Marcus Agrippa: Right-hand Man of Caesar Augustus (61 page)

Many buildings were erected by, or in honour of, Agrippa. The existence of the
Pons Agrippae
in Rome is confirmed by
CIL
VI.39087, VI.29781 =
ILS
6003 (found in the Tiber near the Ponte Garibaldi) and
CIL
VI.31545 (Ostia). The
Thermae Agrippae
are confirmed on
CIL
IV.4.36620 (Rome). The famous bronze letters forming the famous inscription M · AGRIPPA · L · F · COS · TERTIVM · FECIT (
plate 17
,
CIL
VI.896 = Dessau 1.129) on the Pantheon confirm Agrippa as the original builder. (The letters are modern copies.) The
Sepulchrum
–or
Aedes Agrippae
– is suggested by letters on the so-called Map of Rome in fragments 72 and 103. A monument of M. Agrippa is mentioned in
CIL
VI.1.1375 = Dessau 1.917a. The
Horreae Agrippae
are mentioned in
CIL
VI.2.10026 (Rome) and a
vestiarius
who worked there is recorded in
CIL
VI.2.9972 (Rome). A plinth of a column of pavonazetto from Agrippa’s own quarries located in Phrygia is documented as
CIL
XV.988 (now lost). The
Agrippision
was a synagogue apparently named after him in Rome according to one of three Greek inscriptions found at the Jewish cemetery in the city (
CIG
VI.9907 cf. IV.9906).

In Italy, Agrippa was acknowledged as patron in Cubulteria (
CIL
X.1.4616), Gnathia (
CIL
IX.262), Puteoli (
CIL
X.1.1682 = Dessau 1.933) and Rufrae (
CIL
X.1.4831). Inscriptions suggest Agrippa’s generosity for an unknown new building erected at Brixia (
CIL
V.4315) and a new basilica at Septempeda
(
CIL
IX.5576). At Pompeii, graffiti scratched on a painted wall (
CIL
IV.3878) outside the Nucerian Gate, which include the words
balneus Agrippae
(the rest is illegible), may refer to a bathhouse named after him.

The western provinces also benefited from Agrippa’s generosity. According to Émile Espérandieu the architrave of the
Maison Carrée
at Nemausus (
plate 30
) was originally dedicated by Agrippa (usually shown with IMP after his name), but later changed to honour his son, C. Caesar, as presently shown in
CIL
XII.3155. Also in Nemausus are two monumental architraves from other buildings – perhaps in the adjacent precinct – inscribed with a dedication to Agrippa (
CIL
XII.3153), and from a bathing complex and temple to Diana (
CIL
XII.3154). In Lusitania, the theatre at Emerita bears a dedication mounted above the entrance archway (
aditus maximus
) to the
orchestra
confirm Agrippa was its benefactor (
plate 34
,
CIL
II.472, II.474 = Dessau 1.130). Agrippa was acknowledged as patron in Utia (
CIL
II.1527).

Inscriptions bearing his name have been found in Greece at Andros (
IG
12.5, 1.740), Argos (see K. Chisholm and J. Ferguson,
Rome: The Augustan Age
, Oxford 1981, pp. 132, 134–35), Athens (
IG
3.575 Erechtheion and
IG
3.576,
Mnemosyne
47.1919), Corinth (
American Journal of Archaeology
23 (1919), p. 167), Epidauros (
Ephemeris Archaeologike
(1885), 84–85 =
IG
4.1363), Eresos on Lesbos (
IGR
4.7 =
IG
12.2.531), Gytheion (
IG
5.1.1166), Korkyra (
CIL
II.1878), Megara (
IG
7.64–65), Mytilene on Lesbos (
IGR
4.79g =
IG
12.2.164;
IGR
4.65b =
IG
12.2.169;
IGR
4.69 =
IG
12.2.170;
IGR
4.78a =
IG
12.2.172), Oropos in Boeotia (
Ephemeris Archaeologike
(1886), 57–59 =
IG
7.349), Sparta (
CIG
I, 1299,
CIL
III.494 =
IG
5.1.374), Tainaros (
CIL
III, 491 =
IG
5.1), Thassos (
IG
12.8.381b and Dessau 2.2.8784); in Asia at Ephesus (
plate 36
,
ILS
8977 – unusual for including ‘IMP’ after Agrippa’s name), Illium (
IGR
4.204), Mysia (
CIG
2.3609) and Smyrna (Rijksmuseum van Oudheden, Leiden, I.1900/I.25); in Lykia at Letoon (
Fouilles de Xanthos
VII.1981, 23 and 24), Myra (
IGR
III 719) and Patara (
SEG
44, 1208); Kalymnos (
Tituli Calymnii, Annuario Scuola Archeologica di Atene
22–23, N.S. 6–7, 1944–45, p. 164, n. 141); and in Syria at Berytus (
CIL
III.1.156). The city of Kyzikos claimed Agrippa as its official founder (inscription of Antonia Tryphaena,
IGR
4) and erected monuments to him (Dittenberger,
Syll
. 2.799). The city of Agrippia Caesarea (Phanagoria) raised several inscriptions honouring Agrippa (
IAO
356, 360 and 363).

