Pollice Verso (Gérôme)

''Pollice Verso'' (from la, with a turned thumb) is an 1872 painting by French artist Jean-Léon Gérôme, featuring the eponymous Roman gesture directed to the winning gladiator.

The thumbs-down gesture in the painting is given by spectators at the Colosseum, including the Vestals, to the victorious murmillo, while the defeated retiarius raises two fingers to plead for mercy. The painting was an inspiration for the 2000 film ''Gladiator'', where Commodus holds out a raised thumb to spare the film's hero, Maximus.

The painting

Along with gladiators, Vestals, and spectators, the picture shows the emperor in his box.

Alexander Turney Stewart purchased the painting from Gérôme at a price of 80,000 francs, setting a new record for the artist, and exhibited it in New York City. It is now in the Phoenix Art Museum in Arizona.

File:Jean-Leon Gerome Pollice Verso (cropped2).jpg, Detail: the Vestal virgins signal death for the defeated gladiator.

Historical accuracy

The painting almost immediately kicked off a controversy over the accuracy of Gerome's use of the thumbs-down gesture by spectators in the Colosseum. A 26-page pamphlet published in 1879, ''"Pollice Verso": To the Lovers of Truth in Classic Art, This is Most Respectfully Addressed'', reprinted evidence for and against the accuracy of the painting, including a letter dated 8 December 1878 from Gérôme himself.

The controversy remains unsettled. The exact gesture described by the phrase ''pollice verso'' is not known. From historical, archaeological and literary records from ancient Rome, it remains uncertain whether the thumb was turned up, turned down, held horizontally, or concealed inside the hand to indicate positive or negative opinions. Gérôme's painting greatly popularized the idea that thumbs up signaled life, and thumbs down signaled death, for a defeated gladiator.

Gérôme's depiction of the Colosseum's architecture is based on accurate drawings, and the armor of the gladiators follows the design of those found in Pompeii, although there are some inaccuracies in the murmillo's armor. His depiction of blood-thirsty Vestal virgins demanding death may have been inspired by a passage by the ancient Christian author Prudentius, who disapproved of the carnage in the arena:

Then on to the gathering in the amphitheatre passes this figure of life-giving purity and bloodless piety he Vestal to see bloody battles and deaths of human beings and look on with holy eyes at wounds men suffer for the price of their keep. There she sits conspicuous with the awe-inspiring trappings of her head-bands and enjoys what the trainers have produced. What a soft, gentle heart! She rises at the blows, and every time a victor stabs his victim’s throat she calls him her pet; the modest virgin with a turn of her thumb bids him pierce the breast of his fallen foe so that no remnant of life shall stay lurking deep in his vitals while under a deeper thrust of the sword the fighter lies in the agony of death.

Influence on cinema

This painting and others by Gérôme (including his earlier '' Ave Caesar! Morituri te Salutant'') had a strong influence on the visual portrayal of the ancient world by later filmmakers, beginning with silent movies. The painting was a catalyst for director Ridley Scott; when the producers of ''Gladiator'' showed him a reproduction of the painting before he read the script, Scott recalls, "That image spoke to me of the Roman Empire in all its glory and wickedness. I knew right then and there I was hooked."Diana Landau, editor. ''Gladiator: The Making of the Ridley Scott Epic''. New York: Newmarket, 2000, p. 26.

Sculpture

In his Thirties , Gérôme took up sculpture. His first work was a large bronze statue of a gladiator holding his foot on his victim, based on ''Pollice Verso'' and first shown to the public at the Universal Exhibition of 1878 in Paris.Chisholm, Hugh, ed. "Gérôme, Jean Léon," ''Encyclopædia Britannica'' (11th ed.). Cambridge University, 1901. After Gérôme's death, in 1909, his son-in-law Aimé Morot created ''Gérôme Sculpting "The Gladiators": Monument to Gérôme'', which comprised a new casting of Gérôme's statue along with Morot's portrait sculpture of Gérôme at work. Morot's sculpture resides in the Musée d'Orsay in Paris.

Gallery

File:Pollice Verso--pamphlet--Paris--1879.jpg, Title page with illustration fro
''"Pollice Verso": To the Lovers of Truth in Classic Art, This is Most Respectfully Addressed''
1879.
File:Jean-Leon Gerome Pollice Verso (cropped3).jpg, Detail: close-up of the gladiators
File:Gerome The Gladiators bronze 1878--photogravure Goupil c1892.jpg, ''The Gladiators'', bronze, 1878, by Jean-Léon Gérôme; photogravure Goupil c. 1892
File:Gérôme gladiateur.JPG, ''Gérôme Sculpting "The Gladiators": Monument to Gérôme'', 1909, by Aimé Morot, Musée d'Orsay
File:Gérôme exécutant les Gladiateurs (cropped).jpg, Another view of the Morot sculpture
File:Ave Caesar Morituri te Salutant (Gérôme) 01.jpg, '' Ave Caesar! Morituri te Salutant'', 1859, by Jean-Léon Gérôme, Yale University Art Gallery
File:Étude pour le vaincu dans le tableau Pollice verso. vers 1872. Fusain, 21 x 23 cm.jpg, Chalk study for the defeated gladiator. Photo: Jamie Mulherron

References

Further reading

* Anthony Corbeill. "Thumbs in Ancient Rome: Pollex as Index" in ''Memoirs of the American Academy in Rome'' 42, 1997, pp. 61–81.
* Anthony Corbeill. ''Nature Embodied: Gesture in Ancient Rome'', Princeton University Press, 2004. 978-0-691-07494-8

{{DEFAULTSORT:Pollice Verso (Gerome)
1872 paintings
Paintings about death
Paintings by Jean-Léon Gérôme
Ancient Rome in art and culture