Commentary Prepared by Dr. Julia Lenaghan, Ashmolean Museum

C 214
Epicurus. London

Roman period portrait, made for insertion into a statue, of the philospher Epicurus (ca. 342-270 BC). Based on an original model made ca. 270 BC.

Marble
Head
37.7 cm

Probably from Italy. Purchased from Castellani in Rome in 1873.
United Kingdom, London, British Museum, 1843
Roman version of an original dating to ca. 270 BC

Preservation:
The lateral areas of the rims of both ears are missing. There are no restorations.

Description:
The head was made separately from its statue into which it was inserted. The base of the neck has an even round shape and its underside takes the form of a plug. The head depicts a bearded old man with cropped hair, a long face, and a striking brow. The hair is cut around the ears and across the brow. The locks are of medium length and are wavy. The hair is brushed forward from the back of the head; around the ears, however, several locks are pushed backwards. Across the brow and above the temples, the locks are distinctly separated by small spaces between them. The pattern of the locks over the brow is particular. Over the right eye two successive locks turn to the left; above the nose a longer lock comes forward, bends to the left, and then its end turns to the right; it is followed by two locks that repeat its path. The hair of the full beard is rendered just like the hair of the head. Under the chin the beard hair acquires greatest volume. The beard parts slightly below the chin, just to the left of center. The face is long and narrow. The brow, framed by the medium-length full locks, is not especially tall but is markedly modelled. It features two furrows of which the upper one is longer; the furrows do not run parallel to each other but converge at the outer corners. The lower portion of the brow bulges in various sections. A vertical crease rises above the base of the nose and more significantly, the brow reflects the shape and movement of the remarkable eyebrows. The eyebrows contract forcefully, following a sharp downward path, at the root of the nose. Above the outer corners of the eyes, however, they arch highly. The arched section of the eyebrow bulges. Beneath these eyebrows, the eyes are deep-set and have sharply defined eyelids. The lower lid is horizontal and the upper lid is heavy and arched. At the outer corners of the eyes are wrinkles and just below that the cheekbones noticeably protrude. Below the eyes the skin is loose and sunken, accentuating the deep eye sockets. The nose is long and straight without much indentation at the base of the nose. Across the base of the nose are two parallel folds that peak at the center. The mouth is broad with full, slightly parted lips. The moustache covers all but the center of the upper lip. The lower lip protrudes and is especially shapely; the outer portions of the lip are rounder than the central section. Below the lower lip is an emphatic indentation before the beard begins. The chin is entirely concealed.

