Under the apparent insignificance, the sitter and the carving are outstanding. From the very early second century A. D.
41 Another Italian sculptor carved this portrait head in the first decade of the second century. If we dc not give her a second look, there is nothing special to attract our appreciation. But the asymmetrical position of the knot of hair provides the correct view of the face (from two-thirds right), and then the quality of the portrait slowly becomes tangible. She appears years younger than her real age, for the sculptor adroitly understated the heavy pouches under her eyes and the double chin. He even provided her with more intellectual expression than her personality probably boasted. The elaborate crown of hair is based on Flavian fashions but points toward the simpler, more geometric hair styles of Plotina (no. 42). The rendering of the arabesque-like strands of the hair turns the design into a drawn ornament corresponding to the empress’s. Our conception of this portrait may also be marked by the empress’s official personality: there is a clear revival of traditional matronal virtues, combining strong character and restraint. Looking just at this isolated head, one would like to imagine that this was the real nature of the sitter, but the portrait fits a contemporary vogue exemplified by Plotina herself. Here is one more warning against an anachronistic interpretation of Roman portraits.
42 The head of the empress Plotina (d. 121/2) suffered some modern retouching which has reduced its artistic merit. Originally it was a standard representation of a current portrait type. Today its interest is increased, however, since there is no other exact replica. Sheldon Nodelman has argued convincingly that the rejuvenated face must be a posthumous creation, intentionally recalling Plotina’s early portrait type. After her death, the divinized empress continued to enjoy veneration by the thankful emperor Hadrian whose adoption and succession she had promoted.
These seven portraits (nos. 36-42) provide an excellent illustration of how images of women from the late first and early second centuries A. D. tend toward a strictly private appearance, a tendency observed in men’s portraits as well. At the same time, there is the paradox that the flamboyant sculptural fashions and flux of social values at this time were an obstacle that lessened strong individual portrait characteristics. The first decades of the second century brought not only the greatest expansion of the Empire but also a revival of venerable pre-imperial traditions. Although the old values did not fit well in the new scheme of Empire, portraiture profited. Neither Plotina nor the other ladies appear as real mater famtliae, but the new conscious responsibility towards the community ennobles their portraits.
World History
