2 10 53 http://classicalchopped.artinterp.org/omeka/files/original/5b026faceadfec4f21ccff8bf05f3c1d.png 117a5ad8bd681a4dffcdb196d6dfaf69 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Equestrian Domitian Date A point or period of time associated with an event in the lifecycle of the resource ca. 95 AD, Flavian period Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Bronze Format The file format, physical medium, or dimensions of the resource The rider is 130 cm tall Source A related resource from which the described resource is derived Sacellum of the Augustales in the Forum at Misenum, Italy, Rights Holder A person or organization owning or managing rights over the resource. Archaeological Museum of Campi Flegrei, Baiae, Italy Description An account of the resource Description: The statue of “Equestrian Domitian” is a dynamic representation of a man riding a horse. The horse’s front legs are bent and lifted off the ground, with its left hoof raised slightly higher than its right. The main portion of the horse’s body is not made from bronze but from a light brown material. It is made up of 5 separate pieces leaving gaps between the right and left side, the back and front, and the neck and body. The rear and hind legs of the horse are missing. Its body is angled so that it appears as though it would be standing on its hind legs if they were still there. There is an open space in the restoration below the horse's head, which is made of bronze and is turned to the left. Its hollow eyes and mouth are wide open and its nostrils are flared. Its mane is tied into a small bunch in between its flattened ears. The man is sitting upright on the horse with his left arm is holding onto the horse’s reigns. His torso and head are turned to the right. His right arm is bent at the elbow so that his forearm is nearly vertical. He is holding a small spear in his hand. He is wearing a thigh-length tunic, a short cuirass, a military clock, and senatorial shoes. His cuirass is embellished with reliefs and incised decoration. At the center, there is the head of Medusa. Underneath, there are two snakes joined in a Hercules knot. On the right shoulder, an infant Hercules is depicted strangling two snakes. The remainder of the cuirass is covered with incised sea creatures such as dolphins, eels, and fish. The man’s wavy hair continues down the back of his neck. His face shows signs of verism, including wrinkles on his forehead, nose, and mouth. His nose is large and his mouth is very small. There is a seam along the edge of his face, and there are signs of damage along the left side of the neck leading to a hole along this seam. Significance: This portrait was found in the Forum at Misenum in a temple to the divine emperors. However, despite being named after Domitian, this portrait in its current state cannot represent this Emperor because he was given a damnatio memoriae after his death. This means that he was not deified and therefore would not be honored in this temple. Instead, it shows the face of Nerva. Its name is not wrong, however, because the body does, in fact, depict Domitian. It appears that the Romans chose to erase Domitian’s memory by simply reworking this piece rather than destroying it. The seam that goes around the face clearly indicates that Nerva’s face was not the original. Without his face, Domitian is still recognizable because of his mullet-like hair and the personalization on his cuirass. Domitian was well known for associating himself with Hercules and Minerva, who are both referenced on the breastplate. Gorgons were commonly found on armor, as they were believed to be apotropaic. The specific choice of Medusa, however, is specifically associated with Minerva. The incised sea creatures were likely a reference to the statue’s location in Misenum than Domitian personally. In addition to helping identify the portrait’s original subject, the figure’s clothing helped art historians establish that statue depicts the figure hunting lions. Typically, an equestrian statue depicts the rider engaged in warfare. However, Domitian is not wearing the attire associated with battle. He does not have a helmet or a shield, both of which are generally found in battle scenes. Furthermore, he is not wearing caligae, but senatorial shoes. Although there are other examples of Roman portraits in which the emperor wears both his military uniform and senatorial shoes, they are not battle scenes. Nonetheless, it is clear that the figure is in the process of attacking something. Many people believe this to be a lion, thus making this a hunting scene. This is further confirmed by the horse’s expression. Although much has been restored, thankfully the horse’s head has remained intact. Its face shows a significant amount of fear, and it is turning away from something that perhaps would have been just to the right of its center. Roman horses were well trained in battle and would not have exhibited this level of fear. This confirms that this was likely a lion hunting scene, as that would be something that the horse was unfamiliar with and therefore understandably afraid. Like many hunting scenes, this statue may have been erected to celebrate Domitian, and later Nerva’s, virtus. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Tuck, Steven L. A History of Roman Art. Chichester, West Sussex: John Wiley & Sons Inc, 2015, pp. 198-199. Tuck, Steven L. The Origins of Roman Imperial Hunting Imagery: Domitian and the Redefinition of Virtus under the Principate. Greece & Rome, vol. 52, no. 2, 2005, pp. 221–245., www.jstor.org/stable/3567870. http://classicalchopped.artinterp.org/omeka/files/original/fdb38f52aef03ee0f2e1b7be5d54d2e5.jpg 1fc950c2dc0eccbf711e47e612e0f05c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Commodus as Hercules Date A point or period of time associated with an event in the lifecycle of the resource 180-193 AD, Antonine Period Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 133 cm tall Source A related resource from which the described resource is derived Esquiline, Rome Rights Holder A person or organization owning or managing rights over the resource. Capitoline Museum of Rome, Italy References A related resource that is referenced, cited, or otherwise