IVANA POPOVI]
Institute of Archaeology, Belgrade
NEW DISCOVERIES OF MARBLE SCULPTURES
IN THE SIRMIUM IMPERIAL PALACE
UDK: 904:730"652"(497.113) ; 902.2(497.113)"2012/2013"
DOI: 10.2298/STA1464077P
e-mail: [email protected]
Received: February 19, 2014
Accepted: July 21, 2014
Original research article
Abstract. – In the course of archaeological excavations carried out in 2012 and 2013, in the northwestern section of the palatial
complex in Sirmium (locality 85), many fragments of porphyry and marble sculptures were discovered. Worth mentioning among
the marble sculptures is a female head with a lunular diadem that had, most probably, been made during the Antonine period.
The head was used as spolia incorporated in the medieval wall. It was a fragment of a statue of some goddess, possibly Juno,
Minerva or the deified empress Faustina the Younger, and erected in the area of the palatial complex during
the Late Antique period.
Key words. – Roman period, Sirmium, imperial palace, sculptures, marble.
A
rchaeological excavations of the northwestern
section of the palatial complex in Sirmium
(locality 85) have been in progress since
2002, with an interruption from 2007 to 2010, resulting from a lack of funds to continue investigations.
Investigations revealed a large structure (31 x 39 m)
with substantial walls reinforced on the inside with
pilasters, that was most probably the granary (horreum), had been built in this area in the 4th century.
Sometime later the annexes were added on the north
and south side of the eastern wall. The remains of a
fountain were recorded in the northern section of the
annex. A square connecting this section of the complex
with structures in its western area (locality 37) was
built along the eastern annex wall in the second half of
the 4th century. In the course of excavations conducted
in 1968 and 1969, remains of a luxurious Late Roman
structure (fig. 1a) were discovered. Next to the square
were recorded remains of two rooms whose floors
were paved with mosaics with geometric motifs. These
mosaics were damaged in a later period by the intrusion of the postholes used as the substructure of the
Gepidean houses which were built at the time of disintegration of the palatial complex during the 5th and 6th
centuries. Three contemporary burials, most probably
of the Gepidean population, were also discovered in
the immediate vicinity of these dwelling structures.1
The cathedral church of medieval Dmitrovica was built
in the medieval period on top of the remains of antique
1 Jeremi}, Popovi} 2004, 284–288; Jeremi} 2009, 470–491,
Fig. 9, 17–20, 30; Miladinovi}-Radmilovi} 2011, 427–432, Fig. 213.
* The article results from the project: Romanization, urbanization and transformation of urban centres of civil, military and residential
character in the Roman provinces on territory of Serbia (no 177007) funded by the Ministry of Education, Science and Technological
development of the Republic of Serbia.
77
Ivana POPOVI], New discoveries of marble sculptures in the Sirmium imperial palace (77–86)
STARINAR LXIV/2014
Fig. 1a. Sirmium – investigated localities within the palatial complex (plan B. Popovi})
Sl. 1a. Sirmijum – istra`ivani lokaliteti u sklopu palatijalnog kompleksa (plan: B. Popovi})
architecture in the western section of locality 85.The
fresco-painted crypt of the church used the wall of a
Late Roman structure of economic character.2 The
multi-layered necropolis used in the period between
the 12th and 16th centuries was established around the
church.3 Medieval structures and communications were
also recorded in the eastern section of the site.
During the course of archaeological excavations
carried out in the autumn of 2012, medieval and antique
layers at locality 85 were levelled off 4, and during the
campaign in the autumn of 2013, medieval structures
and communications were removed (fig. 1b). Many
fragments of carved porphyry and marble belonging to
Roman period sculptures were found on these occasions. Of these carvings, a fragmented marble female
head and fragments of a porphyry male head were preserved. Unfortunately, most of these sculptural fragments were not discovered in situ, while some of them
were used as spolia in medieval structures or communications. Nevertheless, this material, together with
sculptural works discovered during excavation of this
area in the preceding years, offers important elements
for the comprehension of the decorative concept applied
in this section of the palatial complex.
Among the few fragments of marble structures
discovered at locality 85 in 2012, only the partially preserved head of a young woman (C–7/2012: h. 15.5 cm;
w. 15 cm) offers clear data for analysis. This head had
been used as spolia in the Middle Ages, as it was found
incorporated in wall XXXIII (fig. 2) built above the
street, which was dated by monetary finds to the 13th
century.5 At the time of its discovery the head was covered with a thick layer of mortar and looked like some
architectural element spherical in shape (fig. 3 a–d). It
turned out, after cleaning and conservation, that it is the
marble head of a woman whose lower sections of the
face are missing and the nose is damaged.6 The eyes
2
Jeremi} 2006, 164–167.
