1000 Scupltures of Genius. Patrick Bade
Roman Aristocrat with Heads of his Ancestors, first quarter of the 1st century B.C.E. Marble. Musei Capitolini, Rome (Italy). Roman Antiquity.
In Roman tradition, figural sculpture was not intended to portray a young, athletic ideal, as it was for the Greeks. Instead, it represented the ideal of Roman society: the wise, elder statesman, patriarch of a family, part of a distinguished lineage. Sculptures were portraits of individuals and included all their flaws – wrinkles, warts, funny noses and knobbly knees. This style is called “verism,” meaning truth. It was the dominant style during the Roman Republic. Here, and elderly man holds portrait busts of his ancestors, showing his respect for them, and at the same time drawing attention to his lineage. Such portraits would be prominently displayed in the atrium of the home.
128. Anonymous. Head of Emperor Augustus, 27 B.C.E.-14 A.D. Marble. Roman Antiquity.
129. Anonymous. Portrait of Emperor Tiberius, 14–37 A.D. Marble. Roman Antiquity.
130. Anonymous. Julio-Claudian Princess, 41–54 A.D. Marble, h: 200 cm. Musée du Louvre, Paris (France). Roman Antiquity.
131. Anonymous. Germanicus, Brother of Emperor Claudius, 41–54 A.D. Marble, h: 180 cm. Musée du Louvre, Paris (France). Roman Antiquity.
132. Anonymous. Winner Athlete, 1st century A.D., restored in 1781 by Vincenzo Pacetti. Marble, h: 148 cm. Musée du Louvre, Paris (France). Roman Antiquity.
133. Anonymous. Prisoner Seated, first century A.D. (body), second century A.D. (head). Green breccia and marble, h: 163 cm. Musée du Louvre, Paris (France). Roman Antiquity.
Images of the barbarian enemies of Rome were common. Often, they are shown as defeated, or as captives of the empire. Many were found in Trajan’s Forum, and are therefore thought to be representations of Dacians, a people of Eastern Europe who were conquered by Trajan. Trajan depicted the defeat of the Dacians in much of the imagery of his reign, because that victory brought great wealth to Rome. Dacia was rich in mineral wealth, including large amounts of gold and silver. That wealth flowed into Rome after the conquest, and allowed Trajan to undertake a major building campaign, including his great Forum and the famous Markets. He also devoted some of the riches to alleviate the suffering of Rome’s poor, providing food for impoverished children. In this image, whose hat and clothing suggest he is a king of Dacia, the enemy is portrayed defeated, but strong and proud. The strength and nobility of Rome’s enemies made her victory over them that much greater.
134. Anonymous. Cameo, called the “Grand Camée de France”, c. 23–29 A.D. Five-layered sardonyx, 31 × 26.5 cm. Bibliothèque nationale de France, Paris (France). Roman Antiquity.
135. Anonymous. Gemma Augustea, after 10 A.D. Two-layered onyx, h: 19 cm. Kunsthistorisches Museum, Vienna (Austria). Roman Antiquity.
This cameo pendant is carved out of a multi-veined onyx, a stone with variegated layers of dark blue and white running through it. The white layer has been carved into a figured design, partially revealing the underlying dark blue layer, which provides a background colour. It is remarkable for its size, since it is rare to have such a large stone with enough consistency in its layers to produce a piece of this scale (23 cmwide). The scene is carved in two registers. The lower register shows the end of a battle, with Roman soldiers erecting triumphal trophies near several enemy prisoners. Above, the Emperor Augustus is shown seated next to Roma, the female embodiment of Rome. Augustus is crowned with a laurel wreath. To the left, the stepson and successor of Augustus, Tiberius, arrives in a chariot. The piece asserts the power of Augustus while affirming his support for Tiberius as successor. The military scene at the bottom is a reminder of Tiberius’ success on the battlefield, a reminder of his qualification as the next emperor.
136. Anonymous. Athena, also called “Pallas of Velletri”, Roman copy of a Greek original in bronze created around 470 B.C.E. and attributed to Cresilas, 1st century A.D. Marble, h: 305 cm. Musée du Louvre, Paris (France). Roman Antiquity.
137. Anonymous. Bust of Woman, called “Bust Fonseca”, beginning of the second century A.D. Marble, h: 63 cm. Musei Capitolini, Rome (Italy). Roman Antiquity.
While Roman male portraiture often retained elements of the veristic style of the Roman Republic, portraying realistic images of rulers and aristocrats, female portraits were usually of the idealised, classicising style. In this portrait, the woman’s face is delicate and softly contoured, perpetually youthful. The gentle modelling of the face is accentuated by the intricate patterning of her hair, carved into an elaborate pile of curls that was the style at the time. The artist has used the hairstyle to exhibit his skill, employing a fine drill to carve deeply into each ringlet of hair.
138. Anonymous. Bust of Emperor Nero, 54–68 A.D. (face), seventeenth century (head and bust). Marble, h: 66 cm. Musei Capitolini, Rome (Italy). Roman Antiquity.
139. Anonymous. The Tiber, adaptation of an original created around 250–200 B.C.E. in Alexandria (Egypt), c. 90–140 A.D. Marble, h: 165 cm. Musée du Louvre, Paris (France). Roman Antiquity.
140. Anonymous. Relief Figuring a Bull Sacrifice, 69–96 A.D. Marble. Galleria degli Uffizi, Florence (Italy). Roman Antiquity.
141. Anonymous. Procession of the Followers of Bacchus, 1st century A.D. Marble. The British Museum, London (United Kingdom). Roman Antiquity.
142. Anonymous. Relief, called “The Sacrificing”, 2nd century A.D. Marble, 68 × 150 cm. Musée du Louvre, Paris (France). Roman Antiquity.
143. Anonymous. Relief, called “The Borghese Dancers”, 2nd century A.D. Marble, 73 × 185 cm. Musée du Louvre, Paris (France). Roman Antiquity.
This is an example of a low-relief panel, a scene whose elements rise from the background in differing levels of relief. The lowest level, barely emerging from the background, is a Corinthian colonnade. Centred between each column is a female figure, whose flowing drapery forms the next level of relief. The figures themselves are in much higher relief, with arms fully freed from the background panel. The dancers move in opposite directions, hands clasped, their tunics billowing behind them as they move. It is not known where the panel was originally placed; it was rediscovered in the Renaissance and displayed in the Villa Borghese.
144. Anonymous. Atalanta, 2nd century A.D., restored during the 17th century. Marble, h: 122 cm. Musée du Louvre, Paris (France). Roman Antiquity.
145. Anonymous. Centaur being ridden by Cupid, 1st-2nd century A.D. Marble, 147 × 107 × 52 cm. Musée du Louvre, Paris (France). Roman Antiquity.
146. Anonymous. Minerva, also called “Roma”, 2nd century A.D., restored during the 18th century. Red