pointed to by the described resource. <a href="http://en.museicapitolini.org/collezioni/percorsi_per_sale/museo_del_palazzo_dei_conservatori/sale_degli_horti_lamiani/busto_di_commodo_come_ercole">Musei Capitolini</a> Hekster, Olivier. "Propagating power. Hercules as an example for second-century emperors." Herakles and Hercules. Exploring a Graeco-Roman Divinity (2005): 205-21. Speidel, Michael P. "Commodus the God-Emperor and the army." The Journal of Roman Studies 83 (1993): 109-114. Contributor An entity responsible for making contributions to the resource Charlotte Myers Description An account of the resource Description: Commodus, rendered in the guise of Hercules in a marble bust, is depicted as a young, muscular man, who is mostly nude. He dawns the skin of a lion as his headdress, with the deflated beast’s front paws secured in a tight knot across his chest. His hair consists of many coiled curls, as does his beard. He is wielding a club over his right shoulder and holding small apples in his left hand. Two women, depicted in much smaller proportion than him, once held up the shield below his chest; however, damage over time leaves only one headless woman on Commodus’ right side. Aside from this, the statue is predominately held up by a small sphere below the shield and in good condition. Significance: Commodus, who became Emperor at age 20, was known as one of the most pompous and reckless emperors of the Roman Empire; in fact, it was even rumored that he murdered his own father. In this depiction of the violent young leader, he is rendered as haughty and disdainful, with sleepy-looking eyes and mop-like hair. His slightly parted mouth alludes to how Alexander was depicted. Commodus in the guise of Hercules renders the god-like way in which the Emperor wished to be remembered. Two militaristic women were originally depicted holding the shield of Commodus to showcase his dedication to campaigning and power through military force. Though his face is personalized, his body and garments are not. His heroism is shown through his nudity and his garments obviously allude to Hercules. The most obvious example of this is the lion skin draped over his head and shoulders, which Alexander was known to wear in portraiture as well. The apples in his hand represent the apples of Hercules’ labors; Hercules worked to finish his labors in order to become a real god. In this way, Commodus renders his own self-defined path to becoming a deity. Lastly, the two cornucopias represent abundance, indicating his wealth as a leader. http://classicalchopped.artinterp.org/omeka/files/original/3af8b2b922dea7f02be53fc9ddc12c28.jpg eea9a50c4cdf5f6fa9a5ed91e0db1cbf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Young Flavian Woman Date A point or period of time associated with an event in the lifecycle of the resource Early 2nd Century AD, Flavian Dynasty Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 63 cm tall Rights Holder A person or organization owning or managing rights over the resource. The Capitoline Museum of Rome, Italy References A related resource that is referenced, cited, or otherwise pointed to by the described resource. <a href="http://en.museicapitolini.org/collezioni/percorsi_per_sale/palazzo_nuovo/sala_degli_imperatori/busto_fonseca">Musei Capitolini </a><a href="https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/roman-republic/v/portrait-bust-of-a-flavian-woman-fonseca-bust">Khan Academy </a> Bartman, Elizabeth. "Hair and the artifice of Roman female adornment." American journal of Archaeology (2001): pages 9-11. Kleiner, Diana EE. Roman sculpture. Yale University Press, 1992. Page 149. Stephens, Janet. "On (hair)pins and Needles" Ancient Roman Hairdressing (2013): pages 126 & 131 Contributor An entity responsible for making contributions to the resource Charlotte Myers Description An account of the resource Description: The Young Flavian Woman, also referred to as the Bust of Fonseca, depicts a female figure with her head tilted slightly to her left. The woman has a pointed nose and sharp features, such as her emphasized cheekbones. Her neck is quite long and lean and leads to her chest, which appears to be clothed in loose drapery. Her hair is upright in the front and consists of many small ringlets; these intricate ringlets fall on her forehead and in front of her ears. On the back of her head, the rest of her hair is pulled into a wide bun of braids. Small tendrils of hair frame the nape of her neck. The bust is in excellent condition and does not appear to have any significant damage. Significance: A delicate young female portrait is portrayed through the eyes of a detail-oriented sculptor in the Fonseca Bust. Her head tilts and her eyes look distant, as though she is deep in thought. She is characterized as a young Flavian woman as she is from the Flavian Dynasty, a time period in which Vespasian, Titus, and Domitian ruled over the Roman Empire. The Fonseca Bust’s hair probably the most defining characteristic of the bust. Described as a “circle of hair” (orbe comarum), the figure’s hair is quite unique and is representative of a distinctly Flavian style. The ringlets in front are pulled up quite high and frame her face, while a coiled, wide bun is situated on the back of her head. Chiaroscuro is created atop the head of the woman with the use of a manual drill, which the sculptor used to create depth within each ringlet. Some scholars believe that the hairstyle could have been an emulation (by many Flavian women such as this one) of the hairstyles worn by Domitia Longina, the wife of the Emporer Domitian. It is thought that a hairstyle this complex might have been kept in place with the help of beeswax or resin. Though many attribute this hairstyle to a wig or hairpiece, hairdresser and amateur archaeologist Janet Stephens, who specializes in ancient Roman hairstyles, believes that it was possible to achieve this through sewing the hair. Nevertheless, the hairstyle remains distinct to Flavian culture. Though the bust is most often identified as Flavian, it is debated by some scholars that it is actually from the Trajanic Period. More specifically, the young woman is sometimes identified specifically as the niece of Trajan, Vibia