New York Times, November 30, 2009
A Museum Hails Caesar, Even if Some Antiquarians
Don’t Agree
By MAÏA DE LA BAUME
ARLES,
France — Dredged up from the murky depths of the Rhône River, beneath a
heap of wrecked cars, rotting tires and more than 20 centuries of silt, the
statue’s white marble visage was plain as day.
“My God, it’s
Caesar!” Luc Long remembers shouting after his team of archaeologists and
divers discovered the statue in 2007.
The Roman appears with little
hair, a wrinkled forehead, a prominent Adam’s apple and features that,
for Mr. Long, “seem carved in human flesh.” But Mr. Long did not
realize at the time that he had discovered what he said was “the first
portrait made of Caesar when he was alive.” The bust, which
France’s Culture Ministry now dates from 46 B.C., is thought to be the
only known surviving statue of Julius Caesar carved during his lifetime.
Historians say images of a
contemporaneous Caesar are rare — they are generally idealized versions,
produced after his assassination two years later, in 44 B.C. — so the
sudden news of the bust’s emergence led some of them to question its
authenticity.
Christian Goudineau, a French
historian who lectures on Julius Caesar at the prestigious Collège de France in
Paris, was caught off guard when Mr. Long told him of the discovery. “I
was bewildered,” he recalled.
Some colleagues, he said, have
suggested that the Caesar found in the Rhône does not resemble the Caesar
usually shown, and that the statue might more likely portray a noble from
Arles, a city founded by the Romans. One skeptic, Mary Beard, a classics
professor at Cambridge, pointed out in her blog for Times Online, affiliated
with The Times of London: “This style of portraiture lasted for centuries
at Rome. There is nothing at all to suggest that it came from 49-46 B.C.”
After more than two years of
restoration and identification, the bust now sits on a white platform in a
museum, part of a collection of some 700 items found in the Rhône over the last
20 years that was inaugurated last month at the Musée Départmental de
l’Arles Antique. Le Monde described the exhibit, called “Caesar:
The Rhône as Memory,” as “one of the most clever and beautiful
exhibits of the last 30 years.”
The display includes a rare
third-century, six-foot-tall marble carving of the god Neptune; an undated
bas-relief of Victoria, the Roman goddess of victory, covered with gold leaf;
and a bronze of a captured barbarian with his hands tied behind his back,
presumably awaiting his fate.
The bust is thought to have been
carved to honor Caesar as a patron of Arles, a city he used as a base for his
campaign against his rival, Pompey, for leadership of the Roman Empire.
Mr. Goudineau said that he thought
the bust showed the same face as that of the Caesar on Roman coins; he
dismissed the arguments presented by those who questioned the bust’s
depiction. “Which noble from Arles would order a bust of himself made in
the best, the most expensive and rare marble, and ship it by boat?” he
asked.
Mr. Long wrote a 20-page essay on
the bust’s origins for the exhibition’s catalog. And he has brought
international experts to Arles to study his discovery.
For Claude Sintes, the director of
the Arles museum, Mr. Long’s findings could fundamentally shift
historians’ understanding of the importance of Arles, “an
intensively Romanized port where the Romans wanted to spread their power,”
he said.
The sculpture of Nike, which has
its original varnish and gold covering, decorated a government building, while
the bronze sculpture of the barbarian is said to be part of an imperial statue.
“We might discover that
Arles was much more extensive than we thought and more economically powerful
than we could have imagined,” Mr. Sintes said, adding that it was too
early to draw further conclusions.
Mr. Goudineau, the historian,
said, “Arles was twice bigger than what we thought.”
Like many of his colleagues, he
said he believed that the discoveries brought to light the Roman past of a
neighborhood of Arles called Trinquetaille on the right bank of the Rhône.
“I was convinced that there
was something on the other side of the river,” he added, citing Ausonius,
a Latin poet from the fourth century A.D. who referred to Arles as “the
double Arles.”
For an experienced archaeologist
and scuba diver like Mr. Long, who grew up in Arles, the Rhône is an unexpected
treasure-trove.
“I worked in Libya, Malta
and Gabon,” he said in an interview. “But the exceptional
discoveries — I made them just outside my window.”
The Rhône is “a gloomy
world,” he said. “It offers no visibility, a strong current, a lot
of pollution, a constant flow of boats and regular attacks from brown
bullheads,” fish commonly called mud pouts. The filthy water has been
known to cause a variety of infections and ailments, including ear
inflammation.
But Mr. Long also believes that
the Rhône has a secret power. “It preserves wood, limestone and marble
better than any sea,” he said. The river also has “none of the
abrasiveness of sea sand, and the current always runs in the same
direction.”
In 1986, he dived with a friend
who took him down 30 feet, to a spot rich with artifacts. For 20 years, joined
by a crew of 20 art history students and professional divers, he dived several
times a day, recovering hundreds of Roman vases and amphorae. He thought there
would be no other treasures to explore.
But in fall 2007 came the
“miracle finding,” he said, the discovery of the bust and the
Neptune.
Mr. Sintes, the museum director,
is convinced that the Rhône will continue to offer up marvels. “If the
next discovery is Cleopatra,” he said, smiling, “we will have to
extend the museum.”
http://www.nytimes.com/2009/11/30/world/europe/30caesar.html?_r=1
