Gesture and Identity in the Funerary Art of Palmyra Author(S): MAURA K

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Gesture and Identity in the Funerary Art of Palmyra Author(s): MAURA K. HEYN Source: American Journal of Archaeology, Vol. 114, No. 4 (October 2010), pp. 631-661 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/25763805 . Accessed: 28/10/2014 11:45

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This content downloaded from 128.148.231.12 on Tue, 28 Oct 2014 11:45:56 AM All use subject to JSTOR Terms and Conditions Gesture and Identity in the Funerary Art of Palmyra MAURA K. HEYN

Abstract rence of certain to gestures (e.g., the hand raised the The art from a in the eastern or funerary Palmyra, city face the extension of the index and pinkie fingers) Roman offers us a into the creation of a empire, glimpse reveals correlation between these gestures and other social in the aftermath of Roman The identity conquest. characteristics such as familial are on gender, relationships, Palmyrene portraits modeled the Roman funerary and It is that gesture was used to relief but with interesting local variations. For example, profession. likely a num draw attention to of the individual thatwere the deceased in these portraits hold their hands in aspects ber of different positions. An analysis of these gestures important in the local community, and thus provides reveals that some certain of the individu highlight aspects insight into how the local inhabitants defined them als such as and represented, gender, profession, family selves in the social after Roman on changing dynamic connections. The emphasis these characteristics shows to incursions the region. the multifaceted ways in which they defined themselves, moves us differs on the and extent and beyond interpretations of identity that focus Scholarly opinion timing on a dichotomy between local and Roman.* ofRoman control inPalmyra.1 Regardless of the nature of Roman administration, it is clear thatgreat change took place in the cityduring the firstthree centuries INTRODUCTION C.E. went from a Palmyra being small settlement, al The purpose of this article is to discuss the signifi beit thriving, to a city full of colonnaded streets and cance monuments. It went of gesture in the funerary sculpture from Palmy grandiose limestone from be ra, a city in the Syrian steppe that flourished during ing a conglomeration of tribes, for whom tribal af theRoman period. Palmyra is located in an oasis, and filiationwas important, to a community inwhich the many of its inhabitants became quite wealthy by par elite displayed their social status, among other ways, ticipating in the lucrative caravan trade between the by funding various urban projects, thereby receiving centu honorable mention and a statue in a Roman and Parthian empires in the firstthree displayed promi ries C.E. This wealth was then poured into both the nent venue.2 This jockeying for social distinction also monumental architecture of the city and the elabo took place in the necropoleis surrounding Palmyra, rate tombs on its outskirts. Hundreds of relief busts where family tombs were situated along some of the that once adorned these tombswere traded widely on main thoroughfares in and out of the city.3 the antiquities market in the late 19th and early 20th More than 150 tombs are known today in Palmyra: centuries and are found in museums around tower today tombs, underground tombs (hypogea), and theworld. These portraits were carved in high relief "temple" (or "house") tombs.4 Inside all these tombs, on rectangular limestone slabs and used to seal the themost common type of sculpture by far is the in burial niches (loculi) inside the tombs. The deceased dividual portrait bust, carved in high relief on a rect are in these of Palmyra who portrayed portraits display angular limestone slab (ca. 40 x 55 cm). There is a hand A look at the occur certain sameness to these The deceased is interesting gestures. closer portraits.

* am at not I very grateful to the vast number of people who have Glyptotek, Waleed Asa'ad the Palmyra Museum, and me at Museum of Art at assisted with this project since its inception in 2006. Sarah least of all Jennifer Talbot the Spencer was an and ran Smith invaluable undergraduate research assistant in the University of Kansas, who put the phone down a to at hands of the in their collec the early stages. In addition, Loeb Classical Library Foun look the Palmyrene portrait me on Fred most of the credit for dation grant enabled to focus the project during the tions. Albertson deserves teasing out the salient in and I am to him summer of 2007. Audiences at the meetings of the Classical points this article, grateful Association of the Middle West and South Southern Section and Editor-in-Chief Naomi J. Norman for their patient assis in tance and feedback this in 2006 and the Archaeological Institute of America 2008, throughout process. 1 as as at a of the see Edwell well those who attended the local talks Pepperdine, For summary discussion, 2008,34-50. 2 at Yon cf. Sommer who for the con Duke, and the University of North Carolina Greensboro, 2002; (2005), argues and museum of in the Roman supplied useful feedback. Curators employees tinuing importance kinship Palmyra during museums from countless around the world provided cheer period. 3Yon 1999. ful and willing assistance. I thank in particular Jonathan Tubb at Schmidt-Colinet at the British Museum, Jan Ostergaard the Ny Carlsberg 4Gawlikowski 1970b; 1997,159. 631 AmericanJournal ofArchaeology 114 (2010) 631-61

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in a frontal men wear a tunic depicted pose?the and parative evidence from relatively intact tombs,12 allow with the of a us to trace trends in the For the cloak, draping the cloak creating sling portraiture. example, for the and the women wear a tunic are right arm, and spindle and distaff popular female attributes up to cloak with a headband and turban underneath a veil themid second century C.E. (fig. 1), but they appear on their heads. Many of the portraits are labeled with much less frequently in the portraits produced after an in Aramaic above the shoul sees a inscription Palmyrene that time,when jewelry corresponding rise in the name Men are be der, giving and genealogy of the deceased. popularity. predominantly clean-shaven A few add the year of death, the date ofwhich isgiven fore 150 C.E. and tend to be bearded beginning in according to the start of the Seleucid era, 312 B.C.E. the second half of the second century (fig. 2). Certain The earliest dated funerary portrait is that of "the gestures, such as the raising of the right hand with wife of Bar'ate," dated to 65/6 C.E.5 The next is that the palm facing outward (see fig. 1), also are favored to in common or of 'Abina, dated 96 C.E. The firstdated male por particular periods, but others remain cm are on traits (only 18 ht.) featured the foundation unusual throughout the period of production. These relief of theTomb of Iarhai, which was founded in 108 patterns allow for conclusions to be drawn about their C.E.6 A date for the end of production is supplied by significance for the identityof the deceased.13 the portrait of Haira, dated to 252/3 C.E.7 PROMINENCE OF GESTURE AT PALMYRA Since the production of these funerary portraits coincides almost exactly with the period of Roman An awareness of the symbolism of gesture is dem dominance in the area, theyprovide valuable insight onstrated in Palmyra by the depiction of hands on into the inwhich the men and women votive altars. Several altars feature a of ways wealthy pair hands, of to Palmyra presented themselves theirpeers during raised vertically, with palms facing outward.14 The a time of change. Evidence from the tombs indicates raising up of both hands in such a way was a common that access was and these were of in Near maintained, portraits gesture worship ancient Eastern and Medi visible to later of the terranean cultures.15 of entire generations family.8Unfortu Depictions figures with most are nately, of these relief busts without context both hands raised have also been found in Palmyra. been from over For of one today,having looted the tombs the last example, the face votive altar features two several hundred As a the contri a woman a years. result, potential full-length figures, and boy, raising both bution of such a rich of to corpus material studies of hands with palms turned outward.16 The full-length as identity,particularly it relates to the family or clan, examples make it likely that the truncated hands on has been significantly curtailed.9 In 1928, Ingholt, in the votive altars refer to the same activity.The hands Studier over alone therefore a PalmyrenskSkulptur, divided the hundreds become "symbolic abbreviation of of undated the whole on Palmyrene funerary portraits into three figure,"17 and their presence the votive al to tar chronological groupings according their stylistic both recalls and perpetuates the act of adoration.18 similarities to the dated examples.10 These groupings Like the gesture of adulation, divine benediction can and (50-150 C.E., 150-200 C.E., 200-273 C.E.), having also be expressed by the hand alone, depicted from the been refined scholars11 as well as com wrist These show that the by subsequent up.19 examples Palmyrenes

13 inv. no. 2816 Scholars from a of Copenhagen, Ny Carlsberg Glyptotek, (Ploug variety disciplines, including those The current total who on 1995, 35-6; Hvidberg-Hansen 1998, 25-6). focus the classical world, have introduced new ways for dated busts is ca. 65 and Cussini of the portrait (Hillers 1995). conceptualizing "lived" body and understanding how it is as a means 6Ingholtl966,465. modified of creating identities in social con 7Plougl995,12. texts (Montserrat 1998; Rautman 2000; Hamilakis etal. 2002; 8 and Amy Seyrig 1936, 258; Colledge 1976, 63; Sadurska Fisher and diPaolo Loren 2003;Joyce 2005). Butcher 312. Saito doors 14 1996, 285; 2003, (2005,158): "The E.g., Copenhagen, Ny Carlsberg Glyptotek, inv. nos. at the entrances of the tombs have and underground locks, 1081,1161 (Ploug 1995,66, cat. no. 9; 269, cat. no. 128; Hvid the chambers were accessible funerary only by relatives and berg-Hansen 1998, cat. nos. 9,128). other people associated with the deceased. The tombs were 15Cumont1926, 70-2; Ingholt 1936, 98-9; Brilliant 1963, visitors as frequented by evidenced by the water basins and 23; Colledge 1976,134,138; Choksy 1990;Aldrete 1999,10. left in the chambers." 16 lamps Copenhagen, Ny Carlsberg Glyptotek, inv. no. 1080 an as well as 9Finlayson (1998) may represent exception, (Ploug 1995,260; Hvidberg-Hansen 1998,81). thework of Sadurska 17 (1994, 1995, 1996) and Cussini (2004, Colledge 1976,52. 2005). 18Ingholt 1936,92-9; Hvidberg-Hansen 1998, 35. 10Ingholtl928,1954. 1939; Parlasca 11 19Seyrig Colledge 1976,fig. 39; 1985a, 390, 1995. For the cat. no. 184. For several other Colledge 1976, 245-64; Ploug representa examples of gods making this tions in see ofjewelry these portraits, Mackay 1949. gesture, see 1976, 43 (Damascus, National Mu 12 Colledge fig. Sadurska and Bounni 1994. seum of inv. Damascus, no.C.2842), fig. 49 (Palmyra, Palmyra \

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1. from the British Mu Fig. Funerary portrait Palmyra. London, Fig. 2. Funerary portrait from Palmyra. Portland, Oregon, inv. no. ANE 125203 the British no. seum, (courtesy Museum). Portland Art Museum, inv. 54.1 (courtesy Portland Art Museum, Portland, Oregon; Gift of Mr. Aziz E. Atiyeh).

were aware as a keenly of the power of gesture form Tables 1 and 2 illustrate the types of hand gestures of communication. that are displayed by the right and lefthands in the For the of and this male men purposes clarity comparability, 323 bust-length portraits. Most of the pre on discussion focuses the gestures displayed in the sent the right hand clenched or extended over the individual relief (or double) bust-length portraits. fold of the cloak (fig. 3). This is clearly not the only Out of 867 that I have in a fair more funerary portraits compiled option, however; number present complex a 585 are in of database, (67%) the form these bust gestures with the right hand (see fig. 2). It is interest of length reliefs;20323 these reliefs depict males and ing to note that although the same types of gestures 262 females. The are on depict remaining 282 images de represented each side, the lefthand displays a those in scenes pict represented large-scale banquet greater variety of gestures than the right. Perhaps the between the of most more (including portrait images legs the striking difference is in the unconventional so-called "small" scenes, and stelae.21 "index "index kline), banquet gestures: pinkie" and middle pinkie." In smaller-scale featured on loculus For are five men addition, figures example, there only instances of hold as well as smaller plaques, figures behind the shoulder ing the fingers of the right hand in these positions, as or in the arms of are considered occurrences bust-length images, opposed to 74 for the lefthand (see fig. a separate category. 3). The explanation for such a disparity may lie in the

no. See for Museum,inv. 1887). Hvidberg-Hansen (1998,35) and Briquel-Chatonnet 1997; Padgett 2001; Kuniholm et al. and discussion of the two a bibliography gestures. 2003). Although large number of have been ob 20 images This database was or compiled by requesting acquiring tained, it is likely that they represent less than half of the of the held inmuseums images Palmyrene portraits around available corpus of Palmyrene reliefs. Nevertheless, the val the world. of these collections are accessible ue of the as a means Many easily database of illustrating the variety of online the British Museum: tishmuse as well as (e.g., http://www.bri gestures, providing rough ratios for the popular of certain um.org/research/search_the_collection_database.aspx) ity gestures, necessitated its inclusion. That being or Deonna to through print publications (e.g., 1923; Ingholt said, it is important keep inmind that the database is not 1928, 1930, 1938; Seyrig 1937, 1939; Starcky 1984; Callieri comprehensive. 21 and a 1986;Tanabe 1986;Wartke 1991; Dentzer-Feydy Teixidor See Colledge (1976, 73-80) for description of these 1993; Sadurska and Bounni 1994; Ploug 1995; Desreumaux types.

