Portraiture, especially as depicted on ancient coins and in sculpture, is often an essential tool in reconstructing a civilization, providing information about the religious practices, form of government, and even the popular hairstyles of the day. The coins from the Severan dynasty of the Roman Empire (193-235 A.D.) are especially important for they uncharacteristically depict the empresses as maintaining important roles in the empire along side their imperial husbands and sons. Julia Domna, wife of Septimius Severus (193-211) and first Severan empress, is credited with defining this new role of the empress as well as setting a new hairstyle trend emulated by provincial women throughout the Roman Empire. Following the reign of Septimius Severus, Severan empresses continued in their role as they ensured the transmission of power through the maternal line.

Portraiture on coinage provides an abundance of information concerning the values and identities of these Roman empresses as well as their impact on provincial citizen women in Asia Minor, who were as much as a thousand miles distant from Rome herself. I propose to research the depiction of the Severan empresses and their ill documented successors of the later third century A.D. in provincial portraiture of Asia Minor while in Turkey from May 22 to August 1, 2000. Then, I shall compare my findings to the imperial images produced at Rome.

Julia Domna, the daughter of a priest of the sun-god Elagabal, was raised in a prominent Greco-Syrian senatorial family in Emesa, Syria. Septimius Severus was acquainted with Julius Bassianus, father of Julia Domna, while in Syria on military duty for the Roman Empire, and married the future empress in 187 after learning that her horoscope predicted she would marry a king. The marriage was a pleasant and fruitful one, for it produced two sons, Marcus Aurelius Antoninus, the future Emperor Caracalla (211-217), and his younger brother Publius Septimius Geta (211-212). Julia Domna was a strikingly beautiful and intelligent woman who gathered savants and writers at the imperial court to promote the literary arts of her day. She is best known for a new trend in hairstyle she established that broke from static and seemingly mundane styles sported by the Antonine empresses. The empress is easily discerned on coins and in portrait statues by her legendary "helmet" hair-do which is presumably a wig judging from the locks of hair protruding from underneath. Roman provincial cities minted their own coins of Julia Domna that acted as the popular cultural transmitters. Women in the provinces, especially the aristocratic women, saw the new hairstyle fashioned by the empress, and subsequently emulated the model depicted on coins. This is apparent by studying portraiture of aristocratic women in Asia Minor who characteristically have the same "helmet" hairstyle.

Severan empresses were often compared to or depicted in the guises of Greek goddesses on provincial and civic coins. Imperial coins struck in the name of Julia Domna celebrate the goddess Venus, both as Venus Victrix, the patron goddess of Julius Caesar, and as Venus Genetrix, the divine ancestress of the original Julian family. These associations established legitimacy for Julia Domna because they conferred upon her the equivalent status of the revered Julian family, from which Augustus emerged as the first emperor of Rome.

The succeeding Severan empresses were also elegant and intelligent woman who pushed for the success of the dynasty. Julia Maesa, the sister of Julia Domna, had two daughters who each produced Roman emperors. Julia Soaemias bore Elagabalus (218-222), while the other daughter, Julia Mamaea was the mother of Severus Alexander (222-235). Each emperor owed his throne to the political dealings conducted by his mother. The wives of the Severan emperors never played as important of a role, but they too were venerated on coinage and official portraiture. Plautilla, wife of Caracalla, was even styled as the "New Goddess Hera" on the coins of the three cities in Caria, a district of modern southwestern Turkey.

The coinage of empresses of the late third century A.D. is even more important in as much few literary sources survive after 235. Consequently, coins, inscriptions, works of art, such as sculpture, and archaeological finds become indispensable when attempting to recreate the dominant culture during the era of imperial crisis. Imperial coins reveal that the late third century empresses were viewed as important counterparts to their husbands, as illustrated on coins of Tranquillina, wife of Gordion III Pius (238-244), in which the couple are depicted together with the theme of CONCORDIA. Several other empresses were deified after death, including Mariniana, wife of Valerian (253-260), and so coins were struck inscribed DIVAE MARINIANAE.

During the first four weeks of my stay in Turkey, I will be on an academic excursion which is part of the Spring 2000 course, Anatolian Civilizations (HISA 409H-70), taught by Professor Kenneth Harl of the History Department of Tulane University. The class will visit many important Classical sites, providing numerous opportunities to view examples of provincial elite women depicted in imperial guises at museums. I shall act as the video assistant to the video taping and production of slides of relevant sculpted portraits as well as reliefs portraits on sarcophagi at Istanbul, Ephesus, Pamukkale, Izmir, Aphrodisias, Antalya, and Ankara, many of which are not yet published.

Following the class excursion, I, along with four other students, shall remain in Turkey to assist Professor Harl in the publication of the ancient coins found at the Gordion and Metropolis excavations. At that time, I shall operate a digital camera for Professor Harl in the coin cabinets of the museums. The first-rate camera equipment will allow me to assemble a necessary photographic record.

As Professor Harl's assistant, my primary task will be to work on Roman provincial coins struck by Greek cities, which used their own portraits, and often depicted empresses in guises of local gods. Through careful observation, the coins will be sorted and catalogued using the standard catalogues of Roman coins, Roman Imperial Coinage and the British Museum Catalogue, which will allow me the opportunity to study the various renditions of portraiture presented on the coins. As part of my training, I am taking a seminar taught by Professor Harl (HIST790) for all of the assistants to familiarize us with the coins as well as learn to identify the varied coinages struck during the Roman Empire.

I also plan to attend the Intercollegiate Center for Classical Studies in Rome this fall term of 2000 to continue my study of the Roman civilization. There I shall have the opportunity to study Roman and Italian Renaissance works of art, including imperial portraits to compare to the imperial portraits seen in Turkey. If my work in Turkey this summer goes well, I may return to Turkey in the summer of 2001 for future study of the correlations between ancient coinage and other aesthetic works.

Both the excursion as well as the assistantship with Professor Harl are essential for me to conduct and complete this research project. The total excursion cost equals $3,000, which includes $1,000 for airfare, $1,300 for food and lodging, and $600 for the bus, guides and other fees. The cost of my stay in Turkey as an assistant is $1,225, including $375 for lodging, $750 for food, and $100 for transportation. I have already received $500 from the Department of Art History, which will help defray the costs somewhat.

I am very enthusiastic about this opportunity extended to me from Professor Harl. Under his supervision and guidance, I am sure to develop and compile a valuable research project which depicts Roman woman as an important element in Roman society in the third century A.D.