Cultural depictions of Augustus explained

Caesar Augustus (63 BC – AD 14), known as Octavian before he became emperor, was the first and among the most important of the Roman Emperors. As such, he has frequently been depicted in literature and art since ancient times.

In many of these works, Augustus appears as the main character, but he also frequently features as a supporting character in depictions of prominent contemporaries, most notably in those of his adoptive father Julius Caesar and his great rivals Mark Antony and Cleopatra. As a result of the various titles he adopted throughout his life, Augustus is known to history by several different names, however he is most commonly referred to as either Octavian, Caesar or Augustus in popular culture, depending on the stage of his life that is being depicted.[1]

Augustus' most visible impact on everyday culture is the eighth month of the year, which, having been previously known as Sextilis, was renamed in Augustus' honor in 8 BC because several of the most significant events in his rise to power, culminating in the fall of Alexandria, occurred during this month.[2] Commonly repeated lore has it that August has thirty-one days because Augustus wanted his month to match the length of Julius Caesar's July, but this is an invention of the thirteenth-century scholar Johannes de Sacrobosco. Sextilis in fact had thirty-one days before it was renamed, and it was not chosen for its length.[3] [4]

Roman sculpture

See also: Augustan and Julio-Claudian art.

Augustus was one of the most widely depicted individuals in ancient times, appearing in coins, sculptures, cameos, plaques, and other media (no contemporary paintings of him survive, though many no doubt existed). Numerous arches and temples were dedicated to Augustus both during his lifetime and after his death, as the Roman imperial cult developed during his reign. His images were clearly controlled by the state, and consistently show a serene figure, who never shows signs of approaching old age, even in images dated to the last years before his death aged 75.

His dominant portrait, introduced in 27 BC to visually express the title Augustus, is that of the serene, ageless First Citizen, the most famous example of which is the Augustus of Prima Porta. At its best, in Roland R. R. Smith's view, this "type achieves a sort [of] visual paradox that might be described as mature, ageless, and authoritative youthfulness". Another full-size statue of Augustus with these "Primaporta type" features is the Augustus of Via Labicana, portraying Augustus in the role of Pontifex Maximus.

D. Boschung[5] identified four other portrait types (the Actium or Alcúdia type, the Béziers-Spoleto type, the Forbes or MA 1280 type, and the Lucus Feroniae type), although Smith considers the Béziers-Spoleto type to be a variant of the Alcúdia type and the Lucus Feroniae type to be a category of dubious validity. The Alcúdia portrait type is thought to have been developed around 40 BC to coincide with the adoption of the patronymic title Divi Filius; Smith describes it as "a youthful portrait with thick hair and probably some expression of vigour and energy". Different scholars have argued whether the Forbes type, "with distinctive short forehead hair," preceded or followed the Prima Porta type.

Cameos

There is a small group of spectacular imperial engraved gems, cameos carved in contrasting colours of stone. These are sometimes called "State Cameos",[6] that presumably originated, and were probably only seen, in the inner court circle of Augustus, as they show him with divine attributes that were still politically sensitive, and in some cases have sexual aspects that would not have been exposed to a wider audience.[7]

These include the Gemma Augustea in Vienna (which also has the Gemma Claudia showing the Emperor Claudius and his brother with their wives), the Great Cameo of France in Paris, the Blacas Cameo in the British Museum, and the portrait now re-used in the Cross of Lothair. The existence of a "State workshop" producing these gems has been inferred, probably staffed by artists of Greek origin.[8] Unlike larger sculpted portraits, these seem to have remained above ground since antiquity.

Literature

Augustan

See main article: Augustan literature (ancient Rome) and Gaius Maecenas.

In literary histories of the first part of the twentieth century and earlier, Augustan Literature, the pieces of Latin literature written during the reign of Augustus, was regarded along with that of the Late Republic as constituting the Golden Age of Latin literature, a period of stylistic classicism.[9]

In the wars following Julius Caesar's assassination, a generation of Republican literary figures was lost. Cicero and his contemporaries were replaced by a new generation who spent their formative years under the old constructs and were forced to make their mark under the watchful eye of a new emperor and his quasi-culture minister, Gaius Maecenas, who was a prolific patron of the arts. The demand for great orators had ceased, shifting to an emphasis on poetry. Other than the historian Livy, the most remarkable writers of the period were the poets Virgil, Horace, and Ovid.

