Dynastic Commemoration and Imperial Portraiture in the Julio-Claudian Period

215 Pages·1997·27.574 MB·English

by  Charles Brian Rose

DYNASTIC COMMEMORATION
CAMBRIDGE STUDIES IN CLASSICAL ART AND ICONOGRAPHY
AND IMPERIAL PORTRAITURE
Series Editors
H. A Shapiro, University of Canterbury, New Zealand
Robin Osborne, Corpus Christi College, Oxford University IN THE
Advisory Board
William Childs, Princeton University
JULIO-CLAUDIAN PERIOD
Roger L:ing, University of Manchester
Sarah Morris, University of California, Los Angeles
Olga Palagia, University of Athens
Jerome Pollitt, Yale University
Cambridge Studies in Classical Art and Iconography is a program of
scholarly monographs that best represent the rapid and profound
changes :in the scholarship of one of the oldest and most respected dis
cipl:ines in the humanities. A major goal of this series is to understand
ancient art not merely as aesthetic objects, but as part of an :intr:insic
visual language of a distant culture. Books :in this series will, typically,
be devoted to studies of a s:ingle artist stylistic issues, or iconography
of a particular theme :in a specific period. Interpretive :in the broadest
sense, these works will also provide a link between art history and other
related fields :in the study of classical antiquity, :including history, phi
losophy, and religion.
CHARLES BRIAN ROSE
University of Cincinnati
CAMBRIDGE
UNIVERSITY PRESS
Published by the Press Syndicate of the University of Cambridge
The Pitt Building, Trumpington Street, Cambridge CB2 lRP
CONTENTS
40 West 20th Street, New York, NY 10011-4211, USA
10 Stamford Road, Oakleigh, Melbourne 3166, Australia
© Cambrige University Press 1997
First published 1997
Printed in the United States of America
Library of Congress Cataloging-in-Publication Data
Rose, Charles Brian.
Dynastic Commemoration and Imperial Portraiture in the Julio
Claudian period / Charles Brian Rose.
p. cm. - (Cambridge studies in classical art and
iconography) Illustrations vii
Includes bibliographical references.
Foreword xiii
ISBN 0-521-45382-8 (hardcover)
Preface xv
1. Portrait sculpture, Roman - Catalogs. 2. Emperors - Rome -
Introduction xvii
Portrait - Catalogs. 3. Emperors - Rome - Family - Portraits -
Catalogs. 4. Coins, Roman - Catalogs. 5. Rome - History - Empire,
30 B.C.-284 AD. I. Title. II. Series.
PART ONE
NB1296.3.R67 1996
733'.5 - dc20 96-5232
CIP 1: The Origins and Significance of Dynastic Group Monuments 3
2: Augustus and the Establishment of the Dynasty 11
A catalog record for this book is available from the British Library
3: Julians and Claudians during the Reign of Tiberius 22
ISBN 0-521-45382-8 hardback
4: Rehabilitation and Retrospection in Caligulan Group Monuments 32
5: The Solidification of the Julio-Claudian Dynasty under Claudius 39
6: Nero and the End of the Julio-Claudian Dynasty 46
7: Conclusion 51
PART TWO
8: Portrait Identifications and the Dissemination of Models 57
9: Attitudes toward Inscriptions, Statuary Types, and Attributes 73
PART THREE
Introduction to the Catalog 80
Catalog 81
Table 1: List of Dynastic Groups by Site 191
Table 2: List of Portraits from Dynastic Groups by Museum 198
Table 3: Concordance of Extant Portraits from Julio-Claudian Dynastic
Groups 201
v
CONTENTS
Table 4: Genealogical Tree of the Julio-Claudian Family 204
ILLUSTRATIONS
Abbreviations 205
Maps 207
Notes 211
Bibliography 281
General Index 287
Index of Inscriptions 303
Index of Literary Sources 311
Plates ( Follow last page of text)
Plates Plate 13. Gaius and Lucius Caesar, sons of Augustus. De
narius, mint of Lugdunum, 2 B.C.
Note: All coins are reproduced at a scale of 2:1.
Plates follow last page of text. Plate 14. Augustus enthroned, with legend "Divus Augus
tus Pater." Sestertius, mint of Rome, A.D. 22/23.
Plate 1. Gold octodrachm of Ptolemy II, 285-246 B.C. (A)
Obverse: Ptolemy II and Arsinoe II. (B) Reverse: Ptolemy I Plate 15. The "Sword of Tiberius." Germanicus standing
and Berenice I. before an enthroned Tiberius. British Museum, London.
Plate 2. Reconstruction of the monument of Ptolemy II and Plate 16. Glass phalera of Germanicus surrounded by three
Arsinoe II at Olympia, dedicated by the Ptolemaic admiral of his children. Kunsthistorisches Museum, Vienna.
Callicrates.
Plate 17. The twin sons of Drusus II in cornucopiae. Sester
Plate 3. Silver tetradrachm of Cleopatra Thea and Antio tius, mint of Rome, A.D. 22/23.
chus VIII, ea. 125 B.c. Plate 18. Glass phalera, possibly representing Drusus II
Plate 4. Denarius of triumphator in quadriga with his son with his sons. ROmisch-Germanisches Museum, Cologne.
riding on the nearest horse. J\llint of Rome, 101 B.c. Plate 19. Drusus II (left) and Germanicus (right) seated.
Plate 5. Head of M. Antony facing the bUBt of his wife Oc Bronze, mint of Sardis(?), after A.D. 23.
tavia II. Leaded bronze "fleet coinage" of M. Antony, ea. Plate 20. The sisters of Caligula: Agrippina II, Drusilla, and
38-37 B.C. Julia. Sestertius, mint of Rome, A.D. 37 /8.
Plate 6. Wreathed head of Caesar and head of Octavian fac Plate 21. Nero Caesar and Drusus III, brothers of Caligula,
ing each other. Denarius, mint-moving with Octavian. 38 on horseback. Dupondius, mint of Rome, A.D. 37 /8.
B.C.
