Venus von Milo

Prompt: In Venus von Milo, wie wird die Rekonstruktionen der Interpretation erläutert?Bitte auf Englisch ausgeben.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander

Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo's right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the "most plausible" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture "a fresh invention" of the Hellenistic period.


Venus von Milo

Prompt: Beschreibe die Merkmale der Rekonstruktionen in  der Venus von Milo's Interpretation von Venus von Milo.Bitte auf Englisch ausgeben.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander

Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo's right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the "most plausible" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture "a fresh invention" of the Hellenistic period.


Venus von Milo

Prompt: Fokussiere dich auf Venus von Milo und erkunde erkläre die Empfang.Bitte auf Englisch ausgeben.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.


Venus von Milo

Prompt: ErkundeErkläre die Empfang dieses Kunstwerks, Venus von Milo.Bitte auf Englisch ausgeben.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.


Venus von Milo

Prompt: Wie erläutert Venus von Milo seine Empfang?Bitte auf Englisch ausgeben.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.


Venus von Milo

Prompt: Wie wird die Empfang in Venus von Milo diskutiert?Bitte auf Englisch ausgeben.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.


Augustus von Prima Porta

Prompt: Fokussiere dich auf Augustus von Prima Porta und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The Augustus of Prima Porta (Italian: Augusto di Prima Porta) is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands 2.08 metres (6 ft 10 in) tall and weighs 1,000 kilograms (2,200 lb).The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.


Augustus von Prima Porta

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Augustus von Prima Porta.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The Augustus of Prima Porta (Italian: Augusto di Prima Porta) is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands 2.08 metres (6 ft 10 in) tall and weighs 1,000 kilograms (2,200 lb).The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.


Augustus von Prima Porta

Prompt: Wie erläutert Augustus von Prima Porta seine abstract?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The Augustus of Prima Porta (Italian: Augusto di Prima Porta) is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands 2.08 metres (6 ft 10 in) tall and weighs 1,000 kilograms (2,200 lb).The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.


Augustus von Prima Porta

Prompt: Wie wird die abstract in Augustus von Prima Porta diskutiert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The Augustus of Prima Porta (Italian: Augusto di Prima Porta) is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands 2.08 metres (6 ft 10 in) tall and weighs 1,000 kilograms (2,200 lb).The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.


Augustus von Prima Porta

Prompt: Fokussiere dich auf Augustus von Prima Porta und erkunde erkläre die Please provide the text you would like to have translated into German.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The imagery on the lorica musculata cuirass (typical of legates) refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the (hypothetical) bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.


Augustus von Prima Porta

Prompt: ErkundeErkläre die Please provide the text you would like to have translated into German dieses Kunstwerks, Augustus von Prima Porta.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The imagery on the lorica musculata cuirass (typical of legates) refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the (hypothetical) bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.


Augustus von Prima Porta

Prompt: Wie erläutert Augustus von Prima Porta seine Please provide the text you would like to have translated into German?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The imagery on the lorica musculata cuirass (typical of legates) refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the (hypothetical) bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.


Augustus von Prima Porta

Prompt: Wie wird die Please provide the text you would like to have translated into German in Augustus von Prima Porta diskutiert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The imagery on the lorica musculata cuirass (typical of legates) refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the (hypothetical) bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.


Augustus von Prima Porta

Prompt: Fokussiere dich auf Augustus von Prima Porta und erkunde erkläre die Stil.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

Augustus is shown in his role of imperator, the commander of the army, as thoracatus —or commander-in-chief of the Roman army (literally, thorax-wearer)—meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia (that had humiliated Crassus, and here appears in the act of returning the standards captured from his legions); at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoros's contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted (with his somber look and characteristic fringe), the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus (Cupid's mother) by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.


Augustus von Prima Porta

Prompt: ErkundeErkläre die Stil dieses Kunstwerks, Augustus von Prima Porta.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

Augustus is shown in his role of imperator, the commander of the army, as thoracatus —or commander-in-chief of the Roman army (literally, thorax-wearer)—meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia (that had humiliated Crassus, and here appears in the act of returning the standards captured from his legions); at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoros's contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted (with his somber look and characteristic fringe), the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus (Cupid's mother) by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.


