施工実績

Therefore, the degree onesto which the central government and its agents were involved durante the dissemination of the imperial image per the early Colmare must have depended on for whom and for what purpose the image was destined

Verso passage per Tertullian (Apol. 16.8) indicates that soldiers swore by military standards: religio Romanorum tota castrensis signa veneratur, signa iurat, signa omnibus deis praeponit (“the religion of the Romans, entirely [a religion] of the camp, venerates the standards, swears oaths by them, and places them before all the gods”). Like coins, small bronze imagines could be reproduced con great numbers and quickly distributed onesto the armies throughout the Completare. This practice may be implied con a passage in Tacitus’ Annales (Ann. 1.3) con which Augustus’ adopted bruissement and designated successor, Tiberius, who had tribunician power and imperium over the provinces equal esatto that of Augustus, was shown (i.addirittura., durante effigy) esatto all the armies: filius [Tiberius], collega imperii, consors tribuniciae potestatis adsumitur omnes verso exercitus ostentatur. Needless esatto say, Tiberius could not have personally gone around preciso all the armies throughout the Empire after being officially designated Augustus’ successor, so the passage must refer esatto his image mediante one form or another, which could have been easily and quickly distributed sicuro them.

Although not true portraits, small idealized representations of Augustus’ Genius were given by Augustus along with statuettes of his Lares to all the vici (“districts”) of the city of Rome, as we know from Ovid (Fasti 5.145-146): Mille lares geniumque ducis, in questo momento tradidit illos,/ Urbs habet, et vici numina trina colunt (“The city has per thousand Lares and the Genius of the pubblico [Augustus], who handed them over, and the vici worship three divinities (numina) [i.addirittura., the two Lares Augusti and the Genius Augusti of each vicus]”). The need puro distribute rapidly so many statuettes after Augustus’ reinstitution of the Lares cult mediante Rome suggests that they, too, would have been mass-produced con bronze. Moreover, whether small bronze representations of the new Princeps for the armies or figures of Augustus’ Genius for the many vici of the city of Rome, the dissemination of images durante a relatively short period of time recensione adultspace would have required organization, suggesting, as con the military, the direct role of the central government and its agents. This would also have been true sopra the case of the distribution of life-size models con plaster or terracotta preciso meet the great demand of cities and municipalities to honor a new Princeps by setting up his image mediante many different contexts.

Needless preciso say, such a taxonomic, or typological system, can be subjective

The portraits of Caligula that have ad esempio down preciso us — regardless of the medium of the models upon which they were based –– reflect, to varying degrees, verso given lost prototype and so are designated replicas, variants, free adaptations, or transformations based on how closely each extant image resembles its presumed Urbild. Of the thousands of images of Caligula per all mass media that must have once existed during his principate, only per small fraction — mostly numismatic and sculptural portraits — now survive. Among the fifty or so non-recut portraits of Caligula that have been recognized (aside from those on coins), there are a few small bronze busts, several cameos, and a couple of glass-paste medallions. A good number of Caligula’s portraits were also recut into images of his imperial predecessors or successors, sometimes sopra a more obvious fashion than others. The regnante-cutting of a portrait of one imperial personage into an image of another, usually, but not exclusively, as verso result of some sort of attenzione damnata, is verso well-known phenomenon durante Roman portraiture that is treated by Eric Varner in this collection of essays.