Matidia. Source A related resource from which the described resource is derived Rome, Italy http://classicalchopped.artinterp.org/omeka/files/original/def5e466ab55dd487135d9af178c7165.jpg 679987f911730be57736813671308a96 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource VMFA Caligula Date A point or period of time associated with an event in the lifecycle of the resource 1st century AD, Julio-Claudian dynasty Creator An entity primarily responsible for making the resource unknown Medium The material or physical carrier of the resource. marble and paint Format The file format, physical medium, or dimensions of the resource 203 cm tall Source A related resource from which the described resource is derived Bovillae, Italy Rights Holder A person or organization owning or managing rights over the resource. Virginia Museum of Fine Arts, Richmond, Virginia, United States Description An account of the resource Description The VMFA Caligula is a full-length sculpture of a male figure. The figure is enveloped in drapery, a tunic and a toga, that covers almost every part of the body except for the feet, head, and upper chest and neck. The drapery appears to be a large amount of cloth, dense and heavy in texture. The drapery is also textured in its deep grooves that define the folds of the fabric. The figure also wears closed boots called calcei patricii. The figure stands in contrapposto with his weight on his left foot, which has been damaged and broken at the toes, and his right heel raised off the ground. His hips are tilted. The sculpture has also suffered some damage to the arms. The right arm is almost entirely gone and ends at the lower part of the shoulder. The left hand is also gone. However, most of the left arm is intact and bends at the elbow, suggesting the left hand would have extended slightly away form the body. The figure’s clavicle, neck, and head are exposed. The head is smooth and idealized in style, showing almost no wrinkles or signs of age. The nose has been damaged and the tip is gone. His eyes are large and his mouth is closed adding a regal mood to the portrait. His ears are close to his head, and his hairstyle is composed of small comma locks. His hair is full and continues a bit down the back of his neck. Significance Gaius Julius Caesar Germanicus, more commonly known by his cognomen Caligula, was the third of the Julio-Claudian emperors. He became emperor at the young age of 25. His young age contributes to his youthful essence in this portrait. This look of youth can also be attributed to one of his predecessors, Augustus, who preferred to be depicted as youthful even in older age. Augustus wanted his portraits to look youthful as a way to express potential, so it is possible that Caligula is attempting to liken himself to his successful predecessor as well. Traces of paint have been found on the drapery of the sculpture, suggesting Caligula’s elite status. The drapery is a long, luxurious garment that also suggests his wealthy means as a royal. In addition, the figure wears closed boots called calcei patricii reserved for aristocrats or noblemen. The colorful costume, animated nature of the garment, dynamic pose, and life-like facial qualities help the sculpture to evoke vitality. The sculpture was found in Bovillae, and had inscriptions noting an imperial cult reserved for the imperial elite. This suggests that the portrait was displayed as part of a large Julio-Claudian group. Because Caligula was a violent and unjust emperor, he was assassinated. Because of his action, Caligula underwent unofficial damnatio memoriae, meaning that his portraits were either taken down or destroyed. This sculpture was likely put into storage, possibly to be reworked rather than intentionally damaged, because of its relatively good condition. The good condition of this sculpture may also be a result of its provenance, Bovillae, an important center of the Julio-Claudian cult. It is likely that this unofficial damnatio memoriae need not apply in this unusual location where the sculpture was displayed. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Abbe, Mark. "The Digital Sculpture Project." The Digital Sculpture Project. N.p., n.d. Web. 05 Apr. 2017. "Emperor Gaius Julius Caesar Augustus Germanicus (Caligula)." VMFA. N.p., n.d. Web. 05 Apr. 2017. Contributor An entity responsible for making contributions to the resource Megan May http://classicalchopped.artinterp.org/omeka/files/original/2a4cb4d87dd3ae128fbd1825d6ccf30b.jpg a641d69f0ee10661e60e8b724dde1067 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sestertius of Octavian and Caesar Date A point or period of time associated with an event in the lifecycle of the resource ca. 37-31 B.C., Republican Pd Creator An entity primarily responsible for making the resource mint of Southern Italy Medium The material or physical carrier of the resource. bronze Format The file format, physical medium, or dimensions of the resource 3.175cm (diameter) Source A related resource from which the described resource is derived N/A Rights Holder A person or organization owning or managing rights over the resource. British Museum Contributor An entity responsible for making contributions to the resource Charlotte Mann References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Kleiner, Diana E. E. Roman Sculpture. New Haven, CT: Yale UP, 2006. 61. Print. Kleiner, Fred S. A History of Roman Art. Boston, MA: Cengage Learning, 2016. 62-63; 89. Print. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?assetId=616516001&objectId=1193367&partId=1 Description An account of the resource Description: This Roman coin, called a sestertius, presents portrait busts of two different men, Octavian and Julius Caesar, on the obverse and reverse respectively. Framed by thin, circular border patterns that resemble intricate clock dials, and Latin inscriptions in capital letters, including "CAESAR DIVID F" (son of the divine Caesar) around Octavian and "DIVOS IULIUS" (the divine Julius) around Caesar, whose heads, shown in profile, face toward the right. Protruding slightly from the coins’ surfaces, the portraits and the letters surrounding them convey a degree of three-dimensionality. On the obverse side, Octavian’s features, including a notable jawline, subtly sloped brow, rounded eye, prominent nose, and straight mouth, are elevated above the surface, creating shadowed lines that define the face. Faint swirls along his jaw area suggest that a beard was originally present. More evidently, curled ringlets cascade to the back of his scalp and up across his forehead, tucking behind a simplified, curved ear, thus emphasizing his youthfulness. His relatively blank expression and idealized face recall conventions of Classical Greek portrait types. Conversely, Julius Caesar, on the reverse, exhibits many of the individualizing traits of his lifetime portraits. With a bulbous head, a long, straight nose, as well as a receding hairline composed of slight waves, the portrait offers a striking contrast to that of the obverse. Minimal verism may be referenced in the prominent Adam’s apple, slight crease at the corner of the eye, and jowl lines that form a mouth tilted up into a smile. Nevertheless, the bust lacks wrinkles on the forehead and neck, prominent areas that would be conveyed in a strictly truthful representation. Notably, Caesar also wears a wreath that extends from the back of the head to the top of the forehead, again distinguishing him from Octavian’s portrait. Significance: The pictorial and linguistic representations on the coin serve as propaganda that expresses Octavian’s political aims. In depicting himself as the living ruler on the obverse, he followed the precedent recently introduced by Julius Caesar in 44 B.C., which had broken Roman Republican tradition. Unlike in Caesar’s time, Octavian establishes in his own likeness a new Roman portrait ideal of eternal youth, reflecting the beginning of his rise to power at age 19 upon Caesar’s death. The smooth, generalized features reference his admiration for the Greeks and signify a stylistic transition from verism, which promoted the Republican notion of honoring men with age and experience, to classicism, which allowed Octavian to reinforce his youthful image. This particular coin, a standard bronze sestertius, worth ¼ of a silver denarius and 1/100 of a golden aureus, dates from between 38-31 B.C., prior to Octavian’s military victory against Marc Antony in 27 B.C. that led him to become Rome’s first Emperor and receive the title of “Augustus” from the Senate. Given the timeframe, it follows logically that Octavian would have sought to increase his power and legitimize his right-to-rule by connecting himself with Julius Caesar through propaganda. For this reason, Julius Caesar, depicted with a corona triumphalis crown of laurel leaves that denotes his deification given by the Senate in 42 B.C. and military triumph over Pompey in Rome, appears as a god, as evidenced by the inscription, ‘Divius Julius’ and his now-smoothed out features, which had been more veristic in his lifetime portraits, such as the 44 B.C. Tusculum bust. Octavian, cementing himself to his adoptive father, uses the inscription, ‘Divius filius,’ beside his face, effectively proclaiming himself the “son of a god” who even wears the beard of mourning for his departed father. This father-son relationship is largely fictionalized to assert Octavian’s authority and inform the populace, who would have likely had more access to these widely distributed coins than portrait statues. In reality, Octavian was Julius Caesar’s grandnephew and only received adoption posthumously through his will. Thus, he cleverly minted these coins to convey visual messages that fabricated the truth and served to boost his prestige based on his connection to Julius Caesar. http://classicalchopped.artinterp.org/omeka/files/original/23bd749edd4ddb6673e1c40382fed470.jpg 0cbcc2a77f7764cbcbd761d68b876a87 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Primaporta Augustus Date A point or period of time associated with an event in the lifecycle of the resource Julio-Claudian. ca. 15 AD. Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble and Paint. Format The file format, physical medium, or dimensions of the resource 203 cm tall Source A related resource from which the described resource is derived Villa of Livia at Prima Porta, Italy. Rights Holder A person or organization owning or managing rights over the resource. Vatican Museums, Vatican City. Description An account of the resource Description: The Augustus of Prima Porta sculpture is bigger than life sized. It is an imposing image of Augustus. In this sculpture, Augustus is dressed in military clothing. Augustus has a slight turn of the head. His right arm is raised outward and upward, in a gesture indicating speech (adlocutio)." The back of Augustus hand, right above his elbow contains some red paint. His left arm supports a part of his cloak, which is wrapped around his waist. Augustus has on a highly decorated breastplate/cuirass. There are many figures on the breastplate. One of the central scenes is of a Roman and a Parthian. Also included are the figures of the Sun god, Sol and the sky god, Caelus. Also included are female personifications of nations that Augustus was ruling over. Included as well are the figures of Diana, Apollo and Tellus. The sculpture has very defined legs. His calves are bulging and there is tension in the muscles. Augustus is in the contrapposto pose. The weight of the sculpture is on one foot, the right foot. Augustus does not wear any shoes in this sculpture. To the right of Augustus is a small sculpture of Cupid who is tugging at Augustus cloak. Cupid is shown riding a dolphin. Significance: There is tremendous amount of iconography and significance in this sculpture. First, this sculpture is a copy of an original bronze. There would have been many marble copies likes this. These sculptures would have served as official portraits of the emperor, just like an official presidential photo today. A significant difference is that Augustus was actually middle aged when this work was created. This sculpture is idealized. Augustus is in better shape and younger than he was at the time of the commission. This is how Augustus wants the people of Roman Empire to see him. Augustus has a very athletic body here, just like Greek athletes of the past. This is intentional. The emperor is harkening back to