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Slide 2.2
Title: Detail of Botticelli's "Death of Lucretia."
Lucretia was raped by a noble. She tells the story of what happened and then kills
herself. Brutus slays him and rids Rome of the Monarch. This was the beginning of
the Republic, and the tradition of the apprehension of a monarch over Rome. This
piece shows Brutus lamenting over Lucretia's body. Brutus later uses this event as
propaganda on a coin to prove he is a defender of the Republic and that his actions
against Julius Caesar should be justified.
Slide 2.3
Roman republican man holding the portrait busts ["imagines"] of his ancestors.
This speaks of the fiber of roman politics. It was tradition to raise your authority in the eyes of
politicians by accentuating your associations with already powerful or well respected individuals.
Here the roman politician is broadcasting his ancestry to add to his own validity. The importance
of this procedure relevant to Augustus is how he in his early years in order to gain validity and
influence accentuated his relations with Julius Caesar. Virgil furthers these glorified associations
in the Aeneid by emphasizing the emergence of the Julian family from the original founders of
Rome.
Slide 2.4
View of the Senate house ' Curia ' in the Roman forum
The Senate was a pillar of the Republic tradition of Rome. They embodied the believed
superiority of the Roman governmental style. This type of government and tradition was
challenged many times but unsuccessfully until Augustus. He pursued his way into a monarch
position while at the same time supplying the appearance of a return to the original traditions of
the Republic. This is what is so amazing about the reign of Augustus.
He was able to accomplish two totally opposing agendas for his gain with little notice in the
Senate.
Slide 2.6
Portrait bust of Cicero, most famous of the "new men" of Rome and most famed orator of the
late Republic.
Full Name: Marcus Tullius Cicero
Lived 106BCE - 43BCE. His career in politics is remarkable b/c he did not come from the usual
line of top leaders. His family was not of immense wealth or fame. He remained a true supporter
of the Republic through the times of Julius Caesar. A law was passed stating any man who killed
a roman would be exiled automatically and was to be retroactive. This was specifically called
upon in order to rid the Senate of Cicero by a loyal Caesar follower. Orated the Philippics in
support of the senate after the death of Caesar. He supported Octavian to use him as a puppet to
get back the senate. After Antony was defeated Octavian had him killed.
Slide 2.8
Portrait bust of Julius Caesar.
Sim. to Zanker fig. 5.
Julius Caesar laid the foundation to the upset of the senate and the emergence of a monarch type
leader that Octavian would soon take advantage of. He adopted Octavian in his will issued after
his murder on the ides (15th) of March 44 BCE. Born in 100BCE. After his death Octavian took
the opportunity to defeat Antony and "restore" the republic. His line was commemorated in the
Aeneid by Virgil.
Slide 2.9:
Portrait bust of Pompey the Great (55 BC)
Interestingly, in this bust, Pompey’s hairstyle resembles that of
Alexander the Great from whom he borrowed his title, “the Great.” This bust
was created after the creation of the first triumvirate in 60 BC (along with
Caesar and Crassus) and before Pompey’s defeat at Pharsalus following a war
with Caesar in 48 BC. Professor Tarrant cited the conflict and competition
between Caesar and Pompey’s personal ambition and military success (as
exemplified here with Pompey’s comparison to Alexander the Great) as one of
the major forces bringing Rome to its “breaking point.”
Slide 2.12:
Coin of Julius Caesar (45 BC)
As we learned from our section papers, coins were an extremely
powerful form of propaganda. Both of these coins issued by Caesar exemplify
his desire to express his own authority. The wreaths worn in each coin by
Caesar are a symbol of authority. On the top coin, the inscription
reads “Dictator for the fourth time” and on the bottom “Dictator forever” (a
claim Caesar made after defeating all opponents in 44 BC). Octavian followed
Caesar by making coins in order to increase his popularity among the Roman
populace but learned from his father’s mistakes as well. Octavian used his
coins to portray himself as a ruler among and for the people, rather than the
supreme dictator (the year Julius Caesar proclaimed himself “Dictator forever”
happened to be the same year he was assassinated).
