Sarcophagus with the Triumph of Dionysus

ART 220

November 27th, 2006

Final Paper

Sarcophagus with the Triumph of Dionysus

The Sarcophagus with the Triumph of Dionysus is one of the ten sarcophagi found in the Calpurnii Pisones tomb, seven of which are on display at the Walters Art Museum. The artist was Roman, unknown, and produced a work typical of Roman imperial art. The sarcophagus was created late during the 2nd century around 190 AD. The medium is Thasian marble from the Cape Vathy quarry on the Greek island of Thassos. The dimensions of the sarcophagus are 47 1/2 X 92 1/2 X 40 X 35 13/16 inches. The damage incurred over time is minimal, requiring no restoration. The sculptures are, of course, missing limbs and there is slight structural cracking. The most significant damage is located on the lid. Inexact mounting with the base (disproportionate coinciding planes) created an uneven weight distribution causing cracking and missing pieces. On both the lid and the upper portion of the two sides there are two deep rectangular impressions, each about two inches by one inch, which once contained the metal used to attach the lid to the top of the coffin. On the right side there are still visible remains of this metal. Apart from the cosmetic damage, the intricate figures have maintained their highly polished appearances. The sarcophagus is decorated with sculptures on three sides (sides, and front). Roman sarcophagi typically have undecorated backs, and lid tops and are designed to be placed against a wall.

At first glance, with a layman's perspective, and before imposing any defining interpretations on the piece, the refined and elaborate figures captured my initial interest. The two scenes depicted are displayed on parallel registers. There is a parade scene on the base and a "semi-continuous narrative" (more like a clip show) on the lid. The artist uses a mixture of high and low reliefs (high is outermost) to layer the portrayal of each scene, and create a sense of 3-dimensional realism. There are approximately 45 individual characters in total (including animals, and the griffins located on the sides). The artist afforded each figure detailed attention. They are all presented in true dimensions (limbs, torso, and head are all proportional to one another). Scale proportions are skewed in favor of the humans vs. the animals to produce a busier image in a smaller space. For example, the two adult tusked elephants are considerably shorter than the people around it, allowing the inclusion of about six more figures. The lions are also, although less notably, misrepresented. Individual details given to each character include: muscular definition, varying facial expressions, natural stances (frontal, side, rear, and combinations of the three), and realistic depictions of fabrics and adornments. Many of the figures are nude or semi-nude and stand out from the plane with other figures carved in shallower relief behind them.

The subject of the work is mythological, and depicts two events in the life of the Roman God Dionysus. The lid frieze illustrates three specific events surrounding the birth of Dionysus in continuous narrative. Each event is chronologically divided, from left to right, by pillars. However, this complex work of art is best understood relative to its historical/literary meaning. Dionysus was the son of Zeus and Semele, a mortal woman. Semele, driven to jealousy by Hera (Zeus's wife), asked Zeus to show himself in all his glory to her. She was immediately destroyed for her impertinence; humans cannot look upon Gods directly without dying. Zeus then removed the unborn fetus from Semele's womb and carried it in his thigh until the time of conception. The frieze portrays three events in this story (from left to right): 1) Hermes, messenger of the gods, returning Semele's dead corpse to her family, who mourn her death with heads held low. 2) The birth of Dionysus from the thigh of Zeus. The baby is immediately shown being taken away by Hermes. The instantaneous abandonment of Dionysus is an act of rejection by Hera, who is depicted tending to Zeus's thigh after the birth. 3) Hermes is shown bringing the baby to his new guardians, Semele's sister Ino and her husband Athamus. The conception and birth sequence is shown between two large symbolic satyr heads the same height as the register. The head closest to the death of Semele is frowning or expressing disapproval, while the head closest to the adoption of Dionysus is smiling, suggesting contentment that Dionysus was spared the fate of his mother.

The base illustrates a triumphal parade after the successful conquest of India. Dionysus is