VMFA Caligula
Title
VMFA Caligula
Date
1st century AD, Julio-Claudian dynasty
Artist or Workshop
unknown
Materials
marble and paint
Height of the work
203 cm tall
Provenience
Bovillae, Italy
Current Location
Virginia Museum of Fine Arts, Richmond, Virginia, United States
Description and Significance
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.
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
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.
"Emperor Gaius Julius Caesar Augustus Germanicus (Caligula)." VMFA. N.p., n.d. Web. 05 Apr. 2017.
Contributor
Megan May
Files
Citation
unknown, “VMFA Caligula,” Digital Portrait "Basket" - ARTH488A "Ancient Mediterranean Portraiture", accessed November 18, 2024, http://classicalchopped.artinterp.org/omeka/items/show/42.
Item Relations
This item has no relations.