Architecture in Communion essay
It is known that emperors have always played a significant role in any historical process not only as the leaders of their empires, but also as wise people who deserved respect and admiration. That is why it is easy to find the visual expression of imperial authority in different images of emperors. Today there are many reliable sources which examine in detail a wide variety of historical evidence, including literature, sculpture, religious architectural monuments, coins, and other works of art, which are closely connected with representation of important historical figures, including emperors. Such academic subject as art history gives an opportunity to learn more about historical figures, including emperors whose images can be found in different forms of art. In accordance with Grant Pooke, “art history is the academic study concerned with exploring the making and meaning of those objects and practices judged to have aesthetic value” (2007: 19). One of the famous art historians Worringer paid special attention to stylistic difference and contrast in his research works. Another well-known art historian Heinrich Wolfflin “expounded a basis for comparative visual analysis which followed the opposition of the linear and the painterly” (Pooke, 2007: 24). The following pairs of concepts were used by this art historian: linear vs. painterly, plane vs. recession, closed form vs. open form, multiplicity vs. unity, absolute clarity vs. clarity. Comparison and contrast of the images which are presented in different forms of art give an opportunity to learn more about these personalities and about their role in the historical process.
The major goal of this paper is to compare and contrast the visual expression of imperial authority in the following images: Augustus of Prima Porta; Emperor Justinian from the mosaic in San Vitale Ravenna and Ingres’ Napoleon I on His Imperial Throne.
THE STATUE OF AUGUSTUS OF PRIMA PORTA AND ITS MAIN CHARACTERISTICS
It is known that the statue of Augustus of Prima Porta is displayed in the Braccio Nuovo of the Vatican Museums (See Fig.1). It is a marble statue of 2.03 m height.
Fig.1 The Statue of Augustus of Prima Porta, Vatican Museum, Rome.
This work of art depicts young Augustus as an emperor and a national leader, who points the way to the imperial future of Rome and its people. According to the historical facts, “the statue celebrates Augustus’s recovery of Roman military standards lost to the Parthians, the major enemy of Rome, in 53 B.C.”(Wilder, 2007: 93). This statue helps to elevate the emperor Augustus’s status as commander-in-chief. It is also found that the new emperor contributed to the development of Roman society through one-man rule. His image was idealized as he appeared “godlike and superworthy of his job” (Wilder, 2007: 93). Augustus is represented in an authoritative pose. Many experts in art history state that the “Augustus statue elevated and sublimated the spirit of the Greek model” (Galinsky, 1998: 25). The commanding gesture in the form of the extended right arm proves the fact that Augustus is a leader of his people who is represented as “a new archetypal hero of a true world-state” (Pollini, 1998: 276). The statue is associated not only with ideal masculine beauty, but also with the implication of order and unity of all parts. The beauty of the body and stern and serious facial expression cause delight because all parts of the body are combined harmoniously with grace. The fact that Augustus has no spear in his hands means that he is against war, and “war is the thing of the past” (Pollini, 1998: 274). Augustus stands as a protector and peacekeeper of the Roman Empire. The image of small Cupid, the son of Venus, riding on the dolphin, which is represented at Augustus’s feet, means that the emperor was descended from the goddess Venus. This divine lineage does not claim the full divine status of Augustus, but plays an increasingly significant role in representation of his visual imperial authority.
THE PORTRAIT OF EMPEROR JUSTINIAN FROM THE MOSAIC IN SAN VITALE RAVENNA AND ITS CHARACTERISTICS
It is found that Justinian I, well-known as Justinian the Great, was an outstanding Byzantine Emperor who ruled from 527 to 565 (See Fig.2).
Fig.2 The Emperor Justinian from the mosaic in San Vitale Ravenna
The Emperor’s goal was to revive the Empire’s greatness and reconquer the lost western areas of the classical Roman Empire. The portrait of Emperor Justinian from the mosaic in San Vitale Ravenna is one of the famous mosaic portraits of the Emperor Justinian, which speaks about the imperial power of Justinian as a patron and protector of the Church, and can be viewed as “an intimate link between Church and the state necessary for the maintenance of a stable and just society”, in accordance with Steven J. Schloeder (1998: 177).