Plate 22. Caligula dedicating the temple of Divus Augustus
Plate 7. Heads of Agrippa (left) and Augustus (right) back in Rome. Sestertius, :mint of Rome, A.D. 37 /8.
to back. Bronze, mint of Nemausus, ea. 20-10 B.C.
Plate 23. Glass phalera of Caligula. British MUBeum, Lon
Plate 8. Julia, daughter of Augustus, flanked by portraits of don.
Augustus and Agrippa. Denarius, mint of Rome, 13 B.c.
Plate 24. Glass phalera of Germanicus. Musees Royaux
Plate 9. Two soldiers offer laurel branches to Augustus. De d'A rt et d'Histoire, Brussels.
narius, mint of Lugdunum, 15-13 B.C.
Plate 25. Glass phalera of Agrippina I. Musee Romain,
Plate 10. Livia between her sons Tiberius and Drusus I. Avenches.
Bronze sword hilt. Rheinlandisches Museum, Bonn.
Plate 26. Triumphal arch with inscription "De Germanis."
Plate 11. Gains Caesar on horseback. Denarius, mint of Lug Above is an equestrian statue flanked by trophies. Denarius,
dunum, 9/8 B.c. mint of Rome, A.D. 41/2.
Plate 12. (A) numismatic reproduction of statues of (left to Plate 27. Triumphal arch ~ith inscription "De Britann."
right) Lucius Caesar, Augustus (with simpulum), and Gaius Above is an equestrian statue flanked by trophies. Denarius,
Caesar. Bronze, mint of Caesaraugusta (Spain), 4/3 B.c. mint of Rome, A.D. 46/7.
vi vii
ILLUSTRATIONS
ILLUSTRATIONS
Plate 71. Tiberius. Cat. 5: Caere. Vatican Museums, Rome. Plate 95. Livia. Cat. 26: Paestum. Madrid Archaeological
Plate 28. Claudius seated amidst piles of armor and weap Plate 47: Profile of Drusus I. Cat. 5: Caere. Vatican Muse
Museum.
ons. Sestertius, mint of Rome, ea. A.D. 41-50. ums, Rome. Plate 72. Detail of Tiberius. Cat. 5: Caere. Vatican Muse
ums, Rome. Plate 96. Tiberius. Cat. 29: Privernum. Vatican Museums,
Plate 29. Livia seated, holding ears of wheat and a long Plate 48. Profile of Germanicus. Cat. 69: Corinth. Corinth
Rome.
torch. Dupondius, mint of Rome, A.O. 41/2. British Mu Archaeological Museum. Plate 73. Claudius. Cat. 5: Caere. Vatican Museums, Rome.
seum, London. Plate 49. Profile of Germanicus. Cat. 125: Lepe is Magna. Plate 74. Detail of Claudius. Cat. 5: Caere. Vatican Muse Plate 97. Claudius. Cat. 29: Privernum. Vatican Museums,
Rome.
Plate 30. Messalina, wife of Claudius, holding ears of wheat Tripoli Archaeological Museum. ums, Rome.
in her left hand, and Mo small children in her right Tetra Plate 50. Nero Caesar, son of Germanicus. Cat 25: Ocricu Plate 75. Augustus. Cat. 7: Centuripae. Syracuse Archaeo Plate 98. Ravenna relief. Cat. 30: Ravenna. National Mu
drachm, mint of Alexandria, A.D. 41. lum. Vatican Museums, Rome. logical Museum. seum, Ravenna.
Plate 31. The children of Claudius. Antonia III and Octavia Plate 51. Nero Caesar. Palazzo Quirinale, Rome. Plate 76. Germanicus. Cat. 7: Centuripae. Syracuse Archae Plate 99. Restoration drawing of the Ravenna relief. Cat. 30:
Ill rising from crossed cornucopiae and flanking a bust of Ravenna.
ological Museum.
Britamricus. Didrachm, mint of Patras, A.O. 42/3. British Plate 52. Julia Livilla, sister of Caligula. Staatliche Museen,
Museum, London. Berlin. Plate 77. Drusus II. Cat. 7: Centuripae. Syracuse Archaeo Plate 100. Relief reproduction of the pediment of the Tem
logical Museum. ple of Mars illtor in Rome. Villa Medici, Rome.
Plate 32. The children of Claudius. (left to right) Octavia III, Plate 53. Profile of Julia Livilla. Staatliche Museen, Berlin.
Britannicus, and Antonia III. Didrachm, mint of Caesarea in Plate 78. Claudius Cat. 15: Herculaneum. Naples Archae Plate 101. Augustus. Cat. 30: Ravenna.
Plate 54. Agrippina II, mother of Nero. Schloss Fasanerie at
Cappadocia, ea. A.O. 46-48. British Museum, London. Fulda (Germany). ological Museum. Plate 102. Livia. Cat. 30: Ravenna.
Plate 33. Nero (right) holding globe, and Britannicus (left) Plate 79. Detail of Claudius Cat. 15: Herculaneum. Naples
Plate 55. Augustus. Cat. 1: Aesis. Palazzo della Signoria, Plate 103. Germanicus. Cat. 30: Ravenna.
with his hand placed above the globe. Bronze, mint of Cor Archaeological Museum.
Iesi.
inth, A.O. 50/1. Plate 80. Augustus. Cat. 15: Herculaneum. Naples Archae Plate 104. Drusus I, father of Claudius. Cat. 30: Ravenna.
Plate 56. Tiberius. Cat. 1: Aesis. Palazzo della Signoria, Iesi.
Plate 34. The deified Claudius and perhaps Fides in an ological Museum. Plate 105. Ara Pacis Augustae, south frieze Cat. 32: Rome.
elephant-drawn chariot. Denarius of Nero, mint of Rome, Plate 57. Caligula. Cat. 1: Aesis. Palazzo della Signoria, Iesi.
Plate 81. Augustus. Cat. 18: Lucus Feroniae. Depot, Lucus Plate 106. Ara Pacis Augustae, south frieze. Cat. 32: Rome.
