Roman Sarcophagi: Evolving Mythological Depictions and Cultural Expressions

Roman sarcophagus depicted mythological scenes since the 2nd and 3rd century AD, and over time we can see a gradual change in the way these myths were depicted. Beginning as a set of stories, they transformed into an expressive medium through which the myth could explicitly commemorate the live of the deceased and a way so Roman cultural requirements could be presented and explored. Specifically, myths that depict heroes on sarcophagi usually stress the virtue of the hero and the grief felt at their death. The virtue of heroes is commonly seen with men such as Herakles, and the completion of his twelve labours. Conversely, the Alcestis myth illustrates that women can be depicted as heroes as well. Alcestis was the subject of a Euripidian tragedy,

Cumont argued for a complex allegorical symbolism concerning the fate of the soul after death. On the other hand, Nock stressed the importance of linking the myth to other areas of Roman art and their association with classicism and education. More generally, the use of myth on Roman sarcophagi as either allegory or decoration is part of a larger argument of whether it represents hopes and beliefs about life after death and assimilating the deceased with the myth or asserting messages about the life of the deceased before their death. Most recently Paul Zanker and Bjorn Ewald have widened the debate to suggest that myths can be read as consolations to the person who lost their loved one. This paper will be placed within the above debate by analyzing the sarcophagi of C. Junius Euhodus and his wife Metilia Acte, which depicts the Alcestis myth. I will be focusing on how the sarcophagi emphasizes the couples victory over death; how the patron who commissioned the sarcophagi influenced what was depicted, and the everyday themes that relate to Roman customs such as