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A mottled dirty white stone box resting on a stone base topped with a peaked roof and decorated with protruding palm leaf designs on each side.

A mottled dirty-white rectangular stone box with a peaked roof rests on a slightly larger two-tiered stone base. A wreath with trailing ribbons is carved on the front of the roof under the peak. Leaf-like forms protrude up at each corner. Two standing nude figures are carved into the front corner edges of the box. A rectangular frame carved on the front rests on two facing birds which stand on a leafy garland. A Latin inscription is carved Inside the frame. The stone surfaces show areas of wear and decorative drill holes

Gallery Text

To the Spirits of the Dead

of Annia Isias, daughter of Publius,

who lived sixteen years, two months, seventeen days.

Publius Cornelius Mamertinus, freedman of Publius,

a most unfortunate husband, made this

for his sweet, faithful, and pious wife

and for himself, her husband.

Annia Isias was so young—only 16 years old—when she passed away. Mamertinus, her husband, grieved her. He probably placed this marble container, which housed her cremated remains, into one of the many niches lining the wall of a communal tomb at Rome. Other mourners whose loved ones were buried in the same tomb may have paused to read this Latin epigraph and sensed his sorrow.

Annia Isias was probably born with free legal status. Mamertinus identifies himself as a freedman, a formerly enslaved man. The families of enslaved people in Roman society were not legally recognized; with freedom came the legal right to have a family. Mamertinus’s lament for his young wife and stated intention to be buried in the same urn gains further poignancy: he mourns Annia Isias’s death as well as the marriage his freed status allowed him to formalize.

Caring for the Dead at the Harvard Art Museums

Identification and Creation

Object Number
1969.177.2.A-B
Title
Cinerarium (ash urn)
Other Titles
Alternate Title: Cinerarium and Lid
Classification
Sculpture
Work Type
sculpture
Date
125-150 CE
Places
Creation Place: Ancient & Byzantine World, Europe, Rome (Latium)
Period
Roman Imperial period, Middle
Culture
Roman
Persistent Link
https://hvrd.art/o/332182

Location

Location
Level 3, Room 3710, North Arcade
View this object's location on our interactive map

Physical Descriptions

Medium
Marble
Technique
Carved
Dimensions
37 cm h x 35 cm w x 28 cm d (14 9/16 x 13 3/4 x 11 in.)
Inscriptions and Marks
  • inscription: in Latin, in seven lines,

    DIS · MANIB /
    ANNIAE · P · F · ISIADI · VIXIT · ANNIS /
    XVI · MENSIB · II · DIEB · XVII /
    P · CORNELIVS · P · L · MAMERTINVS /
    VIR · INFELICISSIMVS · FECIT /
    CONIVGI · DVLCI · FIDELI · PIAE /
    CONIVGALI · ET · SIBI

    [Translation: To the Manes (spirits of the dead) of Annia Isias, daughter of Publius, who lived sixteen years, two months, seventeen days. Publius Cornelius Mamertinus, freedman of Publius, a most unhappy husband, made (this tomb) for his sweet, faithful, and pious wife and for himself.]

Provenance

Recorded Ownership History
Harry J. Denberg, New York, NY (by 1969), gift; to the Fogg Art Museum, 1969.

Acquisition and Rights

Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Gift of Harry J. Denberg
Accession Year
1969
Object Number
1969.177.2.A-B
Division
Asian and Mediterranean Art
Contact
am_asianmediterranean@harvard.edu
Permissions

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Descriptions

Description

Published Catalogue Text: Stone Sculptures: The Greek, Roman and Etruscan Collections of the Harvard University Art Museums , written 1990
118

Rectangular Cinerarium with Gable-Shaped Lid

The urn is complete. Drillmarks are visible.

Two genii stand on stylized bovine skulls (bucrania), and hold the fillets of a garland that runs across the front, below the inscription plate that they flank. Two ravens perch on the garland, their heads facing inward. The lid has a wreath and long fillets in the pediment, with floral akroteria on the corners.

