Augustus of Prima Porta is a 2.04m high marble statue of Augustus Caesar which was discovered on April 20, 1863 in the Villa of Livia at Prima Porta, near Rome. His wife Livia Drusilla retired to the villa after his death. The sculpture is now displayed in the Braccio Nuovo of the Vatican Museums. Image File history File links Download high resolution version (1090x1646, 1850 KB) Description: Die Statue Kaiser Augustus in den Vatikanischen Museen, Rom Fotografiert von Andreas Wahra am 17. ... Prima Porta now a distant suburb 14. ... For other persons named Octavian, see Octavian (disambiguation). ... The 1st century was that century that lasted from 1 to 100 according the Gregorian calendar. ... For other uses, see Marble (disambiguation). ... For other uses, see Rome (disambiguation). ... Entrance to the museum Staircase of the Vatican Museum The Vatican Museums (Musei Vaticani) are the public art and sculpture museums in the Vatican City, which display works from the extensive collection of the Roman Catholic Church. ... For other persons named Octavian, see Octavian (disambiguation). ... is the 110th day of the year (111th in leap years) in the Gregorian calendar. ... Year 1863 (MDCCCLXIII) was a common year starting on Thursday (link will display the full calendar) of the Gregorian calendar (or a common year starting on Tuesday of the 12-day slower Julian calendar). ... Prima Porta now a distant suburb 14. ... For other uses, see Rome (disambiguation). ... Livia Livia Drusa Augusta, Livia Drusilla, or Julia Augusta (58 BC-AD 29) was the wife of Caesar Augustus and the most powerful woman in Roman history, acting several times as regent and being Augustus faithful advisor. ... A Roman villa is a villa that was built or lived in during the Roman Empire. ... Entrance to the museum Staircase of the Vatican Museum The Vatican Museums (Musei Vaticani) are the public art and sculpture museums in the Vatican City, which display works from the extensive collection of the Roman Catholic Church. ...

Original

It is a marble copy of a bronze (or possibly bronze and gold) original. The original, along with other high honours, was devoted to Augustus by the Senate in 20 BC and set up in a public place. Up until this time Augustus had lived modestly, but the fact that the statue was found in his widow's villa shows that he was thoroughly pleased with it. Centuries: 2nd century BC - 1st century BC - 1st century Decades: 70s BC 60s BC 50s BC 40s BC 30s BC - 20s BC - 10s BC 0s 10s 20s 30s Years: 25 BC 24 BC 23 BC 22 BC 21 BC 20 BC 19 BC 18 BC 17 BC 16 BC 15...

Style

Augustus is shown as thoracatus —or commander-in-chief of the Roman army (literally, thorax-wearer) —, meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand to show his triumphal laurel crown to his troops. His protective cuirass has reliefs alluding to diverse Roman deities, including Mars god of war, as well as the personifications of the latest territories conquered by him: Hispania, Gaul, Germania, Parthia (that had humiliated Crassus, and here appears in the act of returning the standards stolen from his legions) and at the top the chariot of the Sun illuminates Augustus's deeds. This article is devoted to the type of armour known as a cuirass. ... Baton can refer to: // Instruments Baton (via French bâton = stick from Late Latin bastum = stout staff, probably of Gaulish origin) refers to several types of cylindrical or tapered instruments composed of a wide variety of materials (finished, not wood in the natural state), with differing functions:- A baton (billy... A Roman Triumph was a civil ceremony and religious rite of ancient Rome, held to publicly honour the military commander (dux) of a notably successful foreign war or campaign and to display the glories of Roman victory. ... This article is devoted to the type of armour known as a cuirass. ... It has been suggested that this article or section be merged into Iberian Peninsula. ... Gaul (Latin: ) was the name given, in ancient times, to the region of Western Europe comprising present-day northern Italy, France, Belgium, western Switzerland and the parts of the Netherlands and Germany on the west bank of the Rhine river. ... Map of the Roman Empire and the free Germania, Magna Germania, in the early 2nd century For other uses, see Germania (disambiguation). ... Parthia at its greatest extent under Mithridates II (123–88 BC) Capital Ctesiphon, Ecbatana Government Monarchy [[Category:Former monarchies}}|Parthia, 247 BC]] History  - Established 247 BC  - Disestablished 220 AD Parthian votive relief. ...

The statue is an idealized image of Augustus based on the fifth-century BC Doryphoros by Polykleitos, with a portrait head that recalls Republican Roman portraits.^[1] The Doryphoros's contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The misidentification of the Doryphoros in the Roman period as the warrior Achilles made the model all the more appropriate for this image. ^[2] Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealisation than to Roman realism. The Doryphoros of Polykleitos The Doryphoros (Greek δορυφόρος, lit. ... Polykleitos (or Polycletus, Polyklitos, Polycleitus, Polyclitus) the Elder was a Greek sculptor of the 5th century BC and the early 4th century BC. Next to famous Phidias, Myron and Kresilas he is the most important sculptor of the Classical antiquity. ... The Doryphoros of Polyclitus, an early example of classical contrapost. ... For other uses, see Achilles (disambiguation). ...

