He was given the name Augustus by the Roman senate and he used many outlets of propaganda during his reign. These outlets ranged from minor details found on construction projects, such as the symbol of fasces on the theater of Marcellus, to large monuments and works of art depicting Augustus’ various strengths a leader. One such work is a well-known Augustan monument called the Ara Pacis, or the altar of Augustan peace. The altar was dedicated to Pax, the Roman goddess of Peace, and was commissioned by the senate to honor Augustus’ return to Rome after three years abroad. The “Lupercal Panel” depicting the moment when Romulus and Remus are discovered by the Shepherd is considered to be a reminder of Augustus’ deified heritage.
Agrippina the Younger’s role during the Claudius’ principate was quite simple, she was to establish a familial connection between Claudius and both the Julian and Claudian linage. The commonalities between Claudius and Agrippina resulted in a beneficial relationship that allowed her influence to increase. By being the great granddaughter of Augustus, Agrippina held a powerful position which helped legitimise the reign of Claudius, hence she was given the title Augusta with her official name on coins and inscriptions as Iulia Augusta, which conveyed the notion of being an empress. Consequently, this enforced his position as princeps, especially persuading the senate which doubted his ascension to emperor. Because of her power and influence, Agrippina had a positive relationship with the senate which brought stability between them and Claudius, thus she was given the right to use the carpentum at festivals, as well as to sit in the senate itself and discuss various matters--
It is the sculpture of a handsome and young ruler, namely, Augustus, sporting an ornamented cuirass and a tunic, with the figure of Cupid riding a dolphin on his side. The face reflects a youthful emperor, even though Augustus was about forty years of age when the statue was built. The Prima Porta style of facial composition comprises of, an expansive skull and slim chin, sharp-ridged eyebrows, hooked nose and a plump mouth and his hair is crowned with what is termed the Primaporta hairstyle. The breastplate is adorned with characters and is a composite of the narration of the Augustan and Tiberian propaganda, while he is barefoot. His right hand is
In this paper I will argue that the text was intended for Christians instead of the Romans based on the way Perpetua is praised in the text and how Perpetua’s disobedience towards her father who was the paterfamilias was most shocking to the Romans. Essentially this autobiography was written for Christian’s, particularly for those who were or later
The Equestrian Statue of Marcus Aurelius and Justinian as World Conqueror both depict the power, prestige and clemency of a political figures. Yet, both are distinct in their artistic representation which I’ll discuss below. The Equestrian Statue of Marcus Aurelius is in Greco-Roman style. It’s statue in the round; it has dominant shapes that are round and realistic.
In her chapter on the historiography of Roman exemplarity, Christina Shuttleworth Kraus examines this loss of power through the transition of exempla as the res gestae populi Romani to the res gestae divi Augusti (Kraus, 2). In early Roman history, exemplarity rested in the hands of popular consciousness; the citizens of Rome had the sole power of deciding which events or people to raise up to the status of exempla. This system of exemplarity that is explained in detail by Matthew Roller’s four stage model of the creation of exempla by public discourse (Roller, 216-217). However, Roller’s framework begins to collapse when Augustus intentionally influences exemplary power through his coercive Res Gestae. Rather than looking to the past for the great deeds of common people like the Sabine women or Lucretia, Roman citizens of the Augustan period had their attention directed towards the persona of one man, an exemplar in the form of an emperor.
