Gemma Augustea - Overall Scene

Overall Scene

The upper and lower scenes take place at different times, and are basically cause and effect. The lower scene takes place at the northern frontiers, just after a battle won by the Romans, who erect a victory trophy. Gathered prisoners of war are waiting for their punishment in grief or begging for mercy at the hands of assisting gods. The triumph on the battlefield precedes the triumph on the upper plate.

The upper scene is a fusion of Rome, Olympus, and the world of cities. Augustus is conspicuously above the birth sign he claimed, while the eagle personifying him as Jupiter sits below. He ended many years of internal strife for Rome and will forever wear the oak crown. In his right hand he holds a lituus – his augury stick in which he reads the signs and declares wars to be just. He faces Roma, representing all he united and saved from civil bloodshed. He sits equal to Roma, personifying a god. His feet lay upon armor, which could be identified with the newly conquered barbarians, or it may depict the descent of the Julian family from Mars through his human children Romulus and Remus. Unlike all the other figures, except for #7 and #8, the depiction of Augustus is considered to be an actual portrait because of the iris seen in his eye.

Tiberius, Augustus’ adopted son, recently having fought in the north, comes back momentarily – for Victoria anxiously urges that he continue on to fight new battles -to receive his triumph.

There are problems with this interpretation, however. The chariot is not one of victory. It would be unusual if his two-horsed chariot were to be used for the triumph. Also, Tiberius wears the toga. The toga represents civility and peace, not war. Perhaps this is a way in which to hand the victory to Augustus’ auguries. Tiberius steps down from the chariot, doing obeisance to Augustus, giving his adoptive parent the triumph and victory. If all this is true, then figure #8 could still be one of two persons, Drusus or Germanicus. By this age, Drusus was probably already dead, having fallen from his horse and sustaining irreparable injuries. It could be, then a representation of Drusus, and his memory, since he was fondly looked at by almost all. Since he is clad in fighting garb, helmet probably beside him under the chariot, and coincidentally standing next to a horse, this could very well be Drusus. In addition, there are three constellations relating to the three portraits. Drusus would claim Gemini, though the Gemini is quite covert. If the portrait represented Drusus as alive, however, the gem would have been made about the same time as the Ara Pacis and the Altar of Augustus, sometime before 9 B.C., the year of Drusus’ death.

Others, though, think that #8 is Germanicus, son of Drusus. If the gem had been commissioned in A.D. 12, referring to Tiberius’ triumph over the Germans and the Pannonians, or later, it would be quite logical to assume that the young Germanicus, born in 13 B.C., was old enough to don his gear and prepare for war, years after his father’s death. Germanicus was also looked upon quite fondly by Augustus and others. The dispute carries on.

Gemma Augustea is a beautiful work of art that seems to be based on dramatic Hellenistic compositions. The refined style of execution was more common in the late Augustan or earlier Tiberian age, though more likely Augustan. It is said that the image of Augustus as Jupiter is linked to future Roman triumphs by Horace in his Odes:

He be brave who has trusted himself to perfidious foes,

and he will crush the Carthaginians in a second war

who has tamely felt the throngs upon his fettered

arms and has stood in fear of death.

Such a one unknowing how to live life secure

he has mixed peace with war

Oh mighty Carthage, you raise

higher upon Italian ruins!

Tis said he put away his chase wife’s kisses and his

little children, as one bereft of civil rights,

and sternly bend his manly gaze upon the ground

till he should strengthen the Senate’s wavering purpose

by advice ne’er given before,

and amid sorrowing friends should hurry forth a glorious exile.

Full well he knew what the barbarian torturer was making

ready for him; and yet he pushed aside the kinsmen

who blocked his path and the people who would stay his going,

with no less unconcern than if some case in court

had been decided, and he were leaving the tedious

business of his clients, speeding to Venafran fields,

or to Lacedaemonian Tarentum.

Horace, Odes III 5.