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in the female from both cities. For Table 1. Gesture of Right Hand inMale Relief Busts. gestures portraiture women in Rome often raise the one arm example, the Gesture No. of to a hand on the face (see 4) ,25It was popu Occurrences place fig. lar in to women with one hand raised Palmyra portray All 195 fingers clenched/extended to the veil or face in a similar manner (fig. 5). Two hundred in the database Index finger extended 60 sixty-two bust-length portraits depict females, and more than 70% (187 examples) Index and middle fingers extended 50 or arm raised. have either the right left Index and extended 3 no were pinkie fingers There is doubt that certain gestures recog nized and understood as the Romans. Index, middle, and pinkie fingers 2 significant by extended Ancient Roman texts on oration show that the Ro mans took of the of in the Palm out 1 advantage power gesture public sphere.26 The significance of certain gestures Not visible 12 in reliefs has also been For ex funerary postulated.27 in his discussion of a Roman ample, funerary relief, Brilliant asserts that the hands of the men "conform Table 2. Gesture of Left Hand inMale Relief Busts. to the of the conventional posture dignified citizen," Gesture No. of and he identifies as significant the so-called pudicitia Occurrences gesture of thewomen, with their right hands brought to their chins.28 Of course, is All clenched/extended 89 Palmyrene portraiture fingers to we not identical its Roman counterpart, and should Index extended 81 finger not assume same that every gesture had the meaning Index and middle extended 63 in both the fingers locations.29 Furthermore, despite apparent

Index and pinkie fingers extended 48

Index, middle, and pinkie fingers 26 extended

Not visible 16

location of the attribute,which isoften held in the left as an hand. This function of gesture attention getter is below. explained One key to the significance of the hand gestures was use in Corre in Palmyra the of gesture Rome.22 are seen in the re lating poses and gestures funerary in the liefs from both cities.23 For example, funerary that in the first B.C.E. reliefs became popular century inRome, themen usually hold their right arms across their chests, in the sling created by the draping of the toga (fig. 4) .24The fingers of the right hand are usu ally extended in these reliefs. In Palmyra, 251 of the 323 male portraits are depicted with the right arm Fig. 3. Double portrait of nephew and uncle from Palmyra. in the of the cloak, and the extension of no. caught sling Portland, Portland Art Museum, inv. 54.2 (courtesy the hand over this fold of the cloak is themost com Portland Art Museum, Portland, Oregon; Gift of Mr. Aziz mon men. are gesture for these There also correlating E. Atiyeh).

22 on art Corbeill The seminal publication gesture in Roman is still 26Aldrete 1999; 2004. 27 see Brilliant 1963. However, Brilliant's discussion of the gestures On the so-called dextrarum iunctio gesture, Walker and seen comments on in the Roman funerary reliefs is fairly limited. Burnett 1981; Davies 1985. Smith (1918) the in relief of Lucius 23Colledge 1976,138. size of the thumb the funerary Ampudius 24 Brilliant 1963,49, fig. 2.2; Kleiner 1977,158. and his family in the British Museum. 25 28 Kleiner 1977,162. For the appearance of this gesture in Brilliant 1963,49, fig. 2.2. see 29 later Terence manuscripts, Aldrete 1999, 65-7. Butcher 2003, 289.

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monument. no. Fig. 4. Roman funerary Raleigh, North Carolina Museum of Art, inv. 79.1.2 (courtesy North Carolina Museum of Art, Raleigh; Purchased with funds from the State of North Carolina).

to Roman traits in the either similarity republican funerary portraiture, database, 187 (71%) have the right it isnot at all clear that the identityexpressed with the or leftarm raised to the chin or collarbone level (see reasons hand gestures had anything to do with being Roman fig. 5). The for raising the right hand rather se.30 Even from the a connection than left not be as as the clear associa per beginning, when may important to the Romans was more it is women. perhaps crucial, unlikely tion of the raising of the hand with Gesture that the only significance of these portraits was their thus becomes a very visible means of differentiation Roman from men. As this raised-arm is provenance. Other facets of identity, both mentioned, gesture those thatpredated Roman hegemony and those that similar to the pudicitia gesture in Rome, but it is not must clear if it had similar connotations of and fi accompanied it, have been equally important sig modesty nifies of status. in It could a conven social Indeed, patterns in the gestures delity Palmyra.32 have just been on support the idea that the Palmyrenes were deliberately tional way to portray women, modeled the Roman were without the concomitant social Cer emphasizing aspects of their identity that unique example baggage. to a to or not Palmyra. In this way, the Roman medium became tainly, allusions modesty sexual virtue would means of to have been out of in drawing attention local priorities.31 place Palmyrene funerary portrai as of the females hold attributes ture, many appropri Gesture and Gender ate to the domestic such as the private, sphere, spindle are obvious and or a calendar.33 There connections between gender and distaff, keys, children, The spindle at and in stand out as "the idealized gesture Palmyra. Of the 262 female bust-length por distaff, particular,

a on a on women 30Woolf (1998,156) brings up similar issue in his book "It is telling reflection the role and voice of in Ro man a Roman Gaul. In his discussion of countryside, Woolf argues society that while male orators had vast vocabulary of that villa building, particularly outside southern France, did gestures they could use, seemingly the only approved gesture not contribute to a Roman cultural In to women was one automatically identity. available that emphasized their modesty support of this assertion, he cites regional variations, the pau and subordinate attachment to a male." A similar gesture is construc a city of Roman visitors, and the chronology of their made by women, also in funerary context (mosaics), in Edes were a tion: "most built in period when differences between sa (Leroy 1957). Gauls and Romans were less marked and less crucial." 1976,70; Sadurska 1983; Parlasca 1988,216-17; 31 33Colledge Baity 1996;Mattingly 2003; Schmidt-Colinet2004. Ploug 1995, 91. But cf. Drijvers (1982, 720), who argues that 32 see were For the significance of the gesture in Rome, Kleiner the keys intended to open the "gates of heaven." 1992,40; see also Aldrete (1999,65 n. 48) where he comments,

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side the tombs.38 This evidence for the greater inde some women demonstrates that pendence enjoyed by the social roles available to women were more varied than the impression given by their attributes in the fu One wonders to what extent these nerary portraiture. of women were representations normative, presenting an ideal to be achieved.39 Ironically, proportionally fewer women who hold the spindle and distaff actually raise one arm in the pudicitia pose; 87 women hold the spindle and distaff in the left hand (these attributes are never held in the right hand). Of these 87 women, only 44 raise the righthand to the face (ca. 51%). In addition, only one woman raises the hand inwhich she holds the spindle and distaff. If Ingholt's chronological groupings are the and distaff cease to correct, and spindle appear of the second most interest by the end century, the ing detail to emerge from this study is that raising the to or even have hand the face veil may replaced these attributes as the female signifier in Palmyra at the end of the second century.40 5. from New the Metro Fig. Funerary portrait Palmyra. York, Examples from elsewhere in the city support this Museum of inv. no. 2.29.5 The politan Art, (? Metropolitan to face close association between raising the hand the Museum of Art/Art Resource, NY). and the female gender. The best known example is seen in the depiction of a religious procession on a peristyle beam from theTemple of Bel: veiled women attributes of wife and housewife" or "attributes of do appear on either side of the covered wagon in the mestic virtue" .34 women (see fig. 1) procession. The depiction of these is striking at was it is are their Although society Palmyra patriarchal, because they completely veiled. However, worth out that men and women are are are without perhaps pointing gestures equally eye-catching: they all, represented in roughly equal numbers in the indi exception, raising their right hands to chin level.41 relief busts: male to female.35 Another scene veiled women with their vidual 323 portraits 262 containing In addition, epigraphic evidence from the facades of right hands raised to their chins was found in 1975 in several tombs as well as elsewhere in the are city provides the Temple of Allat.42 These images particularly a contrast to the of the demure housewife because there are so few impression compelling representations we In women the that get from the funerary sculpture.36 the city of outside funerary sphere. women honor itself, occasionally made and received Another gesture that ismade almost exclusively by dedications.37 Within the several women in is the out" ary funerary sphere, Palmyrene portraiture "palm texts mention female names on foundation explicitly gesture (see fig. 1; appx. 1). Of the 18 examples those for whom the tomb was and known from one among built, epi loculus plaques Palmyra, only repre records reveal women could and sell sents a man cat. no. The act of graphic that buy (appx. 1, 16).43 raising of the tombs as well as commission reliefs in portions the right hand with the palm held outward has been

were meant to own 34Parlasca 1985a, 395, 399; Sadurska 1995, 585; 1996, 286. which their viewers regulate their appear 33 cat. no. ance as as to evaluate the of others." Though Sadurska and Bounni (1994, 161, 39b) well appearance women demonstrated a argue that the subordinate position of is illustrated in 40Colledge 1976, 255-61 (as by compari a woman son I to II to see also double bust where the is placed slightly behind the of Group Group Group III); Ploug 1995, to 55. male her right. 36 41 Sadurska 1996,286; Cussini 2004,2005. Seyrig 1934, 159-65, pi. 19; Colledge 1976, fig. 20; see 37Yon 2002,166; Cussini 2005,28-30. Tanabe 1986, pis. 42-4; also the example from the Temple 38 Cussini 2005,27,30-9, table 1. ofAllat. 39 See discussion in Joyce 2005, 146-47. See Dillon (2006, 42Tanabe 1986, pi. 156; Sadurska 1996, 286. on n. Parlasca nn. 17 62) the active, performative qualities of portraits in the 43Colledge 1976,138 493; 1980,150-51 cat. no. 31. Greek world: "portrait statues presented visual paradigms by 21; Sadurska and Bounni 1994, 32,

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as a was com is its almost exclusive association with women in the interpreted apotropaic. Such function mon Men also made reference to involve in the Semitic and Roman worlds.44 The sprigs funerary sphere. of laurel or olive held bymany of the deceased are as ment in sacerdotal activities, but they employed very sumed to have the same function.45 in apotropaic differentmethods: priests identified themselves the is more women were means It likely, however, that these portraiture by of special dress and attributes, drawing attention to their involvement in ritual activi and sacrificial rituals were occasionally depicted on ties in the city by holding their right hands in such the sides of Palmyrene sarcophagi.50 a manner. As with art noted above, full-length figures, Other gestures illustrated in the funerary of on women with A woman hands raised up and held palm outward, appear Palmyra associate mourning. votive altars in the city.These figures presumably are might signal her grief simply by bringing her fingers represented in the act of worship. The depiction in to her cheek.51However, themore compelling depic seen funeraryart ofwomen who raise their righthands with tion of a "mourning" gesture is in five double a that show a woman with her arm around her the palm held outward may well exemplify similar portraits activity. In addition to the depictions of veiled women companion (fig. 6; appx. 2) .52In addition to the posi woman wears present at religious processions, (fragmentary) reliefs tion of her arm, the mourning usually found in the so-called Foundation T deposit of the her hair down and disheveled and bares her chest, scenes Temple of Bel lend further support to the idea that where she has ritually gashed herself. Similar are women participated in ritual activities in the sanctu known from Rome, and Corbeill has argued that a aries of Palmyra and could well have been highlight the practice in Rome was a clear illustration of di sex sex ing this involvement in the funerary portraits. The vision of roles: "[A] person's implied certain a over an decorum in movement. For each sex certain first relief depicts priest sacrificing incense bodily are considered This division burner to his right.Three people approach from his gestures appropriate."53 a man Morehart identi of roles also be true at the left: wreath-carrying whom may Palmyra. However, as a two the first one this addition to altered fies priest, and women, carrying association of gesture?in is not a bowl and the second, a footed cup. In the second appearance?with mourning straightforward. relief, twomen stand on either side of a pyre, and a A Palmyrene relief in Damascus depicts a similarly men attired but she is and raises woman stands behind one of the with her right woman, unaccompanied to cat. no. Several ex hand raised in the palm out gesture.46 her hand her chin (appx. 2, 2). arms an Corroborating representations of the palm out amples ofmen placing their around adjacent as as women in a double bust cat. nos. gesture, well participation by in ritual person (appx. 3, la, 24b, are Men more activities, found elsewhere in the region.47 25a) demonstrate that this gesture, generally, and women making this gesture figure prominently is not exclusive to women.54 in a wall painting in the naos of the Temple of Bel at More are found at Ha Gesture and Dura-Europos.48 comparanda Family tra, where life-sized statues of men and women with Although most funerary reliefs depict unaccompa their right hands raised, palms turned outward, have nied individuals, advertising lineage and familial ties at was in Certain zones in the been found in sanctuaries. This gesture Hatra is important Palmyra.55 city, as that such as sanctuaries or sections of the colon described "a cultic gesture probably expressed specific What is curious about the at naded featured honorific statues prayer."49 gesture Palmyra streets, exclusively

44Cumont 1926,72; Corbeill 2004,23. where a woman holds the index and middle fingers of her an olive or hand to her in a described Dentzer 45Cumont 1926, 72. Ingholt (1934) argued that right cheek, gesture by and Teixidor as "en d'affliction." See laurel branch held by a Palmyrene could be apotropaic. Feydy (1993,166) signe for a discussion of the "unbroken an 46Morehart 1956-1957,55-6, figs. 1,2. Colledge (1976, 139) of them back to fifth 47Yon 2009. cestry" of female gestures, tracing many B.C.E. Greece. 48Cumont 1926,41-52, pis. 32-6. century 52 an 49Dirven 2008,229-31,238. In appx. 2,1 have left out example from the Staatliche no. two 50Yon 2002, 165-70; cf. Sadurska and Bounni (1994, cat. Museen in Berlin (inv. VA 51) because it represented a woman as a she is stir than no. 22), who identify priestess because full-length (rather bust-length) figures (Wartke 1991). a a 53Corbeill contents of bowl with sprig in her funerary portrait; 2004,72. ring 54 busts with so-called butYon 2002 (169 n. 28) and Kaizer (2002, 237 n. 134) ex Appx. 3 excludes double mourning a scenes on women. press doubts here. For discussion of the sacrificial see 55Yon Sommer 2005. sarcophagi, Kaizer 2002,179-80. 2002; 51 no. See, e.g., Paris, Musee du Louvre, inv. AO 1562,

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son inv. no. Fig. 6. Funerary portrait of mother and from Palmyra. Beirut, American University Museum, 33.12 (courtesy American University of Beirut).

to of In ad tention to their the dedicated members particular families.56 provenance. However, publication us dition, strategically placed tombs, built for several of the sculpture from 15 underground tombs gives some generations of a family, advertised their wealth and insight into the patterns of gesture for families some high social status in the necropoleis outside the city.57 (although of these tombs had also been looted, scenes and not all the were found in Inside these tombs, large-scale banquet depict pieces situ).60Focusing were on one of these tombs as a case the of ing the family group placed in prominent loca study, hypogeum clustered around the families of Sassan and Mattai contains 47 tions, with the bust-length portraits portrait of an in busts to at least them.58 Many these bust-length reliefs bear (41 individual, 3 double) belonging scription, detailing the genealogy of the deceased. three different families.61An analysis of the hand ges tures of con Others include children in the arms of themother or reveals that the pattern gestures roughly to seen for in the database. behind the shoulder of the parent (appx. 4).59 One forms that all the portraits bust-length relief, in particular, depicts a father, his In other words, it does not appear that the members cat. no. of these families favored certain son, and his granddaughter (appx. 3, 13a, b). gestures. Thus, itwould not be surprising to discover that ges Double busts, which always feature members of the same as husband and father and tures also emphasized the family unit. family, such wife, son, or are another Unfortunately, this function of gesture is difficult sisters, brothers, uncle and nephew, to trace at because so of the source of evidence for familial Palmyra many sculptural gestures (see fig. 3; appx. were removed from the tombs without at There are double in the but pieces family 3). 27 portraits database,

56 Yon 2002,167. eluded when a mother died in childbirth. However, children 37Yon 1999. also appear with their fathers. 58 60 See Sadurska and Bounni's (1994, 70-3) description of Sadurska and Bounni 1994. 61 son and Bounni the Hypogeum of Bolha, of Nebosuri. Saliby and Parlasca 1992; Sadurska 1994, were 59Drijvers (1982, 711) has suggested that children in 41-69.