A.O. 55. Plate 58. Augustus. Cat. 3: Aquileia. Aquileia Archaeolog Feroniae.
Plate 107. Ara Pacis Augustae, north frieze. Cat 32: Rome.
Plate 35. Facing bust of the emperor Nero and his mother ical Museum. Plate 82. Tiberius. Cat. 19: Luna. Museo Civico, La Spezia.
Agrippina II. Denarius, mint of Rome, A.D. 54. Plate 108. Ara Pacis Augustae, north frieze. Cat. 32: Rome.
Plate 59. Claudius. Cat. 3: Aquileia. Aquileia Archaeologi Plate 83. Germanicus. Cat. 19: Luna. Museo Civico, La Spe
Plate 36. Jugate busts of the emperor Nero and Agrippina cal Museum. zia. Plate 109. Detail of Gaius Caesar, son of Augustus, Ara Pa
II. Denarius, mint of Rome, A.D. 55. Plate 60. Antonia II, mother of Claudius. Cat. 4: Baiae. Plate 84. Caligula. Cat. 20: Luna. Genoa-Pegli, Museo Ar cis Augustae, north frieze. Cat. 32: Rome.
Plate 37. The emperor Nero and his wife Poppaea. Denar Baiae, Castello Aragonese. cheologico. Plate 110. Ara Pacis Augustae, west side: Sacrifice of Ae
ius, mint of Rome, A.D. 64/5. Plate 61. Detail of Antonia II. Cat. 4: Baiae. Baiae, Castello Plate 85. Drusilla, sister of Caligula. Cat. 20: Luna. Museo neas. Cat. 32: Rome.
Plate 38. The deified Poppaea seated in a temple. Bronze, Aragonese. Archeologico, Genoa-Pegli. Plate 111. Altar from the Vicus Sandaliarius. Cat. 33: Rome.
mint of Caesarea Paneas (Syria), A.D. 65. Plate 62. Octavia III, daughter of Claudius. Cat. 4: Baiae. Plate 86. Germanicus. Cat. 24: Nomentum. Terme Museum, Uffizi Gallery, Florence.
Plate 39. The deified Claudia, daughter of Nero and Pop Baiae, Castello Aragonese. Rome. Plate 112. Augustus. Cat. 33: Rome.
paea, within a temple. Bronze, mint of Caesarea Paneas (Sy
Plate 63. Detail of Octavia III. Cat. 4: Baiae. Baiae, Castello Plate 87. Drusus II. Cat. 24: Nomentum. Terme Museum,
ria), A.D. 65. Reverse of Plate 38. Aragonese. Rome. Plate 113. Gaius Caesar, son of Augustus. Cat. 33: Rome.
Plate 40. Statue of Baebia, mother of L. Valerius Flaccus, Plate 114. Priestess of the Magna Mater. Cat 33: Rome.
Plate 64. Germanicus. Cat. 5: Caere. Vatican Museums, Plate 88. Augustus. Cat. 25: Ocriculum. Vatican Museums,
from Magnesia on the Maeander. Istanbul Archaeological
Rome. Rome. Plate 115. Antonine sestertius of the Temple of Divus Au
Museum.
gustus, Rome. Cat. 41: Rome. Mint of Rome, A.O. 158/9.
Plate 65. Drusilla, sister of Caligula. Cat. 5: Caere. Vatican Plate 89. Livia. Cat. 25: Ocriculum. Vatican Museums,
Plate 41. Portrait of Octavia II, sister of Augustus, from Vel Museums, Rome. Rome. Plate 116. Inscription of a Claudian family group, found
letri. Terme Museum, Rome.
near the Arch of Claudius, Rome. Cat. 42: Rome. Conser
Plate 66. Detail of Drusilla. Cat. 5: Caere. Vatican Museums, Plate 90. Gaius Caesar. Cat. 25: Ocriculum. Vatican Muse
Plate 42. Profile of Octavia II, sister of Augustus, from Vel Rome. ums, Rome. vatori Museum, Rome.
letri. Terme Museum, Rome.
Plate 117. Augustus. Cat. 43: Rome. Walters Art Gallery,
Plate 67. Nero Caesar, brother of Caligula. Cat. 5: Caere. Plate 91. Nero Caesar, son of Germanicus. Cat. 25: Ocricu
Plate 43. Julia I, daughter of Augustus. Ny Carlsberg Glyp Vatican Museums, Rome. lum. Vatican Museums, Rome. Baltimore.
tothek, Copenhagen.
Plate 68. Detail of Nero Caesar. Cat. 5: Caere. Vatican Mu Plate 92. Claudius, recut from Caligula. Cat. 25: Ocriculum. Plate 118. Augustus. Cat. 43: Rome. Private American col
Plate 44. Profile of Julia I, daughter of Augustus. Ny Carls seums, Rome. Vatican Museums, Rome. lection.
berg Glyptothek, Copenhagen.
Plate 69. Drusus I, father of Claudius. Cat. 5: Caere. Vatican Plate 93. Drusilla (?) restored with head of Sabina, wife of Plate 119. Germanicus. Cat. 43: Rome. Walters Art Gallery,
Plate 45. Julia !. Cal. 52: Baeterrae. Detail of nodus. Museums, Rome. Hadrian. Cat. 25: Ocriculum. Vatican Museums, Rome. Baltimore.
Plate 46. Sestertius of Drusus I, father of Claudius. Mint of Plate 70. Detail of Drusus I. Cat. 5: Caere. Vatican Muse Plate 94. Tiberius. Cat. 26: Paestum. Madrid Archaeological Plate 120. Gaius Caesar, son of Augustus. Cat. 43: Rome.
Rome, A.D. 41. ums, Rome. Museum. Conservatori Museum, Rome.
ix
ILLUSTRATIONS ILLUSTRATIONS
Plate 121. Nero. Cat. 43: Rome. Walters Art Gallery, Balti Plate 141. Agrippina I, mother of Caligula. Cat. 50: Velleia. Plate 162. Drusus II. Cat. 52: Baeterrae. Musee San Ray Plate 186. Lucius Caesar, son of Augustus. Cat. 69: Corinth.
more, and Conservatori Museum, Rome. Museo Nazionale di Antichita, Parma. mond, Toulouse. Corinth Archaeological Museum.
