The progress of art an culture during the rule of Augustus
Answers
Answer:
By the first century B.C., Rome was already the largest, richest, and most powerful city in the Mediterranean world. During the reign of Augustus, however, it was transformed into a truly imperial city. Writers were encouraged to compose works that proclaimed its imperial destiny: the Histories of Livy, no less than the Aeneid of Virgil, were intended to demonstrate that the gods had ordained Rome “mistress of the world.” A social and cultural program enlisting literature and the other arts revived time-honored values and customs, and promoted allegiance to Augustus and his family. The emperor was recognized as chief state priest, and many
statues
depicted him in the act of prayer or sacrifice. Sculpted monuments, such as the Ara Pacis Augustae built between 13 and 9 B.C., testify to the high artistic achievements of imperial sculptors under Augustus and a keen awareness of the potency of political symbolism. Religious
cults
were revived, temples rebuilt, and a number of public ceremonies and customs reinstated. Craftsmen from all around the Mediterranean established workshops that were soon producing a range of objects—silverware,
gems
,
glass
—of the highest quality and originality. Great advances were made in architecture and civil engineering through the innovative use of space and materials. By 1 A.D., Rome was transformed from a city of modest brick and local stone into a metropolis of marble with an improved water and food supply system, more public amenities such as
baths
, and other public buildings and monuments worthy of an imperial capital
Explanation:
Answer:
Augustus was one of the most widely depicted individuals in ancient times,[2] appearing in coins, sculptures, cameos, plaques, and other media. His dominant portrait type is that of the serene, ageless Augustus of Prima Porta, introduced in 27 BCE.[3] At its best, in Roland R. R. Smith's view, this "type achieves a sort [of] visual paradox that might be described as mature, ageless, and authoritative youthfulness".[4] D. Boschung[5] identified four other portrait types (the Actium or Alcúdia type, the Béziers-Spoleto type, the Forbes or MA 1280 type, and the Lucus Feroniae type),[6] although Smith considers the Béziers-Spoleto type to be a variant of the Alcúdia type and the Lucus Feroniae type to be a category of dubious validity.[6] The Alcúdia portrait type is thought to have been developed around 40 BCE to coincide with the adoption of the patronymic title Divi Filius; Smith describes it as "a youthful portrait with thick hair and probably some expression of vigour and energy".[4] Different scholars have argued whether the Forbes type, "with distinctive short forehead hair," preceded or followed the Prima Porta type.[7]
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