Slide 3.2:
Coin of Brutus (44 BC)
Brutus, the man who led the conspiracy against Caesar, in what he
termed as a fight for freedom and “liberty,” is pictured here on his own coin
following the overthrow and assassination of Julius Caesar. In other coins he
has the inscription “Cap of Freedom.” Essentially he tries to free himself
from the dictator role which Caesar had assumed (much like Octavian does
later) and instill a belief that he has brought liberty to the people. There
is much controversy surrounding Brutus’ and the conspirator’s true motives
since Julius Caesar had gained the support and love of the majority of the
people (the issue was probably the liberty of the Senate). Also of note,
Octavian will openly hate Brutus and all others involved in his father’s
murder throughout his entire life.
Slide 3.3:
Coin of Octavian (38 BC)
In this coin of Octavian, two important methods of propaganda employed
by Octavian are shown. First, on the obverse Octavian is pictured with the
inscription with “Son of the deified one” and the Julian Star. These
references and connections to Julius Caesar by Octavian are meant to further
his own status by association. For, by declaring Caesar to be divine in 42
BC, Octavian hoped to get rid of his prior reputation as a dictator, as well
as use his father’s “new status to enhance his own” (Lecture III notes). On
the reverse, there is a similar reference to Caesar in addition to the
inscription, “the civic crown.” As seen in the Res Gestae and other sources,
Octavian loves to stress how he has been elected and is serving the people in
as many ways as possible – therefore, it seems fitting for him to refer to his
position as the “civic crown.”
Slide 3.5:
Triumviral coins of Octavian and Lepidus
Octavian, Lepidus and Antony composed the second triumvirate created in 43
BC. Just another way in which coins served as a means of political
propaganda – in a sense, solidifying the formation and promoting the future
success of the triumvirate. Of note, these coins do not exist for members of
the first triumvirate because that was “a wholly unofficial arrangement,”
while the second triumvirate was a “legally sanctioned office that could be
publicly advertised” (Lecture III notes).
COINS: Certainly not neutral representations, but tools of propaganda
3.1 Obverse: Head of Brutus, Inscription
Reverse: Cap of Freedom, daggers
 Interpretation of the assassination of Caesar. Printed under the auspices of Marcus Brutus.
Gives the traditional republican view of Caesar’s assassination. Obverse bears inscription “IMP”
for Imperator, holds the office of general or military commander. On reverse, inscription refers
in abbreviated form to the Ides of March, the season known for Caesar’s assassination. Two
daggers represent the act of the conspirators (assassination). The cap of freedom or liberty,
representative of the transition of a man from slavery to freedom, was used in the ceremony to
mark a man’s freedom. In this symbol we get the assertion that the Senators who killed Caesar
transformed Romans, who had been slaves under Caesar, had been set free.
“How can you be against freedom?” But we must ask ourselves who was being set free. It was a
subsection of the Senators whose interests were endangered by Caesar who were most
“enslaved” by Caesar.
-Senate had ultimate authority to authorize coinage. Senate would then set up a triumvirate to
oversee production and distribution of coins. Those triumvirs might have strong political ties and
loyalties, which would guide the coinage they saw produced.
Plutarch tells us that Caesar, when he died, fell at the foot of Pompeii’s statue.
Pompeii depicted as guardian of senate Caesar as violator of Senate’s rule
BUT, in reality, Pompeii was as much a symptom of the breakdown of the Republican system as
Caesar. If Pompeii had one, the Republic still would not have persisted. Pompeii took office
prematurely, skipped curses honorum.
3.2 Obverse: Head of Woman, “Libertas”, Reverse Brutus and his attendants, inscription
“Brutus”
Marcus Brutus issuing a warning in the mid 50’s that the Brutus clan, the first to establish
consul, is still going to act to protect libertas and freedom. Probably a warning directed towards
Pompeii.
 Caesar was the first to put his image on a coin. After his death, EVERYONE does it, follows
suit. The anonymity that once tempered the use of images on coin was never pursued.
Now that Caesar was gone, what next? VACUUM where Caesar had been, strong loyalties to the
man and the name persisted. POWER of the name, of the figure. Hundreds of Senators would
have remained loyal to Caesar, owed their positions to him.
There was a Caesarian power base that existed in wait of a leader. Two potential leaders step
forward to claim it.
MARC ANTONY: The Obvious successor, defender of Caesar’s legacyAlready had the loyalty of the army, served as co-consul with Caesar. At the time of Caesar’s
death, Antony is the man to watch. Cicero transferred his hatred and opposition of Caesar to
Antony. Started attacking Antony in speech after speech “philippic oration”
GAIUS OCTAVIUS: age 19 when Caesar is killed in 44- was a great-nephew of Caesar
Was in Albania in a mix of study and military training at time of assassination. Had started to
become close to J.C.