Discussion:
The portrait head in the British Museum of an elegant older man with a remarkably contracting brow represents the Athenian philosopher Epicurus (ca. 342- 270 BC). The original model for the London portrait was reproduced in great number in the Roman period and probably dates to the early part of the second quarter of the third century BC. The portrait type is known in approximately 43 heads which fall into two groups that differ slightly from each other (see cat. no. H 16). The London head follows the better known version (type A) which may reproduce the original model more faithfully. A double herm in the Capitoline collection in Rome and a small bust from Herculaneum, now in Naples preserve inscriptions that securely identify the type as Epicurus. In addition to the heads, eleven versions of the body that accompanied the original portrait are also preserved. Although no head of the Epicurus type is preserved together with a body, the body type of the original model is known. Lippold first recognized the pertinent body on the basis of an eighteenth century drawing; herms and busts that preserved the drapery around the shoulders corresponded to the drawing. Recently Fittschen, using casts, has provided definitive proof. He has placed a cast of a version (Capitoline) of the portrait into a cast of a version (Athens) of the alleged body type. The fit was perfect and the folds continued unbroken from the shoulders to the body. The body shows a man seated on a high-backed hrone with lion’s paws. He wears only a himation; his left arm folds across his lap and his left hand holds an open scroll; his right arm reaches upward towards his face. There is no literary or epigraphic evidence for the original statue. Thus, scholars can only hypothesize about its location and date. Since the Epicureans retreated from the city to their own space, the Kepos, it is considered doubtful that the statue was erected in the centre of Athens; it seems more probable that it was set up in the Kepos as an inspiration to other members. In terms of date the statue certainly must come after the establishment of the Epicurean school in 306 BC. Most scholars have assumed that the portrait was a posthumous honor. Whereas this may not necessarily be true, the head and body seem to date on stylistic grounds to ca. 270 BC. The original portrait statue of Epicurus has been interpreted recently first by von den Hoff and then by Zanker who makes subtle changes and additions to von den Hoff’s analysis. Generally the statue is said to represent a contemplative man lost in tranquil thought. This of course corresponds to the main premise of the Epicureans, that one could enjoy pleasure and detach oneself from physical pain and suffering through contemplation. Both scholars note that the portrait head shows a well-groomed hair and beard style that is typical of the fourth century BC; it is an old-fashioned, appropriate, and, elegant fashion. Zanker, in addition, considers the posture and wrap of left arm an indication of conservatism and adherence to traditional norms. This conservatism relates to the Epicurean embrace of social and familial behaviours and rules. The portrait’s contracting brow with accentuated eyebrows is a unique feature that emphasizes the superior intelligence and thought of the sitter. Moreover, he holds a scroll (an indication of wisdom) in his left hand (indicating that he has finished reading) and possibly rests his head on his right hand (a pose used for thinkers). The throne on which the statue sits has been likened to that of the gods, or one reserved in the theater for the most esteemed members of the audience, or one on which the teacher sat. In any case, it is an element that emphasizes the sitter’s elevated status. The statues of the followers of Epicurus, Hermarchus and Metrodorus, are also known and greatly resemble the statue of Epicurus in personal style, posture, and attributes. All three portraits adhere to a similar conservative and calm manner of self-representation. This is said to be the particular manner of the Epicurean school and to correspond to the contemplative rational spirit of Epicureanism. There are, however, subtle differences between the statues. The portrait statue of Metrodorus is completely devoid of the concentrated brow and sits on a bench with his scroll unopened in his right hand indicating that he has not yet read it; he is represented merely as a carefully groomed, good citizen. The statue of Hermarchus is a mitigated version of Epicurus and, thus, an heir to the master. His brow does not contract as forcefully; his seat is between a throne and a bench; and is scroll his half-unrolled in his left hand. Zanker, in addition, notes that the body of Epicurus is distinctly old whereas that of Metrodorus is relaxed and full. This detail accentuates Epicurus’ role as the master who has suffered and Metrodorus’ as the successful student who achieved peace of mind. The scrolls, according to Zanker, must have had import but he does not venture a hypothesis; (he does not note a difference between that held by Epicurus and that held by Hermarchus). For von den Hoff the scrolls are further indications of status, Metrodorus is at the beginning of his quest for wisdom and real pleasure, Hermarchus is in the process, and Epicurus has already procured it. J. Lenaghan

Bibliography:
G.M.A. Richter, Portraits of the Greeks II (London 1965) 194-200, especially 197, no.19, figs. 1192-1194 catalogue entry and discussion of the portraits of Epicurus
V. Kruse-Berdoldt, Kopienkritische Untersuchungen zu den Porträts des Epikur, Metrodor, und Hermarch (Göttingen 1975)
B. Schmalz, "Das Bildnis des Epikur und die Überlieferung griechischer Portäts" (MarbWPr 1985) 17-56 discussion that strives to identify two different models behind the Roman period portraits of Epicurus
K. Fittschen, "Über das Rekonstruieren griechischer Porträtstatuen" Ancient Portraiture: Image and Message (Copenhagen 1992) 15-17 proof for connection (already suggested by Lippold in 1912) of the head with body type
R. von den Hoff, Philosophenporträts des Früh-und Hochhellenismus (Munich 1994) 69-75, 78-84 full discussion of all aspects of the portraiture of Epicurus, with bibliography
P. Zanker, The Mask of Socrates (Berkeley 1995) 113-127 discussion of portraiture of the Epicureans