A marble portrait head of the emperor Trajan with thin lips drawn into a reserved smile, pronounced nasolabial folds and shallow nostrils; deep-set almond-shaped eyes framed by thick lids and characteristic coiffure combed forward over the forehead and swept over the ears; truncated below the lip and to the top of the head; mounted on a custom-made stand.

PROVENANCE:
From an important private collection; formerly from an old German collection; acquired before 1980.

LITERATURE:
See Fejfer, J., Roman Portraits in Context, p.411-416 for discussion.

FOOTNOTES:
Trajan succeeded to the position of emperor in 98 AD at the age of 45 and remained in power until his death in 117 AD. In contrast to the tumultuous reign of Domitian and the subsequent brief rule of Nerva, lasting only fifteen months, Trajan's reign was characterised by military expansion and extensive building projects which reshaped the empire and its centre, the city of Rome. The legacy of Trajan's philanthropy can be witnessed in Rome today, marked by landmarks such as Trajan's column, Trajan's arch and Trajan's market. Trajan was hailed as Optimus Princeps, 'The Best Leader', by the senate and was lauded in antiquity as a man of morals and dignity.

The portrait types attributed to the emperor Trajan have been well documented, with at least six different types identified throughout the course of his twenty year reign. Minor differences occur, mostly in hairstyle, but the portraits are widely recognisable by defined physiognomic features of the face and a sweeping combed coiffure. Deep nasolabial folds, thin mouth and a furrowed brow suggest a depiction of the emperor as an older man. This portrait head belongs to the second group of portrait types, identified by a slim, rather than fleshy face and voluminous hairstyle. Weathering has subdued detail to the hair, but the facial features nonetheless depict the calm countenance of a wisened general.

The truncation below the lips and to the head poses several questions, but remains unresolved. Chisel marks to the flat top of the head suggest that the marble has been worked, perhaps to fit within a larger ensemble, or for the addition of a headpiece.