Miladinovi}-Radmilovi} 2011, 486–494; 523–541.
4 Popovi}, Pop-Lazi}, Popovi}, Vujadinovi} 2012, 38–41.
5 According to preliminary analysis conducted by Pavle Popovi}, the museum counsellor from the Museum of Srem, at the level
of medieval street where discovered copper coins of Hugarian king
Istvan IV (1162–1163) and silver Croatiani coins from the period
between 1235 and 1349 (from the reign of Bela IV to Miklos Cehi).
6 Popovi} 2013a, 113, sl. 46; Popovi} 2013b, 113, fig. 46.
3
78
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Ivana POPOVI], New discoveries of marble sculptures in the Sirmium imperial palace (77–86)
Fig. 1b. Sirmium – locality 85,
area investigated in 2012
and 2013 (plan B. Popovi})
Sl. 1b. Sirmijum –
lokalitet 85, prostor
istra`ivan 2012. i 2013.
godine (plan: B. Popovi})
are of an almond shape with lightly engraved corneas
and crescent shaped pupils. Her hair is parted along the
middle of the head and is depicted by relatively deep,
slightly meander-like channels, creating a light–dark
contrast. It was probably gathered in a chignon, but the
back of the head is also damaged, so that segment of
the hair style is missing. On the head is a diadem of
lunular shape, damaged on the upper arched section
(fig. 4 a–c). Near the top in central section is shallow,
symmetrical, circular impression preserved in the
lower semicircular segment (fig. 5).
Judging by the lunular diadem, which is an attribute
of some female deities, the head represents a goddess,
possibly Juno or Minerva, although, because of the damage and lack of attributes, a precise identification is
not possible. The execution of hair indicates the work
of Asia Minor sculptors and the general style of creation links it to the sculptures from the period around
the middle or second half of the 2nd century. Despite
the fact that the hairstyle of the depicted goddess is not
completely preserved, and considering that the hair is
falling downward from the top of the head, it seems
that she had a chignon at the back of her head. Slightly
wavy hair gathered at the nape represents one of the
characteristic hairstyles of empresses from the time of
the Antonines, primarily of Faustina the Younger, wife
of Marcus Aurelius,7 and that could indicate the date of
origin of the head of this goddess. In favour of such
chronological determination speaks the fact that private
portraits and other sculptural works during the Antonine
period had been modelled after the sculptures of rulers
and their wives and that their characteristic is an optical effect of contrast between the voluminously sculptured hair and the smooth, incarnate hair.8 The head of
the goddess from Sirmium also reveals such characteristics as thick wavy hair above the forehead and face,
which is without significant vibrations, and slightly
curly locks which are divided by channels, although
much shallower and less pronounced than those used
7
8
79
Wegner 1938, 324–325, Abb.4.
Cambi 2005, 95–96.
Ivana POPOVI], New discoveries of marble sculptures in the Sirmium imperial palace (77–86)
STARINAR LXIV/2014
Fig. 2. Medieval wall XXXIII at locality 85
and head of the goddess extracted from the place
where it had been built-in (photo S. Pop-Lazi})
Sl. 2. Sredwovekovni zid XXXIII na lokalitetu 85
i glava bogiwe izvu~ena sa mesta gde je bila uzidana
(foto: S. Pop-Lazi})
for depicting the hair by masters from the sculptural
workshops in Aphrodisias in Asia Minor, sometime
later during the Severan epoch. Artisans from those
workshops travelled throughout the Empire, carving
nicely modelled sculptures. Judging by the execution
of the hair on the top of the much damaged head of the
woman with a lunular diadem from Divo{ near Sremska
a
b
c
d
Fig. 3 a–d. Head of the goddess after being extracted from the medieval wall (photo S. Pop-Lazi})
Sl. 3 a–d. Glava bogiwe posle va|ewa iz sredwovekovnog zida (foto: S. Pop-Lazi})
80
Ivana POPOVI], New discoveries of marble sculptures in the Sirmium imperial palace (77–86)
STARINAR LXIV/2014
a
b
c
Fig. 4 a–c. head of the goddess after cleaning and conservation (photo N. Bori})
Fig. 5. Lunular diadem on the goddess’ head (photo N. Bori})
Sl. 4 a–c. Glava bogiwe posle ~i{}ewa i konzervacije (foto N. Bori})
Sl. 5. Lunulasta dijadema na glavi bogiwe (foto: N. Bori})
Mitrovica,9 this sculpture could also have been the work
of masters from the Asia Minor workshops, made during
the Antonine period. The head of the goddess, Minerva
or Juno, also with a lunular diadem, found at ^itluk
near Sinj (Aequum), is also the work of artisans from
Aphrodisias.10 In Aquileia, from the Antonine to the
Late Roman period, were displayed medallions with,
most probably, representations of 12 deities, made
according to the traditions of the works of masters from
this stone-carving centre in Asia Minor.11 The head
from Sirmium, as well as the one from nearby Divo{,
are stylistically close to the Antonine period and that
raises some questions related to the time, circumstances and place of their display.
