and unpretentious man who was in every respect the anti-Nero: a career military officer concerned not for his own pleasure but for the welfare of the Roman people, the security of the Empire, and the solvency of the treasury.

Image: Portrait Head of a Man, Roman, late 1st century BCE, at the J. Paul Getty Museum. In the veristic style, the face is riddled with lines, grooves, and crevices. Several of these lines are carved into the cheeks and jowls and the flesh around the nose is sagging. The nose itself is bulbous and deeply lined with large nostrils. The eyes are small and narrow with bags underneath and crow's feet at the corners. The eyebrows are modeled and indicated by hatch marks. Three deep vertical furrows appear above the ridge of the nose and the mouth is downturned with deep lines in the corners. The ears are large and the hair is receding, rendered as quite short with hatch marks. The neck is very short with a number of folds. The top of the head is a roughly worked, sloping plane with an iron dowel in the center. 

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The challenge of ancient portrait identification

 This portrait of a well-fed 3rd century CE Roman empress caught my attention because the woman appears to be rather plump, obviously not suffering deprivation during the most tumultuous period of the crisis of the Third Century.  The Getty does not speculate on which empress this woman is so I compared it to known sculptures and coin portraits of powerful women surrounding Alexander Severus.  The longer looped hair behind the ears appears in portraits of both the emperor's mother, Julia Avita Mamaea and his first young wife, Orbiana Sallustius but neither are portrayed as plump or with the bun on the top of the head.  I could find no images of his second wife, Sulpicia Memmia, however, and his third wife's name is unknown.

When Alexander was assassinated in 235 CE, he was succeeded by Maximinus Thrax.  The coin portrait of his wife, Caecilia Paulina, depict a rather hawkish woman with none of the distinctive characteristics of this portrait either.

After Maximinus Thrax was killed in Aquileia, the aged Gordian, in his late 60s, was pressured to take the throne  along with his son but their reigns lasted only 21 days with the younger Gordian killed in the battle of Carthage fighting against Maximinus' loyalists and his father hanging himself after his son's defeat. Although Gordian I struck a coin with his portrait, there appears to be no portraits of his or his son's wives.

Gordians' successors, Pupienus and Balbinus, lasted only a few months and, again, there appears to be no images of their wives.  That brings us to Goridan III, son of Antonia Gordiana, the daughter of Emperor Gordian I and the younger sister of Emperor Gordian II.  Although there is no images of his wife, Furia Sabinia Tranquillina, I was struck by a similarity in the soft shape of Gordian III's chin and that of the woman in the portrait. So I couldn't help but wonder if the female portrait may be his mother, Antonia Gordiana, or his wife, sculpted at the same time as Gordian IIII's portrait, which is now in The Louvre.

Portrait Head of an Empress, Roman, second quarter of the 3rd century CE at the J. Paul Getty Museum, courtesy of the museum.

Bust of Gordianus III. Marble, Roman artwork, between 242 and 244 CE. From Gabii now in The Louvre, courtesy of Wikimedia Commons contributor Marie-Lan Nguyen

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