It depicts the Roman emperor Septimius Severus (r. 193–211) with his wife, the augusta Julia Domna, and their two sons and co-augusti Caracalla (r. 198–217) and Geta (r. 209–211).

[3] Later on the tondo re-emerged from the antiquities trade; the provenance is unknown before entering the Antikensammlung Berlin (inventory number 31329) in the 20th century.

Septimius Severus and his sons are also holding sceptres and wearing gold wreaths decorated with precious stones.

[3] Julia Domna has her distinctive hairstyle, crimped into parallel locks, possibly a style from her home in Syria, and perhaps a wig.

The loss of some of the original painting is most apparent with the sceptres that the males are holding: the upper parts, once adorned with imperial symbols, are now missing.

Septimius Severus, the founder of the dynasty, was born in Lepcis Magna, Tripolitania (present-day Libya) in 145 AD.

After the murder of the emperor Commodus in 192, and the short lived succession by Pertinax, Severus seized power with the assistance of his troops in 193.

The use of damnatio memoriae against members and rivals of the imperial family happened numerous times over the course of the Severan dynasty's rule.

[6] Some examples of imperial family members and political rivals who were officially sanctioned with some form of damnatio memoriae included: Didius Julianus, Plautilla, Clodius Albinus, Elagabalus, Julia Soemias, and Pescennius Niger.

By removing Geta's figure from the tondo, the owner would be able to continue to support the new emperor, Caracalla, and the legacy of Septimius Severus and Julia Domna.

[6] This display of damnatio memoriae of Geta's image shows that this practice of defacement did not only occur on public monuments and artworks, but in private settings as well.

To help with the transition of power and their public image, the Severan imperial family expertly preserved the earlier Antonine period in the process of associated iconography.

Some elements include the non-engaging oversized eyes, frontal placement of the figures, and the details of upper class dress.

[3] Severan portraiture during Septimius Severus's reign was categorized by two distinct styles: Antonine-inspired, and one that combined the emperor's image with Serapis, a Greco-Egyptian god.

The use of the established Greek four-color palette of white, red, yellow, and black and a single light source are another similarity between Fayum portraits and the Severan Tondo.

[12] It may have been painted to celebrate the visit of Septimius Severus to Egypt in 199, following his military victories against the Parthian Empire the previous year, and before his campaigns in North Africa in 203.