Augustus von Prima Porta

Prompt: Wie erläutert Augustus von Prima Porta seine Stil?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

Augustus is shown in his role of imperator, the commander of the army, as thoracatus —or commander-in-chief of the Roman army (literally, thorax-wearer)—meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia (that had humiliated Crassus, and here appears in the act of returning the standards captured from his legions); at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoros's contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted (with his somber look and characteristic fringe), the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus (Cupid's mother) by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.


Augustus von Prima Porta

Prompt: Wie wird die Stil in Augustus von Prima Porta diskutiert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

Augustus is shown in his role of imperator, the commander of the army, as thoracatus —or commander-in-chief of the Roman army (literally, thorax-wearer)—meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia (that had humiliated Crassus, and here appears in the act of returning the standards captured from his legions); at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoros's contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted (with his somber look and characteristic fringe), the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus (Cupid's mother) by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.


Augustus von Prima Porta

Prompt: Fokussiere dich auf Augustus von Prima Porta und erkunde erkläre die Polychromie.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

It is almost certain that the Augustus was originally painted, but so few traces remain today (having been lost in the ground and having faded since discovery) that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation.However, due to the ongoing disagreement on the statue's pigmentation there is little information or exploration on the usage of these colors. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood." The quote continues to state that a statue of the time is unfinished without its "chora"—skin—or layer, applied to the statue to render it complete. The specific implications of each color chosen for the Prima Porta are unknown; assumedly red for the military and royalty.


Augustus von Prima Porta

Prompt: ErkundeErkläre die Polychromie dieses Kunstwerks, Augustus von Prima Porta.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

It is almost certain that the Augustus was originally painted, but so few traces remain today (having been lost in the ground and having faded since discovery) that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation.However, due to the ongoing disagreement on the statue's pigmentation there is little information or exploration on the usage of these colors. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood." The quote continues to state that a statue of the time is unfinished without its "chora"—skin—or layer, applied to the statue to render it complete. The specific implications of each color chosen for the Prima Porta are unknown; assumedly red for the military and royalty.


Augustus von Prima Porta

Prompt: Wie erläutert Augustus von Prima Porta seine Polychromie?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

It is almost certain that the Augustus was originally painted, but so few traces remain today (having been lost in the ground and having faded since discovery) that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation.However, due to the ongoing disagreement on the statue's pigmentation there is little information or exploration on the usage of these colors. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood." The quote continues to state that a statue of the time is unfinished without its "chora"—skin—or layer, applied to the statue to render it complete. The specific implications of each color chosen for the Prima Porta are unknown; assumedly red for the military and royalty.


Augustus von Prima Porta

Prompt: Wie wird die Polychromie in Augustus von Prima Porta diskutiert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

It is almost certain that the Augustus was originally painted, but so few traces remain today (having been lost in the ground and having faded since discovery) that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation.However, due to the ongoing disagreement on the statue's pigmentation there is little information or exploration on the usage of these colors. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood." The quote continues to state that a statue of the time is unfinished without its "chora"—skin—or layer, applied to the statue to render it complete. The specific implications of each color chosen for the Prima Porta are unknown; assumedly red for the military and royalty.


Augustus von Prima Porta

Prompt: Im Kontext von Augustus von Prima Porta, erkunde erkläre die Porträt und die Ikonographie.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. 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, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  "primus inter pares".  The head and neck were produced separately in Parian marble and inserted to the torso.


Augustus von Prima Porta

Prompt: Erkunde Erkläre die Porträt über die Ikonographie dieses Kunstwerks, Augustus von Prima Porta.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. 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, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  "primus inter pares".  The head and neck were produced separately in Parian marble and inserted to the torso.


Augustus von Prima Porta

Prompt: In Augustus von Prima Porta, wie wird die Porträt der Ikonographie erläutert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. 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, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  "primus inter pares".  The head and neck were produced separately in Parian marble and inserted to the torso.


