Maggie Knapp
@maggiecknapp.bsky.social
She/her. MA Classics Tulane, BA Classics/Art History UMass. Interested in Roman art and archaeology, especially painting, domestic religion, portraiture, and Pompeii
Romans would have had no trouble identifying the light-skinned, elephant cap-wearing figure as a personification of Africa; she fit in with their iconography. We should remember that Roman ideas of race and continents differed from modern ones, and try to keep our own from coloring interpretations.
February 5, 2025 at 5:42 AM
Romans would have had no trouble identifying the light-skinned, elephant cap-wearing figure as a personification of Africa; she fit in with their iconography. We should remember that Roman ideas of race and continents differed from modern ones, and try to keep our own from coloring interpretations.
This misidentification--in the face of comparative iconography suggesting otherwise--seems to be the result of modern associations creeping in. While identifying the two women on the left as "attendants" is imperfect and their identities are still unclear, it seems to be an important correction.
February 5, 2025 at 5:42 AM
This misidentification--in the face of comparative iconography suggesting otherwise--seems to be the result of modern associations creeping in. While identifying the two women on the left as "attendants" is imperfect and their identities are still unclear, it seems to be an important correction.
"quella dell'Africa è data, ancora oggi, come sicura per gli attributi che la caratterizzano (la pelle scura e l'oggetto di avorio che tiene in mano)" (cat. 118, p. 278).
However, plenty of Roman depictions of Africa give her light skin (like the above mosaic). Ivory can also be sourced from Asia.
However, plenty of Roman depictions of Africa give her light skin (like the above mosaic). Ivory can also be sourced from Asia.
February 5, 2025 at 5:42 AM
"quella dell'Africa è data, ancora oggi, come sicura per gli attributi che la caratterizzano (la pelle scura e l'oggetto di avorio che tiene in mano)" (cat. 118, p. 278).
However, plenty of Roman depictions of Africa give her light skin (like the above mosaic). Ivory can also be sourced from Asia.
However, plenty of Roman depictions of Africa give her light skin (like the above mosaic). Ivory can also be sourced from Asia.
Despite clear iconographic parallels, people still misidentify the dark-skinned woman as Africa. The recent MANN catalogue raisonne of painting (La Pittura Pompeiana 2022) writes that while the identification of Europe is tenuous, that of Africa still holds because of her dark skin and ivory object:
February 5, 2025 at 5:42 AM
Despite clear iconographic parallels, people still misidentify the dark-skinned woman as Africa. The recent MANN catalogue raisonne of painting (La Pittura Pompeiana 2022) writes that while the identification of Europe is tenuous, that of Africa still holds because of her dark skin and ivory object:
In Roman iconography, personified Africa often wears tight curls and an elephant cap, as in this mosaic from El Jem, Tunisia. Knowing that, it makes little sense to identify the figure in the mosaic as Asia--except to shoehorn an identification of the dark-skinned woman on the left as Africa.
February 5, 2025 at 5:42 AM
In Roman iconography, personified Africa often wears tight curls and an elephant cap, as in this mosaic from El Jem, Tunisia. Knowing that, it makes little sense to identify the figure in the mosaic as Asia--except to shoehorn an identification of the dark-skinned woman on the left as Africa.
In that view, the women are Africa, holding an ivory rhyton; Europe, fanning throned Alexandria; and Asia, wearing the elephant cap. This interpretation neatly identifies all characters, but on further interrogation it is based mainly on modern ideas of race and continents, not Roman iconography.
February 5, 2025 at 5:42 AM
In that view, the women are Africa, holding an ivory rhyton; Europe, fanning throned Alexandria; and Asia, wearing the elephant cap. This interpretation neatly identifies all characters, but on further interrogation it is based mainly on modern ideas of race and continents, not Roman iconography.
The fresco has not always been interpreted this way, and there are debates over the identification of the two figures on the left. Older interpretations (e.g. Elia 1932) saw figures of three continents (Africa, Europe, and Asia) flanking an enthroned personification of Alexandria.
February 5, 2025 at 5:42 AM
The fresco has not always been interpreted this way, and there are debates over the identification of the two figures on the left. Older interpretations (e.g. Elia 1932) saw figures of three continents (Africa, Europe, and Asia) flanking an enthroned personification of Alexandria.
We can't give conclusive identifications for this portrait--but we should remember the possibilities in an empire as vast as 2nd c Rome.
See this December 2020 Getty post by Paula Gaither which reflects on the complexities of identification and museum language: www.getty.edu/news/rethink...
See this December 2020 Getty post by Paula Gaither which reflects on the complexities of identification and museum language: www.getty.edu/news/rethink...