The Church of San Vitale is known throughout the world for its unique mosaics and as one of the best examples of Byzantine art. The mosaic of Emperor Justinian is located in the apse of the Church surrounded by many other mosaics which are arranges in a rigid hierarchy with different Old Testament scenes across the dome (Schloede, 1998: 178). It is very important to mention that the mosaic of Justinian is placed at Christ’s side. It means that religion played a significant role in the period of Justinian’s reign. Moreover, it is found that the emperor Justinian completed this Church in A.D. 540 as “a symbol of his earthy might” (Hogg & Brewer, 2010: 335). The location of Justinian’s portrait tells much about the power structure of the 6-th century. Sylvie Hogg and Stephen Brewer suggest that “Christ oversees his earthy creatures from his perch on a celestial orb”, and next to him one can see Emperor Justinian, “endowed with a halo and a crown to indicate his role as the head of church and state” (2010: 336).
In addition, it is known that the Byzantine Empire differed from other empires by its acceptance of the belief that the emperor was the representative of God on earth who was the sole ruler of the empire and who solved all social and political issues. This political order is known as autocracy. In this case imperial power is unlimited. The emperor’s power is focused on his divine right to have this power. It means that the emperor Justinian is both the civil and religious leader of the empire. It is clear that the portrait of the emperor Justinian from the mosaic in San Vitale Ravenna is “symbolic reinforcement of the autocratic power of the emperor”, that comes through the use of different symbolic means which prove that the emperor Justinian represents Christ on earth, in accordance with Lawrence S. Cunningham and John J. Reich (2009: 162).
THE PORTRAIT OF NAPOLEON I ON HIS IMPERIAL THRONE BY INGRES AND ITS SPECIFIC FEATURES
Napoleon I on His Imperial Throne is one of the well-known works of the French painter Ingres (1780-1867). This portrait is closely connected with Napoleon’s rise to the imperial throne and expresses his imperial authority. The image of the emperor created by Ingres is “strictly frontal and iconic, and the seated pose departs radically from the conventional standing format of the state portrait”, in accordance with Todd Burke Porterfield and Susan L. Siegfried (2006: 38).
Fig.3 The Portrait of Napoleon I On His Imperial Throne by Ingres
The emperor depicted in the center of the canvas is surrounded by the voluminous and luxurious robes and numerous symbolic attributes. According to Albert Boime, the artist attempts “to join the effigy of Bonaparte to an image of eternal authority”, and uses “the elements of eerie and grotesque” (1993: 51). Massive throne attracts attention of the viewers and symbolizes unlimited power of the emperor. In addition, there are many elements of decoration, which include jewels, lace, ivory, red velvet and white satin, etc. Ingres’s style of work is unique as it characterizes political situation in the empire. This portrait was created during the formative years of the Napoleonic Empire, “when the nascent symbolism of the regime and its artistic institutions were in the state of flux” (Porterfield & Siegfried, 2006: 63). It is clear that the artist uses special techniques to present Napoleon as a powerful and wise man, the leader of his empire. One of the important elements which complete the image of the emperor is the laurel leaves of the emperor’s diadem. In other words, the emperor and his clothes dominate the portrait plane as if Napoleon embodied not just supreme power over other people, but also his own empire state. It is clear that the representation of imperial power in the portrait of Napoleon I on His Imperial Throne by Ingres helps to better understand the position of Napoleon in the empire and the nature of his personality. It is found that Napoleon developed his own system of uniform for men in power and had an enormous influence on men’s fashion. At courts, civil services, and in the Army, a man’s costume was supposed to be an expression of the political regime in the country. In accordance with Albert Boime, the emperor Napoleon is “shown in his coronation robes and carrying all the trappings of dynastic rule”, including the imperial regalia, the hand of justice, the scepter of Charles V, and the sword of Charlemagne (1993: 51). The image of Napoleon created by Igres corresponds to the political power of the emperor and his hierarchical order imposed on the society of France in order “to counteract the excessive individualism of revolutionary social reforms” (Boime, 1993: 51).
