Roman Marble Bust of Marcus Aurelius Fulvus Antoninus

One of the finest and best preserved Roman Imperial portraits remaining in private hands. Recently rediscovered and identified as the biological son of Antoninus Pius (r.138-161 AD), Marcus Aurelius Fulvus Antoninus.

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Image 1 & 2:
The ArtAncient bust of Marcus Aurelius Fulvus Antoninus, front and three-quarter views.

An Antonine Prince

The present bust is the finest and best preserved of a Roman Imperial portrait type known from only nine extant examples. Despite the type being previously identified as a young Commodus, classical archaeologist and renowned scholar, Professor Klaus Fittschen has convincingly argued that this is in fact a posthumous depiction of Marcus Aurelius Fulvus Antoninus, the biological son of Antoninus Pius (r.138-161 AD), who died before his father's accession to the Imperial throne.³

The rule of the Antonine dynasty is often considered the apogee of the Roman Empire. Antoninus Pius ushered in an era of peace and prosperity, which was carried forward by his adoptive sons, Marcus Aurelius and Lucius Verus. While Verus expanded the Empire's frontiers through military campaigns, Marcus Aurelius—sole ruler after his brother's death—endures as the philosopher-king, with his Meditations famously reflecting the Stoic ideals of duty, discipline, and the pursuit of virtue and truth that defined his reign. While the assassination of Commodus brought the dynasty to an end following his infamous and turbulent rule, the Antonines remain one of the most famous Imperial dynasties, presiding over Rome at the end of the period famously known as Pax Romana.

In this context of philosophical and political power, the Antonines also oversaw the emergence of an artistic style that has become uniquely associated with the Roman Imperial period. With their high polish, dramatic use of the running drill and articulated eyes, portraits of the Antonine period made use of novel techniques to maximise the effect of light, shade and reflection. This created a vivid, expressive style that defined the artistic identity of the dynasty, and had an enormous influence on the visual landscape of 18th and 19th century Neoclassicism.

Image 1 & 2:
The ArtAncient bust of Marcus Aurelius Fulvus Antoninus, front and three-quarter views.

Rediscovered Masterpiece

On account of the remarkable preservation and the flamboyant style of the drapery, the present bust was believed to be a Neoclassical copy by its former owner. But its style is typical of the Antonine period, ultimately being the result of technical advancements in the second century sculpting process.⁵ During this period, the drill emerged as the favoured tool for accurately rendering elaborate curls of fashionable hairstyles, but it was also used to add depth to drapery, as well as figures' facial features.⁶ This novel carving method is visible here, both in the drapery and the hairstyle, which is typified by the extensively drilled curls, and the separation of locks by drilled channels. Even the corners of the mouth and pupils of the eyes here are drilled, as is typical with Antonine portraiture of this period. Most importantly, traces of two measuring points — small bosses of stone protruding from a carved surface — on the top of the head indicate that the piece was likely copied, in line with ancient techniques, from an original prototype. Close comparison with another head now in the Glyptotek in Copenhagen, identified by Fittschen, indicates that ours must have been produced in antiquity by a sculptor with intimate knowledge of a common model.

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Image 10:
Measuring point on the ArtAncient bust.

Image 10:
Measuring point on the ArtAncient bust.

The Inglis Family of Glencorse

The bust was likely acquired by Sir John Inglis (1810-1892), distinguished lawyer and politician, on one of his trips to the continent around the 1850-60s. Known for his illustrious legal career as Lord Justice-General of Scotland and Lord President of the Court of Session in 1868, he also had ‘a great love for and keen appreciation for art.’⁷ A collector and philanthropist, Inglis actively supported exhibitions, lending his own works by the likes of Henry Raeburn (1756-1823) and William Shiels (1785-1857) to the Royal Scottish Academy, as well as sitting on the Board of Manufacturers, the institution that founded the National Gallery of Scotland and the Scottish National Portrait Gallery. He was known to have ‘brought paintings and bronzes and other objects of art from all quarters for the ornamentation of his house’. He even hired the renowned architect of the age, Sir David Bryce (1803-1876), to oversee the renovation of his homes in line with the Neoclassical style of the day. Indeed, ‘taste was extremely good and pure, and educated as well as intuitive.’

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Image 16:
Portrait of John Inglis, Lord Glencorse (1810–1891).

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Image 17:
Abercromby Place, Edinburgh, unknown date, early 20th century.

Between 1849 and 1852, Inglis made several trips to the continent, visiting ‘many German and Italian galleries,’ and preserving ‘a vivid recollection of the achievements of art which he had admired in continental centres.’ Through his sister-in-law's marriage, Inglis had close familial connections to Florence, and it is possible that during one of these trips Inglis acquired the present bust, and also came to know the archaeologist and dealer, Wilhelm Helbig (1839-1915), who was an active dealer in Italy during this period.

Though the piece stayed in the family, it was eventually mistaken for a modern sculpture, until its rediscovery in 2024.

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Image 18:
Glencorse House, c.1970s.

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Image 19:
Loganbank House, c.1883.

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Image 20:
The present bust seen in the background of a family Christmas, c.1998-2001. At this time, it was not known the piece was ancient.