As the Sirmium head was incorporated into the
medieval wall, its original architectural context could
not be established. It could be assumed, with some certainty, that this sculpture was, in the Late Roman period,
9
Popovi} 2012, 108–109, kat. 34.
Cambi 2005, 123, sl. 180.
11 Mian 2013, 326–231, cat. 34–39.
10
81
Ivana POPOVI], New discoveries of marble sculptures in the Sirmium imperial palace (77–86)
displayed in the northwestern area of the palatial complex, on top of which were constructed dwelling structures and communications in the medieval times. If
this assumption is correct, it would mean that the
sculpture of the goddess dating from the earlier period,
i.e. from the second half of the 2nd century, existed
within the zone of the imperial palace, most probably
built at the end of the 3rd to the beginning of the 4th
century and adapted on many occasions until the final
third of that century. Such a phenomenon has been
already encountered in the very same area since the
head of Venus, discovered in 2003 as an element of the
ornamental system of the fountain in the north annex
of the 4th century structure, was most probably made at
the end of 1st century.12 This phenomenon was
explained as the wish of Constantine to show cultural
continuity and confirm his legitimacy as the new
Augustus, by displaying a statue of the goddess Venus,
ancestress of the Julio–Claudian dynasty.13 For similar
reasons the mentioned medallions with the deities in
Aquileia, originally placed on some arch or gateway,
were transferred to the imperial palace and displayed
there.14 However, if the assumption that the Sirmium
head was made during the Antonine period is correct,
it also opens some new options for the interpretation of
its later reuse. It is, however, well-known that Marcus
Aurelius used Sirmium as the base for military operations in Pannonia during the wars against Quadi and
Marcomanni at the end of the seventh decade of the 2nd
century.15 The stay of this emperor and his court in
Sirmium is also recorded in written sources, which
mention that his palace – bas/leia16 was in this city.
The location of this imperial residence is unknown
and, although layers from earlier epochs have been
encountered under the Late Roman imperial palace,17
there is no evidence that there was also the imperial
residence of Marcus Aurelius. However, during the
stay of that emperor, the city had been decorated with
various sculptures including those depicting female
deities. Also, we must not overlook the fact that Marcus
Aurelius abandoned the earlier tradition of the adoption
of future emperors, and proclaimed his son Commodus
as heir apparent. Because of that, the role of empress,
the mother of the future emperor, gained in importance
and that also remained so in the ensuing period, during
the reign of the Severi, who also established their
dynasty based on blood relationships. A large number
of cameos in the Danube basin with representations of
women with hairstyles characteristic of empresses
from the dynasties of Antonines and Severi could be
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Fig. 6. Fragment of marble sculpture
(upper arm and shoulder?) discovered at locality 85
in 2012 (photo S. Pop-Lazi})
Sl. 6. Fragment mermerne skulpture
(mi{ica i rame ruke?) otkrivene 2012. godine
na lokalitetu 85 (foto: S. Pop-Lazi})
explained as being a consequence of that practice.18
Many empresses from these dynasties had the rank of
Augusta, and Faustina the Younger (ca. 130–176), wife
of Marcus Aurelius, got the title Mater Castrorum in
174.19 Empresses from that period were sometimes
depicted on coins minted on their behalf with symbols
of the goddesses – with lunular diadem on their heads.
Faustina the Younger had also been depicted in such a
way on various series of coins,20 and the temples in
Aquileia and Zadar (Iader) were dedicated to her cult.