Plate 122. Gaius Caesar, son of Augustus. Cat. 49: Velia. Plate 142. Detail of Agrippina I, mother of Caligula. Cat. 50: Plate 163. Germanicus. Cat. 52: Baeterrae. Musee San Ray Plate 187. Gaius Caesar, son of Augustus. Cat. 69: Corinth.
Soprintendenza Archeologica, Marina di Ascea. Velleia. Museo Nazionale di Antichita, Parma. mond, Toulouse. Corinth Archaeological Museum.
Plate 123. Lucius Caesar, son of Augustus. Cat. 49: Velia. Plate 143. Livia. Cat. 50: Velleia. Museo Nazionale di An Plate 164. Nero Caesar, son of Germanicus. Cat. 52: Baeter Plate 188. Augustus. Cat. 69: Corinth. Corinth Archaeolog
Soprintendenza Archeologica, Marina di Ascea. tichita, Parma. rae. Musee San Raymond, Toulouse. ical Museum.
Plate 124. Livia. Cat. 49: Velia. Soprintendenza Archeolo Plate 144. Detail of Livia. Cat. 50: Velleia. Museo Nazionale Plate 165. Antonia II, mother of Germanicus. Cat. 52: Bae Plate 189. Germanicus. Cat. 69: Corinth. Corinth Archaeo
gica, Marina di Ascea. di Antichita, Parma. terrae. Musee San Raymond, Toulouse. logical Museum.
Plate 125. Octavia II, sister of Augustus. Cat. 49: Velia. So Plate 145. Augustus. Cat. 50: Velleia. Museo Nazionale di Plate 166. Octavia II, sister of Augustus. Cat. 53: Glanum. Plate 190. Augustus. Cat. 80: Olympia. Olympia Archaeo
printendenza Archeologica, Marina di Ascea. Antichita, Parma. Depot, San-Remy-de-Provence. (A) Frontal view. (B) Profile. logical Museum.
Plate 126. Profile of Octavia II. Cat. 49: Velia. Soprinten Plate 146. Drusus III, son of Germanicus(?), recut to Nerva. Plate 167. Livia. Cat. 53: Glanum. Depot, San-Remy-de Plate 191. Claudius. Cat. 80: Olympia. Olympia Archaeo
denza Archeologica, Marina di Ascea. Cat. 50: Velleia. Museo Nazionale di Antichita, Parma. Provence. (A) Frontal view. (BJ Profile. logical Museum.
Plate 127. Nero Caesar, son of Germanicus, as a child. Cat. Plate 147. Detail of Drusus III, son of Germanicus(?), recut Plate 168. Agrippina II, wife of Claudius. Cat. 54: Lug Plate 192. Agrippina II, wife of Claudius. Cat. 80: Olympia.
49: Velia. Soprintendenza Archeologica, Marffia di Ascea. to Nerva. Cat. 50: Velleia. Museo Nazionale di Antichita, dunum Convenarum. St. Bertrand de Comminges, Depot. Staatliche Museen, Berlin.
Parma.
Plate 193. Agrippina II, from Olympia. Olympia Archaeo
Plate 128. Nero Caesar, son of Germanicus (posthumous). Plate 169. Nero, recut to Dornitian. Cat. 58: Vasio
Cat. 49: Velia. Soprintendenza Archeologica, Marina di As Plate 148. Agrippina II, mother of Nero. Cat. 50: Velleia. Vocontiorum. Musee Municipal. logical Museum.
cea. Museo Nazionale di Antichita, Parma. Plate 194. Caligula. Cat. 85: Gorlyn. Heraklion Archaeolog
Plate 170. Claudius. Cat. 58: Vasio-Vocontiorum. Musee
Plate 129. Antonia II, mother of Claudius and Germanicus. Plate 149. Detail of Agrippina II, mother of Nero. Cat. 50: Municipal, Vaison-la-Romaine. ical Museum.
Cat. 49: Velia. Soprintendenza Archeologica, Marina di As Velleia. Museo Nazionale di Antichita, Parma. Plate 195. Tiberius. Cat. 85: Gortyn. Heraklion Archaeolog
Plate 171. Livia. Cat. 59: Asido. Cadiz Archaeological Mu
cea. Plate 150. Nero. Cat. 50: Velleia. Museo Nazionale di An serun. (A) Frontal view. (B) Right profile. ical Museum.
Plate 130. Profile of Antonia II. Cat. 49: Velia. Soprinten tichita, Parma. Plate 196. Livia. Cat. 85: Gortyn. Heraklion Archaeological
Plate 172. Drusus II. Cat. 59: Asido. Cadiz Archaeological
denza Archeologica, Marina di Ascea. Plate 151. Detail of Nero. Cat. 50: Velleia. Museo Nazionale Museum. (A) Frontal view. (B) Right profile. Museum.
Plate 131. Antonia II. Cat. 49: Velia. Soprintendenza Ar di Antichita, Parma. Plate 197. Gaius Caesar, son of Augustus. Cat. 85: Gortyn.
Plate 173. Germanicus. Cat. 59: Asido. Cadiz Archaeologi
cheologica, Marina di Ascea. Plate 152. Nerva, as Divus(?), recut from extraneous statue cal Museum. (A) Frontal view. (BJ Right profile. Heraklion Archaeological Museum.
Plate 132. General view of group. Cat. 50: Velleia. (Left to of Nero. Cat. 50: Velleia. Museo Nazionale di Antichita, Plate 198. Lucius Caesar, son of Augustus. Cat. 96: Thasos.
right) Tiberius Gemellus; Drusus III, son of Germanicus(?), Parma. Plate 174. Augustus. Cat. 60: Augusta Emerita. Merida Ar Thasos Archaeological Museum.
chaeological Museum.
recut to Nerva; and Caligula, recut to Claudius. Museo Na Plate 153. Detail of Nerva, as Divus(?), recut from extrane Plate 199. Augustus with personifications of land and sea.
zionale di Antichita, Parma. ous statue of Nero. Cat. 50: Velleia. Museo Nazionale di Plate 175. Tiberius. Cat. 60: Augusta Emerita. Merida Ar Cat. 105: Aphrodisias. Aphrodisias, Depot.