MARC ANTONY in the prime of life
OCTAVIUS still a kid
2 things happen to turn the tables in Octavius’ favor:
1) The will of Caesar is revealed with Octavius as the heir to his enormous fortune. and as
his adopted son. He takes the name of Caesar, becoming Octavianus and Caesar. His
friends and allies call his Caesar, while opponents like Cicero continue to call him
Octavian.
2) Change in Julius Caesar’s position divine association. In his final years he had a priest
responsible for his image, with sacrifices made to him. Summer of 44 (after
assassination) a comet was observed during games in his honor. His supporters took that
as a sign of his divinity, and were able to get an official proclamation of divinity, with
J.C. as divus.
 Thus, Octavian is now the son of a deified one.
All coins Octavian produces from here on make reference to this divine element, with Octavian
as “Divi Filius,” son of the divine one. Sometimes with J.C. on obverse and Octavian (Caesar) on
reverse.
 Octavian portrayed at times with beard, sign of MOURNING. Depicts him in mourning of
father, as loyal, devotional son.
Octavian associates himself with Caesar on coins when it is useful
3.3 Obverse: bearded head of Octavian, Divi Filius inscription, sidus Iulium: the star or comet
that was evidence of J.C’s divinity.Reverse: Laurel (“corona civica” the civic crown) with
inscription DIVOS IULIUS, “the deified Julius. From 38 BC.
3.4 (Series) Octavian on obverse, Venus on reverse. Venus as ancestress of Octavian.
Venus victorius, “victrix,” with shield, helmet, spear. On the shield of Venus is the star, sidus
Iulium. From before 31 BC.
 in 43, an official alliance of triumvirate is established to manage the state. Is a form of threeperson dictatorship. Third person is Marcus Lepidus, one of Caesar’s army commanders.
Authorized for five years, to be a temporary situation. Was renewed in 37. One of more
notorious moves of triumvirate is proscription list means of paying back scores. Lands and
fortunes seized. Antony demands that Cicero be a prominent victim of proscription.
Alliance of Octavian and Antony was a shaky and difficult one. Each wanted sole power. Fought
as much as they were in accord.
Antony expansive
Octavian calculating, cautious
3.6 Octavia featured on reverse of coin of Antony. REVOLUTION had only been five years
since first appearance of a living Roman on coinage. Now a woman is on a coin.
Commemorates Antony’s marriage to sister of Octavian, Octavia. Octavia is the cement meant to
link Antony and Octavia. On other coins, depicted as superimposed faces. 40 BC.
Even so, Antony is cultivating a relationship that had already formed between Antony and
Cleopatra.
 Coins are the venue used to shape the purely Roman image of Octavian and the changing
Egyptian image of Antony.
3.6
This coin shows Octavia, the sister of Octavian and the wife of Antony. At that time, there was a
triumvirate in which Antony, Octavian, and Lepidus ruled the state, and Antony and Octavian
did not get along. Marriage was a traditional Roman practice for creating a link between people,
so in 40 BC, Antony married Octavia. Only five years before this coin, Caesar was the first
person to place any Roman man's portrait on a coin, and so this was a revolution in Roman coins
because now a woman was featured on the obverse.
3.7
This is a portrait of Fulvia, the second wife of Mark Antony. Antony was married to Fulvia and
married Octavia after she died. In the war of Perugia, Octavian's forces beseige Fulvia and
Antony's brother Lucius. War would have begun between Antony and Octavian, but the troops
refused to fight (many had fought together earlier) and so they reconciled--Treaty of Brundisium.
Then, after Fulvia died, Antony married Octavia to "seal the arrangement"
3.8
Superimposed, overlapping images of Antony and Octavia in a way similar to that in which the
king and queen of egypt might have appeared on a coin. Shows the link between Antony and
Octavian that was created through this marriage. The reverse is difficult to see.
3.9
Jugate coin of Ptolemy and Arsinoe. This coin shows Ptolemy and his wife and sister, Arsinoe.
Brother-sister marriages were accepted in Egypt and the Ptolemeis did it for many generations.
The coins read "Divine Siblings". The relation of this coin to Octavian is, most likely, that the
style of the jugate coin is used by Antony and Octavia in many coins to show their relationship
(for example, 3.8).
