#EpigraphyTuesday – The Tombstone of Prima Florentia: ca. 2nd Century AD. Discovered in 1930 at Portus, a heart-breaking inscription, which also reflects the all-too-common domestic violence of the ancient world. #Latin
Image: Parco archeologico di Ostia antica; AE 1987.0177k
The stone was set up by a girl’s parents to commemorate her short life and brutal end: as the text refers to the murder of a teenage wife by her husband.
Text:
"Restutus Piscinesis
et Prima Restuta Primae
Florentiae filiae carissimae
fecerunt, qui ab Orfeu maritu in
Tiberi decepta est. December cognatu(s)
posuit. Q(uae) vix(it) ann(is) XVI s(emis?)"
Translation:
‘Restutus Piscinesis and Prima Restuta commissioned [this] for their deeply beloved daughter, Prima Florentia, who was thrown into the Tiber by her husband, Orpheus. Her kinsman, December, set up [this monument]. She lived for 16-and-a-half years.’
Of prime importance here are the details of her murder, although the verb 'decepta est' is not perhaps the clearest in communicating what happened.
Similarly, the details of her tragically short life are cramped in the lower margin, which - when combined with some of the unusual epigraphic elements - would seem suggestive of the relatively low social status of the family.
However, that her parents chose to commemorate the details of her death in so public a manner may lead us to speculate that no formal punishment was visited upon Orpheus, so perhaps the tombstone inscription was intended to ensure his condemnation in the court of public opinion.
Whatever the validity of such speculation, the inscription stands as ready testimony to a tragically short life, ended in what would appear to be brutal spousal murder.
For more, see:
Mustakallio, K. and Hänninen, M-J. ‘Women, Marriage and Family in Roman Society and the Community of Ostia’, in Karivieri, A. (ed.), 2020, ‘Life and Death in a Multicultural Harbour City’: 251-260.
“[...] dum talia secum
exigit Hippomenes, passu volat alite virgo.
quae quamquam Scythica non setius ire sagitta
Aonio visa est iuveni, tamen ille decorem
miratur magis: et cursus facit ipse decorem.
aura refert ablata citis talaria plantis,...
"tergaque iactantur crines per eburnea, quaeque
poplitibus suberant picto genualia limbo;
inque puellari corpus candore ruborem
traxerat, haud aliter, quam cum super atria velum...
"candida purpureum simulatas inficit umbras.
dum notat haec hospes, decursa novissima meta est,
et tegitur festa victrix Atalanta corona.”
#EpigraphyTuesday – The rather magnificent tombstone of Longinus Sdapeze, a member of ‘ala I Thracum’, a unit which may have played a role in the Claudian invasion of Britain AD 43. #Latin 🧵
Discovered in 1928 and showing evidence of ancient damage, including the break across the main inscription panel, the actual head of Longinus was not found until subsequent excavations in 1996.
Text:
“Longinus Sdapeze
Matyci (filius) duplicarius
ala prima Tracum pago
Sardi(ca) anno(rum) XL aeror(um) XV
heredes exs testam(ento) [f(aciendum)] c(uraverunt)
h(ic) s(itus) e(st)”
Ancient Coin of the Day: A gander at some coins from Britain prior to the Claudian invasion of AD 43, in particular those of Cunobelinus, the origin of Shakespeare’s Cymbeline. #ACOTD#Numismatics#Britain 🧵
Cunobelinus was a local British ruler who exerted control over a large area of south-east England, ca. AD 10-40, with a capital at Colchester. He claimed to be the son of Tasciovanus, who had ruled a kingdom centred to the north of the Thames.
The Obverse of this coin shows an ear of spelt, with the flanking Legend CA-MV, i.e. ‘Camulodunum’, Cunobelinus’ capital. Strabo (4.5.2) notes that grain is a major export of Britain, so the emblem could refer to Cunobelinus’ international trade.
“ergo aderat promissa dies et tempora Parcae
debita complerant, cum Turni iniuria Matrem
admonuit ratibus sacris depellere taedas.
hic primum nova lux oculis offulsit et ingens
visus ab Aurora caelum transcurrere nimbus...
"Idaeique chori; tum vox horrenda per auras
excidit et Troum Rutulorumque agmina complet:
“ne trepidate meas, Teucri, defendere navis
neve armate manus; maria ante exurere Turno
quam sacras dabitur pinus. vos ite solutae,
ite deae pelagi; genetrix iubet.” et sua quaeque...
"continuo puppes abrumpunt vincula ripis
delphinumque modo demersis aequora rostris
ima petunt. hinc virgineae (mirabile monstrum)
reddunt se totidem facies pontoque feruntur.”
“dumque nimis citharam fraternaque carmina laudant,
plus solito nevere manus, humanaque fata
laudatum transcendit opus. “ne demite, Parcae”
Phoebus ait “vincat mortalis tempora vitae
ille, mihi similis vultu similisque decore...
"nec cantu nec voce minor. felicia lassis
saecula praestabit legumque silentia rumpet.
qualis discutiens fugientia Lucifer astra
aut qualis surgit redeuntibus Hesperus astris,
qualis cum primum tenebris Aurora solutis
induxit rubicunda diem, Sol aspicit orbem...
"lucidus, et primos a carcere concitat axes:
talis Caesar adest, talem iam Roma Neronem
aspiciet. flagrat nitidus fulgore remisso
vultus, et adfuso cervix formosa capillo.”
#EpigraphyTuesday – something different today with the so-called ‘Tabula Rondanini’, an example of the ‘Tabulae Iliacae’, where scenes from the Trojan Cycle are depicted: ca. 1st Century AD. #Myth
These tablets – some 22 are known – were long dismissed as being intended for “a clientèle unacquainted with Homer himself” (Horsfall, 1979: 34), seen as the type of object appreciated by characters such as Petronius’ Trimalchio. However, more recent work has questioned this.
The designs on this tablet are drawn from Book 10 of Homer’s Odyssey, focussing on the encounter of Odysseus with Circe. Thus, we see Circe’s palace with the key actors meeting. They are clearly named with Greek dipinti.