The career of Agrippina the Younger was successful, her achievements and honours are a testament to her success. For the majority of her life, Agrippina became a very powerful and influential person even as a woman in Ancient Rome. Her Julio-Claudian linage was the major factor which allowed Agrippina’s power and influence to flourish, being the great granddaughter of Emperor Augustus, and daughter of Agrippina the Elder and Germanicus meant that she already had an established foundation of success in Rome. Her controversial role meant that she challenged the standards of her time, and this represented a crucial stage not only in the development of her power, but also for the women who would succeed her. Several busts depict Agrippina with physical
He is a marble statue found in the ruins of the Athenian Acropolis, a bit smaller than life-sized, and is dated at 480 BC, a transitionary period from the Archaic to Early Classical era of Greek art. He is an emerging youth nearing the cusp of puberty, with a weight shift characteristic of this artistic period. Overall, the piece displays an incredible understanding of human physiology, and has moved away from the twisted perspectives and unnatural stiffness of earlier art. An anatomical chain of events occurs with the weight shift, and his overall musculature and skeletal structure are unforced and lifelike. He is the most famous Early Classical statue.
The Forum of Trajan is a Roman example of axial planning because as you entered through its triumphal arch towards a statue of Trajan in the center, the surrounding structures were at opposite angles and lines, creating a clear sense of order and focus.  The complexity of this planning demonstrates the outlook and organization that went into any of the architecture in Rome and Athens.  While many citizens at the time did not appreciate (or may have not noticed) this visual architectural connection between Rome and Athens, the members of the elite who traveled, did especially the Roman Emperor Augustus. The cities of Rome and Athens became increasingly similar during the Augustan period and created a hybrid style that was influenced by Augustus. Though the exchange in architectural culture between these two cities was common there were subtle difference.
Ancient Rome 's influence cannot be exaggerated. The English language, government, and culture – from basics such as alphabet and calendar to more sophisticated legal systems – are so heavily saturated with Roman features that it is impossible to imagine what the world would be like if Rome had not prospered. In this essay, I have tried to include the most interesting facts relating to the entire Roman period. The first aspect is the army.
In a Roman Osteria Carl Bloch, In a Roman Osteria, 1866, Oil on Canvas, 177.5 (w) x 148.5 (h)cm (without frame), Rome. Introduction Carl Bloch’s In a Roman Osteria was completed in 1866 with Oil on Canvas. It is currently found in Rome. I decided to write about this artwork considering it is a little comical to me and very interesting considering there are a couple things that can be going on.
During the Roman Republic and Roman Empire, women were restricted to domestic life in a male-dominated society. Egypt’s capital, Alexandria, formally passed into Roman rule in 80BC , and was the greatest of the Roman provincial capitals, with a population of 300,000. In comparison, the Italian city of Pompeii had a population of only 20,000. To examine the role of women in Roman society, I will need to investigate the literature that survived from the period. This essay will compare and contrast the role of women in Alexandria and Pompeii.
These mythical individuals show characteristics that are both valued and those that could be seen as inferior. In Sallust’s Conspiracy of Catiline, Catiline, the antagonist of his own story, is described as having some of these characteristics and how he displays them changes others perspective on him. With each of these characteristics that a Roman would have seen as positive were painted in a negative light because Sallust tells the audience instances where Catiline used these gifts in harmful ways. In contrast Aeneas, in Virgil’s Aeneid, is described and assigned what are thought of as the same Roman attributes, but these are held a positive approach compared to Sallust’s description of Catiline. The first example of this can be seen in the fifth section Sallust tells the audience of Catiline’s noble upbringing and is described as intelligent, ambitious, and as a brilliant solider.
Bust of Marcus Aurelius 161-180 AD made of marble. Capitoline Brutus, 300 BCE made of bronze. The theme shared is Imperial theme Heroism. Both art works honor important Roman people, from different social backgrounds, who were honored for their bravery. Bust of Marcus Aurelius gives off a graceful appearance while the eyes show vigor.
According to Getty.edu, the art piece was named after Lord Lansdowne, a British noble who displayed the statue in his estate in London. The origins of the statue are unknown but speculated to be a Roman copy made from the famous school of Polykleitos. Workshops during ancient times tasked aspiring students with the menial labor of creating backgrounds and most of the form of sculptures; the masters finishing them up with the fine details such as the face and especially hands. Many Romans were quite fond of Greek culture and art, emulating and duplicating them on numerous occasions.