Inscriptions for statues erected to him and/or his wife Iulia have been found across the Greek-speaking world at Andros (statue of Iulia,
IG
12.5.740), Delos (statue of Agrippa, Dittenberger
Syll
. 2.1.777 =
Rheinisches Museum
22, 1867, p. 292), Myra (statue of Agrippa,
IGR
3.719), Mytilene (statue of Agrippa,
IGR
4.64 =
IG
12.2.204), Paphos (statue of Iulia,
The Journal of Hellenic Studies
9 (1888), p. 243, no. 69), Samos (statue of Iulia,
IGR
4.1717) and Sestos (statues to him and his wife together,
Bulletin de Correspondence Hellénique
4 (1880), p. 517 =
IGR
1.821).

A fragment of a Greek translation of Augustus’
laudatio funebris
for Agrippa’s funeral is preserved on papyrus as ‘P. Colon. VI 249’ or ‘P. Köln Inv. Nr. 4701 + 4722 Recto’.

In life and death Agrippa was celebrated as ‘benefactor’ in Athens (
IG
3.575 Erechtheion), Attica (
CIG
1.309,
IG
3.575), Mytilene (
IG
12.2.203), Oropos (
IG
7.349). He was canonized as a ‘saviour’ or ‘saviour god’ in numerous dedications at Mytilene (
IGR
4.70a =
IG
12.2.171,
IG
12.2.164 =
IGR
4.79,
IG
12.2.166c =
IGR
4.67,
IG
12.2.168 =
IGR
4.68,
IG
12.2.169b =
IGR
4.65b,
IG
12.2.170 =
IGR
4.69,
IG
12.2.171 =
IGR
4.70,
IG
12.2.172a =
IGR
4.78,
IG
12.2.203 =
IGR
4.21,
IG
12.2.204 =
IGR
4.64, and a recently recorded specimen by Christian Habicht, ‘Marcus Agrippa
Theos Soter
’,
Hyperboreus
11, 2005, pp. 242–246.
CIL
X.3691 and 3691a (Cumae) reveal Agrippa was associated with the worship of these Augustan
Lares
.

Several inscriptions were erected by freedmen of Agrippa, bearing their master’s instantly recognizable
praenomen
and
nomen genticulum
followed by the
cognomen
derived from their forename when a slave: M. Vispanius Narcissus, a
rogator ab scaena
(
CIL
VI.10094, Museo Nazionale Romano, Terme di Diocleziano, Rome, Inv. No. 29340) and the chariot racers M. Vipsanius Calamus, M. Vipsanius Dareus, M. Vipsanius Fautus and M. Vipsanius Migio or Mugio (
CIL
VI.10046 (Rome)). A certain Agrippaeus Longinus is mentioned on a fragment from Casinum (
CIL
X.1.5170). A tribe of Agrippia is mentioned on two inscriptions in Corinth (
Tribus Agrippia
:
American Journal of Archaeology
23 (1919), p. 167; J.H. Kent,
The Inscriptions: 1926–1950
(Corinth 8:3; Princeton, NJ, American School of Classical Studies, 1966), no. 154).

After his death, Agrippa’s name was evoked in a variety of inscriptions: at Segusio in the Alpes Cottiae, the inscription over the triumphal archway dated 9–8 BCE (
BFC
9 (1904), 89 = Ehrenberg and Jones (1955), no. 165); in 18 CE in association with Germanicus Caesar on Samos (
IGR
4.980) and at Delphi (Dittenberger,
Syll
. 2.779D); in connection with games on Kos in the first century CE (Dittenberger,
Syll
. 3.1065); and of renovations of a building at Brixia under Trajan (
CIL
V.4315) and to the Pantheon under Septimius Severus (
CIL
VI.896 = Dessau 1.129).

4. Sculptures

Agrippa was a popular subject for ancient sculptors, particularly during the years 31 BCE-54 CE. Several carvings and busts have been identified as Agrippa, though the identification of some can be – and have been – disputed.