The inscription reads:

DIS · MANIB
ANNIAE · P · F · ISIADI ·
VIXIT · ANNIS / XVI · MENSIB ·
II · DIEB · XVII / P · CORNELIVS ·
P · L · MAMERTINVS / VIR ·
INFELICISSIMVS · FECIT /
CONIVGI · DVLCI · FIDELI ·
PIAE / CONIVGALI · ET · SIBI

To the Manes of Annia who lived sixteen years, two months, seventeen days, daughter of Publius Isiadius. Publius Cornelius Mamertinus, freedman of Publius, a most unhappy husband, made (this tomb) for his sweet, faithful, and pious wife and for himself.

The design of genii, Amorini, or Erotes supporting the garland dates this urn in the Hadrianic or early Antonine periods (ca. A.D. 125-150) when garland-bearing children, with or without wings, were becoming standard on Roman sarcophagi. The composition is found on only a few cineraria, which were carved at the time when coffins for the body rather than urns for the ashes were becoming popular in the Classical world. A damaged example at Fenway Court shows the Erotes perched on Roman Imperial eagles of apotheosis (Vermeule, C., Cahn, Hadley, 1977, p. 40, no. 54 and further parallels). See also the urn of Lucius Antonius Dionysius at Castle Howard in Yorkshire (Oehler, 1980, p. 55, no. 23, pl. 84).

The bucrania as symbols of death were increasingly popular in Hadrian's reign, being a prominent feature on the rectangular base of his own mausoleum beside the Tiber.

Cornelius Vermeule and Amy Brauer

Publication History

  • Callaly Castle, Proceedings of the Society of Antiquaries of Newcastle-upon-Tyne (1891), Vol. V, No. 12, 91-96, p. 93, no. 5
  • Robert Blair, Notes on Archaeology in Provincial Museums: No. XXI--Callaly Castle, Northumberland, The Antiquary (London, May 1893), XXVII, pp. 208-212, p. 212 no. 1
  • Corpus Inscriptionum Latinarum VI (1902), Pars 2 (1882), p. 1491 no. 11794; Pars 4, Fasc. 2 Additamenta (1902), p. 3538 no. 34046a
  • Sotheby Sale, auct. cat. (London, England, 1966), 13 June, p. 77, no. 174.
  • Friederike Sinn, Stadtrömische Marmorurnen, Verlag Philipp von Zabern (Mainz am Rhein, 1987), pp. 210-211 no. 493, Taf. 75b
  • Cornelius C. Vermeule III and Amy Brauer, Stone Sculptures: The Greek, Roman and Etruscan Collections of the Harvard University Art Museums, Harvard University Art Museums (Cambridge, MA, 1990), p. 129, no. 118.
  • Diana E. E. Kleiner and Susan B. Matheson, ed., I, Claudia: Women in Ancient Rome, Yale University Art Gallery (New Haven, 1996), p. 204, no. 157.
  • John Bodel and Stephen Tracy, Greek and Latin Inscriptions in the USA: A checklist, American Academy in Rome (New York, 1997), p. 49.
  • Heikki Solin, Die griechischen Personennamen in Rom: ein Namenbuch, De Gruyter (Berlin and New York, 2003), p. 406

Exhibition History

  • I, Claudia: Women in Ancient Rome, Yale University Art Gallery, New Haven, 09/06/1996 - 12/01/1996; San Antonio Museum of Art, San Antonio, 12/20/1996 - 03/02/1997; North Carolina Museum of Art, Raleigh, 04/06/1997 - 06/15/1997
  • Ancient to Modern, Harvard Art Museums, Cambridge, 01/31/2012 - 06/01/2013
  • 32Q: 3710 North Arcade, Harvard Art Museums, 11/16/2014 - 01/01/2050

Subjects and Contexts

  • ReFrame

Related Works

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu