The Case Of Augustus 's True Message

SHELDON
NODELMAN
 from
 E.
D’Ambra,
ed.,
Roman
Art
in
Context.
NY:
Prentice
Hall.
1993
pp.
10‐20
 Like all works of art. the portrait is a system of signs; it is often an ideogram of “public’ meanings condensed into the image of a human face. Roman portrait sculpture from the Republic through the late Empire-the second century BCE. to the sixth CE -constitutes what is surely the most remarkable body of portrait art ever created. Its shifting montage of abstractions from human appearance and character forms a language in which the history of a whole society can be read. Beginning in the first century B.C., Roman artists invented a new kind of portraiture, as unlike that of the great tradition of Greek

Augustus, formerly known as Octavian, was the adopted son of dictator Julius Caesar and Emperor or Rome. Octavian set out to destroy his father’s murderers and assembled his own army in his quest for power and retribution. At the start, he shared rule with Mark Antony, however, their collaboration proved ineffective leading Augustus to pursue more and more control, culminating in the defeat of Antony in the battle of Actium and assuming rule as Emperor of Rome. Augustus did not inherit rule, his pursuit for power comprised of manipulative actions veiled under his generosity, concern for his people and charismatic tone and tenor. Res Gestae Divi Augusti expresses a sense of self adoration and honor in his quest for power and control, yet the subtext portrays a vastly different undertone, that of use of cajoling and propagandizing messages to benefit his position and accumulation of control of the republic. This Res Gestae is Augustus’ mechanism of self-promotion and adoration for his exceptional leadership qualities, concern and respect gleaned from his citizens and senate, and his military savvy to overpower and gain peace for the Romans, thus proclaiming his reign as one of prestige and importance.

In “The Deeds of the Divine Augustus” Augustus portrays Rome as a dignified cut above the rest. In this reading, we learn about the ruling of Augustus and how he feels entirely responsible for all the successes of Rome. I believe that this writing is not a display of the “real Rome” but rather a depiction of its author. Throughout “The Deeds of the Divine Augustus” Augustus repeatedly refers to himself in the text and how all these successes are a result of his leadership. An example of this is when Augustus states, “In my nineteenth year, on my own initiative and at my own expense, I raised an army with which I set free the state, which was oppressed by the domination of a faction.” There are

Caesar Augustus the man who found Rome a city of bricks and left it a city of marble. Caesar Augustus, one of the strongest and most strategic leaders in roman history, but this was all much later in his life, he started off in a very poor state yet through hard work and determination he came out on top to be known throughout the generations.

Tacitus also shows distrust towards Augustus in his exiling and killing of anyone deemed to be a political enemy – a taste which her masterfully called the proscriptions, and advertised to the public as a

While Augustus, in both images, emanates leadership qualities like self-confidence, power and dominance, art can be misleading propaganda. It is difficult to reach a conclusion, in either image, as to whether he was a moral leader. Augustus was effective as the conqueror of Egypt depicted in the

With the coming into view of the second settle. Augustus was granted the power of Maius Imperium which allowed him unlimited dmilitary control. He than was granted of civil authority. This allowed him the ability to do law making, the power to call for the senate, the ability to make the first movement at any meeting over representatives of a country and most importantly - he has sacrosanct (Place or too important) and untouchable. This meant that Augustus was free from prosecution, and was extremely clean protection for him. Uncoincidentally, Augustus has did not talk about or say his Maius Imperium throughout the Res Gestae. This was done so to maintain Augustus image as ruler for the people, by people, calming them his powers were not treated or used in a very mean, unfair way. While his statement does not point to or show the basis of his

Most of these attributes were derived from the Grecian culture around 210 BC and disseminated all over Rome (Nardo, 60). Not only did the people contribute to the arts, but so did the government, which built bronze statues of the emperors or Gods, like the statue of Marcus Aurelius in 175 AD, and decorated the currency with elaborate drawings (Hinds, 172). A lasting example of the Roman taste of the arts was preserved in Pompeii after the volcanic eruption. According to written documents, a museum owned by two wealthy businessmen in Pompeii was available for public viewing, which displayed the gratitude of the people of Pompeii toward their own culture (Hinds, 178).

