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The Visual Representation of Livia on the Coins of the Roman Empire

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The Visual Representation of Livia on the Coins of the Roman Empire University of Alberta The Visual Representation of Livia on the Coins of the Roman Empire by Tracene Harvey A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Classical Archaeology History and Classics ©Tracene Harvey Spring 2011 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Dedication To Sean, Clair and Wendy and In Memoriam Margaret Rose Neufeld, beloved grandmother and friend. ABSTRACT Livia (58 BC-AD 29), wife of the first emperor Augustus and mother of his successor Tiberius, became the first Roman woman whose image held a substantial place on coins of the Roman Empire. While predecessors such as Fulvia and Octavia, wives of Marc Antony, were the first Roman women to appear on coins, not enough examples of such coins survive to give a clear picture of how these women were represented as part of a concerted visual program. While the appearance of Roman women on coins was not entirely revolutionary, having roughly coincided with the introduction of images of powerful Roman statesmen to coins in the late 40s BC, the degree to which Livia came to be commemorated on coins in the provinces and in Rome was unprecedented. The coin images of Livia, when considered in tandem with representations of her in other visual media such as sculpture and cameos, reveal the detailed visual language that was developed for the promotion of Livia as the predominant female in the Roman imperial family. These images, whose visual elements were rooted in Hellenistic Greek and Roman Republican precursors, were customized to portray Livia in traditional gender roles as wife and mother, and eventually in her new role as priestess of the new imperial cult of the deified Augustus. Such images not only promoted Livia as the model elite Roman woman of the imperial family and the imperial realm as a whole, but they also symbolized the dynastic, socio-political and religious ideologies of the ruling regime. Livia’s image ultimately set the standard by which all subsequent female imperial family members would be portrayed in Roman art. ACKNOWLEDGEMENTS I wish to express sincerest gratitude to my PhD supervisor, Dr. Steven Hijmans, whose advice, knowledge and patience has been a great benefit to me over the course of my PhD program, but especially in the preparation of this thesis. I am particularly indebted to him for pointing me in the direction of specializing in Classical art and archaeology, having spent most of my academic career with a focus on ancient history. Now, I have a solid academic background in both these areas, which will no doubt be an asset to me in my future career- oriented academic pursuits. I am also especially grateful to all members of my committee, including Dr. Jeremy Rossiter and Dr. Selina Stewart for their helpful feedback and advice concerning this thesis. I am deeply grateful to Dr. Lisa Hughes, University of Calgary, and Dr. Robert Losey, Department of Anthropology, for serving as my external examiners during the final defense. I also wish to extend thanks to Dr. Sandra Garvie-Lok from Anthropology and Dr. Rosalind Sydie from Sociology for the valuable comments and suggestions they gave me at the time of my candidacy exam. I am deeply grateful to the curators of the numismatic collections at the American Numismatic Society, the British Museum and the Bibliothèque nationale de France, who allowed me to use their collections for the research of this thesis. I am especially grateful to Dr. Michel Amandry for his ongoing support and advice during the preparation of this thesis. I also wish to thank Dr. Margriet Haagsma and Dr. Helena Fracchia for giving me the opportunity to work and gain valuable archaeological experience at their projects in Kastro Kallithea, Greece and Cortona, Italy respectively. I am also grateful to Mr. Terence Cheesman for allowing me access to his impressive collection of coins, which includes several examples concerning Livia. And last, but not least, thanks to all my family and friends for all their support. But I am particularly grateful to Tristan Ellenberger, Myles Chykerda, Nicolas Bouffard and Erin Stepney for their unfailing encouragement, friendship and helpful advice. TABLE OF CONTENTS Introduction 1 Chapter 1 Livia 1.1 Historical Background 9 1.2 Life of Livia 12 a) Sources Regarding Livia: Texts, Sculpture, Cameos