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The sitter is depicted with a dense head of curly hair, a carefully trimmed beard, thin moustache, and a goatee beard between his mouth and chin. The young man’s elegant hairstyle imitates portraits of the Emperors Marcus Aurelius and Lucius Verus of 161 A. D. The military cloak indicates that the sitter had recently embarked on a military career.
The refined features of this distinguished young man recall those of the Emperor Nerva (96-98 AD) and his hairstyle reflects that of the previous Emperor, Domitian (81-96 AD). But this head also has some individualised features. One of a series of the Twelve Emperors given by Pius V to Philip II in 1568, it is likely that at that time this portrait was considered to depict Domitian.
This is a modern copy of a Roman portrait of a young man from the period of the Emperor Commodus (180-192 AD). While the beard recalls portraits of Hadrian (such as E-176 in the Prado) and others from the Antonine period (E-113), the hairstyle suggests images of Alexander the Great. The subject may have been an officer in the Roman army.
The portrait is of a mature, high-class lady with a serene and somewhat tired expression. Like many portraits of its era, it imitates the hairstyles adopted in the imperial household, in this case of Faustina the Elder (105-141 B. C.), wife of the emperor Antoninus Pius.
In 136 A.D., two years before his death, Emperor Hadrian had the previous realism of his portraits replaced with an idealized image of him as a young hero. Gold coins with this portrait, minted during his last years as emperor, indicate that he was probably represented as New Romulus. The bust was added in the sixteenth-century.
Caracalla and Geta, sons of the Emperor Septimus Severus, were elected consuls in 205 AD and over the following years were depicted as twins. Their very short hairstyle, which reflected military fashion, was subsequently adopted by almost all the emperors of the period of Military Anarchy (3rd century AD). Caracalla murdered his brother in 211 AD and only outlived him for a few years.205-209 AD (h
Titus Aurelius Boionius Arrius Antoninus (86-161 A. D.) was adopted in 138 A. D. by the moribund emperor Hadrian to be his successor. His portrait, dating from shortly after, did not change during the whole of his reign. The effigy prolongs the style of Hadrian’s portraits, intending to emphasize the loyalty of Antoninus Pius to the pacifist policy of his predecessor.
This is the last portrait of Vibia Sabina (83-136 A. D.), wife of the emperor Hadrian. It does not represent her at her real age (some 48 years), but is a highly idealised and rejuvenated image. Her hairstyle is not a traditional roman one but is inspired by the imagery of the goddess of Diana. The portrait reflects the intention of making her appear ageless.
The image of Publius Aelius Hadrian (76-138 A. D.) did not change much during his rule (117-138 A. D.). This effigy shows him in his maturity, and can thus be dated between 130 and 138 A.D. Despite a degree of realism in his features, the emperor´s interest in idealization is visible here in the curly hair and short beard, which allude to his philosophical bent and his passion for Classical Greece
This sculpture consists of a seventeenth-century head of Augustus and a torso of Augustus or Tiberius dating from the beginning of the first century A.D. This type of iconography, with a body based on the art of Polycletus (fifth century B.C.) and clothed in the traditional Roman toga, was used to represent emperors deified after death. These statues were made for the temples of imperial worship.
Realism in the depiction of physical features is one of the characteristics of Roman portraiture. The hairstyle became a further identifying element, indicating the importance given to personal adornment and changes in fashion. Here the subject wears a false, curly hairpiece, a common practice among noblewomen of the period in emulation of the Emperor Titus’s daughter Julia Flavia (AD 64-91).
Gaius Caesar (20 B. C.- 4 A. D.) was adopted, together with his brother Lucius Caesar, in the year 16 B.C. by his grandfather the emperor Augustus, with a view to possibly having him succeed him. This portrait, created when the boy was seven years old, was conceived to be like a young version of the portrait of Augustus with a hairstyle very similar to that of the emperor.
Este retrato de una romana entrada en años y con una mirada que delata seguridad de sí misma impresiona aún hoy por su realismo bien dosificado. En tanto los rasgos faciales autenticos de la retratada, dan la impresión de haber sido reproducidos sin mayores modificaciones, las zonas de piel desnuda, en cambio, aparecen alisadas debido al pulimento de la superficie del marmol, de modo que la repres
La representada es una romana joven cuyos ojos grandes, con perforaciones profundas marcando las pupilas, miran hacia la derecha en actitud reflexiva. Como este, numerosos retratos de particulares realizados a finales de la época severiana documentan el florecimiento del retrato femenino y el gran prestigio de la mujer en una época en que Iulia Mamaea, la madre del emperador Alejandro Severo, era
The son and heir of Tiberius, Drusus the Younger was portrayed from his father’s assumption of imperial power in 14 A. D., until his own violent death at the hands of his wife in 23 A. D. The realism of his facial features pays tribute to the Republican tradition of the gens Claudia, the patrician family to which he belonged.
Two ancient fragments with a different origin were skilfully joined in the seventeenth century to create the statue. Augustus, clad in the toga of a Roman citizen, offers a sacrifice with his head covered, thereby demonstrating veneration of the gods. The portrait, less common than the other type in the Prado (E00119), offers a more realistic representation and a more natural hairstyle. Both portr
Originally, the statue was probably the effigy of the emperor Trajan (98-117 A. D.) as a general. The only ancient part of the sculpture is the torso covered with anatomical armour (thorax in Latin), adorned with the head of the Medusa and a trophy with two victories. The head, which copies a portrait of the era of Trajan, and the bottom part with the footwear, date from the seventeenth century an
This youth, with his distinctive features, has a hairstyle introduced under Nero (54-68 AD). The Emperor’s undulating locks scandalised the upper classes in Rome at the time but were highly appreciated by the jeunesse dorée. One of a series of the Twelve Emperors given by Pius V to Philip II in 1568, it is likely that at that time this portrait was considered to depict Nero.
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