This content downloaded from 128.148.231.12 on Tue, 28 Oct 2014 11:45:56 AM All use subject to JSTOR Terms and Conditions 2010] THE FUNERARY ART OF PALMYRA 639 only four pairs display matching gestures. One double portrait depicts brothers who extend the index and cat. no. middle fingers of both hands (appx. 3, 19a, a two b), while second double portrait features cousins same cat. no. making the gesture (appx. 3, 18a, b). The parallel gestures stand out in the case of the twobroth in otherwise their two ers, particular, because portraits are rather distinct: their hair is rendered differently; one holds a book roll, the other does not; and one brother looks older because of his beard and mous tache. These differences might indicate that their ges tures were but the deliberately similar, general pattern of double portraitswould suggest that similar gestures were not used to identifyfamily members. The other two examples of double portraits displaying matching married cat. nos. gestures depict couples (appx. 3, 3a, a b, 22a, b). There does not appear to be connection, state and their however, between their conjugal ges tures, since four additional representations of married deviate from this of shared couples pattern gestures Fig. 7. Funerary portrait of uncle with two nephews from cat. nos. Art inv. no. (appx. 3, 7a, b, 14a, b, 16a, b, 23a, b). Palmyra. Seattle, Washington, Seattle Museum, 42.11 Seattle Art Museum, Fuller Memo Another way to ascertain a connection between (courtesy Eugene rial Collection). familyand gesture is to survey the children. Their size makes them fairlyeasy to identify,as they are usually portrayed in a smaller scale behind the shoulder of a parent (or older sibling) or in the arms of theirmother a wife who puts her hand on the elbow of her husband wear cat. no. a father who (fig. 7; appx. 4).62 In addition, children usually (appx. 3, 10a), (presumably) as a an arm around his cat. no. different clothing63 and carry attributes such bird places daughter (appx. 3, a arm or cluster of grapes.64 Some hold the bird in the left 25a), and brother who puts his around his sister cat. no. Gesture hand and the grapes in the right,while others clutch (appx. 3, 1). thus becomes significant as a means to the cluster of grapes with both hands in front of the advertise family bonds. on one occasion a raises chest.65 Although young girl Boatwright has convincingly argued thatPannonian one arm in a cat. no. tombstones are distinctive because of the on very womanly fashion (appx. 4, emphasis the nuclear In is 9), and in a few instances, a child will make the same family.67 Palmyra, the extended family as a overall is that as well in tombs gesture parent, the impression highlighted themultigenerational by children do not mimic the gestures of their parents. large-scale banquet scenes, the geneaology provided most in the and the inclusion of Instead, striking is the number of children?at epitaphs, grandparents, cousins in the The least one-third of the extant examples (see appx. 4)? uncles, and bust-length portraits. who reach out to touch their or older in these members of the parents siblings gestures displayed portraits by are not (see fig. 7). extended familyunite thosewho depicted, but at the certain affection in the same manner. In one double the Looking Palmyrene reliefs, always portrait, ate gestures clearly highlight connections between uncle places his arm around the shoulder of his neph to ew In the referenced two familymembers.66 In addition the children who (see fig. 3). portrait above, out to or member cousins make a connection the same of reach touch the parent family with by wearing style are dress and the same differences whom they portrayed, the depictions of so-called making gesture, despite no. mourning women would also fall into this category in hairstyle (appx. 3, cat. 18a, b). A third portrait (see appx. 2). There is also present in the portraiture bust depicts an uncle flanked by his twonephews, one

for the on Pannonian 62Colledgel976,68. argument meaning behind gestures 63Albertson 2000a, 162; cf. Pierson 1984. tombstones. MColledge 1976,156. 67Boatwright 2005,295-304. See George (2005) for discus 65 see to For this gesture, Ploug 1995,156-57. sion of similar issues relating funerary relief portraits from 66 a Sadurska 1995. Boatwright (2005) has made similar Rome and Cisalpine Gaul.

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of whom reaches out to touch him (see fig. 7) .68Two 'Alawas married and was commemorated both in the further examples of such gestures that transcend the tomb of her birth family and in that of her husband.74 nuclear family should be highlighted, although they In another double depiction, when 'Aliat, daughter scene are not bust-length reliefs. One is found in a large of Zabdibol, appears in a miniature banquet scale banquet scene from the hypogeum of the family and in a bust-length relief, itwas postulated that the of Artaban, son of 'Ogga, in the southeast necropolis depiction in the banquet scene occurred at the time (fig.8) ,69The banquet scene features the usual reclin of her father's death, while her own loculus portrait ing figure, in this case, Artaban, son of 'Ogga, who is was carved later.75 Similar to 'Ala, 'Aliat makes differ ent in two surrounded by themembers of his family.Particularly gestures the portraits. an striking is the gesture of the boy depicted at his feet, Multiple depictions of the same woman raise as other issue: the function of these reliefs. identified in the inscription his nephew, who reaches bust-length out to place his hand on the knee of his uncle, thereby Were they portraits of the deceased? Some scholars strengthening the bond between the families of the two have expressed doubt that the reliefs were portraits brothers.70The second example is a stele depicting a in the conventional sense, citing the lack of attempt great-uncle with his nephews inwhich the great-uncle to differentiate or to individualize the faces.76 But not an reaches out to touch the head of the nephew to his the discussion may be relevant for argument Gestures such as these connections right.71 emphasize regarding the significance of gesture. Are funerary related families and across in ad ever to were between generations, portraits "true life"?77If the reliefs purely dition to those thatjoin married couples, siblings, and decorative, as has been argued, then presumably the parents with their children. choice of gesture had more to do with aesthetics than identity.78For example, in Colledge's description of Attention-Getting Gestures female portraits in the second century, the gesture of It does not follow from this discussion that every the hands is less important than the effect produced gesture was significant. The existence of two relief by their positioning: "the hands contributed to the busts of the same woman provides ample evidence of new modes of drapery arrangement, grasping here, this, for the woman is not making the same gesture pulling there, and altogether creating a degree of in the two different representations. She is identified movement never seen hitherto."79 Similar attention to in the inscription as 'Ala, daughter ofYarhai, and the the aesthetic effect of the hands is seen in Brilliant's same date (113/4 C.E.) of death is given in each.72 In discussion of a Roman reliefwhen he comments that one example, in the British Museum, 'Ala raises her the "emphasis of the head as a distinguished shape is right hand, palm outward, and holds a spindle and matched by theparallel importance of the hands along no. distaff in her extended lefthand (appx. 1, cat. 2). the bottom of the frieze."80 Of course, hand gestures The second example, in theNy Carlsberg Glyptotek, could be both decorative and functional. This point is features 'Alawith her right hand raised to touch her illustrated by Kleiner in another discussion of Roman a asserts the hands not collarbone and the left hand extended, holding funerary art, where she that only spindle and distaff.The reason why 'Ala would have "lend animation to the figures" and give the portraits more than one isnot not "a sense of but also can un portrait clear. This is the only greater physical presence" occurrence of two of the same or images person, though derline themarital bond indicate the profession of not all are two is the bust-length reliefs.73 It possible that person portrayed.81

^Sadurska (1995, 585, fig. 3) provides an alternate inter daughter of Zabdibol (New York, Metropolitan Museum of of inv. nos. pretation the inscriptions: "Le garcon de gauche est le frere Art, 02.29.5,02.29.1). et le de leur l'autre fils compagnon adulte." 76Colledge 1976,68; Parlasca 1985a, 387. 69Sadurska and Bounni 1994,37-9. 77Hodder 1982, 146; Hope 2001, 5. See Butcher's (2003, and cat. no. 70Sadurska Bounni 1994,38, 41. 327-28) discussion about clothing and funerary sculpture: 71 Bounni cat. no. of comes Sadurska and 1994, 74, 96; Sadurska "Much the evidence for clothing from funerary us a 1995,583. sculpture, which presents with problem because the way 72 to CIS 2 4374; Ploug 1995,39-42. people chose be represented in death may not have reflect n. their 73Colledge (1976, 62 185) cites several other examples, ed everyday attire. It did, however, reflect the manner in all female. 118 n. out which themselves or Ingholt (1976, 80) points that Salmat, they their surviving relatives wanted the of a to seen daughter 'Abd'astor, is depicted twice: bust inDetroit, De deceased be for eternity." troit of no. Institute Arts Museum, inv. 25.8 (Ingholt 1928,144 78Seyrig (1937, 34) argues for their decorative function. [PS460]) and one in Istanbul. 79Colledgel976,71. n. 74Colledgel976,62 185. 80Brilliantl963,49, fig. 2.2. 75 81 Kleiner Arnold 1905,107. Another female example is 'Alliyat, the 1977,81-2.

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8. scene from the of the of son Fig. Banquet hypogeum family Artaban, of 'Ogga, Palmyra (courtesy German Archaeological Institute, Damascus, neg. 88.563).

Gesture has a similar dual function at not Palmyra, community, whether that standing was conveyed by to other activities and familial relation only alluding profession, wealth (in the case of jewelry),87 or family but also the of the viewer. For ex status ships drawing eye (spindle and distaff). However, in certain por is used in some cases to ample, gesture clearly draw traits,the person points at nothing or simplyat the loop attention to certain details in the such as of material in his or portraits, her opposite hand.88 In these cases, attributes or A woman at the as the the to jewelry.82 might point others, gestures draw attention the portrait and distaff in her left hand83 or the as a whole. Such an spindle jewelry attention-grabbing function does on her wrist.84 In a male portrait, by contrast, the de not require pointing at anything in particular; rather, ceased at might point the book roll,85leaf (see fig.2) ,86 it is just meant to catch the eye of the viewer. Itmay or sword in his lefthand It seems (see figs. 6, 9). likely explain why the lefthand displays a greater variety of that these men and women were to drawing attention gestures (see table 2): to highlight the attribute usu attributes that enhanced their in the local held standing ally there.89 Gestures that varied from the norm

82 86 Such a use of is also in gesture known Rome, where they Portland, Oregon, Portland Art Museum, inv. no. 54.1 would the index to to point finger draw attention something, (Sadurska and Bounni 1994, cat. no. 85). or someone, else (Aldrete 1999,17-34, 59, 82; Corbeill 2004, 87Sadurska (1994, 188) argues for a close correlation be tween worn women 5). the quantity of jewelry by and their no. 83E.g., Copenhagen, Ny Carlsberg Glyptotek, inv. 1156 wealth. 88 88-9 n. a (Ploug 1995, 22); Pittsfield, Massachusetts, Berkshire E.g., portrait in London (British Museum, inv. no. inv. no. 1903.7.4. inwhich a man with his at Museum, 125346), points right hand the loop 84Sadurska and Bounni (1994, 22, cat. no. 17) describe of the cloak held in his left hand. the thus: "Le de la main sur le Kleiner comm. gesture geste droite, posee 89Diana (pers. 2006) suggested that the ges ventre trahit une certaine mettant en valeur le ture of a woman in a Roman was coquetterie, relief in the Louvre highlight bracelet." her was not at ing ring, though she pointing it. 85E.g., Boston, Museum of Fine Arts, inv. no. 10.79.

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eral groups distinguish themselves more blatantly by means of their dress, attributes, and gesture: priests95 and the so-called men of the desert.96 Priests are themost easily identifiable group in the series of portrait busts because of their distinctive headgear, the modius. It is tall, cylindrically shaped, and often adorned with a wreath as well as a minia men in the are ture bust (fig. 10) .97Forty-two database wearing this headgear (appx. 5). In addition to their a or special hat, 22 of the 42 priests wear short cloak, chlamys, attached on the right shoulder with a brooch. With the exception of one (armless) bust, these same men are sac also holding objects associated with their erdotal activities: a jug (alabastron) in the right hand a one ex and bowl for incense in the left.98With only

son from Fig. 9. Funerary portrait of Zabda, of'Ogga, Palmyra. inv. no. Palmyra, Palmyra Museum, 2027/7225 (courtesy Palmyra Museum).

