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Primary sourceDocument14 AD

Res Gestae Divi Augusti

Augustus · 14 AD

Augustus's own inscribed record of his achievements, which frames the war against Antony and Egypt's conquest without ever naming Cleopatra.

Augustus's own propaganda record claims victory over Egypt and Actium without naming Cleopatra, showing the victor's framing of events.

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Black-and-white photograph of a large weathered marble inscription in Latin capital letters, arranged in horizontal lines across several panels, with a large white area where stone is missing on the left side.
Res Gestae Divi Augusti, Monumentum Ancyranum, Ankara, Turkey.

About this source

What it is

Res Gestae Divi Augusti is a monumental inscription composed by Augustus himself, completed just before his death in 14 AD, recording his political career, public works, and military deeds. Copies were carved on temples across the empire, with the most complete surviving in Ankara, Turkey.

Why it matters

Augustus claims the oath of all Italy before the Battle of Actium and describes adding Egypt to Roman rule, but he never names Cleopatra or Mark Antony directly, referring to his enemies only vaguely. This shows how the winner of the war shaped the official story, erasing Cleopatra from his own account of the victory over her.

Look closer

  • Why might Augustus choose not to name Cleopatra or Antony in his own account?
  • What does leaving someone out of a historical record do to how later generations remember them?
  • This is Augustus's own self-promotion — how does that change how we should read his claims?

This document is part of the curated material that grounds the AI version of Cleopatra, Augustus, Julius Caesar and Virgil on Humy.ai — when students ask about related events, the AI can quote it and cite it.

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Close-up photo of a brownish papyrus sheet with dark ink lines of Greek handwriting in columns, torn edges, and a dark background showing through a split down the middle.Document

Primary source

Papyrus with Signature of Cleopatra VII

Ptolemaic scribe; possibly countersigned by Cleopatra VII · February 33 BCE

Hand-coloured aquatint titled Baths of Cleopatra, at Alexandria. A rocky coastal scene with a curved sandy inlet in the foreground, stone steps and a small arched doorway, a hill with ruined structures behind, and sailing boats on the sea. Figures in turbans and robes stand on the shore and sit in a rowboat.Painting

Secondary source

Baths of Cleopatra, at Alexandria

Luigi Mayer · 1802

Sepia-toned photograph of a white marble seated statue of Cleopatra by William Wetmore Story. She sits on a plinth engraved with the name CLEOPATRA, head resting on her raised hand, wearing a veil and draped robe, against a stone wall.Sculpture

Secondary source

Cleopatra

William Wetmore Story

Photograph of a white marble bust of a woman's head and upper neck, turned to the viewer's right. Wavy hair is combed over the forehead, a smooth bun sits at the back, and the hair shows a pinkish-brown discoloration. Light gray wall behind.Sculpture

Primary source

Portrait of Cleopatra (Berlin Bust)

c. 40-30 BCE

Marble sculpture of a woman's head and upper neck, shown in three-quarter view on a black stand against a brick wall. The hair is pulled back under a band with a knot at the top and a braided bun at the back. The face is calm with straight brows, a long nose, and closed lips. The bust is cut off at the base.Sculpture

Primary source

Head-Portrait of Cleopatra VII (Vatican Bust)

c. 40-30 BCE

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