Folia archeologica 6. (1954)

Idegen nyelvű kivonatok

2Q2 only in quality by the simplified, dull conception, exceeding realizm, but it represents evidently another artistic tendency. For the present presuming that the other three imperial portraits of the second century are contemporary products, our bust does not fit at all in the artistic tendency of that century. The characteristic peculiarities of the realistic art of portraiture dominating in the middle of the third century emphasized rather the form of the head and subordinated the illustration of the hair. It illustrates the hair only in mass and the details of the hair by little lines. The human skin of face, in accordance with the movements of the muscles, is illustrated by wrinkles and folds. All these traits may be easily recognised on the imperial portrait of Brigetio. The illustrated emperor can be found among the rulers of the third century in the person of C. Vibius Trebonianus Gallus (251—253). Several authentic portraits of the emperor Trebonianus Gallus, selected from the previously known statues — compared with the coin-portraits — are known. The fragment of the bronze statue of Amisos had been strongly damaged ; the large bronze statue illustrates the emperor in heroic nakedness. The other portrait of Trebonianus Gallus known for a long time is a wreathed head in the Vatican Museum. The huge bronze statue exceeding human dimension in the Metropolitan Museum of New York is generally accepted to be the figure of Trebonianus Gallus. In regard of the face of the statue it differs from the other portraits of the emperor. The recently discovered two portraits — which have been determined to be Trebonianus Gallus by the experts who described them — go more closely with the silver bust of Brigetio and indicate obvious traits to the determination of our portrait. A bronze head came to light also from the store of the Museo Archeologico in Florence. A marble bust preserved in the National Museet of Copenhagen goes still more closely with our portrait made of silver plate than the enumerated bronze statues. The coin-portraits of Trebonianus Gallus do not help much to identify the silver portrait. The nose of the portrait is damaged, so the restored profile does not render reliable support to identify it from the side view. The enumerated illustrations, however, agree in several points with the physiognomical features safely analysable of. the damaged portrait from Brigetio. The round form of the head which shows a precipitous nape from the side view, the prominent eyebrows, the deeply set eyes, the hair growing in controllable on the right side, the beard observable on the left side are all such peculiarities which can be noticed too on the portraits considered authentic. The elaboration of the eyes, the iris bordered with a circle, which touches the upper eyelid, the horse-shoe-shaped deepening of the pupil are the same as those on the Decius portrait of the Capitolium and on the bust of Trebonianus Gallus in Copenhagen. Taking into consideration the artistic conception of the middle of the third century and the technique of production, the bust of Trebonianus Gallus from Brigetio may be regarded as a contemporary provincial product. The use of the bust made of plate of precious metal is an open question so far. Two essential facts must be taken into consideration concerning their use : their small weight and shining surface. Thus the busts were easily portable and could be seen from afar. These points of view and the agreement of their measurements confirm the presumption that they were carried on some kind of holder. The phalera-like imperial portraits applied on the military insignia which were set in wreath and similar to the »imagines