(the norm being extended or clenched; see tables 1, 2) would have been preferable ifthe intentwas to draw attention to the portrait. In thisway, the individuality of the deceased is emphasized.90

Profession The idea that certain gestures in the Palmyrene to is corpus drew attention particular professions some men advertised their also very plausible; already means of dress and attributes.91 Most professions by of the men depicted in the relief portraits wear the chiton and himation, with the right arm held in the sling created by the folds of the drapery. They also of ten hold the schedule or book roll, in the lefthand.92 The significance of this attribute ismuch debated.93 been the attribute of a busi it could have of a Although Fig. 10. Funerary portrait Palmyrene priest. Pittsfield, nessman or seem to scribe,94 its ubiquity would negate Massachusetts, the Berkshire Museum, inv. no. 1903.7.2 (cour an sev its effectiveness as attention getter. However, tesy the Berkshire Museum, Pittsfield, Massachusetts).

to the of a scribe 69 n. 901 owe this interesting idea to Fred Albertson. priate profession (Colledge 1976, 214; 91 as a remark Parlasca Though, Yon (2002,99) points out, citing by 1988, 215-16, pi. 45a). 95 See for cf. 2008. Sartre (1996,388), very little information about professions is Stucky (1973) priestly attire; Heyn 96 As far as I coins this effective given in the inscriptional evidence. know, Colledge (1976, 68) label. 92Colledgel976,247-53. 97 n. Rumscheid 2000. "Cumont 1926,92-3; Ingholt 1934, 33 10. Stucky 1973; are male in her discussion of 94Parlasca 1985a, 400, fig. 192. There also several 98Ploug (1995,86), Palmyrene portrai Musee du inv. no. ture in the to credit portraits from Palmyra (e.g., Paris, Louvre, Ny Carlsberg Glyptotek, appears Stucky AO 18174 [Dentzer-Feydyand Teixidor 1993, 228, fig. 221]) (1973,168 n. 6) with this correlation between dress and attri a are more but mentions the modiusr. balsamaire whose attributes, stylus and writing tablet, appro butes, Stucky only "[L]e

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ception, the remaining 20 priests who are not wearing Table 3. Gesture of Right Hand of PriestsWho Hold Sacerdotal the chlamys hold different (and presumably nonsac Objects. erdotal) attributes in the lefthand: 11 men hold a Gesture No. of book 3 hold a roll; leaf; 3 hold the loop of the cloak; Occurrences and 3 hold nothing. The one exception presents an All clenched/extended 13 interesting case because he holds the alabastron and fingers Index extended 5 the incense bowl together in his lefthand (appx. 5, finger cat. no. It is not clear whether there is corre 6). any Index and middle fingers extended 3 lation between the chlamys, the sacerdotal attributes, Index and pinkie fingers extended 0 and particular ritual activities in the city,but there are definite attempts at differentiation." Index, middle, and pinkie fingers 0 extended This tendency toward differentiation within the priestly group bymeans of dress and attribute also car over ries to gesture. The gestures of the modius-wear ingmen do not differ dramatically from the overall Table 4. Gesture of Left Hand of Priests Who Hold pattern of gestures formen in the database. A closer Sacerdotal Objects. look at the of the 21 men who hold the sacer gestures Gesture No. of dotal reveals that favor certain objects, however, they Occurrences positions (tables 3,4) and proportionally make certain All clenched/extended 11 gestures farmore often than the group ofmale reliefs fingers as a For of index whole. example, the extension the Index finger extended 0 and middle of the lefthand was fingers clearly very Index and middle fingers extended 10 popular (see fig. 10). The significance of thispattern Index and pinkie fingers extended 0 isnot obvious, but the choice of gesture certainly sets men these apart and perhaps draws attention to their Index, middle, and pinkie fingers 0 extended involvement in the sacred activities of the city. The second group of men who stand out in the are "men of the a funerary portraiture the desert," name a men exact male convenient for group of whose pro this pair of gestures. Of the 323 portraits in the men fessions are not easily identified but seem to relate to database, 25 extend the index and middle fingers a manner. men themilitary or to the caravan trade (appx. 6) .10?Many of both hands in such Nine of these 25 of themen hold whips and swords, and several men (36%) hold swords in their lefthand. It is tempting are to in the database are pictured with a camel or horse to think that they using distinctive gesturing an behind them in the relief. For example, Vibius Apol draw attention to the sword, attribute that alludes linaris,who is identified in the (rare) Latin inscription to their involvement in the caravan trade and raises status as belonging to the cavalry unit stationed at Palmyra their in the city. in the second century C.E., holds a sword in his left CONCLUSION hand and a whip in his right (appx. 6, cat. no. 11). His art so horse is depicted behind his left shoulder. Certainly, the power of in the negotiation of a to ex cial boundaries in the Roman is not a new In similar situation the priests, the gestures provinces hibited by these men of the desert do not differ dra idea,101 but the quantity and quality of Palmyrene as a There allow this to be taken further and matically from the group whole. is, however, portraits analysis our a noticeable gesture exhibited by nine of themen; it enhance understanding of the complexity of in a involves extending the index and middle fingers of identity construction colonial situation. Despite it that the social both hands (see fig. 6) and in some cases bringing Roman hegemony, is likely potency in the local was them up tomeet, touching index to index, middle to of the Palmyrene portraits community not on to theRoman middle, in front of the chest (see fig. 9). This pattern based solely their similarity por of social relations in suggests that these men were deliberately choosing traits.Given that the negotiation

See discussion of these careers et la boite a encens ne se voient que dans lesmains de person 1976,104-5; Ploug 1995,159. inAlbertson Yon nages coiffes du mortier." Perhaps Ploug deserves the credit 2000b; 2002,99-130. 101 Scott and Webster For an discussion of for this interesting observation. 2003. interesting n. and in see Tanner 2000. "Ploug 1995,86; cf. Parlasca 1985b, 352 56. portraiture society Rome, 100Seyrig1933; Will 1957; Colledge 1976, 247; Ingholt

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more or Palmyra involved than being "Roman" "local," Catalogue Number: 5 (double portrait). the social value of the different stylisticcharacteristics Right Hand: Palm out. displayed in the funerary portraiture may have been Left Hand: Index and middle fingers extended; hold associated with their symbolic representation of other ing spindle and distaff. of culture. The aspects Palmyrene discovery of pat Location: Erlangen, Archaologische Sammlung, Uni terns that draw attention to such as no. aspects gender, versitat Erlangen, inv. 1.1184. profession, or family ties sheds much lighton theways Reference: Parlasca 1980, 149-50, fig. 50.1. inwhich new stylesof (Roman) funerary art could be to used communicate the multifaceted identities of Catalogue Number: 6. the social elite in a postconquest world. Right Hand: Palm out. Left Hand: Unknown. DEPARTMENT OF CLASSICAL STUDIES Location: Istanbul, Istanbul Archaeological Museum, THE UNIVERSITY OF NORTH CAROLINA AT inv. no. 3817. GREENSBORO Reference: Colledge 1976, 256. NORTH CAROLINA GREENSBORO, 27402-6170

Catalogue Number: 7. Right Hand: Palm out. Left Hand: Index finger extended; holding spindle Appendix 1: The "Palm Out" Gesture and distaff. of Location: New York, Metropolitan Museum Art, inv. Catalogue Number: 1 (see fig. 1). no. 01.25.1. Right Hand: Palm out. References: Ingholt 1928 CPS332); Colledge 1976,256; Left Hand: Index and middle fingers extended; hold Milleker 2000,114-15, fig. 88; 208 n. 88. ing spindle and distaff. Location: British inv. no. ANE London, Museum, Catalogue Number: 8. 125203.102 Right Hand: Palm out. References: C/S 4335, pi. 54; Ingholt 1928 (PS 333) ;103 Left Hand: Broken off. Colledge 1976, 256. Location: Copenhagen, Ny Carlsberg Glyptotek, inv. no. 1057.

Catalogue Number: 2. References: CIS 4354; Ingholt 1928, 52-4 (PS 30); out. Right Hand: Palm Colledge 1976, 67 n. 210, 144 n. 536, 255-56; Ploug Left Hand: Extended; holding spindle and distaff. 1995, 37-9, no. 2; Hvidberg-Hansen 1998, 26-7, no. 2. Location: London, British Museum, inv. no. ANE

125695. Catalogue Number: 9. References: CIS 4374, pi. 52; Colledge 1976, 62, 70, Right Hand: Palm out. 256, pi. 63. Left Hand: Broken off. Location: Copenhagen, Ny Carlsberg Glyptotek, inv. Catalogue Number: 3. no. 1076. Right Hand: Palm out. References: Ingholt 1928, 127 n. 7, 129 n. 5 (PS 331); Left Hand: n. Clenched; holding spindle and distaff. 1936, 95 106; Colledge 1976, 255-56; Ploug 1995, Location: Damascus, National Museum of Damascus. 93-4, no. 25. Reference: Abdul-Hak 1952, pi. 9.1. Catalogue Number: 10. Catalogue Number: 4. Right Hand: Palm out. Hand: Palm out. Right Left Hand: Index finger extended; holding spindle Left Hand: Index finger extended; holding spindle and distaff. and distaff. Location: Palmyra, in situ,Hypogeum 5, (tomb of) the Location: National Museum of of southeast Damascus, Damascus, family Artaban, necropolis. inv. no. 32. Reference: Sadurska and Bounni 1994, cat. no. 31, Reference: Ingholt 1928 {PS 330). fig. 134.

102Information on the in the British Museum is objects also base.aspx). available the collection database search through (http://www. mPS= designation in Ingholt 1928. britishmuseum.org/research/search_the_collection_data

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11. Catalogue Number: References: Unknown. A photograph (labeled 753) Right Hand: Palm out. seen by author in Ingholt's records in Copenhagen, Left Hand: Clenched; holding spindle and distaff. Ny Carlsberg Glyptotek. Location: Palmyra, in situ,Hypogeum 5, (tomb of) the familyof Artaban, southeast necropolis. Catalogue Number: 18. References: Tanabe 1986, pi. 233; Sadurska and Bounni Right Hand: Palm out. 1994, cat. no. 33, fig. 136. Left Hand: Index finger extended; holding spindle and distaff. collection. Catalogue Number: 12. Location: Qaryatein, private Right Hand: Palm out. Reference: C/S4614, pi. 42. Left Hand: Extended. Location: Palmyra, Palmyra Museum, inv. no. 432/ 1635. Appendix 2:Mourning Women References: Colledge 1976, 260; Tanabe 1986, pi. 360. Catalogue Number: 1 (in a double portrait) (see fig.6). Right Hand: Clenched; holding two-handled bowl. son. Catalogue Number: 13. Left Hand: Placed around shoulder of her inv. Right Hand: Palm out. Location: Beirut, American University Museum, Left Hand: Index finger extended; holding spindle no. 33.12. and distaff. Reference: Ingholt 1934, 40-2, pi. 10.1. Location: Palmyra, Palmyra Museum, inv. no. 1727/ 6398. Catalogue Number: 2. References: Sadurska 1982, 270, 375, fig. 150; Tanabe Right Hand: Index finger extended. to 1986, pi. 350; Sadurska and Bounni 1994, cat. no. 9, Left Hand: Index finger extended; raised face. fig. 132. Location: Damascus, National Museum of Damascus, inv. no. 18795. no. Catalogue Number: 14. Reference: Zouhdi 1983, 316, 12, pi. 70d. Right Hand: Palm out. 3. Left Hand: Extended; holding spindle and distaff. Catalogue Number: Location: Palmyra, Palmyra Museum, inv. no. 1789/ Right Hand: Extended. 6638. Left Hand: Placed around shoulder of her daughter. Reference: Sadurska and Bounni 1994, cat. no. 189, Location: Istanbul, Istanbul Archaeological Museum, fig. 130. inv. no. 3725. References: CIS 4421, pi. 38; Ingholt 1928 (PS 468); n. n. Catalogue Number: 15. 1934, 41 85; Mackay 1949,173 2, pi. 53.2. Right Hand: Palm out. Number: 4. Left Hand: Clenched; holding spindle and distaff. Catalogue we Hand: Placed around shoulder of her Location: Wroclaw, Muzeum Archidiecezjalne Right daughter. Wroclawiu. Left Hand: Clenched. inv. References: Ingholt 1928 (PS 329); Gawlikowski 1970a, Location: Copenhagen, Ny Carlsberg Glyptotek, 89, fig. 2; Sadurska 1972, no. 60, pi. 47. no. 1025. References: CIS 2 4365; Chabot 1922, pi. 30.6; Ingholt n. Catalogue Number: 16 (male). 1934, 41 85; Ploug 1995, 210-12; Hvidberg-Hansen no. Right Hand: Palm out. 1998, 76, 86. LeftHand: Index finger extended; holding cloak loop. Number: 5. Location: Jerusalem, Musee Biblique de Bethesda. Catalogue no. Broken off woman References: CIS 4329, pi. 54; Lagrange 1902,94-7, Right Hand: (only mourning 1; Ingholt 1928 (PS 183); Parlasca 1980,151, fig. 51.1. remains). Left Hand: Index. Location: inv. Catalogue Number: 17. Copenhagen, Ny Carlsberg Glyptotek, no. 1084. Right Hand: Palm out. n. 7 Left Hand: Extended; holding spindle and distaff. References: Ingholt 1928,133 (PS 382); Colledge n. no. 31. Location: Unknown, possibly Beirut. 1976, 213 656; 257; Ploug 1995,106-7,

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Catalogue Number: 6 Catalogue Number: 3b (wife). Right Hand: Extended; placed in hand of female Right Hand: Index finger extended. companion. Left Hand: Clenched. Left Hand: Placed around shoulder of companion. Location: London, British Museum, inv. no. ANE Location: Phoenix Ancient Art; formerly in a private 125036. collection in Lebanon (collected in the 1960s).104 References: Ingholt 1928 (PS 60); Colledge 1976, Reference: Unknown. 255.

Catalogue Number: 4a (sister to the left). Hand: Raised and clenched. Appendix 3: Gestures in Double Busts Right Left Hand: Extended. Catalogue Number: la (brother). Location: London, British Museum, inv. no. ANE Right Hand: Placed around shoulder of his sister. 125717. Left Hand: Extended. Reference: None.

