Roman Imperial Sculpture of a Priest, 100 BCE - 100 CE
Bronze
2 x 5
FZ.393
The toga wrapped around this figure reveals hi priestly status. He carries a rolled-up scroll in hi left hand, another attribute of a priest, furthe reinforcing his identity. However, without...
The toga wrapped around this figure reveals hi priestly status. He carries a rolled-up scroll in hi left hand, another attribute of a priest, furthe reinforcing his identity. However, without any ran signifying colors, this uniform is indistinguishabl from that of a magistrate or even the Pontife Maximus, the highest-ranking priest in Roman religion.
Yet when one considers the treatment of the figure,
not the garments, another interpretation arises.
The size of the figure’s head is disproportionatel emphasized. Alas, with all of his body except his fee hidden behind the elegant folds of the toga, his hea becomes his only recognizable feature. Accordingly,
the sculptor has attempted to capture the likeness o a specific personage. Certain facial features such a the fleshy cheeks, the prominent chin, and the finel detailed hair that falls out from under his hood ont his forehead, all suggest that this is a uniqu portrait.
Perhaps this sculpture represents a member of th Imperial Family dressed in the guise of a priest o magistrate. Often, in order to represent the cultura significance of a high-ranking person, the individua would be portrayed wearing the uniform associated wit a prominent civic position, in this case that of th Pontifex Maximus. Due to the inherent value of th material alone, such a work would have been out of th reach of most Roman citizens. When the exceptiona workmanship and artistry of the sculpture is als factored in, such a representation could only b afforded by an elite member of the upper echelons o Roman society.
Carved by a master, this bronze is a reminder of th beauty and glory of Ancient Rome. The folds of hi toga sumptuously fall in concentric curves along hi torso. The excess fabric of his hood has been tie into a knot along his waist. Perhaps the mos expressive element of the artist’s mastery is th curving folds of the drapery subtly conforming to th backside of the figure, leaning slightly in contrapposto stance with his weight on his left leg.
Overall, much more than an example of imperia propaganda, this stunning sculpture is a reminder o the sophisticated intertwining roles politics,
philosophy, and the arts played during the golden ag of Ancient Rome.
Yet when one considers the treatment of the figure,
not the garments, another interpretation arises.
The size of the figure’s head is disproportionatel emphasized. Alas, with all of his body except his fee hidden behind the elegant folds of the toga, his hea becomes his only recognizable feature. Accordingly,
the sculptor has attempted to capture the likeness o a specific personage. Certain facial features such a the fleshy cheeks, the prominent chin, and the finel detailed hair that falls out from under his hood ont his forehead, all suggest that this is a uniqu portrait.
Perhaps this sculpture represents a member of th Imperial Family dressed in the guise of a priest o magistrate. Often, in order to represent the cultura significance of a high-ranking person, the individua would be portrayed wearing the uniform associated wit a prominent civic position, in this case that of th Pontifex Maximus. Due to the inherent value of th material alone, such a work would have been out of th reach of most Roman citizens. When the exceptiona workmanship and artistry of the sculpture is als factored in, such a representation could only b afforded by an elite member of the upper echelons o Roman society.
Carved by a master, this bronze is a reminder of th beauty and glory of Ancient Rome. The folds of hi toga sumptuously fall in concentric curves along hi torso. The excess fabric of his hood has been tie into a knot along his waist. Perhaps the mos expressive element of the artist’s mastery is th curving folds of the drapery subtly conforming to th backside of the figure, leaning slightly in contrapposto stance with his weight on his left leg.
Overall, much more than an example of imperia propaganda, this stunning sculpture is a reminder o the sophisticated intertwining roles politics,
philosophy, and the arts played during the golden ag of Ancient Rome.