Classical Greece. The Augustus of Prima Porta has Augustus in a moment of speaking, presumably to his military. The inspiration for this sculpture is from a piece of sculpture that followed the "kanon," the ideal proportions. This sculpture was modeled after the mid fifth century Doryphoros by Polykleitos. The Doryphoros is idealized, youthful and in contrapposto. There is immense meaning in the iconography of this sculpture. The breastplate/cuirass contains imagery of great significance. In the middle of the breastplate are two figures. One is Tiberius and the other is possibly Phraates IV. This is a scene showing the Parthian returning the standards of the Roman military to a Roman. The standards had been lost in an earlier battle. This is meant to symbolize the submission of the Parthians to Augustus. The top of the breastplate shows Sol, the Sun god and Caelus, the sky god. Around these figures are female personifications of nations that Augustus had put into submission and was now ruling over. There are figures of Diana and Apollo as well. The inclusion of the figure of Tellus at the bottom of the breastplate has a lot of meaning. Tellus is the Earth goddess and is shown holding two babies and a cornucopia. All of this imagery together hints at the Pax Romana, the peace in the Roman empire that Augustus had brought about. The inclusion of Tellus is to symbolize that the peaceful era brought about by Augustus would be a fertile one. The imagery on the breastplate symbolize Augustus' achievements. The other great piece of iconographic significance is at the bottom of the sculpture. There is a small sculpture of Cupid riding a dolphin whilst tugging at Augustus cloak. Cupid is the son of Venus. Augustus traced his ancestry to Aeneas, the mythical founder of Rome. Aeneas was the son of Venus. Julius Caesar, who adopted Augustus, claimed Venus as his ancestor. Cupid here is meant to show Augustus ancestral link to the goddess Venus. The dolphin symbolizes Augustus' victory on the seas against Cleopatra and Mark Antony. To the left of the dolphin and the cupid are Augustus' bare feet. Bare feet are reserved for divine figures, for goddesses and gods. Through the inclusion of the cupid and his bare feet, Augustus is pointing to his own divinity and divine ancestry. All of this is propaganda. Augustus is using this sculpture with all of its symbolism and imagery as propaganda directed towards the people of his empire. Augustus is showing that he is connected to the beginning of Rome with its founding by Aeneas, the son of the goddess Venus all the way to Julius Caesar, who considered Venus as his ancestor and whom Augustus had deified as a god. Here stands Augustus, a god. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. "Augustus of Primaporta." Khan Academy. Khan Academy, n.d. Web. 14 Apr. 2017. <https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/early-empire/v/augustus-of-primaporta-1st-century-c-e-vatican-museums>. Augustus of Primaporta. Perf. Dr. Beth Harris and Dr. Steven Zucker. Khan Academy, n.d. Web. <https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/early-empire/v/augustus-of-primaporta-1st-century-c-e-vatican-museums>. "Vatican Museums." Augustus from Prima Porta. Musei Vaticani, n.d. Web. 14 Apr. 2017. Kleiner, Diane E. E. . "The Age of Augustus and the Birth of Imperial Art." Roman Sculpture. N.p.: Yale U Press, n.d. 65-67. Print. Yale Publications in the History of Art. Contributor An entity responsible for making contributions to the resource Sai Teja Surapaneni http://classicalchopped.artinterp.org/omeka/files/original/2b4e86a1c4827f35ac8965b62d4512c3.jpg 32a7caa827e3b2a236122a97a5e35332 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marcia Furnilla Date A point or period of time associated with an event in the lifecycle of the resource 90-100 C.E., Flavian Period Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 191 cm tall Rights Holder A person or organization owning or managing rights over the resource. Ny Carlsberg Glyptotek in Copenhagen, Denmark Contributor An entity responsible for making contributions to the resource Becca Peters Source A related resource from which the described resource is derived Possibly from a Trajanic Tomb Description An account of the resource Description: The statue called Marcia Furnilla depicts a Roman matron in the guise of Venus. The figure has an elaborate hairstyle with a halo of curls framing her face. The remaining hair is divided into braids that are then twisted into a large bun at the back of her head. Her eyes are large and have faint wrinkles underneath. Likewise, there are distinct lines from her nostrils down towards her tightly closed lips. Her brow is heavy and her nose is rather long. Her head leans forward, bringing the shoulders slightly forward as well. The body is nude with the figure’s right hand is covering her breasts and her left arm is in front of her hip. The body appears smooth and round. The breasts are full and the public area is unnaturally hairless. The waist is slightly narrower than the rest of the body, but it, too, appears fleshy. The figure’s weight is fully on her left foot in contrapposto position which further emphasizes her curves. Her thighs are full and slightly disproportionately in length. Her right foot is lifted up slightly, resulting in a bend in the right knee. There is a small post behind her left leg. Directly next to the right foot, there are the two smaller feet. There are clear signs of wear throughout this statue. The small feet are broken off at the top, indicating a missing piece. There are pieces of metal attached to both the base and the legs which appear to help support the statue’s weight. There are cracks across the legs and post, as well as small dents and uneven areas throughout. The left arm is broken below the elbow, and the right hand’s fingers are broken off. The very tip of the nose is broken, but the rest of the head remains relatively intact. Significance: The subject of this statue is unclear. Many people believe it is depicting Marcia Furnilla, the second wife of Titus because it was possibly found in a Flavian villa near Albano. However, it is more likely that it is a funerary statue of an unknown elite