Grave Relief of Publius Aiedius and Aiedia
Title
Grave Relief of Publius Aiedius and Aiedia
Date
ca. 30 BC, Republican
Artist or Workshop
Unknown
Materials
marble
Height of the work
99cm tall
Provenience
Italy, Lazio, Rome, Via Appia
Current Location
Pergamonmuseum/Antikensammlung, Berlin, Germany
Sitter Biography
The sitters of this work are Publius Aiedius and Aiedia. They are both former slaves of Publius Aiedius.
Description and Significance
Description:
This work is a rectangular marble sculpture carved in high relief. The person on the left is Publius Aiedius portrayed as an old man typical of the veristic style. His age can be seen in the deep bags under his eyes, sagging cheeks, wrinkles around his neck, nose, mouth, and forehead, receding hairline, and furrowed brow. He also has a mole on his forehead above his left eyebrow. All of these features also show how hard he worked to become a freedman. His right ear can also be seen protruding from the side of his head. It is a typical bust from the shoulders up. He is wearing a Roman toga with many folds. Publius Aiedius is in the togatus or toga pose with his right arm draped through the front of his toga and resting over his heart.
The person on the right is Aiedia. In contrast to the age shown in Publius Aiedius’ face, Aiedia’s face is more youthful and idealized. Her skin is smooth without wrinkles but there is a fleshiness to her cheeks. She has medium sized almond shaped eyes, a large nose, a small mouth, and her left ear can be seen. Aiedia is wearing a chiton and cloak with some folds. She is in the pudicitia or palla pose with her left hand holding the front of her garment over her heart. Two rings can be seen on her left hand which signifies her marriage to Aiedius and their wealth.
Publius Aiedius and Aiedia were husband and wife. Underneath the portraits is a carved inscription that tells us who is portrayed. The meaning of the inscription is explained below in the significance section.
Significance:
One of the important parts of their funerary relief is the inscription that is below the figures. The inscription beneath the man on the left says P Aiedius P L/Amphio, which means Publius Aiedius Amphio freedman of Publius Aiedius and the inscription beneath the woman on the right says Aiedia P L/Fausta Melior, which means Aiedia Fausta Melior, freedwoman of Publius Aiedius. When a slave becomes a freedman he takes the name of his former master as part of his name along with his given name. His slave name was Amphio and this becomes his last name as a freeman. The woman’s slave name was Fausta Melior. In ancient Roman culture women only have two names so she only takes Aiedia, the feminine form of Aiedius, as part of her name.
The funerary relief is also significant because it was used to show off the status of citizenship that the former slaves achieved. Having a funerary relief would have been an expense. The two figures are dressed as a well-off citizen of the Roman Republic would have dressed with Publius Aiedius Amphio wearing a toga and Aiedia wearing a chiton and cloak. The relief would have been part of a larger funerary structure however it is not known if the structure was made solely for them.
It is known that the two are husband and wife which is shown by her head being turned in his direction. This funerary relief is a way to show the status that Publius Aiedius and Aiedia achieved during life as freed people though they were still part of a lower class. Their free status is further shown by the clothing that they wear and their marital status because this is something they would not be able to do as slaves.
This work is a rectangular marble sculpture carved in high relief. The person on the left is Publius Aiedius portrayed as an old man typical of the veristic style. His age can be seen in the deep bags under his eyes, sagging cheeks, wrinkles around his neck, nose, mouth, and forehead, receding hairline, and furrowed brow. He also has a mole on his forehead above his left eyebrow. All of these features also show how hard he worked to become a freedman. His right ear can also be seen protruding from the side of his head. It is a typical bust from the shoulders up. He is wearing a Roman toga with many folds. Publius Aiedius is in the togatus or toga pose with his right arm draped through the front of his toga and resting over his heart.
The person on the right is Aiedia. In contrast to the age shown in Publius Aiedius’ face, Aiedia’s face is more youthful and idealized. Her skin is smooth without wrinkles but there is a fleshiness to her cheeks. She has medium sized almond shaped eyes, a large nose, a small mouth, and her left ear can be seen. Aiedia is wearing a chiton and cloak with some folds. She is in the pudicitia or palla pose with her left hand holding the front of her garment over her heart. Two rings can be seen on her left hand which signifies her marriage to Aiedius and their wealth.
Publius Aiedius and Aiedia were husband and wife. Underneath the portraits is a carved inscription that tells us who is portrayed. The meaning of the inscription is explained below in the significance section.
Significance:
One of the important parts of their funerary relief is the inscription that is below the figures. The inscription beneath the man on the left says P Aiedius P L/Amphio, which means Publius Aiedius Amphio freedman of Publius Aiedius and the inscription beneath the woman on the right says Aiedia P L/Fausta Melior, which means Aiedia Fausta Melior, freedwoman of Publius Aiedius. When a slave becomes a freedman he takes the name of his former master as part of his name along with his given name. His slave name was Amphio and this becomes his last name as a freeman. The woman’s slave name was Fausta Melior. In ancient Roman culture women only have two names so she only takes Aiedia, the feminine form of Aiedius, as part of her name.
The funerary relief is also significant because it was used to show off the status of citizenship that the former slaves achieved. Having a funerary relief would have been an expense. The two figures are dressed as a well-off citizen of the Roman Republic would have dressed with Publius Aiedius Amphio wearing a toga and Aiedia wearing a chiton and cloak. The relief would have been part of a larger funerary structure however it is not known if the structure was made solely for them.
It is known that the two are husband and wife which is shown by her head being turned in his direction. This funerary relief is a way to show the status that Publius Aiedius and Aiedia achieved during life as freed people though they were still part of a lower class. Their free status is further shown by the clothing that they wear and their marital status because this is something they would not be able to do as slaves.
References
Brouwers, Josho. “Together forever Publius Aiedius Amphio and his wife.” Ancient World Magazine. Ancient World Magazine, 28 Feb 2018, https://www.ancientworldmagazine.com/articles/together-forever-publius-aiedius-amphio-wife/. Web. Accessed 16 Mar 2018.
“Grave relief of Publius Aiedius and Aiedia.” Revolvy. https://www.revolvy.com/main/index.php?s=Grave%20relief%20of%20Publius%20Aiedius%20and%20Aiedia. Web. Accessed 16 Mar 2018.
Kleiner, D. E. E. 1994. Roman Sculpture, New Haven. pp. 40-42
“Grave relief of Publius Aiedius and Aiedia.” Revolvy. https://www.revolvy.com/main/index.php?s=Grave%20relief%20of%20Publius%20Aiedius%20and%20Aiedia. Web. Accessed 16 Mar 2018.
Kleiner, D. E. E. 1994. Roman Sculpture, New Haven. pp. 40-42
Contributor
Nina Cardillo
Citation
Unknown, “Grave Relief of Publius Aiedius and Aiedia,” Digital Portrait "Basket" - ARTH488A - "Ancient Mediterranean Portraiture", accessed November 5, 2024, https://classicalchopped2.artinterp.org/omeka/items/show/33.
Item Relations
This item has no relations.