Antichita, Parma. chaeological Museum.
Plate 133. General view of group. Cat. 50: Velleia. (Left to
Plate 200. Augustus with Nike and barbarian. Cat. 105:
right) Agrippina II, Nero, Agrippina I, and Germanicus. Mu Plate 154. Augustus. Cat. 51: Volterra. Museo Etrusco Plate 176. Tiberius Gemellus, son of Drusus II. Cat. 60: Au Aphrodisias. Aphrodisias, Depot.
seo Nazionale di Antichita, Parma. Guarnacci, Volterra. gusta Emerita. Merida Archaeological Museum.
Plate 201. Augustus(?) with personification of Roman peo
Plate 134. View of Tiberius and Drusilla. Cat. 50: Velleia. Plate 155. Augustus. Cat. 51: Volterra. Museo Etrusco Plate 177. Nero Caesar, son of Germanicus. Cat. 63: Tar ple(?) and barbarian. Cat. 105: Aphrodisias. Aphrodisias,
Museo Nazionale di Antichita, Parma. Guarnacci, Volterra. raco. Tarragone Archaeological Museum. Depot.
Plate 135. Claudius, recut from Caligula. Cat. 50: Velleia. Plate 156. Tiberius (plaster cast). Cat. 51: Volterra. Museo Plate 178. Germanicus. Cat. 63: Tarraco. Tarragone Archae Plate 202. Tiberius (?) and barbarian. Cat. 105: Aphrodisias.
Museo Nazionale di Antichita, Parma. Etrusco Guarnacci, Volterra. ological Museum. Aphrodisias, Depot.
Plate 136. Detail of Claudius, recut from Caligula. Cat. 50: Plate 157. Livia. Cat. 51: Volterra. Museo Etrusco Guar Plate 179. Augustus, Cat. 65: Aenona. Zadar (Croatia) Ar Plate 203. Germanicus and barbarian. Cat. 105: Aphrodi
Velleia. Museo Nazionale di Antichita, Parma. nacci, Volterra. chaeological Museum. sias. Aphrodisias, Depot.
Plate 137. Tiberius Gemellus, son of Drusus II. Cat. 50: Vel Plate 158. Marcus Agrippa. Cat. 52: Baeterrae. Musee San Plate 180. Detail of Augustus. Cat. 65: Aenona. Plate 204. Claudius and his wife, Agrippina II. Cat. 105:
Ieia. Museo Nazionale di Antichita, Parma. Raymond, Toulouse. Aphrodisias. Aphrodisias, Depot.
Plate 181. Tiberius. Cat. 65: Aenona. Zadar (Croatia) Ar
Plate 138. Detail of Tiberius Gemellus, son of Drusus II. Cat. Plate 159. Julia I, wife of Agrippa. Cat. 52: Baeterrae. Musee chaeological Museum. Plate 205. Nero and Britannicus, sons of Claudius. Cat. 105:
50: Velleia. Museo Nazionale di Antichita, Parma. San Raymond, Toulouse. Aphrodisias. Aphrodisias, Depot.
Plate 182. Detail of Tiberius. Cat. 65: Aenona.
Plate 139. Germanicus. Cat. 50: Velleia. Museo Nazionale Plate 160. Tiberius. Cat. 52: Baeterrae. Musee San Ray Plate 206. Claudius and Britarmia. Cat. 105: Aphrodisias.
Plate 183. Augustus. Cat. 66: Buthrotum. Butrint Museum.
di Antichita, Parma. mond, Toulouse. Aphrodisias, Depot.
Plate 184. Agrippa. Cat. 66: Buthrotum. Butrint Museum.
Plate 140. Detail of Germanicus. Cat. 50: Velleia. Museo Plate 161. Livia. Cat. 52: Baeterrae. Musee San Raymond, Plate 207. Nero and his mother Agrippina II. Cat. 105:
Nazionale di Antichita, Parma. Toulouse. Plate 185. Livia. Cat. 66: Buthrotum. Butrint Museum. Aphrodisias. Aphrodisias, Depot.
x xi
ILLUSTRATIONS
Plate 208. Cistophorus of Claudius. Temple inscribed "Rom Plate 226. Vipsania Agrippina, mother of Drusus II. Cat.
et Aug" enclosing figures of Augustus and Roma, A.D. 41- 125: Lepcis Magna. Tripoli Archaeological Museum.
54. FOREWORD
Plate 227. Profile of Vipsania Agrippina. Cat. 125: Lepcis
Plate 209. Nero and Armenia. Cat. 105: Aphrodisias. Magna. Tripoli Archaeological Museum.
Aphrodisias, Depot.
Plate 228. Tiberius Gemellus, son of Drusus II. Cat. 125:
Plate 210. Imperial woman at altar with camillus. Cat. 105:
Lepcis Magna. Tripoli Archaeological Museum.
Aphrodisias. Aphrodisias, Depot.
Plate 229. Detail of Tiberius Gemellus. Cat. 125: Lepcis
Plate 211. Gate of Mazaeus and Mithridates. Cal. 112: Eph
Magna. Tripoli Archaeological Museum.
esus.
Plate 230. Julia Livilla, sister of Caligula. Cat. 125: Lepcis
Plate 212. Tiberius. Cat. 113: Ephesus. Selcuk Archaeologi
Magna. Tripoli Archaeological Museum.
cal Museum.
Plate 231. Livia. Cat. 126: Lepcis Magna. Tripoli Archaeo
Plate 213. Livia. Cat. 113: Ephesus. Selcuk Archaeological
logical Museum.
Museum.
Plate 214. Augustus. Cat. 115: Ephesus. Selcuk Archaeolog Plate 232. Detail of Livia. Cat. 126: Lepcis Magna. Tripoli
Archaeological Museum.
ical Museum.
