Roman Woman Profile
The sculpture that we have observed has been dated to the first half of the first century C.E. This places the portrait during the Julio-Claudian period in Roman history. From the information we have gathered about the time period, the woman's style of dress and of the types of sculpture prevelant during the period, we have formed a possible profile of the daily life of the subject.
It was determined that the women in the portrait was most likely a freeborn, upper-middle class citizen of Rome. The portrait seems to have been a part of a funerary monument, a conclusion which was drawn due to the pattern of cleavage observed at the back of her head and the sides of her face. It was also observed that there was a piece of metal in the back of the head which could have been used to clasp the head to the monument. Comparisons with other known funerary monuments corroberate with this explanation. Since this is the likely case, several determinations can be made. Not many funerary monuments were made for the lower class, but for the upper class, parents often prepared funerary monuments for their daughters after having married them off (Pomeroy 149-189). Using this rationale, it can be concluded that she remained in the upper class after marriage, as upper class women were often married to upper class men (Pomeroy 149-189). The veristic form of sculpturing used led us to believe that she was not a part of the elite court class, for during the Julio-Claudian period, most portraits of upper class women were of the idealistic, eternal youth imagery, exhibiting smooth, beautiful features (Kleiner 139). The portrait of our Julio-Claudian matron, however, exhibited many realistic features that would not exemplify be...
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...ed only women and some at which both men and women were present. She had leadership over her household, including her children and slaves, though she was subservient to her husband.
Works Cited
Cormack, S. (1996). The Domestic Realm. In D. E. Kleiner and S. B. Matheson (Eds.) I Claudia: Women in Ancient Rome (pp. 167). University of Texas Press. Austin, TX.
Johansen, F. (1994). Catalogue. In A. M Neilson (Ed). Roman Portraits I. (pp. 246-7). Bianco Luno Copenhagen.
Kleiner, Diana E. (1992). Art under the Julio-Claudians. Roman Sculpture. (pp. 139). New Haven, Bt: Yale University Press.
Peradotto, J. (1984). Women in the Ancient World. (pp. 241) New York, NY: State University of New York Press.
Pomeroy, S. (1976). The Roman matron of the late republic and early empire. Goddesses, Whores, Wives and Slaves. (pp. 149-189). New York, NY: Schocken Books.
In this analysis, an examination will be provided on how sources from Pompeii and Herculaneum can be interpreted to make known the role and status that women of first century AD possessed. Specifically, reference will be made to the Fresco from the triclinium of the Villa of the Mysteries, Inscription of the Eumachia Building and the tablets of Poppaea Note. Nevertheless, prior to analysing the evidence that these sources reveal; it should be noted that the women of Pompeii are not to be placed in a homogenous grouping. This is a result of the diversified roles and status that women occupied in Pompeii and Herculaneum. To provide a comprehensive analysis of the roles and status women possessed, the report will be categorised into a domestic, professional and slave context; to ensure the dichotomy in the grouping of women is made explicit.
This paper will discuss the well published work of, Pomeroy, Sarah B. Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity. New York: Schocken, 1975. Print. Sarah B. Pomerory uses this book to educate others about the role women have played throughout ancient history. Pomerory uses a timeline to go through each role, starting with mythological women, who were called Goddesses. She then talks about some common roles, the whores, wives, and slaves during this time. Pomerory enlightens the audience on the topic of women, who were seen as nothing at the time. Men were seen as the only crucial part in history; however, Pomerory’s focus on women portrays the era in a new light.
Lefkowitz, Mary R., and Maureen B. Fant. Women's Life in Greece and Rome. Baltimore: The John Hopkins University Press, 2005.
of the book. USA: Simon and Schuster, Inc. 2000. The.. Print. The.. Blundell, Sue. Women in Ancient Greece.
Kleiner, Fred S. A History of Roman Art. Boston, MA: Wadsworth, Cengage Learning, 2010. Print.
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