Representative Image from the Module Page
Module 6

Ancient Rome
ApuluSarcophagusOratorPont-du-GardColosseumTemple of PortunusPantheonAra Pacis (Altar of Peace)Trajan’s ColumnArch of TitusArch of ConstantinePortrait bustAugustusEquestrian statue of Marcus AureliusThe four tetrarchsHead of ConstantineFrescoes at the Villa of the MysteriesStill life
Browse|
PrevNext
Unknown Artist

Orator

  • 6.4 A statue of an Etruscan man, but now wearing the attire of Roman officials

    6.4 A statue of an Etruscan man, but now wearing the attire of Roman officials

DateEarly 1st century BCE
MediumBronze
Period, Culture or MovementEtruscan
Geographical LocationItaly
A map with the region of Europe highlighted.
Scale1:1 (6ft high)
Icon of the average person.
Icon of a statue.

While the time that came after the Archaic, over on the Greek peninsula, was one of great prosperity and power, in Etruria, the era that corresponds with the Classical and the Hellenistic was in fact sort of the opposite, politically speaking. This is actually the time on the Italian peninsula when Rome began to gain power here, while Athens dominated the surrounding seas. And so by the time we are looking to now, the Etruscan territory had been taken over by the ascendant Romans, who expanded their influence throughout the area, and eventually much, much further. Thus, although Etruscans continued to live and work in this land, that land was now Rome, as a political entity.

For example, although we know the man depicted in this portrait was formerly an Etruscan citizen, he is shown wearing the standard attire of Roman officials – this manner of donning the toga, and the kind of shoes on the figure, were standard Roman magisterial wear. So while he is of Etruscan descent, he is now a Roman citizen, in fact a Roman official.

Stylistically, as Rome takes its early steps toward cultural dominance, it, like Etruria before, often looks to Greece as well, the mighty civilization next door, for cues in artistic taste, and for its sense of how a refined and noble culture should present itself. In this transitional work, the artist drew from the Classical Greek tradition in the naturalism of human form, and of the elements that it interacts with, such as clothing.

The sculpture, however, also reflects a tendency that we’ll see more of later, in Roman portraiture specifically, which is a growing taste too for individualism in its works, trying to capture the distinctive features of the people being depicted, and to convey their likeness, even to the extent of being willing to show signs of age. Some of the portraits we will see, in fact, afforded to people of high status, are of elders, and even dead elders. This is an idea that Roman portraiture will draw on rather distinctly at times – a progression beyond general naturalism, to individual specificity.

Back To Top