Archaeology Magazine - April 1971 - 89

ties, and even the Romans made slow
progress.It is rather roads and bridges
than cities and villas that attest to
Romanization. But once the Iberians
had acceptedan idea, they were slowto
relinquishit. And how desperatelythey
could fight. The archaeologicalrecord
of the peninsulais consequentlyone of
bloodshedand backwardness.
From this dismal record Professor
MacKendrickhas made a highly readable book by the strategemof choosing
a specimensite for each important period and eloquentlyevokingits life from
its ruins at a time when history attests
to its importance: Numantia in its
struggle against Scipio, Merida under
Augustus,Italica under its native sons,
Trajan and Hadrian. This works well
enough but tends to disguisehow thin
the record often is. And on the other
hand some of the more interestingsites
get less than their just desserts- Saguntum, for example,and Tarragonawhile some sites come on too strong
and simple: Ampurias, which is a far
lesssatisfactorysite than ProfessorMacKendrick leads us to think, and the
enigmaticCadiz. And I would personally protest the omission of my two
favorite Spanish enigmas,the arches of
Caparra and Medinaceli.
Still one can recommendthis book as
a splendid introduction to the archaeology of Iberia. Every period down to
the Visigothicconquestcomesin for its
share of attention, and while I found
the Visigothicremainsmore interesting
than the Punic, one must stop somewhere.The black and white illustrations
are good and numerousbut tend to be
on the dark side; the maps that accompany every chapter are excellent.
There is as full a bibliographyas Iberian archaeologypermitsand a fineindex.
L. Richardson, Jr.
Duke University
Das Bildnîs des Q. Ennius:
Studien Zur Romischen Portratkunst des 2. Jahrhunderts v. Chr.
HAFNER.
by GERMAN
52 pages, 23 photographs.
Bruno Grimm,Baden-Baden,Germany
1968 (DeutscheBeiträgezur Altertumswissenschaft20)
For those interested in the complex
argumentsof the continuingMenanderVergil problem, this study attempts on
stylisticgrounds to refute V. Poulsen's
recent tentative identification ( Vergil:
Opus Nobile 12, 1959) of a series of
mature male heads in Copenhagen
(I.N. 3178 and herm I.N. 611), the

Lateran (Nos.630, 631) and Leipzigto
Vergil at the end of the first century
b.c., by reattributingthem to the Roman
writer,Q. Ennius (239-169b.c.) . Hafner
proposesthat all five copiesderive from
an early Republicanoriginal,possiblyan
honorary statue of Ennius set up in
Rome in the first half of the second
century b.c. The most obvious traits,
such as the flabbyveristicquality of the
skin and the plastically rendered hair
resting on the ears reflect, as Hafner
points out convincingly,a period prior
to the late Republican linear style or
Augustan idealismof the late first century b.c. and thereforethe personrepresented must be pre-Vergil (70-19b.c.).
Hellenistic portraits provide adequate
parallels.
Hafner findsthat Enniuswouldbe an
establishedRoman personageof the appropriate stylistic period and one who
could be connectedjustifiablywith the
newly recognizedHesiod type (PseudoSeneca) on the opposite side of the
Copenhagendoubleherm. Comingfrom
similar rural backgrounds (Boeotia vs.
Apulia), both men were reveredas literary fathers in their respective worlds.

AlthoughHafner acceptsHesiodfor his
argument, ®ther scholars still consider
this portrait head to be also one of the
most controversial.
The importanceof this studyrests not
onlyin the new stylisticanalysis,but also
in the reneweddiscussionofcombinations
in double herms and the problem presented by the absenceof Roman second
century b.c. material whichmight allow
a more preciseinterpretation of the influenceof Hellenic,Italic-Etruscan,and
possiblyurban Roman stylesduring this
crucial period.No lessimportant are related side issues; the interpretation of
the similar terracotta relief head from
the Athenian Kerameikos,the appropriateness of Ennius as a subject in a
RomanizedGreek context and the differentiationof sourcesfor Medievaland
Renaissance representationsof Vergil.
If we accept Hafner, we still do not
have the portraits of Vergil, unless we
fall back on the Menander of the Menander-Vergil type. The controversyremains open in the absenceof epigraphical confirmation.
Carol Ward Carpenter
Bryn Mawr College

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185

Archaeology Magazine - April 1971

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