Despite the accuracy with which Augustus' features are depicted (with his sombre look and characteristic fringe), the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deep drape of paludamentum. On the other hand, Augustus's barefootedness and the inclusion of Cupid reveal the clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda. Such a statue's political function was very obvious - to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.

Polychromy

It is almost certain that the Augustus was originally painted, but so few traces remain today (having been lost in the ground and having faded since discovery) that we have to fall back on old watercolors and new scientific investigations for evidence. Polychrome is one of the terms used to describe the use of multiple colors in one entity. ...

Iconography

Portrait

The head

The haircut is almost completely made up of individually divided, thick strands of hair, as well as a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it. (Coins were one of the most effective ways of spreading propaganda, such as news of decisive battles and changes of ruler, because on such occasions new coins would be minted.) Other hairstyles of Augustus may be seen on the Ara Pacis, for example. Wikipedia does not have an article with this exact name. ... Wikipedia does not have an article with this exact name. ... Ara Pacis:Detail of the processional frieze showing members of the Julio-Claudian family (north face) The Ara Pacis Augustae (Latin, Altar of Majestic Peace; commonly shortened to Ara Pacis) is an altar to Peace, envisioned as a Roman goddess. ...

The face is idealized, as with those of Polyclitus's statues. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire) In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as "primus inter pares". The head and neck were produced separately in Parian marble and inserted to the torso. First among equals redirects here. ... Parian marble is a fine-grained semitranslucent pure-white marble quarried during the classical era on the Greek island of Paros. ...

Breastplate relief

The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the pax Romana. The breastplate is carved in relief with numerous small figures depicting the return of the Roman legionary standards or vexillae lost to Parthia by Mark Anthony in the 40s BC and by Crassus in 53 BC, thanks to the diplomacy of Augustus. The Carmen Saeculare (Latin for Secular Hymn), sometimes known as the Carmen for short, is a hymn written by the poet Horace. ... Horace, as imagined by Anton von Werner Quintus Horatius Flaccus, (December 8, 65 BC - November 27, 8 BC), known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus. ... Roman Empire at its greatest extent with the conquests of Trajan Pax Romana, Latin for the Roman peace (sometimes Pax Augusta), was the long period of relative peace and minimal expansion by military force experienced by the Roman Empire between 27 BC and 180 AD. Augustus Caesar led Rome into... This can also refer to a piece of riding equipment, see Breastplate (tack). ... Parthia at its greatest extent under Mithridates II (123–88 BC) Capital Ctesiphon, Ecbatana Government Monarchy [[Category:Former monarchies}}|Parthia, 247 BC]] History  - Established 247 BC  - Disestablished 220 AD Parthian votive relief. ... Bust of Marcus Antonius Marcus Antonius (Latin: M·ANTONIVS·M·F·M·N¹) (c. ... Marcus Licinius Crassus Dives (c. ... Centuries: 2nd century BC - 1st century BC - 1st century Decades: 100s BC 90s BC 80s BC 70s BC 60s BC - 50s BC - 40s BC 30s BC 20s BC 10s BC 0s BC Years: 58 BC 57 BC 56 BC 55 BC 54 BC 53 BC 52 BC 51 BC 50...

In the centre, one - at least according to the most common interpretation - sees the subjected Parthian king returning Crassus's standard to an armored Roman (possibly Mars Ultor). This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and instead opted for diplomacy. To the left and right sit mourning female figures. A figure to one side with a sheathed sword personifies the peoples in the East (and the Teutons?) forced to pay tribute to Rome, and one on the other side with an unsheathed sword obviously personifies the subjected peoples (the Celts). From the top, clockwise, we see: Mars was the Roman god of war and the son of Juno and a magical flower (or Jupiter) and initially was the Roman god of fertility and vegetation, and protector of cattle, but later he became associated with battle. ...

• Sol, the sun god, spreading the tent of the sky
• Aurora and Luna
• the personification of the subjected peoples
• the goddess Diana
• the earth goddess Ceres/Tellus - similarly represented on the Ara Pacis
• Apollo, Augustus's patron
• the personification of the tributary peoples
• Sol again
• a Sphinx on each shoulder, representing the defeat of Cleopatra by Augustus

None of these interpretations are undisputed. The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned. Furthermore, these successes are connected with the wearer of this breastplate, Augustus. The only active person is the Parthian king, implying that everything else is divinely desired and ordained. Standards Of Learning SOL stands for The Standards Of Learning. ... Look up Aurora, aurora in Wiktionary, the free dictionary. ... This page is on the Greek goddess. ... Look up Ceres in Wiktionary, the free dictionary. ... Terra or Tellus was a primeval Roman goddess, mother of Fama. ... This is a disambiguation page — a navigational aid which lists other pages that might otherwise share the same title. ...

Divine?

