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Roman funerary bust (AD 100–115) of a child slave named Martialis, who died just under the age of three (Digital image courtesy of Getty’s Open Content Program) Epitaphs often emphasize the relationship between the deceased and dedicant, with most relationships being familial (husbands and wives, parents and children, etc.).
John Bodel calculates an annual death rate of 30,000 among a population of about 750,000 in the city of Rome, not counting victims of plague and pandemic. [10] At birth, Romans of all classes had an approximate life expectancy of 20–30 years: men and women of citizen class who reached maturity could expect to live until their late 50's or much longer, barring illness, disease and accident. [11]
Funerary reliefs of married couples were common in Roman funerary art. They are one of the most common funerary portraits found on surviving freedmen reliefs. By the fourth century, a portrait of a couple on a sarcophagus from the empire did not necessarily signify the burial of two spouses but instead demonstrated the importance of the ...
Funerary art is any work of art forming, or placed in, a repository for the remains of the dead. The term encompasses a wide variety of forms, including cenotaphs ("empty tombs"), tomb-like monuments which do not contain human remains, and communal memorials to the dead, such as war memorials , which may or may not contain remains, and a range ...
Roman funerary art also offers a variety of scenes from everyday life, such as game-playing, hunting, and military endeavors. [7] Early Christian art quickly adopted the sarcophagus, and they are the most common form of early Christian sculpture, progressing from simple examples with symbols to elaborate fronts, often with small scenes of the ...
Roman funerary art includes many portraits such as married couple funerary reliefs, which were most often made for wealthy freedmen rather than the patrician elite. Portrait sculpture from the Republican era tends to be somewhat more modest, realistic, and natural compared to early Imperial works.
Funerary masks were used throughout the Egyptian periods. Examples range from the gold masks of Tutankhamun and Psusennes I to the Roman "mummy portraits" from Hawara and the Fayum. Whether in a funerary or religious context, the purpose of a mask was the same: to transform the wearer from a mortal to a divine state. [3]
Combining Egyptian and Greek pictorial forms or motifs was not restricted to funerary art, however: the public and highly visible portraits of Ptolemaic dynasts and Roman emperors grafted iconography developed for a ruler's Greek or Roman images onto Egyptian statues in the dress and posture of Egyptian kings and queens.