Fülöp Gyula (szerk.): Festschrift für Jenő Fitz - Szent István Király Múzeum közleményei. B. sorozat 47. (Székesfehérvár, 1996)

E. Alföldi-Rosenbaum: Womens Mantles with Decorated Borders

C. Pannonian Variants on Tombstones.<l7)

1. Szombathely, Savaria Museum. Found at Szombathely, Rákóczi u. 14. Tombstone of Iulia Priscilla and her family.

H. 0.77 m„ W. 0.50 m., Th. of slab 0.16 m"8’ Inscription: Iul(ia) Priscilla v(iva) f(ecit) s(ibi) / et Q(uinto) Cl(audio) Martiniano / con(iugi) an(norum) XXX et Claud(iis) / Décriant) an(norum) et Mart / ino an(norum) fili(i)s. {Fig. 8.)

Date: Towards the middle of the 3rd century.

E. Rosenbaum, op. cit. (above note 17), Katalog, Nr. 379.;

L. Balla-T.B. Buocz-Z. Kádár-A. Mócsy-T. Szentléleky, Die römischen Steindenkmäler von Savaria, Budapest 1971, p. Ill, No. 136, fig. 119 (dated: beginning of 3rd c.); on dress: p. 68 (Z. Kádár).- G. Erdélyi, A római kőfaragás és kőszobrászat Magyar országon, Budapest 1974-from the Nachlass ed. by D. Gáspár, 50 f., fig. 52 (dated: ca. middle of 3rd cent., on account of male portrait).; L. Barkóczi, Alba Regia XXII, 1985, 102 f. (dated: middle of 3rd cent.).

The portrait busts of the family, husband, wife and two boys, are placed in a niche the background of which is rendered as an open shell with the hinge up, just above and between the heads of the parents. The man wears a tunic and a sagum with a fringed edge, fastened on his right shoulder. He has short hair and a very short beard, and his facial features are modelled in a way reminiscent of portraits of Decius and his time. The lady, who set up the tombstone during her life time, wears her hair in a style no longer in fashion at that time : the hair is parted in the centre and combed in soft, regular waves down the sides of her face to a little above the shoulders, covering her ears completely. This coiffure is similar to that seen on portraits of Julia Domna and was not worn by the other women of her family and her successors. Thus the date of the stone is determined by the male portrait, which is not uncommon on family grave monuments.

Julia Priscilla’s mantle is draped over her tunic in a way reminiscent of a toga with an embroidered border, but not like the varieties of our groups A and B. The scroll on the border consists of rather regular S-$haped spirals in relief between narrow raised bands. One part of the border, similar to the balteus of a toga, runs from below the right hand across the

(17) The tombstones were treated by me in my doctoral dissertation (unpublished): E. Rosenbaum, Porträts auf pannonischen Grabsteinen. Berlin 1944. I did the field work in 1942. A copy of the typescript of the thesis - not proofread - together with most of my notes and of the photographs put at my disposal by A. Alföldi (in 1942) from the material collected by him for his planned revision and supplementation of CIL III, have been deposited by me in the Institut za arheologijo, Slovenska Akademija Znanosti in Umetnosti, Ljubljana, where the material may be consulted on request. The main typescript, proofread and with corrections, and all the illustrations actually submitted with the thesis to the Philosophische Fakultät of the Friedrich-Wilhelms-Universität in Berlin, were lost in Berlin in the early summer of 1945.

(18) My measurements of 1942; the measurements given in Die römischen Steindenkmäler von Savaria differ slightly (0.785—0.51—0.175).