T HIS VOLUME inaugurates a new series, language. The pictorial image, when correctly under
Plate 215. Livia. Cat. 115: Ephesus. Selcuk Archaeological Plate 233. Tiberius. Cat 126: Lepcis Magna. Tripoli Ar
Cambridge Studies in Classical Art and Iconogra stood, provides a key to recapturing the religious ex
Museum. chaeological Museum.
phy. The goal of the series is to present mono perience of the ancients. What is shared in common
Plate 216. Base for statues of the children of Claudius. Cat. Plate 234. Claudius as Divus. Cat. 126: Lepcis Magna. Trip graphs that seek to interpret significant works of by all these diverse approaches is that they use the
119: Ilium. oli Archaeological Museum. Greek and Roman art within their historical and cul work of art to illuminate some aspect of classical cul
Plate 217 A Cat. 125 and 127: Lepcis Magna. The Old Forum Plate 235. Augustus. Cat. 127: Lepcis Magna. Tripoli Ar tural context. Iconography (from Greek eikon, "im ture - social, historico-political, literary, religious - in
with proposed locations of the statues (1) Augustus, (2) chaeological Museum. age") is that branch of art history that tries to decipher ways that a reliance on strictly textual evidence can
Roma, (3) Tiberius, (4) Livia, (5) Augustus, (6) Agrippina I, the visual language of a culture by analyzing its im not.
Plate 236. Claudius. Cat. 127: Lepcis Magna. Tripoli Ar
(7) Livilla, (8) Germanicus, (9) Drusus II, (10) Antonia II, (11) ages and reconstructing how they would have been Each volume in this series will strive to build
chaeological Museum.
Vipsania Agrippina, and (12) Claudius. Drawing by Eric read by their intended audience. In its origins in nine bridges among the various disciplines that comprise
Fulford. Plate 237. (Left to right) Tiberius, Livia, and Augustus. Cat. teenth-century German scholarship, classical iconog the study of classical antiquity. In this book, Brian
Plate 217B Cat. 125 and 127: Lepcis Magna. Reconstruction 129: Arsinoe. Ny Carlsberg Glyptothek, Copenhagen. raphy meant primarily the juxtaposition of works of Rose examines a significant class of Roman sculpture,
of the statues on the podium in front of the temple of Au Plate 238. Augustus. Cat. 129: Arsinoe. Ny Carlsberg Glyp art with the literary texts of antiquity that were the portrait statues of the earliest family of emperors.
gustus and Roma. (Left to right) Augustus, Agrippina I, Liv tothek, Copenhagen. thought to illuminate them, as in Carl Robert's influ Piecing together the far-flung evidence, he is able to
illa, Germanicus, Drusus II, Antonia II, Vipsania Agrippina, ential Bild und Lied of 1881. demonstrate how these dynastic monuments carried
Plate 239. Livia, Cat. 129: Arsinoe. Ny Carlsberg Glypto
Jd Claudius. Today, the study of iconography takes many dif the message of imperial ideology to every corner of
thek, Copenhagen.
Plate 218. Augustus. Cat. 125: Lepcis Magna. Tripoli Ar ferent forms. Scenes of heroic myth in Greek art are the Mediterranean world. The presence of the em
chaeological Museum. Plate 240. Tiberius. Cat. 129: Arsinoe. Ny Carlsberg Glyp interpreted as veiled allusions to historical people and peror and his family throughout the Empire, in the
tothek, Copenhagen. events. In Rome, the gods themselves were pressed form of their sculpted image, was a more powerful
Plate 219. Roma. Cat. 125: Lepcis Magna. Tripoli Archaeo
into the service of creating the ruler's image. Semiotic tool than any edict or decree in forging a shared Ro
logical Museum. Tables
analysis reveals that even minor pictorial details recur man identify from the moment Augustus Caesar first
Plate 220. Tiberius. Cat. 125: Lepcis Magna. Tripoli Ar Table 1: 191 in patterns that form the basic structure of the visual proclaimed the Principate.
chaeological Museum.
Table 2: 198
Plate 221. Livia. Cat. 125: Lepcis Magna. Tripoli Archaeo
logical Museum. Table 3: 201
Plate 222. Germanicus. Cat. 125: Lepcis Magna. Tripoli Ar Table 4: 204
chaeological Museum.
Maps
Plate 223. Drusus II. Cat. 125: Lepcis Magna. Tripoli Ar
chaeological Museum.
Map 1: 207
Plate 224. Agrippina I, wife of Germanicus. Cat. 125: Lepcis
Map 2: 208
Magna. Tripoli Archaeological Museum.
Map 3: 209
Plate 225. Antonia II, mother of Germanicus. Cat. 125: Lep
cis Magna. Tripoli Archaeological Museum. Map 4: 210
xii xiii
PREFACE
I began work on this project as a graduate student man, Tolly Boatwright, Larissa Bonfante, Peggy
at Columbia University, and the initial result was Brucia, Barbara Burrell, Amanda Claridge, John
a dissertation submitted to the Department of Art Clarke, Eve D'A mbra, the late Kenan Erim, Elaine
History and Archaeology in 1987. I have since broad Gazda, David Grose, Dieter Hertel, Friedmund Hue
ened the topic to include all of the epigraphic and ber, Barbara Kellum, Herbert Kessler, Fred and Diana
numismatic evidence for dynastic commemoration in Kleiner, Gerhard Koeppel, Jerzy Linderski, Miranda
the early empire, and I have included an expanded Marvin, William Metcalf, Ulrike Outschar, James
discussion of Julio-Claudian portrait iconography, Packer, Silvio Panciera, John Pollini, Gianni Ponti,
statuary types, and attributes. The manuscript was Joyce Reynolds, Louise Rice, Eugenio la Rocca, Peter
completed in May 1994, and scholarship published Rockwell, James Russell, Michael Sage, Darby Scott,
since then has received only cursory mention in the Shelley Stone, Susan Wood, Paul Zanker, and Adam
biblography and footnotes. Two books relevant to the Ziolkowski. Helpful comments and suggestions were
material presented here reached me after the manu also offered by Elizabeth Riorden, Steven Rosen, and
script was completed: Ulrike Hahn's Die Frauen des Nadine Frey. I am also indebted to two graduate stu
rOmischen Kaiserhauses und ihre Ehrungen im griechischen dents in the Classics Department at the University of
Osten anhand epigraphischer und numismatischer Zeug Cincinnati: Susan Sowers Lusnia edited sections of the
nisse van Livia bis Sabina, and Tomasz Mikocki's Sub manuscript and helped acquire photographs; David
Specie Deae. Les imperatrices et princesses romaines assi Ball checked the notes and compiled the index of an
milees il des deesses, both published in 1995. cient sources.
