A. The hair lies in three wavy rows separated by deep drill runs, crossed by little bridges in regular intervals, thus making an independent pattern. The locks are done with a chisel and then incised with a very fine point to make parallel wavy strands following the general curve of the lock. The eyebrow is cleanly cut in a shallow arc. The eye is most carefully executed: the tear duct is a small rectangle made with small drill and then chiseled out. The upper lid bends over it, then makes a beautiful arc over the eye, projecting 0.004 beyond the eye surface. The lower edge of the lid is sharply set off from the eye, the surface of which is skillfully carved. The inner edge of the cornea is outlined with slight incision, the pupil incised as a circle, partly hidden by the upper lid. Iris is hollowed crescent. Forehead and cheek have been brought to a brilliant high polish.

B. A tall cylindrical neck marked with two creases which stops short of the center of the neck, as is typical of portraits of Julia Domna. A lock at l. of the neck is done in the same way as hair on fragment A. The nape is treated with fine claw chisel, but is not polished. Rounded bottom of neck, rough trimmed, shows typical curvature and treatment for insertion into body. In top break of neck, a triangular cutting or dowel hole near back must have held insert of stone from head.

Style and technique of hair have parallels from early 3rd to early 4th C. A.D. Classicizing type and smooth polish suggests a Gallienic date. An unusually fine and original piece among the Sardis finds, if lamentably fragmentary.

Fine marble, medium-grained, slightly yellowish.

Decomposition has set in near surface. Cement and brick adhere to breaks. Two fragments preserved. A: hair to cheek, l. side of head: B: fragment of l. side of neck, lock of hair. Broken in two in front of lock. Underside of neck and back are burned. Marble of B more decomposed than A.