The Roman noblewoman who carved her poetry into the legs of ancient statues

Ideas & Philosophy · Published 3 October 2026 · Updated 25 October 2026 Swipe more like this →

In short: Julia Balbilla was a well-connected poet and companion to the Roman Empress Vibia Sabina. During an imperial tour of Egypt in 130 AD, she left a permanent mark on history by inscribing three sophisticated Greek epigrams directly onto the massive Colossi of Memnon, blending imperial flattery with classical literary tradition.

Born in 72 AD, Julia Balbilla occupied a unique space in the Roman world. Her lineage was a complex tapestry of royal bloodlines from the Kingdom of Commagene, alongside Armenian, Median, Syrian, and Seleucian ancestry. Raised in Rome within the household of her grandfather, the puppet ruler Antiochus IV, she received a traditional Greek education. Her family’s status was precarious; her father, Epiphanes, was not a senator, though her brother Philopappos eventually achieved that rank and served as consul until 109 AD.

Balbilla is best known for her role as a court poet and lady-in-waiting to Vibia Sabina, the wife of Emperor Hadrian. In November 130 AD, while traveling with the imperial party in the Valley of the Kings, she was commissioned to commemorate their visit. She chose to carve three epigrams in Aeolic Greek onto the legs of the Colossi of Memnon. These works, while serving as public inscriptions honoring the imperial family, functioned much like ancient graffiti. They utilized Homeric tones, metaphors, and sound echoes to flatter Hadrian and Sabina while referencing the mythical king Memnon.

Beyond mere flattery, Balbilla’s poetry reveals a deep connection to her own heritage. In her third epigram, she explicitly honors her parents and grandfathers, reflecting on her noble lineage. Scholars suggest the statues may have reminded her of the monumental sculptures at Mount Nemrut, associated with her ancestor Antiochus I Theos of Commagene. While a fourth epigram often attributed to her—signed by a 'Demo'—is frequently published alongside her work, internal evidence indicates it was likely written much later, around 196 AD or after. Following her Egyptian compositions, Balbilla disappears from the historical record, leaving behind only these stone-carved echoes of her life and status.

The survival of these inscriptions offers a rare glimpse into the literary life of a Roman noblewoman. By adopting the style of Sappho and focusing on themes like the Muses, Balbilla asserted her intellectual identity within the rigid hierarchies of the Roman Empire. Her work remains a testament to the intersection of personal identity, imperial power, and the enduring nature of public art.

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