ne of the most widely recognized Roman lorica was the so called 'muscle' cuirass (thorax statios in Greek), probably Hellenistic in origin. This cuirass was molded on the contours of the muscles of the male chest which were reproduced in an idealized manner. Tarassuk and Blair (1982: 311) suggest that this type of cuirass was constructed from iron or bronze, consisting of a high-waisted or hip length breastplate. Shoulder straps hinged to the edges of the back plate, with their forward extremities tied down to rings on the breast. These plates had side fastenings with perhaps two hinges or a pair of rings joined by ties providing for the soldier's left and right flanks (Robinson 1975: 149). Muscle cuirasses have been frequently believed to have been made of leather. However, a molded leather cuirass would have to be very thick and rigid to have any defensive qualities (Robinson 1975: 147). Robinson (1975: 147) suggests that this cuirass type was probably worn almost exclusively by emperors and top-ranking military leaders as a symbol of Roman might and sovereignty. Tarassuk and Blair (1982: 311) propose that this form of cuirass was also adopted and worn by members of the Praetorian Guard for dress occasions as late as the middle of the 2nd century A.D. They base this proposition on the famous Praetorian relief in the Musee du Louvre, Paris (see image MU1) and on the base of the column of Antoninus Pius, in the Vatican Museum, where a centurion is shown wearing such an item. This type of cuirass may have been used by Roman soldiers as late as the 4th-5th Centuries A.D. (Tarassuk & Blair 1982: 311). None of these metallic muscled cuirasses of the Roman period have survived in the archaeological record (Bishop & Coulston 1993: 85). However, Etruscan metal muscle cuirasses dating from 5th to the 3rd Century B.C. have been found (Robinson 1975: 147, see image MU2).

MU 1 - MARBLE RELIEF

elief of the early 2nd Century A.D. Officers and men of the Praetorian Guard are depicted wearing muscle cuirasses with pteruges at the arm openings and suspended from the lower edge of the breast plate. Musee du Louvre (Robinson 1975: 147).

MU2 - BRONZE MUSCLE CUIRASS

ronze metal muscle cuirass, Etruscan 5th to 3rd century B.C. Showing hinges and tie rings located on the left side. British Museum (Robinson 1975: 147).

eavily ornate lorica of this type were often depicted on statues created during Imperial Roman times. Early sculpture is characterized by a high standard of artistic merit and shows anatomical detail of the ideal male torso. Later Imperial statues illustrate ornamentation in relief, either embossed or applied. One of the best known examples of this type, dating to c.A.D. 14-29, is believed to represent the Emperor Augustus (The Prima Porta Augustus, in the Vatican Museum) (see image MU3. His embossed lorica is adorned with small figures in low relief, and on the right hand solar plexus region, is a man in full armour, probably Tiberius receiving a standard from a vanquished barbarian on the left (Robinson 1975: 152). Various deities are disporting themselves in the heavens (breast area), including Apollo, Aurora, Artemis, Sol and Caelus (Robinson 1975: 152, see image MU4). Other cuirassed statues such as Augustus (Archaeological Museum, Berlin) and Drusus (Cagliari Museum) show other popular decorative motifs (see images MU5 & MU6). These include apotropaic images such as Medusa heads on the breast, and a pair of griffins below the rib area of the breast-plate, and acanthus leaves (Robinson 1975:152). They also may show a single or double row of embossed scallop hems around the low rim of the cuirass, in addition to pteruges (Greek name), leather strips, at the arm openings and below the scallops suspended from the bottom edge of the cuirass to form a skirt attached to an under tunic. Robinson (1975: 149) suggests that stiffened pteruges, often reinforced with metal studs could likewise be used to provide some protection to the upper arms and thighs, however they were probably more ornamental than practical. These still-life Imperial portrait statues fulfilled an obvious propaganda role. Due to the nature of the evidence which is iconographic and triumphal, much of the representations would have been conventionalised and idealised. Therefore conclusions drawn from such evidence must be viewed with caution.

MU3 - MARBLE STATUE

rima Porta Augustus. Embossed muscle cuirass with a single row of pteruges attached at the shoulder openings and to the bottom edge of the cuirass. Vatican Museum.

MU4 - CUIRASS DETAIL

etail of the lorica of the Prima Porta Augustus. Vatican Museum (Robinson 1975: 152).

MU5 - MARBLE STATUE

MU6 - MARBLE STATUE

rusus. Cagliari Museum (Robinson 1975: 151).

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	INTRODUCTION		CONTEXT		MUSCLE CUIRASS
	SCALE (Lorica Squamata)		MAIL (Lorica Hamata)		SEGMENTED (Lorica Segmentata)
	NATURE OF THE EVIDENCE		CONCLUSION		BIBLIOGRAPHY