theme paper for art class
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Jason Yung
Professor Stephany Rimland
ART 105 W71
15 October 2017
Augustus the Great
The Augustus of Primaporta is a famous free-standing sculpture that depicts Augustus,
the very first emperor of Rome. Constructed by an unknown Roman artist in 20 B.C.E, the white
marble statue stands at an impressive height of 2.04 meters. This flawless portrayal of Augustus
was influenced by the Greek’s emphasis on idealism. At the time, Roman art incorporated
characteristics of Greek Classical art, making sure their sculptures were proportionate and based
on the human figure. Some sculptors utilize white marble as their medium considering that it’s
easy to manipulate and the texture resembles the soft skin of a person. In the Augustus of
Primaporta, Emperor Augustus stands upright as he signals to some undiscovered, distant
location. With Cupid at his leg, he is illustrated as a vigorous visionary who is beloved by the
Roman gods and fit to rule the Roman Empire. Indeed, the Augustus of Primaporta exemplifies
the ideal representation of an authoritative ruler by rendering the first Roman emperor as a
god-like figure who holds an unparalleled amount of power and ambition.
Augustus was a strong, influential leader who had the entire empire of Rome within the
palm of his hand. He was admired by his citizens and feared by outside nations; he undeniably
yielded a formidable mass of power. Taking this into account, it seems only natural that a statue
of his image would capture his awe-inspiring qualities while simultaneously comparing him to a
god. This statue came to be known as the Augustus of Primaporta, which defines Augustus as the
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quintessential ruler. The anonymous sculptor’s use of the formal elements in art highlights the
zealous nature of Augustus with the suggestion of implied lines and motion. Similarly, the
sculptor demonstrates his knowledge of the design principles by emphasizing visual weight and
human-like proportions. These particular components paint the real Augustus as having more
aspirations and might than he actually did.
Two of the formal elements that the sculptor displays in his creation are implied lines and
implied motion. Notice the gesture Augustus makes with his right hand as if he’s pointing to
some place only he can observe. Also, his left forearm lifts up a portion of his toga, revealing his
bare legs and feet. The statue itself isn’t moving, but the placement of his arms imply a sense of
movement. As he sweeps his toga away and shifts his weight, his fingers signify his awareness of
a place beyond the horizon. By indicating movement, the sculptor successfully expresses the
grand ambition that Augustus had for his Roman Empire. He sought to venture to areas that even
the Roman populace couldn’t fathom. What assists in this interpretation is the sculptor’s
integration of implied lines. Looking back at Augustus’ right hand, a line seems to emanate from
the tip of his index finger. This imaginary line directs the viewer’s attention to the place where
Augustus himself is looking. Coincidentally, his gaze reveals an implied line as well. The eyes
are attracted to his own finger’s implied line as if he himself recognizes its suggested path. Every
implication enhances the ambitious character of the statue, thereby amplifying the ambitious
character of the living Augustus. Whether or not he was actually this aspiring is irrelevant,
because his statue represents him as such. Meaning that those who were stirred by the marble
replica will associate their reverence not with the statue but with Augustus himself.
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This displacement of admiration can also be attributed to the actual mass of the statue.
Not only does the figure tower over others at a height of 2.04 meters, it occupies a decent-sized
space and likely weighs a lot. However, the marble image of Augustus looks relatively light due
to the lack of Roman garb. All he wears is a tunic covered by a breastplate and a short toga. His
bare limbs make him come off as weightless and devoid of worry. He radiates confidence by
instilling a sense of security in onlookers, validating his competence as emperor. Interestingly
enough, he gives off the impression of a god because of his ethereal image since they too usually
sport few clothing articles. Granted, Augustus in the flesh and blood was not an actual god, but
Romans at the time could have certainly entertained the idea thanks to this statue.
Setting aside their application of formal elements, the sculptor also had a clear grasp of
the design principles in art. For example, most of the visual weight is situated below Augustus’
navel. The wrinkly toga is draped over his left forearm while a little Cupid atop a dolphin crowds
his right leg. This lower section juxtaposes the upper portion of his body which appears to be
decorated with a single breastplate. Yet despite all of this luggage, Augustus is still capable of
lifting up his right hand and gesturing to the uncertain. Perhaps this symbolizes Augustus’ ability
to overcome strife or succeed in his military endeavors as he rises in the face of difficulty. Such
perseverance was to be expected of the leader of one of the greatest empires at the time. By
contrasting the visual weight of the top and bottom halves, Augustus of Primaporta paints the
real Augustus as a tenacious man willing to challenge the impossible.
