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Portland Vase
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Portland Vase
The Portland Vase is a Roman cameo glass vase, which is dated between AD 1 and AD 25, though low BC dates have some scholarly support. It is the best known piece of Roman cameo glass and has served as an inspiration to many glass and porcelain makers from about the beginning of the 18th century onwards. It was first recorded in Rome in 1600–1601, and since 1810 has been in the British Museum in London. The museum held it on loan from the dukes of Portland until 1945, and bought it from them that year (GR 1945,0927.1). It is normally on display in Room 70.
The vase measures about 25 centimetres (9.8 in) high and 18 cm (7.1 in) in diameter. It is made of violet-blue glass, and surrounded with a single continuous white glass cameo making two distinct scenes, depicting seven human figures, plus a large snake, and two bearded and horned heads below the handles, marking the break between the scenes.
The bottom of the vase was a cameo glass disc, also in blue and white, showing a head, presumed to be of Paris or Priam based on the Phrygian cap it wears. This roundel[citation needed] clearly does not belong to the vase and has been displayed separately since 1845. It may have been added in antiquity or later, or is the result of a conversion from an original amphora form (paralleled by a similar blue-glass cameo vessel from Pompeii). It was attached to the bottom from at least 1826.
The meaning of the images on the vase is unclear, and none of the many theories put forward have been found generally satisfactory. They fall into two main groups: mythological and historical, though a historical interpretation of a myth is also a possibility. Historical interpretations focus on Augustus, his family and his rivals, especially given the quality and expense of the object, and the somewhat remote neo-classicism of the style, which compares with some Imperial gemstone cameos featuring Augustus and his family with divine attributes, such as the Gemma Augustea, the Great Cameo of France and the Blacas Cameo (the last also in the British Museum). Interpretations of the portrayals have included that of a marine setting (due to the presence of a ketos or sea-snake), and of a marriage theme/context, as the vase may have been a wedding gift. Many scholars (including Charles Towneley) have concluded that the figures do not fit into a single iconographic set.[citation needed]
Interpretations include:
Interpretations include:
Another variant theory is that the vase dates back to circa 32 BC, and was commissioned by Octavian (later Caesar Augustus), as an attempt to promote his case against his fellow triumvirs, Mark Antony and Marcus Lepidus in the period after the death of Julius Caesar. It is based on the skill of the famous Greek carver of engraved gems Dioskourides, who is recorded as active and at his peak circa 40–15 BC and three of whose attributed cameos bear a close resemblance in line and quality to the Portland vase figures. This theory proposes that the first two figures are Gaius Octavius, father of the future emperor, and Atia, his mother (hence Cupid with the arrow) who had a dream of being impregnated by Apollo in the form of a sea serpent (ketos), note the snake's prominent teeth. The onlooker with his staff, could be Aeneas, a hero of the Trojan Wars who saved his father by carrying him over his back (hence his hunched position, and his Trojan beard) and who is believed to have founded Rome, and from whom the Julian gens, including Julius Caesar and Attia, claimed descent, witnessing the conception of Rome's future savior as an Empire, and the greatest of all the Emperors.[citation needed]
On the reverse is Octavian, Octavia his sister, widow of Mark Antony (downcast flambeau, broken tablets) and Livia, Octavian's third wife who outlived him. These two are looking directly at each other. Octavian commanded she divorce her then husband and marry him with a few weeks of meeting, she was mother to the future Emperor Tiberius.[citation needed]
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Portland Vase AI simulator
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Portland Vase
The Portland Vase is a Roman cameo glass vase, which is dated between AD 1 and AD 25, though low BC dates have some scholarly support. It is the best known piece of Roman cameo glass and has served as an inspiration to many glass and porcelain makers from about the beginning of the 18th century onwards. It was first recorded in Rome in 1600–1601, and since 1810 has been in the British Museum in London. The museum held it on loan from the dukes of Portland until 1945, and bought it from them that year (GR 1945,0927.1). It is normally on display in Room 70.
The vase measures about 25 centimetres (9.8 in) high and 18 cm (7.1 in) in diameter. It is made of violet-blue glass, and surrounded with a single continuous white glass cameo making two distinct scenes, depicting seven human figures, plus a large snake, and two bearded and horned heads below the handles, marking the break between the scenes.
The bottom of the vase was a cameo glass disc, also in blue and white, showing a head, presumed to be of Paris or Priam based on the Phrygian cap it wears. This roundel[citation needed] clearly does not belong to the vase and has been displayed separately since 1845. It may have been added in antiquity or later, or is the result of a conversion from an original amphora form (paralleled by a similar blue-glass cameo vessel from Pompeii). It was attached to the bottom from at least 1826.
The meaning of the images on the vase is unclear, and none of the many theories put forward have been found generally satisfactory. They fall into two main groups: mythological and historical, though a historical interpretation of a myth is also a possibility. Historical interpretations focus on Augustus, his family and his rivals, especially given the quality and expense of the object, and the somewhat remote neo-classicism of the style, which compares with some Imperial gemstone cameos featuring Augustus and his family with divine attributes, such as the Gemma Augustea, the Great Cameo of France and the Blacas Cameo (the last also in the British Museum). Interpretations of the portrayals have included that of a marine setting (due to the presence of a ketos or sea-snake), and of a marriage theme/context, as the vase may have been a wedding gift. Many scholars (including Charles Towneley) have concluded that the figures do not fit into a single iconographic set.[citation needed]
Interpretations include:
Interpretations include:
Another variant theory is that the vase dates back to circa 32 BC, and was commissioned by Octavian (later Caesar Augustus), as an attempt to promote his case against his fellow triumvirs, Mark Antony and Marcus Lepidus in the period after the death of Julius Caesar. It is based on the skill of the famous Greek carver of engraved gems Dioskourides, who is recorded as active and at his peak circa 40–15 BC and three of whose attributed cameos bear a close resemblance in line and quality to the Portland vase figures. This theory proposes that the first two figures are Gaius Octavius, father of the future emperor, and Atia, his mother (hence Cupid with the arrow) who had a dream of being impregnated by Apollo in the form of a sea serpent (ketos), note the snake's prominent teeth. The onlooker with his staff, could be Aeneas, a hero of the Trojan Wars who saved his father by carrying him over his back (hence his hunched position, and his Trojan beard) and who is believed to have founded Rome, and from whom the Julian gens, including Julius Caesar and Attia, claimed descent, witnessing the conception of Rome's future savior as an Empire, and the greatest of all the Emperors.[citation needed]
On the reverse is Octavian, Octavia his sister, widow of Mark Antony (downcast flambeau, broken tablets) and Livia, Octavian's third wife who outlived him. These two are looking directly at each other. Octavian commanded she divorce her then husband and marry him with a few weeks of meeting, she was mother to the future Emperor Tiberius.[citation needed]
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