The Roman Empire is the period of ancient Roman civilization which extended from 27 BC through 476 AD; it is characterized by an autocratic form of government started by Augustus after his victory in the Battle of Actium. The first Emperor, known as Octavian before he accepted the name offered by the Senate, is responsible for the use of portraiture to serve his needs beginning what is today known a Imperial Portraiture, “a distinct segment of ancient art due to the abruptness and purposeful of its origin”.
(Breckenridge, 1981, pp. 477-478).The use of the portraits continued to be important through the entire Imperial years, but there are some periods of time between the reigns of Augustus and Constantine where it became a key part of the Imperial propaganda as seen in busts, statues and coins. It is possible to represent many of the emp
...erors’ intentions about portraits within Augustan objective as many of these were inherited from the first emperor but the style always returned to Augustan classicism. Of course these are differences between 500 years of Empire and the important are clearly noted below.After Augustus settled in power, the type of portrait chosen to represent himself, and a regular favourite of other emperors, was the Prospective Portrait “which looks forward toward what may come to be” (Breckenridge, 1981, pp.
480). The Augustan artists created images with some degree of idealization to represent the notion of anticipated achievement; we see Augustus as an eternal hero in a variety of aspects of political, military and religious life. This is now known as the classical style of portraiture.Augustus intended to present himself as Princeps or First Citizen
character created to give an illusion of continuity of the Roman Republic and place the Emperor within the society, but always advertising his personal qualities and achievements and justify his personal position in public monuments. It is important to underline the fictitiousness of this character because there was not any new role for the emperors, but they fulfilled different republican duties like consul, triumphant general or citizen, which could be recognized depending on the colour of the stripes or insignia on their toga.The Prima Porta is one of Augustus’ more important portraits known today as it is very well preserved and has helped to interpret the Imperial art.
The sculpture shows Augustus as imperator, this is a concept to unify triumphator as victorious leader of the armies and pontifex maximus as leader of the Senate. As stated before, there was not a new rank called Imperator but this was an assemblage of the various functions at the top layer of the operation of the Roman state. It was “Augustus’ principle to keep these functions separate, although always under his own firm control” (Breckenridge, 1981, pp. 85-486), this remains his permanent legacy to the Roman Empire and a lasting ideal for the Emperors to come. Even though the Prima Porta shows a barefoot Augustus which indicates posthumous sculpture since this is the heroic representation, it has been said it is probably a copy of an earlier bronze original. The idealization made by the artists during the classical style was always conditioned by the actual appearance of the individual model, but they do not exact features because their intention was to represent the embodiment of his own
political ideas not physical appearance.
After Augustus the classical style became cooler and more precise, and not much idealization can be seen in portraits until Trajan. Coincidentally enough, Trajan had a good reputation during his lifetime and represented the model of everything a Roman emperor should. Being considered as part of the society was important for the emperors to get their message across to all the population. Trying to accomplish this, Augustus allowed Greeks to worship him in temples, but not in places Roman might have been offended.
He did not allow the use of his images in religious procession and did not sit in golden thrones, because he did not want divinity associated with him, at least while living. Many emperors used the identification with former rulers to validate their reign and also to establish a connection with the population. For example, the Julio-Claudian dynasty had an evident resemblance to Augustus even though not all used the classical style or had a blood relationship with him. In his Forum, also used for ceremonies, Augustus validated his claim to be Caesar’s hair, placed his sculpture amongst Aeneas and Romulus founders of Rome and Julian ancestors.He was then shown as a natural successor. Alexander the Great remained a model for Roman generals and emperors who wished their portraits to convey their military achievements due to the romantic views of his premature death, personality and achievements.
As he was deified shortly after his death, many emperors used his image to show who they wished to become and we can see various example where emperors in their last days related to the image of Alexander in hopes to have the
same appreciation after death.It was not well received since three emperors with very questionable reputation use this tactic: Nero, Domitian and Caracalla. Not only good things passed to posterity with the use of portraits; Caligula showed his megalomania, trying to replace Olympian Zeus head with his own and Nero built his 120 foot colossus in the Domus Aurea, evidencing a major egocentrism. Hadrian successfully deified his friend Antinous, convinced on the usefulness of portrait dedication as a public relations tool.This emperor gravitated towards the Hellenistic style and was probably influenced by the philosophers’ belief in the soul, this is represented by the drilling of the pupil and iris, as the eyes are seen as doors to the soul that are now “being open” to the public.
The coin has been recognized as best medium of visual propaganda; their frequent handling ensured the constant presentation to the public like citizens but also soldiers. It was only on early 44 BC when Caesar got the approval of the Senate to be portrayed in the coins, now being able to shift the advertising of an ancestor to glorifying himself.This practice was continued by all the Emperors. Augustus took advantage of the usefulness of coins and at the end of civil wars he used them to publish his manifesto: peace and victory under the protection of patron divinities. After this, he exploited potential of coins by systematically and often explicitly using them to promote his message, diplomatic and military successes and financial generosity to the state.
After death he was declared divine and no longer represented him as a first citizen but a deity with radiate crown or a
star mounted on his head.Augustus’ youthfulness became a part of his propaganda, having assumed as Emperor at the age of 18. He changed the focus of portraitures from older statesmen to the portrayal of youth, overcoming the little importance young men. He took advantage of this change to start portraying his Grandsons: Gaius and Lucius in official numismatic and sculptured portraits reflecting Augustus’ dynastic ambitions, since he wanted the two boys to succeed him.
The constant representation of youth made obvious the hopes of the Augustan house for the children.All princes of the Julio-Claudian house were portrayed with serene expressions and Augustan hairstyles to reinforce the legitimacy of their claims to rule. Their own identities were strongly suppressed and it is very difficult to tell them apart. Gaius and Lucius were themselves designated for the consulship, highest roman public office, at a very precocious age.
This role is the one represented on the coinage of Augustus and for which they received dedications and statues from cities throughout the Empire.Constantine was the first emperor to adopt Christianity, becoming an important figure also in the world today. He used the visual propaganda very well with the building of his colossal seated statue in the end of the Basilica of Constantine in the Roman Forum. His eyes look upward, gesture that may be considered a representation of Christianity as he may seem praying, but at this point the Emperor and Christ are defined separately and the looking upwards must be because of the now preoccupation towards the soul, trend born with Diocletian who saw not a person but a human unit.
In conclusion, the main use for Imperial Portrait
was the systematic dissemination of information about the ruler’s messages and triumphs but also to familiarize the public with the heirs, and thus the dynasty. Every emperor had his own way to represent his ambitions, choosing the style most appropriate always within the artistic context of the times. This way we can see a cyclical sequence in the Imperial portraiture, always returning to the classical style of Augustus, the great founder of the Empire.