3.10
This coin shows Antony on the obverse and Cleopatra on the reverse. Even while Antony was
married to Octavia, he was pursuing a relationship with Cleopatra, and as the 30s progressed, his
interests in Egypt were becoming more and more prominantly displayed on coins. This coin is
one of many depicting Cleopatra and Antony. Although some "admirers of romantic poetry"
were thrilled that he had the courage to put Octavia and Cleopatra on coins, his depiction of Cleo
also fueled the propaganda of Octavian and his followers.
3.11 The capture of Egypt. On obverse, Octavian. On reverse, Egyptian crocodile and inscription
AEGYPTO CAPTA (“with Egypt captured”). Coin from after 31, when Octavian defeats Antony
and Cleopatra at Actium.
 most dangerous moment in a person’s life is the moment of triumph and victory, when power
is at its peak. This is visible in the life of Caesar.
By 32, Octavian is in the position that Caesar was at the time of his death in 44.
3.11
Coin of Octavian minted after the Battle of Actium in 31 when Octavian defeated Antony and
Cleopatra.
Inscription on the obverse: CAESAR COS VI, “Consol for the 6th time.” Shows how Octavian
still used the names of traditional republican offices.
On the reverse: a Nile crocodile and the inscription: AEGYPTO CAPTA ("with Egypt
captured") Important because battle is depicted as foreign victory, not civil war, since Antony
had so fully associated himself with Cleopatra.
4.1
Aureus (gold coin) from 27 BC, the year Octavian becomes Augustus. Inscription reads:
CAESAR DIVI F[ILIUS] COS VII = "Caesar, son of the deified one, consul for the seventh
time." Advertises that consulship is a traditional position (though Octavian held it many times
more than was traditional).
4.2
Coin of Augustus, 27 BC.
Obverse: portrait.
Reverse: eagle carrying corona civica, a wreath given to him by the Senate as a military
decoration for saving the lives of citizens, and inscription AUGUSTUS, showing that he
incorporated his name into the coinage as soon as the name was conferred to him by the Senate.
(for more info, see similar coin in Zanker fig. 76)
5.2 Portrait bust of Marcus Agrippa, c. 30-20 BC.
This is a portrait bust of Marcus Vipsanius Agrippa, one of the main
advisers to Augustus. Agrippa had been the admiral in charge of Augustus'
forces at the Battle of Actium - indeed, by most accounts he won the
battle - and was later given the responsibility for most of Augustus'
building programs. For a time, he was Augustus' most obvious successor, and
he was clearly the second man in the state - evidenced from his position on
the Ara Pacis Augustae. When Augustus became princeps of the new principate,
he shaped an administration that relied heavily on a stable group of
advisors, of which Agrippa was probably the foremost. Agrippa was also
significant because Augustus married him to his daughter Julia in 21 BC and
adopted him as his son-in-law, desiring to produce an heir. The marriage
produced five children (Agrippa Posthumous, Agrippina, Gaius, Lucius, and
Germanicus), however none of them became his heir. The existence of this
bust is testament to Agrippa's importance - he was portrayed in art and
immortalized for posterity.
5.3?
Segment of the south processional frieze of the Ara Pacis Augustae showing
members of the imperial family--could that be Maecenas peeking over a
shoulder? 13-9 BC
This picture depicts a segment of the Ara Pacis Augustae (Altar of Augustan
Peace) monument (dedicated in 9 BC). The monument depicts a procession
following the royal family. The segment shown is of the imperial family, but
the figure in the background, looking over the shoulder of the person in
front of him, may represent Gaius Clineus Maecenas, one of Augustus' chief
advisors. Maecenas was a major behind-the-scenes presence, and was active
mainly in domestic and cultural affairs, famously known as the patron of
Virgil and Horace. Maecenas (as well as Agrippa) were insiders who knew
Augustus from his youth, but as men from non-elite backgrounds they were
typical of many whom Augustus attracted to public life.
5.4 Fragment of a papyrus roll found in Egypt containing elegiac verses of
C. Cornelius Gallus, poet and onetime prefect of Egypt. (70-26 BC.)
This is a fragment of a papyrus roll found in Egypt containing elegiac
verses of C. Cornelius Gallus (70-26 BC), poet and onetime prefect of Egypt.
Those who were successful under Augustus knew not to enhance their own glory
at his expense; Cornelius Gallus did not get this message. He was forced to
commit suicide in 27-26 BC, and his case illustrates the new limitations on
ambition in the new principate. As a poet, he is considered part of the
second generation of poets following the novi poetae, which included Virgil
and Horace. It is ironic to note that the Egyptian obelisk in the center of
St. Peter's Square (in the Vatican, one of the most visited places on earth)
is inscribed with the name of Gallus, who desired to be remembered; his name
is not visible.