and Coins 20 1.3 Social Position of Elite Women in the Time of Livia 24 1.4 Honouring the First Empress 28 1.5 Conclusion 35 Chapter 2 Theory and Methodology 2.1 Coins as Visual Medium in the Context of Roman Art History 37 2.2 Scholarly Treatment of the Representation of Livia on Coins 49 2.3 Methodology and Theory 53 a) Semiotics and Visual Communication 53 b) Typology/Modes of Representation 59 c) Style as Purveyor of Meaning 63 d) Context and Logonomic Systems 67 e) Pictorial Image versus Word Image on Coins 72 2.4 Images, Social Meanings, Ideology: Gender Roles and Male vs. Female Power Relations 74 2.5 Conclusion 79 Chapter 3 Origins of the Commemoration of Roman Women on Coins 81 3.1 Designs of Distinction: The Tradition of Self-Promotion and Self-Representation on Roman Republican Coins 83 3.2 Hellenistic Prototypes: The Conception of the Visual Canon 87 a) Facial Features 94 b) Hairstyles 96 c) Headdress and Other Attributes 99 3.3 Republican Precursors 101 a) Designing Roman Women: The Hellenistic Impact on Representations of Roman Women in Sculpture 102 b) Designing Roman Women: Early Images of Women on Coins 107 i) Fulvia as Victoria 109 ii) Octavia: Roman Matron and Antony’s Ariadne 113 3.4 Conclusion: Signature Symbols and Standard Types 119 Chapter 4 Numismatic Visual Program for the Representation of Livia 4.1 Introduction and Overview 122 4.2 Livia’s Portrait Mode 126 a) Hairstyle Paradigm 130 i) Nodus Style 130 ii) Middle Part Style 139 b) Facial Features Paradigm 146 i) The Youthful Livia 149 ii) The Mature, Yet Ageless Livia 149 iii) The Mature and Slightly Aging Livia 150 iv) Livia’s Facial Features Rendered on Coins 151 c) Dress Paradigm 155 i) Livia’s Bust with Neck Bare 157 ii) Livia’s Bust Draped with Head Bare 158 iii) Livia’s Bust Draped with Head Veiled 159 d) Head Adornment Paradigm: Crowns and Wreaths 162 i) The Laurel Crown 163 ii) The Stephane 165 iii) Circular Band Diadem and Infula 169 e) Adjuncts Accompanying Livia’s Coin Portraits 173 i) Peacock and Grain Adjuncts at Oea (Africa) 173 ii) Crescent Moon and Globe Adjuncts at Colonia Romula (Spain) 175 f) Paired Portraits 178 i) Livia’s Jugate Portraits 179 ii) Livia’s Face to Face Portraits 181 h) Conclusion 183 4.3 Livia as Seated Female Figure Mode 183 a) Dress Paradigm 188 b) Body Position Paradigm 192 c) Chair/Throne and Stool Paradigm 196 d) Attributes Accompanying the Seated Figure 199 i) Sceptre/Staff 200 ii) Patera 203 iii) Ears of Grain and/or Flowers 205 iv) Ceres’ Torch 207 v) Branch (Olive or Laurel?) 209 e) Adjuncts Accompanying the Seated Figure i) Modius 212 f) Patterns of Representation: Formulaic Image Composition 212 g) Conclusion 214 4.4 Livia as Standing Female Figure Mode 215 a) Dress Paradigm 216 b) Body Position Paradigm 218 c) Attributes Accompanying the Standing Livia Figure 220 d) Adjuncts Accompanying the Standing Livia Figure 220 e) Conclusion 221 4.5 Chapter Conclusion 222 Chapter 5 Livia’s Numismatic Image in the Provinces 5.1 Introduction 224 5.2 Key Coin Types and Other Honours for Livia by Region a) Rome and Italy 225 b) Sicily 231 c) Asia 232 d) Syria 239 e) Judaean Kingdom 242 f) Achaea 243 g) Cyprus 245 h) Crete 246 i) Macedonia 247 j) Bithynia-Pontus 250 k) Thrace 251 l) Moesia 252 m) Egypt 253 n) Africa 256 o) Gaul 260 p) Spain 262 5.3 Conclusion 265 Chapter 6 The Promulgation of Gender Roles and Power through Coin Images of Livia 271 6.1 Gendered Designs on Coins of Livia 272 a) Definitions of Gender: Modern versus Roman Perspectives 274 b) Coin Images as Gendered Constructions 279 i) Dress 282 ii) Hairstyle and Hair Adornment 287 iii) Facial Features, Body Poses and Physiognomic Signification 299 iv) Other Gender Markers 305 c) It’s a Family Affair: The Broader Context of Livia’s Gender Iconography on Coins 308 6.2 The Negotiation of Gender-based Power through Livia’s Coin Images 316 6.3 Gendered Power Themes Conveyed through Livia’s Coin Images 322 a) Livia as Mother – “Mater Familias” 322 i) Livia as Partner in Maintaining the Dynastic Succession 324 ii) Livia’s Association with Mother Goddesses: Juno, Ceres and Venus 330 iii) Livia as Salus – Relating Motherhood to the Well-being of Rome 335 b) Livia as Priestess 337 i) Livia’s Seated Figure and Associations with Vesta 338 ii) Livia with Head Veiled: Symbol of Matronly and Priestly Pietas 340 c) Livia as Divine Female Figure 343 6.4 Conclusion 346 Conclusion 349 Bibliography 357 Coins and Related Materials Catalogue 377 A) Rome and Italy 379 B) Sicily 399
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