woman from a Trajanic tomb, as it is consistent with the funerary trends of that time. As is the case with this style of funerary statue, this woman's head and body are incongruous, as the body is meant to be a costume of sorts depicting Venus, not the actual woman’s body. Outside of the guise of Venus, it would have been unacceptable to depict a nude woman, as it was seen as overtly sexual. However, the Venus guise drew attention to the woman's role as both a mother and a wife. The eroticism that is evident, therefore, is used to imply the figure’s reproductive capacity. The statue’s broken arm reveals more of the figure’s body than would have been originally visible. The pubic region would have been covered by her left hand, though still visible enough to show that it was hairless. Excessive body hair was seen as a sign of sexual promiscuity. The figure’s stern facial expression combined with the nudity conveys a sense of the woman’s self-control over her body. The body of this particular statue references the Capitoline Venus, a common model for Venus guise statues. The body appears much younger and more idealized than the head, but it certainly depicts a grown woman's figure. It's broad hips and fleshy figure shows a woman at a prime age to have children, emphasizing the subject's role as a mother. The head depicts an older woman, perhaps in her thirties. It is possible that it is depicting the woman as she looked at the time of her death, or perhaps at the age where she most flourished in her role as a mother or even grandmother. The expression is stern and focused, qualities often attributed to men at this time. It is possible that this is because it was commonly believed that more masculine-looking women were more likely to both survive childbirth and have sons. This woman's role as a mother is further shown in the two small feet placed next to her. This would have been a small statue of Eros, the son of Venus. It is possible that it was modeled on one of her children. Her elaborate hairstyle shows that she was not only a mother but an elite woman as well. Only an elite woman would have been able to have enough attendants to create this hairstyle. It also shows that she was aware of the popular styles at the time. Although we do not know who she is, the details of this statue do give some indication of her life as a mother and a wife. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Kleiner, Diana E. E. Roman Sculpture. New Haven, CT: Yale U Press, 2006. 177-178. Print. E. D’Ambra, The Calculus of Venus, in: N. B. Kampen (ed.), Sexuality in Ancient Art: Near East, Egypt, Greece, and Italy (Cambridge 1996) 219–232. http://classicalchopped.artinterp.org/omeka/files/original/37c772d9044d1d159221cfc25edff28b.jpg 4036e24dd4c8dc79998bcfbe684f43d1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Livia as Ceres Date A point or period of time associated with an event in the lifecycle of the resource Julio-Claudian, ca. 20 AD Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 220 cm Source A related resource from which the described resource is derived Unknown; possibly discovered in Rome Rights Holder A person or organization owning or managing rights over the resource. Louvre Museum, Paris, France References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Barrett, Anthony A. "Livian Themes." Livia: First Lady of Imperial Rome, Yale UP, 2002, p. 210. Print. Bartman, Elizabeth. Portraits of Livia: Imaging the Imperial Woman in Augustan Rome. Cambridge, Cambridge UP, 1999, pp. 42; 45; 105-106; 115; 168. Print. Giroire, Cécile, and Daniel Roger. "Portrait of Livia as Ceres." Roman Art from the Louvre, New York, American Federation of Arts in association with Rizzoli, 2007, p. 70. Print. Sebesta, Judith L. "The Costume of the Roman Woman." The World of Roman Costume, edited by Judith L. Sebesta and Larissa Bonfante, Madison, Univ. of Wisconsin Press, 2001, pp. 48-50. Print. Williams, Rose. "Roman Ceres." The Original Dysfunctional Family: Basic Mythology for the New Millennium, Mundelein, Bolchazy-Carducci Publishers, 2008, pp. 46-47. Print. Contributor An entity responsible for making contributions to the resource Mallory Haselberger Description An account of the resource Description: The portrait of “Livia as Ceres” depicts a standing female figure in contrapposto posture with the weight distributed on the left side of the body and the right knee softly bent. The right arm is bent at the elbow and extends forward; the hand clasps a small sheath of wheat. The left arm is held closer to the body, cradling an abundantly filled cornucopia. The figure wears a draped chiton, a rectangular Greek costume stitched on the sides and pinned along the arms and shoulders. She has a matronly body with prominent, full breasts and a waist emphasized by cording visible from the overfold of the chiton. A square mantle, a palla, drapes over the chiton and also serves as a partial veil to cover the figure’s hair. The palla wraps over the head of the figure and around the waist; it drapes over the left wrist before falling and hanging down the length of the body. On her head, the figure wears a floral wreath and an infula, a woolen headpiece knotted into bead-like shapes to be worn under the veil. The figure’s hair is styled with side waves and a nodus above the crown of her head, and small wisps of hair fall over the forehead from the coiffure. The face is unlined, fleshy, and idealized, yet features a narrow jawline and chin with a pouting mouth, small eyes, and a broad Julio-Claudian forehead that show similarities to portraits of Livia’s son, Tiberius, during his reign as emperor. Significance: The portrait of “Livia as Ceres” serves to display Livia’s importance in the worlds of Augustus and Tiberius, yet it varies greatly in the meaning of its imagery and functions. Scholars have noted that the portrait was heavily restored in the late 18th century—the arms, cornucopia, part of the floral crown, and pieces of veil around the neck were all later additions to the sculpture, calling into question its function during Julio-Claudian times. It has been suggested that before restoration, the attributes original to the sculpture could have indicated Livia’s imperial roles