THE MAJOR SIMILARITIES IN THE VISIUAL EXPRESSION OF IMPERIAL AUTHORITY IN THE IMAGES OF EMPERORS AUGUSTUS, JUSTINIAN AND NAPOLEON
The works of art discussed in this paper have very much in common. All of them represent outstanding historical figures, the greatest emperors of their times: the emperor Augustus, the emperor Napoleon and the emperor Justinian. All three images of the famous emperors (Augustus, Napoleon and Justinian) express their imperial authority. Although the image of Augustus is represented through the sculpture, while the images of Napoleon and Justinian are represented in the portraits, there are a number of common elements, techniques and ideas of the artists in these three works of art.
First of all, all three images of the emperors have the same facial expressions: sever look, full of power and dignity. Their faces are in the full vigor of life. All of them are calm and determined. The impression created by these works of art is very powerful. Some experts in art history consider that there is practically no distinction between imperial authority and spiritual or religious authority of emperors, between the powers of the natural world and the powers of imperial governance (Cunningham & Reich, 2009: 87). All three images of the emperors are represented by the artists with their symbols of authority. Special attention is paid to the wealth and status of the emperors whose powers were supported by imperial and even divine authority.
In addition, all three works of art identify the emperors as individuals and provide a formal justification for the public honor through the use of different honorific elements. The images of the emperors express a set of values and ideals which are honored in their societies.
THE MAJOR DIFFERENCES IN THE VISUAL EXPRESSION OF IMPERIAL AUTHORITY IN THE IMAGES OF AUGUSTUS, JUSTINIAN AND NAPOLEON
The major differences between the images of the greatest emperors Augustus, Justinian and Napoleon are concluded in different ways of visual expression of their imperial authority. One of the most important differences in visual expression of imperial authority between these images is focused on different beliefs concerning the emperor’s role in the society. The statue of Augustus and the portrait of Emperor Justinian from the mosaic in San Vitale Ravenna contain a number of religious symbols, which prove the fact that the emperors Augustus and Justinian are the representatives of God in this world, and that all people should obey them. However, Napoleon is shown as a true hero, a leader of the French people, a reformist and dictator. It is known that Napoleon “believed in the destiny of his star”, and Ingres uses this idea in his work of art. The artist uses astrological forecast which explains Napoleon’s rise to power in France and the influence of his power on other countries. Albert Boime notices that “the carpeted step, covered at the base of the throne with imperial eagle, in fringed with medallions of the zodiacal signs” (1993: 52). It proves the fact that the emperor’s unearthly image created by Ingres is characterized by the astrological chart, which affirms that his fate has been written in the stars.
In addition, there are certain differences in interpretation of the above mentioned works of art. For example, Napoleon I on his Imperial Throne is the most successful portrayal of Napoleon as emperor due to the artist’s privileged access to the ceremonial objects. It is found that Ingres called this work of art “a tableau-portrait” which meant something more than a portrait. In accordance with Todd Burke Porterfield and Susan L. Siegfried, this term referred not only to its “full length format, but also to its representation of an action or a scene” (2006: 21). It is necessary to notice that the artist borrowed some elements from history painting through representation of contemporary events.
The image of the Emperor Justinian from the mosaic in San Vitale Ravenna is also a part of historical event depicted in this work of art. The mosaic shows the scene in which the Emperor Justinian and the empress Theodora together with their courtiers are making gift to S. Vitale: the emperor Justinian is presenting a gold dish to the church.
Moreover, the differences in representation of the emperors characterize them and their authority. The Emperor Augustus is going to deliver a speech to his people. The Emperor Justinian is making a gift to the church, while the Emperor Napoleon is not involved in any activity, because he is depicted in his imperial throne.
CONCLUSION
In conclusion, it is necessary to say that the visual expressions of imperial authority in the images of Augustus of Prima Porta; Emperor Justinian from the mosaic in San Vitale Ravenna and Ingres’ Napoleon I on His Imperial Throne have very much in common. All three works of art represent outstanding historical figures who contributed to the development of the societies they lived in and who left mark in the world history. All of them are full of power and dignity. The difference between these images is in the fact that visual expression of imperial authority of Augustus and Justinian is closely connected with their religious authority, while the emperor Napoleon is depicted as a hero with golden laurel leaves on his head surrounded by luxurious robes and numerous symbolic attributes. The emperors Augustus and Justinian are shown as the representatives of God, while the emperor Napoleon is shown as a ruler by his fate written in the stars.