During his lifetime, Augustus did not wish to be depicted as a god (unlike the later emperors who embraced divinity), but this statue has many thinly-veiled references to the emperor's "divine nature", his genius. Augustus is shown barefoot, which indicates that he is a hero and perhaps even a god, and also adds a civilian aspect to an otherwise military portrait. Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot. In Roman mythology, every man had a genius and every woman a juno (Juno was also the name for the queen of the gods). ... For other uses, see Hero (disambiguation). ...

The small Cupid (son of Venus) at his feet (riding on a dolphin, Venus's patron animal) is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his adoptive father Caesar - a way of claiming divine lineage without claiming the full divine status, which was acceptable in the Greek East but not yet in Rome itself. This article is about the Roman god. ... Julius (fem. ... Marble Venus of the Capitoline Venus type, Roman (British Museum) Venus was a major Roman goddess principally associated with love and beauty, the rough equivalent of the Greek goddess Aphrodite. ... For other uses, see Julius Caesar (disambiguation). ...

Type

Augustus as praetor - example of the Togatus type (Louvre)

The Prima Porta-type of statues of Augustus became the prevailing representational style for him, copied full-length and in busts in various versions found throughout the empire up until his death in 14. The copies never showed Augustus looking older, however, but represented him as forever young, in line with his propaganda goals. Caesar Augustus - statue in the Louvre, Paris File history Legend: (cur) = this is the current file, (del) = delete this old version, (rev) = revert to this old version. ... Caesar Augustus - statue in the Louvre, Paris File history Legend: (cur) = this is the current file, (del) = delete this old version, (rev) = revert to this old version. ... Ordinary Magistrates Extraordinary Magistrates Titles and Honors Emperor Politics and Law Praetor was a title granted by the government of Ancient Rome to men acting in one of two official capacities: the commander of an army, either before it was mustered or more typically in the field, or an elected... This article is about the museum. ... Events First year of tianfeng era of the Chinese Xin Dynasty. ...

Other types

Other iconographic types of imperial portraiture, of which this was only one, included the emperor as pontifex maximus (eg the Via Labicana Augustus), the emperor as absolute leader in civil life and as "first among equals" among the senators ("Togatus", or toga-wearing), as conquering general on horseback (the Equestrian Statue of Marcus Aurelius), and - usually posthumously, after his apotheosis - as a god (half-naked, personifying a Roman god - this type is prefigured by the Prima Porta statue, in that it is barefoot). Alternate meanings: see Pontifex (disambiguation) In Ancient Rome, the Pontifex Maximus was the high priest of the collegium of the Pontifices, the most august position in Roman religion, open only to a patrician, until 254 BC, when a plebeian first occupied this post. ... The Via Labicana statue of Augustus. ... Marcus Aurelius wearing a toga. ... The replica of the statue on Capitoline Hill. ... Look up Apotheosis in Wiktionary, the free dictionary. ...

Bibliography

In German

• Heinz Kähler: Die Augustusstatue von Primaporta. Köln 1959.
• Erika Simon: Der Augustus von Prima Porta. Bremen, Dorn 1959. (Opus nobile 13)
• Hans Jucker: Dokumentationen zur Augustusstatue von Primaporta, in: Hefte des Archäologischen Seminars Bern 3 (1977) S. 16-37.
• Paul Zanker: Augustus und die Macht der Bilder. München, C. H. Beck 1987, ISBN 3-406-32067-8
• Kaiser Augustus und die verlorene Republik, Ausstellung Berlin 1988. Mainz, Zabern 1988. S. 386 f. Nr. 215.
• Erika Simon: Altes und Neues zur Statue des Augustus von Primaporta, in: G. Binder (Hrsg.), Saeculum Augustum, Bd. 3, Darmstadt, WBG 1991, S. 204-233.
• Dietrich Boschung: Die Bildnisse des Augustus, Gebr. Mann Verlag, Berlin 1993 (Das römische Herrscherbild, Abt. 1, Bd. 2) ISBN 3-7861-1695-4
• Thomas Schäfer: Der Augustus von Primaporta im Wechsel der Medien, in: H. J. Wendel u.a. (Hrsg.), Wechsel des Mediums. Zur Interdependenz von Form und Inhalt, Rostock 2001, S. 37-58.
• Vinzenz Brinkmann und Raimund Wünsche (Hgg.): Bunte Götter. Die Farbigkeit antiker Skulptur. Eine Ausstellung der Staatlichen Antikensammlungen und Glyptothek München in Zusammenarbeit mit der Ny Carlsberg Glyptotek Kopenhagen und den Vatikanischen Museen, Rom, Staatliche Antikensammlungen und Glyptothek, München 2004 ISBN 3-933200-08-3

References

This article is about the city in Italy. ... For the film of the same name, see Alexander the Great (1956 film). ...

External links

• Page on the statue, in German, with coloured reconstruction and close-up of breastplate
• Another coloured reconstruction, in German
• Description on VIAMUS
• Catalogue record on VIAMUS
• 360 degree computer reconstruction