The statue was discovered in the villa of Augustus’ wife Livia at Prima Porta, a few kilometres north of Rome; It is now on display in the Braccio Nuovo (new wing) of the Musei Vaticani. It’s date of origin is not entirely certain but it was probably made shortly after Augustus’ death and is likely a copy of an original bronze statue vowed to Augustus by the senate in 20BC as a monument to the Parthian campaign.
Augustus is portrayed as a young man of athletic build with his strength alluded to by clearly defined muscles in the arms, legs and chest. In what could be a cursory nod to the Golden Age of Athens, something we see often in the architecture of Augustus’ Forum, the statue is clearly modelled on the Doryphoros statue which was made popular by the Greek sculptor, Polycleitus, in the 5th century BC. The Doryphoros was a spear-carrier whose features were believed to represent physical perfection, an image that would be most appealing to Augustus. A copy of the Doryphoros is also on display in the Braccio Nuovo of the Musei Vaticani.
The pose is referred to as adlocutio, an oratorical pose that shows Augustus addressing a crowd with his right arm raised. His general’s cloak may infer that he is addressing his troops and while the fluted shaft shows he was holding something in his left hand though we cannot know for certain what this was. Maybe a spear to strengthen the connection with the Doryphoros, or maybe a consul’s staff or legionary standard. Many would opt for the staff as Augustus was indeed a clever politician but he was not a good general and thus left military matters to others who had shown prowess on the battlefield and were more adept at battle strategy; emphasising military achievements over which he had no legitimate claim would not go down well with his commanders whose loyalty was highly important in securing his position as ruler of Rome.
While the statue certainly gives off a sense of authority, we can debate how much it shows Augustus as a man of peace or a man of war. Neither the facial expression nor the stance of the body give any hint of aggression with the pose being relaxed and the mood thoughtful. Although he wears a military cuirass, the robe he carries could be that of either a general or a priest. Augustus held many priesthoods and the overriding emphasis of his legacy is that he had achieved the pax Romana and ushered in a new golden age, one that would emulate the Golden Age of Pericles with Augustus as its patron. The extended period of peace then was his primary boast but peace, of course, was the outcome of war and was only achieved through military victory.
The scene on the cuirass
It is generally accepted that the central relief is the main focus of the overall scene and that it represents the return of the Parthian standards. The key point here is that the standard is being returned (in 20BC) without aggression or conflict, referencing therefore diplomacy, peace and reconciliation. The right-hand figure presenting the standard is a Parthian as foreigners (barbarians) were typically depicted wearing trousers. We do not know for certain the identity of the figure receiving the standards though most scholars lean towards it being Tiberius, Augustus’ step-son though there are credible suggestions that the figure could be Mars Ultor himself.
If we look below the central relief we see a reclined woman cradling two healthy babies and holding a cornucopia. Suggestions for the woman’s identity are the goddess Pax or a mother earth figure. The cornucopia was the symbol of both Demeter and Fortuna representing the earth’s bounty and good fortune, only possible under the peace of Augustus. This is a theme often repeated in Augustan propaganda most notably on the Tellus panel of the ara pacis.
High quantities of cistophori were also minted in Pergamum showing Augustus on the obverse and a cornucopia on the reverse.
To the left of the reclined figure is a depiction of Apollo riding a griffon and to the right we see a depiction of Apollo’s sister, Diana, riding a hind. Apollo was of course Augustus’ patron god and Augustus built a huge temple to Apollo next to his house on the Palatine.
Above Apollo and Diana respectively are depictions of figures thought to represent Rome’s allies and conquered provinces. The fact that they look so calm and leisurely suggests that the provinces are reaping the benefits of peace under Roman rule.
Directly above the central figures are a representation of the heavens with a central figure pulling a cloth that represents the sky. This continues the theme of everything under the sky i.e. the whole world, prospering under the rule of Augustus and finally, on the epaulettes, we see depictions of the sphinx, an obvious reference to Actium in 31BC.
While the statue clearly represents Augustus as the architect and provider of Roman peace achieved through equal representation of his military acumen and success, it also references his ‘divine’ qualities through his descent from the gods. Julius Caesar had dedicated the temple in his forum to the goddess, Venus, who was the grandmother of Ascanius or Iulus from whom Caesar’s family, the Julii took their name thus aligning themselves with the hero of Virgil’s Aeneid and the founder of the Roman people.
As Caesar’s adopted son, Augustus could also lay rightful claim to Caesar’s ancestry and could therefore boast descent from the goddess Venus who was also the mother of Cupid, depicted on the statue riding a dolphin at the base of Augustus’ right leg. While there is a tenuous link between the dolphin and Venus by virtue of a myth that states she was born in the sea, the dolphin also became a symbol of the victory at Actium.
It is also interesting that Augustus is depicted with bare feet as this is a feature which is normally the preserve of heroes, gods and religious leaders. Almost certainly this feature strengthens the allusion to Augustus’ divine ancestry but it also gives a cursory nod to his heroic and priestly qualities, real or otherwise.