I would like to express my gratitude to the follow The topic of this study was originally suggested
ing institutions for their generous support of my re to me by Richard Brilliant of Columbia University,
search and writing: the Samuel H. Kress Foundation, and his meticulous editing of the initial text im
the American Research Institute in Turkey, the Na proved it immeasurably. I have relied heavily on the
tional Endowment for the Humanities, the American constant intellectual and emotional support of my
Academy in Rome, the Department of Art History colleagues Stella Miller Collett, Donna Sullivan,
and Archaeology at Columbia University, and the De Anne MacNeil, and Robert Hagerty. Special thanks
partment of Classics at the University of Cincinnnati. are owed to Marleen Flory, who read the entire
Photographic costs were defrayed by a grant from the manuscript and helped me to improve and sharpen
Louise Taft Semple Fund of the Classics Department my arguments. I am fortunate to have Ann Kuttner
at the University of Cincinnati, and it is a pleasure to as my colleague and friend, and this book has ben
thank the Trustees of the Fund as well as Michael efited substantially from her perceptive criticisms
Sage, Head of the Classics Department, for their con and encouragement.
tinuous support. The major part of the research and writing was car
In the course of my research I have called upon the ried out in the libraries of the American Academy in
expertise of many scholars whose assistance has im Rome and the University of Cincinnati Department of
proved this book in countless ways: Elizabeth Bart- Classics. At the Academy I thank, in particular, Ii-
xv
PREFACE
brarians Lucilla Marino and Christina Huemer, who Royaux· d' Art et d'Histoire in Brussels, the Fototeca of
spent many hours helping me to track down obscure the Deutsches Archaologisches Institut in Rome, the INTRODUCTION
books and periodicals. I am also grateful for the sup Ny Carlsberg Glyptothek, Art Resource, the British
port of Malcolm Bell and Darby Scott, who served as Museum, the Greek Ministry of Culture, the Staatliche
Mellon Professors at the Academy while this book Museen in Berlin, the Kunsthistorisches Museum in
was being written. Marina Lella at the Academy Vienna, Hirmer Verlag in Munich, Prof. R. R. R. Smith
helped rne gain access to innumerable depots and of Oxford University, Dr. Ellen Reeder of the Walters
storerooms. At the University of Cincinnati, librarians Art Gallery in Baltimore, Prof. W. Hoepfner of the
Jean Wellington and Michael Braunlin have spent Freie Universitiit in Berlin, Dr. Dietrich Boschung of
nearly as much time on this book as I have. the University of Cologne, Dr. Hoyer von Prittwitz of
I was fortunate in being able to work with a won the Rheinisches Landesmuseum in Bonn, Dr. Alpay
derful staff at Cambridge University Press. I single Pasinli of the Istanbul Archaeological Museums, Dr.
out for special thanks Beatrice Rehl, Fine Arts Editor, Antoine Hermary of the Centre Camille Jullian in Aix
and Ernie Haim, Production Editor, as well as Peter en-Provence, Susann Sowers Lusnia, Christine Panas,
Zurita and Alan Gold. I am lucky to have had the Blanche Menadier, Ken Sheedy, Regan Barr, and Jen
opportunity to work with Alan Shapiro, who accepted nifer Kingma. I arn especially grateful to Robert Hag
M
this book as the first volume in Cambridge Studies in erty for preparing the maps and genealogical chart, y GOAL IN THIS BOOK is to examine without investigating the political conditions that mo
Classical Art and Iconography. and for his beautiful drawing of the Ravenna relief. the production of Julio-Claudian dynastic tivated the production of the statues.2 Virtually no at
For help in acquiring photographs I am grateful to Eric Fulford gave up a large block of his time to pro imagery, ea. 31 B.C.-A.D. 68, and to chart the tention has been devoted to the reasons why a group
William Metcalf of the American Numismatic Society, duce the expert reconstruction of the group at Lepcis varying perceptions, in both Rome and the provinces, per se, rather than single statues, was set up during
the Soprintendenza Archeologica della Province di Magna. of the first Imperial family. It was at this time that a particular reign or in a given geographical area.
Napoli, Datt. Mirella Marini Calvani of the Soprinten My greatest debt is to my family: Charles M. Rose, Roman power began to be linked to and defined as a The principal reason Julio-Claudian dynastic
denza Archeologica della Emilia Romagna, Dr. Daniel Marie M. Rose, and Patricia L. Rose. During the years particular family, but the multiplicity of divorces, groups have not been studied before is that the por
Cazes of the Musee San Raymond in Toulouse, Dr. in which I worked on this project, their encourage adoptions, and assassinations that characterized the trait types are so difficult to identify. Most of the por
Michael Blech of the Deutsches Archaologisches In ment and emotional support never flagged. It is to Julio-Claudian dynasty made it one of the most dif traits were idealized in an apparent attempt to foster
stitut in Madrid, Prof. Jean Ch. Baity of the Musees them that I respectfully dedicate this book. ficult to monitor. I have focused primarily on the the impression of a uniform dynastic identity, and
statuary groups that featured several members of the there has been considerable debate regarding the
Julio-Claudian family, but I have also investigated all identification of many of the types. Although it has
of the historical accounts, inscriptions, and coinage not been my intention to write a survey of Julio
that relate to the public presentation of the dynasty.1 Claudian portraiture, a discussion of all the Imperial
My approach throughout has been to identify the re types has proved necessary prior to any analysis of
gional variations in dynastic commemoration and, the groups. I have considered it both disruptive and
more specifically, to explore the formulation of dy repetitive to argue in each catalog entry the identifi
nastic policy in Rome and its dissemination to and cations of portraits contained within the groups. All
reception by provincial cities. In the course of this of the relevant portraits have therefore been divided
analysis, I have tried to assess the levels of Imperial by type in Chapter 8, with careful attention paid to
control and local initiative involved in the designing the ways in which the proportional and physiognornic
of dynastic monuments, and to demonstrate the prob structure of a particular portrait changed over the
lems provincial dedicators encountered during their course of several reigns. The dating of portraits con
production. tained within a statuary ensemble is difficult because
There are several reasons why a study such as this many groups, particularly in the west, are agglutina
has not been attempted in the past. Many of the tive and consist of two or more chronological phases.