Location: Beirut, American University Museum, inv. no. 2733. Catalogue Number: 4b (sister to the right). References: CIS 4256, pi. 44; Porter and Torrey 1906, Right Hand: Extended. 263-64, no. 2; Ingholt 1928 (PS 15). Left Hand: Raised and clenched. Location: London, British Museum, inv. no. ANE Catalogue Number: lb (sister). 125717. Right Hand: Extended. Reference: None. Left Hand: Extended. Location: American inv. to Beirut, University Museum, Catalogue Number: 5a (female the left). no. 2733. Right Hand: Index and pinkie fingers extended. References: CIS 4256, pi. 44; Porter and Torrey 1906, Left Hand: Placed around shoulder ofAqma. 263-64, no. 2; Ingholt 1928 (PS 15). Location: Damascus, National Museum of Damascus. Reference: Amy and Seyrig 1936, 251, pi. 47.2. Catalogue Number: 2a (male). Right Hand: Extended. Catalogue Number: 5b (female to the right [Aqma]). Left Hand: Index finger extended. Right Hand: Raised; index and pinkie fingers ex Location: Antioch, Antakya Archaeological Museum, tended. inv. no. 9039. Left Hand: Extended.

Reference: Meischner and Cussini 2003, 100, 103-4, Location: Damascus, National Museum of Damascus. 4. fig. Reference: Amy and Seyrig 1936, 251, pi. 47.2.

Catalogue Number: 2b (female). Catalogue Number: 6a (female to the left). Right Hand: Clenched. Right Hand: Palm out. Left Hand: Clenched. Left Hand: Index and middle fingers extended; hold Location: Antioch, Antakya Archaeological Museum, ing spindle and distaff. inv. no. 9039. Uni Location: Erlangen, Archaologische Sammlung, versitat no. Reference: Meischner and Cussini 2003, 100, 103-4, Erlangen, inv. 1.1184. 4. Reference: Parlasca % 1980,149-50, fig. 50.1.

Catalogue Number: 3a (husband). Catalogue Number: 6b (male to the right). Right Hand: Index finger extended. Right Hand: Index finger extended. Left Hand: Clenched. Left Hand: Index finger extended. Location: London, British Museum, inv. no. ANE Location: Erlangen, Archaologische Sammlung, Uni versitat no. 125036. Erlangen, inv. 1.1184. References: Reference: Parlasca Ingholt 1928 (PS 60); Colledge 1976, 255. 1980,149-50, fig. 50.1.

104 It iswith reservation an are great that objects from antiquities dealer included in this database, because their provenance can not be verified. In the trade in addition, longstanding antiquities provides impetus for looting objects, thereby stripping them of the valuable information provided by their archaeological context.

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Catalogue Number: 7a (husband). Catalogue Number: 11a (female). Right Hand: Index and middle fingers extended. Right Hand: Index finger extended. LeftHand: Index,middle, and pinkie fingers extended. Left Hand: Index finger extended. State inv. Location: St. Petersburg, Hermitage Museum, Location: Copenhagen, Ny Carlsberg Glyptotek, inv. no. 8839. no. 1026. n. References: OS 4579, pi. 59; Ingholt 1928 (PS 64). References: Ingholt 1928, 61 1 (PS 59); Colledge 1976, 247, 255; Ploug 1995, 103-5, no. 30; Hvidberg Catalogue Number: 7b (wife). Hansen 1998, 48, no. 30. RightHand: Index,middle, and pinkie fingersextended. Left Hand: Raised; extended. Catalogue Number: lib (male). Location: St. State Index extended. Petersburg, Hermitage Museum, Right Hand: finger inv. no. 8839. Left Hand: Clenched. References: CIS 4579, pi. 59; Ingholt 1928 (PS 64). Location: Copenhagen, Ny Carlsberg Glyptotek, inv. no. 1026. n. Catalogue Number: 8a (son, on the left). References: Ingholt 1928, 61 1 (PS 59); Colledge no. Right Hand: Extended. 1976, 247, 255; Ploug 1995, 103-5, 30; Hvidberg Left Hand: Index finger extended. Hansen 1998, 48, no. 30. Location: Istanbul, Istanbul Archaeological Museum, inv. no. 3823. Catalogue Number: 12a (brother [Barika]). Reference: CIS 4603, pi. 53a. Right Hand: Index and middle fingers extended. Left Hand: Index and pinkie fingers extended. Catalogue Number: 8b (father,on the right). Location: Mainz, Prinz Johann Georg Sammlung, inv. no. 835. Right Hand: Extended. Johannes Gutenberg-Universitat Mainz, Left Hand: Index and pinkie fingers extended. References: OS 4245, pi. 47; Ingholt 1928 (PS 271). Location: Istanbul, Istanbul Archaeological Museum, inv. no. 3823. Catalogue Number: 12b (brother [Maqqai]). Reference: CIS 4603, pi. 53a. Right Hand: Not visible. Left Hand: Index finger extended. 9.105 Location: Prinz Catalogue Number: Mainz, Johann Georg Sammlung, inv. no. 835. Right Hand: Raised; extended. Johannes Gutenberg-Universitat Mainz, Left Hand: Extended. References: OS 4245, pi. 47; Ingholt 1928 (PS 271). Location: Vienna, Runs this torisches Museum, inv. no. 1 1524. Catalogue Number: 13a (father). References: C/S 4352, pi. 54; Ingholt 1928 (PS 63). Right Hand: Index finger extended. Left Hand: Index finger extended. inv. Catalogue Number: 10a (female). Location: Copenhagen, Ny Carlsberg Glyptotek, Right Hand: Extended to touch elbow of her husband. no. 1027. In Left Hand: Raised; index and pinkie fingers extended. References: CIS 2 4405; Chabot 1922, pi. 30.12; n. Location: Paris, Musee du Louvre, inv. no. AO 5007. gholt 1928,108 (PS 168); 1934,41 90; Colledge 1976, References: CIS 2 4412; Chabot 1922, 123, no. 31; In 249-51; Ploug 1995,157-59, no. 61; Hvidberg-Hansen no. gholt 1928, 94 (PS 56); Dentzer-Feydy and Teixidor 1998, 62-3, 61. 1993, 212, no. 209. Catalogue Number: 13b (son). Catalogue Number: 10b (male). Right Hand: Extended. Left Hand: and Right Hand: Index and middle fingers extended. Index, middle, pinkie fingers Left Hand: Clenched. extended. inv. Location: Paris, Musee du Louvre, inv. no. AO 5007. Location: Copenhagen, Ny Carlsberg Glyptotek, References: CIS 2 4412; Chabot 1922, 123, no. 31; In no. 1027. References: CIS 2 Chabot In gholt 1928, 94 (PS 56); Dentzer-Feydy and Teixidor 4405; 1922, pi. 30.12; n. 1993, 212, no. 209. gholt 1928,108 (PS168); 1934,41 90; Colledge 1976,

105 to the left is Only the female fully preserved.

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249-51; Ploug 1995,157-59, no. 61; Hvidberg-Hansen Catalogue Number: 17a (male). 1998, 62-3, no. 61. Right Hand: Index finger extended. LeftHand: Index,middle, and pinkie fingersextended. Catalogue Number: 14a (wife). Location: Palmyra, Palmyra Museum. Right Hand: Raised, extended. Reference: Tanabe 1986, pi. 372. Left Hand: Index and middle fingers extended. Location: Copenhagen, Ny Carlsberg Glyptotek, inv. Catalogue Number: 17b (female). no. 1028. Right Hand: Placed around shoulder ofmale. References: Ingholt 1928,26 n. 3,94 (PS57); Colledge LeftHand: Index,middle, and pinkie fingersextended. no. 1976, 247, 256; Ploug 1995, 101-3, 29; Hvidberg Location: Palmyra, Palmyra Museum. Hansen 1998, 47, no. 29. Reference: Tanabe 1986, pi. 372.

Catalogue Number: 14b (husband). Catalogue Number: 18a (male cousin to the left). Right Hand: Index and middle fingers extended. Right Hand: Extended. Left Hand: Index and middle fingers extended. Left Hand: Index finger extended. Location: Museum. Location: Copenhagen, Ny Carlsberg Glyptotek, inv. Palmyra, Palmyra no. 1028. References: Gawlikowski 1974, 43, no. 95; Tanabe References: Ingholt 1928,26 n. 3,94 (PS 57); Colledge 1986, pi. 215; Sadurska and Bounni 1994, cat. no. 116, 1976, 247, 256; Ploug 1995, 101-3, no. 29; Hvidberg fig. 104. Hansen 1998, 47, no. 29. Catalogue Number: 18b (male cousin to the right). Catalogue Number: 15a (male). Right Hand: Extended. Right Hand: Extended. Left Hand: Index finger extended. Museum. Left Hand: Extended. Location: Palmyra, Palmyra Location: Copenhagen, Ny Carlsberg Glyptotek, inv. References: Gawlikowski 1974, 43, no. 95; Tanabe no. 1153. 1986, pi. 215; Sadurska and Bounni 1994, cat. no. 116, References: Ingholt 1928, 143 n. 1 (PS 452); Colledge fig. 104. 1976, 71, pi. 94; Ploug 1995, 208-10, no. 85; Hvidberg Hansen 1998, 75-6, no. 85. Catalogue Number: 19a (brother to the left). Right Hand: Index and middle fingers extended. Catalogue Number: 15b (female). Left Hand: Index and middle fingers extended. Right Hand: Extended around back ofmale. Location: Palmyra, Palmyra Museum, inv.no. B 1948/ Left Hand: Raised; index and pinkie fingers extended. 7040. Location: Copenhagen, Ny Carlsberg Glyptotek, inv. References: Colledge 1976, 249; Tanabe 1986, pi. 370; no. 1153. Saliby and Parlasca 1992, cat. no. 13; Sadurska and References: n. 1 Bounni cat. no. 99. Ingholt 1928, 143 (PS 452); Colledge 1994, 56, fig. 1976, 71, pi. 94; Ploug 1995, 208-10, no. 85; Hvidberg Hansen 1998, 75-6, no. 85. Catalogue Number: 19b (brother to the right). Right Hand: Index and middle fingers extended. Catalogue Number: 16a (wife). Left Hand: Index and middle fingers extended. Right Hand: Raised, clenched. Location: Palmyra, Palmyra Museum, inv.no. B 1948/ Left Hand: Extended. 7040. Location: no. Palmyra, Palmyra Museum, inv. A904/ References: Colledge 1976, 249; Tanabe 1986, pi. 370; 904. Saliby and Parlasca 1992, cat. no. 13; Sadurska and References: Ingholt 1970-1971, 180, pi. 2.2; Tanabe Bounni 1994, cat. no. 56, fig. 99. 1986, pi. 366; al-As'ad and Gawlikowski 1997,55, pi. 76. Catalogue Number: 20a (male). Catalogue Number: 16b (husband). Right Hand: Extended. Hand: Right Extended. Left Hand: Index finger extended. Left Hand: Extended. Location: Palmyra, Palmyra Museum, inv. no. 1775/ Location: Palmyra, Palmyra Museum, inv. no. A904/ 6589. 904. References: Bounni and Saliby 1957, 48-9, no. 17, pi. References: Ingholt 1970-1971, 180, pi. 2.2; Tanabe 4.3; Tanabe 1986, pi. 365; Sadurska and Bounni 1994, 1986, pi. 366; al-As'ad and Gawlikowski 1997,55, pi. 76. cat. no. 212, fig. 126.

