Grave relief of Publius Aiedius and Aiedia

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This ancient plaster replica, acquired in 1903 and recast in 1990, is a faithful reproduction of an original marble Roman grave relief from the early part of the first century. The relic is now housed at the Pergamonmuseum/Antikensammlung Berlin. Publius Aiedius Amphio is identified as a freedman by the letter "L" in the inscription, indicating that he was once a slave owned by Publius Aedius. His original Greek name, Amphio, typical of Roman slaves, remains his surname. The woman accompanying him, Fausta Melior, is also recognized as a former slave of Publius Aedius. Their social standing is clear from the inscription: both individuals had achieved a form of Roman citizenship upon gaining their freedom but held lower-class status, binding them to their former owner who had become their patron. However, they now enjoyed certain privileges such as entering into legal marriages and having children who would be full-fledged Roman citizens. The relief emphasizes this situation further by depicting the couple in a realistic manner without any hint of an intimate connection or romantic love. Both extend their hands towards the center of the image, symbolizing their serious union and legally married status. The wife's fingers are adorned with two rings, indicating that the pair had achieved some degree of prosperity. Their attire is also clearly visible: Aiedia wears a chiton and cloak, while Aiedius dons a toga, reserved for free citizens. His age and physical imperfections are starkly apparent, including wrinkles, leathery skin, and warts on his forehead and mouth. This portrayal mirrors traditional portraits found on wax death masks, highlighting the significance of age and its characteristics as symbols of worth (dignitas) and excellence (virtus). Today, over 125 reliefs of this type are known to exist. Their resemblance to windows is no coincidence; these reliefs were often placed in the walls of grand tomb structures and found near doors that led into the burial chamber itself. The depictions appear to gaze out from their "windows" along streets lined with tombs, leading into ancient Rome. It was not unusual for freedmen like Publius Aiedius Amphio to be buried within the large mausolea of their former masters. Inscription: P Aiedius P L / Amphio // Aiedia P L / Fausta Melior — CIL VI, 11284