Augustus von Prima Porta

Prompt: Beschreibe die Merkmale der Porträt in  der Augustus von Prima Porta's Ikonographie von Augustus von Prima Porta.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. 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, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  "primus inter pares".  The head and neck were produced separately in Parian marble and inserted to the torso.


Augustus von Prima Porta

Prompt: Im Kontext von Augustus von Prima Porta, erkunde erkläre die Brustschildrelief und die Ikonographie.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53 BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king (Phraates IV) returning Crassus's standard to an armored Roman (possibly Tiberius, or symbolically Mars Ultor or the incarnation of the ideal legionary). Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus. To the left and right sit mourning female figures;  the figure on the one side with a sheathed sword personifies the peoples in the East (and possibly the Teutons) forced to pay tribute to Rome, and the one on the other side with an unsheathed sword personifies the subjected peoples (the Celts).  From the top, clockwise, we see:Caelus, the sky god, spreading the tent of the skyAurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.


Augustus von Prima Porta

Prompt: Erkunde Erkläre die Brustschildrelief über die Ikonographie dieses Kunstwerks, Augustus von Prima Porta.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53 BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king (Phraates IV) returning Crassus's standard to an armored Roman (possibly Tiberius, or symbolically Mars Ultor or the incarnation of the ideal legionary). Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus. To the left and right sit mourning female figures;  the figure on the one side with a sheathed sword personifies the peoples in the East (and possibly the Teutons) forced to pay tribute to Rome, and the one on the other side with an unsheathed sword personifies the subjected peoples (the Celts).  From the top, clockwise, we see:Caelus, the sky god, spreading the tent of the skyAurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.


Augustus von Prima Porta

Prompt: In Augustus von Prima Porta, wie wird die Brustschildrelief der Ikonographie erläutert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53 BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king (Phraates IV) returning Crassus's standard to an armored Roman (possibly Tiberius, or symbolically Mars Ultor or the incarnation of the ideal legionary). Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus. To the left and right sit mourning female figures;  the figure on the one side with a sheathed sword personifies the peoples in the East (and possibly the Teutons) forced to pay tribute to Rome, and the one on the other side with an unsheathed sword personifies the subjected peoples (the Celts).  From the top, clockwise, we see:Caelus, the sky god, spreading the tent of the skyAurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.


Augustus von Prima Porta

Prompt: Beschreibe die Merkmale der Brustschildrelief in  der Augustus von Prima Porta's Ikonographie von Augustus von Prima Porta.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53 BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king (Phraates IV) returning Crassus's standard to an armored Roman (possibly Tiberius, or symbolically Mars Ultor or the incarnation of the ideal legionary). Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus. To the left and right sit mourning female figures;  the figure on the one side with a sheathed sword personifies the peoples in the East (and possibly the Teutons) forced to pay tribute to Rome, and the one on the other side with an unsheathed sword personifies the subjected peoples (the Celts).  From the top, clockwise, we see:Caelus, the sky god, spreading the tent of the skyAurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.


Augustus von Prima Porta

Prompt: Im Kontext von Augustus von Prima Porta, erkunde erkläre die Göttlicher Status und die Ikonographie.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

During his lifetime, Augustus did not wish to be depicted as a god (unlike the later emperors who embraced divinity), but this statue has many thinly-veiled references to the emperor's "divine nature", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid (son of Venus) at his feet (riding on a dolphin, Venus's patron animal) is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.


Augustus von Prima Porta

Prompt: Erkunde Erkläre die Göttlicher Status über die Ikonographie dieses Kunstwerks, Augustus von Prima Porta.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

During his lifetime, Augustus did not wish to be depicted as a god (unlike the later emperors who embraced divinity), but this statue has many thinly-veiled references to the emperor's "divine nature", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid (son of Venus) at his feet (riding on a dolphin, Venus's patron animal) is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.


