The Diptych of the Symmachi and Nicomachi: an Interpretation: In Memoriam Wolfgang F. Volbach 1892–1988

Abstract

The two ivory tablets in Paris and London, dating from late antiquity and forming parts of one diptych (Plates 1, 2), have been convincingly placed in their stylistic setting by the scholar to whom this article is dedicated. With other works in ivory from about A.D. 400 and with the Rothschild cameo, they form a ‘classicistic’ group, some manufactured in Rome, some in Milan. The cameo probably refers to the marriage in A.D. 398 of the young Emperor Honorius to Maria, daughter of Stilicho. We may assume that the diptych under consideration here also has reference to an aristocratic wedding, although its iconography is quite different. It shows not the portrait of a bridal pair, but two female figures, hitherto regarded as pagan priestesses. It is not these figures, but the tabulae ansatae at their heads that give support to the hypothesis that the diptych was made on the occasion of a marriage between the two families named on the tablets, the Symmachi and the Nicomachi. Matrimonial unions between members of the pagan aristocracy in officially Christian Rome may not only be presumed, but in the case of the Nicomachi and Symmachi may be actually shown to have happened. The following observations would seem to provide appropriate reinforcement for reference to a wedding on iconographic grounds.