Draft:Roman Altar in Honor of Junia Procula

The Altar in Honor of Junia Procula is a Roman funerary altar housed in the Sculpture collection at The Uffizi Gallery located in Florence, Italy. It dates to the Flavian age (c. AD 80) and is made of Luni Marble. As is typical of Roman funerary altars, the three-sided sculpture is quite decorative. A garland of flowers and fruit is draped between two depictions of Jupiter Ammon in the upper corners of the central panel, while below are two eagles, wings extending around the lower corners. Featured in the upper center is a portrait of Junia Procula, a young girl with curly hair. Above the garland a scene shows a dog knocking a basket of fruit out of the arms of an Erote. Below the garland (between the eagles) a griffin is depicted hunting down a bull.

Front Inscription

The epitaph on the front of the altar tells of the brief life of Junia Procula, who passed away shortly before turning nine, leaving her father and mother in grief.

Dis Manibus / Iuniae M(arci) f(iliae) Proculae vix(it) ann(is) VIII m(ensibus)XI d(iebus) V miseros / patrem et matrem in luctur eliquid fecit M(arcus)Iuniu[s – _– _–] / Euphrosynus sibi et [[[–6?–] Actạ]]e tu sine liae et parentium in u[no ossa] / requ(i)escant quidquid nobis feceris idem tibi speres mihi crede tu tibi testis [eris]

To the divine shades of Junia Procula, daughter of Marcus. She lived eight years, eleven months and five days. She left her wretched father and mother in grief. Marcus Junius Euphrosinus made (this) for himself and for [name erased]. Let the bones of the daughter and parents rest in one (place). Whatever you have done for us, may you hope for the same yourself. Believe me, you will be a witness to yourself.

What is unique about this altar is the two alterations that were made at a later date. Sometime following the altar's inscription, the mother's name was deliberately erased so only the father and daughter remained.

Back Inscription

Presumably at the same time as the previous alteration, a second inscription was added to the back of the altar.

Hic stigmata aeterna Acte libertae scripta sunt vene=/nariae et perfidae dolosae duri pectoris: clavom(:clavos) et restem / sparteam, ut sibi collum alliget, et picem candentem / pectus malum commurat(:comburat) suum. Manumissa gratis / secuta adulterum, patronum circumscripsit et / ministros, ancillam et puerum, lecto iacenti / patrono abduxit, ut animo(s) desponderet solus / relictus spoliatus senex. E(t) Hymno ffade(:eadem) sti(g)m(a)ta / secutis / Zosimum.

"Let what is written stand as an everlasting curse on freedwoman Acte, evil and heartless poisoner and deceiver: let nails and a cordgrass rope bind her neck and boiling pitch burn her wicked breast. She was released without payment, not against her will, and left with her lover; she tricked her master and while he lay in bed, ill, she took away his maid and the young slave who assisted him, causing such pain that the old man, left alone, abandoned and robbed, lost heart. Let the same curse also fall on Imno and on those who followed Zosimus."

The Curse

Much like the practice of Curse Tablets buried in funerary settings, here we see Euphrosinus, the father, utilizing his deceased daughter as the messenger to carry his allegations against his wife down to the Underworld. Euphrosinus accuses Acte of being an adulterer, a cheat, and a thief, which he takes deep offense to as evidenced by the brutal way in which he wishes Acte death. Not only is she to be hung, but also burned in boiling pitch.

The curse also provides insight into the lives of this family. The inscription indicates that Euphrosinus held Acte as his slave. At some point he freed her and married her. They had a child together. Euphrosinus explicitly points out that she was "released without payment." It also indicated that he became ill and at that time, Atte left him for another man, taking his maidservant and a boy with her.