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This magnificent Roman bronze head depicts a
man of mature years. The head is tilted slightly
to the viewer’s right and the almond shaped eyes
gaze upwards, suggesting a meditative state.
The details of the hair and beard have been
expertly rendered, with the curls brushed
forward over the forehead. The texture of the
beard and moustache is incredibly naturalistic, as
are the fine lines around the eyes and nose. The
most unusual feature is the necklace or collar
which sits around the base of the broad,
muscular neck. Bronze sculptures of this kind are
extremely rare as the material was susceptible to
being melted down and re-used, especially
following Rome’s conversion to Christianity. Over
the centuries the surface has acquired a striking
green patina that testifies to its age.
The sitter has been identified as the emperor and
philosopher Marcus Aurelius (reigned 161-180
AD). Remembered as the last of the ‘Five Good
Emperors,’ he ruled when the empire was at its
greatest extent. Respecting the wishes of his
adoptive father, he appointed his brother Lucius
Verus co-emperor until the latter’s death on
campaign in 169 AD. It was during this period
that the so-called ‘Pax Romana’ came to end and
Rome faced new military threats from a renewed
Parthian Empire and the Germanic tribes along
its northern borders. However in addition to his
noteworthy military career, Marcus Aurelius was
also a Stoic philosopher who wrote a guide to
government service and duty known as the
‘Meditations.’ Although this was a personal
endeavour, designed for private reflection, its
publication in the sixteenth century won it wide
renown. The Emperor clearly took the welfare of
his subjects seriously and initiated a wide range
of legal reforms to assist marginalised social
groups. For example, measures were introduced
to make it easier for slaves to win their freedom.
It is the philosophical and humane aspects of
Marcus Aurelius’ character that come across
most strongly in this portrait. Indeed this was the
persona that Marcus encouraged during his own
lifetime, declaring himself a protector of
philosophy during a tour of Athens. This piece is
a truly evocative example of classical art and
deserves to be the centrepiece of any serious
collection.
- (AM.0347)
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