A marble head discovered in the ruins of the ancient Greek city of Chersonesos (Greek: Χερσόνησος) in Crimea has been identified as depicting Laodice, a prominent woman from a powerful local family.

Researchers say the portrait, carved from Paros marble quarried in Greece, is one of the best-preserved examples of Roman-era sculpture found in the Black Sea region. The study, led by Elena Klenina, appears in npj Heritage Science.

The marble head was uncovered in 2003 during excavations of a large residence near the agora and theatre of Chersonesos, located in modern Sevastopol. The city itself was founded by Dorian Greeks in the fifth century BC, long before it became a Roman ally.

The house, built in the fourth century BC and used until the third century AD, later gave way to a Byzantine church. Archaeologists discovered the head in a basement room that was filled during renovations in the second century AD. Coins, ceramics, and other objects from the same layer confirmed the dating.

Despite some damage to the nose and eyes, the head remained remarkably intact. Its size suggested it once belonged to a life-sized or larger statue placed in a public setting.

Klenina's team conducted a series of scientific tests, including radiocarbon dating, isotope analysis, and microscopic examinations of the marble and its patina. Results showed the stone came from the famed Greek quarries of Paros, a source of fine white marble prized since classical antiquity.

Tool-mark studies revealed that the sculptor employed chisels, rasps, and abrasives to shape the features. Evidence of repairs suggested the artist adapted to flaws in the stone, a practice common in ancient workshops. Traces of red pigment and charcoal hinted that the head may have once been painted or exposed to fire.

The stylistic features also told a story. The hair followed the melonenfrisur, a hairstyle first seen in classical Greek sculpture and later adopted by Roman women. The face combined Roman realism, visible in the wrinkles and sagging skin, with the smoother, idealized traits of Greek tradition.

One pedestal carried an honorary decree for a woman named Laodice, daughter of Heroxenos and wife of Titus Flavius Parthenokles. Her husband belonged to a wealthy family with Roman citizenship and a high office in the city.

The researchers concluded that the marble head likely represented Laodice, whose statue once stood in a prominent place such as the agora. The quality of the carving, the costly marble, and the dignified expression supported the idea that the subject was an elite matron honored for her public role.

Historical records indicate that Chersonesos gained special free-city status, or eleutheria, under Antoninus Pius in the mid-second century AD. Klenina suggests Laodice may have been recognized for her part in civic or diplomatic efforts linked to that achievement.

The discovery adds a rare and vivid portrait to the history of Chersonesos, a city founded by Dorian Greeks in the fifth century BC and later drawn into Rome's orbit. Only a handful of marble portrait fragments have ever been recovered from the site, and none with such clarity of context.

By identifying Laodice, the study highlights the visibility and influence of women in provincial Greek-Roman society. Her commemoration with a full statue shows that local matrons could play symbolic roles in political life and civic identity.

The research also underscores the importance of Chersonesos as a cultural crossroads. The blending of Roman and Greek artistic traditions in the marble head reflects the city's position at the edge of the empire, yet firmly tied to Mediterranean art, politics, and trade networks.

Klenina and her team note that the statue's placement in a public monumental setting, most likely near the agora, symbolized not only Laodice's prominence but also the city's aspirations. The choice of rare Paros marble emphasized wealth and status, while the serene expression conveyed dignity and civic pride.

More than two centuries after the first excavations of Chersonesos, the marble head of Laodice offers a tangible link to the city's complex past. It stands as both a personal likeness and a political statement, carved in stone at the height of Roman influence in the Black Sea.