(a)
Ara Pacis Augustae
, Rome

On the south-facing enclosure wall is possibly the last official depiction of M. Agrippa from life (
plate 37
). It was unveiled at the time of the inauguration on 30 January 9 BCE on the occasion of the birthday of Augustus’ wife, Livia Drusilla. By this time Agrippa was already dead by almost three years. The only figure on the frieze – ‘S-28’ – who is shown
velatus
(wearing his toga so that it covers his head) is believed by most scholars to be Agrippa. Slightly taller than the rest, he is shown as a confident and relaxed middle-aged man among the family of the
princeps
and guests from overseas. The work on the
Ara Pacis
began in 13 BCE when Agrippa was alive and presentation of him in this way may have been the
artist’s attempt to include Augustus’ associate among the members who would have actually been present at the inauguration ceremony. The nose on the Agrippa sculpture was broken off when the structure was destroyed.

(b) Portrait Busts and Statues

At least twenty-one busts have been identified – or labelled – as M. Agrippa. All share varying accentuations of similar characteristics: a squarish, fleshy, clean shaven face, often with dimples in the cheeks; a pronounced chin with a slight double chin; deep set eyes beneath wide and bushy eyebrows, which often sag at the centre above the pupil; a long nose with a slight bridge; and a mop of hair cut short and left tousled, combed to the front with a sweep to the right. Identifications as Agrippa are subjective and are based on comparison with other representations, such as coins and other busts of the time, for comparable style and treatment. For surveys of portraiture of the early Principate and the issues associated with identification see Boschung (1993), Fittschen (1987), Kiss (1975) and Rose (1997).

Each sculpture is an individual piece, the product of the unique talent of its artist, not the uniformity of a machine. Several appear to be copies of a common reference model. The bust in the Museo Archeologico Statale, Vibo Valentia in the Calabria region of southern Italy, has surface incrustation and wear but still preserves the heavy eyebrows, deep eyes and shape of the iconic face seen on the coin struck by Caligula (
BMCRE
I 122). The head is tilted slightly down and the expression is introspective.

In similar style, the better preserved bust in the Palazzo dei Conservatori, Rome (inv. 2670) has a more youthful look. The bust was found at the Theatre of Marcellus where it may have once adorned the
scaena frons
. Measuring 37cm, the bust of white marble has damage to the nose, chin and left cheek and chips in both ears. The head has a slight downward tilt – consistent with it being mounted high on a decorative theatre backdrop – and there is a wistfulness in the subject’s expression.

If the portrait bust (
plate 2
) from the Theatre of Marcellus shows a young looking Agrippa, that from Pisa in the Museo dell’Opera del Duomo (inv. 1963, 89) has a decidedly more mature appearance. Carved from lava stone, the bust measures 31cm. Despite the missing nose, the bust shares the distinctive eyebrows and double chin recognizable in the others.

The portrait bust discovered by Gavin Hamilton in 1792 was one of several of members of the imperial family found during excavations to the east of the temple at Gabii in the supposed area of the forum. Later part of the Borghese Collection, it was sold in 1807 to the French state along with 159 other busts and 154 statues and moved to the Louvre, Paris (inv. MA 1208) where it is today. Allowing for the small nick in the nose (which has been repaired) and ears and the polishing of the surfaces in modern times, this bust is one of the most iconic images of Agrippa to survive. At 46cm it is also one of the largest. The portrait is highly naturalistic and has all the characteristic features associated with Agrippa’s visage. The sculptor has captured the man in a candid and unemotional mood.

Similar stylistically to the Gabii statue bust is another (
plate 3
) in the Louvre (MA 3554) which originally came from Rusicada (Philippeville) in Algeria (Roman Numidia). The bust is now missing the top of the head from above the hairline up, the nose and the neck below the jaw. The top and back surfaces are flat and there is a piece of a metal pin suggesting the lost part of the bust was attached separately in antiquity. The remaining portion measures 22cm. The quality of the workmanship is of the highest order, for example in the way the sculptor carved the fleshiness of the cheeks into the white marble. It has been dated to the reign of Claudius.

The Museo degli Uffizi, Florence has in its extensive collection a bust of Agrippa (inv. 1914, no. 90) which was found in Rome and at one time may have been owned by Lorenzo de’ Medici. It too bears remarkable similarities to the Gabii head (inv. MA 1208). The 68cm bust of white marble has repairs to the nose and ears and sits on a modern stand.