Livia at The Réunion des Musées Nationaux, Paris

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This portrait of Livia, wife of Augustus, embodies the tradition of Roman Republican portraiture and showcases the classicizing style that dominated during the reign of Augustus. This official portrait serves as a tool for the propaganda of the essentially monarchist regime installed in the late first century BC under the guise of restoring the Republic (59-27 BC). By examining the material - basanite - this head dates back to Octavian's victory over Mark Anthony and Cleopatra at Actium in 31 BC. This basanite head is a portrait of Livia, born circa 57 BC, who died in AD 29. It closely resembles her effigies on coins and hardstone cameos, such as the one found in The Hague. As a member of the Roman nobility, Livia played a significant role in establishing the Julio-Claudian dynasty. Her children from a previous marriage to a Claudian family were adopted by Octavian Augustus, whom she married in 38 BC before he became emperor. This work exemplifies the propaganda of the new regime, which claimed to be merely restoring the Republic rather than a monarchy. In reality, almost all power - political, military, and religious - rested with one man: Augustus. Livia's hairstyle is fashionable from the mid-first century BC: a roll of hair ("nodus," in Latin) over her forehead, accompanied by a small bun at the nape of the neck and a short central braid (hidden by a veil in this portrait). The austere features link this face to traditional Republican portraiture, which aimed to highlight the merits of the ruling class. This work also illustrates the classicizing style that triumphed during the reign of Augustus (27 BC-AD 14): official portraits were idealized in reference to fifth-century BC Athenian classicism, thereby expressing Augustus' desire to affirm the restoration of a "golden age." Basanite is an extremely hard material that gives this head an almost metallic sheen, resembling bronze portraits from the same period. However, its hieratic quality, strict frontal presentation, and refinement also recall the royal art of Hellenistic Egypt. This has been interpreted as a deliberate reference to Octavian's seizure of the kingdom of Cleopatra VII after his victory over Mark Anthony and the Egyptian fleet at the Battle of Actium. This portrait likely dates back to the period just after that battle, circa 30 BC, when Livia was 27 years old. This object is part of "Scan The World," a non-profit initiative introduced by MyMiniFactory. Through this project, we are creating a digital archive of fully 3D printable sculptures, artworks, and landmarks from across the globe for the public to access for free. Scan The World is an open-source community effort. If you have interesting items around you and would like to contribute, email stw@myminifactory.com to find out how you can help.