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Marble Sculptures from the Imperial Palace in Sirmium

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Marble Sculptures from the Imperial Palace in Sirmium UDC 904:73"652"(497.113) DOI: 10.2298/STA0656153P 153 IVANA POPOVI] Institute of Archaeology, Belgrade MARBLE SCULPTURES FROM THE IMPERIAL PALACE IN SIRMIUM Abstract. – Few fragments of marble sculpture have been found in the course of the archaeological excavations conducted in Sirmium between 2003 and 2005 at site 85 which is believed to be part of the imperial palace complex. The most important are two almost completely preserved heads of deities. The head of a young person made of milky white, fine-grained marble of exceptionally fine texture from Pentelicon was found under the Late Roman floor in room 7 of the residential structure. The sculpture, of exceptional quality, is from the second half of the 1st century and represents a deity, most probably Venus or Apollo. Another head made of Carrara marble, from the 4th century, was found in a secondary position and on the basis of its mural crown is identified as the Tyche of Sirmium. Key words. – Roman sculpture, marble, Sirmium, deities, personifications. ew fragments of marble sculptures have been smooth surface of the face. It is parted in the middle, discovered in the course of systematic archae- framing the face in gentle waves modeled in relief and F ological excavations conducted in Sirmium with locks emphasized by incisions. On the back of the from 2003 to 2005 at site 85 which is almost certainly head the side locks combed over the ears are gathered the imperial palace complex1 (Fig. 1). The most im- portant are certainly two almost completely preserved heads of deities. * The author presented a brief account of these finds at the The head of a young person (C 109/2003) made of International Meeting Les ateliers de sculpture réginoaux: techni- milky white, fine-grained marble of exceptionally fine ques, styles et iconographie, Xe Colloque international sur l’art texture and originating from Pentelicon2 was discove- provincial romain, Arles et Aix-en-Provence, 21–23 mai 2007. 1 Systematic investigation was preceded by test trenching in red in October of 2003 in the layer of building rubble 2002 when one trench (11 x 5 m), which yielded relatively clear and fragments of Roman pottery, under the floor of stratigraphic data about this multi-layered site was excavated, cf. room 7 at the absolute altitude of 80.27 m (Fig. 2 a–d). Jeremi}, Popovi} 2004, 284–288. In the same area, somewhat The head slightly inclined to the right and fragment of more to the east test pit excavations at site 37 were conducted in the neck are almost completely preserved; the total 1968 and 1969 that to a certain extent were investigations of the same archaeological entity to which the remains recorded to the height is 17 cm, while the dimensions of face are 9.5 x south of this complex belong and which were examined during 7 cm. The portrayed person, of exceptional, idealized excavation of locality 1a begun in 1957, cf. Milo{evi}, Miluti- beauty, has symmetrical features. The large eyes of novi}1958, 5–57; Popovi} 1969, 665–675; Ochsenschlager, Popovi} almond shape are wide open, with modelled eyelids, 1975, 85–95; Bo{kovi}, Duval, Gros, Popovi} 1974, 597–656; Po- povi} 1971, 119–148; Brukner 1983, 5–31; Jeremi} 1993, 90–97. but without denoted irises and pupils. The nose is The existing hypothesis that localities 1a and 37 are sections of the symmetrical with the tip broken off. The mouth is imperial palace was confirmed by the results of Yugoslav–American small, with full half-opened lips giving the face a excavations in 1970, when the remains of the imperial hippodrome melancholic impression. The chin is rounded and were discovered to the north of the residential structure, cf. Popo- vi}, Ochsenschlager 1976, 156–181. slightly protruding, cheeks are smooth and full, while 2 Analysis of the marble used in the sculpture discussed here the neck is massive without visible wrinkles. The hair was performed by Dr H.W. Müller, University of Natural Resources represented in the full volume is in contrast to the and Applied Life Sciences, Institute of Applied Geology, Vienna. STARINAR LVI /2006. 