Marcus Agrippa: Right-hand Man of Caesar Augustus by Lindsay Powell

are broken and the surface texture is marked, but two deep furrows are still clearly visible. The bust conveys both the gravitas and modesty of the victor of battles on land and sea yet whose face bears the personal cost of war experienced firsthand.
    In the Musée Saint-Raymond in Toulouse is a bust (inv. 30002) which was originally part of a statue group from Colonia Urbs Iulia Baeterrae (modern Béziers, Hérault), a city founded for veterans of Legio VII in Gallia Narbonensis. Carved out of white marble, it was probably once part of a togate statue. The fragment is 32cm high, of which the head alone measures 24.5cm, and is missing the nose. The face appears narrower than the Ny Carlsberg (inv. 608) and other examples.
    The bust in the Palazzo Spado, Rome (inv. 234) was severed at the neck in antiquity and is fitted to a modern replica of the base for display. Carved of fine grain white marble the face measures just 19.5cm and features a notably narrow face. The bust portrays a composed and calm individual, but the downwardsloping eyebrows and expression of the lips hint at a melancholic mood. On stylistic grounds it has been dated to the reign of Tiberius.
    Sharing the same squarish shape of the Copenhagen (inv. 608) bust is the head in the Museum at the University of Bochum, Germany. Cut from white marble with a crystalline composition, the stone has a greenish yellow colouration. Of the many busts to survive, this one, with its heavy eyebrows, cheek dimples and unemotional stare typifies more than most the ‘classic’ look of Agrippa.
    A badly damaged head, believed to come from Ancona or somewhere in the Marche region of central Italy, has disappeared since its discovery and is known only from photographs in the archive of the Archaeological Institute of the University of Heidelberg, Germany. The white marble bust is notable for the heavy eyebrows, which arch upwards, and the brow with four deep furrows.
    The incomplete bust (statue inv. 91422, head inv. 932) in the Lucus Feroniae Museum at Capena near Rome has been re-assembled from many fragments. It is similar in appearance to the specimens in Bochum and Copenhagen (inv. 608). Carved from Pentelic marble from quarries near Athens, Greece, at 32cm it was originally part of a statue that stood 1.77m tall. It is detailed to a very high standard, particularly the deep eyes, heavy eyebrows and three furrows on the brow. Unusual in busts of Agrippa, there is a dimple in the chin. The portrait conveys strength of character and assured self-confidence. Stylistically it is very similar to the Agrippa (S-28) on the Ara Pacis Augustae .
    From the Esquiline Hill in Rome, and now in the Jandolo Collection, is a bust carved from white, fine grain marble measuring 34cm high. It was originally part of a statue from which it was severed, and the nose is modern. A serious, almost scowling Agrippa is shown with his head covered with a fold of his toga as he does on the Ara Pacis .
    The bust in the British Museum, London (inv. 1881) also comes from a togate state of Agrippa displayed originally on the island of Capri. Some 46cm high, the portrait is well preserved, and the finish is exceptional. The toga , which covers the head, is smashed from the body at the rear of the head, though a long section is preserved on the left side. The tip of the nose is a modern restoration. Agrippa has a slimmer face in this interpretation and the artist has imbued the subject with a calm but authoritative appearance.
    The Metropolitan Museum of Art, New York has an exceptional bronze bust (inv. 14.130.2) found on 11 August 1904 in the forum at Segusium (Susa, Piedmont). A full 31cm high, it originally came from a full statue, small pieces of which have been found close to the find site. The accompanying fragmentary inscription indicates it was dedicated to Agrippa by a son of Cottius, the client king and praefectus of the Alpine district who died around 13 BCE, providing a terminus post quem for the