Augustus von Prima Porta

Prompt: In Augustus von Prima Porta, wie wird die Göttlicher Status der Ikonographie erläutert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

During his lifetime, Augustus did not wish to be depicted as a god (unlike the later emperors who embraced divinity), but this statue has many thinly-veiled references to the emperor's "divine nature", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid (son of Venus) at his feet (riding on a dolphin, Venus's patron animal) is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.


Augustus von Prima Porta

Prompt: Beschreibe die Merkmale der Göttlicher Status in  der Augustus von Prima Porta's Ikonographie von Augustus von Prima Porta.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

During his lifetime, Augustus did not wish to be depicted as a god (unlike the later emperors who embraced divinity), but this statue has many thinly-veiled references to the emperor's "divine nature", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid (son of Venus) at his feet (riding on a dolphin, Venus's patron animal) is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.


Augustus von Prima Porta

Prompt: Fokussiere dich auf Augustus von Prima Porta und erkunde erkläre die Bitte schreiben.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27 BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD 14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. 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".


Augustus von Prima Porta

Prompt: ErkundeErkläre die Bitte schreiben dieses Kunstwerks, Augustus von Prima Porta.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27 BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD 14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. 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".


Augustus von Prima Porta

Prompt: Wie erläutert Augustus von Prima Porta seine Bitte schreiben?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27 BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD 14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. 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".


Augustus von Prima Porta

Prompt: Wie wird die Bitte schreiben in Augustus von Prima Porta diskutiert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27 BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD 14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. 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".


Augustus von Prima Porta

Prompt: Fokussiere dich auf Augustus von Prima Porta und erkunde erkläre die Entdeckung.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The statue of Augustus of Prima Porta was discovered within the Villa of Livia in 1863, however little is known about the discovery itself and its immediate aftermath, as the incomplete archaeological journals leave ambiguous evidence for modern historians. The statue was first publicized by the German archeologist Wilhelm Henzen in 1863 the Bulletino dell'Instituto di Corrispondenza Archaeologica. The exact location of the statue within the villa is unknown. Suggested sites are the underground complex, a placement near a staircase, the villa's atrium, or in a laurel grove on the south-east corner of Prima Porta hill.  Scholars have stated that the last one is relatively unconvincing compared with the first three. The theory that Augustus's statue was found in the underground complex of the villa is based on a hypothesis that Augustus holds a laurel branch instead of a spear in his left hand. Scholars have noted that if this hypothesis is correct, then Villa of Livia must have been decorated with laurel groves and that the reason of the decoration is the omen of the gallina alba.Recent excavations have discovered the remnants of pots used to plant laurel on the edge of the Prima Porta hill in front of the underground complex, which Reeder believes suggests the possibility of the existence of laurel groves in the villa and makes it likely that the statue was located in the underground complex. She rationalized this by stating that per Suetonius, Augustus had a fear of lightning and often hid in 'an underground vaulted room', which she theorizes was likely the underground complex, particularly as during the time of Augustus laurels were thought to provide protection from lightning.Scholars who disagree with the theory have argued that although the pot remnants could have been used to plant laurel, such pots were also used for other plants such as lemons. They also state that according to an 1891 drawing made 25 years after the first excavation, Prima Porta Augustus was found at the bottom of the staircase leading to the underground complex, not the complex itself. Alan Klynne and Peter Liljenstolpe have further noted that the statue could have been brought to the basement from another location such as the atrium, where it would have stood on a rectangular structure that stands right on the axis against the south wall of the atrium. As visitors would enter the atrium from the fauces at the northeastern corner, the statue would be the first thing that they would see and that they would view it from the left, which fits Kähler's idea that it should be seen from this position.  When the visitor walked across the atrium their eyes would meet with Augustus's right hand, thus "receiving" the address that Augustus made.The story of gallina alba narrates that after Livia married Octavian an eagle dropped a hen with a laurel branch onto Livia's lap, which the religious authorities of Rome took as a sign of blessing and divinity. The plant was ordered to be planted with great religious care at what is now known as the villa surbana, where it grew into a grove. According to Jane Clark Reeder, when Julio-Claudians experienced military success they would take a laurel branch from the villa.