Paris Bordone (Paris Pascalinus). Apparition of the Sibyl to Emperor Augustus. Circa 1550.

Paris Bordone's painting Apparition of the Sibyl to Emperor Augustus depicts a medieval Christian legend described in the 13th century in “The Golden Legend” by the Italian writer Jacobus de Voragine. According to this legend, the Roman Emperor Augustus, who desired deification during his lifetime, received a prophecy from Tiburtine Sibyl—a prophetess who lived in the early 1st century AD—that he would behold the true God. Soon after, witnessing the apparition of the Virgin Mary holding the infant Jesus Christ, Augustus renounced his own deification.  

The legal dimension of this story relates to the juridical status of Roman leaders. The title of “imperator” derived from “imperium”, signifying supreme authority vested in Rome’s magistrates, many of whom held both military and civil powers.  The emperor was a “princeps”— the first among equals in the Senate. This title uniquely combined the authority of a tribune (granting control over legislation through veto power) with supreme military command and provincial governance. Some emperors also held the religious office of “Pontifex Maximus” (supreme pontiff).  

In many ancient states, it was customary to deify rulers. The Roman Empire was no exception: the imperial cult emerged under Augustus and persisted until the Christianization of the empire under Constantine the Great, culminating in the Edict of Milan (313 AD). 
Deification or “apotheosis” was formalized by a Senate decree, often initiated by the emperor himself. In extraordinary cases,the Senate could independently confer divine status. By a decree of the Senate, the emperor was granted the  title “divus” (from the Latin "divine")  which became an integral part of his name, and a priest was appointed to serve the cult.  

Some researchers, however, note that the plot of the painting by Paris Bordone is dedicated not only to Augustus, but also to the events that took place fifteen hundred years later in the Holy Roman Empire of the German Nation. It is known that European rulers often compared themselves to historical figures of antiquity and built their political legitimacy upon such parallels. In particular, when the question of who would ascend the throne of the Holy Roman Empire arose in 1519, supporters of the Spanish King Charles I, who claimed the imperial throne, used the legend of the Tiburtine Sibyl’s prophecy, drawing an association between their monarch and Augustus.

The position of Emperor was elective, yet the sacral status of the monarch was conferred through coronation by the Pope. Since the 13th century, the right to elect the Emperor was granted to a limited number of imperial princes known as Prince-electors. The main legal act  in this regard was the Golden Bull of 1356. This document established the rules of election of the Emperor as well as feudal privileges for imperial estates—effectively limiting the Emperor’s authority. The Emperor exercised supreme secular power and justice, serving as the Empire’s chief representative in international relations. However, his right to declare war, conclude peace, or form alliances on behalf of the empire were constrained, requiring approval from the princes of the constituent territories.

The sky in the painting captures a solar halo—an optical phenomenon in the form of rainbow-colored rings around the sun. It is no accident that it evokes associations with a nimbus, signifying divine light and serving as a symbol of universal justice. Renaissance artists depicted solar halos to emphasize the importance of their subjects. In the painting Apparition of the Sibyl to Emperor Augustus, the solar halo surrounding the Virgin Mary and the infant Jesus Christ symbolizes the light of divine truth revealed to Augustus.

In the painting, Madonna may hold or stand near a lily flower—an emblem of purity and innocence. The lily was frequently depicted in Renaissance works and later periods as an attribute of the Virgin Mary, as well as a symbol of the Annunciation, the glad tidings of the Savior’s incarnation.

In Paris Bordone’s painting, the figures are surrounded by detailed architecture—often serving as a backdrop for mythological and religious scenes in the artist’s works. He studied certain architectural elements, in part, through the theoretical treatises of Sebastiano Serlio. This knowledge allowed Bordone to achieve remarkable accuracy in rendering the proportions and forms of classical structures. The artist was also familiar with the order system of ancient architecture. By placing secondary figures on staircases, in building porticoes, and along galleries, Bordone created an almost theatrical mise-en-scène.