Digital Maps of the Ancient World

Roman Portraiture

Portraiture was a significant facet of Roman art, likely influenced by various factors including the tradition of Republican funerary masks crafted for the elite deceased and displayed in their homes.

Portrait of family of Septimius Severus - Altes Museum - Berlin - Germany 2017.jpg
Portrait of family of Septimius Severus. Altes Museum, Berlin.

Additionally, the Romans held a strong cultural value in the desire for remembrance and legacy. This emphasis on portraiture reflected not only a celebration of individual identity but also a societal aspiration for eternal recognition and commemoration. Through sculpted busts, painted portraits, and other artistic mediums, Romans sought to immortalize themselves and their loved ones, preserving their likenesses for posterity. These portraits served not only as visual representations of individuals but also as symbols of status, power, and familial lineage in Roman society. Thus, Roman portraiture became not only a reflection of artistic skill but also a testament to the enduring human desire for immortality through art.

Republican Period

Roman Republican portraiture indeed embodies the concept of verism, characterized by its realistic depiction of facial features and expressions, often influenced by Hellenistic artistic conventions. This style is predominantly evident in surviving marble and bronze sculptures from the Republican period.

The bronze bust of L. Junius Brutus, late 4th – early 3rd c. BC. Capitoline Museum.

Portraits served as powerful symbols of social status and legitimacy in Roman society, with elite families prominently displaying ancestral images, such as wax masks or funerary commemorations, in their homes’ atriums. The tradition of creating death masks allowed for hyper-realistic representations of individuals, serving as tangible connections to esteemed ancestors. These familial portraits not only honored the achievements of forebears but also conferred societal recognition and opportunities upon their descendants. Thus, Republican portraiture functioned as a means of preserving familial legacies and securing social standing through ancestral lineage and prestige.

The Patrician Torlonia bust thought to be of Cato the Elder.
The Patrician Torlonia bust thought to be of Cato the Elder.
Bronze bust of Scipio Africanus.
Bronze bust of Scipio Africanus. (c) Miguel Hermoso Cuesta
AN old man with head covered, either a priest or paterfamilias, 1st c. BC.
AN old man with head covered, either a priest or paterfamilias, 1st c. BC. (c) shakko
The Arles bust, possibly of Julius Caesar, c. 46 BC.
The Arles bust, possibly of Julius Caesar, c. 46 BC. (c) mcleclat
Togatus Barberini.
Togatus Barberini.
Bronze bust of L. Caecilius Iucundus, Pompeii.
Bronze bust of L. Caecilius Iucundus, Pompeii. (c) Daderot

Imperial Period

Following the transition to the principate system under Augustus, a notable shift occurred in Roman imperial portraiture, particularly concerning the depiction of the emperor and his family. Official portraits commissioned by the imperial court became instrumental in conveying specific messages about the emperor’s authority, his lineage, and the stability of the regime.

File:Statue-Augustus.jpg
Augustus of Prima Porta. Vatican Museum.

Unlike the veristic approach of Republican portraiture, which emphasized realism and individualized features, imperial portraits adopted an idealized style aimed at glorifying the ruler and his dynasty. These idealized representations served as potent propaganda tools, reinforcing the legitimacy of the emperor’s rule and promoting loyalty among the populace. By portraying the imperial family in a manner that emphasized their virtues, strength, and divine connections, these sculptures projected an image of imperial power and stability, ensuring public acceptance of the ruling regime. Thus, the evolution of imperial portraiture reflects the changing political landscape of the Roman Empire, with statuary serving as a crucial instrument of propaganda and ideological control.

Germanicus.
Germanicus. (c) Waterborough
Julia Flavia, daughter of Titus.
Julia Flavia, daughter of Titus. (c) Wolfgang Sauber
Trajan.
Trajan.
Vibia Sabina, wife of Hadrian.
Vibia Sabina, wife of Hadrian.
Septimius Severus.
Septimius Severus.
Julia Domna, wife of Severus.
Julia Domna, wife of Severus.

Frescoes

The excavations of Pompeii have revealed a treasure trove of Roman fresco portraiture, offering a unique glimpse into the lives of the city’s inhabitants prior to its catastrophic destruction.