Obviously, the statue seeks to depict Augustus as the perfect male and no better is this
exemplified than in the proportions of his marble physique. From his unrealistic height to his
smooth skin, this idealized version of Augustus is undoubtedly robust, hardy, and vigilant. His
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slightly exaggerated features elevate his status to that of a deity, albeit he most resembles a fit
human man. By likening his resemblance to that of a god, Augustus would be admired not just as
the ruler of Rome but also as a divine entity. This unrealistic portrayal could have even garnered
him potential worshipers. However, him being graced by the gods is most evident with the
display of several other figures alongside Augustus. Down by his right leg, Cupid, the Roman
God of love, seems to reach towards the emperor’s thigh, suggesting the favoritism Augustus
receives from the gods. There are also images and icons that adorn his breastplate. Divine
entities interact with one another establishing a sublime scene on Augustus’ chest. All of these
icons imply Augustus’ strong connection with the Roman gods. Possibly he himself descended
from such divine roots. On their own, each symbol only references a powerful god worthy of
praise. But these various images are merged together in the Augustus of Primaporta, intensifying
the statue’s godly presence. By incorporating various items in their artwork, the sculptor evokes
harmony and wholeness between the figures. Their use of unity and variety allows Augustus to
transcend into the realm of gods.
Concerning the chest piece itself, there’s actually a little bit of background behind its
central image. Before the reign of Augustus,“the Parthian army completely defeated the Roman
legions stationed at the Euphrates River and captured all the Roman eagles and standards. This
humiliation...dealt a terrible blow to Rome and its people” (Goerke-Shrode). Part of marble
Augustus’ cuirass compensates this embarrassing loss by having the Parthian king relinquish the
precious standards, an actual exchange that occurred in 20 B.C.E (Reeder 109). Without a doubt,
this interaction highlights Augustus’ superiority over powerful opponents. In fact, “Seated on
either side of the central group are two female figures, each representing nations defeated by
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Rome” (Goerke-Shrode). Along with his supremacy, his breastplate recognizes his military
prowess. However, the surrendering Parthian king evokes a much more passionate response. The
Parthian Empire crushed Rome and seized all their valuables, proving that the empire wasn’t
truly impregnable (Goerke-Shrode). Through an ironic twist of fate, the King of Parthian himself
hands over the stolen goods, the epitome of humility for any formidable nation. Once again,
Augustus of Primaporta sets forth the notion that Emperor Augustus could conquer the
unconquerable by vanquishing the kings of empires.
During this capitulation, Augustus appears to be surrounded by individuals. So important
is this incident “that the return of the standards was...watched over by the gods, and that, with
divine help, Augustus guaranteed the order of the world” (Goerke-Shrode). In other words,
Augustus isn’t alone; he is blessed by the Roman gods and it is only natural for them to aid him.
To prove his good relations with the gods, the sculptor placed a little Cupid alongside Augustus’
leg, representing his blood ties with Venus, the Roman Goddess of love (Goerke-Shrode).
Though, other deities are clearly visible around the borders of Augustus’ cuirass. For instance,
located at the top “are the gods Cadus, Sol, Luna, and Aurora (Sky, Sun, Moon, and Dawn)”
(Goerke-Shrode). While opposite to them is “Diana (the goddess of the hunt) and Apollo (the sun
god)...on either side of Tellus (the Earth Mother)” (Goerke-Shrode). Such a large gathering of
gods really emphasizes the significance of the central scene, while simultaneously ranking
Augustus amongst the divine beings themselves. Ideal qualities like these reinforce his
competence as the ruler of Rome by implying a divine lineage.
Taken as a whole, Augustus’ chest piece illustrates something larger than Augustus
himself: a new era (Reeder 109). This statue “celebrated the beginning of the the Pax Augustae
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(“Peace of Augustus”) with the peaceful return of the Standards to Rome” (Goerke-Shrode).