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Catalogue Number: 20b (female). 123; Tanabe 1986, pi. 367; Parlasca 1987, 280, no. 21; Right Hand: Index finger extended. Sadurska and Bounni 1994, cat. no. 174, fig.42. Left Hand: Raised; clenched. Location: Palmyra, Palmyra Museum, inv. no. 1775/ Catalogue Number: 23b (husband). 6589. Right Hand: Index and middle fingers extended. References: Bounni and Saliby 1957, 48-9, no. 17, pi. LeftHand: Index,middle, and pinkie fingersextended. 4.3; Tanabe 1986, pi. 365; Sadurska and Bounni 1994, Location: Palmyra, Palmyra Museum, inv. no. 2148/ cat. no. 212, fig. 126. 7610. References: al-As'ad and Taha 1965, 42, no. 12, pi. 3; Catalogue Number: 21a (brother). Gawlikowski 1974, 31-2, no. 63, pi. 2; Ingholt 1976, pi. Right Hand: Extended. 123; Tanabe 1986, pi. 367; Parlasca 1987, 280, no. 21; Left Hand: Clenched. Sadurska and Bounni 1994, cat. no. 174, fig. 42. Location: Palmyra, Palmyra Museum, inv.no. B 1967/ 7059. Catalogue Number: 24a (nephew) (see fig. 3). References: Colledge 1976,261; Tanabe 1986, pi. 369; Right Hand: Extended. Saliby and Parlasca 1992, cat. no. 32; Sadurska and Left Hand: Index finger extended. no. Location: Portland Art Bounni 1994, cat. 75, fig. 103; Cussini 2000. Portland, Oregon, Museum, inv. no. 54.2. no. Catalogue Number: 21b (sister). References: C/S2 4535; Ronzevalle 1902,409, 1; Par Right Hand: Raised; clenched. lasca 1990,138, fig. 5; Cussini 1992, 423-26, fig. 1. Left Hand: Index and pinkie fingers extended. Location: Palmyra, Palmyra Museum, inv.no. B 1967/ Catalogue Number: 24b (uncle) (see fig. 3). 7059. Right Hand: Placed around shoulder of nephew. References: Colledge 1976, 261; Tanabe 1986, pi. 369; Left Hand: Index and pinkie fingers extended. no. Location: Portland Art Saliby and Parlasca 1992, cat. 32; Sadurska and Portland, Oregon, Museum, Bounni 1994, cat. no. 75, fig. 103; Cussini 2000. inv. no. 54.2. References: C/S2 4535; Ronzevalle 1902,409, no. 1; Par 1. Catalogue Number: 22a (wife). lasca 1990,138, fig. 5; Cussini 1992, 423-26, fig. Right Hand: Index finger extended. Left Hand: Extended. Catalogue Number: 25a (father). Location: Palmyra, Palmyra Museum, inv.no. B 1972/ Right Hand: Extended. 7064. Left Hand: Not visible (presumably behind back of References: Colledge 1976, 249, 258; Tanabe 1986, daughter). n. Location: Portland Art pi. 368; Parlasca 1988, 219 41; Saliby and Parlasca Portland, Oregon, Museum, 1992, cat. no. 37; Sadurska and Bounni 1994, cat. no. inv. no. 54.3. no. 80, fig. 20. References: Ronzevalle 1902, 413-16, 3; Ingholt 1928,95 (PS65); Del Chiaro 1973,32, fig. 37; Vermeule no. Catalogue Number: 22b (husband). 1981, 384, 333; Parlasca 1990, 139, fig. 6. Right Hand: Index finger extended. Left Hand: Extended. Catalogue Number: 25b (daughter). no. Location: Palmyra, Palmyra Museum, inv. B 1972/ Right Hand: Raised; extended. 7064. Left Hand: Extended. Portland Art References: Colledge 1976, 249, 258; Tanabe 1986, Location: Portland, Oregon, Museum, n. inv. no. 54.3. pi. 368; Parlasca 1988, 219 41; Saliby and Parlasca no. 1992, cat. no. 37; Sadurska and Bounni 1994, cat. no. References: Ronzevalle 1902, 413-16, 3; Ingholt Del Chiaro Vermeule 80, fig. 20. 1928,95 (PS65); 1973,32, fig. 37; 1981, 384, no. 333; Parlasca 1990,139, fig. 6. Catalogue Number: 23a (wife). Number: 26a to the RightHand: Index,middle, and pinkie fingers extended. Catalogue (brother left). LeftHand: Index, middle, and pinkie fingers extended. Right Hand: Clenched. no. Index extended. Location: Palmyra, Palmyra Museum, inv. 2148/ Left Hand: finger 7610. Location: Jerusalem, Musee Biblique de Bethesda. no. References: al-As'ad and Taha 1965, 42, no. 12, pi. 3; References: C/S4329, pi. 54; Lagrange 1902, 94-7, Parlasca 51.1. Gawlikowski 1974, 31-2, no. 63, pi. 2; Ingholt 1976, pi. 1; Ingholt 1928 (PS 183); 1980, 151, fig.

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to Number: 5. Catalogue Number: 26b (brother the right). Catalogue out. Mother and son. Right Hand: Palm Description: Left Hand: Index finger extended. Does Child Reach out toAdult? No. Location: Jerusalem, Musee Biblique de Bethesda. Location: Beverly Hills, California, private collection. References: C/S4329, pi. 54; Lagrange 1902, 94-7, no. References: C7S4373, pi. 55; Parlasca 1990. 1; Ingholt 1928 (PS 183); Parlasca 1980,151, fig. 51.1. Number: 6. Catalogue Catalogue Number: 27a (male). Description: Female and child. Right Hand: Extended. Does Child Reach out toAdult? No. Left Hand: Index finger extended. Location: London, British Museum, inv. no. 125016. Location: London, Christie's, 7 December 1994, lot Reference: None. 5314. no. Reference: Hillers and Cussini 1995,159, cat. 0993. Catalogue Number: 7. Description: Male and child. Catalogue Number: 27b (female). Does Child Reach out toAdult? No. Right Hand: Extended. Location: London, British Museum, inv. no. 125033. Left Hand: Clenched and raised to veil. Reference: Colledge 1976, 248. Location: London, Christie's, 7 December 1994, lot

5314. Catalogue Number: 8. Reference: Hillers and Cussini 1995,159, cat. no. 0993. Description: Male and child. Does Child Reach out toAdult? No. Location: London, British Museum, inv.no. 125046. Reference: None. Appendix 4: Busts Including Children

Catalogue Number: 9. Catalogue Number: 1. Description: Mother and daughter. Description: Two sisters (adult and child). Does Child Reach out toAdult? No. Does Child Reach out toAdult? Yes. Location: London, British Museum, inv. no. 125150. Location: American Beirut, University Museum, inv. References: OS 4507, pi. 61; Ingholt 1928 (PS 46). no. 2753. References: OS Number: 10. 4568, pi. 44; Porter and Torrey 1906, Catalogue 266 n. 11; Ingholt 1928 (PS 447). Description: Mother and child. Does Child Reach out toAdult? Yes. no. Catalogue Number: 2. Location: Cambridge, Fitzwilliam Museum, inv. son. Description: Mother and GR.9.1888. Does Child Reach out toAdult? No. References: Ingholt 1928, 137 (PS 411); Budde and Location: Beirut, Collection Chiha. Nicholls 1964, 86 n. 139, pi. 46. Reference: and Delavaut n. Starcky 1974,69-70 3, pi. 2. 11. Catalogue Number: Number: 3. two sons. Catalogue Description: Father and Grandmother and Description: granddaughter. Do Children Reach out toAdult? Yes. Does Child Reach out toAdult? No. Location: Damascus, National Museum of Damascus, Location: Antioch, Antakya Archaeological Museum, inv. no. C 161. inv. no. 9044. References: Al-Ush et al. 1976, 125-26; Tanabe 1986, Reference: Meischner and Cussini 2003, 98-9, 102-3, pi. 311. fig. 3. Catalogue Number: 12. Catalogue Number: 4. Description: Two females (adult and child).106 Description: Brother and sister (adult and child). Does Child Reach out toAdult? Yes. Does Child Reach out toAdult? No. Location: Damascus, National Museum of Damascus. no. Location: Berlin, Staatliche Museen, inv. 27/65. References: Abdul-Hak 1952,236, fig. 14; Cussini 2000; References: OS 4479, pi. 42; Ingholt 1928 (PS 261). Colledge 1976, 72, 266, fig. 95.

106 identified as a eunuch a but see Traditionally accompanied by siren; Cussini's (2000) questioning of this interpretation.

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Catalogue Number: 13. Does Child Reach out toAdult? Yes. Mother and two sons. Location: St. State Description: Petersburg, Hermitage Museum. Do Children Reach out toAdult? Yes. Reference: None.

Location: Damascus, National Museum of Damascus, inv. no. C 2654. Catalogue Number: 20. References: Al-Ush et al. 1976, 126; Tanabe 1986, pi. Description: Female and child. 352. Does Child Reach out toAdult? No. Location: Istanbul Istanbul, Archaeological Museum, Catalogue Number: 14. inv. no. 3741. Description: N/a. References: C/S4513, pi. 48; Ingholt 1928 (PS 418). Does Child Reach out toAdult? Not visible. Location: Damascus, National Museum of Damascus, Catalogue Number: 21. no. son. inv. 6906/5840. Description: Father and References: Zouhdi 1983, fig. 70a; Charles-Gaffiot et Does Child Reach out toAdult? No. Location: al. 2001, 344, pi. 152. Istanbul, Istanbul Archaeological Museum, inv. no. 3745. Number: Catalogue 15. References: OS 4422, pi. 52; Ingholt 1928 (PS 276). Description: Mother and child. Does Child Reach out toAdult? No. Catalogue Number: 22. Location: Fribourg, Bible und Orient Museum, Univer Description: Male and child. of inv. no. sity Fribourg, 2001.8. Does Child Reach out toAdult? No. Reference: http://www.bible-orient-museum.ch. Location: Istanbul, Istanbul Archaeological Museum, inv. no. 3746. Catalogue Number: 16. Reference: None. Description: Male and child. Does Child Reach out toAdult? No. Catalogue Number: 23. no. Location: Gaziantep, Gaziantep Museum, inv. Description: Father and daughter. 211. Does Child Reach out toAdult? Yes.

Reference: Parlasca 2005,148, fig. 4. Location: Istanbul, Istanbul Archaeological Museum, inv. no. 3748. Catalogue Number: 17. References: CIS 4516, pi. 50; Ingholt 1928 (PS 102). Mother and two sons. Description: Do Children Reach out toAdult? Yes. Catalogue Number: 24. M. son Location: Cambridge, Massachusetts, Arthur Sack Description: Mother with and daughter. ler Museum, Harvard University Art Museums, inv. Do Children Reach out toAdult? No. no. 1908.3. Location: Istanbul, Istanbul Archaeological Museum, References: OS 4568; Ingholt 1928,132,158 (PS 374); inv. no. 3751. no. Vermeule 1981, 380, 329; Vermeule and Brauer Reference: Colledge 1976, fig. 83. no. see also 1990, 163, 149; http://www.artmuseums. Number: harvard.edu/study-and-research/collectionsearch. Catalogue 25. dot. Description: Female holding child. Does Child Reach out toAdult? Yes. Number: 18. Location: Istanbul Museum. Catalogue Istanbul, Archaeological Father and son. Reference: None. Description: Does Child Reach out toAdult? Yes. Arthur M. Sack Number: Location: Cambridge, Massachusetts, Catalogue 26. Art inv. Female child. ler Museum, Harvard University Museums, Description: holding no. 1998.3. Does Child Reach out toAdult? No. Museum. References: Vermeule and Brauer 1990,165, no. 151; see Location: Istanbul, Istanbul Archaeological also Reference: None. http://www.artmuseums.harvard.edu/study-and research/collectionsearch.dot. Catalogue Number: 27. child. Catalogue Number: 19. Description: Female holding out to No. Description: Female and child. Does Child Reach Adult?

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Location: Istanbul, Istanbul Archaeological Museum. Catalogue Number: 34. Reference: None. Father with son and Description: daughter. Do Children Reach out toAdult? No. Catalogue Number: 28. Location: Copenhagen, Ny Carlsberg Glyptotek, inv. Mother and son. no. Description: 2763. Does Child Reach out toAdult? Yes. References: Colledge 1976, 147 n. 548; Ploug 1995, Location: Istanbul cat. no. cat. Istanbul, Archaeological Museum, 181-82, 73; Hvidberg-Hansen 1998, 67, inv. no. 3816. no. 73. Reference: C7S4476, pi. 53b. Catalogue Number: 35. Catalogue Number: 29. Description: Mother and daughter. Description: Mother and daughter. Does Child Reach out toAdult? No. Does Child Reach out toAdult? No. Location: Palmyra, in situ,Hypogeum 5, (tomb of) the Location: van inv. of southeast Leiden, Rijksmuseum Oudheden, family Artaban, necropolis. no. B 1977/4.1. Reference: Sadurska and Bounni 1994, cat. no. 31,

References: CIS 4476, pi. 53b; Bastet and Brunsting fig. 134. 1982, 300-1, pi. 170; Hoftijzer 1988, pi. 1. Catalogue Number: 36. Catalogue Number: 30. Description: Two brothers (adult and child). Description: Female holding child. Does Child Reach out toAdult? Yes. Does Child Reach out toAdult? No. Location: Palmyra, in situ,Hypogeum 5, (tomb of) the Location: Musee du inv. no. AO 1998. of southeast Paris, Louvre, family Artaban, necropolis. References: C7S4503; Chabot 1922, 122, pi. 32.9; In Reference: Sadurska and Bounni 1994, cat. no. 40, gholt 1928 (PS 409); Colledge 1976, 70-1, 258, pi. 86; fig. 117. Dentzer-Feydy and Teixidor 1993, 171, no. 174.

Catalogue Number: 37. Number: 31. son. Catalogue Description: Mother and Description: Female holding child. Does Child Reach out toAdult? No. Does Child Reach out toAdult? Unknown, right arm Location: Palmyra, Palmyra Museum, inv.no. B 1777/ is missing. 6601. Location: Paris, Musee du Louvre, inv. no. AO 4147. References: Bounni and Saliby 1957, 50-1, no. 23, pi. References: OS 4538; Chabot 1922, 123, pi. 32.5; In 5.5; Gawlikowski 1974 (RSP40);107 Colledge 1976, 262; gholt 1928,151 (PS512); Colledge 1976, 263; Dentzer Tanabe 1986, pi. 335; Sadurska and Bounni 1994, cat. Feydy and Teixidor 1993, 196, no. 197. no. 218, fig. 205; Hillers and Cussini 1995, cat. no. 1831.

Number: Catalogue 32. Catalogue Number: 38. Father and son. Description: Description: Mother and two children. Does Child Reach out toAdult? No. Do Children Reach out toAdult? Yes. Location: Musee du inv. no. 22254. no. Paris, Louvre, Location: Palmyra, Palmyra Museum, inv. B 1788/ References: OS 4333; Chabot 1922,130; Ingholt 1928, 6637. 116 (PS 229); Colledge 1976, 250; Dentzer-Feydy and References: Colledge 1976, 258; Tanabe 1986, pi. 356; Teixidor no. 1993, 237, 230. Sadurska and Bounni 1994, cat. no. 188, fig. 159.

Catalogue Number: 33. Catalogue Number: 39. Description: Father, son, and granddaughter. Description: Female and child. Do Children Reach out toAdult? No. Does Child Reach out toAdult? No. Location: Copenhagen, Ny Carlsberg Glyptotek, inv. Location: Palmyra, Palmyra Museum, inv.no. B 2144/ no. 1027. 7606. References: CJS Chabot 4405; 1922, pi. 30.12; Ingholt References: al-As'ad and Taha 1965, 41, no. 8, pi. 2; 1928,108 (PS 168); 1934,41 n. 90; Colledge 1976,249 Gawlikowski 1974, 30, no. 59; Sadurska and Bounni cat. no. 51; Ploug 1995, 157-59, 61; Hvidberg-Hansen 1994, 128-29, cat. no. 170, fig. 193; Charles-Gaffiot et cat. no. 1998, 62-3, 61. al. 2001,264, no. 155.

l07RSP= designation in Gawlikowski 1974.

