The Goddess Fortuna in Imperial Rome: Cult, Art, Text - University of ...

Reexamination of the figures on the mural crown confirms the hypothesis
that they are Ascanius led by Aeneas from Troy. 37 The best–preserved figure (to
the right of center) is dressed as follows: a belted long-sleeve tunic, a cap, whose
outline is just noticeable, and a cape that flaps behind in the wind. The figure’s
right hand holds a stick that curves only at the top; this cannot be a bow, as
Palagia argues, because a bow is curved at both ends. This figure is Ascanius,
who wears a Phrygian cap and holds a shepherd’s stick. The left hand of
Ascanius is grasped by that of another figure, badly preserved (only the right leg
and hand are extant), who is more than just “taller.” 38 The angle of the second
figure’s extended leg suggests that this figure is moving violently to the right.
This is the adult hero, Aeneas, who is rushing ahead. He is pulling along his
small son, whose hand he holds. A swirl of Aeneas’ cloak is visible above the
head of Ascanius. The bareness of Aeneas’ leg (until his upper thigh) and the
faint outline of the skirt that was worn under the cuirass indicate that he originally
was depicted in the same Roman body-cuirass as in the standardized depictions of
Aeneas fleeing Troy. On Aeneas’ shoulders would have rested his father,
Anchises, but this portion is now missing.
The scene on the mural crown contains a dramatic narrative for the
viewer. The two figures are fleeing outside the walls of Troy, represented by the
37 Two examples of the Aeneas group represented within the architectural setting of a city wall
gate include Spannagel (1999) tab. 5.11 (cameo, private collection) and tab. 6.1 (marble relief in
Rome, Palazzo Poli), late first/ second century CE.
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