Augustan literature produced the most widely read, influential, and enduring of Rome's poets. Although Virgil has sometimes been considered a "court poet", his Aeneid, the most important of the Latin epics, also permits complex readings on the source and meaning of Rome's power and the responsibilities of a good leader.[10] Ovid's works were wildly popular, but the poet was exiled by Augustus in one of literary history's great mysteries; carmen et error ("a poem" or "poetry" and "a mistake") is Ovid's own oblique explanation. Among prose works, the monumental history of Livy is preeminent for both its scope and stylistic achievement. The multi-volume work On Architecture by Vitruvius also remains of great informational interest.[10]

In 1737, British writer Alexander Pope, who had been imitating Horace, wrote an Epistle to Augustus that was in fact addressed to George II of Great Britain and seemingly endorsed the notion of his age being like that of Augustus, when poetry became more mannered, political and satirical than in the era of Julius Caesar.[11] Later, Voltaire and Oliver Goldsmith (in his History of Literature in 1764) used the term "Augustan" to refer to the poetry and literature of the 1720s and the 1730s in Britain.[12]

Biblical

Medieval

Modern

Later art

Temples and monuments

The Romans celebrated Augustus on a variety of honorific monuments; he was also worshipped as a divine or semi-divine figure in temples in many parts of the Roman Empire.[25]

The Mausoleum of Augustus in Rome was long a neglected and ruined structure, buried beneath a hill. It has been excavated in recent years. It formed part of a large garden complex, with other buildings including the Ara Pacis.

Theater

Opera

Film

Portrayals of Octavian/Augustus in film:

Television

Radio

Military

Video games

See also

References

Notes and References

  1. Ronald Syme, "Imperator Caesar: A Study in Nomenclature", Historia, vol. 7, no. 2 (Apr. 1958), pp. 176, 179, 181–183, 185
  2. [Ambrosius Theodosius Macrobius|Macrobius]
  3. Roscoe . Lamont . 1919 . The Roman calendar and its reformation by Julius Caesar . . 27 . 583–595, esp. 585–587 . 1919PA.....27..579P . Sacrobosco's theory is discussed on pages 585–587.
  4. Book: Nothaft, C. Philipp E. . 2018 . Scandalous Error: Calendar Reform and Calendrical Astronomy in Medieval Europe . Oxford University Press . 122 . 9780198799559 . 10.1093/oso/9780198799559.001.0001.
  5. Book: D. Boschung . Die Bildnisse des Augustus: das römische Herrscherbild . Berlin . 1993 . 3786116954 . Gebr. Mann.
  6. As by Henig, 156
  7. Highlights; Williams, 296
  8. Henig, 155-157; Strong, 93-94; Boardman, 274
  9. [Fergus Millar]
  10. Joseph Farrell, "The Augustan Period: 40 BC–AD 14," in A Companion to Latin Literature (Blackwell, 2005), pp. 44–57.
  11. Thornton 275)
  12. Newman and Brown 32
  13. 2:1 ESV
  14. Book: Akerman, John Y. . The Numismatic Chronicle . 17 . Royal Numismatic Society . 1855 . 52.
  15. Book: The Pocket Guide to Saint Paul: Coins Encountered by the Apostle on his Travels . Peter E. . Lewis . Ron . Bolden . Wakefield Press . 2002 . 1-86254-562-6 . 19.
  16. Web site: Six Caesars of the Tribute Penny . Michael E. Marotta . 2001 . 7 September 2011 . dead . https://web.archive.org/web/20111012091846/http://coin-newbies.com/articles/caesars.html . 12 October 2011.
  17. Hall, 282; Murrays, 41
  18. Web site: The Tiburtine Sibyl Showing the Virgin and Child to Augustus | RISD Museum.
  19. Hudson, Harriet (Ed). 1996. Four Middle English Romances. Kalamazoo, Michigan: Western Michigan University for TEAMS.
  20. Hudson, Harriet (Ed). 1996.
  21. Mills, Maldwyn (Ed). 1972.
  22. Web site: The Shards of Heaven by Michael Livingston . . 29 January 2016.
  23. Web site: Review: The Shards of Heaven by Michael Livingston . . 3 September 2015 . 29 January 2016.
  24. Web site: Virgil Reading the Aeneid to Augustus, Livia, and Octavia. 20 July 2021.
  25. Book: Karl Galinsky . Augustan Culture: An Interpretive Introduction . 1996 . 0-691-05890-3 . Princeton University Press . 323, 326 - 267.
  26. Ivo van Hove, interview in The Globe and Mail, 27 May 2010, p. R2.
  27. "Augustus Caesar (Character) from Rome (2005)," The Internet Movie Database.
  28. http://lifeofcaesar.com/ "Life of Caesar Podcast"