Terentius Neo and his wife. House of Terentius Neo, Pompeii.

These frescoes, adorning the walls of Pompeian homes and public buildings, depict individuals from various social strata engaged in everyday activities, capturing their likeness and personality with remarkable detail and artistry. From noble patricians to humble artisans, these portraits provide invaluable insights into the diverse population of Pompeii and their cultural practices, fashion, and social dynamics.

1. Young man with a volumen and wearing a laurel wreath, Pompeii. (c) Jebulon
2. Man wearing a laurel wreath and holding a papyrus rotulus, Pompeii.

Fayum Mummy Portraits

These naturalistic painted portraits, known as Fayum mummy portraits, adorned the faces of upper-class individuals mummified for burial in Roman Egypt.

A young woman, 3rd c. AD. Louvre.

Discovered primarily in the necropolis of Fayum, around 900 of these portraits have been identified to date. Remarkably preserved by the hot and dry climate of Egypt, many of these portraits retain their vibrant colors and intricate details, appearing almost unfaded by the passage of time. Depicting individuals of diverse backgrounds and ages, these portraits provide a captivating glimpse into the faces of ancient Romans, offering insights into their appearance, fashion, and social status.

Gilded portrait of a young man. Egyptian Museum, Berlin.
Gilded portrait of a young man. Egyptian Museum, Berlin.
Woman with ringlet hairstyle. Museum of Scotland.
Woman with ringlet hairstyle. Museum of Scotland.
A boy, identified by inscription as Eutyches, Metropolitan Museum of Art.
A boy, identified by inscription as Eutyches, Metropolitan Museum of Art.
A woman named Isidora, c. 100-110 AD. Getty Villa.
A woman named Isidora, c. 100-110 AD. Getty Villa. (c) Dave & Margie Hill
Priest of Serapis, c. 140-160 AD. British Museum.
Priest of Serapis, c. 140-160 AD. British Museum.
Woman with plaited hairstyle, dating to Trajan's reign. Walters Art Museum.
Woman with plaited hairstyle, dating to Trajan’s reign. Walters Art Museum.

Funerary Portraits

While the Roman elite immortalized themselves through busts and statues, the lower classes, including freedmen and soldiers, left their own mark on funerary monuments.

The Grave relief of Publius Aiedius and Aiedia, 30 BC, Pergamon Museum, Berlin. (c) Anagoria

These monuments often featured reliefs or inscriptions depicting the deceased in everyday activities or military attire, providing a glimpse into the lives of ordinary Romans. Unlike the grandiose portraits of the elite, these memorials reflected the practicality and modesty of the working class, serving as personal tributes to their loved ones and reminders of their contributions to Roman society. Through these humble monuments, the lower classes ensured their place in history, preserving their identities and legacies for generations to come.

Tombstone of Gaius Volumnius and his wife, c. 1–50 AD.
Tombstone of Gaius Volumnius and his wife, c. 1–50 AD. (c) Anagoria
Tombstone of M. Caelius, centurion of the 18th legion, who died in the Teutoburg Forest, 9 AD.
Tombstone of M. Caelius, centurion of the 18th legion, who died in the Teutoburg Forest, 9 AD.
Funeral relief of a father and his children, 2nd-3rd c. AD, Palmyra.
Funeral relief of a father and his children, 2nd-3rd c. AD, Palmyra.
Funerary relief of Ti. Julius Vitalis, who was a butcher.
Funerary relief of Ti. Julius Vitalis, who was a butcher.
Funerary relief of L. Antistius Sarculo and his wife Antistia Plutia, c. 30–10 BC. Rome.
Funerary relief of L. Antistius Sarculo and his wife Antistia Plutia, c. 30–10 BC. Rome. (c) Mogadir
Funerary relief of Aurelius Hermia and his wife Aurelia Philematum, former slaves who married after their manumission, 80 BC, from a tomb along the Via Nomentana in Rome.
Funerary relief of Aurelius Hermia and his wife Aurelia Philematum, former slaves who married after their manumission, 80 BC, from a tomb along the Via Nomentana in Rome.

For Portraits on glass, see Roman Glass.