The portrait relief still survives, it's in the Capitoline Museums today. You see it here. It had fallen in again to the debris, from the fourth side, but here it is with Eurysaces standing next to his wife, Atistia, we know her name and I'll tell you how in a moment, Atistia, in that portrait relief. And we're not going to go into this in any detail, but if you compare it to the figures of Augustus and his family, from the Ara Pacis, I think you'll agree with me, that the Ara Pacis is serving as a model. And that this portrait group is clearly based on aristocratic, even though this is probably a middle-class pair formerly from a slave family, freed people. They are shown here very much as if they are members of the court, wearing similar costumes, depicted in a similar way, with similar hairstyles. And I point to just one detail. If you look at this view of Livia, on the Ara Pacis, Augustus' wife, and you see the wonderful way in which the artist has depicted her hand, the shape of her hand showing underneath her garment here. The same is done here for Atistia. You can see, and that's Atistia, for Atistia. You can see her hand, in fact it's even better done here, because you can see the shape of the knuckles and so on underneath the garment, the, the very diaphanous garment that she wears. So clearly a very special portrait artist, probably hired to do these portraits; a portrait artist who may have been hired at, at great expense. And also very significant, and in keeping with what we saw for the Tomb of Caecilia Metella, is the fact that although the tomb is faced in travertine and the relief around the monument is in travertine, this is done in marble. in, in, if I remember correctly, Greek marble as well. So imported marble that is brought from elsewhere at great expense is used for the most important portrait relief. The scenes around the, fre-, the scenes, the frieze scenes are particularly interesting, because they depict in the greatest of detail the the profession of the making of bread. They depict Eurysace’s daily achievement of making bread that he sold to the Roman armies. I'm going to just show you the scenes very quickly, and you can see the style is very different. It's a much more journalistic style with figures, without, with figures that don't have the elegant proportions that we saw in the portrait relief. And it is carved on travertine, not on marble. We see here the grain being ground between two stones. And we see the way in which these, those, these, these men in tunics work that. We also see that the upper stone is rotated by a mule that is attached to a wooden handle, that comes off the uppermost stone there. We have mill stones just like this from Pompeii. And I'll show you the actual mill stones. So these depictions on the tomb of Eurysaces is very accurate in terms of what mill stones looked like in antiquity. A number, another scene here in which we see two men at a table with big gobs of dough that you can see here, dough for the bread. Another scene, this is one of the more important scenes, where we see four men standing behind a table that are forming that dough into loaves. And over here, a magistrate who has a, a short sleeved, but long garment, is supervising them. And the four men are very interestingly rendered, because they're rendered almost exactly the same. If you look, if you compare this to the Ara Pacis where figures are represented in different postures, a lot of variety clearly based on Greek prototypes, here we see something very different. The major objective of the artist is to get the story across, to show these men making these this these loaves. But look at them. Each one, they're bare chested, and we'll see why they're bare chested. It's hot in this part of the of the bakery so they've taken off their shirts. There's some attempt to depict their musculature, but there essentially shown in exactly the same way, the same curly hair as almost as if they were cut from a cookie cutter. Because again, its not the form that's of interest to the artist here, but getting that narrative across. And, and if you try to figure out whose legs belong to who, believe me, you'll have a difficult time of it. So the artist is not, is much less concerned with formal things than he is with getting the story across. With regard to to why they've taken off their shirts, they're right near the oven. And I show you this scene that depicts the dome shaped oven in which the loaves are being baked. And you can see that this oven looks very much like a modern pizza oven. And in fact, the pole that they use, the wooden pole with the flat end is just the sort of thing you see at Bar or anywhere, any other major pizza place, either in New Haven or elsewhere in the world. And in fact, these dome-shaped ovens are still u-, used in rural areas. And I took this view in in Greece in a small rural town and you see these in Italy in some very small towns as well, still being done in exactly the same way. There are a number, because of the cylinders on the Tomb of Eurysaces, there are some scholars who've suggested that the Tomb of Eurysaces is in the form of a bakery. While I do believe that there is reference to those grain, to those storage bins silos that were used for the storage of grain, I do not think that the Tomb of Eurysaces is in the form of an oven. It makes reference to baking, but I don't think it's in the form of an oven, because this is what Roman ovens looked like. They were dome-shaped. This has a very different appearance, as you can see. Perhaps the most important scene in the frieze is this one where we see a two, we see the loaves have been baked. They're ready to go to market and they're put in these large baskets. You can see them here, and then they are weighed in this scale, this ancient scale. And I think this is a form of a private propaganda on the part of the baker Eurysaces. What he is telling the public who gaze up on this tomb, not only in his own day, but for posterity, is my bread was always, not only of high quality, but of the appropriate weight. I never cheated the public, I treated you fairly, I was an honest baker and contractor. I think that's what the message is here. And, in fact, you may think this is a stretch, but, I think that one could easily compare this report that Eurysaces provides of his profession on the frieze of this tomb, as a kind of baker's version of Augustus' Res Gestae. The list of things accomplished during his life is laid out in narrative form for, not only his contemporaries, but for posterity to see. The portrait group again, and I mentioned that there was an inscription found with that portrait group, a very interesting inscription, which tells us that Eurysaces put up this monument to his wife, Atistia. And Atistia's bodily remains, he says, are buried in hoc panario; in hoc panario, in this panarium. What is a pinareum? A bread basket, which is, again, why scholars have said, well, the whole tomb is in the form of an oven. But I think the bread basket being referred to here, is not the tomb, but rather the urn in which Atistia's remains were placed. In the excavation in the 19th century when that later gateway was removed they found one urn, one urn, not two urns, one urn presumably the urn of Atistia. And that urn, was in the form, it was drawn at that time and we can see this view of it here, a cross section, the lid, and the main body of the urn and you can see, it looks like a bread basket. And I show you, we have lots of examples of urns in the form of bread baskets in Roman times. There's one on the Metropolitan Museum of Art. If any of you who are going down there anytime soon to look at Roman antiquities and other things, you can see one there. This one is in the National Museum in Rome. And women's remains were often placed in bread baskets to accentuate or to speak to their their domestic virtues, that they were good at taking care of the house and baking bread and so on. But in this particular case, I think it is much more likely that the reference here is not to her, her, to Atistia's cleverness as a housekeeper, but rather to her husband's profession. Which is very, very interesting in terms of what it tells us about the, the gender wars of, of antiquity. That, here's a tomb that has been put up by this baker, with his money that he's made from his profession, in honor of his wife. But what he depicts, what he, what he is preserving for posterity is not the outline of his wife's life, but the outline of his life, what he has accomplished, his name is plastered on three sides of the monument. He's got three sides of the monument with the e-, e-, the successive phases of the baking of bread in all of its aspects. Yes, he has a very nice portrait relief of his wife, but of course he's standing by her side, and he does mention her name down below. So, I mean, he gives her some due, but this monument, as far as posterity is concerned, is about Eurysaces and not about his wife. And think it tells us again very, a great deal about the motives of this particular individual.
