that the sculpted portrait of the "Berlin Cleopatra" head from the Altes Museum is confirmed as having a similar profile with her hair pulled back into a bun, a diadem, and a hooked nose. Ernle Bradford writes that it is "reasonable to infer" Cleopatra had dark hair and "pale olive skin" by how she portrays herself as a "Eastern Mediterranean type" on her official coins, and that she challenged Rome not as an Egyptian woman, "but as a civilized Greek." Barbara Watterson notes that Cleopatra's coins show her in the Greek style rather than the Egyptian style and argues that although she was a Macedonian Greek we can only speculate the color of Cleopatra's features, but probably had dark brown hair and eyes and skin with an olive hue. Similar to the Berlin Cleopatra, other Roman sculpted portraits of Cleopatra include diadem-wearing marble heads now located in the Vatican Museums and Archaeological Museum of Cherchell, although the latter may instead be a depiction of her daughter Cleopatra Selene II. The diademed 'Esquiline Venus' statue in the Capitoline Museums is also speculated as being an additional depiction of the queen, especially due to her connection with the Greek goddess Aphrodite as seen on some of her coinage. The Portland Vase, a Roman cameo glass vase dated to the reign of Augustus and now in the British Museum, includes a possible depiction of Cleopatra with a serpent rising in her lap as she sits and grasps the arm of her Roman spouse Mark Antony. In addition to sculptures and coins, several surviving Roman frescoes from Pompeii and Herculaneum also likely depict Cleopatra. A contemporaneous depiction from Pompeii's House of Marcus Fabius Rufus depicts the queen as the goddess Venus Genetrix holding a cupid in her arms, ostensibly a rare depiction of her son Caesarion who was fathered by the Roman dictator Julius Caesar. Susan Walker notes that the woman's ivory-white skin, round face, long aquiline nose, and large round eyes were features common in Roman and Ptolemaic depictions of goddesses. Duane W. Roller writes about the fresco: "there seems little doubt that this is a depiction of Cleopatra and Caesarion before the doors of the Temple of Venus in the Forum Julium and, as such, it becomes the only extant contemporary painting of the queen." Walker, Roller and Joann Fletcher observe the similarity of this Pompeiian painting with the face preserved in