Otherwise known as the Pax Romana, this era began when Augustus sought to create a newborn,
peaceful empire that ended up lasting two centuries (Wasson). His statue exemplifies not only a
time of harmony, but also his concern for the Roman citizens. By fortifying his empire, he kept
the Romans out of harm’s way, ensuring that no invaders injured his subjects. A strong
allegiance was then likely formed between Augustus and his people, so much so a group called
the Imperial Cult honored him as a legitimate god (Wasson). Without this breastplate, Augustus
is only established as an all-powerful creature. While this sounds satisfying, this blinding
perfection could have led to a sense of alienation, since flawless creatures are difficult to relate
to. Instead, the sculptor ingrains a touch of humanity by adding an item that symbolizes
Augustus’ connection with his Roman people. Ironically, this attachment ends up romanticizing
Augustus even more, since an emotional connection has been realized. His influence can be
accurately summed up in his own statement: “I found a city of brick and left it one of marble”
(Wasson).
Coincidentally, Augustus’ quotation pertains quite well to his marble replica. Using
Augustus’ own analogy, his mortal self would be the brick and his Augustus of Primaporta the
marble. Brick has superficial flaws, most notably in its inferior image to marble. The same can
be said of Augustus’ portrayal in his statue. For example, marble Augustus is pictured as having
“smoother, more idealised features, a stronger neck and the hairstyle of an athlete” ( Museum).
He isn’t illustrated in a realistic manner, rather a more glorified one. Part of this appeal can be
attributed to another prominent sculpture at the time: Doryphoros of Polykleitos ( Museum). And
indeed, the relaxed posture of Doryphoros seems to have translated to Augustus’ statue as well.
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Yet, Augustus himself looks as though he’s “addressing the troops” (Goerke-Shrode). His calm
demeanor contrasts with his status as the commander of the Roman army; he feels approachable
but with a hint of formality. Interestingly enough, “the statue of Augustus of Prima Porta is
probably to be seen in connection with the triumphal ceremony” (Reeder 91). A triumphal
ceremony was a Roman tradition that celebrated a momentous victory of sorts; in this case,
Augustus’ ascension to the throne was the occasion (Wasson). Through his physical idealistic
presentation, Augustus is seen as the model Roman man. His young, athletic complexion carved
in the marble betrays his mortal appearance, but nonetheless the statue exaggerates his
characteristics as to effectively capture his eminence.
The real Augustus was a flawed human being with grand ambitions and control over the
whole of Rome. He was no god, his power was finite, and even he probably couldn’t see beyond
the horizon. However, his marble counterpart tells a different story. Divine symbols and
victorious icons depict Augustus as a formidable god that can bring the greatest of enemies to
their knees. His ambition is noted through the various implications of his figure, while his
resemblance to a human keeps him grounded in reality. Augustus of Primaporta has two
purposes: to render Augustus as a supreme being and to commemorate his legacy. All artwork
that represents authoritative rulers seeks to accomplish these two things. A leader’s brilliance,
might, and influence is all personified in one single piece of art.
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Augustus of Primaporta, Roman culture, 20 B.C.E
White Marble, Height of 6ft. 8in. Image Courtesy of: http://www.the-art-minute.com/augustus-of-primaporta-spin-city/
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Works Cited
Goerke-Shrode, Sabine. "The Augustus Statue of Prima Porta." Calliope, vol. 8, no. 4, Dec.
1997, p. 15. EBSCO host, prox2.harpercollege.edu:2048/login?url= http://search .ebsco
host.com/login.aspx?direct=true&db=f5h&AN=53408&site=ehost-live.
“Museum of Classical Archaeology Databases.” Primaporta Augustus | Museum of Classical
Archaeology Databases , University of Cambridge, museum.classics.cam.ac.uk/
collections/casts/primaporta-augustus.
Reeder, Jane Clark. “The Statue of Augustus from Prima Porta, the Underground Complex, and
the Omen of the Gallina Alba.” The American Journal of Philology, vol. 118, no. 1, 1997,
pp. 89–118. JSTOR, JSTOR, www.jstor.org/stable/1562101.
Wasson, Donald. “Pax Romana.” Ancient History Encyclopedia , 8 Dec. 2015, www.ancient.eu/
Pax_Romana/.