Herculaneum Titus
Title
Herculaneum Titus
Date
Flavian c. 79 CE
Artist or Workshop
Unknown
Materials
Marble, paint
Height of the work
211 cm tall
Provenience
Italy, Herculaneum, likely from the Augusteum, a structure dedicated to the imperial cult.
Current Location
Museo Archeologico Nazionale di Napoli, Naples, Italy
Sitter Biography
Titus was the second emperor in the Flavian dynasty, and ruled from 79-81 CE. Titus is the first emperor to have been the biological son of the previous emperor, establishing direct, dynastic succession of which Augustus could only dream. Like his father, Titus was a distinguished commander, having taken part in the Jewish Wars. As emperor, Titus completed construction of the Flavian Amphitheater, better known as the Colosseum, and undertook other projects. A greater portion of his rule, however, was devoted to disaster relief, as Mount Vesuvius erupted only a few months into his reign. His rule was cut short when he died of a fever in 81 CE.
Description and Significance
Description
A slightly over-life size sculpture, Titus stands in military garb with an advanced left foot and right foot trailing behind. His face shows some signs of age, and borrows many physiognomic features of his father, Vespasian: namely his wide brow, close-set eyes, fleshy face, cleft chin, and a pointy, aquiline nose. As a result, he continues his father’s inclination towards Republican verism. He has a short haircut, appropriate for a military commander, yet also many delicate curls accentuated by the sculptor, somewhat reminiscent of Julio-Claudian comma locks though not as neatly arranged. Pigment remains on his hair, a useful reminder that marble sculptures were painted in antiquity. Two lines on his forehead, and defined nasolabial lines imbue his portrait with some age, appropriate given his becoming emperor at 40 years old. On his cuirass, two griffins flank a candelabrum, a favored ornamental motif of Julio-Claudian and Flavian emperors. His paludamentum, a military cloak, rests on his shoulders, and cloth is draped over his left arm. In his left hand, he holds what seems to be the hilt of a formerly intact sword; in his raised right hand, he likely held another object that is now lost. Various figures are carved into a belt below his cuirass, including twin elephants. He, also, is shown wearing caligae, open-toed military shoes conducive to long marches. A pillar on his left side acts as additional support for the weighty marble.
Significance
This portrait may represent the first imperial portrait of Titus, and he is depicted in the role of a general. Given its discovery in Herculaneum, the sculpture was certainly made before the eruption of Mount Vesuvius on August 24, 79 CE, which occurred soon after Titus’ ascension to the throne in June of that year. His physiognomic similarity to his father, Vespasian, who was deified after his death, is both indicative of their biological relationship, but, in addition, is likely a method of legitimizing Titus’ claim to the throne as the son of a god. It is also a continuation of the verism evident in Vespasian’s portraiture, which differentiated him from Nero especially. In addition to visually aligning himself with his father, Vespasian, the cuirassed statue also seems to imitate the Prima Porta Augustus, with one foot trailing somewhat behind the other, vaguely Julio-Claudian comma locks, and a decorated cuirass. This visual allusion would also strengthen his claim to the throne, by likening himself to the original pater patriae, father of the fatherland. He emphasizes his martial prowess in this portrait with his cuirass, paludamentum, short haircut, and caligae. The griffin is largely a mythological creature from the Near East, so while the candelabrum is certainly a decorative motif, it may also allude to his military success in Judaea, complemented by the rest of his military garb.
A slightly over-life size sculpture, Titus stands in military garb with an advanced left foot and right foot trailing behind. His face shows some signs of age, and borrows many physiognomic features of his father, Vespasian: namely his wide brow, close-set eyes, fleshy face, cleft chin, and a pointy, aquiline nose. As a result, he continues his father’s inclination towards Republican verism. He has a short haircut, appropriate for a military commander, yet also many delicate curls accentuated by the sculptor, somewhat reminiscent of Julio-Claudian comma locks though not as neatly arranged. Pigment remains on his hair, a useful reminder that marble sculptures were painted in antiquity. Two lines on his forehead, and defined nasolabial lines imbue his portrait with some age, appropriate given his becoming emperor at 40 years old. On his cuirass, two griffins flank a candelabrum, a favored ornamental motif of Julio-Claudian and Flavian emperors. His paludamentum, a military cloak, rests on his shoulders, and cloth is draped over his left arm. In his left hand, he holds what seems to be the hilt of a formerly intact sword; in his raised right hand, he likely held another object that is now lost. Various figures are carved into a belt below his cuirass, including twin elephants. He, also, is shown wearing caligae, open-toed military shoes conducive to long marches. A pillar on his left side acts as additional support for the weighty marble.
Significance
This portrait may represent the first imperial portrait of Titus, and he is depicted in the role of a general. Given its discovery in Herculaneum, the sculpture was certainly made before the eruption of Mount Vesuvius on August 24, 79 CE, which occurred soon after Titus’ ascension to the throne in June of that year. His physiognomic similarity to his father, Vespasian, who was deified after his death, is both indicative of their biological relationship, but, in addition, is likely a method of legitimizing Titus’ claim to the throne as the son of a god. It is also a continuation of the verism evident in Vespasian’s portraiture, which differentiated him from Nero especially. In addition to visually aligning himself with his father, Vespasian, the cuirassed statue also seems to imitate the Prima Porta Augustus, with one foot trailing somewhat behind the other, vaguely Julio-Claudian comma locks, and a decorated cuirass. This visual allusion would also strengthen his claim to the throne, by likening himself to the original pater patriae, father of the fatherland. He emphasizes his martial prowess in this portrait with his cuirass, paludamentum, short haircut, and caligae. The griffin is largely a mythological creature from the Near East, so while the candelabrum is certainly a decorative motif, it may also allude to his military success in Judaea, complemented by the rest of his military garb.
References
Kleiner, D. E. E. 1994. Roman Sculpture. New Haven. pp. 172-176, 202-203.
Museo nazionale di Napoli, and Archivio fotografico Pedicini. 1986. Le Collezioni Del Museo Nazionale Di Napoli. Roma: De Luca. Part 2. 110-111.
http://ancientrome.ru/art/artworken/img.htm?id=5009
Museo nazionale di Napoli, and Archivio fotografico Pedicini. 1986. Le Collezioni Del Museo Nazionale Di Napoli. Roma: De Luca. Part 2. 110-111.
http://ancientrome.ru/art/artworken/img.htm?id=5009
Contributor
Jonathan Clark
Citation
Unknown, “Herculaneum Titus,” Digital Portrait "Basket" - ARTH488A - "Ancient Mediterranean Portraiture", accessed May 20, 2024, https://classicalchopped2.artinterp.org/omeka/items/show/47.
Item Relations
This item has no relations.