The series of head capitals belongs to the “screen colonnade” of ten double-engaged columns between the Imperial cult hall or “Marble Court,” MC, and the palaestra, Pa, at the E side of the Roman Gymnasium, B (see Fig. 4; Yegül, Bath Gymnasium Diss., 99). The colonnade is an integral part of the Court, and therefore must be dated to the same period. A monumental inscription on the architrave of the building is dedicated to Julia Domna, Caracalla, and Geta (name erased), and therefore must be dated to A.D. 211-212, the joint regnal year of Caracalla and Geta (BASOR 162, 42; Hirschland, Head Capitals). The other capitals in this series come from closely related colonnades--the screen in front of the hall to the N of MC, designated BE-N (Cat. 197, Cat. 209 Fig. 349-350, 367-368) and the Pa colonnade (Cat. 207, Cat. 208 Figs. 364-366). Some of the capitals, and casts of others, have been erected in the monumental reconstruction of this complex (Figs. 347-348; see also Hanfmann, Letters, 278, figs. 208-210).

There seems to be a major Dionysiac theme in the group of heads which survives: this includes Dionysus, maenads, and satyrs; in addition there are several heads of other divinities from the Olympian pantheon. Another thread which runs through this group is a series of references to Caracalla. Two of the heads may show an actual resemblance to him (Cat. 198 Figs. 351-352, Dionysus; Cat. 205 Fig. 362, Hermes) and a third (Cat. 204 Figs. 359-361) is reminiscent of Alexander the Great, for whom Caracalla had great admiration and whom he tried to emulate (M. Bieber, Alexander the Great, 76; L’Orange, Apotheosis, 39).Marble.

The head, the leaves and volutes immediately below it, and a fragment of the molding are preserved. The head is damaged at nose, mouth, and chin. At r. side of the capital, 90 degrees from the front, is preserved a small fragment of hair from a second head.H. 0.55, of head 0.19 (without helmet 0.15); W. 0.20.BThe head, turned sharply to its l., is capped by an Attic helmet, which comes to a peak at the front and has a spiral at each side. It is a light helmet which sits upon long wavy hair with bold curls, emphasized by drill holes and short drill runs. The locks rise up from the forehead and fall at both sides onto the neck. The forehead is low but prominent with a heavy bone structure over the eyes and two projecting bumps over the nose. The brow not only protrudes but is also exceptionally long, with a clearly defined arc flaring toward the temple. Peering intensely from beneath this ridge are the upward-looking eyes which appear small despite the deeply drilled pupil and incised iris. They are imbedded in the heavy folds of flesh of the upper lids and brow and the equally fleshy lower lids. The nose projects noticeably at the bridge, thus making the eyes seem even more deep-set. Drilling was used for the nostrils and the corners of the mouth.

The upward gaze of the eyes, the fold, and bone structure are in the tradition of Skopas and, subsequently, the Pergamene school. The bone structure of the lower part of the face is quite delicate but the protruding forehead and nose and the thick twisted muscular neck could belong only to a male figure. This combination of delicacy and vigor, and the turned head framed by long curls, are features of Alexander the Great, who is almost certainly evoked in this head. Such an allusion to Alexander is not surprising since Caracalla admired him greatly, and we see Alexander references in several of the head-capital series. The helmeted male, however, could also be understood as an Alexander-like Ares, shown as a vigorous young god, with an air of violence in the twisted neck and piercing eyes.

This head, like the laughing faun (Cat. 199 Figs. 353-354) is carved in the Hellenistic tradition, and shows a fine sense of bone structure and modeling, as well as a keen interest in emotional effect. It is one of the finest examples in our series.

The fragment of hair (perhaps from Medusa or another long-haired god or goddess) at right angles to the head of Ares is important as the only evidence we have for a head at the side of a screen colonnade capital (cf. Cat. 200 Fig. 355 with a fragment of hair at the back of the capital). In fact we have positive evidence from a few others (Cat. 197, Cat. 200, Cat. 201, Cat. 207, Cat. 208 Figs. 349f., 355, 356, 364, 365f.) that there was no head on the side of some of the capitals. It might be that the Ares capital was placed on the column closest to the central entrance way, the head twisting toward that entrance, and a head at the side projecting towards the spectator as he entered.

See also Cat. 198, Cat. 199, Cat. 200, Cat. 201, Cat. 202, Cat. 203, Cat. 204, Cat. 205, Cat. 206.

Marble.

The head, the leaves and volutes immediately below it, and a fragment of the molding are preserved. The head is damaged at nose, mouth, and chin. At r. side of the capital, 90 degrees from the front, is preserved a small fragment of hair from a second head.