5.6 Temple in Ankara, Turkey: site of a bilingual (Greek and Latin) version
of the Res Gestae inscribed on its walls.
This picture depicts a temple in Ankara, Turkey, which was the site of a
bilingual (Greek and Latin) version of the Res Gestae inscribed on its
walls. The significance of the temple is that it represents the fact that
Rome, while a Republic in name, was actually a de facto Empire. The Res
Gestae (the Accomplishments) was written by Augustus and completed in the
last year of his life (14 AD). In it, Augustus glorifies his political and
military endeavors, as well as his service to the people; it's inscription
on a Turkish temple is evidence of Augustus' widespread influence and the
propagandizing that occurred throughout the Roman empire.
Slide 5.7
Temple in Ankara, Turkey: site of a
bilingual (Greek and Latin) version of
the Res Gestaeinscribed on its walls.
Temple of Rome and Augustus at Ankara, the capital of modern Turkey, contains the
best-preserved copy of the Res Gestae, Aug. statement of his achievements. The exterior of the
wall is covered with a Greek translation of Res Gestae, making it most accessible to the citizens.
The interior of the wall has it in the original Latin text. This is sign of the political and cultural
influence of the Roman Empire spreading to the provinces outside of Italy. The mode of Roman
architecture was very wide spread. Temples like this is a way of visually recalling the fact that
Rome was spreading its control over much of the Mediterranean world.
Slide 5.9
Aqueduct: Pont du Gard, France. Built
perhaps when Agrippa governor in Gaul,
late 1st century.
This aqueduct was part of the Aug.’s building program in the provinces to display Roman
control. The Pont du Gard was made by Agrippa, August's son in law, in 9 BC. It was used to
supply drinking water to the city of Nîmes from a hill that's only 90 meters high, hundreds of
kilometers away. The long, slow descent requires the aquaduct to cross the Gard River, which is
the most impressive part of the structure. Here, the structure reaches a height of over 40 meters
over the river, giving it great technical and aesthetic importance. The bridge is made up of three
tiers of arches: the first is made up of 6 arches (142 meters long), the second has 11 arches (242
meters), and the third has 35 small arches (275 meters). The entire bridge is constructed of
yellow stone blocks weighing 6 tons each.
Slide 5.10
Statue of Augustus from Livia's villa at
Prima Porta. Copy in marble of a bronze
statue, after 20 BC
This statue of Augustus at Prima Porta is a very famous image of him. It is the image of
him as an ideal imperator or commander-in-chief. He is wearing a military breastplate and
holding a staff of command in his left hand. He raises his right hand in the gesture of addressing
his troops. On the breastplate is an image that was carefully chosen. A Roman soldier with a
hunting dog at his feet and a more exotically dressed man wearing trousers, tunic and a beard is
holding up a standard with an eagle at the top. The foreigner is a Parthian and he was depicted
kneeling. This relates to Aug. success in recovering the legionary standard lost to the Parthians
by Crassus in 53 BC. This was the result of diplomatic negotiations, but Aug. depicts it here as a
victory over the Parthia, as if the Romans forced the Parthians to give back the standard. The
statue is used as an advertisement of Aug. as a great command/general; in reality Aug. is not
very good with military matters. Most of the victories won were by Agrippa and Tiberius. But it
is important that Aug. has the image of a military commander, since military success is directly
correlated with political success and it is expected that the imperator as commander-in-chief will
be a great general.
SLIDES
5.11
Breastplate after 20 BC. Depicts Parthian returning the Roman legionary
standards lost by Crassus in 53 BC. Twists real story: diplomatic
negotiations occurred, not victory over Parthia. From statue of Augustus in
Livia’s villa at Prima Porta. Military success part of princeps image. Statue
showed Augustus the general as ultimate dux (leader).
See Lecture V notes, Zanker fig. 148 a-b.
5.12
Coin shows kneeling Parthian returning Roman legionary standards.
Inscription: CAESAR and SIGN[..] RECE[PT..] = "the standards received."
19 BC. Same motive as 5.11.
See Lecture V notes, Zanker fig. 146.
6.1
Portrait bust of Livia, second wife of Augustus. From the proud Claudii
family. 1st of a number of powerful imperial wives and mothers.