Rethinking Descriptions of Black Africans in Greek, Etruscan, and Roman Art
How can our online catalog better communicate the diversity of the ancient Mediterranean?
www.getty.edu
February 4, 2025 at 5:16 AM
We can't give conclusive identifications for this portrait--but we should remember the possibilities in an empire as vast as 2nd c Rome.
See this December 2020 Getty post by Paula Gaither which reflects on the complexities of identification and museum language: www.getty.edu/news/rethink...
See this December 2020 Getty post by Paula Gaither which reflects on the complexities of identification and museum language: www.getty.edu/news/rethink...
His age and historical context makes this even more difficult. His facial features--a round face, full lips, small nose, and wide eyes--are common in depictions of toddlers. His tightly curled hair fits in with the Antonine period.
February 4, 2025 at 5:16 AM
His age and historical context makes this even more difficult. His facial features--a round face, full lips, small nose, and wide eyes--are common in depictions of toddlers. His tightly curled hair fits in with the Antonine period.
The Getty also notes that no traces of paint are known for this portrait.
Without archaeological, epigraphic, or scientific evidence to clarify possible identities, we are left to rely only on his features. This approach can be faulty, and risks stereotyping or overgeneralizing.
Without archaeological, epigraphic, or scientific evidence to clarify possible identities, we are left to rely only on his features. This approach can be faulty, and risks stereotyping or overgeneralizing.
February 4, 2025 at 5:16 AM
The Getty also notes that no traces of paint are known for this portrait.
Without archaeological, epigraphic, or scientific evidence to clarify possible identities, we are left to rely only on his features. This approach can be faulty, and risks stereotyping or overgeneralizing.
Without archaeological, epigraphic, or scientific evidence to clarify possible identities, we are left to rely only on his features. This approach can be faulty, and risks stereotyping or overgeneralizing.
This works lacks a provenance record (acquired from Robin Symes, 1971), let alone findspot data. As a result, we do not have a possible origin point for the portrait, nor do we have the rest of his body, where clothing or an inscription could provide hints to his ethnic and racial identity.
February 4, 2025 at 5:16 AM
This works lacks a provenance record (acquired from Robin Symes, 1971), let alone findspot data. As a result, we do not have a possible origin point for the portrait, nor do we have the rest of his body, where clothing or an inscription could provide hints to his ethnic and racial identity.
In addition, the high quality of the portrait and her adoption of a hairstyle fashionable in Rome speak to her socioeconomic status: Elizabeth Bartman (2011) suggested she could be a member of the local elite.
February 3, 2025 at 5:53 AM
In addition, the high quality of the portrait and her adoption of a hairstyle fashionable in Rome speak to her socioeconomic status: Elizabeth Bartman (2011) suggested she could be a member of the local elite.
As a result, the curls not only demonstrate her wealth, but could also suggest an African identity or ancestry. Her portrait stands as a testament to the interconnectedness of Alexandria: an African city with a Greek/Macedonian past under Roman rule, where many people likely had mixed identities.
February 3, 2025 at 5:53 AM
As a result, the curls not only demonstrate her wealth, but could also suggest an African identity or ancestry. Her portrait stands as a testament to the interconnectedness of Alexandria: an African city with a Greek/Macedonian past under Roman rule, where many people likely had mixed identities.
This head, thought to depict a Nubian man, shows the characteristic curls which the Nelson-Atkins portrait seems to reference.
Brooklyn Museum 70.59
Brooklyn Museum 70.59
February 3, 2025 at 5:53 AM
This head, thought to depict a Nubian man, shows the characteristic curls which the Nelson-Atkins portrait seems to reference.
Brooklyn Museum 70.59
Brooklyn Museum 70.59
Reposted by Maggie Knapp
For anyone wondering, some possible dog names have survived from cuneiform sources.
On tiny dog figurines found buried under a palace in Nineveh, Iraq are inscriptions that seem to be names.
dan rigiššu “loud is his bark”
munaššiku gārîšu “biter of his foe”
mušēṣi lemnūti “expeller of evil”
On tiny dog figurines found buried under a palace in Nineveh, Iraq are inscriptions that seem to be names.
dan rigiššu “loud is his bark”
munaššiku gārîšu “biter of his foe”
mušēṣi lemnūti “expeller of evil”
January 30, 2025 at 10:13 AM
For anyone wondering, some possible dog names have survived from cuneiform sources.
On tiny dog figurines found buried under a palace in Nineveh, Iraq are inscriptions that seem to be names.
dan rigiššu “loud is his bark”
munaššiku gārîšu “biter of his foe”
mušēṣi lemnūti “expeller of evil”
On tiny dog figurines found buried under a palace in Nineveh, Iraq are inscriptions that seem to be names.
dan rigiššu “loud is his bark”
munaššiku gārîšu “biter of his foe”
mušēṣi lemnūti “expeller of evil”