An ancient "contorniate" from the fourth century representing Apuleius.
Descriptive text from A. Alföldi, Die Kontorniaten:
On a Parisian contorniate from the collection of Queen Christine of Sweden (abg. Muenztaf. V. Nr. 117)[[1]] is represented a portrait bust of a youth with long locks of hair, encircled by a fillet. The youth is labeled as Apuleius by an inscription. On the reverse is a soldier armed with helmet and shield. He is turned toward a temple, whose acroteria display three busts. Most likely, it can not be doubted that L. Apuleius, who came from Madaura in Numidia and was famous as a rhetorician, philosopher, and mage, is here intended. Apuleius was born around 125 c.e. and flourished under the Antonine rulers. He chiefly practiced his rhetorical skill in Carthage, and he was the author of the great novel "The Metamorphosis or on the golden ass," which contains the well-known tale of Cupid and Psyche. The beardless face of the youth, together with his shoulder-length hair, certainly recalls every other image before that of a philosopher. Nevertheless, a place in his still-preserved defense speech (delivered on account of a charge of magic-use) shows that he, in fact, was of charming form and that he wore long hair like on the coin-picture, only perhaps not as well-groomed as his opponents alleged. Additionally, the vanity which he reveals in his writings, gives one every reason to expect an uncommon bearing [Antreten] with respect to his outfit and his hairstyle. The fillet can be accounted for, if need be, by his role as "Epopt" [German retained, must be a specific type of priest]. Nevertheless, there is available reason enough to doubt the authenticity of the representation, partly because of the unreliable character of the contorniates. And if it is at all possible that the maker of the coin was guided by statues that existed at the time (4th or 5th c. c.e.) - Christodor mentions such a statue as being in the Zeuxippos at Constantinople - then, the coin-model (typos) can also easily be a mere fabrication. Accordingly, Bottari has labelled as Apuleius a Herma, located in the Capitoline Museum, philosopher's room #26 (abg. Mus. Cap. I. 1)[[2]]. The Herma corresponds to the representation on the coin as far as hairstyle and youth, but it lacks the fillet. Bottari was doubtless incorrect, because it seems to be much more a matter of an ideal representation, as the restorer has also labelled it because of its naked breast. - Just as well, one could bring into connection with the contorniate the so-called Virgil (see above, p. 250) or the alleged Ptolemaeos, No. 85 in the same place[[3]], both of whom wear fillets besides. And a quite similar bust, called Apuleius is said in the 17th c. to have passed over from the Cardinal Camillo Massimi to the Spanish ambassador in Rom, D. Gaspero de Haro.[[4]] The hypothesis of Flasch, however, can not be completely thrust aside. According to him, we should be able to recognize in the bust, located in the Capitoline Museum (previously in the exterior gallery but now in philosopher's room #59 (abg. Righetti Camp. II. 233)[[5]] and commonly interpreted as a barbarian, a representation of Apuleius. It is a well-preserved head found at Naples atop an unbroken piece of a naked breast. The head is turned to the right and set into a sideward glance (with suggested [angegebenen] pupils). In it, we find the characteristic rich but unkempt hair which flows up over his brow and then falls down in tangled strands over his temples and ears and by which one is instinctively reminded of the self-description in the Apology (above, note 2); also, the blunt, wide-ish nose with its flared nostrils and the full [aufgeworfenen] lips can be looked at as characteristics of the african typos. With that, there is the youthfulness, which corresponds to the coin and is accompanied here by a scarcely visible beard [Halsbart] as well as the artistic style, obviously related to the end of the 2nd century. All of these things are entirely in keeping with the proposed identification. Less applicable (in light of the _inenormis proceritas_ and _succulenta gracilitas_ [desc. in Metam. II, 2]) are the proportions, the strong shoulders, and (in a representation of a philosopher) the full nakedness of the breast as well as the lack of the fillet, if one starts from the contorniate - and in such outward traits the coin could be completely precise - all must raise doubts. Finally, the physiognomic expression, a mixture of pride and displeasure, could indeed be motivated by the disposition, in which the accusers placed Apuleius. This, however, would be without analogue in an ancient portrait. The artists have mostly symbolized permanent character traits in this manner (e.g., in Caracalla) but never momentary emotions. - We could, from that, attribute only a very relative level of probability to the supposition. Brunn wished, as is well known [bekanntlich], to identify the very same bust as Arminius. In all probability, he made a mistake in the species of the national typos. However, a barbarian celebrated as hero, who may have distinguished himself in the service of the Romans or in the struggle with the Romans, also appears to us to be represented in the bust from the get-go [am ehesten]. [[1]] Visconti Icon. rom. XIV. Nr. 6. Nach einer Bemerkung dieses Gelehrten (Icon. p. 425 Anm. 3) soll A. Morell (1683) die Muenze zuerst publiziert haben. Aller Wahrscheinlichkeit nach ist es aber die gleiche, die schon Faber (Imagg. Nr. 25) als im Besitz des Ursinus befindlich abgebildet hat. [[2]] Righetti Camp. I. 47. 2. [[3]] Abg. Bottari I. 83; im Gegenstand identisch mit Braccio nuovo Nr. 24. [[4]] Bellori Imagg. vet. illustr. p.2. [[5]] Vgl. Beschr. d. St. Rom. III. 1. p. 164, Nr. 17; E. Braun Ruinen und Museen Roms p. 174.