154 IVANA POPOVI] Fig. 1. Imperial Palace Complex in Sirmium: a–d) fragments of marble sculptures on the locality 85 Sl. 1. Kompleks carske palate u Sirmijumu: a–d) nalazi delova mermernih skulptura na lokalitetu 85 into a ponytail, which is bent and attached creating a son. A half-opened, sensual mouth and melancholic low bun, which looks in profile like a fish tail. Below expression on a slightly inclined head are typical for the bun and behind the ears long curls fall down the the representations of Venus, the goddess of the morning neck. The locks above the forehead are pulled towards star, love and beauty, while Diana, the goddess of forests the back and tied into a big bowknot (krobylos) with and hunting was most often depicted as an energetic curled locks depicted by incisions. Around the head young woman with bow and arrow. Stern features and and under the locks tied into a knot on the back of the a cold expression without emotion also characterize the head is a band (taenia). Judging by the dimensions of marble heads of two other portraits of Diana from the face, the head belonged to a statue around 80 cm high, time of Hadrian, one discovered not far from Sremska i.e., between half and two thirds of the normal height. Mitrovica, in Putinci near Ruma3, and the other from the The idealized features confirm that marble head museum in Bucharest.4 Among many portraits of Venus represents a deity. This conclusion is supported by the in Roman art the best analogies for the marble head from hair style with krobylos characteristic of the represen- tations of gods, above all Apollo, Venus and Diana. As the attributes which could reliably identify the depicted 3 Dautova-Ru{evljan 1983, T. 41. 2; Srejovi}, Cermanovi}- deity are, unfortunately, not preserved, it is necessary Kuzmanovi} 1987, 72, kat. 27. to use indirect methods to identify the represented per- 4 Bordenache 1969, 43, T. XXX, 66. MARBLE SCULPTURES FROM THE IMPERIAL PALACE IN SIRMIUM 155 the imperial palace in Sirmium can be found in works close parallels with corresponding traits on the marble discovered in Rome itself, first of all in the sculptures head from Sirmium, as can best be seen by examining its of the Venus Pudica type5, in particular in the famous profile (Fig. 2 b). The model of the idealized represen- Capitoline Venus, the Roman copy of the work of some tation of Nero as Apollo on the vitreae was certainly a of Praxiteles’ followers.6 These are sculptures of excep- portrait of this emperor on some official cameo made tional artistic quality made in the early imperial period of semi-precious stone. There is indirect evidence for as the copies of sculptures of Aphrodite from the early the existence of such cameos as on the plaque of sheet- Hellenistic period. Nevertheless, they are characterized silver on the inside of a chest of St. [imun from Zadar, by cold academism in expression, a certain stiffness of work of the goldsmith Toma Martinov from the end of the slender body, and oval faces without visible emo- the 15th century. The architectural background is deco- tion. The head from Sirmium is also the work of a first- rated with medallions inspired by antique cameos and class sculptor made in the artistic style of Julio-Claudian on one of these medallions was a representation of an epoch, but at the same time relying on the best traditi- idealized image of the emperor, analogous to that of ons of Hellenistic artistic expression. A certain expres- the vitreae from the Serbian Danube valley.11 It means sionlessness of the face, a result of the eyes depicted that this motif left a deep mark on Roman art, being an without irises and pupils is avoided with a nicely sha- inspiration for the artists of later times and, to all appe- ped half-open mouth, which emanates melancholy, but arances, contemporaries as well. However, on the mar- also increases the sensuality of the portrayed face. On ble head from Sirmium, the voluminous mass of wavy the other hand, the wide open eyes gazing into the dis- hair is dominant, whereas the accent on Nero’s portraits tance give to the person a certain determination cha- on coins from the later phase of his rule was on hair racteristic more of the portraits of Diana and Apollo rising above the face like a lion’s mane.12 In addition than of Venus. The neck of the Sirmium head lacks the to the representations on cameos, coins and gems, one curving creases used to evoke the softness of the naked of which is housed in the National Museum in Belgra- female body which is characteristic, first of all, of repre- de,13 there must have been sculptures of the emperor, sentations of Venus and are hence known as the Venus’ idealized as Apollo. This suggests that the marble head necklace. Therefore, although it is clear from the treat- could have belonged to a statue of this god, one of many ment of the eyes of the Sirmium head that it is an object Roman marble replicas of Leochares’ bronze sculpture of art from the period of the Early Empire, closer dating dating from around 330–325 B.C., of which is most and more reliable identification of the deity depicted famous example is the Bellvedere Apollo.14 Even more requires examination of other stylistic elements.
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