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Location: Catalogue Number: 40. Seattle, Washington, Seattle Art Museum, Description: Father, mother, and child. inv. no. 42.11. Does Child Reach out toAdults? Yes. Reference: Parlasca 1990,134, fig. 1; 137, no. 1. Location: Palmyra, Palmyra Museum, inv. no. 2148/ 7610. Catalogue Number: 47. References: al-As'ad and Taha 1965, 42, no. 12, pi. 3; Description: Male and child. Gawlikowski 1974, 31-2, no. 63, pi. 2; Ingholt 1976, pi. Does Child Reach out toAdult? Yes. 123; Tanabe 1986, pi. 367; Parlasca 1987, 280, no. 21; Location: South Bend, Indiana, Snite Museum of Art, cat. no. Notre no. Sadurska and Bounni 1994, 174, fig. 42. Dame University, inv. 1969.018.004. References: Elsen 1970; Albertson 2000b, pi. 31a. Catalogue Number: 41. Description: Father and son. Catalogue Number: 48. Does Child Reach out toAdult? No. Description: Female and child. Location: Palmyra, Palmyra Museum, inv. no. 1949/ Does Child Reach out toAdult? No. 7041. Location: Strasbourg, University Library of Stras n. References: Colledge 1976 211; Tanabe 1986, pi. 295; bourg. Saliby and Parlasca 1992, cat. no. 14; Sadurska and Boun References: C/S 4339, pi. 40; Ingholt 1928 (PS 485). ni 1994, cat. no. 57, fig. 53; Sadurska 1995, 585, fig. 3.

Catalogue Number: 42. Appendix 5: Gestures of Priests Description: Mother and daughter. (MenWearing theModius) Does Child Reach out toAdult? No. no. 1. Location: Palmyra, Palmyra Museum, inv. B 1958/ Catalogue Number: 7050. Right Hand: Extended. References: Colledge 1976, 259; Tanabe 1986, pi. 340; Left Hand: Index and pinkie fingers extended; hold Saliby and Parlasca 1992, cat. no. 23; Sadurska and ing book roll. no. American inv. Bounni 1994, cat. 66, fig. 170. Location: Beirut, University Museum, no. 25.1. Catalogue Number: 43. Reference: Ingholt 1934, 33-6, pi. 8.2. Description: Uncle and two nephews. Do Children Reach out toAdult? Yes. Catalogue Number: 2. Location: Palmyra, Palmyra Museum, inv.no. B 1961/ Right Hand: Extended. 7053. Left Hand: Index finger extended; holding book roll. References: Colledge 1976, 250; Tanabe 1986, pi. 371; Location: Belgrade, National Museum of Serbia, inv. Saliby and Parlasca 1992, cat. no. 26; Sadurska and no. 2985/111. Bounni 1994, cat. no. 69, fig. 56; Sadurska 1995,583-85, References: Ingholt 1928 (PS 118); Cambi 1988, 157 fig. 2; al-As'ad and Gawlikowski 1997, no. 57. n. 175.

Catalogue Number: 44. Catalogue Number: 3. Description: Female and child. Right Hand: Extended. Does Child Reach out toAdult? Yes. Left Hand: Index finger extended; holding book roll. Location: Pittsfield, Massachusetts, Berkshire Museum, Location: London, British Museum, inv. no. ANE inv. no. 1903.7.3. 125020. Reference: C/S 4315. Reference: None.

Catalogue Number: 45. Catalogue Number: 4. Description: Female and child. Right Hand: Clenched, holding alabastron. Does Child Reach out toAdult? No. Left Hand: Clenched, holding incense bowl. Location: Rome, National Museum of Oriental Art. Location: London, British Museum, inv. no. ANE References: OS 4413, pi. 68a; Ingholt 1928 (PS 462). 125033. Reference: Colledge 1976, 248. Catalogue Number: 46 (see fig. 7). 5. Description: Male and two children. Catalogue Number: Do Children Reach out toAdult? Yes. Right Hand: Clenched; holding alabastron.

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Left Hand: Clenched; holding incense bowl. Left Hand: Index and middle fingers extended; hold no. bowl. Location: London, British Museum, inv. ANE ing incense 125201. Location: Istanbul, Istanbul Archaeological Museum, References: CIS 4288, pi. 36; Ingholt 1928 (PS 251); inv. no. 3716. Colledge 1976. References: Ingholt 1928 (PS 147); Rumscheid 2000, 210, no. 232, pi. 63.2. Number: 6. Catalogue Right Hand: Extended. Catalogue Number: 13. Left Hand: Index and middle fingers extended; hold Right Hand: Index finger extended; holding ala incense bastron. ing alabastron and bowl. Location: London, British Museum, inv. no. ANE Left Hand: Index and middle fingers extended; hold incense bowl. 125202. ing References: CIS 4324, pi. 52; Ingholt 1928 (PS 249). Location: Istanbul, Istanbul Archaeological Museum, inv. no. 7896. no. Catalogue Number: 7. Reference: Rumscheid 2000, 199, 195, pi. 62.1. Right Hand: Index finger extended. Left Hand: Index finger extended; holding cloak loop. Catalogue Number: 14. Location: Charlottesville,Virginia, University ofVirginia Right Hand: Index and middle fingers extended; hold no. alabastron. Art Museum, inv. 2001.16.1. ing References: OS 4504, pi. 47; Ingholt 1928 (PS 301). Left Hand: Extended; holding incense bowl. Location: Paris, Musee du Louvre, inv. no. AO 2069. Number: 8. n. Catalogue References: CIS2 4497; Chabot 1922,122 14; Ingholt Right Hand: Extended. 1928,117 (PS 231); Colledge 1976, 250; Dentzer-Feydy Left Hand: Index and pinkie fingers extended; hold and Teixidor 1993,177, no. 179. ing book roll. Location: Damascus, National Museum of Damascus, Catalogue Number: 15. inv. no. C 22. Right Hand: Extended. References: CIS 4243; Ingholt 1928 (PS 24); Al-Ush et Left Hand: Index finger extended; holding book roll. al. 1976,124; Tanabe 1986, pi. 309. Location: Paris, Musee du Louvre, inv. no. AO 2199. References: CIS2 4323, pi. 38; Repertoired'epigraphiesemi Catalogue Number: 9. tique 1078; Chabot 1922, 124, pi. 31.12; Ingholt 1928, Right Hand: Index finger extended; holding ala 119 (PS 248); Colledge 1976, 249; Dentzer-Feydy and bastron. Teixidor 1993,183, no. 184. Left Hand: Extended, holding incense bowl. Location: National Museum of Damascus. Number: 16. Damascus, Catalogue References: Abdul-Hak 1952, no. 1, pi. 1, fig. 1; 1960, Right Hand: Clenched; holding alabastron. 37, pi. 21. Left Hand: Index and middle fingers extended; hold ing incense bowl. no. Catalogue Number: 10. Location: Paris, Musee du Louvre, inv. 2200. RightHand: Index fingerextended; holding alabastron. References: CIS 2 4250; Repertoired'epigraphie semitique Left Hand: Extended; holding incense bowl. 1074; Chabot 1922,123 n. 18, pi. 31.15; Ingholt 1928,37 Location: Damascus, National Museum of Damascus. (PS 14); Dentzer-Feydy and Teixidor 1993,184, no. 185. Reference: Abdul-Hak 1960, 37, pi. 22. Catalogue Number: 17. Catalogue Number: 11. Right Hand: Clenched; holding alabastron. Right Hand: Index finger extended. Left Hand: Clenched; holding incense bowl. Left Hand: Clenched; holding book roll. Location: Paris, Musee du Louvre, inv.no. AO 2202. Location: St. State Petersburg, Hermitage Museum, References: Ingholt 1928,119 (PS 250); Colledge 1976, inv. no. 8843. 250; Dentzer-Feydy and Teixidor 1993, 186, no. 187 References: CIS 4577, pi. 60; Ingholt 1928 (PS 140). (image is flipped).

Catalogue Number: 12. Catalogue Number: 18. Right Hand: Index and middle fingersextended; hold Right Hand: Index and middle fingers extended; hold alabastron. ing ing alabastron.

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Left and Hand: Index middle fingers extended; hold Location: Copenhagen, Ny Carlsberg Glyptotek, inv. ing incense bowl. no. I.N. 1032. Location: Paris, Musee du Louvre, inv. no. AO 4085. References: C/S2 4285; Ingholt 1928,24 n. 14 (PS 142); References: CIS 2 4465; Repertoired'epigraphie semitique Colledge 1976,248; Ploug 1995,84-5, no. 20; Hvidberg 1635; Chabot 1922, 123 n. 22, pi. 32.7; Ingholt 1928, Hansen 1998, 42, no. 20. 106 (PS 146); Colledge 1976, 248; Dentzer-Feydy and no. Teixidor 1993,194, 195. Catalogue Number: 25. Right Hand: Index finger extended. Catalogue Number: 19. LeftHand: Index fingerextended; holding laurel sprig. Right Hand: Index finger extended; holding ala Location: Copenhagen, Ny Carlsberg Glyptotek, inv. bastron. no. I.N. 1033. Left Hand: Index and middle fingers extended; hold References: C/S2 4398; Ingholt 1928,124 n. 9 (PS302); incense bowl. n. ing Colledge 1976,124 553,252; Ploug 1995,186-87, no. Location: Paris, Musee du Louvre, inv. no. AO 4086. 76; Hvidberg-Hansen 1998, 70-1, no. 76. References: CIS 2 4402; Repertoired'epigraphie semitique n. 1634; Chabot 1922, 123 23, pi. 32.6; Ingholt 1928, Catalogue Number: 26. 106 (PS 144); Colledge 1976, 248; Dentzer-Feydy and Right Hand: Extended. no. Teixidor 1993,195, 196. Left Hand: Index and pinkie fingers extended. Location: Copenhagen, Ny Carlsberg Glyptotek, inv. Catalogue Number: 20. no. I.N. 1034. Right Hand: Index and middle fingers extended. References: CIS 2 4364; Ingholt 1928, 125 n. 5 (PS Left Hand: Clenched; holding book roll. 305); Colledge 1976, 252; Ploug 1995,184-85, no. 75; Location: Paris, Musee du Louvre, inv. no. 6211. Hvidberg-Hansen 1998, 69-70, no. 75. References: CIS 2 4607; Repertoired'epigraphie semitique 135; Chabot 1922,124 n. 34; Ingholt 1928,118-19 (PS Catalogue Number: 27. 245); Colledge 1976, 249; Dentzer-Feydy and Teixidor Right Hand: Index finger extended; holding ala 1993, 216, no. 213. bastron. Left Hand: Index and middle fingers extended; hold Number: incense Catalogue 21. ing bowl. Right Hand: Clenched; holding alabastron. Location: Palmyra, in situ,Hypogeum 5, (tomb of) the of Left Hand: Clenched; holding incense bowl. family Artaban, southeastern necropolis. Location: Rome, Museo Barracco, inv. no. 250. References: Tanabe 1986, pi. 236; Sadurska and Bounni cat. no. References: Ingholt 1928 (PSU9); Brinkerhoffl970,47-8, 1994, 19, fig. 83. see also fig. 32; http://en.museobarracco.it/percorsi/ percorsi_per_sale/sala_ix/stele_funeraria. Catalogue Number: 28. Right Hand: Extended. Catalogue Number: 22. Left Hand: Extended; holding laurel sprig. in Right Hand: Extended. Location: Palmyra, situ, Hypogeum 5, (tomb of) the of southeastern Left Hand: Index finger extended; holding book roll. family Artaban, necropolis. Location: Unknown; "in commerce" in 1934. Reference: Sadurska and Bounni 1994, cat. no. 23, Reference: Ingholt 1934, 42-3, pi. 10.2. fig. 70.

Number: Catalogue Number: 23. Catalogue 29. Right Hand: Clenched; holding alabastron. Right Hand: Extended. Left Hand: Clenched; holding incense bowl. Left Hand: Index finger extended; holding cloak Location: Copenhagen, Ny Carlsberg Glyptotek, inv. loop. no. 1031. Location: Palmyra, in situ,Hypogeum 5, (tomb of) the n. of southeastern References: C/S2 4395; Ingholt 1928,106 5 (PS 145); family Artaban, necropolis. Colledge 1976,248; Ploug 1995,86-7, no. 21; Hvidberg Reference: Sadurska and Bounni 1994, cat. no. 25, Hansen 1998, 43, no. 21. fig. 120.

Catalogue Number: 24. Catalogue Number: 30. Right Hand: Index finger extended. Right Hand: Index extended. LeftHand: Index fingerextended; holding laurel sprig. Left Hand: Index extended; holding cloak loop.

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Museum. no. Location: Palmyra, Palmyra Reference: Charles-Gaffiot et al. 2001,255,343, 146 Reference: Sadurska and Bounni 1994, cat. no. 236, (image is flipped). fig. 128. Catalogue Number: 37. Number: 31. Catalogue Right Hand: Extended; holding alabastron. Right Hand: Extended. Left Hand: Index and middle fingers extended; hold Left Hand: Index finger extended; holding book roll. ing incense bowl. Location: Palmyra, Palmyra Museum, inv. no. 1729/ Location: Pittsfield,Massachusetts, the Berkshire Mu 6400. seum, inv. no. 1903.7.2. Reference: Sadurska and Bounni 1994, cat. no. 12, References: Ingholt 1928,106,159 (PS 150); 1954, no. fig. 118. 4; Vermeule 1964, 111; 1981, 383, no. 332.