rather than priestly duties or the guise of a goddess. However, it would not be uncommon to depict her in the guise of Ceres—similar imagery also exists in examples of Livia’s portraiture found in Madrid and Tripoli. The goddess Ceres was known to Romans as symbolizing agriculture and motherhood, concepts featured in the attributes of a full cornucopia, floral crown, and sheath of wheat that suggest the fertile and nourishing nature of a mother figure. Some scholars have proposed that the portrait presents Livia as a priestess of Ceres because of the symbol of the cornucopia, but historic evidence does not account for her religious roles at this time outside of the designation as a priestess of the deified Augustus. The costume worn by the figure has also been challenged: it has been suggested that Livia is dressed in the chiton, a common costume found in many of her other full-bodied portraits, though it can also be construed as a stola, a pleated robe often worn by Roman matrons. If the costume is understood as the stola, it would function to define Livia in her role as the wife of the late emperor, Augustus, and as the mother of the new emperor, Tiberius. In the costume of the stola, particularly with the head covering of the palla, Livia embodies the dignity and modesty of matrons in Augustan ideology. In Ceres’ guise, Livia takes on the role of the nurturer with her success at providing not only a male heir to Augustus, but for the new hope for Rome’s future under the rule of Tiberius. At the time of Tiberius’ accession as emperor, the figures of Livia and Ceres were assimilated in art, possibly caused by Tiberius’ refusal to provide Livia with the designation of mater patriate, the mother of Rome. In representing Livia so vastly in the portrait of “Livia as Ceres,” it is possible that the sculpture was meant to help the viewer dwell on Livia’s imperial and priestly roles throughout her life, particularly as a mother to Tiberius and therefore to all of the empire —and her impact on the governing and growth of Rome far into the future. http://classicalchopped.artinterp.org/omeka/files/original/e87577d57e1c45a68153a27ed5e3f293.jpg 9287dda79dd4bbf082c9f33743303524 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lanuvium Claudius Date A point or period of time associated with an event in the lifecycle of the resource 42-43 AD, during the Julio-Claudian Dynasty, under the reign of Tiberius Claudius Nero Germanicus Creator An entity primarily responsible for making the resource unknown Format The file format, physical medium, or dimensions of the resource 2.54 m tall Source A related resource from which the described resource is derived Lanuvium, Italy Rights Holder A person or organization owning or managing rights over the resource. Musei Vaticani, Rome, Italy References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Kleiner, Fred S. "The Julio-Claudian Dynasty." A History of Roman Art, Enhanced ed., e-book, Wadsworth, Cengage Learning, 2010, pp. 109-10. Website: Ancient History Encylopedia http://www.ancient.eu/jupiter/ Contributor An entity responsible for making contributions to the resource Nora Cheung Medium The material or physical carrier of the resource. marble & stone Description An account of the resource Lanuvium Claudius Description: The Lanuvium Claudius is a male figure standing on a flat, rectangular, two-tiered base. At 2.54 meters tall (8 feet 4 inches), it stands well over life size. He is standing barefoot in contrapposto, his left hip is raised higher than the right, and he is holding the majority of his weight on his right leg. His hips and thighs are covered by a large cloth, the wraps around his hips below his abdominal muscles and extends up and over his right shoulder. The excess fabric cascades down his back and reaches his calves. His left arm is raised level with his head, gripping a cylinder with a blunt, circular end. His right arm is outstretched in front of him, holding a small concave disk in his palm. His abdominal and pectoral muscles are sharply defined, his biceps and forearms are chiseled and supple. His facial muscles are relaxed, he has deep smile lines, crow’s feet, and a furrow lines on his forehead. His almond-shaped eyes are deep set in their sockets. Underneath his eyes are large bags and lines that frame his cheeks. His upper lip rests forward in relation to his lower lip, showing an overbite. His ears are disproportionately large in comparison to the size of his head. His hair is cropped close to the scalp; his bangs are shaped like commas, and lay in a pattern across his hairline. Resting on the crown of his head are weaved leaves that are intertwined into the shape of a horseshoe. Excess fabric drapes around his neck and rests on his shoulders. At his right foot is an eagle, with it’s wings partially spread and face turned up towards Claudius. Significance: A lover of history and far from militaristic, Claudius was named Imperator of Rome following the homicide of his predecessor, Caligula. While most of Caligula’s relatives were murdered as well, Claudius was found hiding behind a curtain during the assassination, and thus was spared. This depiction of Claudius as the Roman God Jupiter seeks to do several different things. It highlights his connection to the Julio-Claudian Dynasty while simultaneously distancing himself from the infamous Caligula, while channeling the characteristics and power of Jupiter. In order to distance himself from his nephew, Claudius shed the previous convention of idealization in portraits. Portraits of Caligula show youthful features that emphasize his inexperience, and potential as a ruler. To visually distance himself from Caligula, Claudius adopts the older Roman verism. Like the Delos Pseudo Athlete, the Lanuvium Claudius has a youthful and ideal body, with an older, veristic face and hair. This serves to distance himself from Caligula, emphasize his potential as a ruler with his youthful body, while also touting his age, experience and wisdom with his veristic head. This depiction of Claudius shows some very typical traits of those in power during this dynasty. Despite a lack of genetic similarity, many of the rulers during this time period show analogous physical