See Lecture VI notes.
Slide 6.3 Theater dedicated to Marcellus, adoptive son of Augustus, 13 BC
Marcellus, son of Octavia, making him effectively A's nephew [mirroring
A's own relationship with Julius Caesar] was a clear favorite of A's, and
was his marked heir. A married Marcellus off to Julia [A's daughter] in 25
B.C.; unfortunately, Marcellus died in 23 B.C. The death of Marcellus is
also documented in Virgil's Aeneid -- in Book VI when Anchises is telling
of a young man who grieved the nation when he died, showing the extent to
which A depended on Marcellus to be his heir. The theater of Marcellus was
built in 13 B.C., ten years after Marcellus' death, probably to
commemorate him as A's adopted son. A word on theaters -- the theatre of
Marcellus was the only other theatre in Rome, apart from the theatre of
Pompey; A loved theatres, because when he did go in, he was among the
masses, symbolic of the leader addressing his people directly. It also
gave an image of popular support, since it could seat 12-15,000 people. It
was a center for high culture -- Roman plays and poetry would be read
here, and A attended often [juxtaposed with Caesar, who attended, but read
letters all the time]. Finally -- as with many other objects of
architecture during the Augustan period, by naming buildings after his
family members, A created a ubiquitous presence for his family in Rome -connotations of being dynastic and immortaility.
6.4
Coin with Augustus on obverse and Marcus Agrippa on reverse. Agrippa is
wearing a "naval crown." c. 12 BC. Sim. to Zanker fig. 168. Agrippa, as
other descriptions of him have mentioned, was considered, with maecenas,
one of "those closest to" A. Agrippa was A's star general, helping in the
war of Perugia, Naulochus, and Actium; not only a great general, but also
a faithful supporter, a public benefactor, the author of an
autobiography... he basically devoted all his energies ot the glory of
Rome and its empire, the emperor and the dynasty [becoming part of it
himself, in his marriage to Julia and 21 BC]. He was the chosen heir after
marcellus' death; unfortunately, he died in 12 BC, which is when this coin
was minted, suggesting that the coin was produced in memory of Agrippa,
not only fantastic general [as evidenced by the ship-crown on his head]
and benefactor of Rome, but also good friend and right hand man to
Augustus. The reason for the ship-crown is likely to be commemorating
Agrippa's naval victory against Antony and Cleopatra at Actium. The fact
that Agrippa's profile is feature on the reverse of Augustus' reflects the
closeness of the two men.
6.7
Julia, daughter of Augustus. The woman who helped secure all of Augustus'
heirs, but ended up being a huge pain in his life because of her
adulterous ways [in the face of A's marriage laws and hopes to restore
morals to the republic]. First married Marcellus in 25 BC, then when
Marcellus died in 23 BC, she married Agrippa in 21 BC, and when Agrippa
died in 12 BC, she married Tiberius in 11 BC; finally she was banished by
Augustus in 2 BC. She provided Augustus with more heirs in her short
marriage with Agrippa, producing five children: Gaius, Lucius [both boys
whom A adopted into the Caesarian family], Agrippina, Julia the younger
[who was also promiscuous and was banished as well], and Agrippa Postumus
[apparently a disgrace to the family because he was slow and indolent, and
eventually was murdered during Tiberius' reign to secure T's own position
of power].
6.8
Coin with Augustus on obverse, Julia flanked by Gaius and Lucius on the reverse.
Sim. to Zanker fig. 167b. Julia was daughter of Augustus, married to Marcellus,
Agrippa, and Tiberius. Gaius and Lucius were Julia’s sons, and apparent heirs to
August, until both died young and within two years of eachother. Julia was exiled
for adultery in 2 BCE.
25 Augustus' daughter Julia marries A.'s nephew Marcellus 23 death of Marcellus
21 Julia marries Agrippa; 20 birth of Augustus'grandson Gaius Caesar (son of
Julia and Agrippa); 17 birth of
Augustus' grandson Lucius Caesar (son of Julia and Agrippa), adoption of Gaius
and Lucius by Augustus; 12 death of Agrippa; 11 Julia
marries Tiberius (Livia’s son by previous husband)
5 B.C. Gaius designated as consul five years in
advance;
2 B.C. Lucius designated as consul five years in advance; Augustus' daughter
Julia banished for adultery with Iullus Antonius (son of
Mark Antony) and others; 2 A.D. death of Lucius; 4 death of Gaius, Augustus
adopts Tiberius
6.9
Cameo of Livia and Augustus (14 AD = posthumous). Livia has the attributes-wheat, poppies, and diadem, of the goddess Ceres. Zanker fig. 184. Livia was A’s
third (and final wife). Ceres was the Roman goddess of growth and fertility,
identified with Greek Demeter. Ceres had a cult following in Rome.
