Object structure


Schreiber, Agnieszka


Nitschke, Bernadetta - red. ; Dolański, Dariusz - red.


Rzeźby portretowe Liwii, Oktawii i Julii w polityce propagandowej cesarza Augusta = Portrait sculptures of Livia, Octavia and Julia in the propaganda policy of the emperor Augustus

Group publication title:

In Gremium, t. 4

Subject and Keywords:

Oktawian August (cesarz rzymski ; 63 r. p.n.e. - 14 r. n.e.) ; Livia Druzylla (58 r. p.n.e. - 29 r. n.e.) ; Julia (córka cesarza Augusta ; 39 r. p.n.e. - 14 r. n.e.) ; Starożytny Rzym - polityka ; Starożytny Rzym - kultura


The article aims ar proving to what degree the images of three women, namely: Livia, Octavia and Julia; the emperor's wife, sister and daughter respectively, were connected with Octavian Augustus' propaganda policy. Therefore, this work is divided into parts devoted to each of the women separately. The article opens with the discussion on the problem of Livia's images identification. There follows the typology of her images, particularly referring to the latest division created by E. Bartman (1999). ; Part two concentrates on displaying the relation between various types of Livia's presentation and her role as the wife of the emperor in Augustus' policy. This role emphasised the return of the emperor's policy to traditional values. Thus, every portrait of Livia from the time of Octavian Augustus' reign presents her with a hairstyle fashionable at the time of the Republic called nodus (a kind of a bun tied over the forehead). Other elements of the image, such as the outfit or jewellery aimed ar emphasising the empress' virtues reflecting the customs of her ancestors (mas maiorum). The idealisation of Livia's beauty served as a sign of prominence of her position, gained as the emperor's wife. ; These means of expression developed while creating Livia's portraits were applied by the succeeding empresses. The further part of this article concerns the images of the emperor's sister - Octavia and his daughter Julia. In the case of these two women, there exist significant discrepancies in the identification of the portraits. R. Winkes (1995) attempted to identify them: he created a typology of both Octavia and Julia's images. On the basis of these images typology one may notice that the images of Octavia were meant ro serve the same purpose as the images of Livia. ; However, the early disappearance of Augustus' sister from the public life led to the discontinuance of portraying her. A totally different role was as cribed to the portrairs of Julia who was hoped to become the heir of Augustus. Julia's hairsryle remained traditional, nevertheless the most significant issue to be displayed was the similarity of her face features to her father's ones. ; However, Julia's immoral lifestyle forced the emperor to exile his daughter and consequently it was decided to discontinue portraying her. After all, it was Livia who became the only woman portrayed most frequently. Therefore, the images of the emperor's wife, sister and daughter played a significant parr in Augustus policy and they were subordinated to ideas whose advocates were these women themselves.


Zielona Góra: Oficyna Wydawnicza Uniwersytetu Zielonogórskiego



Resource Type:







In Gremium : studia nad historią, kulturą i polityką, tom 4


Biblioteka Uniwersytetu Zielonogórskiego

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