Augustus of Prima Porta
The Augustus of Prima Porta is a full-length portrait statue of Augustus, the first Roman emperor.
The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus's third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. Its discovery was first publicized by the German archaeologist Wilhelm Henzen the same year.
Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an idealized official image of Augustus, its execution showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, the body's stance reflects the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands tall and weighs.
The Augustus of Prima Porta is now displayed in the Braccio Nuovo of the Vatican Museums. Since its discovery, it has become the best known of Augustus's portraits and one of the most famous sculptures of the ancient world.
Original
The imagery on the Muscle cuirass cuirass refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus's most significant diplomatic accomplishments. The date of the bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.
Style
Augustus is shown in his role of imperator, the commander of the army, as thoracatus —or commander-in-chief of the Roman army —meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying what may have been a spear or a consular baton, and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered: Hispania, Gaul, Germania, Parthia ; at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoros's contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.
Despite the accuracy with which Augustus's features are depicted, the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander". On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself. 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 that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation. However, due to the ongoing disagreement on the statue's pigmentation there is little information on or exploration of the usage of these colors. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.
Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.
The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood. The quote continues to state that a statue of the time is unfinished without its "chora"—skin—or layer, applied to the statue to render it complete. The specific implications of each color chosen for the Prima Porta are unknown; assumedly red for the military and royalty.
Iconography
Portrait
The haircut is made up of divided, thick strands of hair, with 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 the statue as being one of Augustus from comparison with his portrait on his coinage, which can also date it. This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. Another full-size statue of Augustus with these "Primaporta type" features is the Augustus of Via Labicana, portraying Augustus in the role of Pontifex Maximus, now in the Museo Nazionale Romano.The face is idealized, but not like those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate his individual features. Art underwent important changes during Augustus's reign, with the extreme realism that dominated art of the Republican era giving way to Greek influence, as seen in the portraits of the emperors – idealizations that summarized all the virtues Roman society held 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.
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, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53 BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king returning Crassus's standard to an armored Roman. Another theory sees in the male figure the ideal incarnation of the Roman legions. 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 had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus. To the left and right sit mourning female figures; the figure on the one side with a sheathed sword personifies the peoples in the East forced to pay tribute to Rome, and the one on the other side with an unsheathed sword personifies the subjected peoples. From the top, clockwise, we see:
- Caelus, the sky 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
- the sun god Sol
- 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.