| Summary: | A marble head that was brought to the Marmaris Museum in 2010. It draws attention with its fashion, style, and high quality workmanship. Its nape braid is particularly unique. We know that hair is a significant way of dating and identifying artworks from the Roman Empire. Particularly for women, hair styles created in lengthy hair styling sessions, and their depiction in marble or other materials are as useful as their faces for recognizing sculptures of women by their hair. The portrait of the Young Lady in the Marmaris Museum was analyzed in this context and was addressed in terms of style, fashion, technique and physiognomy to determine its status in Roman sculpture. The portrait was compared with three Empresses who were members of dynastic families from the reign of the Late Antonines and the Severan Dynasty. The first of these women was the wife of the Emperor Lucius Verus. Another, Lucilla, was the wife of Commodus, and Crispina was the wife of the Emperor Caracalla, the Empress Plautilla. Their shared features include using the title, Augusta, when they were young and similar variations of melonenfrisur as their hair styles.
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