Emperor Caracalla as sole ruler

Marcus Aurelius Severus Antoninus, given the nickname Caracalla (after a hooded Gallic cloak) even during his lifetime, came to power with his younger brother Geta after the death of their father Septimius Severus (r. 193–211). Their coregency suddenly ended when Caracalla ordered the death of Geta and many of his supporters in 212 (cf. cat. no. 154). In Mesopotamia on April 8, 217, after five years as sole ruler, Caracalla too was murdered.
Caracalla looked to Alexander the Great as a role model and sought to imitate him in both conduct and appearance. “He was such a passionate devotee of Alexander’s that he used certain weapons and drinking cups that he thought had once belonged to Alexander. He also set up many portraits of Alexander…” (Cassius Dio, Roman History 78, 7, 1). Caracalla supposedly modelled himself on the Macedonian ruler even in his gestures and facial expressions.
The Berlin portrait depicts Caracalla’s head and entire upper body, as was popular among portrait busts from the second century AD onward. Except for the general’s cloak draped over his left shoulder and the sword belt across his chest, the emperor is nude. The nudity combined with the military trappings elevates him above the realm of the everyday into a heroic sphere. His head is stocky and compact, and turned strongly towards his left shoulder. His hair, rendered in knotlike tufts, lies close to his skull. The tufts at the center of his forehead are clustered together and point upwards, perhaps a play on Alexander the Great’s hairstyle (anastole). A short moustache and beard complete the coiffure. The facial features are full of energy: numerous horizontal and vertical creases on the forehead and bridge of the nose accentuate the powerful movement and drama of the whole physiognomy. The effect is heightened by the partially shaved chin and the small, slightly open mouth. The portrait follows not only images of Alexander but also those of athletes.
In AD 212 this portrait type, the so-called “sole ruler” type, replaced the portrait of Caracalla as the young successor to the throne. It remained in use until AD 217. In presenting himself as a vigorous autocrat living up to athletic and military ideals, the emperor represented himself in a manner very different to that of his predecessors.