13CLS Messages of Empire
Prima Porta statue of Augustus:
The Prima Porta statue of Augustus (top right) is a slightly larger than life-sized statue of Augustus Caesar. Standing at 2.03m, it gets its name from the location it was discovered – the Villa of Livia (a residence of Caesars wife) at Prima Porta, which is a suburb of Rome, on the banks of the Tiber.
When we first examine the head of the statue, we see a face that appears to be that of a young emperor, despite the statue being constructed when Augustus was middle-aged. The face is smooth, not revealing the lines or marks you would expect to see on a man of that age. Instead the statue shows a Hellenized and highly idealized version of Augustus. The simplistic features of the face, alongside the youthful look the sculptor has given the statue, appear to aim to symbolize his “eternal youth”, also being the most common form of the emperor in his sculptures and depictions. These facial features are derivative of the Doryphoros statue by Polykleitan (bottom right), shown here for comparison of similarities.
The facial expressions of both are calm and show authority and the character of the person. The mix of the Greek athlete-like face, and the “smooth faraway look”, the impression that Augustus is god-like, rather than a mere mortal. This depiction is understandable, considering his achievements in his lifetime, consolidating and maintaining an enduring legacy as one of, if not the most effective leaders in all of human history.
The breastplate of the statue reveals to the onlooker Augustus is a leader of military power. It is shrouded in “Augustan and Tiberian propaganda”, which relate to military victories Augustus attained, such as that of his victory over the Parthians, which occurred in 20 B.C. The breastplate also features what is believed to be depictions of gods such as Caelus (the sky god) at the top, Sol (the sun god) is believed to be the character below at name a few. The gods that feature seem to suggest that the many conquests Augustus attained have a favour with the gods. This is reinforced by the inclusion of the Mother Earth Tellus, reclining, and cradling two infants. The image of her and that of Caelus would imply peace and prosperity resulting from Augustus’ military victories.
The gesturing of the hand is also significant, and a clear difference between the Prima Porta statue of Augustus, and that of Doryphoros. The right hand of Augustus is gesturing as if he is making an address, giving the impression of Augustus as a powerful ruler of Rome.
On the right of Augustus is a depiction of Cupid riding a dolphin. Cupid is the son of Venus, whom the dynasty Augustus is of – the Julian dynasty – claim divine lineage to Aeneas, whom founded Rome. Some believe that Cupids face is supposed to be Gaius, the grandson of Augustus. The dolphin is likely a nod to Augustus’ great naval victory at Actium over Mark Antony, meaning it is a politically significant symbol.
Many aspects of this statue can be considered political propaganda. From the height; being larger than life, symbolically saying Augustus is above the rest of the Romans – god-like, to the Cupid riding the dolphin, reminding onlookers of the statue of his great military and naval victory over his rival, and of his great piety towards the gods, to the breastplate featuring great military triumphs, with the depictions of Hispania and other conquests upon it.
Bust of Commodus as Hercules:
The Bust of Commodus as Hercules is a 3ft 10’ life-sized bust of the Roman Emperor Commodus. Crafted in about 190AD, the statue was discovered in an underground room of the “Horti Lamiani complex”, where it was likely hidden.
Commodus ruled as emperor of Rome from 180-192 CE. He often likened himself to Hercules in his representations through art. According to some historians, he gave claim that he was a “reincarnation of Hercules”, who was a notorious hero from Greek mythology, as well as an “incarnation of the Roman god Jupiter”. By creating this link to Hercules through the bust, Commodus wants his people to associate him with the deities, and the strength and reputation that follows. The association with the gods also allows a “divine” right to rule the Roman Empire as well.
His features can be seen idealized, or Hellenised, in his face, which shows a young man at his prime, with imagery related to Hercules; the lion head, the club, and the golden apple of Hesperides. The face is without wrinkles or lines showing his age, and his beard and hair are represented in very detailed tight curls, without a strand out of place. The shoulders and arms reveal a strong, and muscular body, each muscle is well defined and shows no imperfections. The arms are perfectly balanced, with one bent backwards holding the club, and the other arm is open and reaching away from the body holding an apple. The Hellenized body and the balanced arms are a reflection of the ancient Greek style of “idealism”. So, Commodus is associating himself with the Greek art, much revered by the ancient Romans.
Portrait of Vespasian:
The portrait of Vespasian is a bust that is 45cm high, and was uncovered in Carthage, North Africa, from about 70-80CE. Vespasian came to imperial power in the civil war that followed the death of Nero. Earlier he had commanded the Roman forces which took control of southern Britain. The bust displays “verism”, which is the artistic preference that is contemporary instead of the heroic or legendary in art and literature; a form of realism. The word comes from Latin “verus”, meaning true.
Many modern historians note the increased amount of propaganda that appeared during Vespasian's reign. M. P. Charlesworth’s "Flaviana" describes how Vespasian came from a peasant background, unlike his predecessor emperors, and he especially contrasted the extravagance of Nero, whom had come before him. This contrast can be seen in the way Vespasian wanted to be portrayed in his propaganda, through verism rather than a Hellenised version of himself as others were. In ancient Rome, official portraits were key, and very important way for emperors to reach out and connect to their subjects, their public image was defined by them.
This veristic portrait of the emperor Vespasian clearly shows the aged complexion of this battle-tested emperor, and also the “strained expression” which the Roman writer Suetonius said he had at all times. The loss of the nose is apparent of the damage suffered by ancient statues, either through deliberate mutilation or through falling or being toppled from their base.