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Venus Genetrix (sculpture)
The sculptural type of Venus Genetrix shows the Roman goddess Venus in her aspect of ''Genetrix'' (mother), as she was honoured by the Julio-Claudian dynasty of Rome, who followed the precedent of Julius Caesar in claiming her as their ancestor. Through this historical chance, a Roman designation is applied to an iconological type of Aphrodite that originated among the Greeks.
On the night before the decisive battle of Pharsalus (48 BC), Julius Caesar vowed to dedicate a temple at Rome to Venus, supposed ancestor of his ''gens''. In fulfilment of his vow he erected a temple of Venus Genetrix in the new forum he constructed. Contemporary references〔Cassius Dio, xliii.22; ''Pliny's Natural History'', vii.126, ix.116, xxxvii.11, Appian, ''Bellum Civile'' ii.102; these were noted in Dorothy Kent Hill, "Venus in the Roman East", ''The Journal of the Walters Art Gallery'' 31/32, (1968/1969:6-12) p. 6 note 1.〕 identify the cult statue in the temple as by a certain Greek sculptor, Arkesilaos.
Two types, represented in many Roman examples in marble, bronze, and terra cotta, contend among scholars for identification as representing the type of this draped ''Venus Genetrix''. Besides the type described further below, is another, in which Venus carries an infant Eros on her shoulder.〔Hill 1968/69 discusses the two contenders, with examples of statuettes at the Walters Art Museum, Baltimore (figs. 1-3).〕
==Original==
In 420 - 410 BC, the Athenian sculptor Callimachus created a bronze sculpture of Aphrodite (now lost), which, according to Pliny's Natural History〔''Historia Nat.'' xxxv.156.〕 showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal,〔Many of the replicas are only roughly finished at the back.〕 the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean canon.
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