Roman Imperial Portrait Practice in the Second Century AD: Marcus Aurelius and Faustina the Younger

This book provides new insights into the functioning of the imperial image in Rome in the second century AD by examining the portraits of Faustina the Younger and Marcus Aurelius on coins and in sculpture. It challenges the established model and suggests that more flexibility is needed to describe the processes and practices behind the phenomenon of repeated imperial portraits.

Format: Hardback
Length: 240 pages
Publication date: 18 July 2022
Publisher: Oxford University Press

It has long been believed that imperial portrait types were commissioned to commemorate specific historical moments and were made available to both the mint and the marble workshops in Rome, with a close correspondence between portraits on coins and in the round. However, this has never been clearly proven or disproven by a close systematic examination of the evidence on a broad material basis by those scholars who have questioned it.

Through systematic case studies of the portraits of Faustina the Younger and Marcus Aurelius on coins and in sculpture, this book provides new insights into the functioning of the imperial image in Rome in the second century AD that move a difficult and much-discussed subject forward decisively. The new evidence presented here has made it necessary to adjust the established model; more flexibility is needed to describe the processes and practices behind the phenomenon of repeated imperial portraits and how the imperial portrait worked in the mint of Rome and in the metropolitan marble workshops.

The study of imperial portraiture in Rome during the second century AD has long been a subject of debate and speculation. While it is widely accepted that imperial portrait types were commissioned to commemorate specific historical moments, there is still much to be learned about the processes and practices behind the creation of these portraits. This book aims to provide new insights into the functioning of the imperial image in Rome in the second century AD by examining the portraits of Faustina the Younger and Marcus Aurelius on coins and in sculpture.

Faustina the Younger was the wife of the Roman emperor Antoninus Pius and was one of the most influential women in ancient Rome. Her portraits on coins and in sculpture provide a valuable source of information about the imperial image in Rome during the second century AD. The study of her portraits has revealed that they were created using a variety of techniques, including casting, engraving, and painting.

One of the most significant findings of this book is that the imperial portrait types were not created in a single workshop or by a single artist. Instead, they were produced by a network of workshops and artists across Rome. This suggests that the imperial image was not a monolithic entity but was instead a complex and multifaceted phenomenon that was shaped by a variety of cultural and political factors.

Another important finding of this book is that the imperial portrait types were not limited to a single style or medium. Instead, they were created in a range of styles and mediums, including bronze, silver, gold, and marble. This suggests that the imperial image was not a static or fixed phenomenon but was instead dynamic and adaptable, able to be expressed in a variety of ways depending on the context and the intended audience.

The study of Marcus Aurelius, the Roman emperor from 161 to 180 AD, also provides valuable insights into the functioning of the imperial image in Rome during the second century AD. His portraits on coins and in sculpture are similar to those of Faustina the Younger, but they also exhibit some distinct differences. For example, Marcus Aurelius is depicted as a more serious and stoic figure, reflecting his character and his political beliefs.

One of the most significant findings of this book is that the imperial portrait types were not just a means of commemorating historical moments but were also used to convey political messages and ideologies. The portraits of Faustina the Younger and Marcus Aurelius, for example, were used to promote the imperial family and their political agenda, while also conveying the values and beliefs of the Roman Empire.

In conclusion, this book provides new insights into the functioning of the imperial image in Rome in the second century AD by examining the portraits of Faustina the Younger and Marcus Aurelius on coins and in sculpture. The study of these portraits has revealed that they were created using a variety of techniques and were produced by a network of workshops and artists across Rome. The imperial portrait types were not just a means of commemorating historical moments but were also used to convey political messages and ideologies. This book has made a significant contribution to our understanding of the imperial image in Rome during this period and has paved the way for further research in this area.

Weight: 914g
Dimension: 228 x 284 x 23 (mm)
ISBN-13: 9780192845658