(19) In 1942, I was given as provenance Kömlöd ( = Dunakömlöd,

Tolna megye), the ancient Lussonium. I do not recollect who gave

me this information. Pécs itself appears as provenance in G. Erdélyi's posthumous book (see bibliography, below) and seems to have been assumed by F. Fiilep at least up to 1963 (see his guidebook, bibliography below). In the Catalogue of stone monuments in Pécs (F. Fülep-A.Sz. Burger, Pécs római-kori kőemlékei (Dunántúli Dolgozatok 7, Pécs 1974), the tombstone is not listed. A. Mócsy, who noticed the obvious stylistic affinities to stone sculpture from western Pannonia, investigated the question of provenance (Zala megye római-kori kőemlékeiről, Zalai Gyűjtemény VI, 1976, 29) and established with the help of several colleagues that in the old inventory of the Museum Zalaövö appchest to the left shoulder, its lower part being partially hidden by the body of one of the boys. The other part of the border emerges from under the right hand, is laid almost horizontally across the chest and disappears under the “balteus”. This piece is like the part of a palla draped over the right shoulder and arm so that one edge is tucked under the folds laid diagonally across the chest over the left shoulder. Thus, the mantle shown here is most probably modelled on the palla or Greek himation.

2. Pécs, Janus Pannonius Múzeum, Inv. No. 1226 (?). Probably from Zalaövö.17 18 (l9) Tombstone of Apuleia Paula and her son Annius Florentinus. H. 1,69 m., W. 0.59 m.(20) (Figs. 9-10). Inscription: Apul(eiae) Paulae / an(norum) LXX et Annio / Florentino / fil(io) eius an(norum) XXX /. VC. Spectat / us heres ex vol(untate) / testamenti / posuit.

Date: 2nd quarter of the 3rd century.

E. Rosenbaum, op. cit. Kat. No. 18.; F. Fülep, Pécs római kori emléket, Pécs 1963, pp. 31 f., fig. 15 (cited as an example of Roman versus native dress).; G. Erdélyi, op. cit. (above no. C 1), 51 with note 22 (not illustrated); A. Mócsy, „Zala megye római kori köemlékeiről", Zalai Gyűjtemény VI, 1976, 29.; L. Barkóczi, Alba Regia XXII, 1985, 103, Pl. VII, 2.

The portrait busts of Apuleia Paula and her son are placed in a niche framed by spirally fluted columns. The section of the busts is large and comprises both arms and hands. Apuleia Paula wears a tunic and a mantle with decorated border, which is arranged precisely as that of Julia Priscilla from Savaria (C 1 above), but it consists of a double band with scrolls in low relief. Her coiffure is also like that of Julia Priscilla, and like her, she wears torques around her neck. The details of her face are almost entirely obliterated as are those of her son.(21) The latter’s hair is in a somewhat better state of repair than the rest of his head. It consists of thick, fairly compact locks, the individual tufts of which are indicated but arc contained within the outlines of the skull and face. Traces of a short beard are still recognizeable as are some horizontal lines on the forehead. The stone is probably roughly contemporary with C 1 and both are slightly later than the following stone from Vereb, C 3.

3. Székesfehérvár, István Király Múzeum. Formerly in the park of the castle in Vereb, brought to the Museum by Jenő

ears as provenance (according to Tibor Nagy) ; that a hand-written note by Aladar Radnóti in the archives of the National Museum (Nemzeti Múzeum Régészeti Adattár) the tombstone of Apuleia Paula (Pécs Museum, Inv. 1226) is mentioned as found in Zalaszentgrót (which Mócsy considered a slip of the pen similar to one Radnóti had made concerning a stone from Zalabaksa); that a friend, József Németh had it from a verbal report given by a certain Lajos Major, that around the turn of the century a Roman stone was found at Zalaövö but later taken to the Friihweiss vineyards at Pécs; that F. Fiilep had kindly informed him that the latest inventory of the Museum in Pécs had nothing about the provenance of the stone. Mócsy pointed out further that Gizella Erdélyi, while believing in the stone’s provenance from Pécs, had noted the west Pannonian connections.

None of the information presented by Mócsy seems absolutely certain, but a provenance from western Pannonia is well possible. I had noticed in 1942 the relationship to the Savaria tombstone discussed above, which further shares some characteristics of the inscription, such as ligatures and the spacing of letters. Another point in favour of a western provenance is the material, i.e. marble, which is most probably Carinthia (“Steiermark”) marble. There is no statement in Mócsy’s article on the type of marble, and I myself unfortunately failed to take notes on the varieties of stone during my work in 1942.

(20) Measurements taken by me in 1942.

(21) It seems that this damage was not solely due to weathering, but perhaps also to secondary use in a later period.

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