There are other interpretations claiming that the citizens of Rome and senators saying that it wasn’t a plan however, it was Augustus spiritually wanting to give his power to the Senate. Moreover, After Augustus has been issued with a very serious illness. Augustus decided diverse basis to not have the authority for the consulate and to presume instead of these two powers, proconsul authority over the whole empire, which the senatorial provinces and the city of Rome, and Tribuncian power, which is now appearing in his titles. Therefore, the illness of Augustus in 23 BC, he was very treated because after his death there had to be a successor to his power who was able to control and run the system, most likely a successor which was from his family. Julia, was the only daughter from three of his marriages, he had to make his daughter marry his nephew, Marcellus, then to a trusted friend of his, Agrippa. Tiberius, the son of Gaius and Lucius, Augustus adopted him (stepson), whom his adoptive father Julius Caesar, after the death of Augustus was adoration as a god. Agrippa was a blessing for

Emperor Augustus commissioned these sculptures around 20 B.C.E. to be distributed around the Empire as propaganda. This statue communicates his ideology and power. Before Augustus came to power, Roman political culture valued older, wiser men for positions of political power. He decided the Roman empire need to return to the classical idea of an emperor who was a strong, youthful military victor. According to Fischer, “...by modeling the Primaporta statue on such an iconic Greek sculpture created during the height of Athens’ influence and power, Augustus connects himself to the Golden Age of that previous civilization.” Both Augustus of Primaporta and Leviathan Zodiac are both trying to curate an idea of power and masculinity. While Augustus of Primaporta propagandistic in nature, Wiley’s work is trying to send out an innocent but powerful message about how we perceive marginalized groups of

The statue of Augustus portrayed as Pontifex Maximus or “chief priest” from 12 BCE is also a propaganda-driven portrait. August is displayed with his head covered and wearing a robe. He looks to be dressed for a sacrifice. The statue is still very idealized with Augustus looking strong and youthful but true features still present. The statue itself displays that Augustus is not only the ruler of Rome but also the religious leader as

to break free, Antony lost the battle but he and Cleopatra managed to flee the battle early

Augustus, during his reign as emperor proved effective in ruling through the ideas he implemented to solidify his country. Tacitus stated “nullo adversante” which translates into English “Wholly unopposed” (http://janusquirinus.org/Quotes/QuotesHome.html) this identifies the effectiveness of his reign and the strength he had politically over Rome. Important actions such as the creation of religious and moral reforms, the constitutional agreement and the implementation of the building programme all succeeded in creating stability within the Roman Empire.

In 27 BC Augustus began his political career with a “new policy which embodied a national and Roman spirit” (Galinksy, 1996, 225) and “represented new heights in creativity and sophistication” (Galinksy, 1996, 225). Augustus created a new political propaganda campaign that used art and architecture to promote and enhance his regime. The most fundamental message can be regarded as to establish the legitimacy of his rule and to portray him as the natural successor of Rome, as this is consistently presented throughout the visual programme. Yet factors such as the restoration of the Republic, reviving the old religion, nationalism and militaristic triumph can also be seen to be communicated prominently through art and architecture.

On the 23rd of September 63BC a baby boy was born. Little did his family know that this amazing child was going to be one of the greatest politicians in Rome, he was also going to touch the lives of many Roman Citizens and to be remembered by thousands of people many years after his death. He was to rule an empire that stretched from Spain to Judea. Turn the Mediterranean Sea into a peaceful Roman Lake and was eventually to be worshipped as a god. The future Emperor of Rome was called Gaius Julius Octavious, whom we all know now as Augustus.