Engraved Gems and Propaganda in the Roman Republic and under Augustus

Engraved Gems and Propaganda in the Roman Republic and under Augustus deals with small, but highly captivating and stimulating artwork – engraved gemstones. Although in antiquity intaglios and cameos had multiple applications (seals, jewellery or amulets), the images engraved upon them are snapshots of people's beliefs, ideologies, and everyday occupations. They cast light on the self-advertising and propaganda actions performed by Roman political leaders, especially Octavian/Augustus, their factions and other people engaged in the politics and social life of the past.Gems can show both general trends (the specific showpieces like State Cameos) as well as the individual and private acts of being involved in politics and social affairs, mainly through a subtle display of political allegiances, since they were objects of strictly personal use. They enable us to analyse and learn about Roman propaganda and various social behaviours from a completely different angle than coins, sculpture or literature.The miniaturism of ancient gems is in inverse proportion to their cultural significance. This book presents an evolutionary model of the use of engraved gems from self-presentation (3rd-2nd century BC) to personal branding and propaganda purposes in the Roman Republic and under Augustus (until 14 AD). The specific characteristics of engraved gems, their strictly private character and the whole array of devices appearing on them are examined in respect to their potential propagandistic value and usefulness in social life.The wide scope of this analysis provides a comprehensive picture covering many aspects of Roman propaganda and a critical survey of the overinterpretations of this term in regard to the glyptic art. The aim is the incorporation of this class of archaeological artefacts into the well-established studies of Roman propaganda, as well as the Roman society in general, brought about by discussion of the interconnections with ancient literary sources as well as other categories of Roman art and craftsmanship, notably coins but also sculpture and relief.Table of ContentsForeword and acknowledgmentsPart I Introduction1. Preface2. State of research3. Aims, methodology and structurePart II Theory4. Self-presentation and propaganda – definitions and characteristics4.1. Definitions of ‘self-presentation’ and ‘propaganda’4.2. Propaganda and persuasion4.3. Propaganda and public opinion4.4. Propaganda as a form of communication4.5. Forms of propaganda4.6. Tools and techniques of propaganda4.7. The effectiveness of propaganda5. Roman propaganda on engraved gems – general introduction5.1. Anticipated areas of propaganda on engraved gems5.2. Problems with studying propaganda in ancient times with emphasis on engraved gemsPart III Evidence6. Beginnings (3rd-2nd centuries BC)6.1. Etruscan and Italic tradition (self-presentation)6.2. Hellenistic influences6.3. Roman tradition (family symbols, personal branding, commemoration, state propaganda)7. Early 1st century BC7.1. Lucius Cornelius Sulla7.2. Gaius Marius7.3. Lucius Licinius Lucullus7.4. Other politicians8. Civil War: Pompey the Great, Julius Caesar and contemporaries8.1. Pompey the Great8.2. Julius Caesar8.3. Less significant politicians and women from the times of the Civil War9. Post-Caesarian and Liberators’ Civil Wars (from death of Caesar to Octavian’s sole rule: 44-27 BC)9.1. The Pompeians9.2. The Republicans9.3. The Caesarians9.4. Less significant politicians9.5. Women and their propaganda significance on engraved gems10. Augustus (27 BC-AD 14)10.1. Collecting10.2. Gem engravers working for Augustus10.3. The final seal of Augustus10.4. Portraits – personal branding induction and manifestation of loyalty10.5. Commemoration and State Cameos10.6. Divine and mythological references10.7. Mythological Foundations of the New Rome10.8. Promotion of peace and prosperity10.9. Luxury objects (State Cameos, cameo vessels etc.) and religious propaganda10.10. Promotion of family and successors10.11. Divus AugustusPart IV Summary and conclusions11. Provenance, provenience, production and distribution of propaganda gems12. Statistics13. Summary and conclusions:13.1. Use of gems in triumphs13.2. Collecting13.3. Employment of gem engravers13.4. Seals13.5. Personal branding and self-promotion13.6. Induction and manifestation of loyalty and support13.7. Use of heritage13.8. Promotion of family and oneself through origo13.9. Promotion of faction13.10. Commemoration13.11. Religious, divine and mythological references13.12. Political symbols and promotion of abstract ideas (ordo rerum, Pax Augusta and aurea aetas)13.13. Luxury objects: State Cameos – carved vessels – works in the round13.14. Final remarksPart V Catalogue, figures, bibliography and indicesCatalogueFiguresFigure creditsBibliographyIndex