In those temples the priestesses performed certain rituals and the name of one of them, Cosutia, was confirmed in the inscriptions from these two cities.21 The
Cult of Faustina the Younger and her husband remained
popular in the ensuing centuries and even Constantine
12 Popovi} 2008, 153–159; Popovi} 2009, 707–709; Popovi}
2012, 19–21, 78–82, kat. 9.
13 Popovi} 2008, 159.
14 Mian 2013, 226.
15 Mirkovi} 1971, 33; Mirkovi} 2006, 61.
16 Philostr., V. Marci 168–169.
17 Mirkovi} 1971, 36; Mirkovi} 2006, 65.
18 Popovi} 2010, 217.
19 RIC III, 206.
20 Among many specimens with representation of Faustina
the Younger with diadem on the head we are distinquishing the
denarius from the find in Sotine (Cornacum), cf. RIC III, No 713.
21 Cambi 2005, 95, nap. 327, 329.
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Ivana POPOVI], New discoveries of marble sculptures in the Sirmium imperial palace (77–86)
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a
b
c
d
Fig. 7. Fragment of marble sculpture/composition discovered at locality 85 in 2012:
a) front side; b) back side; c) left lateral side; d) right lateral side
(photo S. Maksi})
Sl. 7. Fragment mermerne skulpture/kompozicije otkrivene 2012. godine na lokalitetu 85:
a) predwa strana; b) zadwa strana; s) leva bo~na strana; d) desna bo~na strana
(foto: S. Maksi})
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Ivana POPOVI], New discoveries of marble sculptures in the Sirmium imperial palace (77–86)
considered Marcus Aurelius to be one of five good
emperors and wanted to present himself as his legitimate heir.22 Regarding these attempts, and as an element
of imperial propaganda, Constantine’s wife Fausta was
depicted on the cameos from Bela Palanka (Remesiana)23 and on the coins minted after the year 320 with
a hairstyle resembling that favoured by Faustina the
Younger, i.e., with slightly wavy hair gathered in a
chignon at the nape.24 Fausta, nobilissima femina, also
got the title of Augusta in 324. Taking into account that
Constantine’s court was in Sirmium from the beginning
of 320 until the beginning of 324 and that the emperor
himself stayed there on many occasions for quite long
periods of time,25 it is logical to assume that the area
of the imperial palace was representative and that a
statue of the goddess dating from the Antonine period,
possible of Faustina the Younger herself was displayed
there as a reflection of imperial propaganda.
The fragments of other sculptural works made of
marble have also been discovered in addition to this
head, at locality 85 during excavations in 2012. These
were the segment of the upper arm and shoulder (C–63/
2012: l. 11.2 cm, w. 5.6 cm) (fig. 6) and a fragment of
a figural composition, (C–57/2012: l. 15 cm, w. 21 cm)
which, unfortunately, could not be identified. These are
STARINAR LXIV/2014
two connected cylindrical elements of varied thickness
(fig. 7a), carved out of one piece of marble (fig. 7b). On
the lateral side of the left, thicker part (R 10.41˜11.70 cm)
of the composition is a spherical protrusion resembling
a knot in a piece of wood (fig. 7c), while on the lateral
side of the right element (R 7.20 cm) is some irregularly shaped damage (fig. 7d). On a separate, semi circularly ending part, which is connects the two cylindrical
elements at the front, is a ribbed ornament consisting
of a central relief band with laterally slanting bands
radiating from it (fig. 7a). It is possible that, in such
manner, a leaf with its venation was depicted. The preserved fragment of marble sculpture represents, most
probably, a segment of a tree branching off into the upper
zone. If a leaf (vine leaf?) is depicted, it was probably
an element (support?) from a composition showing a
scene from the cult of Dionysus, like the similar fragment from the hoard of sculptures from Mediana.26
The new finds of marble sculptures together with
the fragmented marble capitals, architectural decorations, heads of goddesses and the segment of the upper
arm and shoulder, discovered in 2003 and 2005,27 confirm that the area to the east of the economy building
at locality 85 was an integral part of the residential zone
of the palatial complex.
22
Hanestad 1988, 325.
Popovi} 2010, 211, no 39, 40 (with quoted literature).