characteristics of the processors. Claudius is no exception: he is shown with a broad cranium, small mouth, slight overbite, and hair shaped like commas that part to form a “crab-claw” on the hairline. By showing physical similarity to great rulers before him, Claudius legitimizes his power during a time of political turmoil. This portrait also serves as a “guise” portrait of Jupiter. In his pose, he channels the qualities of Jupiter. He is wearing a corona triumphalis, or a laurel crown that usually denote a winner or an athlete. This sculpture also highlights Claudius’ power by showing him in the guise of Jupiter, the Roman version of Zeus and the god of lightning, thunder, and the supreme god. This piece has been restored so the figure is holding a petera (a religious offering bowl), but it is debated as to whether he should be holding a lightning bolt in his outstretched hand. By depicting him as the god of gods, it cements his power as the new ruler. This piece successfully distances Claudius from Caligula while maintaining visual similarity with other Julio-Claudians, and emphasizes his power through the guise of Jupiter. http://classicalchopped.artinterp.org/omeka/files/original/433494edd4ba47b9b3d0a37891e73543.jpg adbfa3102d617b40758d4da59d41b76a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Herculaneum Titus Date A point or period of time associated with an event in the lifecycle of the resource 79-81 CE Creator An entity primarily responsible for making the resource unknown Medium The material or physical carrier of the resource. Painted White marble Format The file format, physical medium, or dimensions of the resource 211 cm tall Source A related resource from which the described resource is derived Herculaneum, Italy Rights Holder A person or organization owning or managing rights over the resource. Naples, National Archaeological Museum Description An account of the resource Description: The Herculaneum Titus is a cuirassed depiction of the Roman Emperor it is named after. He is portrayed as a great military man clad in a cuirass, paludamentum, and caligae. The cuirass is decorated with two heraldic griffins flanking a candelabrum. This particular statue of Titus has a hairline that recedes at the temples and grows relatively straight across the forehead in a close-cropped style, one that exhibits the characteristics of a military haircut. The statue’s broad head is detailed with sinuous lines stretching across its forehead, effectively adding experience and maturity to the face. The eyes are closely set, and the eyebrows are arched. The statue’s hooked nose and cleft chin are features that compliment its full lips. Because of his relative youth, Titus lacks the crow’s-feet and cheek creases in his face. The statue’s weight is fully resting on the left foot in a contrapposto position while the right arm is outstretched, the left by its side. The tunic is draped across the left arm, and there is a small, marble post behind the left leg, supporting the portrait sculpture’s weight. Significance: The Herculaneum statue of Titus may have been manufactured before the emperor’s accession since it comes from Herculaneum and therefore predates 24 August 79 CE, the day Mount Vesuvius erupted. However, at the age of forty, Titus became emperor of Rome in June of the very same year, so the portrait could have been one of the first statues made to represent the new emperor. The sculpture’s purpose was most likely created to evoke the sense of a role portrait. In this case, Titus is taking on the role of an imperator, a position he was once venerated for prior to taking up the mantle of “emperor.” The cuirassed depiction of Titus implies his role as a young, military leader. The right hand is positioned in such a way to hold a spear, further strengthening this assertion. The face of the statue shows signs of age, but in this case, it is meant to portray the subject’s wisdom. The contrast of age with the power of a youthful body showcases an ideal military leader with the intellectual prowess for employing militaristic stratagems as well as swordsmanship on the battlefield. The statue also exhibits characteristics of heavy verism, a departure from the Augustinian model; however, it is in the rendition of the hair that this portrait statue departs most significantly from its predecessor’s. Although the hairline is similar to Vespasian’s, it is made much fuller and curlier, the curls sometimes accentuated lightly by the drill of the artist. Part of the reason behind this verism is that he is modeling himself after his father, Vespasian. This is a clear emphasis on not only his legitimacy to the throne, but also as an emphasis regarding how "fit" he is to rule. The hair in particular shows traces of red pigments (more brown than actual red), inferring that the statue was once painted. The griffins are a favorite motif of Julio-Claudian and Flavian times; however, they are merely ornamental decorations and do not seem to have any political connotations. These ornately decorated scenes on cuirasses became the norm rather than the exception during the Flavian period. It could have been because Titus was a former field commander and may have felt more drawn to the medium or perhaps he lacked the formerly required Julio-Claudian pedigree and required another way to legitimize his military prowess. It is also important to note that the artists who created this statue may have wished to express the nature of the Roman citizen of good stock who had the practical sense and capacity to rule the destiny of the Empire. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Franciscis, Alfonso De. The National Archeological Museum of Naples. Napoli: Edizioni D’Arte Interdipress, 1980. 31. Print. History of Ancient Rome Website: http://ancientrome.ru/art/artworken/img..htm?id=5009. Kleiner, Diana E. E. Roman Sculpture. Yale UP, 1994, 173-176. Print. Le Collezioni Del Museo Nazionale Di Napoli. Vol. 2. Roma: De Luca, 1896. Print. Molding Minds: The Roman Use of the Cuirassed Statue in Defining Empire. 26. https://kb.osu.edu/dspace/bitstream/handle/1811/45717/Thesis.pdf. Accessed April 4 2017. Contributor An entity responsible for making contributions to the resource Ryan Tetter