Iconology of the Gorgon Medusa in Roman Mosaic. (Volumes I-Iii).

Abstract

The head of the gorgon Medusa is known to have been regarded as an apotropaion in the Greek era, but interpretation of the symbol in the Roman period has never been firmly established. Due to its widespread and varied representation in Roman mosaic, an iconological analysis of the gorgoneion in tessellation provides a case study for the significance of the motif in Roman art as a whole. The one hundred seventeen Roman mosaics known to include gorgoneia (presented herein in a comprehensive catalogue) are examined in several ways to help define and clarify that meaning. Consideration of ancient attitudes about the gorgon, apparent in literature of the Roman period, forms the basis of this study. Identification of "stock types" helps in discerning the degree to which the imagery was st and ardized; these types also shed light on some of the mechanics of the mosaic craft and on the effects of patronage. Observation of conflation and juxtaposition with other tessellated elements adds to an underst and ing of gorgoneion iconography in the Roman era. Analysis of the original contexts of the mosaics and of the directional orientation of the motif in those contexts aids in determining the function and meaning too. Evidence indicates that in mosaic the image of Medusa continued to be regarded as a protective symbol during the Roman period. The gorgoneion's popularity in Roman art, while in some cases indicating a decorative function, in general tends to corroborate the prophylactic significance of the image. The prevalence of this apotropaic symbol throughout the Roman world is consistent with a civilization preoccupied with superstition.