Catalogue Number: 32. Catalogue Number: 38. Right Hand: Clenched; holding alabastron. Right Hand: Clenched. Left Hand: Index and middle fingers extended; hold Left Hand: Index and middle fingers extended. ing incense bowl. Location: Potsdam, Villa Sarre. Location: Palmyra, Palmyra Museum, inv. no. 1755/ Reference: Nehls 1995, figs. 2-4. 6579. References: Bounni and Saliby 1957, 43, no. 1, pi. Catalogue Number: 39. 1.1; Gawlikowski 1974,17, no. 27; Colledge 1976, 248; Right Hand: Clenched; holding alabastron. Tanabe 1986, pi. 283; Sadurska and Bounni 1994, cat. Left Hand: Index and middle fingers extended; hold no. 34. 196, fig. ing incense bowl. Location: no. Toronto, Royal Ontario Museum, inv. Catalogue Number: 33. 953x94.2. Right Hand: Clenched; holding alabastron. References: Ingholt 1928 (PS 148); Colledge 1976, 63, Left Hand: Clenched; holding incense bowl. 68, pi. 66. Location: Palmyra, Palmyra Museum, inv. no. 1763/ 6587. Catalogue Number: 40. References: Bounni and Saliby 1957, 44, no. 5, pi. 1.4; Right Hand: Extended. Tanabe 1986, pi. 285; Sadurska and Bounni 1994, cat. Left Hand: Index finger extended; holding book roll. no. 84. 200, fig. Location: Richmond, Virginia, Virginia Museum of Fine Arts, inv. no. 2497.

Catalogue Number: 34. References: Brown 1973,126, no. 144; Rumscheid 2000, Right Hand: Extended. 102,107, 226-27, no. 282. Left Hand: Index and middle fingers extended. Location: inv. no. Palmyra, Palmyra Museum, 1952/ Catalogue Number: 41. 7044. Right Hand: Clenched; holding alabastron. Reference: Sadurska and Bounni cat. no. 1994, 60, fig. 87. Left Hand: Extended; holding incense bowl. Location: Private collection.

Catalogue Number: 35. Reference: Teixidor 1997, 65-8. Right Hand: Extended. LeftHand: Index,middle, and pinkie fingers extended; Catalogue Number: 42. holding book roll. Right Hand: Clenched; holding alabastron. Location: Palmyra, Palmyra Museum. Left Hand: Extended; holding incense bowl. no. References: Gawlikowski 1974,43, 94; Tanabe 1986, Location: Formerly in Bertone Collection. Sadurska and cat. no. pi. 213; Bounni 1994, 114, fig. References: OS 4562, pi. 47; Ingholt 1928 (PS 12). 94.

Catalogue Number: 36. Appendix 6: Gestures of the Right Hand: Index finger extended; holding ala "Men of the Desert" bastron. LeftHand: and Index,middle, pinkie fingersextended; Catalogue Number: 1. holding incense bowl. Right Hand: Index finger extended. Location: no. Palmyra, Palmyra Museum, inv. B Left Hand: Clenched; holding sword. 2702/9104. Location: Baalbek, Baalbek Museum.

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References: Ingholt 1928,103 (PS116); 1934,41 n. 91; Left Hand: Index and middle fingers extended; hold Seyrig 1941, 40-1, fig. 9. ing sword. Location: Istanbul, Istanbul Archaeological Museum, no. Catalogue Number: 2. inv. 3714. Right Hand: Unknown. References: OS4348; Ingholt 1928,116 (PS227); 1934, Left Hand: Clenched; holding sword. 41 n. 90. Location: Baalbek, Baalbek Museum. n. References: Ingholt 1928, 103 (PS 118); 1934, 41 Catalogue Number: 9. 91. Right Hand: Index and middle fingers extended; hold ingwhip. Catalogue Number: 3 (in double portrait) (see fig. 6). Left Hand: Index and middle fingers extended; hold Right Hand: Index and middle fingers extended. ing sword. Left Hand: Index and middle fingers extended; hold Location: Istanbul, Istanbul Archaeological Museum, inv. no. ing sword. 3749. Location: Beirut, American University Museum, inv. References: OS4447; Ingholt 1928,103 (PS 119); 1934, no. 33.12. 41 n. 89; Albertson 2000b, 144 n. 16,148-49, pi. 32a. Reference: Ingholt 1934, 40-2, pi. 10.1. Catalogue Number: 10. Number: 4. Catalogue Right Hand: Index and middle fingers extended; hold Right Hand: Clenched. ingwhip. Left Hand: Clenched; holding sword. Left Hand: Index finger extended; holding schedula. Location: Bryn Athyn, Pennsylvania, Glencairn Mu Location: Jarville,Chateau de Montaigu. seum, inv. no. 09.SP.1544. References: CIS 4273, pi. 45; Ingholt 1928 (PS 228); References: CIS 4559, pi. 48; Ingholt 1928, 103 (PS Bordreuil et al. 1999, 248, fig. 6. 117); 1934, 41 n. 92. Number: 11. Catalogue

Catalogue Number: 5. Right Hand: Index finger extended; holding whip. Right Hand: Clenched. Left Hand: Index finger extended; holding sword. Left Hand: Clenched; holding sword. Location: Paris, Musee du Louvre, inv. no. AO 14924. Location: Damascus, Musee de l'Armee. References: Ingholt 1928 (PS67); Seyrig 1933,160-61, References: Abdul-Hak 1961, 44, pi. 4.8; Sadurska and pi. 22.2; Colledge 1976, 69, 225, 251, pi. 245; Dentzer cat. no. 43. cat. no. Albertson Bounni 1994, 39, fig. Feydy and Teixidor 1993, 221, 217; 2000b, 144 n. 15, pi. 31b. 6. Catalogue Number: Right Hand: Extended. Catalogue Number: 12. Left Hand: Clenched; holding sword. Right Hand: Index finger extended; holding whip. Location: Damascus, National Museum of Damascus, Left Hand: Index and middle fingers extended; hold no. sword. inv. 15027. ing inv. Reference: Sabeh 1953, 22-4, pi. 2.1. Location: Copenhagen, Ny Carlsberg Glyptotek, no. 1027. In Catalogue Number: 7 (in a double portrait). References: CIS 2 4405; Chabot 1922, pi. 30.12; n. Right Hand: Extended; holding whip. gholt 1928,108 (PS 168); 1934,41 90; Colledge 1976, no. Left Hand: Index and pinkie fingers extended; hold 249-51; Ploug 1995,157-59, 61; Hvidberg-Hansen no. 61. ing sword. 1998, 62-3, Location: Istanbul, Istanbul Archaeological Museum, inv. no. 3823. Catalogue Number: 13. References: C/S4603; Ingholt 1928,120 (P5259); 1934, Right Hand: Extended. 41 n. 90. Left Hand: Index finger extended; holding sword.108 Location: Palmyra, in situ,Hypogeum 5, (tomb of) the Number: 8. of southeastern Catalogue family Artaban, necropolis. Bounni cat. no. Right Hand: Index and middle fingers extended; hold Reference: Sadurska and 1994, 26, 115. ingwhip. fig.

n. left hand as a staff of rather than a sword. 108Albertson (2000b, 143 10) identifies the object in his authority

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14. Catalogue Number: References: Gawlikowski 1974 (RSP22); Tanabe 1986, Right Hand: Clenched; holding whip. pi. 279; Sadurska and Bounni 1994, cat. no. 185, fig. 41; Left Hand: Clenched; holding sword. Hillers and Cussini 1995, cat. no. 1814. Location: Palmyra, Palmyra Museum, inv. no. 1764/ 6588. Catalogue Number: 21. References: Bounni and Saliby 1957, 43, pi. 2.1; Gaw Right Hand: Index and middle fingers extended. likowski 1974,18 n. 28; Tanabe 1986, pi. 284; Sadurska Left Hand: Index and middle fingers extended; hold and Bounni cat. no. 35. 1994, 197, fig. ing sword. Location: Palmyra, Palmyra Museum, inv. no. 2148/ Number: Catalogue 15. 7610. Right Hand: Index and middle fingers extended; hold References: al-As'ad and Taha 1965, 42, no. 12, pi. 3; ingwhip. Gawlikowski 1974, 31-2, no. 63, pi. 2; Ingholt 1976, pi. Left Hand: Index and middle fingers extended; hold 123; Tanabe 1986, pi. 367; Parlasca 1987, 280, no. 21; sword. cat. no. ing Sadurska and Bounni 1994, 174, fig. 42. Museum. Location: Palmyra, Palmyra References: Seyrig 1933, pi. 22.1; Charles-Gaffiot et al. Catalogue Number: 22. 2001,342-43 n. 143. Right Hand: Clenched; holding whip. Left Hand: Index finger extended; holding book roll. Catalogue Number: 16. Location: Jerusalem, Musee Biblique de Bethesda. no. Right Hand: Index and middle fingersextended; hold References: Lagrange 1902,94-7, 1; Parlasca 1980, ingwhip. 151, fig. 51.1. Left Hand: Index and middle fingers extended; hold sword. ing Catalogue Number: 23. Location: Palmyra, Palmyra Museum. Right Hand: Extended; holding whip. Reference: Tanabe 1986, pi. 319. LeftHand: Index,middle, and pinkie fingers extended; holding sword. Catalogue Number: 17. Location: Southbend, Indiana, Snite Museum of Art, Notre no. Right Hand: Index and middle fingers extended. Dame University, inv. 1969.018.004. Left Hand: Index and middle fingers extended; hold References: Elsen 1970; Albertson 2000b, pi. 31a. ing sword. Location: Museum. Palmyra, Palmyra Catalogue Number: 24. Reference: Tanabe 1986, pi. 324. Right Hand: Extended. Left Hand: Extended; holding book roll. Catalogue Number: 18. Location: Copenhagen, Ny Carlsberg Glyptotek, inv. Right Hand: Clenched. no. 2833. Left Hand: Clenched; holding sword. References: Colledge 1976, 68 n. 211,142 n. 525, 250; Location: no. Palmyra, Palmyra Museum, inv. 2004. Taha 1982, 123, fig. 5.1; Parlasca 1989, 547, fig. 202b; Reference: Sadurska and Bounni 1994, cat. no. 139, Ploug 1995,126-28, no. 47. fig. 49.

Catalogue Number: 19. Works Cited Right Hand: Index and middle extended; hold fingers S. Abdul-Hak, 1952. "L'hypogee de Ta'ai aPalmyre." AAS 2: ingwhip. 193-251. Left Hand: Index and middle extended; hold -. 1960. The Treasures the fingers of National Museum ofDa sword. mascus. ing Translated by G. Haddad. Damascus: Director Location: no. ate General of and Museums. Palmyra, Palmyra Museum, inv. 2005. Antiquities -. 1961. "Decouvertes recentes dans Reference: Sadurska and Bounni 1994, cat. no. 140, archeologiques les sites de Atti delSettimo greco-romains Syrie." Congresso fig. 80. InternazionalediArcheobgia Classica. Vol. 3,27-46. Rome: L'Erma di Bretschneider. Number: 20. and M. Gawlikowski. The Catalogue al-As'ad, K., 1997. Inscriptions in theMuseum Warsaw: Right Hand: Index and middle fingers extended. ofPalmyra. Palmyra Museum and ofWarsaw. Left Hand: Index and middle fingers extended; hold University al-As'ad, K., and O. Taha. 1965. "Madfan Zabd'Atah al ing sword. Tudmuri (The Palmyrene Tomb of Zabd'Atah)" (in Location: inv.no. B Palmyra, Palmyra Museum, 2027/ Arabic). AAS 15:29-46. F.C. 7225. Albertson, 2000a. "Three Palmyrene Reliefs in the

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In Colket Collection, University ofWyoming." Syria 77: Identity." Patavina orientalia selecta, edited by E. Rova, 159-68. 279-90. Padua: Sargon. -. a -. 2000b. "A Palmyrene Funerary Bust of Roman 2004. "Regina, Martay and the Others: Stories of Cavalryman." DM 12:141-53. Palmyrene Women." Orientalia 73:1-10. -. Aldrete, G.S. 1999. Gestures and Acclamations in Ancient 2005. "Beyond theSpindle: Investigatingthe Role of In A to Rome. Baltimore and London: The Johns Hopkins Uni Palmyrene Women." Journey Palmyra: Collected to versity Press. Essays Remember Delbert R Hillers, edited by E. Cussini, Leiden and Boston: Brill. Al-Ush, A., A. Joundi, and B. Zouhdi. 1976. Catalogue du 26-43. MuseeNational deDamas. Damascus: Directorate General Davies, G. 1985. "The Significance of the Handshake Motif of Antiquities and Museums. inClassical FuneraryArt." AJA89(4):627-40. necro M. Roman Art inWest Coast Collections. Amy, R, and H. Seyrig. 1936. "Recherches dans la Del Chiaro, 1973. Santa Barbara: of California. pole de Palmyre." Syria 17:229-66. University Les Arnold, W.R. 1905. "Additional Palmyrene Inscriptions in Dentzer-Feydy, J., andj. Teixidor, eds. 1993. Antiquites au des Mu theMetropolitan Museum ofArt, New York. JAOS 26: de Palmyre Musee du Louvre. Paris: Reunion 105-12. sees Nationaux. entre et Occident: Ac W. "Monuments orientaux du musee de Baity, J.-C. 1996. "Palmyre Orient Deonna, 1923. et culturation resistances." In Palmyra and the Silk Road, Geneve." Syria 4:224-33. "Deux 437-41. AAS 42. Damascus: Directorate General of An Desreumaux, A., and F. Briquel-Chatonnet. 1997. and Museums. bas-reliefs au Musee de Se tiquities palmyreniens Gaziantep." mitica Bastet, F.L., and H. Brunsting. 1982. Corpus Signorum Clas 47:73-9. het S. Ancient Greek Portrait Sub sicorumMuseiAntiquariiLugduno-Batavi: Catabgusvan Dillon, 2006. Sculpture: Contexts, van and and New York: Klassieke Beeldhouwwerk in het Rijksmuseum Oudheden jects, Styles. 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