Notes on Livia from lecture:
“Livia a clear winner: her son Tiberius now Princeps, her own status enhanced;
given title "Augusta," position somewhat like that of Queen Mother but with more
ability to influence policy. Livia the first of a number of powerful imperial
wives and mothers, cf. Agrippina
the mother of Nero (granddaughter of Julia and Agrippa). Roman ambivalence about
a woman with great power may account for hostile tradition about Livia, image of
her as scheming or murderous.
9.1
Reconstruction of Pompey's theater, dedicated in 57 BC (first permanent theater
building in Rome) in honor of Pompey the Great (of Pompey-Caesar-Crassus fame).
Tarrant discusses this slide in context of comparing poets’ desire for fame and
permanence to that of political leaders. Poets at this time often referred to
their poems as “monuments”. (Catullus refers to Cinna’s Smyrna as a “small
monument,” and Horace compares his poems to the pyramids in Odes.
Slide 9.2
The tomb of a wealthy freedman (a baker), resembling in shape a large
granary. An example of how individuals sought lasting memory through
monuments, even after death. This baker must have worked his way up
through life to create such an expensive very individual celebration of
his job and life. This mentality of trying to reach gloria/fame through
lasting monuments/achievements created tension in the Augustan world:
personal political ambition (example Cornelius Gallus) was not tolerated
by Augustus. Reference slide 5.6, of the obelisk with Gallus' name etched
into it. However, poetic ambition flourished and Latin poets sought their
own immortality through ever-greater poetic works.
Slide 9.3
Reconstructed view of a public library in the time of Augustus. Because
the only medium on which poems could be recorded was the highly fragile
papyrus scroll, Rome wasn't able to print/copy poems so that they were
easily accessible to the public. Instead, they must have been collected
at libraries such as these. Scholars would have been forced to travel
here to study them; it changed the experience of interacting with poetry
in the ancient world, explains why so few of it survives today (fragility
of papyrus). Also, a chance to consolidate great poetic works at Rome,
centralize culture and a chance for Augustus to extol the cultural
superiority of Rome under his reign.
Slide 10.3
Enlarged detail of 5th century BC Greek hydria. Painted scenes depict the
Sack of Troy. Note: Aeneas carrying Anchises in upper left corner. This
is a mosaic of scenes depicting the fall of Troy. Since it is Greek and
predates Augustus and Virgil by 400 years, this jar shows that pervasive
knowledge and celebration of Aeneas and the events related in the Aeneid
already existed long before the Aeneid was written. Thus, Virgil had the
opportunity of formalizing the myth and legends that were already
circulating, and spinning them to comment on the political career of
Augustus. Specifically, the tensions between pessimistic and optimistic
readings of the Aeneid, and how the poet's opinion on the methods and
legacy of Augustus was not clear-cut.
Slides
10.4 – Coin of Julius Caesar: Venus on the obverse; Aeneas and Anchises on the reverse.
Aeneas was the son of Venus and the father of Iulus, traditionally seen as the father of the gens
Iulia to which Julius Caesar belonged and Octavian/Augustus was linked by adoption. The coin
references Caesar’s ties to the divine Venus and the Roman founder-figure, Aeneas; Represents
the Roman side of Aeneas (as opposed to the Greek side) (Lecture 11)
11.1 Manuscript of the late 4th/early 5th c. AD (late Antiquity) of Virgil, the beginning of the
second Eclogue. “Generalized portrait” of “The poet” of Latin Antiquity -Virgil is pictured at
his work with his tools- lectern and papyrus scroll-box (containing rolls of his poetry). Show the
fame that Virgil and the Aeneid achieved (Lecture 11)
11.3 From the fourth book, confrontation between Anna and Dido and Aeneas, debating poses.
Anacrhonistic illustrations of Virgil’s Aeneid to accompany the text show how important the
Aeneid was even to the Catholic Church (Vatican Latium). Virgil seen sort of as a pagan
prophet. Show the fame that Virgil and the Aeneid achieved (Lecture 11)