groups were excavated in the eighteenth or nineteenth Because all of the group portraits have an archaeolog
centuries, and the portraits and inscriptions were ei ical context, the attributions as well as the dates pro
ther lost or scattered among several museums and posed have been checked against the historical record
storerooms. The archaeological material has also been in the regions where the portraits were discovered.
divided between two different branches of classical But there will probably never be universal agreement
scholarship. Epigraphists and ancient historians have on the identification of Julio-Claudian portraits, and I
discussed some of the inscriptions belonging to dy have therefore based my conclusions regarding dy
nastic groups but not in conjunction with the accom nastic policy on coins, inscriptions, and securely iden
panying statues; historians of ancient art have tifiable statues. I have tried to give equal attention to
generally concentrated on portrait identifications both eastern and western regions of the empire, but
xvi
INTRODUCTION
far more groups are preserved in the east, and west the wesi, they were generally placed in niches, which
ern provincial coinage decreases sharply after the mandated the use of single bases.
death of Tiberius and stops by the beginning of the The evidence for groups in the east consists largely
Claudian period.' The Greek material may therefore of inscribed bases without statues, and in the western
appear to dominate the discussion, particularly in the groups, far more statues than inscriptions are pre
case of the later reigns. served. This imbalance in evidence results from re
The book is divided into three parts: Part One deals gional variation in construction. Statues in eastern
with the origins of dynastic imagery in the Hellenistic groups were usually bronze and were therefore
period and the development of dynastic policy, mon melted down in antiquity, but their bases were long,
uments, and coinage from Augustus to Nero; Part solid pedestals suitable for reuse as building materi
Two is devoted to portrait identifications and statuary als. The favored medium for western statues was mar DYNASTIC COMMEMORATION AND IMPERIAL PORTRAITURE
types; and in Part Three, the 130 extant groups have ble, which was less likely to be destroyed than bronze,
IN THE JULIO-CLAUDIAN PERIOD
been catalogued by the area in which they were but the inscribed plaques that accompanied them
erected. All boldface numbers throughout the text re were often attached, like nameplates, to the wall, and
fer to the catalog entries. This study is not intended they were therefore easily broken and scattered
to be the final word on dynastic imagery in the early throughout a site.
empire. Each of the chapters could easily have been a A few preliminary comments about Imperial and
book, and that holds true for several of the groups. I provincial coinage are also necessary, because I have
have tried only to demonstrate the benefits of a syn used them extensively in my analysis. The term
thetic, empirewide approach to the relevant archaeo "Imperial coinage" refers to coins struck at the mints
logical material, and I hope that it will stimulate more of Rome or Lugdunum by officials of Rome, and that
research on each of the reigns discussed here. were legal tender throughout the empire. 6 "Provincial
There are several preliminary remarks concerning coinage" denotes coins struck by a city or group, usu
Julio-Claudian dynastic groups that are important ally outside Italy, with circulation intended for the
for the reader. In the eastern Mediterranean, the use area in which they were struck. There has been sub
of the accusative case in dedicatory inscriptions indi stantial debate about the role of the emperor in the
cates the existence of statues set above that base, and selection of coin types, and the extent to which people
the dative case generally refers to the dedication of looked at and understood the types.' I have focused
altars and buildings.4 In the Latin west, the dative on the relationship between the types and changes
case is used for both altars and statues; I have within the dynasty, rather than assuming Imperial
therefore assumed the presence of statues only if the control of production. At present, the evidence does
format of the inscribed stone or the circumstances of not allow us to assess the impact which the types had
its discovery indicate the existence of statues. In gen on specific groups, and I have tried to highlight the
eral, when the names on a stone are paratactically regional variation in choice of types as well as the
placed and vertically oriented, this indicates that stat influence of local traditions.
ues were placed above them (Plates 116 and 216). Cut Provincial cities often misunderstood the structure
tings for feet on the upper surface indicate that the of the Julio-Claudian family, and the same problems
statues were bronze, and clamp cuttings or anathy that plagued the Roman dedicator will confront the
rosis on the surface usually relate to plinths of marble modern reader. In consulting any section or catalog
statues.5 entry, the reader should examine the genealogical
The type of base chosen for group dedications is chart in Table 4. An additional problem is presented
also important in ascertaining the nature of the image, by the use of the same name for several persons
and this varied significantly from east to west. In within the Julio-Claudian family. In such cases, I have
group dedications in the eastern Mediterranean, the supplied numbers for each person with the same
most popular format was a long continuous base for name - for example, Drusus III ~ Drusus, son of Ger
all of the statues, thereby emphasizing the unity of manicus. Although the proper name of Caligula was
the family members represented; in the west, each Gaius, I have used his nickname so that he will not
statue usually received its own base. The variation in be confused with Gaius Caesar, son of Agrippa. Nero,
type can be explained by the different locations of the son of Germanicus, has been consistently referred to
groups. Those in the east tended to be displayed in as Nero Caesar, and Nero, the emperor, as "Nero, son
the agora and a common base was more practical; in of Claudius" or "the emperor Nero."
PART ONE