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Portonaccio Sarcophagus

Portonaccio Sarcophagus is an ancient Roman sarcophagus found in the Portonaccio district of Rome and now kept in the Museo Nazionale Romano, Palazzo Massimo. Dated to about 190–200, it was used as the burial place of a Roman general involved in the campaigns of Marcus Aurelius. The sarcophagus is part of a group of around 25 late Roman battle sarcophagi, mostly dating from 170–210 and made in Rome, or in some cases Athens. These works derive from Hellenistic monuments from Pergamon in Asia Minor and were likely commissioned for military commanders. Portonaccio Sarcophagus is the best-known and most elaborate example of the main Antonine group.

Portonaccio Sarcophagus with a crowded battle relief and carved figures on the lid
The Portonaccio Sarcophagus shows a densely carved battle scene on its front, with additional figures and faces along the lid.
2019 © · CC BY-SA 4.0
Portonaccio Sarcophagus with a high-relief battle scene and sculpted figures on the lid
The Portonaccio Sarcophagus shown with its crowded battle relief and decorated lid in a museum display.
June 2014 © · CC BY-SA 2.0
Portonaccio Sarcophagus relief showing a crowded battle scene with armored warriors and horsemen.
Close-up of the Portonaccio Sarcophagus, with its densely carved battle relief.
October 2013 © · CC BY 2.0
Carved relief on the Portonaccio Sarcophagus showing a draped woman and bearded man among other figures.
Detail of the Portonaccio Sarcophagus with carved figures in high relief.
October 2011 © · CC BY 4.0
Marble relief of a wavy-haired figure from the Portonaccio Sarcophagus, shown with a downward gaze and draped garment fastened at the shoulder.
Detail of the Portonaccio Sarcophagus showing a wavy-haired marble figure in draped clothing.
May 2014 © · CC BY-SA 3.0

Identification

TitlePortonaccio sarcophagus
TypeAncient Roman sarcophagus

Historical context

Artistic contextRoman art
Comparison objectAlso compared with the so-called Amendola sarcophagus from the previous twenty-five years
Comparison objectSimilar to the Ludovisi sarcophagus, a late work from around 250 CE
Presumed patronsPresumably commissioned for military commanders
Group inspirationDerived from Hellenistic monuments from Pergamon in Asia Minor, showing Pergamene victories over the Gauls
Group production placesMade in Rome or, in some cases, Athens
Group date rangeMost of the group apparently dates from 170–210 CE, with one exception
Group membershipOne of about 25 late Roman battle sarcophagi
Notability within groupThe best known and most elaborate sarcophagus in the main Antonine group
Subject matterMilitary campaigns of emperors
Associated historical figureMarcus Aurelius
Datec. 180–200 CE
PeriodAncient Rome, Flavian period through the Antonine dynasty
Historical themeVictories of Roman generals over barbarian peoples along the imperial frontiers

Discovery and provenance

InscriptionThe inscription suggests that the sarcophagus housed a general, but the name is not given in the fragment
Probable original ownerA Roman general, possibly Aulus Iulius Pompilius Titus Vivius Laevillus Piso Berenicianus
Original useUsed as the tomb of a Roman general involved in Marcus Aurelius's Germanic-Sarmatian campaigns of 172–175 CE
Discovery locationPortonaccio district, Rome, near Via delle Cave di Pietralata
Discovery year1931

Creator

Style and attributionPossibly by the same artist as the Column of Marcus Aurelius

Physical characteristics

Lid decorationLow-relief frieze
Cover structureTwo large acroteria depicting barbarian masks
FormVery tall box-shaped chest
Front decorationEntire front covered with high-relief battle scenes
Height1.53 metres

Materials

MaterialNot specified in the fragment

Appearance

Relief treatmentMany parts of the figures emerge in the round
Treatment of defeated enemiesThey are shown without pity, as loud, contemptible, and crushed by Roman superiority
Characterization of styleNarrative relief with a complex multi-register battle composition, marked by extraordinary movement, strong chiaroscuro, expressionistic faces, and dramatically entangled bodies
Lid styleContinuous narration with unnatural sinuous drapery folds, increasing expressiveness at the expense of naturalism
Portrait statusThe faces of the general on both the chest and the lid are unfinished
Depicted figures on lidThe general and his wife are shown twice, once together holding hands in the center and again separately at the ends
Scenes on lidPresentation as an infant, education, marriage, and clementia shown to barbarians in an act of deditio
Lid subjectA biographical life story scene
Main subject of front reliefBattle between Roman and barbarian figures
Background treatmentThe background is fully occupied and never neutral
Relative scale of figuresThe barbarians are the same scale as the general, while the other battling figures are smaller
Left captive identificationEither a Germanic person or a Sarmatian-Iazyges
Right captive identificationProbably a Suebian warrior, perhaps Marcomannic, Quadi, or Buri, identified by the Suebi knot hairstyle
Side figuresAt both ends are trophy groups of weapons and pairs of captive barbarian leaders, one man and one woman in each pair
Central figureA mounted general in an assault pose at the center, with his face uncarved
Battle compositionArranged in four registers: two upper levels with charging Roman cavalry, one with Roman infantry, and the lowest with defeated barbarians
Perspective treatmentNormal perspective is disregarded; soldiers and horses in the lower foreground are slightly smaller than those in the upper background

Technique

Carving techniqueDeep undercutting and deep drill cuts (trépano)

Style and influence

Lid qualityTechnically and inventively inferior to the sarcophagus body
Possible stylistic traits on lidSome plebeian and provincial characteristics
Stylistic developmentShows the overcoming of Hellenistic modes
Composition qualityMuch more frantic and articulated than earlier analogous examples, arranged on multiple registers rather than in monomachies
Stylistic influenceShows influences similar to those of the Column of Marcus Aurelius in Rome

Iconography and meaning

IconographyRoman victory over barbarians, trophy groups, captive barbarians, and a deditio scene
Modern scholarly interpretationSome modern scholars think the biographical scenes may have been reduced to generalized scenes applicable to anyone

Location and ownership

Current locationMuseo Nazionale Romano, Palazzo Massimo, Rome

History and restoration

Condition of portraitureThe deceased's face was left uncarved or unfinished, possibly because the workshop expected the buyer to provide a portrait model or because the sculpture was made without a specific commission
Alternative explanation for unfinished faceFor the proposed owner, there may not have been time to carve it, or the sculptor may not have known his face

Significance

Artistic significancePossibly the finest example of private sculpture of the 2nd century CE