24 RIC VII, 571, No 8, Pl. 18. 12.
25 Hannestad 1988, 319–327, figs. 195–197.
26 Jovanovi} 1975, 58–59, Sl. 10.
27 Popovi} 2008, 153–162, Fig. 2, 4, 6; Popovi} 2009, 707–712,
Fig. 1–2; Popovi} 2012, 19–21, 78–82, 110–112, 119, kat. 9, 36, 43.
23
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Ivana POPOVI], New discoveries of marble sculptures in the Sirmium imperial palace (77–86)
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SOURCES AND ABREVIATIONS:
Philostr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Philostratus, Vita Marci, in: The Lives of the Sophists,
transleted by W. C. Wright, London–New York 1922.
H. Mattingly, E. A. Sydenham, Antoninus Pius
to Commodus, The Roman Imperial Coinage,
Vol. III, London 1968.
P. Bruun, Constantine and Licinius. A. D. 313–337,
The Roman Imperial Coinage Vol. VII, ed. C. H. V.
Sutherland, D. Litt, R. A. G. Carson, London 1966.
RIC III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
RIC VII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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J. Belamari}. T. Marasovi}, Split, 471–499.
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2004, 281–288.
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Ivana POPOVI], New discoveries of marble sculptures in the Sirmium imperial palace (77–86)
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Rezime:
STARINAR LXIV/2014
IVANA POPOVI], Arheolo{ki institut, Beograd
NOVI NALAZI MERMERNIH SKULPTURA
U CARSKOJ PALATI U SIRMIJUMU
Kqu~ne re~i. – rimski period, Sirmijum, carska palata, skulpture, mermer.
cija ne mo`e precizno utvrditi. Tretman kose ukazuje na
rad maloazijskih klesara, a op{ti stil izrade je povezuje sa
skulpturama iz perioda oko sredine ili druge polovine II
veka. Blago talasasta kosa, skupqena iznad vrata, predstavqa jednu od karakteristi~nih frizura carica iz doba Antonina, pre svega Faustine Mla|e, `ene Marka Aurelija, {to
bi moglo da upu}uje na vreme nastanka glave bogiwe. S obzirom da je Konstantin smatrao Marka Aurelija za jednog od
pet dobrih careva, `ele}i da se predstavi wegovim legitimnim naslednikom, na nekim serijama novca i kameja je wegova `ena Fausta prikazivana sa frizurom karakteristi~nom
za caricu Faustinu Mla|u. Statua bogiwe nastala tokom
antoninskog perioda, mo`da same deifikovane carice, verovatno je bila postavqena na prostoru palatijalnog kompleksa u Sirmijumu kao segment Konstantinove propagandne politike.
Delovi drugih mermernih skulptura (sl. 6, 7) otkriveni
2012. godine na lokalitetu 85 ne pru`aju mogu}nost sigurnog definisawa skulpturalnih kompozicija kojima su pripadali, ali ukazuju na reprezentativnost tog prostora, koji
su krasila brojna vajarska dela izvedena u mermeru.
Tokom arheolo{kih iskopavawa, sprovedenih 2012. i 2013.
godine na prostoru severozapadnog dela palatijalnog kompleksa u Sirmijumu (lokalitet 85) (sl. 1a, 1b), otkriveno
je vi{e fragmenata skulptura od porfira i mermera.
Od nekoliko delova mermernih skulptura otkrivenih
2012. godine na lokalitetu 85, izvesne podatke za analizu
pru`a samo delimi~no o~uvana glava mlade `ene, kori{}ena tokom sredweg veka kao spolija, budu}i da je bila ugra|ena u zid (sl. 2) podignut iznad ulice, koja je monetarnim
nalazima datovana u XIII vek. U trenutku nalaza glava je
bila oblo`ena debelim slojem maltera, pa je izgledala kao
neki gra|evinski element u obliku kugle (sl. 3 a–d).
Posle ~i{}ewa i konzervacije uvidelo se da je re~ o
mermernoj glavi `ene, kojoj nedostaju dowe partije lica i
kojoj je nos obijen. Na glavi se nalazi lunulasta dijadema,
o{te}ena na gorwem, lu~nom delu (sl. 4 a–c). Pri vrhu, na
centralnom delu, nalazi se plitko, pravilno kru`no udubqewe, sa~uvano u dowem, polukru`nom delu (sl. 5). Sude}i po
lunulastoj dijademi, obele`ju nekih `enskih bo`anstava,
glava predstavqa bogiwu (mogu}e je Junonu ili Minervu),
mada se zbog o{te}ewa i nedostatka atributa identifika-
86